‘Sally’ Amaya Productions Tote Bag
12 oz. Pigment Dyed Large Canvas Tote (Grey)
Two sided print (black on one white on the other)
"Extra long" 26" handles
14.75” x 14.75” x 5” (H x W x D unexpanded)
14.75” x 19.5” x 5” (H x W x D expanded)
Field tested and approved. This tote can comfortably hold about 40+ LPs; your groceries; your laundry. Printed on both sides and dedicated to one of the greatest performances in American horror history…
Eternal love and respect to M.B. 5/7/1949 - 8/4/2014
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Ten Years of Terror by Fenton and Flint
9 1/2” x 11 3/4”
Paperback
B&W w/ Full Color
Published by FAB Press
ISBN: 09522926083
1st Printing (2001)
(This is a preowned book in excellent condition. Very minimal bumps / bends on cover and edges but barely noticeable. Very clean 'archival' copy.)
Description via FAB Press:
The Seventies was the heyday of independent film production in Britain and this decade marked the peak of creativity for the genre. Ten Years of Terror is an encyclopaedic record of this era featuring a stunning selection of film stills and truly great promotional artwork. This is a work of unparalleled research - a valuable and definitive reference work. Ten Years of Terror is a beautiful large-format book which thoroughly satisfies all cult and horror film fans; lavishly illustrated with many pages in full colour and stacks of never previously published photos.The Seventies was the heyday of independent film production in Britain and this decade marked the peak of creativity for the genre. Ten Years of Terror is an encyclopaedic record of this era featuring a stunning selection of film stills and truly great promotional artwork. This is a work of unparalleled research - a valuable and definitive reference work. Ten Years of Terror is a beautiful large-format book which thoroughly satisfies all cult and horror film fans; lavishly illustrated with many pages in full colour and stacks of never previously published photos.
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Paul DeMarinis - Songs Without Throats 2xLP (BT041)
2xLP
Gatefold Sleeve w/ Liner Notes
Computer, Keyboards, Synthesizer, Guitar, Composed by Paul DeMarinis
Layout by Stephen O'Malley
Mastered by Rashad Becker
DeMarinis Webpage
DeMarinis Vimeo
'Songs Without Throats' Bandcamp
Description via Black Truffle:
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’.
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Robert Ashley - In Sara, Mencken, Christ And Beethoven There Were Men And Women LP (CRSLP 6103)
LP
Gatefold Sleeve w/ Liner Notes
Music Performed by Robert Ashley
Synthesizer (Moog) - Paul DeMarinis
Text by John Barton Wolgamot
(VG- sleeve (refer to pictures) / NM- vinyl)
Album Notes via Lovely Music Ltd.
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Paul De Marinis - Music As A Second Language CD (LCD3011)
CD
2019 Repress
Jewel Case
Insert with Liner Notes
Art Direction By Design
Digital Editing and Mastering by Allan Tucker
Lovely Music - (LCD 3011CD)
I can confidently say this albums sits at the top of my 'favorites list' within the Lovely Music, Ltd. catalog. Eloquently sequenced; evenly laced with humor and spirituality. Immaculate, immersive, and thought provoking. The best kept secret? - Ross
Description via De Marinis:
God is perhaps not so much a region beyond knowledge as something prior to the sentences we speak." — Michel Foucault
Hidden beneath speech's words and music's melodies I hear the singing of a voice more ancient than language. Brain's secret convulsions making muscles articulate, shaking the world with a song now lost to us except perhaps in laughter, giving birth at last to a duality of sound and meaning. Now we can write or read, compose or listen, speak and converse even about our words themselves. No longer are we aware that as we speak our voices rise and fall, following the deeper contours of speech melodies that prefigure our sense and our meanings. Even our music ceased long ago to sing these melodies, following instead the steady course of harmonic progression. Still, as we read a text, we must reconstruct the melodies of the writer to grasp the meaning. Still, we code our feelings in the melody of our speech. And still, as our leaders talk, hearing not the words but the music, we sing our quiet selves into a sleep of understanding. The whistles of the birds in our nose, the creaking door which closes a phrase, the measured pause which precedes a two-beat putdown – all these underlie the choice and order of our words. These are the ghosts in grammar's basement.
In many of my recent songs for synthesized voice I have treated speech melodies as musical material. By a process of computer analysis and resynthesis I extract the melodic line of spoken language, involve it in a variety of compositional transformations, and apply the result to digital musical instruments. Along the way, the original voice becomes more or less disembodied, but retains much of the original spirit and meaning. With the computer analysis model I can alter voicing – changing the speech into drones of whispers, articulation rate – speeding or slowing the speech independent of pitch, as well as a variety of other effects, many of which sound unfamiliar but agree with the kinematics of the vocal tract. As I compose, I listen and I think. I choose vocal sources which interest me, particularly the voices of evangelists, hypnotists and salesmen because of their great confidence and enthusiasm. — Paul De Marinis
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Laetitia Sonami / Éliane Radigue - A Song For Two Mothers / OCCAM IX LP (BT122) (Signed by Artist)
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
A Song For Two Mothers / OCCAM IX Bandcamp
Sonami Webpage
Sonami VImeo
Description via Black Truffle:
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.
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Halloween: A Fantasy in Three Acts by Ken Werner
9 1/4” x 11 1/8”
65 pages
Hardcover
B&W
Published by Anthology Editions
ISBN: 9781944860639
Werner / Halloween Article via KQED
Description via Anthology Editions:
Originally published in limited quantities in 1981, Halloween: A Fantasy in Three Acts collects photographs taken by Ken Werner at San Francisco’s adult Halloween celebrations from 1976 to 1980, assembling a visual narrative of American consciousness and popular culture as seen through lenses of queerness, black humor, and the macabre. Once touted as the “Mardi Gras of the West,” the raunchy, mostly open-air nighttime costume parties documented by Werner were hugely popular events organized primarily by LGBT and sex worker advocates, attracting tens of thousands of curious attendees as well as conservative ire from around the nation. Reissued for the first time in decades, this underground classic explores a bacchanalia worthy of the pagan and occult roots of the Halloween ritual—a magical dream/nightmare-land of terror and joy, with uninhibited celebrants reveling in stunning self-made guises that combine cartoon logic, sexual extravagance, and a highly irreverent take on American mythologies.
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