“The Duke Of New York” was composed in 1971, and this version was recorded on the 19th of February 1972, at the Metropolitan Museum of Modern Art, New York.

“Bird and Person Dyning” was composed and recorded in 1975.

Originally released by Cramps Records in 1975 as CRSLP 6111.

Experimental Audio Research
The Köner Experiment
Space Age Recordings, CD, 1996

Eddie Prévost, Kevin Shields, Thomas Köner
Andy Mellwig, Porter Ricks, Kevin Martin
Sonic Boom

zip

Two italian indies invite You to some new hypnosis audio sessions, producing Luminance Ratio’s debut release: a spectral climax divided in six motionless tracks, loaded with field recordings, vibrations, cymbals, long minimal drones, (maybe) prepared guitars, – a wordless slow sound fog swallowing You and Your house.
Clearly, setting down with this record with headphones means getting lost in its eerie atmosphere (Solid State Turners), sometimes cinematic (the footsteps in Sullespalledellepietre), often leading to a sort of higher consciousness.

This is an intense investigation of disembodied perception in the form of a single electroacoustic composition – an uncomfortable calm inhabited by hints of signals and actions, interspersed with sudden jarring events, sometimes moving slowly and seductively, sometimes shifting the listener from one location to another.

This is a compilation from some of his work during the years 1952-1960. The somewhat chaotic series of sounds create a rather mellow atmosphere despite their unpredictability and can still be compared to the modern noise music of today.

Karlheinz Stockhausen – Elektronische Musik 1952-1960
01 – Etude (1952)
02 – Studie I (1953)
03 – Studie II (1954)
04 – Gesang der Juenglinge (1955-56)
05 – Kontakte (1959-60) – Struktur I
06 – Kontakte (1959-60) – Struktur II
07 – Kontakte (1959-60) – Struktur III
08 – Kontakte (1959-60) – Struktur IV
09 – Kontakte (1959-60) – Struktur V
10 – Kontakte (1959-60) – Struktur VI
11 – Kontakte (1959-60) – Struktur VII
12 – Kontakte (1959-60) – Struktur VIII
13 – Kontakte (1959-60) – Struktur IX
14 – Kontakte (1959-60) – Struktur X
15 – Kontakte (1959-60) – Struktur XI
16 – Kontakte (1959-60) – Struktur XII
17 – Kontakte (1959-60) – Struktur XIII A
18 – Kontakte (1959-60) – Struktur XIII B
19 – Kontakte (1959-60) – Struktur XIII C
20 – Kontakte (1959-60) – Struktur XIII D
21 – Kontakte (1959-60) – Struktur XIII E
22 – Kontakte (1959-60) – Struktur XIII F
23 – Kontakte (1959-60) – Struktur XIV
24 – Kontakte (1959-60) – Struktur XV
25 – Kontakte (1959-60) – Struktur XVI A
26 – Kontakte (1959-60) – Struktur XVI B
27 – Kontakte (1959-60) – Struktur XVI C
28 – Kontakte (1959-60) – Struktur XVI D
29 – Kontakte (1959-60) – Struktur XVI E

Discogs

KTL is a unit made up of Peter Rehberg and Stephen O’Malley, artists otherwise known as Pita and Ω of Sunn 0))), respectively. KTL 2 is the second volume of incidental music to emerge from their work for Kindertotenlieder, the fourth collaboration between American writer Dennis Cooper and French director/choreographer Gisele Vienne. KTL 2 not only proves that they exist as something more than a mutation of that play; though released a mere seven months after the first album, KTL 2 finds these two settling on a common language, one that both fleshes out the playís narrative and creates a space entirely its own. These four tracks ñ all of which surpass the 10-minute mark, with ìThemeî clocking in at an intense 27 minutes ñ have little to do with the Gustav Mahler song cycle from which the play takes its name. Kindertotenlieder translates as songs on the death of children, which happens to be as apt a thematic description of Cooper’s work as one could hope. Not only are the male characters in his best-known work, the five-novel George Miles Cycle, all based on the deceased high school friend and former lover who gives the Cycle its name, the narrative structure of the novels themselves emulate the death at their center.

Thereís a little irony to the fact that Kindertotenlieder centers around a black metal concert/funeral in the deep Austrian forest in the dead of winter, part of which involves boys dressing up as Krampus, the demonic-looking ‘companions of St. Nicholas’ who, in parts of Austria, terrorize sinful kids on Christmas Eve. This pagan remainder from winter solstice celebrations calls to mind literary modernism’s trope par excellence, the German witches’ festival Walpurgisnacht as portrayed in Thomas Mann’s The Magic Mountain. There’s some intense bracketing going on here: the early- and late-romanticism of Goethe’s Faust and Mahler’s Kindertotenlieder, the modernism and postmodernism of Mann and Cooper. Rehberg and OíMalley avoid here the modernist tendency they indulged a little bit with the first KTL ñ the cathartic, Dionysian release of sinewy, jagged screech. Here, even the buildup is anti-climax, an elegy for something thatís already gone down. Itís anything but an incitement to violence, yet far from contemplative. KTL 2 doesnít feel so much like a revision of the first as a refinement of its vision, an attempt to make it as indiscernible as Cooperís own work.

Rehberg and OíMalleyís work is similar inasmuch as they have a circuit-bent relationship to the genres they draw on. Harsh electro and drone metal exist as genres-about-genres, cannibalizing the source materials in a way that chars everything. Not coincidentally, this approach has resulted in some fucking loud music. A loudness thatís as much felt as heard: parsing frequency extremes, their music is by turns so high that it can be mistaken with the sound of your brain’s synapses and the circulation of your blood, or so low that it comes uncomfortably close to the brown sound. You’d assume that such amplitude wrangling would come into conflict with the idea of incidental music, but the indistinctness that emerges from being immersed in unfamiliar frequencies matches Cooper’s aesthetic exceedingly well. The music conveys a state of being without having to resort to distinguishable musical forms or tropes. Cooper’s art is resonant because he deals with inarticulate subject matter in a way that acknowledges his protagonists’ essential powerlessness and bewilderment, puncturing his narratives with situations where language itself fails. The overriding feeling here, even more so than in the first installment, is disorientation ñ the perfectly-titled ìThemeî is a 25-minute buildup to fine-grain oblivion, followed by a minute of so of respite and a final desperate spasm of gurgling sound color. Rehberg and OíMalleyís approaches are so integrated here as to be indistinguishable; the difference is significant when compared to the first volumeís immediately-assignable contributions (black metal Derek Bailey guitar from OíMalley and buzz-saw oscillator from Rehberg on the ìForest Floorî tracks).

The album is a reminder that art like this is pretty rare at the moment. With the post-postmodern fetishization of the literary over literature proper and the safe redundancy of indie rock passing as something more than a lifestyle accoutrement, this albumís organ-scrambling oscillations is crucially oblique. It starts as an atmospheric disturbance, an airborne event too evil to ever distinctly manifest; by the time it ends, the molecules are still charged with inarticulate emergency. Dusted Magazine

Out of Stock

A third magical instalment in the Touch label’s 7″ series, Amoroso pays homage to the so-called ‘sacred minimalism’ of Arvo Part, and features a trio of collaborators: Touch mainstays Christian Fennesz and Philip Jeck are joined by renowned organist Charles Matthews, a performer who first contributed to the Touch label via the Spire project

“Frank Baugh of Sparkling Wide Pressure reports: “This is music which reflects the inner urge, the secret fear, and the courage to look directly. Guided by moods into the true reflection of an empty world that is open. Open world. Sitting still and being one with movement. Seeing the truth reflected in hollowness. It is like saying prayers in a nothing world. Pointless and poignant.” Exacting sentiments as we see this – Stunned’s final CDr edition – out into the world & into your own intimate listening experiences.”

-Stunned

discriminate music

Armed with four 8011 DPA hydrophones, DPA 4060 omni mics, a Telinga parabolic reflector mic and a Sound Devices 744T digital hard disk recorder, Jana Winderen studies and records wild places which have a particular importance in our understanding of the complexity and fragility of marine ecosystems.

The recordings were made on field trips to the Barents Sea (north of Norway and Russia), Greenland and Norway, deep in crevasses of glaciers, in fjords and in the open ocean. These elements are then edited and layered into a powerful descriptive soundscape. The open spaces of Greenland, northern winds, ravens and dogs in an icy landscape provide the setting for these haunting but dynamic pieces. Sounds of crustaceans, fish such as cod, haddock, herring and pollock recorded as they are hunting, calling for a mate or orientating themselves in their environment, are all included in the mix. The result is a powerful, mesmeric journey into the unseen audio world of the frozen north.

Touch

Contemporary Italian composer Stefano Scodanibbio has been a performing musician (on double bass) for a quarter of a century. Scodanibbio has created new techniques extending the colors and range of the double bass heretofore thought impossible on this instrument.

Elena Casoli: guitar
Jürgen Ruck: guitar
Ian Pace: piano
Mario Caroli: flute
Magnus Andersson: guitar
Rohan de Saram: cello
Francesco d’Orazio: violin

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