Art into Life
https://www.art-into-life.com/
実験音楽/Experimental MusicのCD、レコードの通販、レーベル(Mail order, Record Shop, Record Label) Art into Life32https://www.art-into-life.com/data/a-i-l/image/20120816_68637e.pngjaArt into Life2026-04-14T16:20:22+09:00Iancu Dumitrescu "Libelocus-(alpha), Libelocus-(beta), Libelocus-(gamma)" [CD]
https://www.art-into-life.com/product/16149
Label: Art into Life - AIL040
滅多にコンサート録音を残さなかった同国ルーマニア出身の指揮者セルジュ・チェリビダッケに師事、氏から学んだ現象学と指揮法を自身の作風に取…Label: Art into Life - AIL040
Romanian composer, conductor, and musicologist Iancu Dumitrescu is often described as one of the leading figures of spectral music, yet he has produced a body of powerful works resonating with explosive sound and friction that places him very much in his own universe. Dumitrescu studied under his compatriot, the conductor Sergiu Celibidache, who rarely left behind concert recordings. From him Dumitrescu absorbed phenomenology and conducting techniques, incorporating them into his own compositional style.
In 1976 he founded the Hyperion Ensemble, leading it in numerous concerts both within Romania and internationally. In 1990 he established the independent label Edition Modern together with Ana-Maria Avram, through which he released more than thirty recordings over many years. In recent years, however, the publication of new recordings had slowed to a trickle.
This work marks a long-awaited new release: a recording of the concert performance of Libelocus, a three-part work performed in London in 2016. It brings together the distinctive style of this singular spectralist—from explosive ensemble passages to electronic music, all contained within the natural flow of a live performance.
Mastered by Giuseppe Ielasi.
Participating musicians :
IANCU DUMITRESCU (composer and conductor)
ANA -MARIA AVRAM (computer)
TIJANA STANKOVIC (viola)
ANDREI KIVU (cello)
MIRCEA ARDELEANU (percussion)
TIM HODGKINSON (bass clarinet)
YONI SILVER (bass clarinet)
COLIN HACKLANDER (percussion)
Concert in London 2016.
]]>Art into LifeArt into Life27002026-04-14T16:20:22+09:00shopGigi Masin "Plays Venezia" [CD]
https://www.art-into-life.com/product/12651
Label: 13
アートブックのサントラとしてリリースされた人気廃盤タイトルが新たな拡張仕様で再発！！オリジナルは同13がStefano Gentileの写真集とセットで出版、80年代より今尚…Label: 13
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.
On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.
In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.
Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam.
PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.]]>13Art into Life24972026-04-14T13:24:56+09:00shopIancu Dumitrescu "Libelocus-(alpha), Libelocus-(beta), Libelocus-(gamma)" [LP]
https://www.art-into-life.com/product/16148
Label: Art into Life - AIL040
(LP版は4月10日頃の出荷開始となります)
滅多にコンサート録音を残さなかった同国ルーマニア出身の指揮者セルジュ・チェリビダッ…Label: Art into Life - AIL040
Romanian composer, conductor, and musicologist Iancu Dumitrescu is often described as one of the leading figures of spectral music, yet he has produced a body of powerful works resonating with explosive sound and friction that places him very much in his own universe. Dumitrescu studied under his compatriot, the conductor Sergiu Celibidache, who rarely left behind concert recordings. From him Dumitrescu absorbed phenomenology and conducting techniques, incorporating them into his own compositional style.
In 1976 he founded the Hyperion Ensemble, leading it in numerous concerts both within Romania and internationally. In 1990 he established the independent label Edition Modern together with Ana-Maria Avram, through which he released more than thirty recordings over many years. In recent years, however, the publication of new recordings had slowed to a trickle.
This work marks a long-awaited new release: a recording of the concert performance of Libelocus, a three-part work performed in London in 2016. It brings together the distinctive style of this singular spectralist—from explosive ensemble passages to electronic music, all contained within the natural flow of a live performance. Moreover, this is the first LP featuring newly recorded material under his own name to be released in thirty-seven years.
Mastered by Giuseppe Ielasi.Vinyl comes with DL code that has all tracks.
Participating musicians :
IANCU DUMITRESCU (composer and conductor)
ANA -MARIA AVRAM (computer)
TIJANA STANKOVIC (viola)
ANDREI KIVU (cello)
MIRCEA ARDELEANU (percussion)
TIM HODGKINSON (bass clarinet)
YONI SILVER (bass clarinet)
COLIN HACKLANDER (percussion)
Concert in London 2016.
]]>Art into LifeArt into Life44002026-04-14T10:36:00+09:00shopFrancisco Lopez & Michael Gendreau "TDDM" [2CD]
https://www.art-into-life.com/product/16198
Label: Sonoris
音のフィジカル体験をコンセプトとしたサウンドアーティスト2者による音源!!70か国以上に渡り何百ものコンサートや環境録音ワークショップ、サウンドインスタレーションを…Label: Sonoris
This 2CD set gathers two compositions each by Michael Gendreau and Francisco Lopez.
TDDM is based on sound materials recorded in factories in Asia. The 2 Michael Gendreau tracks focus on factories sound environment meanwhile Francisco Lopez works more on machinery and engines. The result is a strong and intense body of work, a total immersion into industrial estates sounds. This isn’t a work on microsound or lowercase music but a real physical experience.
Michael Gendreau (San Francisco), former member of the underground duo Crawling with Tarts, studied composition at Mills College and now works as an acoustician specialized in machinery vibration isolation and environmental noise studies (among other things). He releases now his works under his own name.
Francisco Lopez (Madrid) : “Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.” [Pedro Higueras, Sonom Studios]
Vital : “One morning this week I played an old 7″ by Vivenza – the futurist inspired musician, who used machine like sounds. I was thinking about Vivenza and that someone told me he didn’t use actual machine recordings, but a Putney synthesizer, which somehow sounded like machines. Curiously enough in the afternoon a new 2 CD arrived from Micheal Gendreau and Francisco Lopez. Looking at the sparse credits on the cover this seems not to be a collaborative effort, but both deliver two long pieces entirely based on their own recordings of machines in Taiwan and Malaysia (Gendreau) and Singapore, China, Taiwan and Japan (Lopez). In the first Lopez piece he comes close to the old Vivenza sound: hammering machine rhythms with lots of sound effects to transform the sound, but his other is entirely different. Very low in volume, and the sounds of the machines seem to be pushed to the background. There is a sense of rhythm to it, but it sounds quite strange. Ultimately, in fine Lopezian twist, things go up and the real machines comes in and as suddenly disappear. In the two pieces by Micheal Gendreau machine sounds play, obviously I say, a role too, but somehow he seems to be interested to create ’more music’ out of it, especially in ’M928’, with its organ like tones comes in and out of the piece, before it slips into silence first and then into noise. The first piece by him has a similar built-up but a different ending. Four different sides of the same coin. Excellent stuff, but I don’t think I expected something else”. (FdW)]]>SonorisArt into Life33772026-04-14T05:38:53+09:00shopJean-Michel Rivet "A Fleur De Quai" [CD]
https://www.art-into-life.com/product/16189
Label: Sonoris
タバコのフィルターほどの大きさのマイクをコオロギが冬眠している植木鉢に仕込んだり、日曜大工の音などを採集したりと、日常に潜む環境音の収集を行うフランスのサウンドアー…Label: Sonoris
タバコのフィルターほどの大きさのマイクをコオロギが冬眠している植木鉢に仕込んだり、日曜大工の音などを採集したりと、日常に潜む環境音の収集を行うフランスのサウンドアーティストJean-Michel Rivet。2005年から2009年にかけて集めたマイクロスコピックな環境音素材で構築した、この人物の2ndアルバムに当たる音源[A Fleur De Quai]。電車の走行音からカサコソとした得体の知れない物音、小さな話し声といった、通常認識しにくい素材を使いコンクレート的に構築した、同国Lionel Marchettiへと繋がる作風。
Second CD de ce compositeur bordelais de musique électroacoustique chez Sonoris qui regroupe sept pièces réalisées entre 2005 et 2009. Le label nous déclare que “son travail se situe dans le sillage des précurseurs de la musique concrète avec un accent sur la beauté intrinsèque des sons capturés et des compositions laissant une grande part à l’imagination et à la poésie”. Jean-Michel Rivet est membre du Studio de Création et de Recherche en Informatique et Musique Electroacoustique (SCRIME) Université Bordeaux 1. “Je suis un chercheur de bruits, un bricoleur de sons, un bidouilleur d’échos… Ainsi, je dissimule de minuscules microphones, grands comme le filtre d’une cigarette, au fond d’un pot de fleur, là où le grillon est venu hiverner. Le temps de son installation, je capte le crissement de ses élytres et ses gribouillis sonores. Ces mêmes micros, je les ai installés en lieu et place des petits haut-parleurs de mon casque de baladeur, je branche à l’autre bout du fil un enregistreur : ainsi j’ai la vraie stéréo toujours avec moi. Je suis comme le photographe qui a toujours un appareil avec lui… : je saisis des instantanés, les mets en album, je les collectionne. Je suis un collectionneur de sons, posés plein les étagères, glissés au fond des tiroirs, il en reste parfois qui tintinnabulent au fond de mes poches… Et comme j’aime raconter des histoires, j’en choisis quelques-uns, les juxtapose, les empile, les tourne et retourne en tous sens jusqu’à obtenir une belle chose à écouter… : c’est de la musique !” JMR.]]>SonorisArt into Life24972026-04-14T05:38:53+09:00shopErikM, Pierre Henry "Bidule 2.0" [LP]
https://www.art-into-life.com/product/16191
Label: Sonoris
INA/GRMも制作に絡んだ、フランスの重鎮ピエール・アンリの未発表音源遺産を用いた激ヤバ物件!!ターンテーブルを用いたサウンドアート・アプローチやコンセプチュアル…Label: Sonoris
Unreleased Sound Objects by Pierre Henry / Reload and Original Composition by ErikM
Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.
« Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France).
Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time.
Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings.
Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur. »
ErikM
Production : CNCM/La Muse en Circuit, Alfortville et INA/GRM Paris
Coproduction : CNCM/GMEM, Marseille
Mastering : Frédéric Alstadt – Angstrom Mastering
A live performance at Présences électronique festival is included on CD version as bonus track.]]>SonorisArt into Life45872026-04-12T23:47:32+09:00shopGround Zero "Revolutionary Pekinese Opera" [LP]
https://www.art-into-life.com/product/16184
Label: Spittle Records
(予約受付中 - 5月中旬荷予定)
LPフォーマット再発!!大友良英を中心としたGround-Zeroが1995年に残した歴史的名作[革命京劇…Label: Spittle Records
(予約受付中 - 5月中旬荷予定)
LPフォーマット再発!!大友良英を中心としたGround-Zeroが1995年に残した歴史的名作[革命京劇]。1984年にHeiner Goebbels & Alfred Harthのコンビが発表したアルバム[Frankfurt - Peking]に収録された"北京オペラ"をサンプリング~構築した音源であり、多彩なメンバー編成によるインプロヴィゼーション、ノイズ、オペラ、プランダーフォニックスの混濁した世界が継続する超傑作。未体験の方は是非。
On Revolutionary Pekinese Opera, Ground Zero - under the ferociously precise direction of Otomo Yoshihide - detonates a cut‑and‑splice orchestra where free improv, noise, opera and plunderphonics collide with undimmed urgency.
With the blessing of Otomo Yoshihide himself, Revolutionary Pekinese Opera returns to vinyl as one of the defining artefacts of 1990s avant‑garde music, sounding less like a period piece than a live explosive smuggled into the present. Originally conceived as a hypercharged reimagining of revolutionary opera through the cracked lens of sampling culture, the album captures Ground Zero at the height of its powers: a band that refused to respect borders between genres, media or histories, instead treating them all as combustible material. Three decades on, these compositions still feel like they might slip the stylus off the groove through sheer centrifugal force.
At the core of the record is Otomo’s role as a kind of Deus ex machina from Fukushima, orchestrating a dense, unruly melting pot of musicians, sounds and strategies. Turntables, guitars, horns, rhythm section and electronics are marshalled into a constantly shifting field where nothing is allowed to remain stable for long. Fragments of Peking opera collide with free jazz eruptions; abrupt cuts splice militant fanfares into stretches of near‑silence or sandblasted noise; cartoonish samples and solemn themes rub shoulders, unsettling each other. What could have been a mere collage becomes, in Otomo’s hands, a tightly argued montage, where each juxtaposition pushes the music into a new, volatile state.
The album’s power lies in how it weaponises experimentation without losing a sense of structure. Ground Zero operate like a rogue theatre troupe and a demolition crew at once, pulling recognizable motifs out of the wreckage only to shred them again seconds later. Passages of almost symphonic weight flare up out of scratchy loops and feedback, while sudden drop‑outs expose tiny, nervous details - a stray cymbal brush, a voice buried in the mix, a tape wobble - before the full ensemble slams back in. The result is a music of permanent revolution in miniature, forever overthrowing its own premises, yet somehow coherent in its manic logic.
What is striking today is how little of Revolutionary Pekinese Opera’s allure has faded. In an era when sampling, hybridity and “experimental” tags have been thoroughly domesticated, this record still feels genuinely disruptive, its raw drive undiluted by time. The vinyl reissue not only restores one of Ground Zero’s keystone statements to its proper physical scale - with all the crackle, impact and dynamic extremes that implies - it also reasserts the album’s place as a key node in the global avant‑garde of the 1990s. Heard now, these pieces continue to strike with the same force they had on first release: unruly, subversive, and rigorously constructed, a reminder of how dangerous a band can sound when the studio, the archive and the stage are treated as one continuous battlefield.]]>Spittle RecordsArt into Life43672026-04-12T20:26:33+09:00shopタコ "The Alternative Counter Organization" [LP]
https://www.art-into-life.com/product/16183
Label: Spittle Records
(予約受付中 - 5月中旬荷予定)
初のLP再発!!オリジナルは1983年に国内ピナコテカレコードより出版。山崎春美をプロデューサーに制作され…Label: Spittle Records
Taco weaponise the very idea of “tako” - octopus, kite, bunion, drunk, bald head - into a mutating post‑punk organism, a rotating guerrilla cell whose songs behave like incidents rather than compositions.
“Tako” is one of those Japanese words that refuses to sit still. It can mean octopus, kite, bunion; it’s also slang for bald men, shaved heads, red‑faced drunks staggering home. The term slips between bodies, objects and insults, picking up grime and humour as it goes. In the early 1980s it became something else again: the name of a loose music and performance collective whose shows felt less like concerts than controlled disturbances. Taco emerged at the start of the decade as part of Japan’s post‑punk alternative wave, a shifting network of players orbiting Harumi Yamazaki, ex‑member of Gaseneta and the group’s volatile core. Around her gathered friends, acquaintances and fellow travellers from the Tokyo underground, forming a band that refused fixed membership, fixed genre, fixed anything.
From the outset, Taco behaved more like a guerrilla unit than a conventional group. Personnel connected, collected, interrupted, scattered; line‑ups changed from gig to gig, and sometimes from piece to piece. Sound and image were treated as transient weapons to be deployed and discarded. Performances could happen with or without Harumi - reinforcing the sense that Taco was as much an anonymous mercenary outfit as it was a band, a name that could mask any number of combinations and intentions. What remained constant was the drive to send out music and noise that felt like it existed only for that night, that room, that confrontation, and then evaporated.
In 1983 Taco released its first album, an anomalous, collaborative document that detonated across Japan’s underground as something both of and against its moment. The record functioned as a kind of local all‑stars compilation: key figures from the scene dropping in to contribute, while Harumi supplied the lyrics that stitched the whole together. Each track sounded like the reverberation of a particular cluster of people and circumstances - a conglomeration of voices, instruments, mistakes and impulses. Yet running through all of them were Harumi’s words, delivered with a force that turned scattered pieces into a single, bristling wave. The album didn’t simply collect songs; it spawned an “incident,” a disturbance that spread by word of mouth, tape dub and rumour. Then, as suddenly, it was pulled back: a separate scandal over some of the lyrics led to the records being recalled, ensuring that only a small number of copies ever made it into private hands.
A second release followed in 1984: a 12" EP built around a live recording from the end of 1982. If the debut was a collage of sessions and personalities, this document caught Taco as a unit on stage, and what it revealed was an unexpectedly coherent musical engine beneath the chaos. For a band of indeterminate membership that specialised in one‑off performances, the playing here feels locked in without being smoothed out - grooves, fractures and eruptions held in tense balance. The record captures the power of Taco’s legendary live shows, but it’s Harumi Yamazaki’s presence that sears itself into memory: inflammatory, sensational, masochistic. Her muttered phrases and sudden screams ride over, and often wilfully against, the beat, treating rhythm as something to be taunted rather than obeyed. The effect is of a voice confronting the audience like a groundswell, an undertow that doesn’t care whether or not you keep your footing.
One of Taco’s members once described the project as “an alternative counter organization”: a setup in which indeterminate participants fan each other’s heightened desires for personal revenge and retribution. In their words, Taco is “an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.” It’s a metaphor that fits the music: thick, unstable, mutating, made from residues and leftovers as much as from polished ideas. Emotions congeal, are performed, and then rebound on those who unleashed them. The “alternative counter organization” is not a party or a platform; it’s a fragile, dangerous zone where sound becomes a way to test how far you can go before your own force turns back on you.
The Alternative Counter Organization brings this history into focus not by tidying it up, but by acknowledging Taco’s refusal to be pinned down. It honours a group whose performances really were “like nothing before or since,” born from a word that already meant too many things and happy to add a few more.]]>Spittle RecordsArt into Life43672026-04-12T20:26:33+09:00shopXhol "Essen 1970" [CD]
https://www.art-into-life.com/product/15996
Label: Garden Of Delights
後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表したりする、60年代に結成された…Label: Garden Of Delights
後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表したりする、60年代に結成されたSoul Caravanを前身とする異色のジャーマンロックバンドXhol Caravan。70年代初頭、バンドのサウンドがより即興的な音楽へと変化したことを受けバンド名を"Xhol"へ改名する事となりますが、本作その最初期の1970年10月24日に植物園グルーガパークの端にある多目的屋内アリーナにて行われた貴重なライブを音源化したもの。全編通して非常に高水準な演奏形態が続く超傑作インストアルバム。32ページ・ブックレットが付属するGarden Of Delightsによる良質出版作。
the well-known blend of jazz and psychedelia. Their gig at the third Essen Pop & Blues Festival in the Gruga hall (10/24/1970)
Released in a standard jewel case with 32-page booklet containing notes (in German and English), photographs and Xhol discography.]]>Garden Of DelightsArt into Life32672026-04-12T14:56:10+09:00shopXhol "Hau-RUK" [CD]
https://www.art-into-life.com/product/10089
Label: Garden Of Delights - CD076
後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表したりする、60…Label: Garden Of Delights - CD076
後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表したりする、60年代に結成されたSoul Caravanを前身とする異色のジャーマンロックバンドXhol Caravan。そこより派生~改名という形で"Xhol"という名義で出版された激レアな71年作[Hau-Ruk]がGarden Of Delightsにより初のオフィシャル再発。エクスペリメンタル色強めに仕上げられたズブズブ且つ崩壊したイメージのジャズ & ロック、また意味不明セッションの数々は間違いなく圧倒的なインパクトとして残ります。お馴染み分厚いブックレットが付属するGarden Of Delightsによる良質リイシュー版。
Earlier Xhol Caravan, from Wiesbaden. Originally released on the legendary Ohr label. A gig of summer 1970 consisting of two overlength tracks. The bonus track of 22 minutes is coming from Dieter Dierks’ studio.
In the seventies, Xhol, from Wiesbaden, originating from Xhol Caravan, were one of the best known underground bands in Germany. In 1970 they signed a contract with the new Ohr label of Peter Meisel and Rolf Ulrich Kaiser. In the summer of that year they recorded a live gig, but it took until 1971 to be released as LP "Hau-RUK" (Ohr OMM 56.014). The title of the LP is a word-play. There are only two long pieces on the LP, the jazzy-psychedelic "Breit" (the German equivalent for "stoned") and the bluesy track "Schaukel". In 1995 it was re-released as a poor bootleg CD by Germanofon. The legal version is now available on Garden of Delights. It offers a long extra track, recorded in 1974 by Dieter Dierks in his studio, as well as a thick booklet with loads of information on Xhol and the Ohr label, discographies, photographs, cover and label repros, stories etc.]]>Garden Of DelightsArt into Life32672026-04-12T14:56:10+09:00shopXhol Caravan "Electrip" [CD]
https://www.art-into-life.com/product/9085
Label: Garden Of Delights - CD045
NWWリスト。後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表し…Label: Garden Of Delights - CD045
NWWリスト。後にNurse With Wound、Current 93、Christoph Heemannとの共演盤も発表したりする、60年代に結成されたSoul Caravanを前身とする異色のジャーマンロックバンドXhol Caravanの大名作1st[Electrip]。バリバリに加工を加えられたクールなインストが浮遊する、程よいユーモアも盛り込まれた変則的で気持ちの良い名作アヴァンジャズ/ロック。なんと本作以上に激レアな同年の7インチ盤より[Planet Earth]、[So Down]がボーナスとして追加されています。分厚い32ページのブックレット付き。
Xhol Caravan from Wiesbaden were one of the first and most prominent underground bands in Germany. They were part of the students’ movement and at the spearhead of the development towards psychedelic music. Emerging in 1969 as successors of Soul Caravan, they only recorded one 7"-single "Planet Earth" / "So down" (Hansa 14371 AT) and one LP "Electrip" (Hansa 80099 IU), both in the same year of 1969. In 1995, "Electrip" was released on a cheaply produced bootleg CD (Germanofon 941066), but Garden of Delights’ legal re-release contains, for the first time, Xhol Caravan’s complete published works. Next to a detailed band history in English and German, the coloured booklet of 32 pages also includes many photographs and illustrations. After shortening their name to Xhol, the band released two further LPs, both on the legendary Ohr label.
Psychedelic music from Wiesbaden, with some jazz elements. After the Germanofon bootleg, here is the legal re-release with 32-page colour booklet and their two 7"-single tracks as bonus. A well-known milestone.]]>Garden Of DelightsArt into Life32672026-04-12T14:52:20+09:00shopRumil Vildanov "Kino Variants 1967-1986" [2LP]
https://www.art-into-life.com/product/16204
Label: VON
激ヤバな記録が音盤化です!!映画監督兼サウンドアーティストとして知られるCarlos Casasが主宰、映像作品のリリースを主軸に並行して音源出版も行ってきたイタリアのレー…Label: VON
Continuing their longstanding explorations of unexpected and adventurous territories of sound, Von - the imprint run by filmmaker and sound artist Carlos Casas and cofounded with Nico Vascellari - is pleased to present Kino Variants 1967-1986, the first-ever collection to illuminate the vast body of work created by the Uzbek composer Rumil Vildanov during the second half of the 20th Century. Offering a rare glimpse of liberated creative spirit operating behind the Iron Curtain, this engrossing double LP - complete with printed inner sleeves and issued in highly limited edition of 300 copies on black vinyl - provides an unprecedented immersion into the work of one of the most celebrated composers from Uzbekistan, often described as the "Ennio Morricone of Central Asia". Comprising a startling range of electronic and electroacoustic experiments, evocative chamber works and orchestral works, and more discrete instrumental efforts - all created to accompany moving image - totaling an incredible 82 pieces in total, this remarkable sonic journey into Vildanov's inner world and towering talents, which have, until now, remained almost entirely unheard beyond the time and place within which he worked - contributes a significant historical counterpoint to standing perceptions connected to artistic expression under Soviet rule, placing the composer's engrossing contribution to post-war music within the broader context it deserves.
Rumil Vildanov was born into an intellectual family in Bishkek, Uzbekistan, in 1939. His musical education began early, eventually leading him to the Tashkent conservatory, where he studied composition. For the entirety of Vildanov's life, Uzbekistan made up an important part of the Soviet Union, representing one of its most diverse regions, being an ethnic and cultural melting pot at the axis between Europe, the Middle East, and Asia. While often subtle, all of these elements - working within a context of Soviet state control, and the influences of numerous cultural touchstones - offered a guiding undercurrent to the sprawling body of work that Vildanov produced between the early 1960s and his death in 1987. While he taught for most of his professional life - first at the conservatory between 1962 and 68, then at a prominent music school for children 1968 and 1981, before returning to the conservatory during the last years of his life - playing a significant role in shaping subsequent generations of Uzbek artists - his career as a composer was widely celebrated in his own time, winning him the Republican state prize for his sprawling body of chamber and symphonic works, as well for his efforts working in musical theatre, ballet, children's puppet theater, and eventually film. It was arguably in the latter form, that the composer found his greatest vehicle for expression. Beginning in 1964, when he was first asked by the director, Elyor Ishmuhamedov, to compose the music for one of his films, Vildanov became "obsessed with making music for cinema" and remained deeply connected to the field for the rest of his life - collaborating with prominent filmmakers, including Eldor Urazbaev, Ali Khamraev, and Shukhrat Abbasov - contributing to some of the most significant and highly regarded soundtrack works - acclaimed for their richness and diversity - of Soviet and Uzbek cinema during the second half of the 20th Century.
It is Vildanov's sonic contributions to film, around which Kino Variants 1967-1986 narrows its focus, illuminating the composer's striking range and diverse touchstones across its 82 pieces. Curated thematically rather than strictly chronologically - offering track information and pointing toward the associated film and scene of each in the album's liner notes - the collection begins with 29 Abstract Variations of various durations, rendered on a range of instruments - synthesizer, harp, harpsichord, and timpani, among numerous others - in solo and multi-instrumental combinations, utilizing both purely acoustic and electroacoustic approaches. Rather than simple fragments or short passages intended to add dramatic effect through their association with moving image, Vildanov's "abstractions" stand autonomously as impactful sonic miniatures, revealing particularly singular sensibilities for structure, attack, and space.
The second side of the collection offers an immersion into Vildanov's Orchestral Variations, which move between constrained and encompassing scales of instrumental combination. Traversing a remarkable range of sonic expressiveness and creative vision - continuously defying expectation, individually and collectively, as they unfold - these variations offer further illumination of the composer's talent and versatility. Retaining a strong sense of cohesive vision within their diversity, Vildanov elegantly moves between the use of avant-garde tonal dissonance and lush melodic sensibilities, becoming particularly striking in instances where the inner conversations and conjunctions are bent and twisted through the composer's striking combinations of synthesizers and orchestral instruments, having few parallels, before or since.
The second LP of Kino Variants 1967-1986 is dedicated to two thematic groupings, Rubab Variations and Titles Variations. The first stands among the most culturally revealing bodies of work in the collection; centering the focus upon Vildanov's compositions for the rubab, a lute-like stringed instrument played in parts of Central and South Asia, similar to the Indian Sarod, that has strong presence in Uzbekistan. The instrument's sound and cultural plurality presents a perfect mirror to the diversity and cultural multiplicity of the composer's home. Ranging from solo pieces, imbued with an aching sense of poetry, to more complex multi-instrumental arguments and various electronic interventions - each standing among the most authentic and distinct musical hybrids composed during the 20th Century - as the instrument's percussive tonality dances in space, Vildanov's Rubab Variations bend time and place, seeding experimentalism with the richness of ancient tradition.
Titles Variations, the collection's fourth and final side, comprises 19 pieces that expand and further illuminate the range of Vildanov's musical explorations, the majority of which date from the final decade of the composer's life. A fitting conclusion, distilling decades spent traversing the multifaceted possibilities of organized sound, as well as the radical possibilities activated through its combination with film, this grouping encompasses moving orchestral pieces, minimal gestures, meditative passages, and subtle sonic experiments, each packing a powerful punch - creatively as much as emotively - into the relatively discreet scale.
Offering a social, cultural, and historical revelation, casting light upon one of the most unique and overlooked composers working behind the Iron Curtain during the 1960s, '70s, and '80s, Rumil Vildanov's Kino Variants 1967-1986, issued by Von as a deluxe 2LP set in highly limited edition of 300 copies on black vinyl - complete with printed inner sleeves, providing extensive information on the 82 pieces comprised across its four sides - is nothing short of a towering accomplishment, immersing the ear in truly visionary sounds that upend longstanding perceptions of the nature of 20th Century sounds. Curated and researched by Carlos Casas and Saodat Ismailova, meticolous audio restoration and mastering by Andrea Marutti give these archival recordings the presence and clarity they deserve. Truly incredible and not to be missed.]]>VONArt into Life63472026-04-12T08:17:09+09:00shopDelphine Dora "D'une nostalgie inconnue" [CD]
https://www.art-into-life.com/product/16105
Label: AKTI Records
現地の音風景をふんだんに取り入れた素晴らしいテクスチャー!!極小カセットやLP、プライベートCD-Rまで、当店にて諸作を激推しで紹介し続けている、自身の歌…Label: AKTI Records
In 2022, I was invited to perform as part of the Appleton festival organised by Manuel Mota and David Maranha, in Lisbon. This invitation marked the start of a unique journey, both domestic and geographical, involving concerts, residencies and sound recordings. As part of this journey, I was introduced to the Osso residence in São Gregório, in rural Portugal. I stayed there for around ten days, pretty much on my own, after a short stopover in Porto at the Sonoscopia artists' residency.
This three-week trip to Portugal was punctuated by three concerts, but above all by listening and collecting. I recorded the material of reality, in fragments: the sound of the waves of the Atlantic, voices crossed in the street, songs escaping from a park... Anonymous and fleeting sounds, imbued with presence, which become the raw materials of an interior landscape. A sensitive memory of the territory, not documentary but intuitive and vibrant.
During my residency at Osso, I improvised on the centre's piano and on a harmonium loaned by David Maranha. These instruments became the framework for a series of pieces born in the moment, woven together in solitude.
‘D'une nostalgie inconnue’, borrowed from a fragment of Pessoa, is the fruit of this journey. This album is an interior map, a wordless diary, an attempt to map the sensitive memory of places. Part imaginary travel diary, part reinvented folk, the album sketches out a poetic geography.
This album is part of a wider process I've been pursuing : a personal and poetic mapping of the places I've travelled through, through music, improvisation and collected sounds, like so many attempts to fix the evanescent, to capture the invisible. In this way, each album becomes a page from a subjective travel diary where geographical contours dissolve in favour of an emotional geography. Here, folk moves away from its traditional forms to dream itself differently: reinvented, dreamlike, imaginary, balancing between reality and dream, between listening to the world and inner resonance. ]]>AKTI RecordsArt into Life31572026-04-12T08:11:52+09:00shopAlvin Lucier "One Arm Bandits" [CD]
https://www.art-into-life.com/product/13574
Label: Important Records
ラモンテ及びラディーグの作品で知られる名チェロ・プレイヤーCharles Curtisが参加!!物体の振動方法、音波が人間の耳に伝わる方法、そし…Label: Important Records
ラモンテ及びラディーグの作品で知られる名チェロ・プレイヤーCharles Curtisが参加!!物体の振動方法、音波が人間の耳に伝わる方法、そして脳がそれらを処理する方法等、非常にディープな音響現象を掘り下げ続け2021年12月に他界した米エクスペリメンタル界の巨匠Alvin Lucier。4人のチェロ奏者のために作曲された全1時間4パートからなる大作[One Arm Bandits]が初の単独音源化。本人がレコーディングを監督/プロデュースし最終テイクを承認した作品であり、演奏はCharles Curtis、Judith Hamann、Tyler J. Borden、Laura Cetiliaの4人が担当。右手だけでチェロの開放弦のみを演奏した、特殊な恍惚感に浸れる事必至の超名演。
One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes.
One Arm Bandits was an important project for Alvin Lucier. The idea for the piece goes back to conversations we first had in 2007 about the relationship between bow direction changes and shifts in phase. In the summer of 2015 we worked these ideas out in long sessions with Judith Hamann and T. J. Borden in New York, and the resulting piece received its first performances in Graz and Zürich in 2016. Alvin thought of One Arm Bandits as a radical statement, I think primarily in view of the severe reduction in material – even in the context of his music – and the physical restraint required in performance. The unusually long duration attests to Alvin's recognition that an expansion of scale was required in order to magnify acoustical details of such subtlety. In November 2021 Alvin saw proofs for the CD artwork. He passed away at the age of 90 on December 1, before he could see the album in its final form. Work with Alvin was always joyful, stimulating, and surprising. We dedicate this recording to the continuing spirit of this remarkable musician and friend.]]>Important RecordsArt into Life27172026-04-12T08:11:52+09:00shopVivenza "Fondements Bruitistes" [108 pages book + 2CD]
https://www.art-into-life.com/product/12818
Label: Rotorelief
Vivenzaのインダストリアルイメージ・フォト + 英/フランス/日本語によるマニフェスト解説が掲載された豪華ハードカバー仕様のCD付きブック！！20年前に…Label: Rotorelief
Vivenzaのインダストリアルイメージ・フォト + 英/フランス/日本語によるマニフェスト解説が掲載された豪華ハードカバー仕様のCD付きブック！！20年前にDrag & Drop IndustrialよりCDで出た初期7インチ + カセット編集版[Fondements Bruitistes ]に、幾つかの未再発音源をプラスした2CD作品。装丁、内容共に激ヤバの編集。
ondements Bruitistes d'Action (Bruitist Foundations of Action), originally released in October 1984, opens the period in Vivenza's work on bruitist sound when he started to incorporate the question of the relationship between the technological and mechanical industrial fabric, on the one hand -- which makes up the reality of the modern world -- and the human and social environment on the other. This is the first-ever release of the entire 1984 Fondements Bruitistes session. Includes Luigi Russolo's 1913 Futurist manifesto The Art of Noises as a 108-page book with pictures and texts in English, French, and Japanese.]]>RotoreliefArt into Life43672026-04-12T07:21:42+09:00shopVivenza "Modes Reels Collectifs" [CD]
https://www.art-into-life.com/product/8544
Label: Rotorelief - ROTORCD0023
オリジナルは1983年、フランスElectro Institutより限定50部で発表されていたカセット作品のCD化版。ガサガサに乾…Label: Rotorelief - ROTORCD0023
>>SAMPLE<<]]>RotoreliefArt into Life26072026-04-12T07:21:42+09:00shopELEH "Home Age 2" [Handmade Edition - CD]
https://www.art-into-life.com/product/12661
Label: Important Records
一点一点手作りされた限定のハンドメイド・ジャケット仕様!!1999年よりミニマル・アナログシンセシスの探求を開始、ここImportant Rec…Label: Important Records
一点一点手作りされた限定のハンドメイド・ジャケット仕様!!1999年よりミニマル・アナログシンセシスの探求を開始、ここImportant Recordsを主宰し多くの音源を発表し今や著名なミニマル/ドローン作家となったElehことJohn Brien, Jr.。オリジナルは2018年にCD出版された[Home Age 2]の特殊仕様版。商品画像の通り全て異なるハンドメイド・ジャケットとなっておりナンバリング入りのインサートが付属。お早めに。
Limited edition of 85 numbered copies packaged in a screen printed sleeve. Each package is unique.
-
Original CD edition of 480 copies is sold out.
ELEH’s Home Age series was composed and recorded over a period of 5 years and it reflects a search for color, form, connection and growth. The handmade artwork contained in each package was created during the same period of time the music was composed and is an integral part of the meaning of Home Age.
For this release Eleh plays modular & analog synthesizers, piano, organ, bass and symphonic chimes.]]>Important RecordsArt into Life26072026-04-11T23:37:42+09:00shopNathan Amundson "Things Fall Apart" [CD]
https://www.art-into-life.com/product/16202
Label: St.An.Da.
11年振りとなるアルバム作品!!過去に同系列のイタリア13からのLP音源[Western Songs]を紹介した、コロラドを拠点とする孤高の作家Nathan A…Label: St.An.Da.
11年振りとなるアルバム作品!!過去に同系列のイタリア13からのLP音源[Western Songs]を紹介した、コロラドを拠点とする孤高の作家Nathan Amundson。11年越しで発表された全9曲からなるアルバム[Things Fall Apart]を発表。ピアノ曲、ギターフィードバックの轟音、フィールドレコーディング、サウンドスカルプチャーといった、ミニマルの探求よりアウトプットしたシンプルな楽曲が並び、それぞれ全く無関係なコンセプトで作られている様ですが、アルバムとしてはかなり統一感のある内容となっています。
Contrary to the implication of the title, Nathan Amundson’s new album "Thing Fall Apart" holds quite tightly at its center. In fact, for a decade-spanning compilation of unrelated 'singles', the collection somehow comes together rather poetically and seamlessly - albeit in some-sort of slow-mo, existential collapse much more in line with the title. By 'singles', please don’t get it twisted with the modern, music parlance - more so indicating pieces made with no original intention of ever putting them together on an album. Textural guitar squalls and sound sculpture; field recordings and desolate piano strikes - each 'barely released' in digital form into the abyss of digital streaming platforms. Mastered together here and tied up with a black little bow, they do develop a sort of structure or arc. We enter through some cavernous alien tunnel (Ujaayi) and for a moment even hear sounds of our natural world (Haruki Marukami) before an endless valley of Neurolink factories starts exploding all around us (We’ll Be the Last Ones Here; Chaos & Noise). Smoke 'em if you got ‘em, folks.
Throughout the quarter century of plumbing the very depths with his minimalist, exploratory amorphous band Rivulets, Amundson has always made droning, sound installation pieces on the side under his own name - odd, in that Rivulets’s sound has a less abstracted, more-human fingerprint. At this point, I think it’s okay to say his creations aren’t necessarily for everyone. But perhaps this record in particular is for those stretches when you feel like no one at all. You’re out here on 3rd shift, monitoring the bottomless pit, making sure it remains bottomless. Carbon Dioxide gales of an industrial tundra humming up through your hardhat skullcap, sounding less and less natural and more like gusts through the steely hollows of never-built skyscrapers. Punishing nethersounds that still manage to lull you into their cadence.
In Amundson’s deepest gauzy drones, one can almost see the screaming faces of the business-suited men and women pouring around the corner trailed by a miles-high monstrous fold of a black plume. It doesn’t end with a whisper, I assure you that. There’s something beyond any en vogue pop-apocalyptica at play on "Things Fall Apart"’ something even more fathomless than the mere End of the World. It’s out there in the black velvet of whatever is waiting.
The album's spare, deep tones carry all the weight of the Yeats poem (“The Second Coming”) from where Amundsen plucks the title. “The Second Coming” is a work from which many of our best have drawn inspiration - Joan Didion, Chinua Achebe, Walker Percy. In his pulsing, sometimes punishing / sometimes darkly gorgeous experiments, Amundson really brings to life the timeless unease of the Yeats’ poem. The beauty and the horror, if you will. Every generation thinks it’s going to see the end of the world. One of these days, one is gonna be right. Amundson’s "Things Fall Apart" is how being right will feel.]]>St.An.Da.Art into Life27172026-04-11T22:51:02+09:00shopHis Majesty The Baby "Dadayama" [CD + Special Package]
https://www.art-into-life.com/product/16201
Label: St.An.Da.
大推薦!!ダダおよび未来派の偉人の声を使用した演劇的実験ワークス!!特殊パッケージ仕様!!80年代初頭にイタリア実験シーンの中で最もユニークな音楽グループとして…Label: St.An.Da.
大推薦!!ダダおよび未来派の偉人の声を使用した演劇的実験ワークス!!特殊パッケージ仕様!!80年代初頭にイタリア実験シーンの中で最もユニークな音楽グループとして知られるDoubling Ridersを始動したFrancesco Paladino。氏と、同国のライターであるLuca FerrariのプロジェクトHis Majesty The Babyが制作した、ダダイズム、シュルレアリスムの伝統に真正面から向きあった新解釈音源。トリスタン・ツァラ、アンドレ・ブルトン、フィリッポ・トンマーゾ・マリネッティといったアヴァンギャルドの歴史上の巨匠の声を用い、サウンドスケープや室内楽とミックス、サウンドポエトリーと歴史的なアヴァンギャルド演劇が交錯する稀有なサウンドイメージを導き出した傑作。
With "Dadayama", His Majesty The Baby presents a work that stands at the crossroads between music, sound poetry and the theatrical spirit of the historical avant-gardes. The project unfolds as a conceptual suite built from fragments, quotations, soundscapes and vocal interventions that openly engage with the traditions of Dadaism and Surrealism.
The album is the result of a long creative process coordinated by Francesco Paolo Paladino, who also oversaw the artistic production together with Luca Chino Ferrari. Its sonic architecture develops through a dense interplay of keyboards, virtual piano and electronic soundscapes, intertwined with acoustic instruments such as violin, guitar, zither, oboe and clarinet, creating a layered and constantly shifting musical environment.
One of the most distinctive aspects of the work is the presence of historical voices from the avant-garde, including Tristan Tzara, André Breton and Filippo Tommaso Marinetti. These elements function not as simple quotations but as cultural resonances that connect contemporary sound language with the aesthetic revolutions of the early twentieth century.
The vocal dimension of the album is particularly rich. Alongside the contributions of Carmen D’Onofrio, Serena Nono and Carolina Shiaron Moncaleano appear artists such as Dorothy Moskowitz and Edward Ka-Spell, whose performances extend the expressive range of the project, bringing the sung word towards territories close to phonetic poetry and performance art.
At the symbolic core of the album lies the cycle of compositions devoted to Dadayama, an imaginary place mentioned in a 1919 Dada poem by Walter Mehring. In these sections the album becomes a visionary journey populated by linguistic images, paradoxes and surreal inventions.
Pieces such as "Soulless Man" explore the surrealist paradox of presence and absence, while "Bombsong" offers an anti-militarist satire inspired by the pataphysical generals of Enrico Baj. In "This Is Not a Song", the project enters into dialogue with René Magritte’s famous painting and Michel Foucault’s philosophical reflections on representation and reality.
Taken as a whole, "Dadayama" deliberately moves beyond the conventions of the traditional song form. Instead, it inhabits a territory of artistic research where music, language and cultural quotation merge into an open and experimental expressive form.
The result is a surreal sonic landscape: an imaginary place where absurdity becomes a poetic method and where music invites the listener to cross into a universe in which ordinary logic can be momentarily suspended in favour of invention. ]]>St.An.Da.Art into Life33772026-04-11T22:51:02+09:00shopBandera | Granziera "5 Marzo" [CD]
https://www.art-into-life.com/product/16200
Label: St.An.Da.
80年代、90年代から活動する強者ベテランのコンビ録音!!Broken Flagから1stカセットをリリースしたSigillum SやThe Sodalityへ…Label: St.An.Da.
This is a very special project by Paolo L. Bandera (Sigillum S, SSHE RETINA STIMULANTS, The Sodality, Ensemble Sacré Garçons, etc.) and Devis Granziera (Teatro Satanico, Lunus, etc), released on CD by Silentes on the day of their birthday.
“… we were both born on the fifth of March, even if in different years… after having been friends for a long time, we started discussing a possible collaboration in late 2024 and Devis came up with the intriguing idea of playing around references to other people which were also born on March 5… a mythological and symbolic exercise in sound alchemy and time dissection. So, we selected the appropriate icons, and then started a special kind of dance, merging our own sensibilities and histories with the peculiar aura of each Birthday Twin … something like a Sigillic Theater of Satanic Relatives…”
A unique work, dealing with memories and legacies from Ennio Flaiano, Rosa Luxemburg, Giambattista Tiepolo, Zhou Enlai, Letizia Battaglia, Filippo Panseca and Pier Paolo Pasolini… a mystic elegy for kindred souls and psychic partners.]]>St.An.Da.Art into Life27172026-04-11T22:51:02+09:00shopRafael Toral "Wave Field" [CD - 2025 edition]
https://www.art-into-life.com/product/15619
Label: Drag City
米アヴァン界の巨匠アルヴィン・ルシエに捧げられた初期傑作！！オリジナルはポルトガルのインディレーベルMoneyland Recordsより1995年リリース、そ…Label: Drag City
]]>Drag CityArt into Life26072026-04-11T22:51:02+09:00shopRafael Toral "Sound Mind Sound Body" [CD - 2025 edition]
https://www.art-into-life.com/product/15618
Label: Drag City
名作が2025年リマスター版として再登場!!10代の頃から音の可能性を探求、1990年代にはアンビエントとロックをブレンドした[Wave Field]、[Vio…Label: Drag City
名作が2025年リマスター版として再登場!!10代の頃から音の可能性を探求、1990年代にはアンビエントとロックをブレンドした[Wave Field]、[Violence of Discovery and Calm of Acceptance]といった名作を残している大ベテランRafael Toral。何度かのリイシューを重ね内容の拡張及び再録音などを行なって来た氏の歴史的1st[Sound Mind Sound Body]。Fripp & Enoの演奏形態に受けた影響を落とし込み、控えめなジェスチャーにて圧倒的なインパクトを生み出した驚異的録音ブツ。
2018 Version, including old track list - mastered by Rashad Becker.
Sound Mind Sound Body was inspired in part by the working principles of Fripp & Eno, extrapolated by Rafael via a unique signal path leading out of his guitar. He paid notice to the massive impact of discreet gestures, creating slow-moving tones and spacious orchestral resonances, drifting and droning with glacial majesty, hardly recognizable as guitar much of the time. The first pieces were recorded in 1987; in 1994, a collection was released on Portugal's AnAnAnA, producing an hour’s worth of remarkable sonic equilibrium in this mode. With each subsequent reissue, however, aspects of this sound have been subtly revisited. For the 1998 Moikai CD, "AE 1", one of the earliest pieces conceived, was newly recorded; for the 2018 Drag City LP master, “Textura e Linhas Curvas” was included, "AER 7 E" was re-recorded and the material for "AE 2" was recorded for the first time ever. These performances were executed using the same processes as the original ones. For the current CD, “Loopability II” has been recalled from the AnAnAnA master, “Textura e Linhas Curvas” omitted and yet another brand new version of “AER 7E” inserted in place of the 2018 version. Incredibly, all of these changes augment Sound Mind Sound Body’s expansive intent without altering its essential otherworldly atmosphere.]]>Drag CityArt into Life26072026-04-11T22:51:02+09:00shopTakayuki Hashimoto "Colourful" [CD]
https://www.art-into-life.com/product/6586
Label: Nomart Editions - JIGEN-010
沈黙に色彩を刻みつける、極限の音。
次代を担うフリー・インプロヴァイザー、.es（ドットエス）の橋本孝之、究極のアルトサッ…Label: Nomart Editions - JIGEN-010
>>SAMPLE<<]]>Nomart EditionsArt into Life22002026-04-11T21:39:31+09:00shopErikM, Pierre Henry "Bidule 2.0" [CD]
https://www.art-into-life.com/product/16190
Label: Sonoris
INA/GRMも制作に絡んだ、フランスの重鎮ピエール・アンリの未発表音源遺産を用いた激ヤバ物件!!ターンテーブルを用いたサウンドアート・アプローチやコンセプチュアル…Label: Sonoris
Unreleased Sound Objects by Pierre Henry / Reload and Original Composition by ErikM
Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.
« Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France).
Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time.
Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings.
Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur. »
ErikM
Production : CNCM/La Muse en Circuit, Alfortville et INA/GRM Paris
Coproduction : CNCM/GMEM, Marseille
Mastering : Frédéric Alstadt – Angstrom Mastering
A live performance at Présences électronique festival is included on CD version as bonus track.]]>SonorisArt into Life29372026-04-11T20:59:37+09:00shopSmegma "Folklore & Concepts" [CD]
https://www.art-into-life.com/product/15811
Label: Helicopter
結成52周年を迎えたスーパーグループの2025年作!!多くの説明は不要、1973年にカリフォルニアはパサデナで生まれたLAFMS系スーパーバンドSmegma。…Label: Helicopter
A new album from Smegma (now in their 52nd year!) - featuring Ju Suk Reet Meate, Oblivia, Ace Farren Ford, Dennis Duck, Aaron Dilloway, John Wiese, Tom Recchion, Rick Potts and more. The record celebrates the inevitable portions of joyous cacophony from the modern era of the group (circa 2008–2024), while also including a piece dating clear back to November 1973, from the day the group landed on the name Smegma. Incorporating imagery from their 2023 induction to the Oregon Music Hall of Fame and drawings from Ju Suk, the record also features a variety of collages from Ace Farren Ford (who passed away in December 2023), throughout the layout.]]>HelicopterArt into Life24972026-04-11T20:59:37+09:00shopJack Rose "Opium Musick" [LP]
https://www.art-into-life.com/product/13887
Label: VHF Records
13年越しのリイシュー版、DLコード付き!!ゴスペル、初期のジャズ、フォーク、カントリーブルース、そしてジョン・フェイヒィやロビー・バショウといった60年代…Label: VHF Records
New edition of Jack's second LP, back on vinyl for the first time since 2003. Released in collaboration with Jack's estate and Three Lobed Records. Includes download card. Audiophile RTI pressing.
Recorded and originally released in 2003, Opium Musick is an eclectic collection with pieces for 12 string (the percussive and dark "Black Pearls”), 6 string, and lap guitar. The lovely raga-ish "Yaman Blues" features Mike Gangloff (Pelt, Black Twig Pickers) on tanpura, and echoes the extended modal work on the contemporaneous Pelt Pearls from the River CD. The near-ragtime of "Linden Ave Stomp" features Glenn Jones on his vintage Gibson in a jumping duet with Jack’s lap steel. “Linden Ave” charted a path that Jack would determinedly pursue – short ragtime and old-time influenced pieces (originals and classics), with all phrasing worked out to a perfectionist standard. The lovely “Mountaintop Lamento” was memorably used in Catherine Pancake’s film about coal mining in Appalachia, Black Diamonds: Mountaintop Removal and the Fight for Coalfield Justice.
“In the year and half between "Red Horse, White Mule" and "Opium Musick" Mr. Rose spent the majority of his time honing his Ragtime and Jass skills. He met Dr. Chattanooga Red soon after recording his 1st lp and he revealed the secrets of Ragtime and Jass to Jack in ancient ceremony. Red came down with the jake in Philadelphia and died shortly after their tour. On his deathbed he told Jack not to let the ragtime die and to bring it into the 21st century. And now we have "Opium Musick" as a result of Jack's studies and travels, a lovely tribute to Jack's beloved teacher.”
]]>VHF RecordsArt into Life39272026-04-11T20:58:42+09:00shopCromagnon "Orgasm" [CD - Deluxe A5 Digipak]
https://www.art-into-life.com/product/16114
Label: Rotorelief
NWWリスト。オリジナルは名門ESPから1969年にリリース、Austin Grasmere、Brian Elliotを軸に5名程で編成されたカルトグループC…Label: Rotorelief
]]>RotoreliefArt into Life35972026-04-11T20:53:35+09:00shopPhill Niblock "Looking for Daniel" [CD]
https://www.art-into-life.com/product/14918
Label: Unsounds
他界する直前に制作していた貴重音源、素晴らしい内容です!!フィルムメーカー、写真家として10年間活動した後、60年代後半よりロングフォームのアコースティック・ドロ…Label: Unsounds
他界する直前に制作していた貴重音源、素晴らしい内容です!!フィルムメーカー、写真家として10年間活動した後、60年代後半よりロングフォームのアコースティック・ドローンの作曲を開始、2024年1月に惜しくも他界したNYアヴァン界の大家Phill Niblock。亡くなる直前に残していたという、楽器と声の為の2つの楽曲を纏めた[Looking For Daniel]がオランダUnsoundsより音盤化。ブルガリアのベテラン女性ヴァイオリニストBiliana Voutchkovaの為に書いた変動する倍音に満ちた深淵持続音"Biliana"、全20パートの2つのアンサンブルによるハーモニーと音のスペクトルのサウンドスケープ的表題曲、どちらも高密度でありながら声が幽玄な要素として機能しています。
We commemorate the late Phill Niblock with this release made in close collaboration with the composer just before his passing in January 2024. His life and work have had a profound influence on many contemporary composers, performers and artists, so it is a great honour to be able to present here, together with Echonance Festival, recordings of some of his very last compositions.
The two works on this album, “Biliana” (2023) and “Exploratory, Rhine Version, Looking for Daniel” (2019) represent the hallmarks of his unique approach to composition where multiple, closely-tuned instruments and voices are used to create rich and complex sonic tapestries.
In “Biliana”, written for performer Biliana Voutchkova, her violin phrases and vocalisations carve out a deep sonorous space full of fluctuating overtones. By emphasizing the physicality and materiality of her sound, the piece gives us the sensation of stepping back to reveal a singular portrait of the musician.
The second work on the CD, “Exploratory, Rhine Version, Looking for Daniel” was recorded by two Netherlands based ensembles, Modelo62 and Scordatura Ensemble from a live recording made at the Orgelpark, Amsterdam during the Echonance Festival in February 2023. It is a complex work comprising of 20 parts, where lines seem to emerge and disappear out of a landscape of harmonies and sonic spectra. There is also a voice hidden in this mass of instruments, just like in “Biliana”, giving both works an added human element – something that always emerges out of Phill Niblock’s seemingly dense musical constructions.
The Human Geologies of Phill Niblock’s Music
By Samuel Vriezen]]>UnsoundsArt into Life24972026-04-11T20:26:20+09:00shopKink Gong "Tibetan Buddhism Trip" [CD]
https://www.art-into-life.com/product/14585
Label: Akuphone
1950年代初頭から80年代後半までの珍しいグローバルポップ及びフォークミュージックに焦点を当てたリリースを行うフランスAkuphone。主に少数民族の音楽コレク…Label: Akuphone
]]>AkuphoneArt into Life27172026-04-11T19:31:01+09:00shopGregory Kramer "Veils Of Transformation - 1972/1980" [CD]
https://www.art-into-life.com/product/13758
Label: Important Records
凄まじい内容です!!Important Recordsの偉業的発掘!!1952年生まれ、電子音楽のパイオニアの一人として、また発明家、研究者、教…Label: Important Records
凄まじい内容です!!Important Recordsの偉業的発掘!!1952年生まれ、電子音楽のパイオニアの一人として、また発明家、研究者、教師としてマルチに活動、そして1975年には電子音楽カルテットであるElectronic Art Ensembleを結成、その活動はシンセサイザーと関連機器の開発にまで影響を及ぼした米作家Gregory Kramer。2016年頃から新作を数種リリースしている人物ですが、初期の音源はまだ音盤として出回った事が無く、本作は氏の最も先鋭的な1972年から1980年までの4作品を纏めた初出音源集。古代の瞑想テキストを唱える5人を音声を録音、それらをアナログテープレコーダーで何層にも重ねた異様なテクスチャーのボイス実験[Mediations On 32 Parts Of The Body]、大規模なBuchla200/100システムを使い当時の技術では難しいとされていた繊細な音響合成に挑んだ[Role]、ボイスをバキバキに潰し引き伸ばした奔放なコンクレート[Monologue]、全作本気で激ヤバです。
Veils Of Transformation 1972 - 1980 is a collection of the earliest works of Gregory Kramer, one of the 20th century masters of textural electronic music. This collection is available on CD and cassette with liner notes from Gregory Kramer and Kaitlyn Aurelia Smith, who first brought this fascinating work to the attention of Important Records.
“Greg is one of the pioneers of electronic music and these pieces are unique opportunities to discover how intricate and dynamic early synthesizers are.” Kaitlyn Aurelia Smith
Kramer developed a musical language focused on continuous transformation of timbre, yielding a continuity of attention. This musical language, formed of timbral change, is a compelling aesthetic in its own right and a source of meditative experience. The four works on this album share a deep sense of order derived not from organizing pitches or rhythms, but from the evolution of timbre itself.
Gregory Kramer (b. 1952) is a pioneering electronic composer, inventor, researcher, teacher and author. In 1975 he co-founded Electronic Musicmobile, a synthesizer ensemble later renamed Electronic Musicmobile, a series of synthesizer concerts in New York from which he formed the Electronic Art Ensemble, a highly regarded all electronic quartet. His work extended to developing synthesizers and related equipment. Kramer also co-founded the not-for-profit arts organization Harvestworks in New York City. He is recognized as the founding figure of the intensely cross-disciplinary field of data sonification. Since 1980, Kramer teaches Buddhist meditation.
The four compositions collected here each represent Kramer’s unique approaches:
The structure of Meditations on 32 Parts of the Body (1978) is derived from the means of its production. Recording 5 people chanting an ancient meditation text, then layering to gradually achieve more than one million voices. The layering was all done using analogue tape recorders. The decomposition of the sound reflects the anomalies of tape machines out of sync, and the build up of artifacts from the audio tape itself, such as uneven response curves and tape hiss, are all engaged as musical materials.
Role (1972) was generated using one complex patch on a large hybrid Buchla 200/100 system. Emerging from a zeitgeist that valued pure synthesis as a combined artistic and technological research. At the time this piece was realized its as exceedingly difficult to produce electronic sounds that were internally complex.
Blue Wave (1980) is built on Kramer’s timbral development technique Veils Of Transformation which allows for disparate timbres to be woven into a continuously developing sound.
Monologue (1977) is a virtuosic performance of a massive patch on a Buchla/Electron Farm hybrid electronic instrument. Built into the patch is a pathway for continuous transformation of voice and voltage-controlled synthesizer. The blunt, raw and sometimes harsh sounds of this piece reflect an attitude prominent among composers that music can, or even should, be difficult, contrary to what’s already been done and, by all means, new. ]]>Important RecordsArt into Life27172026-04-11T19:31:01+09:00shopVivenza "Realites Servomecaniques" [CD + Book]
https://www.art-into-life.com/product/13283
Label: Rotorelief - ROTORCD0014-BOOK
Vivenza的インダストリアルイメージのフォト + 英/フランス/日本語によるマニフェスト解説が掲載された豪華ハードカ…Label: Rotorelief - ROTORCD0014-BOOK
Massimo Toniutti is an Italian sound designer and experimental musician. He is the brother of Giancarlo Toniutti who is best known for his electroacoustic masterpiece La Mutazione which was originally released on the Broken Flag label in the UK and later re-issued by Klanggalerie. Massimo started working with sound when he was a teenager, collecting and playing recordings of all kinds. In the 1980s he released four cassettes on his own label, all heavily influenced by the experimental music scene of that time. He soon developed a strong relation to electroacoustic structures, space/environment and silence. In the 1990s, he began investigating radio, creating his own sound archive and producing unusual broadcasts. He released an album entitled Il Museo Selvatico, which was re-issued in Australia in 2018 on Oren Ambarchi's label Black Truffle. A documentation of his radio work can be heard on the CD Le Gabbiette Di Faraday, collecting radio pieces from 1996 to 1998. On his new album, Toniutti deals once more with space and silence with an immersive, spacious long track. A loose-knit sound structure moves in a cyclic but unpredictable way embracing macro shapes, empty spaces and sound dust. While running crystal clear it invites you to observe it in depth and focus on distances. Details/events are spread along the piece like in a landscape, still and changing at the same time. A deep listening that can easily become “my personal musique d’ameublement”, to quote the composer himself. A model of this work has been part of a permanent installation in a museum since 2013. The Clear Observatory is a sort of never ending piece, the enlargement/development of a bunch of seeds. Sound sources (acoustic material and field recordings) are treated in a specific configuration of reverbs and delays to create this roomy “eyepiece musique”.]]>KlanggalerieArt into Life27172026-04-11T18:22:58+09:00shopWhat We Do When in Silence (Alessandra Novaga, Nicola Ratti, Enrico Malatesta) [LP]
https://www.art-into-life.com/product/16192
Label: Holidays Records
メチャクチャ素晴らしい内容!!エンボス加工のジャケットも美しい!!デレク・ジャーマンへのオマージュ作がかなりの人気を博したギタリストAlessan…Label: Holidays Records
Three Italian heavyweights doing what they do best - radical improvisation that sits somewhere between electronics, silence, and pure Mediterranean mystery. This is the real deal. Nicola Ratti, Alessandra Novaga, and Enrico Malatesta - three names you need to know if you're serious about contemporary improvised music.
The sound? Imagine if AMM had been born in Southern Europe with laptops and preparations instead of guitars and radios. Imagine if the silence of John Cage met the warmth of Italian stone buildings. Imagine improvisation so deep, so focused, so present that you forget where the electronics end and the acoustic sounds begin. This is music that lives and breathes - nothing decorative here, nothing "atmospheric" in that boring new age sense. This is CREATIVE MUSIC at its finest!
Enrico Malatesta - you know, the percussionist who's been working with Eliane Radigue - is absolutely amazing. One of those players who makes you rethink what percussion even is. Nicola Ratti's electronics are subtle, sophisticated, never showing off but always essential. And Alessandra Novaga brings this beautiful approach to processing and transforming sound in ways that feel both ancient and totally now. Together they create something special, something rare.
Holidays Records - consistently one of the most interesting labels coming out of Italy these days. They get it. They understand what improvisation needs to be. Embossed cover, limited to 300 copies - this will not stick around. Trust me on this one. If you're into the deeper zones of improvised music, if you collect labels like Erstwhile, Another Timbre, Ftarri, if names like Toshimaru Nakamura, Radu Malfatti, or Keith Rowe mean something to you - you need this record.]]>Holidays RecordsArt into Life49172026-04-11T17:54:46+09:00shopPatrick Lysaght "For the Birds" [LP]
https://www.art-into-life.com/product/16193
Label: Holidays Records
カルト名作が正規再発!!ビジュアルアーティスト、映画監督、科学者、即興サックス奏者として活動するPatrick Lysaght。氏が1984年から…Label: Holidays Records
Edition of 250. Deluxe edition + insert. For eighteen months, between 1984 and 1985, Patrick Lysaght played flute, strings, and percussion inside the Rainforest Birdhouse at the Rio Grande Zoo in Albuquerque, New Mexico. His audience and collaborators: 150 birds of 42 species.
The result is one of the earliest and most radical documents of interspecies improvisation. Predating the current wave of sound ecology by decades, For The Birds sits comfortably alongside the biophonic research of Bernie Krause, the ornithological field recordings of Jean C. Roché, the Deep Listening practice of Pauline Oliveros, and the interspecies experiments of Jim Nollman. A missing link unearthed.
Lysaght didn't record the birds. He played with them. On Downstream, the talking drum establishes a backdrop while the birds take the lead. On Mourning Music, a threnody for his father, the birds seemed to be respectfully listening. On Light Sensitive, delicate percussion triggers avian response. Complex clouds of point notes build to rich density, following what the original notes call "the excitement of chance and the probability of experience."
Originally released in 1985 on Frank Records, Santa Fe. Now reissued with mastering by Giuseppe Ielasi .]]>Holidays RecordsArt into Life49172026-04-11T17:30:30+09:00shopEddie Prevost, Marilyn Crispell, Harrison Smith "ConcertOTO" [CD]
https://www.art-into-life.com/product/16138
Label: Matchless Recordings
1960年代よりAMMの一員として、またフリーインプロヴィゼーション界の重鎮として知られているEddie Prevost、80年代よりFM…Label: Matchless Recordings
American pianist Marilyn Crispell joined London Improviser's Orchestra saxophonist & clarinetist Harry Smith and AMM drummer Eddie Prévost for this 2012 concert at London's Cafe OTO, playing in a melodic free jazz mode of passionate interaction and deep communication, resulting in an unforced and naturally masterful set of thoughtfully lyrical improvisation.]]>Matchless RecordingsArt into Life24972026-04-11T17:30:30+09:00shopEddie Prevost, John Butcher, Guillaume Viltard "Iklectik Live One" [CD]
https://www.art-into-life.com/product/16129
Label: Matchless Recordings
1960年代よりAMMの一員として、またフリーインプロヴィゼーション界の重鎮として知られているEddie Prevost、長年の創作パート…Label: Matchless Recordings
Matchless Recordings presents a live concert by Eddie Prévost, John Butcher and Guillaume Viltard recorded at Iklectik, in London, UK, on November 23rd, 2016, by Giovanni de Rovere. The album includes four tracks performed by John Butcher - Tenor Saxophone, Soprano Saxophone, Eddie Prévost - Drums, Guillaume Viltard - Double Bass.]]>Matchless RecordingsArt into Life24972026-04-11T17:30:30+09:00shopSavvas Metaxas "New Relics II" [CD]
https://www.art-into-life.com/product/15691
Label: Granny Records
100部限定。more mars team、Falt、Glistening Examplesにも音源を残す、ここGranny Recordsの拠点であ…Label: Granny Records
100部限定。more mars team、Falt、Glistening Examplesにも音源を残す、ここGranny Recordsの拠点であるギリシャはテッサロニキのエクスペリメンタル作家Savvas Metaxas。自身の演奏するエレキギターのみで独自のエレクトロアコースティック作品に取り組んだ意欲作[New Relics II]。抑えに抑えた演奏から発せられるか細い音断片を繋ぎ合わせミニマルに、また大きな起伏のある物音作品的な構造で聞かせる無題の8作品。色のない虚無的アプローチが素晴らしい。マスタリングはGiuseppe Ielasi。美しいゲートフォールド紙ジャケット仕様。
*100 copies limited edition*
Savvas Metaxas played guitar & effects
Recorded between January-February 2024
Mastered by Giuseppe Ielasi
Design & Artwork by Yorgos Vourlidas ]]>Granny RecordsArt into Life23872026-04-11T16:32:40+09:00shopEric La Casa + Seijiro Murayama "Supersedure 2" [CD + 16 pages booklet]
https://www.art-into-life.com/product/14326
Label: Swarming
メチャクチャ素晴らしいミュージック・コンクレート的編集!!20年以上に渡り環境に耳を傾け、自身の考える音の美学を拡大して来たサウンドアート界の大ベテランEric …Label: Swarming
メチャクチャ素晴らしいミュージック・コンクレート的編集!!20年以上に渡り環境に耳を傾け、自身の考える音の美学を拡大して来たサウンドアート界の大ベテランEric La Casa。以前よりインスタレーション等でも共演してきた大ベテラン・パーカッショニスト村山政二朗 氏とのデュオ録音を自身のSwarmingからリリース。Eric La Casaが日常風景やら街の雑踏サウンドをコントロールしつつ放射、合間の静寂に合わせ村山氏のパーカッションが絶妙過ぎるタイミングでドカドカと投下される、まるで人力コンクレートを体感しているかの様な印象。16ページブックレット付き、美しいトレース封筒入りパッケージ。
Booklet 16 pages (images/texts french/english)
Audio CD 40 minutes
limited edition of 150 copies
Recordings : june 2019 - october 2022
extra field recordings : 2003-23
Editings and mixings : Spring - Summer 2023
When and how does a gesture leave the domain of the ordinary for that of the extraordinary, and is perceived as such by all ? Where, within each space, is the threshold of the extraordinary, and therefore of the musical ?
Whether playing percussion or recording, when do our gestures become musical ? (...)
Where, within each space, is the threshold of the extraordinary, and therefore of the musical ? Isn't this what making an event consists of ? Deliberately interrupting the continuity of the ordinary. What is sure is that our small, simple, repeated gestures do produce a series of frictions with this ordinariness, gradually leading to slight discontinuities that significantly alter the course of daily life.]]>SwarmingArt into Life24972026-04-11T16:32:40+09:00shopCharlemagne Palestine "Battling the Invisible" [LP]
https://www.art-into-life.com/product/16187
Label: Alga Marghen
激ハードコアな正弦波録音とピアノ録音を纏めた素晴らし過ぎる編成!!8ページのブックレット付き!!ミニマル・ミュージックの大家Charlemagne Pal…Label: Alga Marghen
In 1969, while American minimalism was consolidating into its most recognizable forms, Charlemagne Palestine was conducting solitary experiments with oscillators and sine waves that only now reveal their visionary scope. This was the New York of lofts and abandoned industrial spaces, of artists pushing sound toward its physical limits - a city where the boundaries between music, performance art, and bodily endurance were dissolving. Battling the Invisible unearths two electronic studies from that crucial year, paired with rare 1972 Bösendorfer sessions - a document that illuminates the passage from pure electronics to the keyboard as an instrument of prolonged ecstasy.
Low Sounds 3 opens the record with fifteen minutes of low frequencies that seem to emerge from the very foundations of the sonic edifice. There is no development in the traditional sense, but a static presence that gradually colonizes the listening space. Think Eliane Radigue's meditative drone work filtered through a raw, almost brutalist sensibility. Sine Tone Study on Side B extends this practice for nearly nineteen minutes - sine waves overlapping, creating beating patterns, zones of interference explored with the patience of an entomologist. The two 1972 Bösendorfer fragments function as bridges toward the Palestine we know better - the strumming ecstasies, the hypnotic accumulation of overtones, the piano as a vehicle for transcendence. Here the physical approach to the keyboard is already evident - what he would describe as a "battle." The body is always present - Palestine recalls performing in Europe, "pinning your chest against your arms" - a physical ritual that transcends mere musicianship.
This release is part of Alga Marghen's The Golden Research series - a concept devised by Palestine himself around the idea of "perfect sound." The series focuses exclusively on completely unreleased archival materials, bringing to light legendary recordings that have never been heard before.
The LP includes a 8-page interview conducted by Sumner Crane and Rudolph Grey in January 1979 at Palestine's NYC loft, with Arto Lindsay present, later redacted by Alan Licht. Crane was a founding member of Mars, the seminal American No Wave/experimental rock band formed in late 1975 in New York City. It is no coincidence that by 1979 the No Wave generation sought Palestine out as a direct reference point - recognizing in his uncompromising physicality and confrontational approach to sound one of their own, a spiritual ancestor whose late-60s experiments had already mapped the territory they were now inhabiting. The insert is an anastatic reproduction of the original 12-page typescript. Unfiltered, explosive - Palestine on violence, on the body as battleground, on his Brooklyn childhood. Essential reading.]]>Alga MarghenArt into Life49172026-04-11T15:40:22+09:00shopSteve Roden "Three Roots Carved To Look Like Stones" [CD]
https://www.art-into-life.com/product/16199
Label: Sonoris
個人的激推しの2003年名作!!ロサンゼルス出身、90年代前半より変名"In Be Tween Noise"を併用しサウンドアーティストとして確固たるポジションを築…Label: Sonoris
個人的激推しの2003年名作!!ロサンゼルス出身、90年代前半より変名"In Be Tween Noise"を併用しサウンドアーティストとして確固たるポジションを築いてきた大ベテランSteve Roden。2000年12月にロサンゼルスのチャイナタウンにあるギャラリーに設置したインスタレーションの音源。現地の土産物店で購入した3つのオブジェ、"木製のおもちゃのフルート"、"小さなアルミ製の風鈴"、"小さな紙製のアコーディオン"を素材に制作、歩行者が行き来する大きな窓側に設置し鳴らしたメチャクチャ気持ちの良い記録。
“This work was originally installed at inmo gallery in chinatown los angeles, december 2000. The piece was created using 3 objects purchased at chinatown giftshops as source material: a wooden toy flute, a small aluminum wind chime, and a small paper accordion. Each track used one of these objects as the only sound source. The installation was installed in front of a large picture window facing the chinatown pedestrian area.”]]>SonorisArt into Life24972026-04-11T15:23:35+09:00shop前田順康／飛騨音響派 "音脈響脈" [Cassette]
https://www.art-into-life.com/product/16188
Label: 0on
太鼓芸能集団「鼓童」のメンバーによる録音物!!
太鼓芸能集団 鼓童 前田順康と飛騨音響派による共同作品。
4時間に及ぶ完全即興から抜粋されたライブ音源には、電子音、…Label: 0on
This is a collaborative work by Kodo’s Masayasu Maeda and Hida Onkyo Ha, featuring selected extracts from a four-hour improv session in Hida Takayama, up in Japan’s northern Alps. It captures waves of electronics, voices, taiko (Japanese drums), gongs, and other instruments as the sounds enter, entwine, and meld in the mountain air.
The title ‘On-myaku Kyo-myaku’ evokes sounds (on) and echoes (kyo) that undulate like a pulse (myaku).
Layering upon one another, over and over, conjuring reverberations, rhythms, ambient sound, noise, and moments that are tribal, spacey, and intoxicating. Lean into the sways and flutters of fleeting, pulsating, resonant sound.
Recorded during a public session at Children’s Bookshop Peace Land, Takayama, in Aug. 2025.]]>0onArt into Life20002026-04-11T15:21:56+09:00shopEric La Casa / Francisco Lopez "Induction / Mutation" [2CD]
https://www.art-into-life.com/product/16107
Label: Swarming
150部限定!!凄い物件が登場、重鎮サウンドアート作家らによる2CD!!70か国以上に渡り何百ものコンサートや環境録音ワークショップ、サウンドインスタレーション…Label: Swarming
150部限定!!凄い物件が登場、重鎮サウンドアート作家らによる2CD!!70か国以上に渡り何百ものコンサートや環境録音ワークショップ、サウンドインスタレーションを実践してきた、80年代より活動する重鎮サウンドアーティストのFrancisco Lopez、91年から活動を続けているサウンドアート系の大ベテランEric La Casa、同じ素材を共有して制作した2026年3月出版のタイトル[Induction / Mutation]。電車内の環境音、IHクッキングヒーターのサウンドが使用されているとの事ですが、互いが継続している"Everyday Unknown"、"Untitled"シリーズの一環として制作されており、恐ろしい程に突き放した尖りに尖りまくった抽象音像が非常にヤバイ。
2CD in 6 pannels digisleeve
[CD1 : éricl casa 37:27 | CD2 : francisco lopez 49:14]
Pieces created from shared original raw sound source materials
This album is also available on Two-Headed Snakes, Francisco Lopez's label (only digital version) t-hs.bandcamp.com/album/induction-mutation-2]]>SwarmingArt into Life34872026-04-11T15:17:22+09:00shopRadio Noisz Ensemble "Odiszee Parck" [CD]
https://www.art-into-life.com/product/14049
Label: Garden Of Delights
超名作!!ダルムシュタットにて70年代に結成されたバンドEmma Myldenbergerのメンバーであった3人、Michel Meyer、P…Label: Garden Of Delights
超名作!!ダルムシュタットにて70年代に結成されたバンドEmma Myldenbergerのメンバーであった3人、Michel Meyer、Philipp Gullatz、Topsi Tkaczが新たなインストゥルメンタル・グループとして80年に始動したRadio Noisz Ensemble。オリジナルは恐らくカセットフォーマットにて出回った(?)と思われる、1982年~83年までのスタジオテイクを纏めた音源の大幅拡張CDリイシュー版!!前作よりも更に自由なアプローチに成功した前衛志向の強い内容で、フリーインプロヴィゼーションの要素やら風変わりなボーカル入りの楽曲(1曲のみ)までを披露、ボーナスでは最高に突き抜けたライブバージョンが聴けます。オリジナルには収録されていない7つのボーナストラックを追加。32ページブックレットが付属するGarden Of Delightsの超良質復刻。
Radio Noisz Ensemble was the successor band to the more folk-oriented six-piece Emma Myldenberger, who released two LPs in the late 1970s, and followed those with a live cassette after the turn of the decade (all since released on CD). Three members (guitarist / mandolinist Michel Meyer, reeds player Biber Gullatz, and Topsi Tkacz on violin and contrabass) of Emma Myldenberger formed RNE in ’81, who along with percussionist Matthias Gassert and special guest Mani Neumeier (Guru Guru), recorded the band’s first LP Yniverze in 1982. Gassert was replaced by Sigi Siegler on this, the band’s second recording, which in its original incarnation was only released as a cassette. Here, in its CD debut, it appears with seven bonus tracks as a full 77 minute disc.
Odiszée-Parck is a bit more free sounding than its predecessor, incorporating elements of jazz, classical, world-music, and free improvisation (especially on the truly out-there “Why Art We So Hungry?”, the album’s only vocal piece) into one cosmic whole. The first bonus track “Green Bananas” encompasses all of the band’s best tendencies, and is perhaps their finest moment. Remaining bonus tracks are mostly live versions, including reworkings of some pieces originally recorded with Emma Myldenberger. The more prevalent use of tabla as opposed to a full drum kit, double-reeds, violin, and Chinese and Arabic flutes goes far to take their instrumental profile into a more world-music direction, while the constructs remain more in the jazz and classical idioms, with a touch of avant-garde experimentation.
The astute listener might at times be reminded of contemporaries Between or Oriental Wind, early Third Ear Band, Do’a circa Ornament of Hope, or the music that Embryo was evolving toward in the early 1980s. Even though RNE continued working together until 1986, Odiszée-Parck would be their final recording, an outstanding release all around.]]>Garden Of DelightsArt into Life32672026-04-11T14:55:17+09:00shopResound "Resoundings +" [CD]
https://www.art-into-life.com/product/16133
Label: Matchless Recordings
1986年LP音源の拡張リイシュー版!!1985年に録音、AMMのパーカッショニストEddie Prevost,、ベーシストのTony M…Label: Matchless Recordings
"This recording from 1985 of the trio consisting of AMM percussionist Eddie Prevost, bassist Tony Moore, and soprano sax player Peter McPhail is an outstanding recording of avant-garde jazz which documents a trio of improvisers maximizing their focus on interplay and invention.
This album will appeal to fans of avant-garde jazz and European improvisation, as well as listeners of bebop. The energy and interplay are most striking aspects of this recording, and, while it is very distinctively footed in the avant-garde cannon, it stays closer to traditional jazz then some of Eddie Prevost's more challenging recordings, such as his work with AMM and Evan Parker." - Dean McFarlane]]>Matchless RecordingsArt into Life24972026-04-11T14:36:13+09:00shopEddie Prevost, N.O. Moore, Jason Yarde "Nous" [CD]
https://www.art-into-life.com/product/16130
Label: Matchless Recordings
1960年代よりAMMの一員として、またフリーインプロヴィゼーション界の重鎮として知られているEddie Prevost、コーネリアス・カ…Label: Matchless Recordings
Matchless Recordings presents a live concert by Eddie Prévost, N.O. Moore, and Jason Yarde recorded at the Vortex Jazz Club, in London, UK, on February 22nd, 2020, by Giovanni de Rovere. The album includes four tracks performed by Eddie Prévost - Drums, N.O. Moore - Electric Guitar, Effects, Jason Yarde - Alto Saxophone, Soprano Saxophone, Electronics.]]>Matchless RecordingsArt into Life24972026-04-11T14:36:13+09:00shopNo Hope Orchestra "Porch Music" [CD]
https://www.art-into-life.com/product/15810
Label: Helicopter
LAFMSファンは是非!!ヤバいメンバーが揃った大所帯編成での演奏!!ロサンゼルスのザ・ボックス・ギャラリーにて2023年8月に開催された、奇才Paul Mc…Label: Helicopter
No Hope is the large ensemble/noise orchestra led by Paul McCarthy during the Porch Music concert at The Box gallery, Los Angeles, California. Featuring Los Angeles Free Music Society/LAFMS staples Mitchell Brown, Elaine Carey, Dennis Duck, Ace Farren Ford, Juan Gomez, Mike Gonzalez, Joseph Hammer, Keith Lubow, Paul McCarthy, Nathaniel Mellors, Joe Potts, Rick Potts, Trevor Rounseville, Alex Stevens, Molly Tierney, and John Wiese. Cover art by Ace Farren Ford.]]>HelicopterArt into Life24972026-04-11T14:36:13+09:00shopSissy Spacek with Vortex Campaign "The Man and The Old Sea" [CD]
https://www.art-into-life.com/product/15451
Label: Helicopter
英アンタイノイズの重鎮The New Blockadersの共作で知られるベルギーのデュオVortex CampaignがSissy Spacekと共演!!1…Label: Helicopter
]]>HelicopterArt into Life24972026-04-11T14:36:13+09:00shopJoe Potts, John Wiese "Violent Semi-Abstract" [CD]
https://www.art-into-life.com/product/14789
Label: Helicopter
抑制されたコンクレート的要素が秀逸な傑作!!LAFMSの創設メンバーにしてスーパーグループAirwayの主要メンバーでもあるJoe Potts。ここHelic…Label: Helicopter
抑制されたコンクレート的要素が秀逸な傑作!!LAFMSの創設メンバーにしてスーパーグループAirwayの主要メンバーでもあるJoe Potts。ここHelicopterの主宰者であり同じくAirwayにも参加するロサンゼルスのコンポーザーJohn Wieseとの共作を出版。2018年のJoe & Joe / John Wieseの米ツアー中に録音、テープを主軸にザクザクと大雑把なカットアップと変調を繰り返す構造は奔放でいて非常にクール。
Debut duo recording of LAFMS-founder and Airway maestro Joe Potts and John Wiese. Recorded during the Joe & Joe/John Wiese mid-west tour of 2018. Melting/sweating tape music/chopped optigan.]]>HelicopterArt into Life24972026-04-11T14:36:13+09:00shopRobert Turman / John Wiese "Solid State of Time" [CD]
https://www.art-into-life.com/product/12032
Label: Helicopter
活動最初期はNONの一員として活動、1977年のクラシックシングル[ModeOf Infection / Knife Ladder]に参加した後ソロ活動の追求…Label: Helicopter
活動最初期はNONの一員として活動、1977年のクラシックシングル[ModeOf Infection / Knife Ladder]に参加した後ソロ活動の追求を始め、今尚独自のエクスペリメンタルミュージックの創作を続ける重鎮Robert Turman。ここHelicopterの主宰者であり音楽家John Wieseとは初となるデュオ作を発表!!大きく2パートに分けられた楽曲[Solid State of Time]のみの収録となっており、即興的なアプローチで様々なサウンドを変容、そこより新たな実験の可能性を導き仕上げた極上のコンクレート音響。
Robert Turman is an American sound artist best known for his innovative and experimental work in the field of ambient and minimalism. John Wiese is a sound artist and composer known for his unique and innovative approach to sound and his ability to create complex, layered compositions that blur all boundaries.Turman and Wiese’s approach to composition is both experimental and post-improvisational. Building on a particular sound or texture, and using a variety of modifications to the sound, a process of constant experimentation and exploration into new possibilities allows their collaboration to evolve and develop in unexpected ways throughout. Together, they continue to create immersive and otherworldly paths that challenge our perceptions of space, time, and reality.]]>HelicopterArt into Life23872026-04-11T14:36:13+09:00shopKatariin Raska & Christian Meaas Svendsen "Finding Ourselves In All Things" [CD]
https://www.art-into-life.com/product/11245
Label: Nakama Records - NKM020
1986年エストニア出身、エストニアのバグパイプ"トルピル"や口琴を操る女性演奏家のKatariin Raska、そしてこのレーベル…Label: Nakama Records - NKM020
1986年エストニア出身、エストニアのバグパイプ"トルピル"や口琴を操る女性演奏家のKatariin Raska、そしてこのレーベル中心人物にして自らも作曲家/プレイヤーとして活動するChristian Meaas Svendsen(コントラバス奏者)によるデュオ作。全くカラーの異なるリチュアルなドローン&反復即興の長編2曲が収録されており、トルピルの細かい刻みを軸に殆ど儀式的イメージの現場を作り上げる[Melting With Butterflies]、そして沈み込む様に重いコントラバスに今度はゆっくりとした低音ドローンのトルピルが乗る[The Way Mountains Make Love]、どちらも激ヤバな高内容録音。
Katariin Raska and Christian Meaas Svendsen have known each other for many years. They met in Oslo in 2012 and soon started working together in Katariin’s band ÄIO. Their duo music is an abstract reminiscent of that music: folkish, primal, experimental, organic and timeless.
The debut album, Finding ourselves in all things, features two lengthy tracks, standing in stark contrast to each other: Melting with butterflies is brimming with life. Chaotic, hysterical and joyous - celebrating the viewpoint of all small things and their seemingly frantic nature. The way mountains make love is equally intense, but with a quite different energy – a slow moving organic unity vibrating with the frequencies of everything big and ancient.
Both tracks explore and elaborate on its respective idea. Sonic layers unfold and overlap in long arches. The recording is representative for the duo’s way of thinking about form and musical storytelling through an extended use of their instruments’ possibilites. The vertical is always present in the horizontal and vice versa.
Katariin Raska (b. 1986) is from Estonia and plays a variety of instruments: soprano saxophone, jew’s harp and the Estonian bagpipe (torupill). She teaches folk music at the Estonian Academy of Music and Theatre and is active in several folk music groups in Estonia.
Christian Meaas Svendsen (b. 1988) is a Norwegian double bass player known from bands such as Paal Nilssen-Love Large Unit, Mopti and Duplex. He leads his own band Nakama and is the manager of Nakama Records. ]]>Nakama RecordsArt into Life18372026-04-11T14:24:08+09:00shopPseudo Code "Remains To Be Heard Volume 1 & 2" [2CD]
https://www.art-into-life.com/product/6477
Label: EE Tapes - EE31
数あるAlain Neffe関連プロジェクトの中でも主要な部類の一つPseudo Code。自身主宰のInsane Musicより1984と86年に…Label: EE Tapes - EE31
数あるAlain Neffe関連プロジェクトの中でも主要な部類の一つPseudo Code。自身主宰のInsane Musicより1984と86年に発表した[Remains To Be Heard]のVol1 & 2がセットで2CD再発(ボーナストラックも3曲追加)。これはかなりお得且つオイシ過ぎるエディションです。
Limited to 250 copies.
Reissue of 2 cassettes: Pseudo Code - Remains To Be Heard Vol. 1 (released 1984) and Pseudo Code - Remains To Be Heard Vol. 2 (released 1986).]]>EE TapesArt into Life33772026-04-10T23:56:29+09:00shopStuart Riddle "Dream Chord Mala" [CD]
https://www.art-into-life.com/product/16112
Label: Noise Maker
当店激推しのUK実験アンサンブルのリーダーによる、ラ・モンテ・ヤングの激ヤバなオマージュ作品!!コーネリアス・カーデューの193ページに渡る図形楽譜大作 "…Label: Noise Maker
Mala is a Sanskrit word meaning "garland".]]>Noise MakerArt into Life26072026-04-10T19:00:16+09:00shopRune Sochting "Air / Object" [Mini CD-R]
https://www.art-into-life.com/product/16110
Label: BIN
50部限定!!過去に当店レーベルと連名で音源をリリースしている、デンマークの芸術団体BINの2026年音源!!デンマークはシェラン島にて地元の前衛芸術の展示会及びコンサート…Label: BIN
50 copies limited edition* Composed of source material extracted from a recording of tuning forks in rainy weather. Vibrations of the metal, rain on contact microphone, small movements and noise from an electrical system. Comes in transparant jewel case.CD only, no digital edition ever.]]>BINArt into Life22772026-04-10T19:00:16+09:00shopMachtelinckx / Gouband / Leroux / Rasten "porous structures II" [CD]
https://www.art-into-life.com/product/15541
Label: Aspen Edities
このレーベルに関与する強者演奏家らによるカルテット録音!!Frederik Leroux、Fredrik Rasten、Ruben Machtelinc…Label: Aspen Edities
Belgian guitarist Ruben Machtelinckx lives in a world of sound. He interacts with his fellow musicians, deploying the most refined, delicate sort of interplay, as if collectively painting clouds for the ears. Diffuse harmonies, grainy textures, and rhythms that drift like fallen leaves offer a deeply meditative, gorgeously colored environment that the guitarist is helping to shape, but he’s also basking in the tones vibrating and shimmering around him. The music slows down time, forging an environment without boundaries that billows like smoke, constantly reshaping every fragile tone. It’s Machtelinckx’s sweet spot, but as much as he surrenders to the sonic ecosystem, he’s deftly aware of its subtle activity, rigorously participating in its real-time creation and development.
Back in 2019 he explained the motivation for his long-running, open-ended Porous Structures concept, saying, “We’re trying to achieve a state of being. It doesn’t have to go anywhere or have a direction.” At the time he was exploring the idea alongside reedist Joachim Badenhorst, fellow guitarist Bert Cools, and French percussionist Toma Gouband. Some of the music on the group’s 2019 Aspen Edities album was composed beforehand but even the fully improvised pieces featured Badenshort’s reeds and ghostly falsetto voice cutting through this dreamy sound world, nascent melodic strands that seemed to emanate from the collective resonance itself. Five years later Machtelinckx has remade the project, which continues to feature Gouband’s sui generis sonification of organic materials like stones and tree branches. The new quartet is rounded out with a pair of distinctive guitarists, long-time Belgian collaborator Frederik Leroux—Machtelinckx’s partner in the tender duo project Poor Isa—and the Berlin-based Norwegian Fredrik Rasten, a more recent creative partner with whom he also maintains a duo.
“What remains is the choice of acoustic and fragile sounds, comprehensible to the listener but with an undercurrent of tension and complexity,” says Machtelinckx. “What is new is the intertwining of acoustic guitars. The melodic voice is exchanged for yet another stringed instrument, resulting in a group sound in which individuals are barely distinguishable. The classical roles of an ensemble are abandoned: the three guitars weave a web in which the percussion moves freely. The quartet makes use of microtonality and plays a stubborn game of endless, subtle variations.” In some ways this assemblage furthers his earlier statement that the music doesn’t need to go anywhere, and indeed, on first blush the three pieces on this album appear to levitate. Still, when one digs deeper that claim isn’t entirely true. While the music doesn’t usually feature any traditional sense of propulsion, the performances definitely go somewhere.
Theoretically three acoustic guitars are indistinguishable from each other, but each musician has his own personality and style. The stacked guitars create a vertical sort of tension. Each player simultaneously adheres to a collective timbre, but within those limitations they can’t help but express a certain aesthetic essence. While I can’t identify who does what, there’s no missing the thrilling way individual aesthetics peek out in short, elegant flourishes; the humid harmonic churn giving way to poignant snatches of melody, only to dissipate as quickly as they formed. Machtelinckx’s decision to eschew a more conventional melodic voice gives Gouband greater freedom than with the previous line-up, which led to a change in the studio process. “I wanted all the details of the acoustic guitars, and at the same time I wanted Toma to be able to play full force,” Machtelinckx explains, so to preclude potential sound bleed and balance issues, the percussionist played in a separate room from the guitarists, with all of them listening to one another on headphones but without being able to see one other. Instead, the communication all came from listening. “The first Porous Structures album had some compositions of mine to steer the music in a specific direction. With this ensemble I did not feel the necessity to do this. We had a couple of conversations about different directions the music could go, and made some decisions before we started, but that's it.”
The sidelong opening piece “In my earliest memory I see trees'' is a marvel of deceptive stasis, where the music absolutely reflects “a state of being.” As the three guitars float on delicately intertwined arpeggios, single-note runs, and fleeting harmonic clusters, Gouband punctuates, prods, and caresses the action, sometimes inserting the sweet tintinnabulation of chiming cymbals, sometimes accentuating the drifty guitars with rustling friction, and sometimes pulling on the reins with a sudden stuttering tom-tom tattoo. The group does create something far more driving in “Falling forward becomes a walk,” which cleaves to the titular suggestion of gravity fomenting a kind of motion. Gouband is decidedly active and the guitarists toggle to three-way riff-oriented spontaneity—a kind of forceful walking in place. The quartet might not be moving from point to point, but it is sizing things up and pushing against edges. Tuning differences impart dizzying clouds of harmony on “Void of Narration,” the arrival of bowed guitar expanding the palette so that the slow motion entrance of Gouband on a quietly shimmering cymbal initially feels like a halo of the strings.
Astonishingly, this recording was the ensemble’s first ever performance together. “I feel that there can be something magical in a first meeting,” says Machtelinckx. “When you record a first meeting there is a sort of extreme focus and awareness of time, a gentle way of exploring each other and the music, a conscious doubt that I find very interesting.” It would be hard to disagree.
Peter Margasak
Berlin, March 2024]]>Aspen EditiesArt into Life24972026-04-10T19:00:16+09:00shopRhys Chatham, David Fenech "Tomorrowstartstonight" [CD]
https://www.art-into-life.com/product/13989
Label: Klanggalerie
重鎮作家の豪華共演!!ハープシコードのチューナーとして音楽キャリアをスタート、その後米電子音楽のパイオニアの一人であるモートン・サボトニックやラ・モンテ・…Label: Klanggalerie
The first duet album by Rhys Chatham and David Fenech, two well-known musicians of the experimental scene. It is a long piece of music in a minimalist spirit, where the two guitarists meet and merge with Rhys’ trumpets, flutes and vocals and David’s small percussion.This record has an organic feel and natural development that makes it unique. Tomorrow starts tonight ! Rhys Chatham is best known for his compositions for electric guitar orchestra… he began his musical career as a harpsichord tuner, studied flute with Sue Ann Kahn, studied shortly thereafter with electronic music pioneer Morton Subotnick and later with La Monte Young (also as a member of his famous “Theatre of Eternal Music” ensemble). He also played with Tony Conrad in an early version of his band The Dream Syndicate. In 1971, while still a teenager, Chatham became the first musical director of the famous venue The Kitchen in New York. He has played and recorded with musicians as varied as Charlemagne Palestine, Sonic Youth, Arthur Russell, Jonathan Kane (Swans), George Lewis, Band of Susans, David Toop, and in his large guitar ensembles with members of Tortoise, Godspeed You! Black Emperor, Hüsker Dü… David Fenech is a French musician living in Paris, guitarist, singer, improviser. He plays a wide variety of instruments and is an accomplished guitarist with his own technique… but his main instrument may well be the microphone, his music being composed of whatever he records with it. His distinctive, slightly baroque style, on the bangs of rock, jazz and improvised music, has often been described as “a kind of musique concrète punk”. He has performed and recorded with musicians as diverse as Felix Kubin, Tom Cora, Pierre Bastien, Jac Berrocal, Ghédalia Tazartès, Nurse With Wound… The music on this CD was recorded live at two concerts, one in Paris and one in Vienna. It was mastered by James Plotkin.]]>KlanggalerieArt into Life27172026-04-10T19:00:16+09:00shopDorothy Carter "Troubadour" [LP]
https://www.art-into-life.com/product/15613
Label: Drag City
オリジナルは1976年にCelesteより出版、音楽家及び民俗学者でもあったDorothy Carterがハンマーダルシマーとプサルタリーを用い録音した歴史的名…Label: Drag City
Drag City presents the first official reissue of Dorothy Carter’s 1976 debut album, her folk-music exegesis: Troubadour. It’s been 20 years since Dorothy’s passing — but thanks to last year’s reissue of her second album, Waillee Waillee (1978), and this edition of Troubadour, her music is surging forward ever more powerfully. Today’s announcement comes with a visualizer for the first single, “The King of Glory”, a hypnotic hymn hammered by Dorothy evoking western medieval music.
In her lifetime, Dorothy Carter, a self-made traveling musician and folklorist, brought forth masterful evocations on hammered dulcimer and psaltery from a myriad of times and places. Following a childhood spent around New England, Dorothy Carter travelled abroad for her higher education and found herself in Mexico during the late 1950s, intent on becoming a nun at the Cuernavaca monastery. Instead, she fell in with a group of expats including David Demby, his soon-to-be-wife Constance Demby (her moment of New Age musical breakthrough still three decades hence), and aspiring artist and musician Bob Rutman. In the early ’70s, this bunch would together form Central Maine Power Company: a troupe of almost feral improvisers playing on a combination of self-made and found instruments, with live video feedback to boot, performing across the Northeast at planetariums and even MoMA.
Dorothy had been playing music for decades by this point, but it wasn’t until 1976 that she’d record any of it. That year, she went to Cambridge’s Studio B with Rutman and friend Steve Baer at the console, with Constance and Sally Hilmer accompanying her. The performances captured there were released later that year as Troubadour: a record where, in addition to hammered dulcimer and psaltery, Dorothy played the flute and sang. She chose songs from all over: Appalachian folk tunes (“Shirt of Lace”), old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies (“The King Of Glory”), with a few of her own songs for good measure (“Masquerade”). They all flow together effortlessly under Dorothy and friends’ hands in a syncretic space that we can identify today as a garden of world musics — a highly energised, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her and us with the eternal.
The mythos and arcana Dorothy Carter pursued in relative obscurity is now inspiring an audience larger than she ever knew — and now, a long-held family dream comes true with this reissue of Troubadour, out August 30th. The vinyl edition reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from reissue producer Eric Demby exploring the era—his childhood—from a vantage point of some 50 years. After all: wherever his parents David and Constance took the family, there too was Dorothy, as she lived and breathed, playing her hammered dulcimer.]]>Drag CityArt into Life44772026-04-10T17:42:56+09:00shopLuc Ferrari "Les Arythmiques" [CD]
https://www.art-into-life.com/product/13722
Label: Blue Chopsticks
フランスの重鎮リュック・フェラーリが、1999年から2009年に掛けてDavid Grubbs主宰の米レーベルBlue Chopsticksに残した…Label: Blue Chopsticks
“The morning of May 29, 2003 when I awoke I could not breathe any more. I was taken to the emergency room, and there I was told that I had a cardiac arrhythmia. They made me an electrocardiogram and they showed it to me. I found that the arrhythmias were not very interesting, that I could do better” - Luc Ferrari]]>Blue ChopsticksArt into Life26072026-04-10T17:35:43+09:00shopLuc Ferrari – Interrupteur "Tautologos 3" [CD]
https://www.art-into-life.com/product/13720
Label: Blue Chopsticks
フランスの重鎮リュック・フェラーリが、1999年から2009年に掛けてDavid Grubbs主宰の米レーベルBlue Chopsticksに残した…Label: Blue Chopsticks
フランスの重鎮リュック・フェラーリが、1999年から2009年に掛けてDavid Grubbs主宰の米レーベルBlue Chopsticksに残した晩年のコンクレート/コンテンポラリー作の一つ[Interrupteur / Tautologos 3]。本作は1970年にフランスLa Voix De Son MaitreからLPリリースされた音源のリイシュー版であり、アンサンブルによるヒリヒリとした演奏が魅力の全9編。David Grubbsのライナーノーツが付属。
A Reissue of two classics by this influential Frenchman. The first release on David Grubbs' new label!
LP originally released in 1977 by EMI Music (Germany)]]>Blue ChopsticksArt into Life26072026-04-10T17:35:21+09:00shopNoel Akchote / Roland Auzet / Luc Ferrari "Impro-Micro-Acoustique" [CD]
https://www.art-into-life.com/product/13719
Label: Blue Chopsticks
フランスの重鎮リュック・フェラーリが、1999年から2009年に掛けてDavid Grubbs主宰の米レーベルBlue Chopsticksに残した…Label: Blue Chopsticks
Five spontaneous compositions—a contradiction? Of course not!—via Luc Ferrari’s trained Piano, Noël Akchoté’s sinister Guitar, Roland Auzet’s lost and found Percussion, and OBJECTS! All brilliantly collected with hand-held microphones.]]>Blue ChopsticksArt into Life26072026-04-10T17:34:53+09:00shopManuel Mota & David Grubbs "Lacrau" [LP]
https://www.art-into-life.com/product/14203
Label: Blue Chopsticks
当店が激推しで紹介し続けて来た、90年代から優れた即興ギター録音を継続し、現在まで50タイトル程の音盤をリリースしているポルトガル孤高の音楽家Man…Label: Blue Chopsticks
The first duo performance between DG and the mysterious Portguese guitar legend; a real-time, documentary feel in which athematic, non-repeating musical gestures are rendered with an extreme sensitivity to microscopic soundworlds brought about by fingertips, strings, and tube amplifiers.]]>Blue ChopsticksArt into Life39272026-04-10T17:34:12+09:00shopDavid Grubbs & Taku Unami "Comet Meta" [LP]
https://www.art-into-life.com/product/14202
Label: Blue Chopsticks
主にラップトップとギターを使いRadu Malfatti 、Eric La Casa、Graham Lambkinら国外のベテラン勢との実験及び即興…Label: Blue Chopsticks
主にラップトップとギターを使いRadu Malfatti 、Eric La Casa、Graham Lambkinら国外のベテラン勢との実験及び即興作品を数多く残している宇波拓氏、説明不要の非常に幅広いキャリアを持つDavid Grubbsとの2020年共作。それぞれエレキギターを中心にピアノやフィールドレコーディング、シンセ、コンピューターも導入、しっとりとした美しいリフを挟みながら程良く実験的に進行する全6曲のインストアルバム。
Grubbs and Unami are fully in third-mind territory after their touted 2018 debut, Failed Celestial Creatures. From pindrop twin-guitar focus to Grubbs’s piano maneuvering in Unami’s electroacoustic forcefields, to unclassifiable throbs, ceiling fans, and the exultation of the crowd at the NYC marathon, Comet Meta casts a gorgeous avant spell.]]>Blue ChopsticksArt into Life39272026-04-10T17:33:48+09:00shopDavid Grubbs & Jan St. Werner "Translation from Unspecified" [LP]
https://www.art-into-life.com/product/14201
Label: Blue Chopsticks
音声詩ファンに激推しの内容!!Mouse On Marsの活動でも知られるドイツのJan Stephan Wernerと、説明不要の非常に幅広いキャ…Label: Blue Chopsticks
音声詩ファンに激推しの内容!!Mouse On Marsの活動でも知られるドイツのJan Stephan Wernerと、説明不要の非常に幅広いキャリアを持つDavid Grubbsの2022年共作。ここBlue Chopsticksより発表されている一連のDavid Grubbsコラボ作の中では、ダントツにアヴァンギャルドに振り切った激オススメの一枚!!David Grubbsの朗読をエグい程に加工しまくる音声詩的音源を収録、Robert AshleyやAnton Bruhinのファンも是非!!
David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was playing with Gastr del Sol and the Red Krayola and St. Werner in Mouse on Mars and Microstoria. After years of exchanging ideas, Translation from Unspecified marks their first time locking horns as a duo, and it’s clear this deck-clearing collaboration was long overdue. In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse with a guitar and “Translation from Unspecified,” an open-ended, seemingly self-generating poem suggesting AI, one of the themes in St. Werner’s recent work. This became the side-length title track, a winding corridor of electronic fanfares and spontaneous musical miniatures urging Grubbs’s slow and steady recitation to grow wings and graduate into song. Who knows where this idiosyncratic mise-en-scène—day-glo, extrovert electronics and task-oriented human—came from? Reference points, distant ones, might include Robert Ashley and Paul De Marinis’s “In Sara, Mencken, Christ and Beethoven...” and the sound poetry of Anton Bruhin. Flip the record and you have “Soixante Ooze,” a live-in-the-studio duo for guitar and computer more recognizably St. Wernerian and Grubbs-like that reconfigures elements of the title track before finally morphing into needle-pinning monoliths of sound.]]>Blue ChopsticksArt into Life39272026-04-10T17:33:26+09:00shopDavid Grubbs & Mats Gustafsson "Apertura" [CD]
https://www.art-into-life.com/product/15160
Label: Blue Chopsticks
未体験の方は是非、異質のミニマル持続音作!!非常に幅広いキャリアを持つ百戦錬磨の音楽家David Grubbs、ソロ及びセッションを含め90年代初頭…Label: Blue Chopsticks
Duets for harmonium and whateveraphone. These pieces are starkly out of character for both individuals, but no less excellent.]]>Blue ChopsticksArt into Life24972026-04-10T17:32:54+09:00shopDavid Grubbs "Prismrose" [CD]
https://www.art-into-life.com/product/15161
Label: Blue Chopsticks
非常に幅広いキャリアを持つ百戦錬磨の音楽家David Grubbs。2014年11月から2015年7月に掛けて録音された、シンプルなエレキギターによ…Label: Blue Chopsticks
Prismrose is a nearly wordless collection of six pieces for electric guitar, all given real time to breathe and mutate. It’s an album that documents what an electric guitar sounds like in David Grubbs’s hands — with Eli Keszler dropping by to pummel some drums — now that we’ve stumbled into the year 2016.]]>Blue ChopsticksArt into Life24972026-04-10T17:32:31+09:00shopIdea Fire Company "Hot Enough For You?" [LP]
https://www.art-into-life.com/product/16045
Label: Horn of Plenty
37年間の活動を経ても尚、リスナーを魅了し続けるベテランプロジェクト!!Scott FoustとKarla Boreckyのプロジェクトとして88年に…Label: Horn of Plenty
37年間の活動を経ても尚、リスナーを魅了し続けるベテランプロジェクト!!Scott FoustとKarla Boreckyのプロジェクトとして88年にマサチューセッツでスタート、自主レーベルSwill Radioを中心に現在まで多くのアルバムを作品を残してきたIdea Fire Company。2019年〜2023年に掛けてRobert Beerman(パーカッション)、Matt Krefting(アルトサックス)、Mike Popovich(ベース)、Timothy Shortell(クラリネット)を迎え録音された、英Horn of Plentyからの2025年末のアルバム[Hot Enough For You?]。ジャケットイメージ通り、数十年かけて磨き上げてきた沈没船が漂うかの様なシュールな浮遊感は、ストレンジなラウンジミュージックの様相。
This latest dispatch from the ever-enduring world of Idea Fire Company was recorded between 2019-2023 in Vermont & Massachusetts with the core duo of Karla Borecky and Scott Foust joined by Robert Beerman on percussion, Matt Krefting on alto sax, Mike Popovich on bass, and Timothy Shortell on clarinet.
The minimal sinking-ship drift IFCo have honed for decades plumbs surreal new depths on 'Hot Enough For You?'. Like lounge music refracted through a thousand burning cocktails.
The album’s title & cover suggest a theme or concept but nothing’s made explicit. Could it be a nod to Liza Minelli’s faded starlet attempting a comeback in 'The Act'? Or maybe a comment on impending environmental collapse? Are those fish on the cover swimming in the sea or a tank?
Either way, Idea Fire Company continue to confound and perplex after 37 years of activity. Aren’t we the lucky ones!
Karla Borecky - keyborads, piano
Robert Beerman - percussion
Scott Foust - synth, trumpet
Matt Krefting - alto sax]]>Horn of Plenty <OArt into Life46972026-04-09T13:34:32+09:00shopDelphine Dora "A l'abri du monde" [CD-R]
https://www.art-into-life.com/product/16159
Label: Early Music
瞬殺廃盤音源が再プレス!!現在はスウェーデンを拠点に置く孤高のギタリストJon Collin主宰がするEarly Music。このレーベルから2022年に発…Label: Early Music
CDR in heavy board-and-kraft-paper sleeve with black risograph printed pasted on cover, riso-printed insert and obi strip. Edition of 80 copies.
Recorded, composed and played by Delphine Dora between 2019 and 2021.
Vocals, prepared piano, piano, synth, keyboards, objects, field recordings – Delphine Dora
"A l'abri du monde was made from a series of recordings made between 2019 and 2021 at the Val d'Allier Ecopole (Puy-de-Dôme, Auvergne). Located on the edge of a large river, the 140-hectare site, at the gateway to the Clermont-Ferrand agglomeration (center of France) once dedicated to the extraction of aggregates (sand and gravel), has recently undergone an ecological rehabilitation. The quarries have been replaced by two large ponds which now host numerous species of migratory birds and a rich biodiversity. The surroundings of this location are relatively urbanized and a sand quarry is still in operation a short distance from the large pond. It is now primarily a place for local residents to walk and for birdwatchers to observe.
This piece reflects my interest in the specificity of a site, the sounds of the environment, the spaces between city and nature, the disappearance of certain birds species. I drew from this astonishing place to feed my sound imagination and redeploy a personal cartography.
My first motivation was to become more aware of my sound environment, creating a subjective interpretation of the place through a poetic and subjective listening. The real issues of this landscape have a double interest, as it presents a successful hybridization between nature and culture. A hybrid place: on the one hand, a natural site favorable for
contemplation, an experimental space with ecological vocation (bird observatory, place of fishing and organic market gardening), created in response to the environmental mutations in progress (degradation and climate change); on the other hand, an extremely sensitive site threatened by the noise nuisances related to road traffic, perceptible noises of the quarry of extraction, human and industrial activities in the vicinity (companies, stores). It is from the richness of the sound complexity of this place, from multiple sound recordings at different places of the landscape, from a careful listening to the details of the environment and from interaction with the sound matter of the place, that each sound was captured in a haphazard way or carefully selected for its suggestive potential, arranged later - revealing delicate complexities.
I sought to interrogate the spaces between sound and silence, making one feel that sense of quietude, away from urban agitation and that silence threatened by human activity. The atmosphere of this place also translated a striking social and political off-field: the lightness of certain recorded words or scenes of life could contrast with certain political demonstrations or social events that took place during the period of the recording.
Although the Anthropocene and the effects of human activities on animal species and the landscape, and more generally on the relationship between humans and non-humans was an important preoccupation, my primary interest was to question the way in which the sounds we perceive convey a subjective reality and can become inscribed in the memory and imagination of the listener, reconnecting with the sensitive experience, through an interaction between the "active" listening of a place and the creative voice it brings. I have thus musicalized the sound material by adding voices, acoustic instruments (piano, prepared piano) and electronic instruments (analog synthesizer, keyboard, electronic sounds...), blurring the boundaries between instrumentation and field recordings, in order to restore the environment crossed, to create an in-between, a sound space between real/imaginary, concrete/abstract reality, visible/invisible." ]]>Early MusicArt into Life20572026-04-09T13:31:29+09:00shopAlex York "Black Tupelo" [CD]
https://www.art-into-life.com/product/14465
Label: Helicopter
米Helicopterらしからぬミニマル・アンビエント作!!米オハイオを拠点に活動するエクスペリメンタル/ノイズアーティストAlex Yorkの2023年11…Label: Helicopter
Alex York’s Black Tupelo comments on the obscured line
between American folk music and spiritual minimalism. Through
sampling across analog and digital media, including vinyl, cassettes, and YouTube, Black Tupelo derives all its sonic
material from recordings of Powers / Rolin Duo. In the past, York
has primarily sampled jazz musicians, but gravitates towards
acoustic drones on this record, which lend to collage and
layering. In approaching these samples, York was inspired by a
Roscoe Mitchell live performance in which he plays with a video
recording of himself, as well as the call-and-response recording
technique of Chris Corsano and Bill Orcutt’s Made Out of Sound.
Applying these concepts to his own method, York also adds pitch
shifting to the samples and doesn’t shy away from including little
idiosyncrasies, such as the resonance of someone bumping
into an instrument or tuning during a YouTube live performance.
To make each element a little fuzzier, York’s samples passed
through many permutations amongst tape, computer, and MPC,
ultimately forming a complete blend of analog and digital.
The title of the album, Black Tupelo, refers to the species of
tree found in the foothills of Appalachia where Alex York grew
up. On the record, he emphasizes the minimal qualities of
repetition, drone, and timelessness that are characteristic of the
region’s folk tradition. According to York, he draws upon and
transforms folk to “create minimalism’s spiritual and meditative
qualities.” Structured folk and blues on recordings struggle to
capture the minimal aspects of the tradition, such as how live
folk performances can continue for several minutes, droning
throughout on half of the instrument’s open-tuned strings. York
cites The Carter Family as a significant influence, describing them
as “ghost music, spiritual music” with a lo-fi essence. Listening
to their records is “like listening to a folk band play three rooms
away, from outside of the venue, from outside of the church,” he
said. For York, there has never been a place where American
folk music ends and spiritual minimalism begins. Coreleased by
Fourth Floor & Helicopter. (Hannah Blanchette)]]>HelicopterArt into Life24972026-04-09T06:00:12+09:00shopAki Onda "Cassette Memories Vol. 3: South Of The Border" [CD]
https://www.art-into-life.com/product/11961
Label: Important Records - IMPREC309
鈴木昭男氏やDavid Toopとの共演、そして何よりポータブルレコーダーにてフィールド録音を日常的に行う30年に及ぶプ…Label: Important Records - IMPREC309
鈴木昭男氏やDavid Toopとの共演、そして何よりポータブルレコーダーにてフィールド録音を日常的に行う30年に及ぶプロジェクト[Cassette Memories]にて知られるサウンドアーティスト恩田晃氏。本作は2012年に米Important Recordsから発表された廃盤CD[Cassette Memories Vol. 3: South Of The Border]。
BIRKUT of Tiny Mix Tapes wrote "The latest collection of Cassette Memories from Japanese field recording maverick Aki Onda comes spun along a grizzled cocktail of bewitched and alienating tape hiss. Cinematic by the project’s distinctive virtue, this warped and distorted concoction arranges spliced chunks of stock excerpts from the artist’s curious expeditions to Mexico: birds screeching, tires spinning, waves crashing, distant pop tunes wavering, and a slipshod assembly of marching street bands, all over a rickety tide of AM crackle and gorged, tumultuous static. This most recent installment is momentous, an exploit that commands one’s attention as a nostalgic journey is curated, across the border, via an assemblage of busted tape recorders and crackerjack manipulation techniques.
What makes South of the Border such a strapping listen is the measures deployed in embedding the hypnotic, meditative clutter residing within these soundscapes, but contemplative listens lead to a number of questions concerning the album’s very premise: With a production quality so rough and coarse, why were these segments recorded in the first place? Were they purely captured for audience playback, or did there exist some alternate intent? The overarching title is a generous giveaway, as each chapter embodies specific recollections that Onda has decided to impose through his favored medium of documentation. This album is the third in a series that has taken him around New York, New Hampshire, Rio de Janeiro, Salvador, Tokyo, Paris, Tangier, Valencia, Lisbon, and London. Abstract tonalities are captured on location before they are edited, using an assortment of magnetic tape tools and evocative effects to create rugged textures.
One of the central principles behind Onda’s work is that each piece should resemble the sounds of daily life; they are about people, places, and activities that occur with distinct regularity. The final mix embodies instances of an outsider peering in to observe the fractured interplay that exists between the practitioner and his subject, the former expertly wielding his skill at mangling the results in creating what he refers to on his website as “cinema for the ear.” Indeed, Onda’s initial motive for moving to New York in the 1990s was his love for film. It was in developing his passion for motion pictures that he began to work on Cassette Memories, the latest episode of which bears an uncanny resemblance to a curious adventure his father embarked upon around Mexico with a movie camera in 1968. As part of the Japanese Olympic hockey team, Onda’s dad documented his travels in Mexico City with a Super 8 camera in an attempt to present foreign environments for the benefit of his friends and family back home, a feat that he accomplished using an apparatus now revered for its crumbling, gritty style. It is plausible to assume that South of the Border is an attempt at recreating a disjointed soundtrack to memories of watching that escapade, flickering rickety through an old projector.
The results are as cross-grained as disintegrating Kodachrome. Two of Onda’s tape recorders were broken beyond repair during the recording process, a technological defect that has been rigorously flaunted and that works to the project’s advantage. This grating, bungled style is demonstrated right from the very outset, where “A Day of Pilgrimage” bursts on the scene with sporadic marching drums and shrill trumpet blasts. The music is heavy, but only because it dutifully replicates the importance of noise for individuals traveling abroad or working in foreign environments. Noise remains integral to experiencing foreign surroundings, regardless of the form it takes — a busted boom box cranked to ear-splitting volume at a Burmese village celebration; the roar of motorbike horns and tuk-tuks in full throttle during rush hour traffic in Mumbai; the harsh chirping of insects courting in Sri Lankan jungle thicket or the blistering silence of Auschwitz — noise builds on magnitude with the unfamiliar, and that is delightfully captured on this extraordinarily pounding sequence. The fractured intensity of those marching drums is cut between the hiss of a broken tape deck and the laughter of gamesome children. Strangers beckon and shout as the pilgrimage shifts its direction; the festivities gradually fade away, the rumbling of tires proceeds driftless prattling, and the intensity subsides.
Whatever daily utterances sheathe “A Day of Pilgrimage,” they were clearly part of an event that impacted the artist. The arrangement is not just a reorganized and braided interpretation of what he was exposed to; splinters of conversation and inconsequential resonance are so intricately framed that they surely bear importance for the man who experienced this entire caper on the back of his father’s film experiments. On “Bruise and Bite,” it feels as though the microphone has been buried in a sandpit, unable to pick up anything but aural portions of what is happening elsewhere. A propeller fan hisses and loops while people chatter behind frazzled radio pop melodies that shimmer somewhere distant. The remaining minutes sound like they were chronicled in a cave, choral singing looped and pitched shifted to create a sorrowful and tender mood, the chorus rippling along solicitous looping as the feedback of broken kit meshes the track together. It’s an awesome listen, part of an incredibly robust and imaginative composition that uses the most unorthodox recording methods while conjuring a daringly intrusive and powerful atmosphere. It feels as though a secret is being slowly divulged, fragments of Onda’s journey as he re-imagines his father’s concept.
The forceful wind instruments that allow for such power to be construed are revisited on “I Tell a Story of Bodies That Change,” which is both an extension of their presence on the album and an instrumental mantra that swells and pulsates amid the weird scraping of dodgy implements. At this point, it appears as though the cassette deck has been dropped in a bucket of glue and played back through a completely obliterated walkman — the dirge it creates is incredibly tense and impossibly alienating. Although the final number is particularly long, it allows for sequences hinged on repetition to hook themselves into the rest of this accomplished release, which bolsters the premise that these are not just random modulations captured off the cuff and dished out on disc; they are expertly mixed, well-comprehended configurations that encourage disjointed layers and textures to bloom while cushioning the artist’s lo-fi tendencies.
This cracking supplement to the Cassette Memories series brings location to the fore in a more prominent way than any of its predecessors, and the connection it has with Onda’s father punctuates the importance of the public events and the conversations presented here. The arrangement of material and the aural environment that surrounds it is exceptionally well-treated, making this a genuine triumph in field recording and sound collage. Onda has taken great care with a bold and imaginative concept, assembling a beautifully emotive addition to his catalog, an embracing cinematic depth-charge that encapsulates the full scope of his potential within a tapestry of recordings that remain delicate and subtle, despite the aggressive sibilance each track is wrapped up in." ]]>Important RecordsArt into Life27172026-04-09T05:53:09+09:00shopCoil "Black Antlers" [2LP]
https://www.art-into-life.com/product/15584
Label: Dais Records
後期Coilの重要作!!未体験の方は是非!!1990年代後半、MTV時代のミュージックビデオ監督として成功を収めたピーター・クリストファーソンはジョン・バ…Label: Dais Records
後期Coilの重要作!!未体験の方は是非!!1990年代後半、MTV時代のミュージックビデオ監督として成功を収めたピーター・クリストファーソンはジョン・バランスと共にロンドンから田舎町ウェストン・スーパー・メアへと移住。その後サイポールサンドラを含む新メンバーが次々と加入し音楽制作の環境が加速、Coilのディスコグラフィーはほぼ倍増という状況へと変貌する。本作[Black Antlers]は2004年の「Even an Evil Fatigue」ツアーに合わせて作られた後期Coilの最も純粋な姿を体現した一枚であり、無駄を削ぎ落としタイトに、そしてよりビートを強調しリズミカルに仕上げられた説明不要の名作。
In the late-1990s, after a successful career as an MTV-era music video director, Peter "Sleazy" Christopherson moved with Jhonn Balance - his partner in life and in Coil - from London to the rural Weston-super-Mare, creating an environment for all things "musick, musick, musick!" with a revolving door of new members, including Thighpaulsandra. This eruption in activity saw Coil's discography nearly double, and during this fruitful period, Thighpaulsandra asked the simple question: why doesn't Coil play live? After a 16-year wait, thanks to the rapid technological advancement in the form of MacBooks, DAWs, VSTs and plugins, Coil were able bring their music to the stage as always envisioned. In live performance, they could embrace the risks and freedoms of real time sonic manipulation, as noted by Sleazy: "Reshape the show minute by minute... the direction is very spontaneous, not so much in the way of like jazz improvisation but in a kind stream of consciousness… Thighpaulsandra brought us his wisdom, and he was able to convince us we could do it."
From 1999 to 2003, Coil was "like a snake shedding its skin," transforming every six months into something "completely different." Their evolution was documented in real time through the recent advent of lower-cost CD-R manufacture, on limited edition albums including 'Constant Shallowness Leads To Evil' and 'Queens of the Circulating Library.' In preparing for 2004’s "Even an Evil Fatigue" live series, Coil began work on their next period-defining masterpiece, 'Black Antlers.'
'Black Antlers' showcases late-period Coil at their purest: stripped down, tighter, and leaner. The music became more rhythmic, with a greater emphasis on beats: "the songs we did tend to be more... not rock in any sense of a word, but you know, more conventional in terms of structure, but now what we're doing is sort of within an 'electronic' genre." The sound of 'Black Antlers' is of an intoxicating energy, combining Thighpaulsandra's advanced synthesis, Balance's poetic lyricism and Christopherson's flirtations with jazz and Ableton-aided PowerBook maximalism. Rounding out the trio were renowned hurdy-gurdy player Cliff Stapleton on a "specifically commissioned" electric variant, to merge into the band’s "strange and other-worldly music"; Royal Academy of Music trained percussionist Tom Edwards (who also appeared with Thighpaulsandra in Spiritualized’s live band); and European and Near East winds specialist Mike York on pipes, bombarde, duduk and balalaika. Initially released as an "album-in-progress" in June 2004, a post on the Threshold House website noted, "Please remember that September will see Coil recording the album "Black Antlers (Proper)"." Jhonn Balance passed away that November; Christopherson would reunite with 'Love's Secret Domain' collaborator Danny Hyde to complete 'Black Antlers' by May 2006.
Revitalized energy marked 'Black Antlers''s recording, paired with the group's signature wordplay and humor (the name came from a series of imagined adult film titles). At their "Evil Fatigue" tour opener in Paris, Jhonn Balance presented the revised "Teenage Lightning (10th Birthday Version)" as, "an updated version of one of our older-never 'hits.'" The song, about the energy generated by "two teenagers, or old age pensioners" rapidly pulses, with Edwards's marimbas electronically modified and arpeggiated by Christopherson. Album opener "The Gimp (Sometimes)" is hypnotic and hallucinatory, recalling Coil's 90s period, with a potentially uneasy air, filled with repetition, distorted vocals, and Thighpaulsandra's modulated drone. "Sex With Sun Ra (Part One - Saturnalia)" reveals the potentials of the 2004 lineup, as it writhes and glides through an imagined conversation with the legendary composer, building into overdrive. On the complementary piece, Christopherson & Hyde's "Sex With Sun Ra (Part Two - Sigillaricia)", the song evolves into a throbbing ouroboros of glitches and free flowing energy, with York's pipe samples reverberating almost filmically. One highlight is "The Wraiths And Strays Of Paris", an expansion of the song's first release (as "Wraiths And Strays (From Montreal)", available as a downloadable bonus track). "Of Paris" takes Thighpaulsandra synthesized warmth and Christopherson's PowerBook manipulations & stylizations from the original, adding samples taken from multi-track recordings of the full live band - including Balance's vocals from the Paris show - fully realizing Christopherson's desire of "taking the (electronic) genre to a place that people would find unexpected, and more challenging." Adding to the unexpected, and building upon their own uncompromising legacy, Coil delicately cover the traditional African American lullaby (and "friend's song") "All The Pretty Little Horses", with Balance's vocals soothing the listener in an almost hushed whisper.
For Christopherson, following Jhonn's death, the relevance and power of Coil's creative output changed. He had one goal in mind: "to maintain the availability of the archive for future generations." In original form, 'Black Antlers' represented the possibilities of a new era for the group, built from the momentum of live performance, new sounds and ideas. For the final version, 'Black Antlers' reunited Coil members from over the decades, collaborating across the boundaries of fixed time. There would be no more new Coil, only the completion of unfinished projects, bringing them to a standard which Balance would "have loved and approved of."
Dais Records would like to thank Thighpaulsandra and Danny Hyde for their collaboration on this reissue.
The Dais reissue presents Coil's 2006 version 'Black Antlers' with 2004's "Wraiths And Strays (From Montreal)" available as a downloadable bonus track. ]]>Dais RecordsArt into Life46972026-04-08T23:23:32+09:00shopCoil "Musick to Play in the Dark" [Purple & Black Smash 2LP]
https://www.art-into-life.com/product/12489
Label: Dais Records - DAIS 155
パープル&ブラックヴァイナル版を入荷！！1999年に英ChaliceからCD&LPフォーマットにて出版、元スロッビング・グリッスル及…Label: Dais Records - DAIS 155
パープル&ブラックヴァイナル版を入荷！！1999年に英ChaliceからCD&LPフォーマットにて出版、元スロッビング・グリッスル及びサイキックTVのPeter ChristophersonとJohn Balance、そしてDrew McDowall、Thighpaulsandraの4人編成で録音した名作[Musick To Play In The Dark]の正規リイシュー版！！音響合成とサンプリングの技術的な進歩により構造が強化された1990年代後半の音源で、先鋭的なグリッチサウンドやダウンテンポ、秘教的インダストリアル、オカルト・エレクトロニクスと、もはや神秘サウンドのコレクションとも言える多彩なアプローチが聴けます。
Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" packaging. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra. ]]>Dais RecordsArt into Life55772026-04-08T23:23:32+09:00shopThe Haters "Los Angeles, Not The Totimorphous" [CD]
https://www.art-into-life.com/product/15807
Label: Helicopter
45周年を記念した新旧パフォーマンス録音集!!1979年にハリウッドを拠点とするGX Jupitter-Larsenが始動した流動的編成の雑音プロジェクトTh…Label: Helicopter
A survey of contemporary and historical performances in Los Angeles by The Haters, formed in 1979 by GX Jupitter-Larsen. From the liner notes: July 15, 2024: Staged at the Coaxial Arts Center GX, AMK, John Wiese, and Elden M performed together as The Haters. GX on modified transistor radio. AMK on modified turntable. John on modified magnetic tape. And Elden on modified rust. It was unofficially The 45th Anniversary Show. (#435) August 4, 2011: A 12 minute installment of “Loud Luggage / Booming Baggage” with GX, Jessica King, and Elden M performed as The Haters, operating amplified suitcases. Staged at Los Angeles Contemporary Exhibitions, (#373) March 12, 1991: Paper was cut. Paper was ripped. Paper was torn. (#116)]]>HelicopterArt into Life24972026-04-08T20:03:29+09:00shopThe Haters "New York About The Polywave" [CD]
https://www.art-into-life.com/product/15806
Label: Helicopter
45周年を記念した新旧パフォーマンス録音集!!1979年にハリウッドを拠点とするGX Jupitter-Larsenが始動した流動的編成の雑音プロジェクトTh…Label: Helicopter
45周年を記念した新旧パフォーマンス録音集!!1979年にハリウッドを拠点とするGX Jupitter-Larsenが始動した流動的編成の雑音プロジェクトThe Haters。2025年2月22日にクイーンズTV EYEで上演されたという、巨大な木製時計にシャベルを擦り付け、引っ掻いたライブ録音[Digging Through Time]、扇風機に押し当て且つアンプリファイした電卓を使い機械的なリズムを生み出した2001年[Dirwyn]、そしてお馴染み紙や段ボールに何百もの穴を儀式のように開ける、1991年の穴あけパンチノイズ録音[Clici-Clic]という充実の内容。
A survey of contemporary and historical performances in New York by The Haters, formed in 1979 by GX Jupitter-Larsen. From the liner notes: Feb 22, 2025: It was an installment of “Digging Through Time” staged at TV Eye in Queens. Performing as The Haters, GX scraped a shovel against a large wooden clock he was holding up, while John Wiese and Crank Sturgeon scratched and sanded their own shovels. The venue was well past its capacity. The audience smashed up the oversized clock after GX tossed it into the crowd. The audience demanded an encore. They were not disappointed. (#436) June 7, 2001: A variation of the “Dirwyn” performance (amplified calculator against a small fan). GX used his Untitled Title Belt for additional sounds. Staged at the gallery Scrape & Pry. (#284) Dec, 8, 1991: The first ever clici-clic performance. A “clici-clic” is a hand-held hole-punch mounted with a contact-mic for amplification. Three members of The Haters each used a clici-clic to pop hundreds upon hundreds of little holes through numerous sheets of paper & cardboard. Staged at the Generator gallery when it was still located in Chelsea. (#155)]]>HelicopterArt into Life24972026-04-08T20:03:29+09:00shopOrganum - Z'EV "Tocsin -6 Thru +2" [CD]
https://www.art-into-life.com/product/10214
Label: Die Stadt - DS77
Organumと、2017年に他界したZ'EVによる共演。2004年Touchからリリースされた音源の続編的作品であり、高密度且つ重厚な金属ドロー…Label: Die Stadt - DS77
Original recording session 26 January 2004 at RMS Studios London.
Instruments:
- Stainless steel piece constructed by Z'ev circa 1989 from materials sourced at Bow Road Scrapyard.
- Grand piano built by George ROgers & Sons during the reign of Victoria Regina Et Imperatrix.
"We worked side by side in Peckham in front of my computer from 13 Nov 2006 through 21 Jan 2008 and but so then David took it upon himself in South Norwood at RMS Studios from 10 Mar 2008 through 23 Jun 2008".]]>Die StadtArt into Life24972026-04-08T16:55:56+09:00shopDavid Philip Jackmam "Schining" [2CD]
https://www.art-into-life.com/product/15163
Label: Die Stadt
国内Siren Records及びここ独Die Stadtより新録を出版し続けている英実験界の超重要作家David Jackman。2024年10月リリースなが…Label: Die Stadt
国内Siren Records及びここ独Die Stadtより新録を出版し続けている英実験界の超重要作家David Jackman。2024年10月リリースながら漸く流通が開始された"David Philip Jackman"名義の2CDタイトル[Schining]。シュルティボックスの様な持続音、低いゴング、ピアノを叩く音、教会の鐘が荘厳なミサの様な雰囲気で続いていく神秘的な長編。
The next in Die Stadt's Jackman/Organum series, continuing his persuit of the monolithic shifting structure.
Review by Frans De Waard, Vital Weekly : Music and musical releases can be controversial for many reasons. Lyrical content, shocking covers, too loud, too quiet: David Jackman’s music is controversial for none of these reasons. His music isn’t noisy or silent, with no lyrical content or a shocking cover. I am not on any discussion group online and never was, but I can imagine a discussion with the topic: “Is David Jackman doing the same thing over and over again?”. I don’t know the answer, but I can guess. We can say the last few releases (and I am discounting his Organum Electronics releases; they are in a different league) contain the same musical elements. I copy from my last review, “A drone, Shruti-like, some low gong sound, the occasional bang on the piano, a church bell and some crows flying overhead”. The crows may have flown away, but the other elements are there. I also wrote, “The drone is continuous here; the others appear irregularly. The whole work is slow and majestic. The music has a funeral aspect, like a black-and-white picture from an Edgar Allen Poe story. It is very similar to much of his recent work, and it is hard to figure out the difference(s). All of this fits my pop-art theory. I love this mystique and playing around with similar ideas and notions. I am sure this mystery will never be unravelled”
On ‘Shining’ (is that a word? Google pushes forward ‘The Shining’), we have two of these works, and they are different, more than just the numbers 1 and 2 on the discs. On the second disc, the intervals appear quicker, and the disc is a few seconds shorter. Both pieces feel like a requiem mass in a church, complete with those church bells. And why is this one credited to David Philip Jackman? More mystery or willful obscure?]]>Die StadtArt into Life32672026-04-08T16:55:31+09:00shopDavid Jackman "A Cloud Of Light" [CD]
https://www.art-into-life.com/product/14685
Label: Die Stadt
国内Siren Records及びここ独Die Stadtより新録を出版し続けている英実験界の超重要作家David Jackman。2024年5月に本名でリリー…Label: Die Stadt
国内Siren Records及びここ独Die Stadtより新録を出版し続けている英実験界の超重要作家David Jackman。2024年5月に本名でリリースした[A Cloud Of Light]を入荷。タンプーラ、オルガン、ピアノ、ベル、カラスの声を音源としてセレクト、それらを重ね合わせたスローに変化する全44分の音のタペストリー。2023年録音、ジャケットデザインはお馴染みJonathan Colecloughが担当。
‘A Cloud Of Light’ is the fourth album in the DAVID JACKMAN / ORGANUM ELECTRONICS release series on Die Stadt, and the first under his own name. The work sees him returning to calmer fields of sound which could already be heard on the acclaimed D. JACKMAN ‘Herbstsonne’ (DS119) from 2019, and the following JACKMAN ‘Silence In That Time’ (DS123) from 2020. Again the sounds of Tampura, Organ, Piano, Bells and Crows are the chosen sound sources, overlaid and structured to form a tapestry of shifting textures.
Recorded in 2023 and edited by Alan Jones at RMS Studios in South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough.
UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which eventually evolved into a new version under the name ORGANUM ELECTRONICS in 2019. Since 2019 five albums were released by Japanese imprint Siren Records, followed by (so far) four albums on Die Stadt.
This is the fourth of seven albums which are scheduled for release on Die Stadt until the end of 2024. Apart from several albums under the ORGANUM ELECTRONICS moniker these will also include works under David Jackman’s own name. A subscription to the complete series including an exclusive Bonus album is available directly from Die Stadt.]]>Die StadtArt into Life24972026-04-08T16:55:02+09:00shopOrganum Electronics "Darcknes" [CD]
https://www.art-into-life.com/product/14309
Label: Die Stadt
ドイツの老舗Die StadtよりOrganum Electronicsによる姉妹作[Darcknes]&[Quitude]が登場!!国内Siren Recor…Label: Die Stadt
Organum Electronics ‘Darcknes’ is the sibling album of ‘Quietude’ (DS128). It is a similarly dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Darcknes’ (DS130) is the second OE release on Die Stadt. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.]]>Die StadtArt into Life24972026-04-08T16:54:34+09:00shopOrganum Electronics "Quitude" [CD]
https://www.art-into-life.com/product/8504
Label: Die Stadt
ドイツの老舗Die StadtよりOrganum Electronicsによる姉妹作[Darcknes]&[Quitude]が登場!!国内Siren Recor…Label: Die Stadt
Organum Electronics ‘Quietude’ is another intense aural experience. A dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Quietude’ (DS128) is the first OE release on Die Stadt.. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.]]>Die StadtArt into Life24972026-04-08T16:54:12+09:00shopDavid Jackman "Silence In That Time" [CD]
https://www.art-into-life.com/product/10865
Label: Die Stadt - DS123
2019年に[Herbstsonne]を発表したドイツの老舗Die StadtよりDavid Jackmanの2020年最新作が登場！！2019…Label: Die Stadt - DS123
2019年に[Herbstsonne]を発表したドイツの老舗Die StadtよりDavid Jackmanの2020年最新作が登場！！2019年にRMS Studios South Londonにて録音された42分のロングトラックで、David Jackmanディスコグラフィーの中でも特に美しく忘れられない作品。シンプルなパッケージデザインはお馴染みのJonathan Colecloughによるもの。
The follow up to last year’s critically acclaimed album Herbstonne, Silence in that time is a direct offshot of the former album, adding more sounds to the overall sound palette. Recorded at RMS Studios South London in 2019, the single 42 min. long track stands as another distinctively beautiful and haunting work in the artist’s discography.
Artwork by Jonathan Coleclough.
"David Jackman’s latest seems to be a direct continuation of his previous album, “Herbstsonne”. The two albums are each comprised of a single 40-something-minute piece. They have identical sleeve design, with the title and the artist’s name printed in identical font, black letters forming a cross on the cover. Both albums seem to be made from the same (or else very similar) sonic elements; a piano with long reverberation, some church bells, occasional crow cries. The music even seems to be in the same key, so that you might listen to “Herbstsonne” and “Silence In That Time” back-to-back and not realize that they aren’t a single album. What does it all mean? David Jackman certainly isn’t going to tell you. All we have is the music, which is as it should be. Jackman often employs a compositional strategy of repeating ideas a few times with slight variations each time, as he’s done throughout his long and enigmatic career. If there’s any characteristic that distinguishes this new album from the previous one, it’s a small increase in activity. The piano chords crash more frequently, the bells chime a bit more often. The music comes to a pause after 14 minutes, starts up again after a few moments’ silence, then takes another breather at 27 minutes. Are we hearing the first 14 minutes repeat during the second section? And the third? Are there variations among the sections, or not? I’m sure I could look at the waves on some audio editing software and find out for sure, but that feels like cheating. The magic lies in becoming absorbed by Jackman’s gentle pacing, the cycles of percussive piano, the tamboura (?) drone and reverberant echoes that overlap one another in a slow dance. It’s quite elegant and minimal and lovely. Nothing more to say about it than to listen" (Frans de Waard)]]>Die StadtArt into Life24972026-04-08T16:53:42+09:00shopD. Jackman "Herbstsonne" [CD]
https://www.art-into-life.com/product/10171
Label: Die Stadt - DS119
2018年に突如Siren Recordsから8年振りの新作[RAVEN]を発表したOrganumが、Jochen Schwarz主宰のドイツ・…Label: Die Stadt - DS119
A new work by David Jackman (Organum), Herbstsonne consists of a single 47 min. long track which is the result of recording sessions at RMS Studios South London in 2018.
Using the sounds of Tanpura, Piano, Organ and Bells the music perfectly captures the title of the piece which translates to Autumn Sun.
Precision editing by Alan Jones. Excellent artwork by Jonathan Coleclough.]]>Die StadtArt into Life24972026-04-08T16:53:10+09:00shop鈴木昭男 / Akio Suzuki "いっかいこっきりの「日向ぼっこの空間」/ Only Just Once, Space in the sun" [2CD + 44 Pages Book]
https://www.art-into-life.com/product/13900
Label: Art into Life - AIL030
凡そ1年半を掛け1988年に完成、標準時子午線が通る地点で「秋分の日に、一日、自然に耳を澄ます」行為の為に作られた、鈴木昭男氏の主要サ…Label: Art into Life - AIL030
Play1 : 12’54
Play2 : 12’26
Play3 : 15’49
Played by Akio Suzuki
Recorded by Yoshihiro Kawasaki
[BOOK]
Text:四方幸子, 中川真, 鈴木昭男, 川崎義弘
Drawings:鈴木昭男
Space in the Sun was one of Akio Suzuki’s major sound projects, a unique construction completed in 1988 and located on the merdian line, which took around 18 months to build. Its purpose was to allow Suzuki to spend one day, on the autumnal equinox, purifying his sense of hearing in nature. This release comprises a 44 page book containing plans and materials from the time alongside texts, and two CDs of environmental recordings created on site at Space in the Sun. To date only tiny fragments of the recordings made between those massive clay brick walls have been used in performances and no environmental recordings of the objective of the project, i.e. the space itself, have been released. The first disk consists of the first release of “person-less” field recordings made at the same spot that Akio sat at during the event (recorded in 1993, 60 minutes). The second disk consists of a performance that took place in the space. Space in the Sun’s earthen walls have since been demolished, so these recordings represent a return to life of their soft echo, an experience accessible nowhere else.
CD1: A record of the space (60:00)
An unedited one hour cut, taken from one of the three different recordings of Space in the Sun. Recorded by Yoshihiro Kawasaki
CD2: Playing in the space: Throwing and Following (41:30)
A record of a performance by Suzuki at Space in the Sun using tree branches and small pebbles.
]]>Art into LifeArt into Life35002026-04-08T09:05:40+09:00shopOlly Wilson "Composer "Portrait" Series #1" [CD-R]
https://www.art-into-life.com/product/13257
Label: Creel Pone
Creel Poneによる気合の編集作品!!大推薦！！50年代から多くの現代音楽及び電子音楽作品を残した米老舗Composers Recordings Inc…Label: Creel Pone
Creel Poneによる気合の編集作品!!大推薦！！50年代から多くの現代音楽及び電子音楽作品を残した米老舗Composers Recordings Inc. (CRI)。ここが出していたお馴染みのコンピレーション・シリーズ数種に参加していた作曲家にして音楽学者のOlly Wilson。優れた作曲家であったにも関わらず生前一枚もソロリリースが無かった人物であり、本作はCreel Poneが彼の音源を纏め上げ1枚のアルバムとして制作した編集版。CRIをはじめTurnaboutに残した音源なども抜粋された、試聴の通り凄まじい表現で統一された1枚。パッケージはCreel Poneによるオリジナルデザイン。
July 2022; here inaugurating a new C.P. sub-series dedicated to the work of Composers whose output was strewn out across a myriad regional compilations and ensemble/performer surveys, having never had a single unifying solo release to their name.
Olly Woodrow Wilson was born in St. Louis & started as a student at Oberlin Conservatory in the 60s (he appears on Bass as part of the Original Superior Dodds Lives Jazz Band on one of the "Oberlin Jazz Spectrum" LPs) before debuting his Electronic Music via the 1968 4th volume of Turnabout's seminal "Electronic Music" series (see the soon-to-be-repressed CP 000.22 for all five volumes) with his award-winning piece "Cetus" (track 2 here, realized in the studio for Experimental Music of the University of Illinois under Herbert Brün's tutelage in 1967). Featured here are "Piece For Four" (1966, track 1, performed by Bertram Turetzky et.al as issued on CRI SD 264 in 1970), "Piano Piece For Piano And Electronic Sound" (1971, track 3, as written for & performed by Natalie Hinderas & issued on the 1971 Desto-label "Plays Music By Black Composers" Boxed Set), "Akwan" (1972, track 4, recorded & issued in 1975 alongside pieces by Thomas Jefferson Anderson, Jr. & Talib Rasul Hakim on the Columbia Masterworks "Black Composers Series – Vol. 8" LP), "Echoes" (1974, track 5, written for & performed by Clarinetist Philip Rehfeldt & issued in 1977 on CRI SD 367), & finally the incredible "Sometimes" (1976, track 6, performed by Tenor William A. Brown & issued in 1977 on CRI SD 370).
This set comes as a single disc housed in a six-panel booklet (each covers the artwork & relevant details/liners of Olly's contributions) with a double-sided Portrait inserted as the front cover. Further volumes are planned over the next year or so exploring Composers such as Alfredo Del Monaco, Norma Beecroft, and others).]]>Creel PoneArt into Life19472026-04-08T09:05:40+09:00shop多田正美/Tada Masami "異/I [Sound Encounter Electric LIVE Recording]" [CD]
https://www.art-into-life.com/product/15496
Label: Soh Gallery
GAP、イースト・バイオニック・シンフォニア、マージナル・コンソートの活動でもお馴染み、多田正美氏の90年代デッドストック音源!!
電子音による初めて…Label: Soh Gallery
This is TADA first CD featuring only electronically produced sound. Using simple electrical mechanisms, TADA produces sounds ranging from strong pulsing vibrations with a very physical element to soothing minimalist sounds.
Everything from the CD package to the discs themselves have been designed by TADA The leaflet bears images from a video of flowing water.
The images and poems by TADA play out in picture book fashion.
Released in 1997.
Commentaries by SHINKAWA Takashi and KUWATA Michiko
Poem by TADA Masami]]>Soh GalleryArt into Life30002026-04-08T06:12:57+09:00shop多田正美/Tada Masami "存/Son [Sound Improvisation]" [CD]
https://www.art-into-life.com/product/15494
Label: Soh Gallery
GAP、イースト・バイオニック・シンフォニア、マージナル・コンソートの活動でもお馴染み、多田正美氏の90年代デッドストック音源!!
多田正美のオリジナ…Label: Soh Gallery
This is the second of TADA Masami’s original CD recordings. His palette of sound ranges from the transparent purity of sounds generated from natural materials like wood, stone and bamboo to the subtlety of rare ethnic instruments and the intensity of sounds born of violent action. Taped at a live performance in a large warehouse, the acoustic qualities of the space further accentuate the contrasts of sound.
Released in 1993.
Commentaries by ITO Makoto and SUKENARI Masanori
Poem by TADA Masami]]>Soh GalleryArt into Life30002026-04-08T06:12:57+09:00shopMichael Ranta "Transits Vol. 1" [2CD]
https://www.art-into-life.com/product/14965
Label: Important Records
米Important Recordsの素晴らしいシリーズが始動!!お見逃しなく!!Art into Lifeレーベルより作品を出版、またMeta…Label: Important Records
米Important Recordsの素晴らしいシリーズが始動!!お見逃しなく!!Art into Lifeレーベルより作品を出版、またMetaphonやRobot Recordsからのリリースは全て紹介をしてきた、70年代初頭より活動する米重鎮パーカッショニストのMichael Ranta。なんと本作は、ケージやルシエ、エレン・フルマンといった重鎮のリアライズを行いつつ、毎度その年のベストリリース的音源を残す女性作家Sarah Henniesが演奏を担当した、Michael Rantaの珍しい室内楽作品[Transits]のVol.1。台湾に住んでいた1970年代に作曲されたものでありながら殆ど知られていないという幻の作品で、ソロ・マリンバのための30分の"Mharuva"や、2つのバスクラリネット、打楽器、電子楽器の超絶技巧を披露する40分の"Continuum II"など、長編作で編成された充実の内容。
American percussionist and composer Michael Ranta is a legendary figure who has worked with some of the most significant names of 20th century music but despite this and impressive body of work of his own, he has remained an obscure figure....
Important Records and is pleased to present Transits: Volume 1 the first in a series of releases by composer/percussionist Sarah Hennies documenting never before heard chamber works mostly composed in the 1970s while Ranta was living in Taiwan.
Mastered by Tom Eaton at Sounds & Substance.
Based overseas since the late 60s, Ranta is known primarily as a percussionist who worked closely with Harry Partch, Karlheinz Stockhausen, Helmut Lachenmann, Toru Takemitsu and Jean-Claude Éloy but is also an accomplished artist himself with a vast body of work spanning improvisation, electronic music, and composition. The works in the “Transits” series comprise a dozen works of scored compositions for solo and chamber ensembles almost all of which are completely unknown with no known performances or recordings since their original premieres. Volume 1 includes Mharuva, a 30-minute marathon tour-de-force for solo marimba, Seven Pieces for Three Percussionists, and the 40-minute Continuum II, a stunning display of virtuosity for two bass clarinets, percussion, and electronics.
Transits, Volume 1 features performances by Sarah Hennies, NYC clarinetists Madison Greenstone and Katie Porter, and the Bard College Conservatory Percussion Ensemble.]]>Important RecordsArt into Life33772026-04-08T06:12:57+09:00shopChristina Kubisch "Stromsanger" [LP]
https://www.art-into-life.com/product/16176
Label: Important Records
電磁波 + 声楽アンサンブルによる面白サウンドアート物件!!音響彫刻家でありインスタレーション作家であるドイツの重鎮サウンドアーティストChri…Label: Important Records
Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results.
“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city upto the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well aspecial soundscape. Wearing a custom made induction headphones, I could hear the normally hiddenelectromagneticfields of the tram, which were so impressive and musical to me that I immediately decided tobase my piece for Trondheim Voices on this discovery. As a start, a series of pure vocal recordings were produced by Trondheim Voiceswhile listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studioand afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became thevery beginning of the Stromsängerpiece." - Christina Kubisch, 2024
Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.]]>Important RecordsArt into Life45872026-04-08T02:18:19+09:00shopFuji-Yuki "One Butoh" [LP + 28pages A5 Portfolio]
https://www.art-into-life.com/product/14698
Label: Akuphone
激ヤバのボーカルアルバム!!大阪を拠点とするドローンデュオSarryの片割れとして長年活動、仏An'archivesよりMichel Henritziとの共作も出…Label: Akuphone
* Printed on reverse cardboard
* 28-pages A5 Portfolio
* Limited to 500
Akuphone is proud to present Fuji-Yuki’s latest masterpiece, "One Butoh". A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul.
Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry.]]>AkuphoneArt into Life49172026-04-07T15:32:11+09:00shopEliane Radigue "Opus 17" [2CD]
https://www.art-into-life.com/product/11304
Label: Important Records
激ヤバタイトルが遂に初CD化、待ち望んでいた方も多い筈！！コレはお見逃しなく！！もともとはイタリアAlga Marghenが2013年に2LPフ…Label: Important Records
Eliane Radigue's complete Opus 17 (1970), her finest and final work created using feedback, is contained on this double CD. With Opus 17 Radigue perfected her slow mixing technique with sublime results. Imperceptible transformations envelop the attentive listener who is confronted with an immensely physical experience. Time is suspended in powerfully poetic and artful ways as Radigue masterfully sculpts the physical matter of sound using feedback for the last time. Opus 17 is an absolutely essential masterpiece in the realm of early electro-acoustic/drone/minimalist composition. Metallic silver ink printed on high gloss paper.]]>Important RecordsArt into Life33772026-04-07T08:04:40+09:00shopEliane Radigue "Transamorem - Transmortem" [CD]
https://www.art-into-life.com/product/10048
Label: Important Records - IMPREC337
ミュージック・コンクレートの創始者等に師事しながらも、チベット仏教に深く関係した唯一無二のスタイルで超深淵なドローン作品…Label: Important Records - IMPREC337
]]>Important RecordsArt into Life27172026-04-07T08:04:40+09:00shopEliane Radigue "Vice Versa, Etc.…" [2CD]
https://www.art-into-life.com/product/1358
Label: Important Records - IMPREC259
ミュージック・コンクレートの創始者等に師事しながらも、チベット仏教に深く関係した唯一無二のスタイルで超深淵なドローン作品…Label: Important Records - IMPREC259
1970 was an important year in Eliane Radigue's musical life, since it was the year just before she acquired her ARP 2500 synthesizer. In the last year that she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; Labyrinthe Sonore (premiered at Mills College in collaboration with Pauline Oliveros, Maggie Payne, and William Winant); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc., which appears to be her very last feedback loop composition. Originally, only 10 signed and numbered copies of this little box set were releasedÑ needless to say, this is a work that has been nearly forgotten! The work is now reissued as a double CD, with the tape played respectively forwards and backwards at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. CD 1: Onward 9,5. Onward 19. Onward 38. Onward 76. Backward 9,5. Backward 19. Backward 38. Backward 76. CD 2: Simultaneous.']]>Important RecordsArt into Life33772026-04-07T08:04:40+09:00shopIllusion Of Safety "Cancer 2025 LP Remaster" [LP]
https://www.art-into-life.com/product/15763
Label: Auf Abwegen
Jim O'Rourkeが参加した92年作!!1983年からDaniel Burkeを中心に不定形実験プロジェクトとして動いているIllusion Of S…Label: Auf Abwegen
Jim O'Rourkeが参加した92年作!!1983年からDaniel Burkeを中心に不定形実験プロジェクトとして動いているIllusion Of Safety。オリジナルは1992年4月にTesco OrganisationよりCD出版、Jim O'Rourke、Thymme Jones、Mark Klein、Mitch Enderle、Chris Block、Dan Burkeの編成にて録音された[Cancer]がリマスター仕様で初LP化。もともとは31曲編成だった音源をLP様に再編集したものであり、ミニマリズムとダークアンビエントを取り込んだ異色の部類に入る、どこか架空のサントラ的イメージの内容。アブストラクトなカッコ良さは勿論ながら、ラストをピアノソロで締め括る流れも見事。
The origianl 1991 album sequence has been edited down from the original 60 minute CD program to fit on an LP and remastered. Additionally the material has been coalesced into 7 specific tracks (instead of the arbitrary and annoying 31 indexes on the CD) as available here A1-B4.
Track 8 (A1-3) and 9 (B1-4) are the full uninterrupted album sides available as such.
This one was mostly a group effort focused on a dark ambient atmospheric environment and experimental minimalism that crawls under your skin. Mark & Thymme’s heavy synth is omnipresent, Mitch & Chris scraping every piece of scrap metal they could find, Jim’s extended piano & tabletop guitar is apparent, the abstract sampling techniques of founding member Daniel Burke appear throughout, & the beautiful solo minimalist piano composition of Thymme’s closes the LP. Soundtrack like in its scope the album is another in the ongoing concept of music without a film providing a dark soundtrack to the nightmares or realities we wish we could forget. The 2025 edit & remaster removes the excess and hones the meat down to 7 essential tracks that show the projects oeuvre at that point in their lengthy history sounding clear & fresh with the newly mastered version by Andrew Weathers.]]>Auf AbwegenArt into Life42572026-04-07T06:32:02+09:00shopSquirm Mat With Tong "Casket Goo" [Cassette]
https://www.art-into-life.com/product/8358
Label: Royal Sperm - RS008
過去の来日でも良く知られている、90年代から多くの録音を残し続けるEvil MoistureことAndy BolusプライベートレーベルRo…Label: Royal Sperm - RS008
Decomposite Decal of Supposed Human Reproductive Organ Studied with Inflatable Funerary Cartoon and Bone Decoration. Best "Laff Gag" for False Teeth Trajectory.]]>Royal SpermArt into Life11772026-04-07T06:32:02+09:00shopEarly Music "Old Strings" [Cassette]
https://www.art-into-life.com/product/16160
Label: Early Music
フィールドレコーディングをコンセプトに作られた素朴なカセット音源!!自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウ…Label: Early Music
C40 tape in homemade card/kraft brown paper box with colour wraparound cover and insert]]>Early MusicArt into Life20572026-04-06T17:45:32+09:00shopEliane Radigue "Triptych" [CD]
https://www.art-into-life.com/product/8887
Label: Important Records - IMPREC260
ミュージック・コンクレートの創始者等に師事しながらも、チベット仏教に深く関係した唯一無二のスタイルで超深淵なドローン作品…Label: Important Records - IMPREC260
Includes liner notes & archival photographs. On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall-Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the premiere of Adnos I in San Francisco in 1974, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from the spirit of the fundamental elements, water, air, fire, earth... Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980), Adnos III (1981), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley -, 'Jetsun Mila' (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993). Archival images included in the accompanying booklet.']]>Important RecordsArt into Life27172026-04-06T17:17:43+09:00shopWanderwelle "All Hands Bury The Cliffs At Sea" [LP]
https://www.art-into-life.com/product/11684
Label: Important Records
オランダはアムステルダムを拠点とするPhil van Dulm & Alexander Bartelsのミニマル/ドローン・コンビWanderw…Label: Important Records
オランダはアムステルダムを拠点とするPhil van Dulm & Alexander Bartelsのミニマル/ドローン・コンビWanderwelle。同Important Recordsから2022年にリリースした[Black Clouds Above The Bows]に続く、地球の環境汚染をコンセプトした三部作の第二章を発表。スコットランド東海岸の町の小さな教会で発見したという壊れたパイプオルガン。気候の影響により酷く損傷したこのパイプオルガンを使い、現地のフィールドレコーディングやチェロ、ヴァイオリン演奏とミックスした非常に有機的な持続音作。程よく濁ったテクスチャーも良い。
After last year’s Black Clouds Above The Bows, Amsterdam-based collective Wanderwelle presents the second entry of their trilogy for Important Records, which is dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. For this album the artists incorporated the sound of a dying organ, fatally wounded in a climate related event.
RIYL: Oliveros/Deep Listening, Arvo Part, Lambda Sond, Sarah Davachi....
All Hands Bury The Cliffs At Sea consists of electro-acoustic threnodies for an environment at risk due to the effects caused by receding coastlines around the globe. Wailing odes tell the story of the catastrophic activity of eroding waves and winds shaping the land that are enhanced by the climate crisis. First hand experiences and meetings with local maritime experts on the subject of these receding coastlines inspired Wanderwelle to compose these albums.
During their travels, the artists stumbled upon a small church in a town on the east coast of Scotland. The building was quite damaged, the roof was being stabilized and the ancient walls showed great tears running vertically down the structure. One of the church’s volunteers told Wanderwelle that the damage had been caused by a nearby cliff that collapsed in the sea. An event increasingly common in the region.
The church organ was ruined in such a way that it was deemed unplayable, as most of the pipes were gravely damaged and in dire need of restoration. Musical instruments directly affected by the environment -and especially the climate crisis- are quite rare. Despite the damage, the artists were allowed to record a few tones of the instrument with their equipment, which was actually meant to be used for field recordings later that day.
In Black Clouds Above The Bows, antique cavalry trumpets were recorded and manipulated by Wanderwelle to sound an environmental alarm in the same manner as they were once used to warn men on the battlefield. Similar processing was used on the recordings of the dying organ, resulting in spectral, deconstructed tones beyond recognition. In addition to the damaged organ, the artists recorded piano, cello and harmonic additive synthesizers in later stages of the composition process,
manipulating these sounds to mimic the perpetual activity of the sea shaping the land.Furthermore, a great deal of inspiration was found in maritime superstition, lore and mythology.
As told in the legend of Aspidochelone, a legendary sea creature of enormous size, was once mistaken for an island. After sailors docked and lit a fire, the beast submerged resembling a land mass sliding into the sea. The album’s title is derived from the saying ‘All Hands Bury The Dead’, a maritime burial phrase, as the duo likes to think ‘All Hands’ refers to all of mankind, since we are all responsible for these impending catastrophes.
Cello, violin, voice, pipe organ (damaged), bowed guitar, EBow, Prophet-6 synthesizer, modular synthesizer, field recordings.]]>Important RecordsArt into Life39272026-04-06T17:13:45+09:00shopZak Riles [CD]
https://www.art-into-life.com/product/11685
Label: Important Records
オレゴン州ポートランドを拠点に活動するインストゥルメンタル・ロック・バンド"Grails"のソングライター兼マルチ楽器奏者であったZak Ril…Label: Important Records
Zak Riles is a songwriter and multi-instrumentalist in the Important band Grails. His creative contributions to the group are immeasurable and can be heard clearly on this self titled debut solo outing. In fact some of the pieces on this solo record have been reinterpreted into Grails favorites. Like his band Grails, Zak Riles' solo work is an elaborate mansion built of inspiration, but with so much strength and originality that it stands firmly on its own. On these rocky shores come crashing waves of Sandy Bull, Mogolar, Deuter, Popol Vuh and the Ventures, while a Persian breeze drifts by wafting the melodies of Hossein Alizadeh. Essential listening for followers of Important Records who favor the likes of Grails & James Blackshaw.
TRACK LISTING
1. Pacific Siren
2. Confluence
3. Sand/Silk Rd. Origin
4. Res Extensa
5. Before the Refuge
6. Slack Key
7. Chloe]]>Important RecordsArt into Life27172026-04-06T17:11:34+09:00shopOvertone Ensemble "2" [CD]
https://www.art-into-life.com/product/12670
Label: Important Records
音響彫刻好きは是非!!サウンドアート界隈では古くから知られているTim Catlinが2012年に立ち上げた自作楽器"Vibrissa"を複数で…Label: Important Records
Tim Catlin formed the Overtone Ensemble in 2012 in order to perform works using his self-made Vibrissa instruments. The Vibrissa includes twelve vertically mounted aluminium rods that are longitudinally stroked with gloved hands to produce ethereal “singing” tones. The long sustaining nature of the rods sound and microtonal tunings allow players a sonic palette of complex textures and harmonic complexity.
Expanding from the instrumentation on their first album, these new recordings utilize Vibrissa instruments, plus a range of extended techniques on old instruments including timpani, bowed piano, bowed glockenspiel, bowed guitar as well as some new instruments like doppler rods and whirled tubes.
The majority of the recordings were done in the Old Chapel building in Melbourne, Australia. The chapel, formerly attached to the Old Melbourne Gaol boasts 10 metre high ceilings which added an enveloping acoustic ambience. At times it felt as though the spectral presences of former inmates were hovering benevolently in the rafters watching on.]]>Important RecordsArt into Life27172026-04-06T17:11:01+09:00shopThe New Blockaders "Anti-Film Reworked" [2CD]
https://www.art-into-life.com/product/16177
Label: Phage Tapes
(予約受付中 - 4月末入荷予定)
TNBの音源を用いた極上の2CD音源!!参加作家も激ヤバです!!多くの説明は不要、過去にArt into Life…Label: Phage Tapes
(予約受付中 - 4月末入荷予定)
TNBの音源を用いた極上の2CD音源!!参加作家も激ヤバです!!多くの説明は不要、過去にArt into Lifeレーベルからも音源を出版している英アンタイ・ミュージックの最高峰The New Blockaders。本作は米Phage Tapesが2026年3月に発表、TNBが過去に行っていたアンタイ・フィルム・プロジェクトの音源を用い計21名の作家が新たな楽曲を制作した極上の2CD楽曲集。Jim O'Rourke、RLW、Philip Sanderson、Mark Durgan、T. Mikawa、Nobuo Yamada、Das Synthetische Mischgewebe、Jliat等々、濃いメンバーが集結しています。
A compilation of tracks constructed using audio from an anti-film project originally conducted by The New Blockaders.]]>Phage TapesArt into Life34872026-04-06T13:13:28+09:00shop
Label: Art into Life - AIL040
![What We Do When in Silence (Alessandra Novaga, Nicola Ratti, Enrico Malatesta) [LP]](https://www.art-into-life.com/data/a-i-l/product/20260408_9dd73c.jpeg)
![Zak Riles [CD]](https://www.art-into-life.com/data/a-i-l/product/20240201_d17e24.jpg)
