an LP label for sound art and foundational music
catalog no. 864.07
Double LP 2019
Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. Since the early 1960s, he has been developing a unique compositional style that draws on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music, but rather influenced by Minimalism in visual art and characterized by long static tones that slowly change and evolve over the course of a piece.
Stiebler has composed for solo instruments as well as for different chamber musical and orchestral line-ups. Many of his ensemble pieces are built around long tones coming together in specific intervals, often alternating between dissonance and harmony, sometimes involving microtonal structures. Often, the single instruments are hard to distinguish, instead the musical space opened up by the complex harmonies, disharmonies and pulses of interference becomes the focus of listening.
This double LP collects four live recordings of pieces journeying "between the tones" ("zwischen den Tönen"): "Intervall 19" and "Slow Motion", composed in 1997 and 2003, respectively, are apt examples of Stiebler's style employed for chamber ensembles, with static tones putting every tonal nuance under microscopic view, and slow movement allowing for observation of the slightest variations. The third piece, "Zwischen den Tönen" (1997) is an anomaly in his oeuvre in that it makes use of his distinct techniques but is written for women's choir. The edition is rounded off by a recent recording, "ortung" (2018), again for chamber ensemble, that displays a newfound ease and compositional intuition that has become apparent in his recent work. All recordings are previously unreleased.
"With great concentration the essence of sound becomes clear in Stiebler's late work, here in the heyday of his advanced age, and this has brought his music to the listeners and locations of the alternative avant-garde of noise, ambient and the real-time music scene, in which a culture of heartfelt dedication to sound has long existed. The fact that Stiebler's initiation of precise listening also constitutes a challenge to the cultivation of classical music (he is a great admirer of Mozart) has not yet been properly recognized." (from the liner notes by Matthias R. Entreß)
Edition of 300 in single sleeve with two printed inner sleeves. Liner notes in German and English by Matthias R. Entreß and Ernstalbrecht Stiebler.
catalog no. 864.06
Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied Lettering and Illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long lasting fascination for letters and geometrical figures, and often incorporate signs, characters and writing as well as calligraphic elements. Another thread of influence stems from her background in theatrical painting: the body language and the physical aspects of painting which come to the fore when working on huge canvas with large brushes and liters of paint.
From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing – in a linguistic sense – cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments.
This observation has led to the development of her group of works called OPTO_PHON, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper mounted like drumheads and treated with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early OPTO_PHON performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it while it is being cut and ripped.
Side A of this LP contains excerpts from OPTO_PHON performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to OPTO_PHON: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine. Edition of 300 in full-color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes.
catalog no. 864.05
Double LP 2019
William Engelen (born 1964 in Weert, The Netherlands) is a sound and visual artist living and working in Berlin. After having studied visual arts, his focus shifted over time from solely visual to multi-disciplinary works that oscillate between sound and visual arts, between exhibition and performance, and incorporate installational, sculptural and compositional elements. He now considers himself a conceptual artist who works with sound. Many of his works are site-specific and have been presented and performed in museums, galleries, concert halls, private apartments, parks, urban spaces, a.o. Unlike other sound artists, Engelen does not primarily try to make a space sound, but rather to develop works that resonate and reflect the specific surroundings where they are presented.
"Today, the organ has played beautifully again" (2018) is Engelen's second LP release after "Partitur Belval" in 2016. The piece was written for his solo exhibition "Heute hat die Orgel wieder schön gespielt" at Kunsthalle Osnabrück in Lower Saxony, Germany. The Kunsthalle building was once a Dominican monastery which, in 1713, became home to a pipe organ made by the famous Klausing workshop in Herford. In 1819, after the monastery had been secularized, the organ was moved to St. Matthäus church in Melle where it continues to be played to the present day. For the exhibition, Engelen decided to virtually bring back the organ to its original place. The piece was performed first for an audience at St. Matthäus church on October 14th, 2018, then turned into an 8-channel sound installation for the Kunsthalle exhibition from November 2018 to January 2019. During the rehearsals and the concert, video recordings were made that were compiled into a 2-channel work. The fourth iteration of the piece is this double LP album, recorded in the night of October 18th, 2018, and presented in a full-colour gatefold sleeve with printed inner sleeves. Co-released by Kunsthalle Osnabrück and Edition Telemark.
"The air supply for this historic instrument can either be pumped by a motor or by sheer force, literally by stepping or pressing on the large bellows. Together with Stephan Lutermann, the church's regular organist, I explored and pushed the sonic boundaries and possibilities of the Klausing organ – from the barely audible to the astonishingly raucous. While Stephan played the console, I served as the so-called calcant, or bellows blower, and in this role could decide the length and force of the air supply. Only four of the twelve parts are played with the help of the motor." (William Engelen)
catalog no. 864.04
"Small Worlds" (2004) a is 42-minute composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker. The score is written for any instrument and divides the players into two virtual trios whose constellations change every 3 minutes. No restrictions are made regarding material or playing techniques, the only specification is that in each 3-minute trio, one player has the role of the "dynamic leader" which means that no other player within the trio should play louder than the one on that leading position. Apart from that, the only other restriction concerns how pauses are to be made when two players interchange their positions within the trios.
According to Dafeldecker, the object of the piece is to provide a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation. Especially, the given structure avoids the emergence of certain clichés that are often present in Free Improvisation, while retaining a very high level of openness with regard to how the piece is performed.
The first published recording of "Small Worlds", by Australian ensemble Quiver, was released in 2017 on CDr by Tone List. This LP contains a recording made in 2004 at Taktlos Festival in Basel, Switzerland, that features the line-up that Dafeldecker originally had in mind when he wrote the piece: Burkhard Beins (percussion), Martin Brandlmayr (percussion), Werner Dafeldecker (double bass), Klaus Lang (organ), Michael Moser (cello), and John Tilbury (piano). Partly, this constellation later also played together in the long-running avant-garde group Polwechsel.
Edition of 300 in regular sleeve with three inserts: two featuring an extensive conversation between Werner Dafeldecker and Matthias Haenisch discussing "Small Worlds", Polwechsel and Free Improvisation in general (German and English), the third reproducing the score of the piece.
catalog no. 864.03
LP Picture Disc 2019
Robin Hayward (b. 1969 in Brighton, England) is a tuba player and composer based in Berlin. Since the 1990s, he has been concerning himself with experimental and radical playing techniques on brass instruments, initially through the discovery of the "noise-valve", later through development of the first fully microtonal tuba in 2009. In 2012, he invented the Hayward Tuning Vine as an interface for exploring the harmonic space implicit within the instrument, which exists both as a software version and as a physical prototype. Hayward's microtonal tuba and, on some occasions, the tuning vine have appeared on numerous recordings with various ensembles, e.g. Tonaliens – who have released a double LP on Edition Telemark in 2017 –, Chora(s)san Time-Court Mirage, and Microtub.
"Words of Paradise" is a 2016 recording performed by Zinc & Copper, Hayward's long-running brass chamber ensemble, featuring himself on tuba and tuning vine, Hilary Jeffery on trombone, and Elena Kakaliagou on horn. The piece was inspired by the ideas of 16th-century Dutch linguist Johannes Goropius Becanus, who thought he had shown the Flemish dialect Brabantic to be the original language spoken in Paradise. Observing Brabantic to have a higher proportion of single-syllable words compared to other languages, he reasoned that as the first language must have been the simplest, all languages must be derived from it. The composition draws on the sound of 13 single-syllable words that Becanus used to support his theories. Using half-valve and muting techniques, the inflections of speech and vowel sounds are imitated on the brass instruments, to which the Hayward Tuning Vine is played as a harmonic reference.
LP Picture Disc replicating the multi-coloured circular scores of the horn and trombone parts of "Words of Paradise", housed in a black die-cut sleeve with liner notes on the rear side. Edition of 300.
catalog no. 864.02
Double LP 2018
Populäre Mechanik is an improvisational group from Berlin playing a unique amalgam of Fluxus-inspired garage rock, free jazz, and live electronics. It was originally founded in the early 1980s by Wolfgang Seidel who had previously been the original drummer for West-Berlin leftist rock band Ton Steine Scherben and after that became a long-time collaborator of Conrad Schnitzler with whom he played in Kluster and Eruption, as well as in duo recordings. Recently, Seidel emerged as an author and has published a number of writings on the history of free rock and experimental music in Western Germany – especially Krautrock –, most notably the book "Wir müssen hier raus" (Ventil Verlag, 2016) that is still awaiting its English translation.
The music of Populäre Mechanik is rooted in equal parts in the pop music socialization of its members and the desire to experiment and incorporate cues from free improvisation and avant-garde music, while retaining a sense of enjoyment and playfulness, avoiding all pitfalls that are often present in rock-based progressive music. The name of the band is a nod to the 1950s and 1960s era of US science and technology magazine Popular Mechanics and was chosen as a statement of positive affirmation of the modern age, against the dystopias offered by much of Punk and Industrial music at that time.
The first incarnation of Populäre Mechanik released a 7" single and two cassettes, parts of which have recently been compiled on a CD/LP on Bureau B. It broke up during the 1980s. In 2005, Seidel revived the name for a new line-up – himself being the only common member – that played in a similar vein. This second incarnation of Populäre Mechanik can be heard for the first time on this double LP. The line-up features improvised vocals by Alex Bulgrin, who otherwise performs as a garage rock singer with Berlin's 60s music collective Beatorganization, as well as Sven Hanke (table git, synth), Marcus Jaeger (git), Lars Jeschke (piano, keyboards), Kolja Nixdorf (trumpet), Matthias Sareika (bass, synth), and Wolfgang Seidel (perc, synth).
All recordings were made between 2005 and 2014 in Populäre Mechanik's rehearsal room. Full-color gate-fold sleeve with photos and extensive liner notes by Seidel explaining the history and musical positions of the group. Edition of 300.
catalog no. 864.01
Double LP 2018
Takako Saito (born 1929) is a Japanese artist closely related with Fluxus. In the 1950s, she participated in the "Creative Art Education" movement where she met later Fluxus fellow Ay-O. In 1963, she moved to New York where she was introduced to George Maciunas and became an important member of the Fluxus movement. She remained part of it throughout the 1960s and 1970s and collaborated with numerous Fluxus artists. Since 1968, Saito has been living mostly in Europe. In 1979, she moved to Germany and now lives in Düsseldorf.
Much of her work revolves around everyday life and everyday things, to which she adds her unique artistic gesture through small but deliberate and carefully crafted interventions. Many of her pieces involve the participation of viewers and only become complete when the audience fills a co-designing role. A sense of playfulness is evident throughout her work, seen in many of her performances and particularly in her various "free" chess games that come in a multitude of different shapes and moreover display a high level of craftsmanship.
In line with her general artistic approach, Saito recorded a number of musical pieces between 1982 and 1992. Retrospectively, she called these recordings "Spontaneous Music" because they involved very simple actions with voice and everyday objects that happened spontaneously. Some recordings have become part of sound pieces in her exhibition "Games" at Emily Harvey Gallery in New York in 1990, but none of them have been released so far. A selection from the recordings is published here for the first time.
This double LP is released in an edition of 300 and includes two solo vocal pieces – "Tarori Po Po Po" and "Isokono Pasokono" –, two more vocal pieces in which Saito's voice interacts with the sounds of an everyday event – "Toro während des Naturreiskochens" (Toro while cooking brown rice) and "Mit Elektrohammer" (With electric hammer) –, and two non-vocal sound pieces: "Kugeln" (Balls) and "Am Rhein mit Hammer" (At the Rhine with hammer). It is housed in a full-color sleeve and includes one insert with liner notes by Saito, a poster, and four postcards. The sleeve, the poster, and the postcards were designed by Takako Saito specifically for this release and relate to the notion of the music having been created simply with one's mouth and hands. All recordings have been carefully digitized and mastered by Dirk Specht.
"Around me, there are many things that make beautiful sounds. When I look outside through the window in front of my desk, I see a big Platanus tree whose leaves are shaking. When you stick a microphone into the leaves, it should made beautiful sounds. Then sometimes a dog passes by and barks. [...] That is music to me. No matter if one notices it or not: it's different but it's there." (from the liner notes by Takako Saito)
catalog no. 785.09
Edition Telemark presents the ninth album by die ANGEL (pronounced [diː ˈaŋl̩], previously called Angel), an improvisational noise and electro-acoustic project founded in 1999 by Dirk Dresselhaus and Ilpo Väisänen. Dresselhaus, a.k.a. Schneider TM, is based in Berlin and has been active in electric and electronic music since the late 1980s in various bands and projects ranging from rock music to electro-acoustic improvisation. Väisänen has been playing in Finnish electronic duo Pan Sonic in the 1990s and 2000s, and, more recently, in a number of solo projects.
die ANGEL's music meanders between the poles of improvised noise and electro-acoustic music, encompassing processed electronic sounds, instruments, and field recordings, with some tracks featuring guest musicians. Yön Magneetti Sine can be considered their most stripped-down album to date, completely recorded in July 2017 in Väisänen's cottage near Karttula, Finland. It contains five improvised tracks featuring only processed acoustic signals from two self-built one-string resonance instruments and an acoustic guitar. Both one-stringed instruments were built by Väisänen from parts of a weaving loom, a bench, and two barbecue bowls.
All tracks were recorded live without overdubs and, according to Dresselhaus and Väisänen, relate directly to the surrounding landscape and the special atmosphere of the white nights that occur in central and northern Finland during summer. To them, the music heard here is to be called blues, albeit with non-standard instrumentation and structure. Thus, their working title has been "The Electro-Acoustic Blues Album". Edition of 300 on blue vinyl in full-color sleeve with various photos of the recording process and the surroundings.
catalog no. 785.08
The Maciunas Ensemble was founded in Eindhoven, The Netherlands, in 1968 as a free improvisational music group that set out to realize the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. In the mid-1980s, after a number of personnel changes, the group settled on the line-up of artists Paul Panhuysen and Mario van Horrik, musician Jan van Riet, and scientist Leon van Noorden, which remained stable until Panhuysen's death in 2015. The group met and played on a regular basis, usually improvising on instruments that were at hand and recording every session. Before playing the next session, the previous recording was listened to and discussed. In 1980, the Eindhoven art initiative Het Apollohuis, also the home of Panhuysen and his family, became their home base, a place that subsequently gained fame for being one of the first and longest-running venues for sound art and experimental music in Europe.
In the recent years, the Maciunas Ensemble has begun to go through its vast archive of recordings and to select material for publication that remained unreleased so far. The first bundle of archival recordings, dating from 1968 to 1980, was released on an 11-CD set on Apollo Records in 2012. For their 50th anniversary in 2018, the second part of archival recordings is to be published, its first instalment being this LP on Edition Telemark comprising unreleased tracks recorded between 1982 and 2012. More archival material will be released in digital format by the ensemble.
This LP allows a glimpse into the musical directions the Maciunas Ensemble has been undergoing during those 30 years. Side A features "Ice Cream Man" and "Toxic Metals", two repetitive, thundering tracks from the early 1980s played on guitar, piano, and cello, and heavily inspired by minimalist rock and post-punk music. Side B contains four shorter tracks: "Russolution" (1985), played on self-built aluminium monochords, "Stamples" (2002), employing sampled voices, and "ZENder" (2009) and "Dèdeboum" (2012), both improvised tracks on vocals and a number of instruments.
Regular edition of 250 in brown Kraftpak sleeve with printed inner sleeve containing various photos of the ensemble and liner notes by Mark van de Voort and Werner Durand. Special edition of 50 including the LP in its regular sleeve and a blue T-shirt replicating the front cover artwork, all housed in a brown paper bag with a sticker. T-shirts are available in men's and women's sizes S, M, L, and XL.
catalog no. 785.07
hans w. koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: "more thought, less material". koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne.
Since the 1980s, koch has been concerning himself with the concept of "total harmony" (harmonie totale) introduced by Russian composer Nikolai Obouhow (1892–1954) where all twelve tones of the Western tonal system – in different octave ranges – are stacked into chord complexes, thus articulating the idea of a vertical twelve-tone music, as opposed to the horizontal twelve-tone music after Schönberg. Less than the mystical connotations expressed by Obouhow, koch is interested in the conceptual potential of this approach: a self-contained harmonic system in which every chord is an inversion of every other.
koch has made several works relating to total harmony and calls this work group "the O. theorem". This LP presents two pieces within this group: "stele fuer n.o." for large orchestra (2010) was premiered at the festival MaerzMusik in Berlin in 2010 with the Konzerthausorchester Berlin. "clock of fifths [totensonntag]" (2017) is an electronic piece where a field recording of church bells is filtered through a smartphone app developed by koch: The microphone signal is divided into twelve tone pitches that are heard in accordance with a timer that moves through the circle of fifths shown on the smartphone display. Edition of 300 in full-color sleeve. Printed inner sleeve with liner notes by Volker Straebel and hans w. koch.
catalog no. 785.06
"Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments." Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015.
When future Fluxus artist Ben Patterson (1934–2016) traveled to Germany in 1960 in order to study with Karlheinz Stockhausen, he brought along a tape piece that he had produced in Hugh Le Caine's electronic studio in Canada and that he wanted to show to Stockhausen. They met briefly in the context of the World Music Days of the International Society for Contemporary Music (ISCM) in Cologne, but Patterson immediately sensed that their aesthetic ambitions and viewpoints differed too much, and in the end, he didn't even present him his piece. Instead, his attention was drawn to the Contre Festival at Mary Bauermeister's studio, a counter event to the ISCM festival presenting works by George Brecht, La Monte Young, John Cage, a.o. Virtually overnight, Patterson's aesthetic thinking changed radically, and the cornerstone was laid for his coming role within the Fluxus movement.
In 2013, Stefan Fricke, editor for new music at Hessischer Rundfunk, approached Patterson about a broadcast of that old tape piece. Patterson didn't know its whereabouts, so Fricke and him together with Cologne-based composer hans w. koch set out for a journey through Patterson's large collection of tapes, some labeled, some unlabeled, sometimes the labels not matching the contents. The journey was recorded with Patterson inserting and ejecting various cassettes, always commenting on what was being heard. In the end, the electronic piece couldn't be found, so it was decided to re-record it using various toys, instruments, and small devices. For the new recording, Patterson brought a score titled "The Three Required Musics" which he considered to be related to the tape piece and which required preparatory work in the form of cutting out colored pieces of paper and pasting them into a time grid.
This LP contains the recording of the search on side A and the new recording of the score on side B. It is presented in a full-color sleeve showing a detail of hans w. koch's paper time grid, with liner notes by Stefan Fricke and hans w. koch, and two inserts: the first containing the original score "The Three Required Musics" with new notes by Ben Patterson, the other reproducing koch's complete paper score in A2 format. Edition of 300.
catalog no. 785.05
LP reissue of the cassette edition "Solar Music Tent" documenting an installation and performance in Hagen, Germany, originally released by Joe Jones in 1982 in an edition of 10 copies.
From the early 1980s onwards, Joe Jones released a handful of self-recorded music machine performances on tape under his own record label "Tone-Deaf Music". Most tapes came in a standard xeroxed sleeve with a handwritten title and instrument listing. A few, including "Solar Music Tent", were released in combination with a book: The cassette was included in a red ring binder that held a handwritten photo documentation of the performance of the same name at Karl-Ernst-Osthaus-Museum in Hagen on April 1, 1982, a handwritten music notebook, and an invitation card. The recording itself was titled "Solar Music #5" and was made on March 16, 1982, with the instrument ensemble of the Solar Music Tent at Jones' apartment in Düsseldorf.
Like the previous Jones releases on Edition Telemark, this reissue is limited to 200 copies and comes in a gate-fold PVC sleeve: The right-hand side holds the LP, the left-hand side holds A4-sized facsimiles of all artwork that was included in the original edition.
catalog no. 785.04
Triple LP 2018
After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934–2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 – until 1991 mostly together with Johan Goedhart –, each installation made specifically for the site where it was displayed.
Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.
"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book "Long Strings 1982–2011")
The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.
This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.
Regular edition of 250. Special edition of 50 in a tote bag including the 3 LPs, the book "Long Strings 1982–2011" (originally published by Het Apollohuis), and 6 postcards.
catalog no. 785.03
"at the summer party on the occasion of my soon-to-be 80th birthday, many friends came. as it said on the invitation: 'the eschenau chaos band will play.' while the party was going on, people asked me when that band would be playing, and i replied: 'now! you are that band', and i randomly handed out all of these instruments. hartmut geerken was clued in and had brought some as well – sun ra's sun harp among others. i started with a moroccan hand drum, bendir, and off it went. unpractised." (herman de vries)
Herman de Vries, born 1931 in Alkmaar, is a Dutch visual artist who has been living in Eschenau in the Steigerwald region (Franconia, Germany) since 1970. Having started out as an Art Informel painter in the 1950s, his interests shifted in the ensuing years, and in the 1970s, he became focused on found objects from nature and their artistic-philosophical qualities and implications. He has made paintings, collages, texts, sculptures, installations, a.o., and has dealt with plants, earth, and other parts of nature from botanical, medical, historical, as well as psychedelic viewpoints.
Recording made on June 18, 2011, in Eschenau. Edition of 300 with liner notes by Herman de Vries and photos of the event on the back sleeve.
catalog no. 785.02
Double LP 2017
Tonaliens is a Berlin-based group investigating the inner dimensions and outer limits of Just Intonation. It was formed in 2014 by Amelia Cuni (voice), Werner Durand (invented wind instruments), Robin Hayward (microtonal tuba), Hilary Jeffery (trombone), and Ralf Meinz (live sound, electronics). The group came together shortly after the release of the software version of the Hayward Tuning Vine, an interface for exploring microtonal tuning that allows for direct and intuitive interaction with the pitches normally hidden between the keys of the piano. Coming from diverse backgrounds, the musicians were eager to explore this harmonic space, and thus the tuning vine "acted first as a catalyst, then as a map, and finally as a spaceship" (Hayward) that enabled them to navigate those areas that largely remain obscured.
The music of Tonaliens has so far been focused on a very specific area within the microtonal space that was discovered by mapping out the first three harmonics of three tubes of Durand's self-invented Pan-Ney instrument. They named this area the Tonaliens chord, and both recordings on this double LP – two live performances from 2015 – are based on it. Sides A and B are recorded live in a church in Amsterdam, the Vondelkerk, during the Sonic Acts Festival. Sides C and D contain a contrasting, more intimate performance made at KuLe in Berlin for the Labor Sonor concert series. Amelia Cuni appears only on the Amsterdam recording.
Edition of 300 in full-color gatefold sleeve with liner notes by Robin Hayward, and detailed photos and screenshots. Black poly-lined inner sleeves.
catalog no. 785.01
The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt, and continued to this day by John. Its fields of activity are multifaceted and have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, etc. The Oval Language has collaborated extensively with various artists, among others Nicolai Angelov, Koyo Axel Guhlmann, and Guido Hübner of Das Synthetische Mischgewebe.
Around 1991, the then members of the group – John, Berendt, and Peter Schüler – were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg.
"Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation." (The Oval Language)
This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300.
catalog no. 628.09
Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself.
This LP brings together "not a bird" and Müller's long-time preoccupation with Richard Wagner's Rheingold. The piece, originally conceived as a video, consists of countless layers of Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards.
Regular edition of 250. Special numbered edition of 50 with a large hand-drilled off-center hole (diameter 27mm) for additional wobbling during playback and a small bag of original "not a bird" ashes to be scattered over the LP before playing. (Note: The special edition is not playable by regular means.)
Performance at Summer Workshop for Experimental Music, Munich, August 2, 2017
catalog no. 628.08
"Carillon Sudokus" is the sonic counterpart to "Oog & Oor" (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934–2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from "Eight Double Sudokus", a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the Golden Ratio in much of his art because he felt that instead of limiting his artistical freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination.
"A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series." (from the liner notes by René van Peer)
These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Edition of 300 in full-color gatefold sleeve with printed inner sleeve. Liner notes by René van Peer.
catalog no. 628.07
Double LP 2017
When Terry Fox went from San Francisco to Europe in 1972, he discovered the great pavement labyrinth at Chartres Cathedral. It consists of 11 concentric rings with 552 steps and 34 turns leading into the center. The discovery of the labyrinth became a revelation to him. He saw it as a metaphor for his own life, the numbers of rings and turns corresponding to cycles of health and sickness he had undergone. Thus he decided to base all of his works until 1978 on the labyrinth. These include two major sound works, one of which – "The Labyrinth Scored for the Purrs of 11 Cats" – was later released on cassette and LP, while the other has remained unreleased so far.
"552 Steps Through 11 Pairs of Strings" was a performance made in Fox's loft in San Francisco on August 14, 1976, starting at 10 pm and lasting 4 1/2 hours. He stretched 11 pairs of piano wires of 11 different thicknesses across the floor, attached them to turnbuckles at each end which he hooked to eye-screws into the wooden floor. Each pair of wires passed over a wooden bridge at both ends. He played this instrument with a soft mallet in one hand and a score in the other. The score was a 34-foot string tied with 552 knots. Each knot represented a step in the labyrinth with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The audience was in the dark loft of the floor below.
"We were all mesmerized by the beauty of the piece and lost in its grace. Around midnight a light rain began to fall outside the windows completing the piece's perfection. He played for another two hours or so. It also happened to be my birthday. It was the best birthday I ever had." (from the liner notes by Alan Scarritt)
This double LP includes four selections from the performance. A gatefold sleeve reproduces the score, a photograph and a drawing of the instrument, and the invitation card to the performance. Texts by Terry Fox and Alan Scarritt. Edition of 300.
catalog no. 628.06
Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. His name is still most closely associated with his long-time position as radio editor and producer for New Music at the Hessian Broadcasting Corporation (Hessischer Rundfunk), but his own compositional oeuvre – beginning in 1955 and continuing until now – has in the recent years attracted more attention with various concerts and several releases.
Having attended the Darmstadt International Summer Courses for New Music from 1958 onwards, Stiebler decided in 1963 to leave serial music behind and instead opt for his own reductionist style built on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music but rather influenced by Minimalism in visual art. In terms of composers of his time, the closest stylistic relationship that could be drawn is that to Morton Feldman. Stiebler's approach is best summarized in his own words: "Music is too important to burden it with emotions."
This LP pairs two organ-based works: "Kanon" (1980) for organ, electric organ and wind instruments, and "Torsi" (2002) for organ in three movements: "Torso", "Organa minima" and "Cantus". The latter recording, made at St. Stephen's Church in Konstanz (organ: Hans-Peter Schulz), was previously released on CD by m=minimal. "Kanon" is so far unreleased. Edition of 300 in gate-fold sleeve including an extensive interview conducted by Jens Strüver about Stiebler's compositional views and techniques.
catalog no. 628.05
Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). In Cologne, he organized numerous concerts and festivals for experimental music, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. He regards John Cage, Alvin Lucier, Jackson Mac Low and David Tudor as his most important teachers, with whom he also collaborated, and has performed his own live-electronic and text-sound compositions throughout Europe.
This LP pairs a live-electronic and a text-sound piece: "Nachtflug" (Night Flight, 1999) is based on electronic treatment of the sounds of bats made audible, and is performed by hans w. koch and Behrendsen. "Atem des Windes" (Breath of Wind, 1999–2005) is a text-sound composition on the subject of the wind, inspired by a Taoist text by the Chinese philosopher Zhuangzi, and features the voices of Bettina Wenzel and Behrendsen. Edition of 300 in full-color sleeve and inner sleeve.
catalog no. 628.04
On 26 June 1983, Joe Jones set up a solar orchestra in Erik Andersch's garden in Düsseldorf, North Rhine-Westphalia, Germany. Guests were invited for a dinner party to listen to the orchestra. The music was recorded and the event documented by various photographs that were published as a book by Jones in 1987 in an edition of 15 copies. The audio recording remained unreleased.
This edition brings together the recording and an A4-sized reproduction of Jones' book. It is presented in a gate-fold PVC sleeve. Right-hand side holds the LP, left-hand side holds the book, a poster, and a postcard. Edition of 200.
catalog no. 628.03
Double LP 2016
The trio Argo was formed in Darmstadt in 1985 by Hans Essel (violin), Marit Hoffmann (viola), and Thomas Stett (clarinet). It existed until 2016 when it was forced to an end by the untimely death of Stett. Argo set out to explore new ways of free collective improvisation that were aimed neither at personal expressivity nor at the evocation of a certain mood or atmosphere. Eschewing any compositional agreements, they experimented with musical forms and processes that emerged spontaneously between the poles of the players' individual lines of improvisation. They played with fleeting objects of sound and transformations, inflections, and disruptions of those objects. Unexpected noises that could arise at any time required and provoked fast reactions of the players. Argo utilized three classical instruments without any preparations but over time developed an augmented range of sound generation techniques on these instruments. Their playing bears almost no traces of tonality, harmony, or rhythm. The title of this edition, "Flüchtige Musik", translates as "fleeting music" or "transient music".
The double LP collects recordings made mostly live between 1987 and 2013. The first recording still shows traces of classical sound material but also includes other sound generators like styrofoam and cardboard that were left out later. Already in 1991, Argo had settled on using the three instruments exclusively but with a new range of sounds that can be heard throughout the subsequent recordings. On a few occasions, Argo transferred their concept to experiments with their own speaking voices. This led to "Flüchtige Wörter" ("fleeting words"), one recording of which is also included.
Double LP in gate-fold sleeve with black poly-lined inner sleeves. Edition of 300.
catalog no. 628.02
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)".
catalog no. 628.01
Double 12" 2016
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 gate-fold sleeve and liner notes by Miloš Vojtěchovský. Edition of 300.
catalog no. 314.09
Double LP 2016
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.
catalog no. 314.08
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 gate-fold 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.
catalog no. 314.07
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.
catalog no. 314.05
Double LP Picture Disc 2015
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.
catalog no. 314.04
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.
catalog no. 314.03
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.
catalog no. 314.02
Co-release with Tochnit Aleph
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 gate-fold 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).
catalog no. 314.01
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.
Photos of a performance by Hans Essel at Rumpsti Pumsti (Musik), Berlin, on the occasion of the LP release.
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