Guillaume Belhomme + Harutaka Mochizuki book + miniCD “Eugène”- Lenka Lente
LIVRE + CD, 36 PAGES, 10 X 15,5 CM
Peintre et lithographe, Eugène Carrière (1849-1906) a, pour citer le Larousse,
« surtout peint des maternités et des portraits, réduisant les couleurs à une sorte de camaïeu fluide de brun, d’où les formes essentielles se dégagent par contraste lumineux. » Devant l’une de ses toiles, Degas osa : « On a fumé dans la chambre des enfants. » C’était assez pour brouiller les cartes, au point de confondre bientôt les frontières de la France et du Japon.
12€
Les Rallizes Denudes 6 LP set – Tuff Beat
’67-‘69 STUDIO et LIVE LP
MIZUTANI / Les Rallizes Denudes LP
77′ Live 3LP
Live Bonus LP Romance Of The Black Pain Otherwise Fallin’ Love With + Résonance & Tbobocco road
$175
Kuge Yoshio LP Kuge Yoshio solo – Uramado
Japanese punk/underground drummer. Born in Osaka. Has played with many Japanese underground groups including Pungo, Maher Shalal Hash Baz, Masami Shinoda Unit, Paradise Garage, etc. LTD to 200
SOLD OUT
Jacques Bekaert: Jacques Bekaert – LP Metaphon
Edition of 500 copies
Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.
‘A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Jaques Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtaposition of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny. ‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year.
Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969. The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout, with a very dreamlike flavour. …Gentle threads of instrumental and electronic sounds are mixed with outdoor rural field recordings and occasional voices of his friends speaking, whistling or singing. Bekaert creates a warm environment within which we can hear subtle individual voices of good musicians who are relating to his loosely-notated scores and verbal instructions… (David Behrman)
$24
Michael Ranta “Azabu” Metaphon
CD and 8 page booklet in gatefold cardboard sleeve
Edition of 500 copies
Even though only being fully terminated 50 years after its conception, ‘Azabu’ can be regarded as the starting point of Michael Ranta’s creative self-discovery. The recordings that form the base of ‘Azabu’ were mostly made in the Tokyo district with the same name (Azabu-Juban). Next to abstracted field recordings ‘Azabu’ is also pervaded by a rich variety of percussion, string and wind instruments, all played by Ranta himself. Subsequently Ranta edited, layered and processed the recordings at the NHK electronic music studio in Tokyo. Both pieces display a vast array of acoustic, electronic and concrete sound events meticulously sequenced to a complex fusion symbolizing the entire spectrum of earthly and heavenly sounds. Dynamic extremes evoke a restless flight through space, or through the depths of human subconsciousness, between dream and reality. Ultimately the music disappears, like a dot in the sky gradually fading into nothingness – an “ascension” that closes the loop in a ritual of life that can begin anew again at any time.
Michael Ranta: composition, performance, mixing (1971)
Stefan Deistler: final mixing and mastering (2021)
Like all the Michael Ranta albums, we highly recommend this one !
$15
Michael Ranta – Mike Lewis – Conny Plank 2CD box “Mu” -Metaphon
Previously unreleased studio material from 1970 recorded a few months after the legendary ‘Wired’ session.
Hardboard linen CD box contains 2 CD’s and a 28 page booklet with biography text and notes (in Dutch, German and English) from Michael Ranta. Second edition.
$29
Johannes Fritsch LP ‘Kyo Mu / Hochtöner’ Metaphon
Edition of 500 copies, gatefold sleeve
KYO MU (Japanese for ‘emptiness and nothingness’) is a composition for the Japanese bamboo flute shakuhachi und audiotape, premiered in 1982 by Hitomi Endō at the Second Weltmusik-Kongress in Vlotho, Germany. The recording on this LP is from the premiere and was made by the Feedback Studio. The version for shakuhachi was performed on numerous occasions in Europe as well as Japan. According to Johannes Fritsch, however, the piece can also be performed by tenor recorders or alto recorders.
HOCHTÖNER, written in 1974 and premiered in the same year at the PRO MUSICA NOVA festival in Bremen, Germany, is a harmonic composition referencing Pythagorean tradition. It was written for and performed by the three Feedback Studio founders: Johannes Fritsch, viola; David Johnson, flute and synthesizer; Rolf Gehlhaar, percussion. The trio and the live electronics make this piece typical of the 1970s work of the Feedback Studio. HOCHTÖNER was performed several times in the 1970s during concert tours; the recording on this LP was made in 1974 at a Feedback Studio Hinterhausmusik concert.
Fritsch described the piece in a text for a CD published by cybele records in 2006.
Fantastic, a very mysterious album
$25
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