NPVR is the avant garde duo made up of the late Peter Rehberg and Nik Void. Editions Mego is proud to present their second and final release. No this is not some kind of Beatles synthetic AI that raises the dead reconstructed recordings but rather a new album made by the humans and their machines. 

The initial meeting of Rehberg and Void was in London in 2016 and despite or due to their mutual awkwardness found solace and compatibility in the fact that they both had a similar electronic modular set up, along with matching cases to transport all. The idea to collaborate was an obvious and organic process as a means to connect their individual gear together and observe the outcome. The fruits of these initial experiments, recorded in London, resulted in the playful experimentation of their acclaimed 2017 release 33 33 (eMego 251).

Now in 2024 Editions Mego presents the logically titled follow up, 33 34. These sessions were recorded six months after the initial recordings at Peter’s home in Vienna. This was planned out as a mirror city release to the original London recordings. With Peter having access to his full studio set up this time around we encounter a rich audio landscape which organically folds together a variety of musical genres blurring any distinction between these forms so the resulting music hovers as a new cloud of sound. Any musical form, be it industrial, electro-acoustic, ambient, drone and techno all coexist and melt into the other as the ensuing result unveils a hypnotic swarm of divergent sounds (music). When active there were no lines or contexts with NPVR, either between sound or genre within these recordings or live where NPVR were at home playing at a techno club one night and an avant garde venue the next.

The initial session of these recordings was edited by Rehberg and sent to Void to further develop.
Over time the final versions were agreed on and then shelved as other outside projects took over. The awkwardness had been surmounted and the two had become close friends. NPVR performed at a range of venues such as Tresor, Sutton House, Corsica, Blitz, Paris GRM #Focus2, LEV Festival and Rigas Skanumezs Festival. Following Rehberg’s untimely passing Void had difficulty listening back to the sessions but eventually thought it fit to complete and release this album, of which even the artwork (like 33 33, an image from Zurich photographer, Georg Gatsas) had been decided upon prior to Rehberg parting ways. 

There is an unmistakable joy to these recordings. One encounters an enthralling exploration of their chosen machines which conveys the excitement of what can be randomly conjured when people speak through such devices. There is no grand statement or argument here, just the sheer thrill of creation and the recorded results of random encounters. The art of collaboration was always a mainstay of Rehberg’s practice from the advent of the MEGO adventure. Rehberg & Bauer was an initial collaboration with former business partner Ramon Bauer. Even at this stage one can hear a relaxed sense of delight in the sheer discovery of sound.

A mix made for the Wire magazine following the release of 33 33 hints at the freedom that comes with endless urge for exploration and discovery. Abstract tracks from Z'EV. Jérôme Noetinger and Jung An Tagen are included alongside British stalwarts The Fall and New Order. There were no lines between pop / academic / underground or mainstream in Rehberg’s world. All of it sat at the same table. It is just matter in the atmosphere, like the diverse exploration found in these recordings that comprise 33 34.

33 34

Raw to the Core

NPVR 'Raw to the Core' (EMEGO312)

Artist: Giuseppe Ielasi
Title: Rhetorical Islands
Cat#: faitiche 35
Release: Mar 1st 2024
Format: LP/DL

First vinyl edition of the album Rhetorical Islands, originally released by Giuseppe Ielasi in 2012 as a limited-edition CD on his Senufo Editions label, with recordings made in 2011 as a commission for l’Audible Festival, Paris.

The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called “isolated sound worlds”. They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. Here’s to everyone creating their very own sculptures while listening to Rhetorical Islands!

The front and back cover features 0.058, a work on paper by the artists Thomas & Renée Rapedius. They make sculptures whose form and artistic inspiration are defined by their materials. Like Ielasi’s acoustic islands, their impact derives from self-referentiality, resulting in paradoxical objects that embody both a detailed material study and a potential for free association.

Giuseppe Ielasi: 06

@radiofantasia 
https://soundcloud.com/radiofantasia/various-artists-dont-stop-talking-about-palestine-compilation

Listen to full version, buy and support people of Gaza https://radiofantasia.bandcamp.com/album/don-t-stop-talking-about-palestine

pretend (Don​’​t stop talking about Palestine, Radio Fantasia)

From the album "Another Song of Civilization"
$10 cassette
Available here: https://goatytapes.com/#!/tape/another-song-of-civilization/

Darrell DeVore - Music For Electronic Keyboards (c. 1980) (excerpt)

Extract from 13th dogtape by Tzii.
"Divagation Sociale" was conceived as two storytelling pieces of 20minutes // 2 distinct pieces that you can perceive as audio short movies, cut in sequences // A side is a dive into opïoidic nights filled with clumsy seduction and endless drifts through cheulou lounge vibes // B side is a trip through street and squatt culture , starting in Barbès, going to Anti-Mariani protests and police repression of a free party (true field recordings I did in early 00’s and used for the first time here) to some rare samples of the real Hakim Bey explaining the T.A.Z. concept (Temporary Autonomous Zone for those who are not familiar to it) // all of it recorded in september 2023 at the Studio of the White Worm 
---
artwork : BVVVS

DOGTAPE VOL.13 : Divagation Sociale

Tzii : La séduction (DOGTAPE VOL.13)

Ahead of tomorrow's BT night at Bike Jesus with Ivna Ji, Exhausted Modern, Barking and mʊdʌki, we present Poisoned Notes, featuring four exclusive tracks from tomorrow's line-up.

Offering a taste of the sounds to come, flexing downtempo, pulsating jams, breaks and electro.

[NOCAT] VA - POISONED NOTES
Free digital compilation.

Tickets available from RA.
https://ra.co/events/1875583


@barkingmusic

Free

Barking - Under A Pale Blue Light

Limited to 100 copies in a cover letterpressed by Typotopia in Malmö. Vinyl pressed in Hamburg by Ramona Vinyl.

This is two new pieces by Swedish trio Organ of Corti. Tape loops by Dan Johansson of Sewer Election/Enhet för Fri Musik etc and Mattias Gustafsson of Altar of Flies. Synths and mixing by Joachim Nordwall.

released April 4, 2024

ORGAN OF CORTI - MUTATIO (iDEAL255 7")

Meta is a syllabic abbreviation of two words: "Metallophone" and "Tape."
Metallophone and tape music by Nikolaienko.

"It’s an album where I’ve limited myself to using only two instruments – a metallophone and a four-track tape recorder. Explorations of the metallophone and tape sounds, deconstructed and reintegrated into tracks with cassette loops. This release is part of this year’s series, dedicated not to electronic but to electro-acoustic music with a focus on analog recording and production"
Taken from the Shape platform interview (March 2024)

Side A:
1. Meta VI 
2. Meta IV 
3. Meta V

Side B:
1. Meta III 
2. Meta II 
3. Meta VII 
4. Meta I

Recorded at Telemaja, Tallinn, Summer 2023
Composed, produced, metallophone, tape loops, artwork: Dmytro Nikolaienko 
Saxophone on A3 by Mykola Lebed
Mastered by Giuseppe Ielasi 
Design by Day Night 
Typeface by KTF

Catalogue: Muscut 33C
Format: Cassette, C40, Digital
File under: ambient, experimental, acoustic
Release date: June 24, 2024

Meta VI

Order

Nikolaienko - Meta VI

Shadows Lifted from Invisible Hands
by James Hoff

Shadows Lifted from Invisible Hands is an autobiographical record, comprised of four songs that Hoff refers to as ambient media. Each track is composed from sources drawn from his own involuntary aural landscape, specifically musical earworms and tinnitus frequencies.

Neither sound nor a daydream, the earworm (or stuck song) emblematizes music as a commercial form—immediate, ubiquitous, and persistent. Likewise, tinnitus is inaudible and unscrupulous, manifesting across a spectrum of frequencies at will. The cognitive swirling of these phenomena provides an ambivalent, internal soundtrack that scores a person’s movement through the world.

Those suffering from tinnitus or those who have grown accustomed to the “Tinnitus Effect” in movies will likely recognize the buzzing pitches on the record, but will likely not recognize the songs. Distorted and distilled, Shadows Lifted from Invisible Hands features altered versions of four commercial pop songs: Blondie’s “Heart of Glass,” David Bowie’s “Space Oddity,” Madonna’s “Into the Groove,” and Lou Reed’s “Perfect Day.”

Having been haunted by these songs on and off for years, Hoff tweaks the tracks, transposing and recomposing them for orchestral instrumentation. Speaking back to these involuntary echoes, these tracks go to great lengths to obfuscate their sources; to be sure not to simply re-introduce each earworm, as though they were samples. Otherwise, what’s the point? No one needs another stream.

Besides, earworms are not music, although we perceive them as such. They are non-cochlear and exist as an affective force that is neither subjective nor objective, which is to say they are an invasive—and alien—phenomenon. Like tinnitus, they are aggravated by economic, social, and environmental forces as well as emotional states, mental health, and aging. Hoff doesn’t underplay his own struggles with mental health in discussing the record—noting a long history of depression and its acuteness over the last few years, which serve as the backdrop to the composition of this record.

Scratch any pop song hard enough and you’ll find sadness underneath it. Subdermal, the songs on this record evoke a type of ephemeral weariness and despair. By recasting the original songs through their shadowy doubles, Hoff provides a window into the dark core of pop music. At the center of which lies capitalism’s desperate attempt to replicate itself through a cheap high built on echoing refrains. Just below the surface the listener finds a hangover of shadows dancing through the mind.

—

James Hoff is an artist living and working in New York. He has exhibited and performed internationally. He co-founded Primary Information in 2006 to publish historical and contemporary artists’ books.

JAMES HOFF 'Everything You Want Less Time' (SP151)

info + tracklist: https://radio.syg.ma/episodes/wide-mesh-riforma-somaticae-cloak-of-kings-not399093
https://riforma.bandcamp.com/album/blue-lagoon
https://riforma.bandcamp.com/album/ayont

Wide.Mesh (Riforma) – Somaticae, Cloak Of Kings & Not399093

Collection of soothing piano pieces for relaxing and work.

Ripples of Resonance

Quest For The Lost Chords

HTTP://SHELTER-PRESS.COM
—
Shelter Press is a record label and publishing platform founded in 2012 by publisher Bartolomé Sanson and artist Félicia Atkinson building up dialogues between contemporary art, poetry and experimental music through printed publications and records.
Shelter Press is also carrying and collaborating on the releases of the Ideologic Organ, Recollection GRM and Portraits GRM labels.

JAMES HOFF 'Everything You Want Less Time' (SP151)

SHELTER PRESS

Recent comments

ASOA XXX2.55555 

Related tracks