Aaron Dilloway - Bhoot Ghar: Sounds of the Kathmandu Horror House 12" (PSR37)
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12" Design by Grant Corum Double sided insert with liner notes Mastered by Nicolás Carcavilla at Galapex Orpheus Studio Pressed at Outta Wax Includes download code Edition of 500
Description via Soundohm:
"Bhoot Ghar: Sounds of the Kathmandu Horror House by Aaron Dilloway is a raw suite of field recordings captured inside a decaying Nepali fun‑park attraction. Blown speakers, mechanical screams, and ambient chaos fuse into a hallucinatory documentary of sound—half ethnography, half haunted collage.
In Bhoot Ghar: Sounds of the Kathmandu Horror House, Aaron Dilloway transforms a chance encounter with an amusement‑park ghost ride into an extraordinary document of sonic decay. Recorded on a mobile phone during multiple visits to the “Bhoot Ghar” (literally “Haunted House”) inside the Kathmandu Fun Park, the piece reconstructs a real environment almost too surreal to believe—blown PA speakers sputtering with horror samples, mechanical apparitions creaking into motion, and the brilliant dissonance of human laughter cutting through the din. The resulting album is less a composed work than a found situation rendered musical by the intensity of listening. The recordings unfold between entrance and exit: the path soundtrack, recorded from a distorted outdoor loudspeaker, crackles with the overdriven echoes of South Asian horror television themes; inside, motion sensors trigger brief bursts of noise, broken motors, and shrill screams. Each moment is both documentary and hallucination. Dilloway’s perspective—half participant, half observer—turns the frailty of consumer electronics and decaying mechanics into an accidental symphony. What might have been dismissed as amusement‑park kitsch becomes, through his ear, a portrait of entropy and improvisation.
Interspersed throughout are vignettes that expand the experience beyond the haunted house itself: the chaos of bumper cars that “go way too fast,” the rhythmic thrum of a ferris‑wheel belt moments before it breaks, and the cacophony of geese feeding outside while a soccer match blares in the distance. These sonic collisions situate Bhoot Ghar within a lived environment—no studio manipulation, no layering beyond the realities of the place. The blur between fieldwork and performance echoes Dilloway’s lifelong fascination with tape manipulation and acoustic grotesque: the moment everyday noise slips into abstraction. More than a novelty artifact, the album functions as a meditation on perspective itself—what happens when artists relinquish control and simply record the world as it is, trusting that chaos might compose itself. Dilloway has long pursued this boundary, from his early noise work with Wolf Eyes to his later solo cassettes and installations. In Bhoot Ghar, he distills that approach into pure location: sound not as creation but as capture, bearing the heat, static, and overstimulation of life itself."
12" Design by Grant Corum Mastered by Nicolás Carcavilla at Galapex Orpheus Studio Pressed at Outta Wax Includes download code Edition of 500
Description via Psychic Sounds:
Long awaited release of Aaron Dilloway’s foreboding ’ambient’ works with Psychic Sounds' initial selection entitled “Medicine Stunts’: Two sprawling sides of atmospheric practices & mysterious meditations fully mastered & pressed on wax for the first time, all which include the glacial ‘Stunt 1’ of sparse industrial factory mesmerization invoking shadowed moments reminicent of the beloved David Lynch & Alan Splet's Eraserhead soundtrack. Dilloway's tape chops glide into glass harmonic chamber echos calling on such spirited reverberations by way of crystallophone, Aeolian harp, or even frequencies recalling Coil's experimental investigations on the legendary Soviet-era ANS photoelectric synthesizer. In this instance, a distant alien cooing along the liminal glassy seam is introduced alongside slow pumping mechanical wield, and further minimal creature calls reminiscent of the stranger field recordings documented on Folkways 'Sounds of the Sea' or Amphibian related releases.
Flipside 'Stunts 2 & 3' brings the gurgling & juggling metallic slabber warbled in a box bleeding into slight fuzz unknown, all which gently wades into a pulsating pump of squells.... it all certainly stirs a flavor of your regional moldy spook house attraction soundtrack crackling through the busted sound system. If this isn't enough for the adventurous listener , a suspenseful end event on the horizon offers us an unsettling whistle in the Old West Morricone ghost town. A beautifully haunted hallway of reflected recourse through the reality of the unsettling American jokes & labyrinths of now.
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A long out of print and important piece from Brannten Schnüre’s mid-period gets another chance to cast its eerie glow. 2017’s Muschelsammlung might be considered the last of their albums before the underground finally caught up to them, and it’s also one of the more accessible points of entry into the duo’s now formidable catalog. With vocalist Katie Rich at the forefront through much of Muschelsammlung, her sweet speak-sing and childlike presence is a ballast amidst the whir of rustic instrumentation and looping ephemera that the duo lift from German folk music and gothic hymnals. As usual, there are plenty of reference points that we’ve made here or seen elsewhere that veer close to capturing the mystic wooziness that Brannten Schnüre conjure, whether it’s Coil’s late period folkloric seances, Ghédalia Tazartès’ electro-acoustic exoticism, the lo-fi bedroom concrete of the Gothenburg scene, or the blurred nostalgia of the Caretaker at his most cracked. But recently listening back on this mesmerizing LP’s integration of folkier traditions with repurposed music from the fading past, we can’t help but also hear a bit of Broadcast, particularly their later “occult” period. Most obvious between the two groups is the pastoral innocence embodied by both the late Trish Keenan and Katie Rich, but its both duos juxtaposing the starry-eyed vocals with fragmentary and lysergic collages that find the pair criss-crossing on the same plane of hauntological wonder. Admittedly, Brannten Schnüre is not for everyone, but if you were spell-bound by Broadcast’s final album, Investigate Witch Cults Of The Radio Age, or the posthumously released Berberian Sound Studio, then Muschelsammlung might just be your bag. If you’re already on board with Brannten Schnüre, you know what to do. New edition of 250, silksreened jackets, sold out at the source. Don’t snooze.
Weaving a singular brand of DIY Minimalism, intertwining elements of folk, musique concrète, ambient, and electroacoustic music, Brannten Schnüre return to center stage with a due repress of what is widely regarded as their most impressive full-length release, “Muschelsammlung”, originally released in 2017 on Dutch label Vrystaete in a micro-edition of 150 copies. Laying the groundwork for the singular sonic landscapes that we’ve all come to adore, it’s an absolutely stunning and engrossing piece of work that can’t be missed.
LP Mastered by James Plotkin Includes digital download code Edition of 300
Description via The Helenscarsdale Agency:
Neutral is the no wave / anti-rock duo of Dan Johansson (Sewer Election, Ättestupa, Amateur Hour, etc.) and Sofie Herner (Leda, Enhet För Fri Musik), both with deep connections to the Swedish noise scene. As Neutral, the two smear voice, guitar, organ, and smoldering noise into narcoleptic songs that rewire the strategies of Dome by way of Gate and Mars. Lågliv translates to ‘lowlife,’ an apt metaphor for neutral’s subterranean murk and shambolic discontent that they languidly manifest as a punk dourness emptied of all rock ’n’ roll theatrics. Desperate, demolished, and dejected.
Paul DeMarinis - Songs Without Throats 2xLP (BT041)
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2xLP Gatefold Sleeve w/ Liner Notes Computer, Keyboards, Synthesizer, Guitar, Composed by Paul DeMarinis Layout by Stephen O'Malley Mastered by Rashad Becker
Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis’s exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis’s alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n’ Spell to the accompaniment of the randomised melodic patterns of DeMarinis’s homebuilt electronic instrument ‘The Pygmy Gamelan’, the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis’s restless probing of the possibilities of new technologies, from the hacked Speak n’ Spell (which gives us the austere ‘Et Tu, Klaatu’ 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy’s synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin’s voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator’s musical life). In between we get a rich sampling of DeMarinis’s signature work with speech melodies – usually unnoticed melodic inflections that lie within speech patterns – which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing (‘Cincinatti [1830-1850]’ sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven’s Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is ‘a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic’.
2-Discs Blu-ray 16 page booklet UPC: 745295491781 Region 0 (Worldwide) LBR 4917
’These are songs about the corn belt and some of the people in it… or on it.’
Comissioned by NYCs ‘The Kitchen’ in 1978, written for television in 1980, and presented in 1984. Robert Ashleys ‘Perfect Lives’ has received a tasteful face lift courtesy of Lovely Music Ltd. and the original post production editor Dean Winkler.
‘An opera for television’ told in seven parts / 3 hours total. For someone unfamiliar with Robert Ashley; this may be the most informative entry point to begin your journey.
This new NTSC to HD re-master beautifully preserves the original presentation; a 4:3 aspect ratio in addition to a complete surrender to ‘shot on video’.
Booklet contains on set photos as well as an essay by Ashley’s biographer Kyle Gann, and a review by Charles Hagen.
Ambitious and life affirming. Highest possible recommendation.
Lovely Music Ltd. Description:
Robert Ashley, solo voice; Jill Kroesen and David Van Tieghem, chorus; "Blue" Gene Tyranny, keyboards; David Van Tieghem, non-keyboard percussion; Peter Gordon, music producer; Paul Shorr, soundtrack producer; Dean Winkler, image processing and videotape editor.
Perfect Lives has been called "the most influential music/theater/literary work of the 1980s." At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980's update of the mythology of small town America. Perfect Lives is populated with myriad characters revolving around two musicians — "R", the singer of myth and legend, and his friend, Buddy, "The World's Greatest Piano Player". They have come to a small town in the Midwest to entertain at the Perfect Lives Lounge. As Robert Ashley describes in the opera synopsis, "they fall in with two locals to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable about of money from The Bank for one day (and one day only) and let the whole world know that it was missing."
The eloping couple, Ed and Gwyn, the old people at the home, the sheriff and his wife (Will and Ida) who finally unravel the mystery, and Isolde who watches the celebration of the changing of the light at sundown from the doorway of her mother's house are some of the characters who journey through the seven episodes of the opera.
Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.
The 1983 video was upgraded to 1080 HD and remasterd in 2022-23. A 16 page booklet inside includes Robert Ashey's synopsis plus articles on the music by Kyle Gann, and on the video by Charles Hagen
Blu-ray + CD Housed in hard box slipcase 5.5" x 6.75" 32 page perfect bound booklet 4" x 6" postcard 10.5" x 17" poster Released by Terror Vision in cooperation with Intervision
No one has dared enter this house for nearly ten years since a young couple from the valley were brutally murdered by a madman with a sledgehammer. No one…until now. They would not be alone. There was something evil in the house. The kind of thing no one believes in, yet everyone fears. Something that moves only through the still of the darkest nights, creeps within the shadows of man’s deepest fears and strikes without warning. Something which does not want them in this house yet cannot allow them to leave. The night will be shrouded in their fear, stained with their blood.
The nightmare has begun! God help them!
Terror Vision in partnership with Severin Films, are thrilled to bring the pinnacle of SOV to Blu-ray for the first time in the world! Sledgehammer is sourced w/ a new transfer from a master tape to bring this bloodshed to you in the best way possible. Loaded with new and old extras - this marks the definitive release of this classic horror film. Thank you to our pals at Severin for making this nightmare come true.
This hard box, booklet, and CD is limited to 1500 and will not be repressed.
Laetitia Sonami was born in France, where she studied with Eliane Radigue. She moved to the United States to study electronic music, first with Joel Chadabe at SUNY Albany, then at Mills College where she was mentored by Robert Ashley and David Behrman. Laetitia Sonami is not only a gifted composer/designer of electronic music, but a compelling presence on stage. This collection of early works covers a period when Sonami transitioned from live mixing with cassettes, homemade analog synths and objects in the early eighties, to working with MIDI, MAX software and "off the shelf" synths and samplers. At the same time, she begins a long collaboration with Melody Sumner Carnahan, using her dramatic texts to evoke characters and behaviors to inhabit musically and visually. All but two of the works on this release utilize Sumner Carnahan's stories, and all but one use Sonami's famous invention, the lady's glove, an arm-length tailored glove fitted with movement sensors allowing the perform to fluidly control digital sound parameters and processing, as well as motors, lights and video playback. Sonami has since moved on to works for another of her inventions, the Spring Spyre, which applies Machine Learning to real time audio synthesis.
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Laetitia Sonami / Éliane Radigue - A Song For Two Mothers / OCCAM IX LP (BT122) (Signed by Artist)
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LP Liner Notes by Éliane Radigue, Laetitia Sonami, Paul DeMarinis Insert signed by Laetitia Sonami Layout by Lasse Marhaug Mastered by Joe Talia and Brendan Glasson
Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.
In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.
Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Mort. Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.
Black Truffle are honoured to announce the release of She’s More Wild, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981. Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers.
Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking. Presented in a deluxe gatefold sleeve with various texts and archival images.
14CD set housed in foldout rigid box Includes 78 page booklet w/ Full English Translation INA 6060/74 (2024 Repress)
'One COULD put 'everything' aside and grind through all that is offered in this more than generous box. BUT the duration of your listening session would be 16 hours and that's not the point. Radigue is one of the most important electronic musicians to emerge in the past 50 years. Her music will serve you well throughout your life and generations to come. Incredible; eloquent; transcendent; top tier. Comparisons can be made but Radigue has created her own criteria. (Recommended pieces 'Adnos I-II-III' and 'Trilogie de la Mort'.) - Ross
CD1 1. Chry-ptus (version 2001) 24’01 2. Geelriandre 29’57 CD2 1. Chry-ptus (version 2006) 23’10 2. Biogenesis 21’06 3. Arthesis 25’40 CD3 1. Ψ 847 (version concert) 71’08 CD4 1. Adnos I 71’28 CD5 1. Adnos II 72’44 CD6 1. Adnos III 72’40 CD7:Les Chants de Milarepa 1. Mila’s Song in the Rain 19’10 2. Song of the Path Guides 21’01 3. Elimination of Desires 17’22 4. Symbols for Yogic Experience 19’29 CD8: Les Chants de Milarepa 1. Mila’s Journey Inspired by a Dream 62’22 CD9: Jetsun Mila 1. Jetsun Mila (première partie) 44’25 CD10:Jetsun Mila 1. Jetsun Mila (seconde partie) 39’57 CD11: Trilogie de la Mort 1. Kyema 61’07 CD12: Trilogie de la Mort 1. Kailasha 56’09 CD13: Trilogie de la Mort 1. Koumé 51’18 CD14 1. L’Île re-sonante 55’04
45th Anniversary Edition 6 panel digipack Includes 12 page booklet Exclusive liner notes by Graeme Revell Old Europa Cafe - OECD 341
'Sometimes I wish I could go back and hear the first two SPK records for the first time. I will truthfully say listening to these two reissue CDs from Old Europa Cafe has only further instilled my belief that describing these two records as 'influential' is the greatest understatement. ‘Information Overload Unit’ came out in 1979; listen to it. YES this was recorded in 1979. I’m sorry but ‘highest possible recommendation’. - Ross
Slot Machine Music by Adrian Rew (Hanson - HN271 (2014)) Picture Disc LP
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Picture Disc Vinyl LP Stiff Polysleeve Includes insert w/ description Edition of 500 Recordings and Photographs by Rew Layout and Production by Dilloway Mastering by Lescalleet
"It must have been around 2014 when I first encountered this record and I've thought about it ever since. 'Transcendent' and 'eloquent'; beautiful stuff. 'Good luck!' - Ross
Artists Description:
Slot Machine Music: field recordings from middle American casinos.
"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation." - Georges Bataille, Le Petit
Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone”, a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling—simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: oxygen-saturated pleasure air, subtly controlling walkways, mesmerizing lights, and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.
Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor earlier this year that it would not be my last visit. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense (you can hear me get warned of the consequences of taking photos at the beginning of the disc's second track)—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions over a period of four months, the best of which are included here.
I learned a lot about casino sonics in the process: game designers, for example, tune their machines to the key of C in order to optimize harmonic cohesion; one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casinos these recordings are completely untreated but, lost in the sea of chance, I did exert some affirmative control by means of meandering intent and actual playing of the games. With my playing of the machines I got a taste of the debilitating consequences that accompany the enchantment of video gambling. The disc in your hands represents my attempt to divorce the exhilarating fantasy of the casino from its unfortunate reality. May the zone run deep within you.
'This is ‘it’. ‘Infra’. Turn the dial up and give the keys to Kayn. This one might be the best entry point for anyone looking to ‘dive in’. Enveloping and (some times) arresting. ‘Dynamic’ would be selling it short. Originally released in 1979 but could be released 15 years in the future and no one would question. Beautifully remastered by Jim O’Rourke and if you are familiar with his work on ‘Steamroom’; YEAH he’s ‘on the tip’ as well. Highest recommendation possible. Theres so much info; dive as deep as you’d like.' - Ross
2023 repress. Double LP. Re-cut from original Peter Christopherson approved masters. The Ape Of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape Of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece. Packaged in a heavy tip-on gatefold sleeve with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is house in a printed inner sleeve and side D is printed with all three original etchings. Lyrics are printed across the gatefold.
7xCD Hardcover Accordion Case Hard box slipcase 26 page perfect bound booklet 8.25" x 11.75" 10 page folded and stapled zine 12" Slipmat One sided white on black silkscreened T-shirt Restored and Mastered by Anders Peterson Designed by Steven Levers Published by Vinyl-On-Demand in Cooperation with the Bryn Jones Estate
Limited CD Box with t-shirt and slipmat. Vinyl-on-demand presents the definitive excavation of Bryn Jones' formative years with Complete Oblique 1980-1983, a comprehensive 7CD box set that collects every recording from the pre-Muslimgauze era. This extraordinary archaeological document captures one of experimental music's most prolific figures in the crucial period before his transformation into the underground legend we know today. Between 1980 and 1983, working under the moniker E.g Oblique Graph, Jones was assembling what would become one of experimental music's most singular vocabularies through minimal electronic pieces built from synths and tape manipulations. This collection gathers all three impossible-to-find cassettes originally released on "Kinematograph Tapes" (Extended Play, Piano Room, Inhalt) plus the rare 7" Triptych for Bourbonese Qualk's "Recloose Organization."
Complete Oblique reveals material that bears little resemblance to trademark Muslimgauze. Instead of the dub-heavy rhythms and Middle Eastern influences that would define his later work, these recordings present an artist enthusiastically experimenting with sounds and technology, creating music that is crude yet surprisingly varied and very much of its early '80s moment. The opening Fall Into Glass presents a bleepy reverbed melody with classical suggestions, while Merge develops into darker experimental territory with voices underscored by developing swirling tones. What's most startling is the appearance of icy melodies and loads of ghostly space in these recordings, placing them closer to the experimental strategies of Throbbing Gristle and Cabaret Voltaire than future Muslimgauze releases. Much of the material explores the same post-industrial landscape that Zoviet France, Nurse With Wound, Einstürzende Neubauten, and SPK were simultaneously mapping, while drawing from the systematic alienation techniques pioneered by Neu! and La Düsseldorf.
The collection encompasses everything from the eerie Choir-Screenwith its spooky haunted music from almost voice-sounds which sweep and swirl ethereally, to the monumental 21-minute Piano Room - a complex collage that anticipates the systematic tape manipulation techniques of Jones' future work. You can feel the influence of Chris Watson-period Cabaret Voltaire, the glacial repetitions of Cluster, and the ritual minimalism of Conrad Schnitzler. Most crucially, Complete Oblique documents the emergence of Jones' signature approach to political titling. Tracks like Islamic Koran In Camera Dome and Rapid White Flag In Snapshot Blur appear precisely as Israel's 1982 invasion of Lebanon occurs, marking the paradigm shift that would define his future work. This is where those vaguely poetic, evocative titles referencing political turmoil paired with hypnotic minimalist electronics first emerge - an aesthetic vocabulary that echoes Laibach's concrete interventions while anticipating the systematic approach that would later inspire artists like Vatican Shadow.
Despite being his earliest releases, these four recordings are also Jones' most challenging and uncompromising - quite an accomplishment in a discography nearly 400 albums deep. Complete Oblique functions as more than historical curiosity; it serves as a masterclass in how artistic identity crystallizes through apparent failure and successful accident in equal measure. - Soundohm
Various Artists (Kimihide Kusafuka) - Early Kinky Works 1983 - 1988 2xCD (NF153)
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2xCD 3 Panel Fold-Out Remastered by Grant Richardson Design by John Wiese Reissued by New Forces
The ultimate statement from Japanese noise legend Kimihide Kusafuka. A "fake compilation" of tracks recorded under various aliases, originally issued by his Kinky Musik Institute label in 1993. Noise, power-electronics, techno, post-punk, psychedelia... Kusafuka does it all on this compilation. A work of unbounded creativity and a key document of the Japanese cassette underground.
"This is a fake compilation. All pieces in this product were composed and recorded during 1983 to 1988, under the name of 'Kinky Tape Collection,' the preexisting, underground mail art & music project. This is a fake compilation. If you think almost all of this product is of only one personality, you're RIGHT!!! So this is the greatest deception! Thanks. By K. Kusafuka."
