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Excerpt of the first five minutes from the forthcoming vinyl re-issue of 'Topography of The Lungs' - one of the key recordings in the development of free improvisation and originally the first release on Incus, the label founded by Evan Parker, Derek Bailey and Tony Oxley to document the music. 

This vinyl issue caps off a year celebrating Evan Parker's 70th Birthday. Evan plays a week of concerts at Cafe OTO and The Vortex from the 20-26 October. 

Release Date: 15 December 2014

Liner notes by Evan Parker (for the 2014 re-issue):

‘The Topography of the Lungs’ was the first recording I made as a "leader" - in the somewhat antiquated terminology of the times. What this means in simple terms is that I set up the date and invited Han and Derek to participate - after that it was a matter of open interaction.

The original notes make clear my enthusiasm for the work that Derek Bailey and Han Bennink had done as a duo and it was good of them to share their discoveries with me. It was the first release on Incus, a label that I set up with Derek Bailey and Tony Oxley with financial assistance from music journalist Michael Walters.  No accurate history of Incus Records has yet been written. After parting company  and when the conditions of my agreement with Derek Bailey had been met, it was issued as a CD, thanks to Martin Davidson, on my label psi.

Musicians of my generation were very happy when the CD superseded the LP. I remember clearly the initial argument that CD was an elitist format... Times and attitudes have changed and the LP has made a serious return, especially in the documentation of marginal musics. OTOroku is run by and, perhaps, largely for, a new generation of listeners who have an affection for the LP format that reminds me of my youth.

I am very happy that a label associated with one of the most important music venues in London is overseeing this release.

I often travel along Dawes Road in Fulham and pass the building where the recording was made.  It is on the first floor by a bus stop and was a small space with a dead acoustic, probably ideal for making low-budget rock demos, which encouraged very analytical listening.

The engineer, Bob Woolford, was not shocked by what we were doing. On the contrary he was then, and remains, one of the great engineers, along with Adam Skeaping and Michael Gerzon who enjoyed the challenges of recording alternative musics.

In the intervening forty-odd years since its first release, the idealism of the original notes has been battered almost sense-less by the Neo-Liberal (Neo-Fascist would be a more accurate term) moves to global hegemony. I take heart from the environ-mental, Occupy and anti-war movements and would encourage all younger listeners to find a way to live their lives as far as possible without interference and control by decisions made in corporate boardrooms. May the music here give you energy and fuel your imaginations.

					          EP  (August, 2014)



PRE-ORDER NOW

Evan Parker / Derek Bailey / Han Bennink 'Topography of the Lungs' [Excerpt] (ROKU(RE)001)

CD available directly from Important Records - imprec.com 

Strange Times is a virtuosic realization of contemporary
electroacoustic soundscapes composed and performed by Stephen
Ruppenthal and Gary R. Weisberg. With masterful employment of electroacoustic techniques and tools, including the original 70's Buchla Music Easel Ruppenthal used in the Electric Weasel Ensemble, these two artist create an essential, psychedelic, electro-acoustic experience.

Strange Times is a hallucinatory journey into our epidemic-ridden
times through a collection of startling sonic landscapes. From epic
acoustic journeys into re-imagining myth to the phantasmal soundscape world of the Bardo, Strange Times is not for the innocent or delicate listener. Time turns elastic, and folds in on itself; you are approaching the event horizon of a black hole. The only way to make sense of any of it is to mentally rewind; speed up or slow down the voices in your head in random attempts to find your way through this electroacoustic aether. Strange Times explores the ability of sound to alter consciousness, creating sonic environments, mental and physical states where one can allow the experience of listening to become transformative.

Stephen Ruppenthal (Berkeley, 1949) San Francisco Bay Area new music trumpeter, electroacoustic and text-sound composer, Stephen studied electronic music and composition with composer Allen Strange, and ethnomusicology with Lou Harrison, and holds a Masters of Arts Degree in Contemporary Musicology, writing the first comprehensive treatise in English of Sound Poetry, “History of the Development and Techniques of Sound Poetry in the Twentieth Century in Western Cultures.” Stephen was a founding member, along with Don Buchla and Allen & Pat Strange, of the Electric Weasel Ensemble, and more recently, with Brian Belet and Pat Strange, of SoundProof, and is known internationally for his live electroacoustic performances, and writings on text-sound
composition. Stephen has been composing and performing electroacoustic works for Buchla instruments since 1971. Flamethrower, a 2017 CD of electroacoustic works for trumpet and flugelhorn, by Allen Strange, Brian Belet, Bruno Liberda, and Elainie Lillios, and performed by Stephen is currently available from Ravello Records. 

Gary R. Weisberg, composer-sound designer-digital audio artist was
born 1951 in Brooklyn, NY. At age 2, Gary was exposed by his mother to the music of Brahms, Khatchaturian and Rimsky-Korsakov. He also had a fascination with dinosaurs. He first picked up a musical instrument in 1972, playing free- jazz improvisation on flute and alto sax. Gary moved to San Francisco in 1976 and was involved in a loosely knit collective of jazz and experimental musicians and artists, operating a small performance space called The Blue Dolphin. He studied music, computer programming and electronics at San Francisco State University, graduating with a degree in Electronic Music Composition. He spent two years building a modular analog synthesizer, and began composing electronic music and text-sound compositions for art/ photography gallery openings. From 1986-1994, Gary maintained a MIDI project studio for the production of his own music, as well as sound and music for TV/Film/Video productions. Since 1994, Gary has been composing PC-based experimental electronic music, as well as pieces
for electronic and acoustic instruments, occasionally performing with other composers and collaborating with visual artists. He currently resides in New York's Mid-Hudson Valley.

1. Post - Apocalyptic Biscuit (Ruppenthal)

you might wonder why i deleted the file for this one

bacon

READ > inverted-audio.com/premiere-begayer-lycose-battue

Fifteen years after their inaugural release, Paris-based platform @Murailles-music, Via Parigi and Le Saule deliver the nine-track ‘Évohé B​è​gue‘ LP – courtesy of French noise quintet Bégayer with Loup Uberto, Alexis Vinéïs, Lucas Ravinale, Jean-Philippe Curtelin and Etienne Foyer.

Évohé B​è​gue

Lycose Battue

Bégayer - Lycose battue [Murailles Music]

15/01 noods radio
pres. albanian's rrita jashari 

www.noodsradio.com/residents/furda

noods radio: furda / hermeneia invites rrita jashari

Tracklist

01. Lorenz Weber - A Wounded Bird
02. Observatories - Picking Up Stones
03. Marcus Fischer + The OO-Ray - Cold Spring
04. Scott Campbell - Innermost
05. Steve Pacheco - Eventide
06. Tomáš Šenkyřík - 1344
07. Tomoyoshi Date - 土 Tsuchi (33 rpm)
08. Alex Bober - Betray Me, Crush Me
09. América Analógica - Cortezas (i)
10. Celer - Melancholy Movement III
11. Francisco Sonur - Bosque de Alerces

361. Sleepy Sunday Podcast (Elm Records)

xin "To Shock The Sky And Shake The Earth (SUB025)
Vinyl & digital: https://xxxiiinnn.bandcamp.com/album/to-shock-the-sky-and-shake-the-earth

To Shock the Sky and Shake the Earth is a process of searching. It sees the Berlin-based artist navigating spaces between conventions, cultures, pressures and sounds. This informs their decision to release the EP through Resonate and a handful of independent platforms.

On this decision, xin says:

“I don’t believe that there should be one way to do anything, or in convention for convention’s sake. I’ve been thinking a lot about the ethics of making and releasing music, and trying to find less harmful ways of being in the world.”

This statement points towards growing dissatisfaction around independent music’s reliance on corporate monoliths, from Facebook to Spotify. xin's decision is made as one gesture in a much broader, quickly-evolving discourse.

xin’s particular approach is also evident in their production, which lacks consistent genre signifiers for listeners to grab ahold of. Tracks such as ‘Black Light Blind Fire’ and ‘Sucker’ lean on dance music’s lexicon, while ‘Aedes Splatter’ is comprised of shudders, sputters and hums. 'To Shock the Sky and Shake the Earth' is an unusual synthesis of varied sounds.

http://subtextrecordings.net/

https://xxxiiinnn.bandcamp.com/album/to-shock-the-sky-and-shake-the-earth

Aedes Splatter

Vinyl & digital

xin - Aedes Splatter

Subtext Recordings is a Bristol founded / Berlin based label curated by James Ginzburg.