PIUME E SANGUE - Procedure -(Self Released-Italy-1992)

 Self released CD by this Italian duo : Piume e sangue is Gi Gasparin and Paolo Dal Balcon. Their music is a mix of experimental electronic,noize-ambient and abstract sounds. Recorded 1987 - 1988. Distributed by Hax as marked with a sticker on the inlay.
The titles make sense read backwards.Enjoy it.

*f/a¬r^a~w}a/y   click me

 

VOIGT KAMPFF - Used - (Kingsize-UK-1998)

Nice album of breaks and abstract electronic jingles by Voigt Kampff.Kingsize is an UK label started in 1996 and releasing tech house and breaks.Enjoy it!

:f)a*r^a!w_a)y*  click me

STARFISH POOL - Remixed - (Silver Recordings-Belgium-1997)

 The electronic project of Koen Lybaert - that evolved out of Starfish Enterprises - that was active between 1993 and 2003. Starfish Pool was working in the experimental area of minimal, rhythmic, ambient and noise in all its aspects. Since the very start it is the manipulation of loops - the basic idea of the way tracks were created as Starfish Pool. This concept that has nothing to do with the sound but more with the way that tracks where practically made. In 10 years' time Starfish Pool had more than 25 releases. 

Silver Recordings : Label run by Koen Lybaert (Starfish Pool) for several years in the late 1990s alongside the Respect Wax label. Both are now defunct, as are all of Lybaert's labels U-Cover (CD releases) and Inc.us (vinyl releases), etc.(info from Discogs)   click me

 

STARFISH POOL - Interference `96 - (Nova Zembia-Belgium-1996)

  The electronic project of Koen Lybaert - that evolved out of Starfish Enterprises - that was active between 1993 and 2003. Starfish Pool was working in the experimental area of minimal, rhythmic, ambient and noise in all its aspects. Since the very start it is the manipulation of loops - the basic idea of the way tracks were created as Starfish Pool. This concept that has nothing to do with the sound but more with the way that tracks where practically made. In 10 years' time Starfish Pool had more than 25 releases. 

 Nova Zembla was a sub label of KK Records in Belgium. Initially launched in 1993, releasing material licensed from the pioneering Australian trance label Psy-Harmonics.with artist's such as Zen Paradox, Lumukanda, Third Eye, and Shaolin Wooden Men,
As the label began to establish itself in the European tech-trance seen. new artist's were added to their line up, and the music became more diversified, and releases started to feature material that ranged from hard trance like Delta Plan and Bulbawee to sci-fi ambient like Starfish Pool and hard chill trance such as Self-Transforming Machine Elves. and Goa trance by Elysium, Rounding things off with artists like Worm, Black Lung, Xingu Hill, and Sympathy Nervous who were more techno oriented, and their material was more experimental or ambient in nature, rather than trance.
Label shut down in 2000. (all info from Discogs)  click me

 

v.a.-The Freest Of Radicals-(No Type-Canada-2002)

 Long and interesting  double CD compilation covering a wide range of artists playing abstract,experimental,industrial and ambient music.

No Type is a Canadian netlabel in the experimental music scene since 1998 and this sampler is their first non-MP3 release.Packaged in a cardboard folded sleeve inside a separate cardboard cover. reports quite a few info about the artists included. (official webpage,bandcamp,archive.org)

Enjoy it.

:f*a^r¬a-w)a(y  click me

 

		Bait Disc
1.01	Le Chien Borgne–	Rho<1 (Rho A > Rho)	4:22
1.02	James Schidlowsky–	Radio Collision	4:55
1.03	Tomas Jirku–	I Think I'm In Love	6:44
1.04	Speech.Fake–	An Objection That Is Immaterial After The Fact	4:37
1.05	Julie Rousse–	Une A Six Idées Improvisées	4:25
1.06	Eucci–	Barbizon & Tape
3:39
1.07	Viratone Ballad–	Ouet3c-Warm	1:48
1.08	Magali Babin–	Petit Jardin
4:56
1.09	Camp–	Oeee
3:30
1.10	Claudia Bonarelli–	They Use Us Back	3:33
1.11	Ja_dijiste–	Laquinta
5:31
1.12	Napalm Jazz–	De La Viande Bio
2:42
1.13	Backstreet Noise (2)–	Sentiment Ecoeurant	1:51
1.14	N.Kra & eM–	Linoleum	3:07
1.15	Jon Vaughn–	Bouncing Ball (1 Of 2) + Gravel Road
4:15
1.16	833-45–	Spook	5:29
1.17	Kanovanik–	Tell Me About Death, Mommy
5:01
1.18	Idmonster–	Deborah And Klaus
4:01
1.19	V.V.–	Moment 3	3:25
		Switch Disc (Or Is It The Other Way Around?)
2.01	Kalx–	Soundtest	1:18
2.02	Oeuf Korreckt–	Hooked On Phone Ethics	3:30
2.03	Sluts On Tape–	The Last And Finest Of Peter Pans
5:54
2.04	Octopus Inc–	Knife Takes Blood	4:14
2.05	Alphacat–	Waveporn
6:09
2.06	Books On Tape–	Baile Del Muerte	3:31
2.07	Morceaux_de_machines–	Cs-514	6:18
2.08	Martindx–	Badjelly	3:24
2.09	Dick Richards–	Coll Cel Portell	3:34
2.10	Chris Degiere–	7 Bev Joggler (DC Offset)	4:00
2.11	Headphone Science–	Without Paper Basics	6:04
2.12	Gimp Gadget Oscillation–	Hernosai	6:05
2.13	Themoonstealingproject–	Why I Have Bags Under My Eyes	4:48
2.14	Diablatomica–	Hallways And Doors	3:12
2.15	Kalx–	Couf	4:19
2.16	Infoslut–	He Dreamt She Was An Atom, She Dreamt He Was Enola Gay	7:18
2.17	N.Kra–	Metroid Remix

CRESCENT - Electronic Sound Constructions - (Snapshot Records-UK-1997)

 Crescent plays a weird mix of abstract and lo-fi music remiding me some avant-garde experiments.This cd seems to be their only release and contains 8 tunes delivering some strange differences that make this album quite abundant.

Enjoy it.

:f)a~r_a*w^a~y:   click me

 

Tomoroh Hidari-The Black Star Variations-(Laridae-Austria-2011)

 In 2012, Tomoroh Hidari will release his light absorbing ambient monster "Some Stars Not Yet Black Holes" as double 12" on Record Label Records.

Due to the extreme mass of this project, laridae was able to utilize the caused divergency in space-time, to release the spin-off album "The Black Star Variations" even BEFORE its own source release.

So, we invite you to swap the Star of Betlehem with Hidari's Black Stars of dark ambient and wish you all a merry saturnalia!


"Tomoroh Hidari encapsulates its rugged outer shell composed of tethered wiring, low bass rumbling and an industrial pulse as it enriches the core with atmospheric and rhythm bending skills. Each derivation compliments the other as glitched life forms merge to the surface just as quickly as they dissipate. Originally intended for live adaptations, “The Black Star” collects itself and breaks down into five enriched pieces that are both mechanical and inspired in shape."
- Igloo Magazine 

 released December 1, 2011

Free dl from www.laridae.at/releases.php?release=laridae065

Tomororoh Hidari Discogs 

Ivory Bunker Recordings 

UNSONG ‎– The Frailty Of Angels, The Treason Of People -(Macrophonies Org-UK-2002)

One of the quietist starts to an album to come through my front door in quite a while. however, this first piece builds into a chaotic assemblage of disembodied voices and simple but effective electronic pulses, added to this is the sound that could be a heavily treated marimba but probably isn't. the title track on this disc is a beautiful piece of atonal electronics whose morphology has been executed exquisitely. the spatiality has to be admired, i'm listening to this on speakers but i think it would be an excellent listen through headphones. this track alone is over 20 minutes long and it never tires or seems drawn out, every minute has been utilised to the full... there's six tracks in total on this disc and none are 'fillers', each and every one of them stands out on their own merit. a very well accomplished album (particularly for a debut) and highly recommended." (from Cheeses International)click me
 

Tracklist

1

She Became A Cobweb In My Hands

4:13

2

Perfidy

6:23

3

The Frailty Of Angels / The Treason Of People

22:52

4

Zero Rapture

8:59

5

The Germ Is Divided

10:49

6

Phenakism

6:04

BRUME-Unrelated Landscape-(audiofile Tapes-USA-1990)

The project of the French composer Christian Renou, between musique concrete, sound collage and industrial noise. The project was on hiatus from 2000-2008, Renou releasing material under his own name. His official webpage is here.

The legendary New York industrial/experimental/electronic label audiofile Tapes was run by Carl Howard and active since the mid-1980s.

I  wrote about him quite a few time now.Here an interview  to him on Autoreverse Independent Music Magazine and another one on Media Hyperrel.org.

Enjoy it.

:f*a^r:a)w_a(y:

click me

Tracklist

A1	Unrelated Landscape	5:44
A2	New York, New York	7:43
A3	Un Jour De Pluie	2:37
B1	Stranded	13:06
B2	L'antichambre.B.4.E.	5:17
B3	Landed	1:38
B4	Transe W/o Soul	3:22

Credits

• Instruments, Performer [Metal], Tape, Mixed By [Mix] – Brume

Notes

No sampler.
Rec. Jan/Feb 90

 

GORGONZOLA LEGS-Piscatorial Debris-(Exart-Holland-1988)

An astonishing CD by Gorgonzola Legs, for whom not familiar with them then I already posted their great tape Salmon Squeezing In Weird Weirs in that post you`ll find some very useful info about this project. 

This cd is yet another great gift by my friend Dante who kindly sent me this as Flac files and suggested to me to add an inspiring quote by  Hessel Veldman (one of the founding members) taken from the booklet of this cd.

My gratitude to you, dear Dante.

  EXART (label, studio and archive) was founded by Hessel Veldman and Nick Nicole (2) in October 1982. In 1978 Hessel had started composing experimental music and before 1978 he was playing the guitar in several local blues- and rock bands. The label wanted to spread new experimental and improvised music. The studio was the place to improvise, compose, record and make radio-programmes, mixes and remixes. At the same time, Veldman started to preserve sounds in the Exart archive. The label ended its activities in 1995, although there are rumours that Veldman has plans to do digitalized reissues of some of the releases.
Variations on the label name (Exart Cassettes, Exart K7) are used on some of the releases.

(from dijima blog)

To complete this post I am also adding a review originally published on Soft Wath magazine and then re-published on a Discogs page dedicated to this album.
Enjoy it.
_f:a(r*a~w)a_y~
click me 
 This is an album which undoubtedly falls into the category of Jazz, albeit at it’s most loose & unstructured. “Piscatorial Debris” comprises two rather long tracks - entitled parts 1 & 2, but the sound changes so much that there could be more than a dozen tracks in here.
“Piscatorial Debris Part One” gradually fades in on calming sounds with some RESIDENTS-like odd voices speaking in strained tongues in the background. This gradually builds into a very subtle and understated rhythm over which percussion cuts and hacks as if some vandal were defacing some grand work of Art with a severely blunted knife. The sound metamorphosizes, only the two-note bass sound maintaining the pretence of rhythm as electronic soup and harnessed feedback build up and fade away, creating an ever-changing shape-shifter of noise. Sax appears, twisting it’s serpent way through to the front of the sound, almost obliterating the drifting mist of sound which skulks along in the distance. Eventually, the sax fades out and the grey Industrial morass folds back towards the front of the mix. About 16 minutes into the track grating electronic sounds like honed blades breakthrough before the noise sets off in a sort of TG ‘rising from the ashes’ type thing with another understated rhythm over which the sax swoops and ascends. It finishes on such a promising note, you feel you have been cruelly robbed.

Opening on a pattering handclap rhythm and ear-scraping saxophone, this soon collapses into understated non-rhythm reminding me a little of CLOCK DVA’s earlier work - the two tape albums. This fades almost to silence, saved only by well-controlled feedback and tinny piano before a thick black cloud of noise drift into the arena, distorted and impenetrable. This forms into a sort of non-rhythm reminiscent of LEWIS & GILBERT’s more drifting music. This in its turn yields to a rippling harp / quiet sax piece which would be quite beautiful if not for the grating, squeaking sound in the background. This fades into the next part again with bassy sounds providing understated rhythm while the vocalist sings in a non-language again, his voice doubled - one bassy, one higher-pitched, both used more as subtle instruments than as actual vocals. This again changes it's sound still without apparent structure, with noises like metal claws slashing the inner synapses, charging, transmuting, yet despite it’s apparent lack of control, they still seem to be keeping a calm hand at the reins. It forms into a much more controlled piece by the time it fades away.

I admit I wasn’t too impressed the first time I heard it - I listened ‘with one ear’ and had formed an impression that they were okay but... Now, after reviewing it - listening to it at a more intense level, I’m willing to say they qualify for the non-existant SOFT WATCH top ten recordings. It’s a great little disc - one I’ll play again & again. If THROBBING GRISTLE had chosen a less stark image, and a couple of them had a Jazz background, it’s conceivable that they would have sounded like GORGONZOLA LEGS. If you like the "TGCD", then chances are you might like this - there are a lot of similarities.

Originally reviewed for Soft Watch.

GORGONZOLA LEGS-Salmon Squeezing In Weird Weirs-(Exart-Holland-c60-1986)

1984 was the year in which Gert Jan Prins (www.gjp.info/) visited Hessel and Nicole at their apartment on the 11th floor, overlooking a big industrial landscape. Recording-sessions were started at Gert Jan’s “Fish Warehouse” studio. Gert Jan Prins, Hessel Veldman, Herman te Loo and Jos van Duyne became GORGONZOLA LEGS. Hundreds and hundreds of hours of “live”-recording sessions took place. At some of these sessions, other musicians were present, such as Jos van Ommen, Ruud Junge, Martijn Swart and Masaki Oishi. At the end of 1984 “GORGONZOLA LEGS” was released. On this one hour cassette, the first mixed recordings could be heard. The group also wanted to do concerts and so GORGONZOLA LEGS more and more became a “live”-band.

In 1986 a second tape was released, entitled “SALMON SQUEEZING IN WEIRD WEIRS’, a new compilation of “Fish Warehouse”-recordings. “BUNKER” was recorded live at the Bunker in Rotterdam, October ’86. The complete concert could be heard on another EXART-issue. In 1987 the powerful voice of the Japanese singer Masaki Oishi gave a new dimension to the sound of GORGONZOLA LEGS. Hours and hours of recordings were made. At the end of the year, 6 hours of mixed material had to be remixed to L.P.-format. In April 1988 EXART decided to make it Holland’s first independent C.D.-release: “PISCATORIAL DEBRIS’. At the same time, with the great help of Henry van Kleeff, the “PISCATORIAL DEBRIS” video was made. A beautiful 20 minutes sound sculpture video was realized. The video and C.D. got a lot of international attention and was performed on several big music/video festivals. During the late 80s, GORGONZOLA LEGS-material was also released on labels in Portugal, Italy and the U.S.A.(from djima.blogspot.com)

PRIVATE DISCOGRAPHY: 1978 – 2000

“Unreleased Material: ITAL”

CDR 74min

GORGONZOLA LEGS

“Unreleased Material: SHORT STORIES”

CDR 74min

GORGONZOLA LEGS

"The Concert Sessions: STEDELIJK MUSEUM”

CDR 74min

GORGONZOLA LEG

  EXART (label, studio and archive) was founded by Hessel Veldman and Nick Nicole (2) in October 1982. In 1978 Hessel had started composing experimental music and before 1978 he was playing the guitar in several local blues- and rock bands. The label wanted to spread new experimental and improvised music. The studio was the place to improvise, compose, record and make radio-programmes, mixes and remixes. At the same time, Veldman started to preserve sounds in the Exart archive. The label ended its activities in 1995, although there are rumours that Veldman has plans to do digitalized reissues of some of the releases.
Variations on the label name (Exart Cassettes, Exart K7) are used on some of the releases.

(from dijima blog)click me

THE OBSCENES-In The MIddle Of Nowhere-(Not On Label-Italy-1993)

A rather strange vinyl and project of which I have very little info, this is probably a one-off project by a duo from Chiavari in Liguria region(Northern Italy), amongst the thanx I have noticed the name: Mauro Guazzotti aka MGZ.

The music evolves in cut-ups, an hot-line phone call, cheap drum machine and broken electric guitars, backward vocals, strange synth passages, some no-sense noises and more asphyxiating jingles with a low-fi quality recording. As overall the deep abstract sense of nothingness is there to stay.

Some stuff is definitely kind of funny if you understand the Italian language.
Enjoy it.
:f_a(r^a~w}a)y*
click me 

v.a-‎SADOMACHINISM-(Misanthropic Agenda-USA-1999)‎

Great compilation assembling an astonishing number of powerful tunes by a bunch of fantastic artists playing noise, industrial, abstract and more weird electronics goings.
It was released in a limited edition of 500 copies in elaborate metal packaging. Aluminium shell sometimes embossed with the album title, sometimes not, it is sold out now.

 The American Misanthropic Agenda Experimental label was created in 1998 by the noise artist known as Gerritt. This amazing label is still alive and kicking and you can visit their well-done webpage here, where you can check their latest releases, catalogue and news.

Enjoy it.

~f(a*r^a¬w)a_y~

 click me

 

Tracklist

1	–Carthage	Lo Flying Asrael	3:47
2	–K.K. Null	U.H.D.0023	5:09
3	–Residual Orchestra	Low	10:56
4	–Gerritt	Time Has Come	9:54
5	–Merzbow	Fireball	6:08
6	–Aube	Ionosphere V	5:59
7	–Kid606	Kitten With A Whip	4:47
8	–Tit Wrench	Please Respond	2:15
9	–Never Presence Forever	Orchestral Parasitic Invasion	5:48
10	–Three Bloody Monkeys	The Special One's Cynthia	5:55
11	–Season Of Discontent	Tomagotchi Crib Death	3:25
12	–Lockweld	Do You Still Believe?	4:03
13	–Psywarfare	Reciprocation	3:47

TELEPHERIQUE-Sound Object-(Ant-Zen-c46-Germany-1993)

The project Telepherique began in 1989 with the intention to explore processes and working with people of different cultures. They started with mail-art projects, co-operation, and communication with people all over the world. Basically, Telepherique is Klaus, Danijela and Rene Jochim, from Würzburg, Germany, but there were others that became members of Telepherique, because of the massive collaborations and projects: Ulf Harr, Echart Seilacher, Harry Lüftl, Stefan Au, Stefan Alt and Karin... The name Telepherique is the French word for the funicular railway. This name was chosen because of the intention of gaining a view from a higher level.

Ant-Zen is deduced from "Anti Zensur" (= anti-censorship).
Ant-Zen is the most important label in the newer German Industrial scene. It started in the early 90s as a tape label that later also released vinyl and CDs. Mastermind S.Alt (Stefan Alt) also did most of the layouts and packaging of the releases. While the earlier releases are more into noise, the new output has a more technoid style that is still very experimental.
Ant-Zen was the German distributor of a lot of other labels and ran a small mailorder until 2019 when they discontinued putting out physical releases and switched to all-digital.

(info from Discogs)

click me 

Tracklist

A. Music Conqurete - Elektrosmog	5:10
B. Analoga Musica - Klangfarben	2:23
B. Analoga Musica - Analogys	6:01
C. Demosong	7:21
A. Musica Analoga - Cologne Studio	1:47
B. Digital Music - Digital Analyse	4:44
B. Digital Music - Sambal-Olek - Neue Structuren	8:11
B. Digital Music - Digitale Experimente	6:18
B. Digital Music - Computermusic	2:39