samedi 30 mai 2009

Phill Niblock : A Young Person's Guide To Phill Niblock [Blast First 1995]


2CD limited to 1000 copies
  • Held Tones (22:40)
  • Didjeridoos (13:30)
  • Ten Auras (21:20)
  • Ten Auras Live (21:20)
  • A Trombone Piece (22:13)
  • A Third Trombone (20:54)
  • Unmentionable Piece For Trombone And Sousaphone (18:33)
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Phill Niblock : Music By Phill Niblock [Experimental Intermedia 1993]


Genre : drone
  • Five More String Quartets (25:23)
  • Early Winter (45:27)
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Phill Niblock : Touch Food [Touch 2003]


Genre : Drone

"Phill Niblock is perhaps the least known exponent of the minimalist tradition. A relative lack of recorded output had denied him the attention of the likes of La Monte Young and Steve Reich, although a British concert in 1994 arranged by Blast First did boost his profile on these shores. He is arguably the most minimal of the minimalists - he makes Terry Riley sound like Mike Oldfield in comparison. Niblock requires the listener to re-evaluate their relocation with music in space and time. At first acquaintance with Touch Food, a double CD collection, each piece seems to consist of his holding a single, albeit multilayered note or chord which 'goes' nowhere. It merely hovers for anything up to 20 minutes like some gigantic UFO overhead, before dying away. Once you get inside this music rather thasn observe it with bemusement, the effect is rapturous and - well, maximal.

Niblock achieves his effects through multitracking of live and processed tracks and sampling, all based on original performances on acoustic instruments. He creates an aural illusion of continuity, like the perpetual gush of a waterfall, for instance. In reality, his ingenious layering methods mean that all kinds of infinitesimal but crucial structural and sonic shifts are taking place on a cumulative basis. The naming of the pieces is arbitrary, based on puns on the names of the players or the note they're played in. "Sea Jelly Yellow", based around Ulrich Krieger's baritone saxophone, is the most dense and seemingly unchanging of these pieces, a formidable challenge for the novice. "Sweet Potato", featuring Carol Robinson on bass clarinet, basset horn and Eb clarinet is marginally looser, the variations more tangible, the wavering bass throbs like a solemn chorus of foghorns, or male sirens. "Yam Almost May", featuring Kasper Toeplitz on electric bass, lists and lurches like a looped extract from Gavin Bryar's The Sinking of the Titanic. Press the CD fast-forward button, however, and like one of those time-delay shots of flowers opening and closing, you'll get a surprising sense of its musical edition.

Most awesome of all is "Pan-Fried 70", initially intended as a 75 minute piano piece but, because the composer is 70 this year and "became a little tired after 70 minutes", it stops there. Divided up into five segments, it is performed with a single nylon string tied to a single piano string, "Stroked with Roisin fingers". And yet, once processed, its multiple sonic effects, both real and the result of what you might call a trompe l'oreille, are immense, swarming the entire sky like a heavenly host. Niblock recommends you play his music loud, which always seems like cheating to me, but this truly benefits from being cranked up. It's like the end of the world." (from The Wire)

  • Sea Jelly Yellow (24:17)
  • Sweet Potato (24:10)
  • Yam Almost May (25:14)
  • Pan Fried 70 Pt 1-5
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Phill Niblock : Touch Works, For Hurdy Gurdy And Voice (Touch 2000]


Genre : Drone

"Sometimes you may wonder whether the music of composer and Experimental Intermedia director Phill Niblock ever changes. Yes, each piece consists of continual shifts within clusters of tones, intensified in performance by the acoustics of the space. Musicians and listeners can even create shifts by changing their position in the space. And, yes, he does use different instruments to build his pieces on. And the exact treatment they get differs for every piece. But the principle behind the process does not seem to have changed throughout the years. Niblock records samples of musicians producing tones at exact pitches, tuned only microtones apart. Intervals of 2 and 3 Hz are no exception. These samples he puts together in long strings and multiple layers of sound. Differences between individual compositions must arise from the procedure followed, and from the characteristics of the basic material. Niblock's first CD used recordings of flutes, his second (both are on XI Records) had one piece for quintupled string quartet, and one for quartet, flutes, and assorted synthesized instruments. His latest, Touch Works, has one composition for hurdy gurdy, played by Jim O'Rourke, and two for Thomas Buckner's voice. The sources are about as singular as you can get - Niblock has significantly scaled down in comparison with his second release, and yet the overall sound is far richer than what you'll find on these earlier albums. This, I think, must be due mainly to the timbral complexity of the source material. The hurdy gurdy, a string instrument in which a resined wheel functions as a bow, has of itself a vigorous steely sound, which can get more edge with some extra pressure exerted on the crank. The human voice has a wide palette of timbres, and if anyone is expert at picking and choosing shades and hues from that array, it's Tom Buckner. He even takes a step beyond that, condensing timbres to their partials. Niblock has extended the scope of the musicians further with a pitch shifter, adding lines that run one or two octaves below the originals. In conjunction these lines start a fierce and lively series of interactions. As always there is a ground base and its octaves, and tones close to them - tones of very diverse character. The piece for hurdy gurdy makes clear how different this music is from Niblock's earlier work. Out of ominously dark pedal notes shimmering chords irradiate, painting bright sparkling edges on the grinding core. This paves the way for the As Yet Untitled pieces that feature Tom Buckner. The voice, in the middle register, is immediately recognizable as his. But deep down there is a steady roar. His voice hovers above it, multiplied to an almost monotone swarm. Almost, because there are individuals just up and down from that, making the unison come alive in shivering brilliance. The glassy whistles of his overtone singing take swift steps upwards, to remain on one level for some moments before ascending further, or diffracting into glorious chords, underpinned by the growling roar. Buckner's first piece hardly prepares you for what follows - adding his voice in live improvisation to Niblock's construction. It is the same music, but a totally new take on it, as if an old world is shone on by a new sun. There is a lushness, an undeniable sensuousness, an organic wildness to this music, which is a departure from the controlled austerity of Niblock's XI albums. At some points the music sounds as if he has managed to match Tibetan monks with an angelic choir, although admittedly the entire mass of sound might just as well be some huge machine, with myriads of mysteries going on inside, such as helicopters chopping away at Doppler's. After the first impact you might wish to wander deeper into this wilderness, have a more precise view of what is moving there. The detail is amazing - choruses, swarms and clusters can virtually be followed to their single constituents. Each on its own seems motionless, but in their various combinations they create complex ever shifting relationships. And, mind you, this description is based on listening over headphones. When I tried it on my speakers the entire room was replete with sound bouncing off walls and furniture, forming temporary nodes on different spots, and driving my neighbours to foaming madness. Phill Niblock's music has changed, but it does remain true to itself. Being at once open and dense Touch Works is evidence of the vitality of his minimalism - if that term is at all appropriate here." (from Copious Singularity)
  • Hurdy Hurry (15:20)
  • A Y U, AKA "As Yet Untitled" (21:30)
  • A Y U, Live (21:30)
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Circuit Wound : Hunger Of Insects In Dry Places [Swampland 2005]


Genre : Noise
Tape, C15 limited to 50 copies
  • Untitled (7:26)
  • Untitled (7:24)
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Dead Machines : Live from the Sandblasters' Court [American Tapes 2003]

CD-R

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Dead Machines : Dead End At Olson St. [Ypsilanti Records 2006]


LP limited to 500 copies

"I can only imagine what goes on at the home of husband and wife duo John and Tovah Olson – John Olson is of course from Sub Pop noise terrorists Wolf Eyes and Tovah is from avant-folk fellows Wooden Wand and the Vanishing Voice. So what the hell do they get up to? Well this by the sound of it, Dead End at Olson St. could very easily be the sound of the two relaxing after a hard day at work, flipping the telly off and banging pots and pans together for an hour or so, having a quick blast of the saxophone, a quick strum on the guitar – but being careful to pipe it all through a chain of broken effects pedals and amplifiers. Yep, it’s that good – all astute noise fans know that Dead Machines records are few and far between, so you have to pick the good ones out, and this one is for me up there with the stellar John Weisse collaboration ‘Falling Lights’. If you’re unfamiliar with this stuff then maybe the best way to describe it is to say that it sounds like you’re being tortured by insects in a muddy hole, while heavy industry rolls over above you, clanking and crunching as it goes. It’s a bumpy ride but we wouldn’t have it any other way. “John your dinner’s going cold, stop sampling the sink and get down here!” On super limited white vinyl and housed in a gorgeous zombie laden sleeve, how ever can you resist the charms of Dead Machines?" (from Boomkat)
  • Untitled
  • Untitled
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vendredi 29 mai 2009

Aube / MSBR / Koji Marutani : 3 Cadavres Exquis [E(r)ostrate 1998]


  • Koji Marutani : Scenes 6 (11:04)
  • Aube : Meltangle (11:14)
  • MSBR : Electrospontaneous Psychokinesis (11:21)
  • Koji Marutani : Multihead / February Mix (9:07)
  • MSBR : Monophonic Scratch Biosphere Reincarnation (12:00)
  • Aube : Silent Running II (10:53)
get it here

Aube / Lasse Marhaug : New Forms Of Free Entertainment [Jazzasssin Records 1997]


CD limited to 500 copies
  • Lasse Marhaug : Waiting To Happen (5:17)
  • Lasse Marhaug : Release (6:00)
  • Aube : Straggle Perception (8:48)
  • Aube : Morpheus (11:27)
  • Aube : Straggle Perception 2 (9:33)
  • Lasse Marhaug : Undercurrent 1 (8:46)
  • Lasse Marhaug : Undercurrent 2 (8:10)
  • Lasse Marhaug : Crash (5:54)
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Aube & Zbigniew Karkowski : Mutation [ERS 1999]


CD limited to 500 copies
  • Mutation (49:23)
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Aube : Fast Tumbling Blaze [V. Records 1996]


7" limited to 500 copies
  • Fast Tumbling Blaze I (4:16)
  • Fast Tumbling Blaze II (3:51)
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Aube : Mort Aux Vaches: Still Contemplation [Mort aux Vaches 1998]


CD limited to 600 copies
  • Still Contemplation (59:01)
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Aube : Triad Thread [Armonika 2000]


CD limited to 600 copies
  • Heart Of Gold (20:04)
  • Silver Cloud (20:06)
  • Phase Bronze Oblique (20:02)
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mardi 26 mai 2009

Aube : Shade-Away [Art-ic Culture 1999]


CD limited to 500 copies
  • Fractured Silence (11:37)
  • Set With Pieces (8:45)
  • Trample (8:14)
  • Shade Away Hazily (12:03)
  • Profundity Remains (12:54)
  • Rebounce (5:27)
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Aube : Set On [Manifold 2000]


CD limited to 1000 copies
  • Set On (24:15)
  • No Set (36:52)
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Aube : 108 [Old Europa Cafe 1999]


CD limited to 801 copies
  • Gen-Shiki (8:22)
  • Ni-Shou (11:05)
  • Bi-Kou (8:23)
  • Zetsu-Mi (9:04)
  • Shin-Soku (8:39)
  • I-Hou (10:07)
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Aube : Pages from the Book [Elsie & Jack Recordings]


CD limited to 1000 copies
  • In The Beginning (14:24)
  • Hymn (10:08)
  • Concord Block (11:50)
  • Holy World (20:03)
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Aube : Flare [Iris Light 1997]


CD limited to 1000 copies
  • Luminous (43:27)
  • Vibrate-Flasher (Alternative Mix) (6:50)
  • The Silent Light (6:42)
  • Luminous Live 1992 (16:04)
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Aube : Flush [Iris Light 1997]


CD limited to 1000 copies
  • Spin (23:21)
  • Drift (22:41)
  • Aquatremble 1 (6:19)
  • Aquatremble 2 (6:26)
  • Water Live 1992 (14:10)
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Aube : Wired Trap [Self Abuse Records 1995]


CD limited to 1000 copies
  • Wired Trap Part I (19:34)
  • Siege (11:32)
  • Bound Sensitivity (10:16)
  • Rub-Icon (12:14)
  • Wired Trap Part II (23:28)
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mercredi 20 mai 2009

Christoph Heemann / Andrew Chalk : Cassia Fistula [Idea 2002]


Genre : experimental
7", limited to 300 copies
  • Christoph Heemann : Cassia Fistula (3:11)
  • Andrew Chalk : Cassia Fistula (3:21)
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Christoph Heemann & Andrew Chalk : Mirror of the Sea [Robot Record 2000]


Genre : Ambient, experimental
LP limited to 286 copies
  • Mirror Of The Sea Pt. 1 (19:20)
  • Mirror Of The Sea Pt. 2 (20:41)
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Mirror : Front Row Centre [Die Stadt 2000]


Genre : drone, experimental
LP limited to 767 copies
  • Untitled (29:20)
  • Untitled (30:14)
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Mirror : Nights [Three Poplars 2001]


Genre : drone
CD-R limited to 30 copies
  • Untitled (2:11)
  • Untitled (17:57)
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Mirror : Islands [Die Stadt 2001]


Genre : drone
2LP limited to 1000 copies
  • Part I (5:32)
  • Part II (13:59)
  • Part III (8:25)
  • Part IV (6:06)
  • Recorded In Concert Austin, Texas (19:13)
  • Recorded In Concert Austin, Texas (17:23)
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Mirror : I paint for Love of Color [Idea 2001]


Genre : drone, experimental
LP limited to 600 copies
  • Untitled (23:27)
  • Untitled (22:49)
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vendredi 15 mai 2009

Henrik Nordvargr Björkk : Sleep Therapy [Old Europa Cafe 2003]


Genre : Experimental, dark ambient
8CD, limited to 300 copies

Sleep Therapy Treatment 1: Monday
  • AA (10:31)
  • AB (13:40)
  • AC (17:30)
  • AD (9:47)
  • AE (7:44)
Sleep Therapy Treatment 2: Tuesday
  • BA (10:07)
  • BB (12:19)
  • BC (7:06)
  • BD (17:36)
Sleep Therapy Treatment 3: Wednesday
  • CA (21:16)
  • CB (16:23)
  • CC (15:25)
Sleep Therapy Treatment 4: Thursday
  • DA (10:37)
  • DB (24:48)
  • DC (18:40)
Sleep Therapy Treatment 5: Friday
  • EA (19:14)
  • EB (20:16)
  • EC (11:00)
Sleep Therapy Treatment 6: Saturday
  • FA (11:09)
  • FB (6:47)
  • FC (16:58)
  • FD (14:29)
Sleep Therapy Treatment 7: Sunday
  • GA (24:46)
  • GB (40:51)
Sleep Therapy Treatment 8: The Last Rest
  • - Death - Enter Dreamless Sleep (50:50)
get them all here

mercredi 13 mai 2009

Failing Lights : Combat Stance [Chondritic Sound 2009]


Genre : Noise
Tape, C20, limited to 100 copies
  • Untitled (9:16)
  • Untitled (6:37)
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Hive Mind / Workbench [Chondritic Sound 2005]


Genre : Noise
EP
  • Hive Mind : Untitled
  • Workbench : Untitled
Get it here

Envenomist & Hive Mind : Initiation Into Nothingness [Chondritic Sound 2009]


Genre : Noise
Tape, C40, limited to 100 copies
  • Untitled (19:33)
  • Untitled (20:12)
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Hildur Guðnadóttir : Without Sinking [Touch 2009]


Genre : ambient, classical
  • Elevation (5:58)
  • Overcast (3:18)
  • Erupting Light (2:22)
  • Circular (4:19)
  • Ascent (4:43)
  • Opaque (3:51)
  • Aether (5:11)
  • Whiten (4:52)
  • Into Warmer Air (6:11)
  • Unveiled (7:12)
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Machinefabriek + Stephen Vitiello : Box Music [12k 2008]


Genre : Experimental, ambient
  • MF : Bells, Book, Tin Foil, Buttons (11:09)
  • SV : Crackle Box, Thumb Piano (12:48)
  • MF : Field Recordings, Rocks, Speakers (9:06)
  • SV : Broken Record, Cassettes (8:46)
  • SV + MF : Chocolate Sprinkles, Tape, Egg Cutter, Rice, Plastic Bag (9:02)
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Ethan Rose : Oaks [Baskaru 2009]


Genre : folktronica, ambient
  • On Wheels Rotating (4:07)
  • Rising Waters (4:13)
  • Grand Marcher (4:31)
  • The Floor Released (6:46)
  • Fortunate (3:25)
  • Scenes From When (4:25)
  • Mighty Mighty (4:00)
  • Bottom (6:24)
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Byetone : Death Of A Typographer [Raster-Noton 2008]


Genre : idm
  • Into Bios (Intro) (0:49)
  • Plastic Star (Session) (7:15)
  • Straight (4:14)
  • Rocky (Soft) (6:02)
  • Black Is Black (2:45)
  • Capture This (Part I) (3:18)
  • Capture This (Part II) (4:41)
  • Grand Style (6:15)
  • Heart (7:45)
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Brendan Murray : Commonwealth [23Five 2008]


Genre : drone
CD limited to 500 copies
  • Commonwealth (49:06)
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Andrey Kiritchenko : Misterrious [Spekk 2008]


Genre : Folktronica
  • Let Oneself In (3:26)
  • Sparkling Early Mornings (4:49)
  • Wounded By Love (4:46)
  • Your Thoughts In Scary Forest (4:51)
  • Evening Lights Wrap Me Softly (7:00)
  • Persistent Visions (4:26)
  • Untitled Inquietudes (4:24)
  • Vague Fable (4:07)
  • Unexpected Raylets (4:09)
get it here

Alva Noto : Xerrox Vol.2 [Raster-Noton 2009]


Genre : ambient, idm

  • Xerrox Phaser Acat 1 (12:11)
  • Xerrox Rin (0:51)
  • Xerrox Soma (7:11)
  • Xerrox Meta Phaser (6:23)
  • Xerrox Sora (6:54)
  • Xerrox Monophaser 2 (5:31)
  • Xerrox Teion (2:03)
  • Xerrox Teion Acat (5:26)
  • Xerrox Tek Part 1 (5:28)
  • Xerrox Monophaser 3 (6:14)
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mardi 5 mai 2009

Ahlzagailzehguh : Ideomotor Effect [Chondritic Sound 2009]


Genre : Noise
Tape, C20, limited to 100 copies
  • Untitled (3:09)
  • Untitled (3:33)
  • Untitled (0:18)
  • Untitled (2:34)
  • Untitled (2:09)
  • Untitled (1:42)
  • Untitled (5:37)
get it here

Spine Scavenger : Pigs [Chondritic Sound 2008]


Genre : Noise
Tape, C44, limited to 100 copies
  • Pigs
  • Point Me To The Ground
  • A Funeral With Music
  • Trash And Annie
  • The Embryo
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Sick Llama : Thrown down a Well [Fag Tapes]

Genre : Noise
Tape, limited to 40 copies
  • Thrown Down A Well
  • Sentenced To Be Quartered
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Roman Torment : Handmaiden [Chondritic Sound 2007]


Genre : Noise
CD-R limited to 89 copies
  • Untitled (3:05)
  • Untitled (2:57)
  • Untitled (6:12)
  • Untitled (1:30)
  • Untitled (2:57)
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RLW / Aube : Organized [Meeuw Muzak 1997]


Genre : Experimental
10" limited to 300 copies
  • RLW : Erased Phasings (9:41)
  • Aube : Embossed Phrasings (10:06)
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M.B : 603... Annus Mundi [Sine3pm 2006]


  • Vacuum (Beginning State Of Void) (23:40)
  • Telos (Final State Of Annihilation) (23:38)
get it here