Distributed Labels (Wholesale)


Edition Telemark
http://www.edition-telemark.de

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

Hans Essel - Saitensack LP
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.


Schimpfluch Associates
http://www.davephillips.ch/projects/sha

Dave Phillips - Homo Animalis 2CD
A landmark release in dp's discography and the first release on the new Schimpfluch Associates label founded by Dave Phillips and Rudolf Eb.er. 'Homo Animalis' collects some of Phillips' most accomplished work to date. Composed between 2007 and 2011, these pieces first appeared on limited edition cassettes on labels worldwide and were reworked and conceived as an album between 2012 and 2014. It describes a phase in dp's life/work marked by incisive personal experiences formed into sound. An intensification of the compositional approach and the increased use of classical instruments are some of the more noticable sonic aspects. Begun on '?', 'Homo Animalis' takes a turn for the sinister and satirical and contains the quintessence of this phase of life with the hindsight that '?' couldn't have. A text on humanimalism, in the booklet, adds another dimension to this album. Phillips' Humanimalism is a concept worded here for the first time. It describes a developed humanoid existence that has overcome the erroneous religious and material phases and has grown into an empathic creature that has made a clear shift towards an emotion-based existence, with social and environmental senses as primary and inherent functions..


Choose Records
http://www.choose-records.de

Arnold Dreyblatt - Choice LP
"Often characterized as the most rock-oriented of American minimalists, Dreyblatt has cultivated a strong underground fan base for his transcendental and ecstatic music. Now, for his latest issue on Choose Records, Berlin's J?rg Hiller aka Konrad Sprenger has made his own "Choice" from Arnold Dreyblatt's own extensive archive of live recordings, ranging from over thirty years of live performances from 1977 to 2007. This is very much a "collectors' LP", which plays as a carefully curated sonic selection, rather than as a chronological sequence of individual recordings. The collection ranges from seminal recordings by many of the historical ensembles who performed as Dreyblatt's Orchestra of Excited Strings in the States and in Europe, to some of Dreyblatt's most compelling solo projects making for some very surprising listening, especially for those who may already know Dreyblatt's currently available studio recordings.

Robert Ashley & Walter Marchetti - October 25, 2001 2LP
Edition of 300 copies, double LP in gatefold-sleeve. In 2001 Thomas Buckner organized a series of concerts at the Merkin Hall in New York City asking contemporary classic composers to perform together with another artist of their choice. When Robert Ashley - already one of the most anticipated guests - decided to invite his old friend Walter Marchetti to perform together, the peak event of the series was set. It was the first concert of Italian composer Marchetti in the States for more than 30 years. The night of October 25th, 2001, the audience at the Merkin Hall had the privilege of being presented one of the most dense, intimate and breathtaking events in contemporary music history. (...).

Robin Hayward - States of Rushing LP/CD
Robin Hayward has completely redefined the tuba as sound-producing medium, releasing a sonic potential which ranges between the extremes of noise and microtonality. Upon <THORN>rst listening, one <THORN>nds it unimaginable that many of these sounds can be produced on a tuba, but Hayward has dedicated his life not only to empirical experimentation, but also to the academic scientific study of the acoustics of brass instruments. Rarely has a musician of this caliber immersed himself so deeply in the boundaries of his instrument. The resulting compositions make demands on us: they force us to sense the air pressure in contact with the physical world without framing the sounds in the conventions of contemporary or traditional music. In this sense, Hayward's approach is refreshing and revolutionary. In these extraordinary recordings there is no cultural intermediary - it is as if we <THORN>nd ourselves inside the instrument itself, being pushed back and forth against the walls of a giant membrane or tunnel; left to our own metaphorperceiving natural processes, minimal music, mechanical movement.

Ellen Fullman & Konrad Sprenger - Ort LP/CD
"Ellen Fullman, composer, instrument builder and performer was born in Memphis, Tennessee in 1957. Irish-American, and of partial Cherokee Indian ancestry, with the distinction of having been kissed by Elvis at age one, Fullman studied sculpture at the Kansas City Art Institute before heading to New York in the early nineteen-eighties. In Kansas City she created and performed an amplified metal sound-producing skirt and wrote art-songs which she recorded in New York for a small cassette label. In 2000, Fullman received a grant to live and work in Berlin for one year. A former American colleague from her New York years, composer Arnold Dreyblatt, already based in Berlin for many years, introduced Fullman to Jörg Hiller, aka Konrad Sprenger, two generations her junior. At the beginning, Dreyblatt suggested to record an album of songs, harking back to Fullman's own southern heritage and the promise of her early song-work left unfulfilled, mirrored to Hiller's fascination with early American folk traditions inspired by Harry Smith's documentary recordings. Truly an exercise in shifting contexts, Fullman's haunting voice blends eerily with the sonorities of her instrument, which seems to function as a kind of cosmic fiddle. Hiller, as producer, arranger and musician, has created a 'wall of sound' behind Fullman with a potpourri of acoustic instruments, including Dreyblatt's own 'excited strings bass', a zither, violin, electric bass and even tympani along with the Long String Instrument."

Konrad Sprenger - Miniaturen LP/CD
'Miniaturen' or in English: 'Miniatures' is Konrad Sprenger's first solo album. The dictionary defines a miniature as "a representation or image of something on a small or reduced scale". Sprenger worked for over two years to find a 'grand form'in which to represent his myriad bagatelles; drawing from hundreds of finished and unfinished recordings recorded over the last ten years with a diverse palette of musicians, artists and friends. The result is an unlikely juxtaposition of 32 abbreviated sonoric vignettes, each with its own internal logic, each a setting within a diverse range of musical styles (ranging from pop, kraut, baroque, american minimalism etc.), recognizable on the one hand, yet always unexpected. The instrumentation is equally abstruse: from mechanical bird organs and automated musical machines from the 1800 to sine waves, harmonium, timpanies, steel drum, siren and countless other examples; this is a sonic exploration of endless possibilities where each work takes the listener one step forward, building on perceptual associations, so that one never knows where one will end up next." - Arnold Dreyblatt.