2011年11月 アーカイブ


Application of subconscious

Application of subconscious

再び70年代ポストパンクの衝動と、革新的な80年代インダストリアル・ミュージックへと放射するかのように、先日の引っ越しで2部屋も山積みになった段ボール箱のなかから無作為にアーカイヴOblique Strategiesでは未整理の一箱を取り出し、インダストリアル・サウンド・コラージュという独自の音響空間を構築してきたソヴィエト・フランスの銀色アルミ箔のジャケットの83年の作品Norschなど数10枚のレコードを聴いていると、そこには古典的なピエール・ブーレーズ、ルチアーノ・ベルノ、シュトックハウゼンからノイやカン、初期のクラフトワーク、それとスロッビング・グリッスル、23スキ
ドゥまでの、ノイズの非音楽的サウンド形式とテクスチャーが浮かび上がってくる。ロックを聴き始めた60年代のあの頃から今まで、ずっと無意識にレイヨニズム ( 光線主義 )からシュプレマティズム、ロシア構成主義からドイツのバウハウスにみられるモダン・アヴァンギャルド、ダダやデカダンスの文脈を追い求めていたのではないか。そこに新しい音楽を求めてきたのと同時に新しい人間を夢見ていたのかも知れない。「音楽は本当に直感的に、潜在意識のアプリケーションを持つことができる」とBrian Duguidはソヴィエト・フランスの古いインタヴュー記事のなかで綴っていたけれど、キミはもうそのアプリケーションを手に入れたのかな。ここに紹介するレコードは80年代中期の作品ばかりだが、あの時代、こうした音楽はサウンド・インスタレーションとして展開すべきだったし、紹介すべきだったなという思いを強くした。今後ボクのやることは、きっとそれだろう。音楽の美術的展開。そして古い70-80年代音楽をもう一度慈しみ再考察する時が来ているように思える。なぜなら世界は古いも新しいもない、夢と現実、80年代と2012年の時間軸が交錯する複数の現実が存在するパラレル・ワールドに侵入しているからだ。
80年代中期、ボクは音楽評論の第一線から退いた。最後に編集していた「 EGO」以外に、一切このニッポンでは取り上げられもしなかったこうしたレコードを20数年ぶりに手もとに引き寄せて、いろいろ思索していると、文学や美術などに比較すると、音楽評論家や音楽ジャーナリズム、音楽批評に対しての社会的認知度の低いこのニッポンで生きることの、虚しさが突き上げてきて、自死した2人の先輩たちの失意や悔しさと同時に、このニッポンでの洋楽に群がる音楽ファンの品格と質の悪さを思い知らされる。唯一救いをみつけられるとするなら、こうした音楽にみられるジャケット・アートのオブジェに惹かれた、一種のデザイン的解釈をしていた美術系のリスナーだけかも。80年代、こうした音楽をリアルタイムに聴いていたひとは、きっと最先端のインダストリアル・ダブやグリッチ、ミニマルダブ、ウィッチ・エレクトロニック、ダークアンビエント、モダン・クラシックなどにも興味を示していることだろうと、思いたい。 ( そろそろこのブログも特定の人にだけ見れるパスワード式にするか、と検討中 )

Norsch Tauss
Norsch Baelmaen
Norsch Virang
Norsch Imirsch
Norsch Vorvah
composed and produced, performed by Ben Ponton, Peter Jensen, Robin Storey
Mastered by Porky
*Came in an embossed aluminium foil
sleeve. Some copies with sprayed dots in green and red colour. With silk-screened inlet or printed cardboard
made in UK

Zoviet France
Zoviet France is an idiosyncratic collective of anonymous postindustrialists, dronologists, and pseudo-ethnomusicologists. Their investigations have taken them into fictional cultures where nothing is easily located and reality often slips into the hypnagogic. Having secluded themselves in Newcastle, England since their inception in 1980, Zoviet France have developed a radical relationship with the cheap technologies of old-fashioned tape recorders, homemade acoustic instruments, primitive looping and sampling devices, and basic dub trickery. From these machines, the collective has crafted a distinctly unique vocabulary of postindustrial sonic hypnosis. Just as Zoviet France's sound was alchemic reconfigurations of inexpensive technologies, their vinyl packaging literally covered their sounds with aluminum, roofing shingles and porcelain.
Lisa Hale (1980-1981)
Robin Storey (1980-1992)
Peter Jensen (1980-1984)
Ben Ponton (1980-present)
Paolo di Paolo (1984-1986)
Mark Spybey (1987-1989)
Andy Eardley (1990-1995)
Mark Warren (1995-present)

: Zoviet : France : - Norsch Imirsch (1983)

Zoviet France - Norsch.



A1. Initiation
A2. Ascent
A3. Purgatory No. 1 - 'Remorse'
B1. Purgatory No. 2 - 'Work'
B2. Descent
B3. Consecration
Copyright (c) – The Hafler Trio
made in Belgium

'Ascent' with gratefully acknowledged in location from Ward Phillips. All material present generated between 1985 and 1987. Processed at Suitcase Studios, NL, 1987-88. All titles published by Coble. Text & Photographs © The Hafler Trio 1988.
Foldout, die-cut, embossed sleeve with foldout inner sleeve.
Side A ends in a locked groove


The Hafler Trio - members Andrew McKenzie, Chris Watson, Dr. Edward Moolenbeek
Profile: The Hafler Trio as it now exists is an organisation dedicated to the dissemination of information, principally in the recorded medium, but neccessarily involved in the intersections between the related disciplines and the furtherance of their effectiveness to provide an antidote to the tendencies prevalent in their use at the present time.
The releases of The Hafler Trio are primarily concerned with research and presentation of the findings that result, and as such are a coninually growing and evolving library - a source of stimulation to action - in direct opposition to the lethargic obsession with escapism provided by the means of entertainment currently available.
The Hafler Trio are interested in three essentials only; the body, the mind, and the spirit. Everything else follows directly from these points and is contained within them. In short, The Hafler Trio facilitates interaction in an organic manner that is not directly coerced, but unless effort on the part of the recipient is engaged, the circle cannot be completed.
Although The Hafler Trio was originally founded by Andrew McKenzie and Christopher Watson, the only member currently remaining is McKenzie. A third founding member, the scientist Dr. Edward Moolenbeck, turned out to be a fiction
created by the other two.


A1. The Call Of The First Aethyr (Enochian)
A2. The Call Of The First Aethyr (English)
A3. The Call Of The Second Aethyr (Enochian)
A4. The Call Of The Second Aethyr (English)
B1. La Gitana
B2. The Pentagram
B3. One Sovereign For Woman
B4. The Poet
B5. At Sea
B6. Fingernails
B7. The Titanic
B8. Collects From The Gnostic Mass
B9. Vive La France
**The contents are a collection of spoken recordings made by Aleister Crowley, done on wax cylinders between 1910 and 1914.
There is no label information on the record
--------------- 1986

Aleister Crowley - The Call Of The First Aethyr

**From "The Great Beast Speaks" recorded in 1920
The Call Of The First Aethyr (English version + Enochian with a pauze between the two)




A1. 43B6 Station
A2. 42B4 Plaster
A3. 39A4 Women
A4. 45A2 People
B1. 39A5 Something
B2. 35B5 Records
B3. 34B1 Knuckles
B4. 38A1 Cities
B5. 45A1 Street
John Bender - vocals, instruments, words, music, production and selection
Vicki Mansoor - cover technology and label design
Ron Hamad and Jaroslav Studenka - engineering and treatment
onto mastring lape at Wguc studios
Bob Seintz - mastring
oressed at QCA
made in US

This post represents the first installment of old out-of-print vinyl-to-mp3 downloads being put online. I figured that I would start with John Bender, because back when I had my list of mp3s online, he was one of the most requested artist.
And who blames people for asking! The records have long been out of print and are fetching stupid prices that go well above $200 for a copy. I do sort of keep my eyes open for whether it has been reissued or not, but at the moment, it doesn’t seem like it, so I’m thinking of starting a series of postings which will put some of my out-of-print collection online (that which I have with me, of course—I left most of it behind in the States)
This record is overall a pretty cool early electronic record. I don’t know if John Bender actually influenced any current electronic artists, but you can certainly hear that he was doing some pretty cool stuff in the late 1970s and early 1980s that still sort of stands up well today….
These recordings were taken from vinyl and went straight to my HiMD recorder in the high-quality setting. I didn’t bother split up the tracks, but if you go to my Vinyl to HiMD collection and view Disc 7, you can get an the track listing and a small version of the cover.


There isn't a ton of info out there on John Bender, so I apologize. This album is two tracks (Neither Side, and Nor Side [Side A & B of the LP]), with each track containing several songs. It's incredible lo-fi minimalist electronic groove. Reminiscent at times of a darker Bruce Haack (Haackula era more then anything), this album is super fuzzed out and surreal electronic goodness. Bender has a voice unlike any other. If you've never heard it, then get it. You'll thank me. I'm gonna upload some more Bender in the near future.
"From Tapes 34 to 45, 1979-81. The album sleeve is covered in white plaster and you have to cut the sleeve open to get the record out. First edition with artist name, title and label hand written in plaster. Second edition with sprayed title and catalog no. on front and printed tracklist and album information on the back side." - Discogs.com

John Bender - 42B4 Plaster

John Bender - 39A5 Something


A1. Untitled
2. Untitled
3. Untitled
4. Untitled
B1. Untitled
2. Untitled
3. Untitled
*This is the 1st edition on transparent vinyl in transparent cover with a

transparent inlay limited to 500 copies
made in Jarmany
limited edition clear vinyl
***Real Name: Michael Anacker
Profile: Kallabris belongs to those mythical groups emerging from the mid 80s 'industrial' music. Kallabris come from the Cranioclast areas (who, even when a little bit more active, are likewise obscure), but operate within more acoustic music. Piano, accordion and voice play a role.


Kallabris - A2 Untitled

Kallabris-Untitled 1987 (Death Drone-Industrial Drone)

**Mysterious and weird sounds from this cult German 80's Industrial Drone Ambient-Death Industrial-Chamber Experimental project.Enjoy in some real sick sounds and voice


A. Top
B. Bottom
produced by Jim Hunkin, Tim Hunkin
*Spraypainted sleeve rubber stamped with the artist and and title.
Fold-out insert with text: "Take A Teat by Udder Milk Decay. Produced by Tim Hunkin and Jim Hunkin."
The record's labels appear to be
recycled Carrere labels for the artist Saxon
made in UK
NOT ON LABEL ( Udder Milk Decay Self Released ) 1981

Udder Milk Decay - Track 2

From:Head Heritage
Released 1980 ? on [no label]
Reviewed by Al Telstar, 13/11/2005ce
This album is one of my favourite and most mysterious LPs. The packaging itself is DIY at its most basic: Plain white jacket with spraypainted colour and the groups' name and album title rubber stamped on the cover. No date of release but I'm guessing early Eighties. The labels on the record itself are recycled and appear to be originally slated for a Saxon release on Carrere. There is a one-sided insert which carries the records information. There isn't much, so I can reproduce the entire liner notes here:
"Take A Teat by Udder Milk Decay. Produced by Tim Hunkin and Jim Hunkin."
Not very enlightening. There is a sculptor by the name of Tim Hunkin but when I emailed him regarding this album, he assured me that it wasn't him ("Good name though").
On to the music which is primitive lo-tech electronics at its best. The album starts with a short track, which sounds like plucked strings (could be a guitar or a harp or bedsprings for that matter); the second has Wasp-like whirrs, beeps, bloops and whistles that evolve at a leisurely pace which has some similarity to Nik Raicevic's "Head" album but less circular. Track three sounds like a radio tuning in and away from white noise. Track four? Like track two after a bulk eraser had a pass over the tape.
Side two begins with a triple-speed recording of a conversation. I can't make out what the voices are talking about, but it does sound quite earnest. The lengthy second track suggests a BBC Radiophonic Workshop soundtrack for a stop-motion version of Dr. Who. The final cut features heavily processed sounds (a treated orchestral recording perhaps?) broadcast from a cavern.
In the event of finding a copy in a used shop or thrift store: buy it as it is a curious and improbable album that isn't likely going to get the deluxe cd reissue treatment.

A. Untitled
B. Untitled
**limited and numbered edition of 100. anti-record
each one is a two sided collage, using material like paint, cardboard, printed matter, razors, screws and adhesive tape, using the vinyl as a canvas
made in US
RRRecords 1988

P16.D4 / TIONCHOR ( SLP 013 )
A1. P16.D4 – Physisch Erschöpft
A2. P16.D4 – Koronardilatation
A3. P16.D4 – Distruct Fragment Zero * featuring – Onnyk
A4. P16.D4 – Aktion: Leer. Korn; Bier
A5. P16.D4 – Setebos
A6. P16.D4 – nkubationskreise *vocals – Joachim Stender, Lisa (7) electronics – RW organ – Achim Szepanski bass – RS drums – Gerd Poppe
A7. P16.D4 and S.B.O.T.H.I. – 85/86/83
B1. P16.D4 – Bürgerliche Illusionen
B2. P16.D4 – Strauchelnde Säulen
B3. P16.D4 – Aus Angst Davor, Zu Ersticken, Sprach Er Beim Essen Nie
B4. P16.D4 – Just Call Me Vacuum Head
B5. P16.D4 – "Okay" She Said With Her Customary Total Lack Of Consideration
B6. P16.D4 – SBII: Pionierchor "Diamat"
B7. P16.D4 – Mal Vu
B8. P16.D4 – Virtuell Ausgemerzt
performer - Ewald Weber, Ralf Wehowsky, Roger Schönauer, Stefan Schmidt
artwork - Horst Maus
photography - Makxs Caspers
liner notes - RW
made in Germany

****Track A1 original version released on Sensationnel Le Journal No 1 C60 (Illusion Production, IP 012); this is a slightly different mix.
Track A2 original version released on Born Out of Dreams LP (Frux, FRLP1); abridged and reversed version on Dry Lungs LP (Placebo Pla-15); this is an edited remix.
Track A3 originally released on Mail Music LP (Nicola Frangione, LP 001); further transformations of this material were used for "Ext. Symbols" released on Distruct LP.
Track A4 original version released on Anthems LP (Trax, 09/83); this is a slightly different remix.
Track A5 original version released on Hate's Our Belief 2 x C90 (Torture Clinique) in mono; a revised version (some instrumental and vocal parts added) was released on Necronomicon 2 2 x C90 (Necronomicon, N 002); this is an abridged and restructured version of the original track.
Track A6 is a live version of P.D.'s "Progressive Disco" (studio version on P.D.'s Inweglos LP, 1980), recorded by P16.D4 in Guntersblum Dec 1980, cut and processed (w/original P.D. vocal material) 3 years later; original version on Funk 2 / Audiology No. 3 C60 (Vox Man Records, A No. 3); reverse version on Musica Venenae C60 (XXX, 30); this is an edited and restructured version of the forward version.
Track A7 started as "83" which was a version of some material used for "Dumpfes Begleitgefühl" (on Kühe in 1/2 Trauer) and was given to S.B.O.T.H.I. and transformed into "85"; this double-piece was the first result of the NNNN! project, but released later on Bad Alchemy Nr. 5 magazine w/ cassette (B.A. Nr.5), combined with a new recording: "86".
Track B1 original version released on Cadavres Exquis C90 (Chimik Communications, CC 01).
Track B2 original version released on Magnificant March Of The Dead Monkeys LP (Cordelia, Ericat 003).
Track B3 and B5 first release on Devastate To Liberate LP (Yangki YANGKI 1) erroneously in double-speed-version; the original version is released for the first time on this record.
Track B4 original version released on Thee Book C x C90 (Graf Haufen Tapes, GHT 34,35).
Track B6 first release on Strength LP (Azteco, A-003); this is a longer extract from the original improvisation.
Track B7 was a project especially realized for compilations; it is based on 2 live-improvisations both recorded in January 1985 at the SB II, University Mainz; these two basic tracks were combined, processed and cut to 6 fragments, which were sent to different compilators; the track presented here consists of extracts from fragment 1 and 2 which were originally released on New Babel cassette (no label) and Phallophorie Two C90 (Reseau Phallus, RP 006).
Track B8 consists of the same basic material later used for "Passagen-Kryptokontur" (on NNNN!); the original version was planned to be released on Ohrenschrauben LP (Dom, V-77-01), but there a reverse version appeared; the original version appeared one year later on Ohrensausen LP (Dom, V-77-03); this is a remixed and restructured version (Oct 86)


1-01. Face Against Ground
1-02. Bondage
1-03. New York
1-04. Serenade
1-05. Serial Clones
1-06. Deadline 2
1-07. North Valley
1-08. Necron.X.
1-09. Third Generation
1-10. Shaved Girls
1-11. Was
1-12. Nostalgia
1-13. Tomorrow
1-14. Reflex 3
1-15. Criminal Passion
1-16. Sing Song
1-17. Dance Music
1-18. Maldoror (Chant Troisième)
2-01. Es Lebe Der Tod 3
2-02. Murder / Projection
2-03. Tote Kinder Aus Deutschland
2-04. Purple Pain
2-05. Hunt
2-06. Topography
2-07. Dog Handler
2-08. Tenebra
2-09. Newel / Light
2-10. Flesh Wounds
2-11. Sade Memory
2-12. Óltre
2-13. Post-Mortem
2-14. Sade Memory (End)
vocals, programmed, sampler, performer, concept by Philippe Fichot
composed and produced by D.F.
artwork, photography by ph.F
made in Germany
**Box, LP-size, numbered limited to 3000 : 750 x double compact discs (slim cases) and 2250 triple albums. For the albums, their titles are 'Second Vision Of Fetish'(track 1-01 to 1-13/1986), 'Es Lebe Der Tod' (track 1-14 to 2-03/1987-88) and 'Lustful Collection' (track 2-04 to 2-14/1983-88). Box also contains book with photo's done by Philippe Fichot

Die form - Duality

**Die Form es una banda francesa de Darkwave / Industrial integrada por Éliane P., Philippe Fichot. Su nombre significa en alemán "La forma" y fue fundada en 1977. Su música se caracteriza por sonidos electrónico combinados con coros femeninos. Su arte, tanto visual como sonoro, tiene contenido erótico y trasgresor enfocado en el BDSM


Profile: Die Form is a French industrial and electronic band formed in 1977-78.
members - Éliane P., Philippe Fichot

Alpha1. Graeme Revell – Necropolis, Amphibians And Reptiles
Alpha2. Graeme Revell – Countess Saladine
Alpha3. Graeme Revell – Chimpnags-Apes Of The Union Canada: America

Alpha4. Graeme Revell – Allgebrah
Alpha5. Graeme Revell – Ebony Tower In The Orient. Water Fanfare No.1
Alpha6. Graeme Revell – The Balli
Beta1. Déficit Des Années Antérieures – St. Adolf's Comet
Recorded By – Gege
Bass, Guitar, Vocals – Jean-Luc Andre
Piano – Sylvaine
Drums, Trumpet [Paper] – Jean-Philippe Fee
Keyboards, Trumpet [Paper], Vocals – Sylvie Martineau
Beta2. Déficit Des Années Antérieures – Natural Fhorm Of The Holy-Light-Island In The Pacific Ocean
Recorded By – Gege
Bass, Guitar, Vocals – Jean-Luc Andre
Piano – Sylvaine
Drums, Trumpet [Paper] – Jean-Philippe Fee
Keyboards, Trumpet [Paper], Vocals – Sylvie Martineau
Beta3. Déficit Des Années Antérieures* – Rahma Margarine
Recorded By – Gege
Bass, Guitar, Vocals – Jean-Luc Andre
Piano – Sylvaine
Drums, Trumpet [Paper] – Jean-Philippe Fee
Keyboards, Trumpet [Paper], Vocals – Sylvie Martineau
Beta4. Nurse With Wound – Lea Tantaaria
Performer, Producer – David Tibet, Diana Rogerson, Steven Stapleton
Beta5.Nurse With Wound – Great-God-Father-Nieces
Performer, Producer – David Tibet, Diana Rogerson, Steven Stapleton
music by Adolf Wolfli
produced and performed by Graeme Revell ( tracks: Alpha1 to Alpha6 )
assistant engineered by David Kenny ( tracks: Alpha1 to Alpha )
text, artwork by Graem Revell
*12 page A4 booklet inserted
made in UK

Graeme Revell - Chimpnags-Apes Of The Union Canada: America


Auf den Spuren von Adolf Wölfli und Robert Walser I

A. Untitled
B. Untitled
performed by Annie Anxiety, Chris Wallis, D & V, David Tibet, Diana Rogerson, John Balance, Knori, Ruby Wallis, Tim Spy
made in UK
MI MORT 1985

Nurse With Wound - Untitled (Live at Bar Maldoror)

Nurse With Wound - Tickling That Great Pudarkus In The Sky

**Gyllensköld, Geijerstam And Friends - Live At Bar Maldoror LP
Mi Mort, 1985
Video image is a clipping from a 1926 newspaper that was glued to the cover.
This track from the LP was later included on the NWW Live at Bar Maldoror CD in 1991.

A1. Open Minor Number One
A2. Blue In Season
A3. Ritual To Revolution
A4. Another Career
A5. Automatic Study Number One
A6. Automatic Study Number Two
A7. Impromptu
B8. Developing In Blue
B9. Senecio
B10. Open Minor Number Two
B11. Ritual To Romance
B12. Berceuse
B13. Automatic Study Number Three
B14. Automatic Study Number Four
made in UK

Robert Haigh Valentine Out Of Season

A1. Fuckhead
A2. 51St State Of America
A3. Comrade Enver Hoxha
A4. Fist
B1. Statement voice – Alan Sutcliffe
B2. The Crusher
B3. Victory
B4. Corridor Of Cells
produced by Ken Thomas, Test Dept.
programmed by Phil Erb
organ - Max
bagpipes - Alistair Adams
engineered by Ben Young
sleeve design - Malcom Poynter, Paul White
artwark images - Maicolm Poynter
photography by Brett Tumbull, Monica Curtain
made in Uk

Formed in 1981 in the decaying South London inner-city area of New Cross, Test Dept rejected the conventional and developed a style reflecting the decay of their surroundings. Transforming found industrial items into designed, sculptural instruments, they forged a hard rhythm based sound, mixed with found sound samples and electronics.
From their inception Test Dept created a unique performance enviroment using slide and film
projections while reinvigorating disused industrial settings.
The scale of the performance events began to rise and other working artists became involved under the umbrella of the 'Ministry of Power'. Collaborations were formed between filmmakers, sculptors, dancers and politically active groups, including the Miners in 1984/85, Printworkers in 1987 and Ambulance workers in 1989/90.
Test Dept became renowned for producing epic scale site specific productions within Britain, such events included Arch 69 at Waterloo, 'The Unacceptable Face of Freedom' at Bishops Bridge Maintenance depot, Paddington, and Cannon Street Station in a continuing burgeoning relationship with
TD were also commited to the 'grass roots' and toured extensively in Europe, in 1985 they became one of the only Western bands to breach the 'iron curtain' and tour in the Eastern block countries.
In 1992 from the ashes of Test Dept Productions (an offshoot of The Ministry of Power) NVA was formed in Glasgow to focus on large scale productions.
The remaining core of the group moved into the area of the underground dance scene, whose counter cultural values were to find themselves at odds with both mainstream musical values and the Government. The politicisation of the dance movement became official with the introduction of The Criminal Justice Bill to prevent large scale gatherings of both protesters and ravers. TD dissolved shortly after the release of Tactics for Evolution in 1998.

Test Dept. - Comrade Enver Hoxha

Test Dept. - Corridor of Cells

[MOP 2]
A collaboration between Test Dept (sound) and Malcom Poynter (visuals).
Ken Thomas / Test Dept (production) Alan Sutcliffe, Kent NUM ('Statemen't) Max (organ -' Corridor of Cells') Phill Erb (programming -' Fist') Alistair Adams (bagpipes -' Fuckhead' / 'Victory') Ben Young (engineering) Brett Turnbull / Monica Curtin (photography) Paul White / Malcom Poynter (original sleeve design) Nuetrament ('Face 1') Rico ('Face 2')
'THE UNACCEPTABLE FACE OF FREEDOM' released on Some Bizzare in 1986 was the second 'MINISTRY OF POWER' collaboration. It involved the artist MALCOM POYNTER whose sculptures formed the basis for the award winning album cover. His work used toy soldiers and guns to sculpt large scale figures such as his awesome 'Horsemen of the Apocalypse'.
It was also the name of a massive event held at BR's Bishobsbridge Maintenance Depot at Paddington to commemorate the demise of the Greater London Council (undemocratically abolished by Margaret Thatchers Tory Government because of its radical programme), it was the beginning of a flowering relationship between the 'Railway Children' and the National Railways. Decorated with Sculpture from Malcom Poynter, dance from legendary choreographer Jacob Marley and the Company of Cracks, poetry from the radical miner Alan Sutcliffe, script by playwright Jonathan Moore, directed by Teddy Kiendl, set designed by Tom Dixon (now head designer at Habitat), banners by 53rd State Banner Co, brass played and conducted by John Eacott of Big Band Loose tubes and 360 degrees audio and visuals from infamous soundman 'Mad' Jack Balchin and acclaimed directors Brett Turnbull and Martine Thoquenne, gymnastics and pyrotechnics from Ra Ra Zoo. It was a truly awsome underground event featuring the cream of talent of a generation. The Ministry of Power was born. It was the first ever 'rave' in the UK and is still the benchmark for large scale site specific work in Britain.



Electronic music as art object

Electronic music as art object

G.H. ( Gary Howell )

Editions Megoからリリースされた最新の2枚の作品は、Iannis Xenakis が残した音楽的方法論「Dynamic Stochastic Synthesis」 にインスパイアーされて制作されている。一枚はHecker + Russell Haswellのコラボレート作品での楽曲 ”sound out of nothing”で、もう一枚はMark Fellの"Periodic
orbits of a dynamic system related to a knot"だ。1970年代から1980年代にかけてヤニス・クセナキスが研究したその「Dynamic Stochastic Synthesis」とは、確率的な合成についての、個々のディジタル・サンプルを操作するために確率分布を使用するmicrosound合成へのアプローチで、エレクトロニックの楽音合成には様々な手法があり、Xenakisによる動的確率
(dynamic stochastic)合成のアプローチ探索には1.  波形生成への確率分布、2.  波形へ確率関数の乗算、 3.  複数の確率関数の時間に依存した加算による混合などの8つの戦略がある。
難しいことはさて置いて最近のエレクトロニック・ミュージックは、すべて過去の現代音楽やエレクトロニックの文脈に添ったインストゥルメント・テクニックによるサウンドを展開していて、一種の美術作品のようにも思える。勿論ジャケットアートや、場所や空間全体を作品として体験させるサウンドインスタレーションによる大掛かりな映像もその実験性を加味させてはいるのだが。革新的な音楽語法をみつけることもできなくて、音楽は再びまた絶対主義の、抽象性、革新性、象徴性に徹底したシュプレマティスムへの道を歩もうとしているのだろうか。そうした動きの中でも卓越したセンスを感じるのは、オランダ/アムステルダムのピール・シーマスによって1996年にスタートしたDelsinと、Rush Hourのロゴなどを手掛けているグラフティー・アーティストDelta Funktionenが主謀するそのサブレーベルAnn Aimeeレコードからリリースされた数枚のアブストラクトな技術偏重主義 + ロボット工学的ディープテクノやミニマルダブのインストゥルメント・テクニックと、ウラジミール・タトリンの「コーナー・反レリーフ」に似たロシアアヴァンギャルドや未来派を彷彿とさせるジャケットアートにみられるグラフィック/美術的センスだ ( 過去のブログにも数枚紹介しているのでチェックして下さい )。いまボクには、2012年の未来派たちのエレクトロニック・ミュージックと、あの悪夢のような80年代のインダストリアルノイズの、古代の洞穴の壁とまるで精神病者の手から来たかのような抽象音楽とが耳で交錯して鳴り響いている。そしてそれに加え空間を構成するサウンドインスタレーションの、オブジェや装置としての美術品としてオルタネーティヴに機能する音楽こそを、求めているのだ。
この2週間ほど80年代のTouchからリリースされていたnarodna/music from albania, macedonia & serbiaやVA/Travel、Va/ feature mist、The Nocturnal Emissions/drowning in a sea of blissなどや、陶器ケースに入れられたZoviet-France/Popular ar Soviet Songs And Youth Music、Teat Dept./Ecstacy Under Duressなどの80年代中期のカセットテープでリリースされた音楽ばかりをCDRに録音しながら聴いていることが多い。すべてがエレクトロニックな抽象的なサウンドコラージュといった作品で、それも多くがオブジェケースに梱包されていて美術品としても機能している ( 近いうちにブログにアップします ) 。購入したばかりのアルバムの中ではベストに推薦したいPinch + ShackletonのRooms Within A Roomに流れる魔術的グリッチノイズ・グルーヴを聴いていると、 80年代中期のインダストリアルノイズにみられたシャーマニックな世界とどこかで底通し共鳴している不思議を思う。



A. Close Up
AA. Mobility
written and produced by Brendon Moeller
mastered by FST
(c) 2010 Ann Aimee / Delsin
(p) Copyright Control
limited to 90 copies.
mastered at Dubplates & Mastering, Berlin.
released in a Ann Aimee picture sleeve.
track durations are not mentioned on the release
made in Nethertlands

Brendon Moeller
Real Name: Brendon Moeller
Profile: Producer based in New York (US). He is the founder of Steadfast.

Brendon Moeller - Mobility

***Ann Aimee presents another new quality artist on their label. New York based South African, Brendon Moeller has been producing music since 1994. His compositions have been released on Francois K's Deep Space Media, Third Ear Records, Echocord, Mule Musiq, Rekids and more. He records as Brendon Moeller, Beat Pharmacy and Echologist. Dub, techno, jazz, afrobeat and psychedelia are inspirations that appear in most of his music. Whether it be serious dancefloor bizniz, or dubbed out bass-scapes, his music always possesses a quality and signature that have helped him become the prolific force he is today.

Brendon Moeller - Juice

A1. Delta Funktionen – Torpor
A2. Peter Van Hoesen – Last One At 1080
B1. Roman Lindau – Borné
B2. Sawlin – Excipidial
distributed by Rush Hour
artw. - BT
made in Netherlands

Delta Funktionen - Torpor

Peter Van Hoesen - Last One At 1080

A1. Marcelus – 24/7
A2. Sigha – Finding Myself
B1. Redshape – Static
B2. Area Forty_One – C.N.T.C.T.
copyright – Delsin
phonographic Copyright – Copyright Control
distributed by Rush Hour Recordings
artw. - BT
made in Nethertlands

Marcelus - 24/7

Sigha - Finding Myself

A1. Lucy – Wytonia
A2. Milton Bradley – Sequence #1
B1. Mike Dehnert – Pneumatic
B2. Ozka – Square Beauty
copyright – Delsin
phonographic copyright – Copyright Control
distributed by Rush Hour Recordings
artw. - BT
made in Netherlands

Ozka - Square Beauty

Milton Bradley "Sequence #1" (Ann Aimee 2011)

Lucy "Wytonia" (Ann Aimee 2011)

Mike Dehnert - Pneumatic

A1. Skudge – Pollution
A2. Conforce – When It Appeared
B1. Cosmin TRG – Plaisir Interdit
B2. Sascha Rydell – Rainy Days
copyright – Delsin
phonographic copyright – Copyright Control
distributed by Rush Hour Recordings
artw. - BT
made in Netherlands

Cosmin TRG - Plaisir Interdit

Skudge - Pollution

Profile: Label started in 1996 by Peel Seamus. In the past responsible for introduction of artists as CiM, Aardvarck, Newworldaquarium, D5, Yotoko and Dynarec. And releasing albums by Optic Nerve, Future Beat Alliance and $tinkworx. Around for over ten years, covering all genres, from deep electronica by CiM, Norken and Lucky&Easy, to deep house by Newworldaquarium and Dj Yoav B, jazzy beats by Aardvarck and Yotoko, to more electro things by Dynarec and Stinkworx.
2006 saw the introduction of new talents as Redshape and Quince, and releases by artists like Vince Watson, D5, Taho and Shed. Since the 50th release, 'Planet Delsin', concentrating more on the dancefloor side of things - all oriented Deep Techno, Neo-Detroit, Post-Detroit, Technosoul, whatever they call it.. To quote UKs Dj Magazine: 'There is no doubt that Delsin is the real flagbearer of the Motor City's techno heritage.

Sublabel: Ann Aimee
Contact Info:
delsin records / amsterdam / holland
phn. +31 (0) 644 992 027 /
fax +31 (0) 204 869 624 /
e-mail. info@delsinrecords.com




A1. Cracks In The Pleasuredome
A2. Jellybones
B1. Torn & Submerged
B2. Rooms Within A Room
C1. Selfish Greedy Life
C2. Burning Blood
D1. Levitation
D2. Monks On The Run
made in UK

Pinch & Shackleton - Rooms Within A Room (HQ Video)

**Music video for a track from the new Pinch & Shackleton album, on Honest Jons Records.
Video created using filmed, treated archive and reshot early cinema.
Been quite a delay on this video due to endless hours lost to rendering.

The two dubstep pioneers at the top of their game. The deadly concision, the rhythmic punch and dramatic timing,
the spry, side-to-side detailing of a cavernous stage, the crisp-biscuit vocal sampling and Middle Eastern percussion — together, their sound signatures are not so much totalled as squared.
Truly an album, the music is multi-levelled — dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.
For The Wire this month, in a full-page review — 'a labyrinthine collaboration that rebuilds the dialectics of dubstep... a beguilingly well-delivered statement in a dialect that was sidelined in favour of the cult of bass or the fluorescent synths. A powerful retort to the comparatively crude hyperactivity of the post-dubstep landscape and a well-timed lesson in sophistication.'

The collaborative album from Pinch and Shackleton has arrived.
Back in February we reported that the two dubstep heavyweights were working on a project together, and now nine months on, details of an LP have emerged. The album, which will be available on vinyl and CD, is simply entitled Pinch and Shackleton, and features nine new tracks (one of them, ‘Boracay Drift’, exclusive to the CD edition), produced by the duo.
Pinch and Shackleton is due out in December out now, and will be followed by a 12″ single release for ‘Boracay Drift’, backed with a remix by acclaimed techno artist (and recent FACT mixer) Morphosis.
“The two dubstep pioneers at the top of their game,” declare Honest Jon’s in a press release. “The deadly concision, the rhythmic punch and dramatic timing, the spry, side-to-side detailing of a cavernous stage, the crisp-biscuit vocal sampling and Middle Eastern percussion — their sound signatures are not so much totalled as squared. Truly an album, the music is multi-levelled — dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.”
It’s Pinch’s first full-length offering since his 2007 debut, Underwater Dancehall, and the first from Shackleton since 2009′s Three EPs (though last year’s Fabric 55 was tantamount to an LP).

G. H. / GROUND EP ( LOVE071 )
A. Ground
B1. Albedo
B2. Earth
made in UK
*Gary Howell
Real Name: Gary Howell
In Groups: Daughter Of The Industrial Revolution, PCB, Pendle Coven

G.H. is Gary Howell, longtime associate of Modern Love as one half of Pendle Coven and sometime contributor to the HATE project. The "Ground EP" features Howell's first material produced outside of Pendle Coven and takes on a much darker, more stripped down aesthetic - making use of location recordings amassed over the last decade.

The title track extends over 7 minutes from a solitary bass pulse into a slow, three dimensional industrial reduction heaving with uncomfortable bass weight and a sense of nervous expectation. It's like the bare, skeletal noise framework for darkest junglist hardcore stripped of its percussion - all bar a bass drum and intense shards of noise. "Albedo" has more of a swing to it, dominated by a growling bassline and the metallic clunk of disjointed percussion at odds with the squashed funk lurking somewhere at its core. The template is extended on "Earth", a brilliantly discordant club variant that sounds like an R&B mastertrack exploded into 100 constituent parts and put together not entirely in the right order. It builds and collapses into itself, a stylistic oddity that at one and the same time brings to mind Boards of Canada's re- working of Colonel Abrams' "Trapped" and the extreme frequency vortex of the Raster Noton label.

G.H. - Earth

g.h. - albedo




A. Mad Youth
B. The Self
mad youth suffering?
shadows left behind in a sea of turmoil?
limited white vinyl comes with a printed A4 insert
made in UK


Sandwell District's LA ambassador returns to the label with two tripping Techno inductions. 'Mad Youth' conducts disciplined electronic voodoo on the A-side with layers of acidic synths, roiling, rolling bass and widescreen atmosphere to own the 'floor. Flipside, the outward energy is inverted into 'The Self', holding and sustaining a sci-fi Millsian tension akin to his recent soundtrack efforts or moments from his SITS series. Excellent.

Long awaited solo return of Juan Mendez to the Sandwell camp. Finally we have a solo return e.p. from Sandwell mainstay Silent Servant and it doesnt disappoint. Juan sticks to his trademark sheering sound-scapes and clattering lo-fi drums to take us away once again, superb.

Another solid slab of highly functional techno wax from Juan Mendez. The title is a dead giveaway for what’s going off - pure refined minimal techno. ‘Mad Youth’ goes to work with a Beltram ‘Places’ era/ Damon Wild early to mid period Synewave sound pallete. However what’s particularly evident is how the sound has been updated beyond the loop that provides the ridged framework of the track, to incorporate more advanced sound design elements which creepily hiss into the foreground making for both a body shaking and cerebral experience, constructed for big dark rooms with pummeling but crisp soundsystems. On the surface the percussive elements change very subtly with simple mutes and re-introductions of drum sounds. The eerie sustained string completes proceedings to make a super classy heads down, strobe and smoke fuelled cavernous space to submerge and become lost within. Deceptively simple in its construction yet highly potent. Flip the wax and what lurks beneath is ‘The Self’ which is slightly heavier and up a few notches on the BPM. Again the skeleton of the track is high on repetition with a heavy kick drum, crisp as hell hi-hat and gurgling bassline which lay the foundations for tripped out atmospherics to tastefully transport you into the twilight zone. Nothing in your face, full on intense here but subtle and extremely well crafted intoxicating dark dancefloor tracks. Comes on white vinyl (initial pressing I guess?) in current style inside-out Sandwell house sleeves complete with insert with loadsa gubbins about hypnosis plastered all over it. Yet another ace from Juan and the seemingly unstoppable Sandwell camp.



1. Topas
2. T-e-l-e-g-r-a-m-m
3. Neuschnee
4. Opal
5. Helix
6. Black Peace
7. Golden Elegy
all music by Olaf Bender - voice, lyrics of Golden Elegy by Jan Kummer
thanks to Jan and Carsten!
published by Raster-Noton
edition mastered by Bo Kondren at Calyx Mastering
'Black Peace' is derived from a remix of Modeselektor's The Black Block
made in Germany

Real Name: Olaf Bender

Byetone - Topas

Byetone - T-E-L-E-G-R-A-M-M

Available on: Raster-Noton LP
It’s been an interesting progression to watch, Raster-Noton’s movement from an ultra-obscure imprint dealing in unusual editions of sometimes extreme music often billed as “difficult”, towards a position as a gratifyingly well-regarded, multi-disciplined label that still takes risks as well as being able to release music that can cross over to
marginally more mainstream press outlets. One of the records that helped foster this progression was Byetone’s Death of a Typographer, which retained the steely austerity of previous work but grafted it onto the development and warmth of contemporary techno and electro. Thanks in part to a preceding 12″, ‘Plastic Star’, with some extremely club-friendly remixes, the album set out Byetone’s stall as potentially the artist on the roster who was best positioned to push the dancefloor-friendly side of the label further onwards.
Symeta, although not a step back from this, is a sideways step instead. From the first clipped beat of opener ‘Topas’, it sounds like more of the same, but a more than cursory listen reveals that there’s something different going on underneath the trademark Raster stripped back percussion. The accompanying press refers to the “live” sound of the album, and to the influence that rock music and a “high-speed heavy metal session” had upon it. And whilst there are no covers of the Stooges as heard on sometime label mate Mika Vanio’s album from earlier in the year, there’s a definite feel of the tropes of live guitar music being played out through the machines.
The end result, probably not that surprisingly, carries strong traces of Suicide and even the likes of Chris and Cosey or Joy Divison, with strong blunt riffs moving against creaking atonal dissonance on places before being leavened with restrained harmonies. ‘Neuschnee’, a highlight, drops the tempo down against a simple pulse, layered harmonium-like droning chords moving against the sound of metal. ‘Helix’ meanwhile, distorts a synth line into fuzzed out late ’70s tones that call and respond with a classic Raster beat and bursts of chords.
As the album progresses, it dips further and further into the “live” sound, with the distortion increasing and the drums taking on a leaden, lumpen thwack. It’s here that things convince less, however – in moving the sounds, particularly the drums, away from the usual Raster click and slice austerity, they become familiar and almost trad sounding. After the preceding tracks and the intricate sound design of the rest of the material, hearing the hollow hit of something as seemingly pedestrian as a drum machine is a bit of a disappointment.
Symeta is an interesting album, for sure – and a direction which will no doubt bear further investigation over more releases. It’s interesting to consider what an album like this would sound like if approached from the opposite direction, through a rock/metal standpoint – perhaps that might itself yield beter results next time round. ( Ruaridh Law )

SENKING / TWEEK ( r-n 131 )
A. Black Ice
B. Hairline 23C
all sound by Senking
recorded at the Padding Pooley
mastered by Calyx Mastering/Berlin
made in Germany

Real Name: Jens Massel

Senking - Hairline 23 C

Senking - Black Ice

Heavy 12" transmission on Raster Noton from Jens Messel following his mighty Pong LP of last year - and that album's ascetic, decidedly North European response to dubstep's low end theories. Though Tweek is a homage to the perennially anxious, hyperactive South Park character Tweek Tweak (honestly), the music is anything but jittery - rather it's a cool, controlled bass offensive, admittedly shot through with the requisite paranoia. The icily delayed drums, pinched chords and oscillating subs suggest Digital Mystikz re-tooled to soundtrack Tarkovsky's Stalker, while the eerie synths and spurts of noise bring to mind late 80s industrial and Senking's own noirish masterpiece List. Serious sh*t for those who know, cut nice and loud with DJs and skankers in mind.



A1. Kanal GENDYN Stereo [29:53:39]
B1. Kanal GENDYN Stereo [32:59:69]
1. Kanal GENDYN 4.0 [62:53:10]
recorded and produced by Russel Haswell & Florian Hecker 2004-2011
performed by Russel Haswell & Florian
Hecker on the occasion of the event 'Musterraum 9. Dual Presentation - Peter Fischli & David Weiss - Russel Haswell & Florian Hecker' at Musterraum, Munich, 30.01.2004, using Alberto de Campo'sinstrument..........
stereo version mixed by Haswell & Hecker at CCMIX ( Centre de Creation Musicale Iannis Xenakis ), Paris, March 2004
digitally mastered by Russel Haswell at Dubplates & Mastring, Berlin, September 2011
DVD Authoring at GOP, Cologne, September 2011
cover art ' Kanal Video ' (stills ), courtesy of Peter Fischli & David Weiss and Galerie Eva Presenhuber, Zurich
sleeve notes written by Peter Hoffman, Berlin, August 2011
graphic design NORM, Zurich
copyrights ⓒ 2004 & 2011 Haswell & Hecker, Edition Mego
published by Mute Song
acknowledgments Alberto de Campo, Rashad Becker, Peter Fischli & David Weiss, Peter Hoffmann, NORM, Peter Rehberg and the team of Musterraum
made in Austria

Real Name: Russell Haswell
Profile: A multi-disciplinary artist living and working in Coventry, UK.
Born in 1970.

Real Name: Florian Hecker
Profile: From the Mego website:
Florian Hecker was born in 1975 in Augsburg. He currently lives and works in Vienna. Hecker has been working with computer music, independently and in collaboration with other artists such as Farmers Manual, Russell Haswell, Shunichiro Okada, Peter Rehberg, Marcus Schmickler and Yasunao Tone since 1996.

Haswell & Hecker: UPIC Diffusion Session # 22, Sonic Acts 2010, Amsterdam

**Russell Haswell and Florian Hecker have been researching UPIC, Iannis Xenakis graphic input computer music composing system since 2003, and now present this as a live multichannel electroacoustic concert, using surround sound and laser lighting to create an immersive multisensory environment.
Russell Haswell (UK) is a multidisciplinary artist who has exhibited conceptual and wall-based visual works, video art, public sculpture. Extreme Computer Music is one specialized area of activity. Compositions by the electronic music composer Florian Hecker (DE) tend towards noise music and are often released on the Mego label. He has collaborated with artists such as Russell Haswell, Peter Rehberg, and Yasunao Tone.


Iannis Xenakis - S.709

**S.709, for 2-track tape & at least 4 loudspeakers (1994)
After composing GENDY3, Xenakis extended the GENDY program, adding the possibility of modulating the parameters of the dynamic stochastic synthesis algorithm. With this version of the program, Xenakis created S.709.
S.709 premiered at a concert at La Maison de Radio-France in December 1994. Its title stands for Sequence 709. Sequence was the name that Xenakis gave to the sections created by the PARAG program. In a radio interview, Brigitte Robindoré, head of musical production at Les Ateliers UPIC, said about S.709: "It's unedited. It's unrestrained." It could then be inferred that S.709 consists of the output of only one PARAG program: it could be a PARAG section of 7 minutes in length. In this piece, the rapid and periodic modulation of the parameters creates voices that are constantly and widely fluctuating in pitch, amplitude and timbre.
In the same radio interview, Robindoré mentions that S.709 "produces quite a polemical reaction in the audience." This is not surprising; this work is extremely original in its materials and in its construction; it does not resemble any other piece by Xenakis, nor any other piece that I have ever heard. [Sergio Luque, "The Stochastic Synthesis of Iannis Xenakis."]

Iannis Xenakis / Dynamic Stochastic Synthesis

Iannis Xenakis / music out of nothing

( 参考に http://quod.lib.umich.edu/cgi/p/pod/dod-idx?c=icmc;idno=bbp2372.2005.078 )

RUSSELL HASWELL / IN IT - Immersive Live Salvage ( eMEGO 115 )
5.1 DVD (DOLBY DIGITAL + DTS 'Audio Only')
1. Milan, March 25, 2010, Part 1 (5.1)
2. Leeds, March 17, 2010, Part 2 (5.1)
3. Encore From Brighton, March 18, 2010 (5.1)
4. Birmingham, March 12, 2010, Part 2
5. Amsterdam, April 8, 2010, Part 2
6. Brussels, April 9, 2010, Part 2 (5.1)
7. Encore From Manchester, March 11, 2010 (5.1)
8. Geneva, March 23, 2010, Part 3 (5.1)
9. Lyon, March 22, 2010, Part 3 (5.1)
UHJ LP Side One (14:38)
1. Budapest, March 29, 2010, Part 1 (UHJ)
2. Zurich, March 24, 2010, Part 2 (UHJ)
3. Berlin, April 1, 2010, Part 2 (UHJ)
4. Encore From Bologna, March 27, 2010 (UHJ)
UHJ LP Side Two (16:17)
1. Encore From Nantes, March 21, 2010 (UHJ)
2. Encore From Luxembourg, April 8, 2010 (UHJ)
3. London, April 10, 2010, Part 4 (UHJ)
4. Hamburg, April 6, 2010, Part 3 (UHJ)
5. Encore From Hamburg, April 6, 2010 (UHJ)
Russell Haswell used:
the tour personnel = Sean & Bob ( AUTECHRE ), Russell ( Himself ), DJ Rob Hall * additional support ), DIDJIT ( additional support ), Markl ( Tour Manager ), Jamie ( FOH ), Lloyd ( driver ), Ned ( littlebig.org.uk )
performer, recorded, producer, compiled, mastered, liner notes – Russell Haswell
surround DVD is encoded with Dolby Digital + DTS, audio only.
UHJ LP is stereo compatible.
5.1 DVD encoded & authored at Ascent 142, London by Ian Robinson & Sophie Elder.
UHJ LP vinyl cut at D&M, Berlin by Rashad Becker.
limited to 500 copies
made in Austria

Editions Mego
Profile: Founded 1st January 2006 by Peter Rehberg, with the intention of maintaining the legacy and catalogue of the defunct Mego label, as well as releasing new works.
Sublabels: Ideologic Organ, KTL Live Archive, Spectrum Spools



MARK FELL / MANITUTSHU ( Editions Mego 116 )
A1. Acids In The... Thin Razor, Attack Noise Hat, Linn
A2. Acids In The... Primes Version
A3. Manitutshu (New Algorithm)... LatelyBass And NewElectro, Attack Pulse Hat
B1. Acids In The... Razor Experiment
B2. Manitutshu... Parameter Set 2, Linn Hi Tom, JazzOrg, Vortex Study
Performance Overdub, And Synthesis Reminiscent Of Duet Emmo
B3. Acids In The... Stochastic Energy Pause With Thin Razor, Attack Noise Hat, Linn
C1. Manitutshu... First Algorithm Test
C2. Occultation Of... Razor Simple Acid Pause Version With LFO To Cutoff
C3. 'Materialisation' Epic Razor Chord And LatelyBass With Found Voice
D. Occultation Of... Mat Steel Extended
Remix ( remix – Mat Steel )
mastered by Andreas 'Lupo' Lubich
photography by Mark Fell
mastered at Dubplates & Mastering
made in Austria
**Ritual Songs Of Healing From The Spirit Mountain.
Featuring reinterpretations and revisions of the album UL8 by Mark Fell, catalogue number eMego 111.
Written and recorded in Rotherham (UK) and Sheffield (UK) between the 20th and 23rd of March 2011 with MacBookPro 4,1 2.4 GHz Intel Core 2 Duo running mac OS 10.5.8, MaxMSP, Digital Performer, FM8, Razor and Hi Hat made in Waldorf Attack. Voice and translation courtesy of Google Translate. Performance overdub on track B2 taken from a recording by Anna Ramos and Roc Jiménez de Cisneros made during Sonarama at the Centre d'Art Santa Mònica, Barcelona 2008. Photography taken at North Drive, Rotherham and at "Attack Space Decay Time" exhibition, Enjoy Artspace Leeds (UK) using Sigma SD14.
Mastered starting at 4pm CET 23rd March 2011.
Thanks to: Mat Steel, Erik Wiegand aka Errorsmith, Lupo, Peter Rehberg, Rian Treanor, Kayleigh Morris, Anna Ramos and Roc Jiménez de Cisneros.
Packaged with 2' X 3' full colour glossy poster.

Mark Fell - Manitutshu... parameter set 2

***Manitutshu... parameter set 2, Linn HI Tom, JazzOrg, vortex study performance overdub, and synthesis reminiscent of Duet Emmo.
Mark Fell -- Manitutshu
Style:Abstract, Minimal, Experimental
Release May 2011

Mark Fell - Occultation Of... Mat Steel Extended Remix

Mark Fell - 'Materialisation' Epic Razor Chord

mark fell manitutshu 0001

Mark Fell performance at Lovebytes / Sonic Materialities, Sheffield UK 12 February 2010.

*8 rectangular waveforms with variable pulse width and pitch modulation, blue light.
Part of Lovebytes / Sonic Materialities at Millennium Gallery and Winter Garden, Sheffield, 12 February 2010.
Video by Rian Treanor.

Mark Fell - youtube

MARK FELL / Periodic orbits of a dynamic system related to a knot ( mego133 )
A1. 'This' Side 23:16
B1. 'That' Side
written and recorded by Mark Fell
flute - Jan Hendrickse
mastered by Lupo
mastered at Dubplates & Mastering
made in Austria
Mark Fell got into Acid Techno at an early age. You can hear it in some of his work. No matter how obtuse or difficult the material he puts out (and he’s well-known for putting out some challenging material) acid never seemed to be too far behind. Manitutshu is Mark Fell’s tribute to acid techno.
The album is the third one Mark’s released in the course of the past few
months. Usually artists tend to space things out a bit more evenly. Considering the several year hiatus he took from SND and his own solo’s work previous small output, it is a bit of a maniac release schedule.
Manitutshu is a bit maniac itself. Right from the beginning you’re treated to a hyper-active sonic landscape. The first track pings and splatters around the eardrums. All the glorious funkiness and processing you’ve associated with Mark’s previous efforts is here in full. Despite the supposed nature of the work (these were original samples for Native Instruments) they hold together quite well. It’s Native Instruments loss since they rejected these pristine sounds.
Actually, this may be Mark’s fastest work. Each piece blazes through its track length. For me the third track would probably be the most recognizable track. Others show a new path for Mark’s focus; particularly the fifth which evolves so startlingly fast. The ninth track even shows off a particularly aggressive approach unusual in Mark’s mellow world.
Finally there’s the giant closer, a remix by Mat Steel. Some would consider this more “SND-like” in terms of its repetitive nature. I feel it may be more of a digital version of Zoviet France. The extremely slow and almost-industrial vibe the track gives off reminds me strongly of that seminal band.
Overall, this may be one of my favorite things Mark has put out in some time. It is less abstract than “UL8” and more immediately graspable than “Multistability”. With Manitutshu, Mark shows us a little of where he may take his sound and SND project.


1. Untitled
2. Untitled
3. Untitled
DVD - Sacred geometries, and their sonic equivalents, are said to mirror the micro and macroscopic structures of the physical world; the complex harmonies of the Tibetan singing bowl, like the patterns of the Mandala, allow access to the deepest levels of the consciousness inducing meditative states that transform the very being of their participants. In the modern reciprocals of these technologies the shift is one of teleology. The sacred metals and antique art of the singing bowls give way to the magic of digital synthesis as sacred geometry gives proxy to psychophysiology and the cognitive neuroscience of brainwave entrainment.
Drawn from these sources—with mutual ambivalence—and realized through a distinct aesthetic minimalism, intricate combinations of form, color and sound are projected through a series of transitions, sometimes gradual, sometimes abrupt, sometimes giving way to sustained tones and repetitions. In a process of ever-emerging horizon—an attack on silence and a space for silence—the potential arises to be ensconced or alienated, a space for enchantment, for anxiety, for profound boredom or for reverie.
Recorded at The Music Research Centre at the University of York (UK) and snd studio Sheffield 2007 and 2008.
Contains both stereo and Dolby 5.1 surround audio options.
Limited to 1000 ex.
made in US
LINE 2008

excerpt from Attack on Silence DVD by Mark Fell (LINE_037)


Application of subconscious 2

Application of subconscious 2

こんなタイトル付けたものだから過去に聴いてきた音楽はすべて意識することなく、サブリミナル領域 ( 潜在意識 ) のなかに刷り込まれているのだろうか、なんて難しいことを考えていた。視覚、聴覚、嗅覚、味覚、触覚のほかに無意識とも解釈できる末那識(まなしき)、阿頼耶識(あらやしき)という二つの深層意識層があるとユングは想定した。潜在意識や無意識のことは多くの謎につつまれていて、定義が曖昧で、通俗性が高く、恣意的な意味で使用されているので、音楽と無意識について話すのは極力避けたいのだが、これだけは言える。何かを意識している、または、何かに気づくことなしに、対象が、「意
識の領域」に入って来ること、意識に昇って来ることなどありえない。だから音楽が聴こえているというのは、耳が聴いているのではなく、脳がそれに気づいているということだ。だから、意識を向けなければどんなに側で流れている音楽であっても聴いてはいないし聴こえてはこない。多くのひとは好き嫌いでレコードやCDを選別し購入した音楽を聴いているのだろうが、ボクにとっては音楽に好き嫌いはなく意識の領域に上って来た「気づき」が、いま聴くべき音楽を選別し、前に立ち表れてくると言えるのだろう。そしてその意識して聴いて来た記憶に残っている「 気づき 」の元型こそが、サブコンシャス ( 潜在意識 ) そのものではないのだろうかと。まあ、どうであれ、我々はそうしたサブコンシャスに呪縛され、この世界を視、自身のアイデンティティともいえる人格を形成して
いるのだと思うよ。だから音楽離れの激しかった80年代中期の革新的だったインダストリアル系音楽の文脈の、インダストリアル神秘主義 ( ノイズインダストリアル) からエレクトロニック・ボディミュージックに至り、80年代後半のアシッドハウスやブリープテクノのクラブ系のエレクトロニック・ミュージックでの一
連の流れの洗礼を受けていないひとに、最近のインダストリアルダブやミニマルダブといってもピンとこないのだ。耳の側で素晴らしい音楽が鳴っているのに彼らはまるで気づいていないのだから。音楽の文脈をきっちり把握してこそ音楽の楽しみは倍増するんだ。そしてもうひとつ、次回のApplication of subconscious 3で、詳しく記述するけれど、ミュージシャンであれリスナーであっても、こうした音楽に興味を持ち続けているひとは、少なからずシナスタジア ( synesthesia, synæsthesia ) と呼ばれる特殊な知覚現象「 共感覚 」を持っていることも付け加えておきたい。
ここに取り上げたカセットは、80年代中期に突然変異のごとく表出したポストパンクとインダストリアル・ミュージックのガジェット/ガラクタの数々だ。しかしどれもが中身の抽象的な音響もさることながら、装丁も美術品のような素晴らしい輝きを放っていた。これらの音楽は、「有機的で、非線形、ローファイの調査と偽のエスニシティーの間を歩き回り、何も位置を確定できず、すべてが反応する想像を待って、暗示である世界を作る、一連の地獄のサウンドワールド」と評されていた。キャバレーヴォルテールからスロッビング・グリッスルの熱を帯びたどこまでも匿名なサンプリングのコラージュ、テープ・ループ、即興。80年代初頭雑誌「 ロックマガジン 」でボクの提唱したインダストリアル神秘主義 や、ロシアアヴァンギャルドのアレクサンドル・モソロフの管絃楽曲「鉄工場 Zavod / 1928年」やロシア・アヴァンギャルドを代表するソ連の詩人ウラジーミル・マヤコフスキーのプロパガンダと、古代の洞穴の壁に描かれたシャーマンと、精神病者の手から来たかのような超自然的存在と交信するこれら雑音の美は、いまもってその音楽から生じる不明瞭で隠れたメッセージは何ひとつ明らかにされてはいない。そして2012年、彼らのシャーマニズムにおける変成意識と、その精神を受け継ぐアーティストたちが再び表出し先端音楽の舵を取り始めている。

Alexander Mosolov - Op.19 The Iron Foundry (Zavod/Machine Music)

**The Iron Foundry (1928)
This is Alexander Mosolov's Opus 19, The Iron Foundry. It also known as Machine Music and Zavod. It is performed by the Los Angeles Philaharmonic


A1. Vladimir Mayakovsky – Final Verse, "Last Poem" ( voice – Ian McCurragh
lyrics by Vladimir Mayakovsky )
A2. New Order – Video 586 - 1 ( written and produced by New Order )
A3. Soliman Gamil - The New Nubia
A4. Robert Wyatt – From An Interview
A5. The Death And Beauty Foundation – Song Of The Houseproud Ghost
A6. Hanns Eisler & Vladimir Mayakovsky – Subbotnik ( composed by Hanns Eisler, lyrics by Vladimir Mayakovsky )
A7. Eric Random – Meets The Bedlamites In Cassette Conference
B1. Simple Minds – King Is White ( produced and engineered by Peter Walsh )
B2. Tuxedomoon – Shelved Dreams ( mixed and engineered by Gilles Martin )
B3. Dmitri Shostakovich – Waltz From "The Bedbug" ( arranged by Gerard McBurney, violin - Elizabeth Wilson, piano – Kathron Sturrock, cello – Haroutune Bedelian )
B4. New Order – Video 586 - 2 ( written and produced by New Order )
B5. Flesh – Hesitate ( recorded by Andrew McKenzie, George Handleigh )
*First edition (6000 copies) wrapped in a plastic bag with a A5 32pp booklet featured the work of Keith Breeden, Neville Brody, Panny Charrington, Malcolm Garrett, Hipgnosis and Ian Wright, with manifestos by The Death And Beauty Foundation and The Temple Ov Psychick Youth (written by David Tibet). Also published were The Rozztox Manifesto (by Gary Panter / The Residents), "Vladimir Mayakovsky" by Alan Reid, Norrie MacLaren's "Video Column", "The New Nubia", and Your Guide To Naming A Pop Group, "Nominal Success" by Shirley Ellis.
A cassette-only edition was remastered in March 1986
made in UK
TOUCH 1982


The voice and ethos of Mayakovsky
**The Russian Futurist poet reciting his verse.
Vladimir Mayakovsky - Verses on the Soviet passport.wmv


As a poet, Vladimir Mayakovsky changed the context of Russian and Soviet literature both before and after the revolution. His controversial suicide to this day is a subject of debate. This is an extract from a larger documentary by Copernicus Films and the Director, Michael Craig, about Mayakovsky and part of a series of six films about the Russian avant-garde and futurism. More details can be found on http://www.copernicusfilms.com



A1. Eithne Ní Bhraonáin – An Ghaoth O'n Ghrian (The Solar Wind) ( produced by Nicky Ryan )
A2. No Artist – Scene Two
A3. General Strike – My Other Body ( vocals – Dawn Roberts, produced by Cunningham, Toop, Beresford / written by David Toop, Steve Beresford )
A4. No Artist – Clockface
A5. Brian Gulland & Frank Ricotti – Journey ( engineered by Crispin Retey )
A6. No Artist – Swastika Bells
A7. 1000 Mexicans – Trans-Astrakhan (Seeing The World)
A8. No Artist – Bodytalk
A9. No Artist – Old Silk Route - Pig Slaughter ( recorded by Panny Charrington )
A10. 3 Mustaphas 3 – Bam / Tsifteteli ( written by 3 Mustaphas 3 )
A11. Quimantú – Interview With Sergio Avila / Demonstrating The
Zampona ( interviewee – Sergio Avila )
A12. Yanomamô – Yanomamô Shamanism ( recorded by David Toop )
A13. No Artist – Köln Peals
A14. No Artist – Old Silk Route - Mule Bells ( recorded by Panny Charrington )
A15. Eithne Ní Bhraonáin – Miss Clare Remembers ( produced by Nicky Ryan )
B1. 33 – Notes From The Underground
B2. Andrew Poppy – But Does Winston Own A Straw Hat (Part 2)
B3. No Artist – Scratch
B4. General Strike – Snowdrops ( produced by
Cunningham, Toop, Beresford / written by David Toop, Steve Beresford )
B5. Quimantú – Despedida De Salta
B6. Jon Keliehor - The Percussion Research Ensemble – Trance Formations ( written by Jon Keliehor )
B7. Piedro Insipiedo – Creatures Loves Sun ( remixed by Piedro Insipiedo, Romulus Courque / produced and engineered by Piedro Insipiedo )
B8. No Artist – Corrugated Rain
B9. Cremation Gamelan – Fires In Peliatan
B10. Jah Wobble's Invaders Of The Heart – Tribal ( Performer [Invaders Of The Heart Are] – Dave Animal Maltby, Lee Partise, Neville Murray, Olly Marland )
B11. No Artist – Mind The Gap
compilation producer - Garry Mouat, Jon Wozencroft, MSCHarding
artwork by Garry Mouat, Neville Brody
*Wrapped in a plastic bag with printed matters inside featuring contributions by Peter J. Bach, Neville Brody, Mooie Charrington, Panny Charrington, Kasper de Graaf, John England, John Forsyth, Yvonne Forward, Malcolm Garrett, Carrie Greenaway, Mike Harding, Rob Keyloch, Ben Mandelson, Norrie MacLaren, Andrew McKenzie, Chris Moretone, Garry Mouat, Jill Mumford, Ben Murphy, Fachtna O'Kelly, Tony Reason, D. Styme, Sheila Rock, Kevin Ward, Damian Wayling & Jon Wozencroft.
A12 is a field recording of a Yanomami shamanistic ceremony.
Cassette production directed by Rob Keyloch. Master tapes supplied by The Playback Studios.
Edition of 4000 copies
made in UK
TOUCH 1984


A1. Der Siebenköpfige Informator (-Vor Dem Krieg)
A2. Nahrung Für Den Hungernden Informator
B1. 1.Regel:Wir Halten Kritisch Unsere Eindrücke Fest
made in Germany
**Originally selfreleased on a limited edition cassette in 1980, later re-released with red/black
printed cover.
Limited to 500 copies, 250 of which were enclosed in the boxset Strudelsölle.

Die Tödliche Doris
Real Name: Wolfgang Müller, Dagmar Dimitroff, Nikolaus Utermöhlen
Members: Chris Dreier, Dagmar Dimitroff, Käthe Kruse, Max Müller, Nikolaus Utermöhlen, Tabea Blumenschein, Wolfgang Müller



Die Tödliche Doris - Tanz im Quadrat

**During the years 1980-87, German trio Die Tödliche Doris was legendary in the Berlin underground music and art scene.
Die Tödliche Doris are still widely considered one of the most radical, intelligent and influential German avant-garde bands of the last two decades.



A1. Ansambl Pece Atanasovskog – Postupano Oro*
A2. Unknown Artist – Drmeš**
A3. Dragoslav Aksentijevic Pavle – Come All Ye Sons Of The Earth***
A4. Ansambl Pece Atanasovskog – Zetovsko

A5. Ansambl Pece Atanasovskog – Beranče (Berjaće)*
A6. Unknown Artist – Vallje E Nuseve Me Sharki ( conductor – Qamili Vögel )****
A7. Unknown Artist – Dite E Zeze Ish Kone E Honja ( conductor – Qamili Vögel )****
A8. Ansambl Pece Atanasovskog – Staro Tikvesko Oro*
B1. Capella Ragusina – Himna Sv. Vlaha*****
B2. Dragoslav Aksentijevic Pavle – Polieleos Servikos***
B3. Dragoslav Aksentijevic Pavle – Kratima Terirem***
B4. Unknown Artist – Bells Of Chilander
B5. Unknown Artist – Himna Sv. Vlaha
* played by Pece Atanasovskog folk ensemble from Macedonia
** Traditional Croatian folk dance by The Musicians of Zagreb
***Mediaaval religious song from Cetinje, Sebria, sung by Dragoslav Aksentijevic Pavle
**** The Folk Orchestra of Albania, conducted by Qamili Vogel
***** Traditional song from Dubrovnik, played by the piece choir Capella Ragusina
NARODNA mixed 11.1 88 by Tezak and de Galantha, with thanks to Dragoslav Aksentijevevic Pavle and the Serbian Orthodox Church of Zagreb 1988 Touch
artwork by Jon Wozencroft
cassette packaged in a Magnam Products Microcase with a folded card.
made in UK
TOUCH 1988


A1. Tabula Rasa
A2. Tonton Macoutes
A3. Emeute
B1. Abu Nidal
B2. Green Is The Colour Of The Prophet
B3. Fatwa (Religious Decree Giving Recourse To Terrorism)
written and performed by B. Jones
Non-labeled transparent cassette in plastic bag with oversize gatefold insert.
Tracks on side A are from side A of Coup d'Etat LP (1987);
Tracks on side B are from side B of Abu Nidal LP (1987).
(P) 1988 Limited Editions
(C) 1988 Soleilmoon

Real Name: Bryn Jones
Profile: June 17, 1961 - January 14, 1999
"Bryn Jones was not a practicing Muslim and never traveled to the Middle East. His recordings as Muslimgauze, however, qualified him as one of the Western artists most explicitly slanted in favor of the Palestinian liberation movement. Since the Manchester native’s works were instrumental, most of the political statement was inherent in the packaging: witness titles such as Fatah Guerrilla, Return of Black September, Hebron Massacre, Vote Hezbollah, United States of Islam, and The Rape of Palestine. Jones’s output was so idiosyncratic and prolific that he would remix anything he was given to suit his purposes and recorded an album almost every week.
Jones could have been a potentially controversial figure if his releases were available in anything except extremely limited editions—usually less than one thousand copies of each title. Despite their lack of prominence, Jones’s blend of found-sound Middle Eastern and South Asian atmospheres with heavily phased drones and colliding rhythm programs were among the most startling and unique in the noise and electronica underground. The Muslimgauze project ended tragically in 1999 when Jones died suddenly of a rare blood disease. A number of posthumous releases including Lo-Fi India Abuse (partially a collaboration with the dub collective Systemwide) and the 9-disc Box Of Silk And Dogs soon followed." -John Bush for allmusic.com


Muslimgauze - Harem Of Dogs (Maroon)

**Artist: Muslimgauze / Song Title: Harem Of Dogs (track 4)
Album: Maroon (2002, Reissue) Label: Staalplaat



A1. Jaliya Musicians – Alla L'Aa Ke ( vocals, xylophone [balafon] – Mawdo Suso, vocals – Mamanding Kouyateh, vocals, kora – Mamadu Suso )
A2. The Bagamoyo Group – 9 String Iseze
A2. Walo Shatan Gwari – Farming Is The More Important Occupation Today
A3. Dundun – Aro / Sekere
A4. The Bagamoyo Group – Drom Chime
B1. The Bagamoyo Group – 13 String Iseze
B2. Walo Shatan Gwari – If You Have Something Today, Try And Enjoy It,
For Tomorrow You May Not Be Alive To Do So
B3. Walo Shatan Gwari – Let Us Love One Another
B4. Dundun – Drumming For Obatala
B5. The Bagamoyo Group – Drum & Voice
B6. Jaliya Musicians – Kaira ( vocals, xylophone [balafon] – Mawdo Suso, vocals – Mamanding Kouyateh, vocals, kora – Mamadu Suso )
editing – Jon Wozencroft, MSCHarding
design by Mooie Charrington, Panni Charrington
made in UK
TOUCH 1985

It’s a little hard to think of Touch, so very digital and aesthetically cleanly designed these days, starting as a tape label. Among their earliest releases were a selection of world music collections, including this compilation of percussive music from Tanzania, the Gambia and Niger. Chiefly performed on drums, marimbas and isezes, much of this was recorded at a public performance in Holland Park, London.


A. Untitled
B. Untitled
artwork by Jon Wozencroft, Panni Charrington
*Sponsored by Edgar Rodgers and The Bureaux Clothing Group, London, established in 1982.
Cassette packaged in a Magnam Products
Microcase, containing a folded card with essay and contact details. The cassette also comes with 3 postcards by Panni Charrington.
The cover image is an abstraction of a still from Cocteau's 'Beauty and the Beast
**The Hafler Trio welcomes correspondence- write to CHARRM, 5 Wingroove Road, Fenham, Newcastle-Upon-Tyne NE4 9BP
***since 1953, The Hafler Trio has continued to implement the disputed findings of the acoustic researcher Robert Spridgeon
Redintegrate is a compendium of details taken from recordings made since that time, many of which are included more extensively on the above releases......
made in UK
TOUCH 1986

The Hafler Trio

Tourist With Pendulum
A1. Ultrasonic Setting Up Procedure
A2. Isle Of Dogs
A3. Gap In The Pope's Jar
A4. Tribal Hourglass Geometry
A5. The Quest For Rigel 6
A6. Anthropological G.I.G. For St. David
Chronos Destroyed

B1. Do
B2. Experimental Earth Physics
B3. Minus The Sea And The Sky
The Hafler Trio - Dr.Edward Moolenbeek
Christopher R. Watson
Andrew M. McKenzie
Released on Staaltape, the former subdivision of Staalplaat for tape releases. Part of the 'documentatie serie'. Packaged in a long card folder, with colour map/text insert.
Location recordings made with the assistance and liaison of many individuals too numerous to mention. Recorded on equipment with technical assistance from ROBOL and Alatek International. Quabalistic suggestion by Z'ev. Processing completed between 1981 and 1986. Extract from recordings made at Rollright courtesy of The National Trust, England. Packaging by Suitcase Studios. The Hafler Trio wish to acknowledge their debt to the writings of T.C. Lethbridge. Thanks are due to Roland Spekle. Dedicated to Lambspringk, Adair Brouwer and Norman.
'At night, nature is in mourning for the loss of the sun.'
made in Netherlands


A1. Gote
A2. Blow
A3. Dhimmi
A4. Signal
A5. Bran
B1. Glisten
B2. Host
B3. Signal
B4. Signal
B5. Threat
B6. Signal

des batards du monde, des diffamations d,esprit serie Charm, Ceremony, Chance, Prophecy deuxieme partie
produced for Red Rhino Records, by Soviet France, 1986, Red Rhino Records
The Coach House, Fetter Lane, York, UK, Yo1 1Eh
complimentary recording to there are available as the records MISFITS, LOONY TUNES ABD SQUALD CRIMINALS
composed, produced, performed by Ben Ponton, Paolo Di Paolo, Robin Storey
made in UK

zoviet france "gesture signial threat".mp4


A01. Tier Of Veils
A02. Ram (Stains And Filth In The Convent)
A03. Duir
A04. Zone
A05. Straif (La Mere Du Bois) Z Estrif
A06. White Track (Fire Frost)
A07. Veil
A08. Pesach
A09. Decoy
A10. Yezidi
B01. добрый день
B02. Signal
B03. Sidi
B04. Birch Brake
B05. Sein
B06. Spin (Helissein)
B07. Tan-Tal
B08. Whip
B09. Veil
B10. Fearn
C01. Burning Bush (Beak And Snout)
C02. Sidhe (Riuben)
C03. Marsh
C04. Signal (Circe)
C05. Migration
C06. Burning Bush
C07. Sheol
D01. Veil (Sloe Semen)
D02. Signal (Charm)
D03. Chirm Ela
D04. Chirm Geis
D05. Chirm Aliso
D06. Shewel
D07. Yezidi (Say)
composed and performed by Ben Ponton, Paolo Di Paolo, Robin Storey
2 x cassette in a ceramic pot with a stick, feathers, a flag etc. There was also an "instruction sheet" telling you what to do with these elements. Some instructions were serious and others silly.
Very limited edition
recordings Singing Ringing / Red Rhino
Singing Ringing, 25 low friar street, Newcastle upon Tyne, NE1 5UE, UK
Red Rhino, the coach house, fetter lane York, YO1 1EH, UK
made in UK

Zoviet France - decoy (1985)


A01. East Taunts West
A02. Scacen
A03. Notochord
A04. Har Hou
A05. Notochord
A06. Shamble
A07. Gygr Carlin
A08. Al 'Ud
A09. Dust Deofol
A10. Nostalgie De La Boue
A11. Trom Eldr
A12. Vlaag
B01. Reson Deaw Gwalch
B02. Lang Mark
B03. Film - Perversion Of Magnitudes
B04. Film - Flicorian
B05. Vlaag Morgen
B06. Gathering Nostoc
composed and produced by Ben Ponton, Robin Storey
performed by Ben Ponton, Mark Spybey, Robin Storey
produced for Staaltape by Soviet France, 1987
original recordings made April 1985
made in Netherlands

[1987] zoviet france - loh land (a1, a2, a3)

[1987] zoviet france - loh land (b1.2)


A1. Norepinephrine
A2. How Groovy You Were
A3. Hardcore
A4. Gloppetta
A5. Tongues Speak
A6. Want To Die
A7. Smoking Rat Machine
A8. Wrongly Wired
A9. Violence Is Love
B1. Shan't Do That
B2. Herpes Virus
B3. Total State
B4. Demon Circuits
B5. Bloodbath
B6. Peace Through Strength
B7. Mechanical Induction
B8. Home Video Warhead
B9. Education For Consumption
photography by Nigel Ayers, Pannis Charrington
Cassette packaged in a Magnam Products Microcase with a folded car
made in UK
TOUCH 1986

Nocturnal Emissions: Norepinephrine

**Live footage from Rome and London - early '80s.
Norepinephrine from: Nocturnal Emissions Drowning in a Sea of Bliss
http://www.earthlydelights.co.uk http://www.nigelayers.com

Nocturnal Emissions - Wrongly Wired

Nocturnal Emissions - How Groovy You Were

Nigel Ayers
Real Name: Nigel Ayers
Profile:Influential and uncompromising, Nigel Ayers chooses to remain underground even as his ideas are continuously appropriated by ambitious pop culture surface dwellers. Since founding the UK art music ensemble Nocturnal Emissions in 1980, Nigel has established an incredible discography of music that is as diverse as Nocturnal Emissions is durable. Also co-ran Sterile Records with Caroline K.

Sound Installations by Nigel Ayers
Ecnad Larolf by Nigel Ayers

**Nigel Ayers / Ecnad Larolf (2009)
Ecnad Larolf is a multimedia work constructed around a three minute recording of Helston Town Band playing the Floral Dance, which has been digitally time-stretched so that it is more than an hour long. Emanating from artificial-looking grassy knolls , the resulting sound follows a beat that seems closer to the earth breathing, or the cycles of plants, than a traditional processional dance beat.

Soul Zodiac



A1. Hunger
A2. Compulsion
A3. In Uniform
A4. Slow Hunger
A5. Spring Into Action
B1. Gdansk
B2. Shockwork
B3. Efficiency
B4. On Pain
B5. Beating Retreat
recorded Live 1982-1983 at:
Britannia Row - Heaven
Henry Wood Hall / Glasgow
Retford Porterhouse
BatCave / Soho - Arch 69 Waterloo
Temperance Hall / Newbury
The sound of the drum drives out thought. For that reason it is the most military of instrument
made in UK

Test Department - Hunger

Test Dept Gdansk

Test Dept.
Profile: The group was formed in New Cross, south-east London in late 1981. All unemployed, and with listening tastes ranging from soul to classical music, they searched out whatever they could find to make music with, and for the most part this consisted of scrap metal salvaged from waste ground and derelict factories. The reason had as much to do with lack of money as it had to do with a dislike for conventional rock instruments. Originally, they used bass guitars and other conventional instruments, but these were fairly rapidly dropped as they obtained more industrial percussion, and found that these created a stronger and more consistent sound.
Members - Alistair Adams, Graham Cunnington, Gus Ferguson, Martin King, Paul Jamrozy, Tony Cudlip


A1. Victory
A2. Kick To Kill
A3. Fist
A4. Corridor Of Cells
A5. 51st State Of America
B1. Inheritance
B2. Total State Machine
B3. Shockwork
B4. Finale
under boot and baton europes soil heaving.
there rises the permanent need for new cultural values spanning border insecurity working
to maintain solidarity and build the necessary base for a european network
V2-Uitgave, Muntelstraat 23, 5211 PTs- Hertogenbosch, Holland
*packaged in oversized cardboard box with two inserts
made in Netherlands

TEST DEPT European Network 1985 1

TEST DEPT European Network 1985 2


A1. Vier Personen
A2. Nova Akropola
A3. Vade Retro
A4. Die Liebe
A5. Ti Ki Izzivas
B1. Nova Akropola
B2. Vade Retro
B3. Organo Fonija (Ti Ki Izzivas)
side A recorded at NL Centrum, Amsterdam, Mar.28 1985
side B recorded at Posthoorn Kerk, Feb.16 1985
Staalplaat and AMBASSADE
organise performances of groups
in The Netherlands
*Staaltape made recordings of these performances and released them as a special edition, the documentation series
Staaltape- po box 11453
1001 GL Amsterdam The Netherlands
made in Netherlands

Laibach - Die Liebe


A1. Chorus
A2. Combatme
B1. Stigma
B2. Disco
percussion – Ben Hollander, Chris Janssen, Marc Kuiper, Quirijn Kuchlein, Reinier Swart
remixed version of live performances in Obscurity&Art and Pre-XTC-Industrious<>Radio GOT scenes in 80's Amsterdam in the mode of the Confrontation Project/Metaalstelling...
1.Chorus, the result of meditative and ritual past inspirations.
2.Combatme, the Combatrhythm principle forms a tension in which an emotional letter to the past is conveyed.
3.Stigma, the personal history as an open wound in the present.
4.Disco, a clinical parody of the disco musicalform.,where the monotonous mechanical beat is reacted to by the musicians, parts of which are recorded on a separate loop, then mixed with the original sound.
Comes in an A5 cartonbox with info sheets in Dutch/English and pictures from performances.
Distributed by STAALTAPE.
made in Netherlands


2011 12 09 fri 19:00-23:00
at nu things JAJOUKA
1000yen(no drink)
bricoleur:AGI Yuzuru ( 阿木 譲 )

Tatlin's Tower

**This is a QT movie of a virtual model of Vladimir Tatlin's Monument to the 3rd International - better known as Tatlin's Tower that I made. I researched the structure from original photographs, contemporary accounts of the making of the maquette and subsequent reconstructions and by actually making a model of the tower - It is true, tatlin was no engineer, the structure is more arranged than arrived at through calculation - although the angle of the gnomon and the pitch of the two spiral helixes are based on the dimensions of the earth. The actual sructure was never built, it was exhibited briefly as a large maquette. Should it have been built it would have been taller than the Eiffel Tower by 30%.
I still have the original 3d model in dxf and dwg format (as well as a few others - no sketchup I'm afraid, it is too clumsy) if anyone would like to use the model for a project let me know.
This movie has had a cartoon effect added to simulate a soviet poster style.

ソ連の芸術およびアーキテクチャー1915-1935″Building the Soviet Revolution”が催されている
タトリンの「 building the revolution 」のスケールモデルが会場の中央に構築されている
Constructivism shadowed Modernismは、来るべき新しい時代のモダニズム/ユートピアを形成するための案でもあった

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About 2011年11月

2011年11月にブログ「talkin' about nu things」に投稿されたすべてのエントリーです。過去のものから新しいものへ順番に並んでいます。




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