catalog no. 628.02
LP  2016

Amelia Cuni & Werner Durand: Diasporagas

Amelia Cuni was born in Milan and has lived in India for more than 10 years where she studied dhrupad singing with various renowned masters. Werner Durand has been performing his own music for saxophones, Iranian ney and self-made wind instruments since the late 70s. He started building his own wind instruments from plexi-glass, PVC and metal tubes in the early 80s and has performed in various groups including The Thirteenth Tribe and Armchair Traveller. For more than 20 years, Cuni and Durand have been performing together as a duo as well as in collaborations such as Tonaliens and Born Of Six.

Diasporagas, sub-titled "Ancient Trends and New Traditions in Indo-European Music", summarizes their various musical projects in which her Indian raga singing met with his minimalist and experimental approach. In all of their collaborations, they have been creating unique forms and expanding the palette of their sound worlds while keeping the essence of raga music, justifying the use of the term in its original meaning. The title is meant to be understood as a statement to provoke reflections on our ideas of cultural identity vs. globalization, and tradition vs. experimentation.

A central Diasporagas work is "Hiss (mastered noise)" for dhrupad singing, invented wind instruments, Indian percussion and samples of historical recordings by Indian singers. It is partly based on their earlier work "Gramophone Saraswati" which involved replicas of Luigi Russolo's Intonarumori instead of the Indian recordings. This LP includes "Hiss (mastered noise)" and two other pieces entitled "Aqua Shiva" and "Agana Song". Edition of 300 in a full-color sleeve with a printed inner sleeve reproducing the score of "Hiss (mastered noise)".

Side A
Hiss (mastered noise)
Side B
1. Aqua Shiva
2. Agana Song

catalog no. 628.01
Double 12"  2016

Petra Dubach & Mario van Horrik: WAVES

Petra Dubach and Mario van Horrik have been working together as an artistic duo in Eindhoven since 1983. Originally, they combined dance and music in concerts, performances and theater pieces, Dubach being a dancer and van Horrik making music. He is also a long-time member of the Maciunas Ensemble alongside Paul Panhuysen et al. Dubach's and van Horrik's starting point was the notion that movement and sound are essentially the same: If there is no movement (vibration), nothing can be heard; if there is no sound, nothing moves.

Over the years, the boundaries between movement and sound in their work became more and more blurred while they worked out their root idea in every thinkable form ranging from installations and site-specific works to performances and concerts. In 2010, they started their ongoing research project WAVES which involves producing movement feedback using shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Over the years, they have made numerous installations and concerts based upon this concept and have experimented with all sorts of objects incorporated into the basic WAVES setup, including Chinese lanterns, hooks, loose strings etc.

This edition gathers four recordings of different WAVES installations, all made in Dubach's and van Horrik's private studio in Eindhoven. It is presented as a double 12" set (45 rpm) with a full-color gatefold sleeve and liner notes by Miloš Vojtěchovský. Edition of 300.

Side A
Chinese Lanterns #7
Side B
Ultimate Sound #3
Side C
Derwish Bead #5
Side D
Clamps and Hooks #1

catalog no. 314.09
Double LP  2016

Rainer Riehn: Chants de Maldoror

Rainer Riehn (1941–2015) was a German musicologist, conductor and composer of avant-garde music. He is best known for being the long-time partner and collaborator of Heinz-Klaus Metzger with whom he published the journal "Musik-Konzepte" between 1977 and 2003, devoted to the musical avant-garde of all eras. Together, they also founded the Ensemble Musica Negativa in 1969, committed to radical music by John Cage, Morton Feldman, Dieter Schnebel, a.o., for which Riehn served as the conductor and organiser. Nevertheless, his own small but impressive compositional oeuvre of chamber and electronic music remained mostly unpublished.

Between 1965 and 1971, Riehn was a student with Gottfried Michael Koenig at the Institute of Sonology in Utrecht where he realised a number of electronic pieces of which only one, "Chants de Maldoror", was released on Deutsche Grammophon in 1970. This edition for the first time collects all surviving pieces he made during this period. Included are two versions of "Chants de Maldoror", one side-long piece in a similar vein, and two shorter conceptual pieces. The double LP is presented in a gate-fold sleeve with a 4-sided insert, reproducing an essay by Riehn on his way of composing ("Art and Feces"), and an extensive interview about his time in Utrecht. All texts are printed in German and English. Edition of 300.

Side A
Chants de Maldoror (version 1)
Side B
Chants de Maldoror (version 2)
Side C
Schatten von Liedern und der Leidenschaft Stimme oder Gegen die Süße der Zeit
Side D
1. Après une écoute de Fontana Mix
2. Hommage à M.

catalog no. 314.08
LP  2015

Joe Jones: Solar Music at Sierksdorf, Ostsee

Solar Music by Joe Jones, performed and recorded early morning April 1, 1984, on the Baltic Sea beach of Sierksdorf in Schleswig-Holstein, Germany. This recording was originally published as a tape by Edition Hundertmark in an edition of 15 copies and later reissued as a CD by ? Records. The original tape edition included seven photo prints and a title page which were missing from the CD and are reproduced here for the first time.

Edition of 200 in gatefold PVC sleeve. Right-hand side holds the LP, left-hand side holds a plastic bag with seven A5-sized photo prints on thick cardboard and the title page. Remastered sound.

Side A
Solar Music at Sierksdorf, Ostsee (pt. 1)
Side B
Solar Music at Sierksdorf, Ostsee (pt. 2)

catalog no. 314.07
LP  2015

Maciunas Ensemble: 1976

The Maciunas Ensemble was founded in 1968 by Dutch musicians and sound artists Paul Panhuysen, Remko Scha and Jan van Riet. It has existed ever since, though having gone through a number of membership changes until today. The group's intention was to realize the piece "Music for Everyman" by Fluxus initiator George Maciunas which they interpreted as allowing boundless freedom in the sounds being produced. The group met at a regular basis, usually improvising on a number of instruments that were at hand. Every session was recorded. Before playing, they listened to the recording of the previous session and discussed it. No rehearsing or fine-tuning of pre-conceived material took place. To the view of Paul Panhuysen, their method of making music is closely linked with the oral tradition of folk music.

This LP edition features two pieces, both recorded on December 19, 1976, and never released before on any format. Here, the group comprised Paul Panhuysen, Remko Scha, Jan van Riet, Leon van Noorden and Hans Schuurman.

"This music is literally polyphonic – a composition of multiple voices. The members of the ensemble do not engage in virtuoso playing. Although each may go down his individual path, no one attempts to outdo the others in exuberant soloing. Their approach to improvisation bears none of the hallmarks of jazz. It is a group effort. They operate as a band in the anthropological sense: a small, mobile, and fluid social formation without clear-cut leadership." (from the liner notes by René van Peer)

Edition of 250 copies. Special edition of 50 copies containing a hand-made letterpressed print by Sappho Panhuysen.

Side A
Side B
Stille Nacht, Heilige Nacht

catalog no. 314.05
Double LP Picture Disc  2015

Hans Essel: Zeitfalten

After 2013's Saitensack LP, this edition showcases another long-running project by Darmstadt-based composer Hans Essel (b. 1948). Zeitfalten (time folds) is music for tape machines: Using a Revox A77 reel tape recorder, the tape is led around a guide between the record head and the replay head. Each recorded sound is replayed after nine seconds and added to the input sound. Optionally, the tape can be led to a second A77 where it is replayed once again and selectively re-added to the input. Utilizing these methods, Essel builds a sediment of sound where every auditory event returns again and again, yet is distorted and diminished over time. Each tone has to deal with the past and at the same time defines the future. Zeitfalten thus allows for tape machines to become instruments of musical articulation. The character of sound is partly defined by the input sources used. Since its introduction in 1988, Zeitfalten has gone through a number of setups utilizing different sound sources. This edition collects four recordings: Suite I (1989, viola and voice), Messages (1990, radio signals), Reportage (1994, pre-recorded voices) and Falten (1996, two tape machines without external input). While Suite I is an environment with almost no control over the replaying process, a mixer was added for the other three setups.

Edition of 100 copies. Two picture disc LPs containing images of the reels used. Gatefold PVC sleeve. The inside contains two large stickers with liner notes.

Side A
Suite I
Side B
Side C
Side D

catalog no. 314.04
LP  2014

Hans Rudolf Zeller: s/t

Hans Rudolf Zeller (b. 1934 in Berlin) is best-known for being a music theorist, essayist and writer on contemporary music. His essays on Dieter Schnebel, Iannis Xenakis, microtonality etc., often published in the German journal "Musik-Konzepte", are deemed being among the best ever written on new music. Apart from that, he has since the 1960s maintained his own artistic work, most of which has not been published or only seen the light of day in private micro-editions. Zeller's work often involves combining multiple dimensions (texts, vocals, visual projections) into one cinematological literature.

This LP edition is an attempt at collecting various elements of Zeller's work. All recordings have been made within the last 10 years, yet many of the underlying concepts date back to the 1960s or 1970s. Contained are two scriptophonies (works combining writing and vocals, with the notion of writing being extended in ways not unlike those Carlfriedrich Claus and Gerhard Rühm have shown), two vocal improvisations, one piece of Tesa sounds (sounds produced by adhesive tape), and one piece for horn. The full-color sleeve and inner sleeve show Tesa pictures made between 1961 and 1970, and one collage from 2010. There is one insert with detailed liner notes by Zeller in German and English, and another insert showing a relic of a scriptophony. Edition of 300.

Side A
1. Tesa-Klänge

2. Vokalphantasie

3. Scriptophonie

4. Musiktext
Side B
1. Parallelität
2. Stimmimprovisation

catalog no. 314.03
LP  2014

Paul Panhuysen: Pendulum Change Ringing

First vinyl LP edition by Dutch sound and visual artist Paul Panhuysen since 1986. In terms of sound art, Paul Panhuysen is well-known for his long string installations, yet he has produced a vast amount of other sound installations using different materials and sound sources ranging from various instruments to animals such as birds. This LP contains a recording of the installation "Pendulum Change Ringing", displayed at Pand Koloniale Waren in Hasselt (Belgium) in 2012. The installation consists of twelve engraved Turkish metal platters, each mounted onto a black plastic bin, and placed in a 20 meters long row. The rim of each platter is hit by a metal pendulum operated by a tiny electromotor. Each hit causes the platter to resonate with a rich sound texture full of dissonant overtones. During the recording, the twelve pendulums are activated one after the other. The paces at which they swing differ due to their rods having different lengths. This causes interlocking rhythmic patterns to emerge that become more complex with each step and never stay the same. Hits aggregate into clusters, then thin out again. The sound is not chaotic, yet its regularity is hard to comprehend. "You might call Pendulum Change Ringing a typical Paul Panhuysen piece: it works according to a system, quite a simple one in fact, but its effect surpasses that apparent simplicity by far." (René van Peer)

Edition of 300 copies. Full-color sleeve with photos of the installation and liner notes by René van Peer. Black poly-lined inner sleeve.

Side A
Pendulum Change Ringing (pt. 1)
Side B
Pendulum Change Ringing (pt. 2)

catalog no. 314.02
LP  2014

Co-release with Tochnit Aleph

Wolf Vostell: Concert Fluxus Sara-Jevo

Realized at Fundació Pilar i Joan Miró in Mallorca, Spain. September 9, 1994.

Wolf Vostell: Actions, electronics, tapes
Nancy Bellow: Soprano
Mercedes Guardado: Ximbomba

Edition of 450 in full-color gatefold sleeve plus printed inner sleeve featuring photos of the concert.

Special edition of 50 numbered copies including the LP with the same sleeve, a DVD with a video recording of the concert, printed score (A3 size, full-color) and exhibition poster (A1 size, black-and-white). Housed in a silk-screened cotton bag (25 copies with yellow print on black bag, 25 copies with black print on yellow bag).

Side A
Concert Fluxus Sara-Jevo (pt. 1)
Side B
Concert Fluxus Sara-Jevo (pt. 2)

catalog no. 314.01
LP  2013

Hans Essel: Saitensack

First-ever release for Darmstadt-based composer Hans Essel who has been active in improvised music and Grundlagenmusik (foundational music) for more than 20 years. This LP showcases his project Saitensack (string-bag) in which he develops new ways of playing the violin and viola. Comparisons could be drawn to other experimental violinists like Tony Conrad and Takehisa Kosugi but Hans Essel uses a far more stripped-down approach: The instruments are neither modified nor amplified. Strings are not pressed by fingers but rather damped. Only through bowing, they are excited to complex free vibrations, sometimes harsh and noisy, at other times reminiscent of uilleann pipes with cracking and breaking like in yodeling. Saitensack focuses on the origin of tones out of the noise, zooming into the very character of string instruments. Saitensack is pure violin. The essence of violin playing. Side A features an overtone-rich performance from 1994. Side B has a harsher 1999 recording: 24 minutes of pure violin noise bliss. Edition of 500 with printed inner sleeve featuring a Saitensack discussion transcript.

Side A
December 10, 1994 at Festival Experimentelle Musik, Munich
Side B
November 26, 1999 at Kunstfabrik, Arheilgen

Photos of a performance by Hans Essel at Rumpsti Pumsti (Musik), Berlin, on the occasion of the LP release.


Edition Telemark releases are available from Rumpsti Pumsti (Musik) (DE), A‑Musik (DE), Fragment Factory (DE), Metamkine (FR), Les presses du réel (FR), Soundohm (IT), Infinite Limits (UK), Penultimate Press (UK), Juno (UK), Morbus Gravis (BE), Out‑Of‑Print (BE), Omega Point (JP), Meditations (JP), Art into Life (JP), Broken Music (AU), Fusetronsound (US), Tedium House (US), and a number of other stores and mailorders. In North America, they are distributed by Forced Exposure.


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