SPK ‎– Zamia Lehmanni (Songs Of Byzantine Flowers)(CD)
SPK ‎– Zamia Lehmanni (Songs Of Byzantine Flowers)(CD)
sample https://soundcloud.com/coldspring/sets/spk-zamia-lehmanni 1986年にSide EffectsからリリースされたSPKのラストアルバムがリマスターされCold Springから再発!SPKの首謀者 Graeme Revellの新たに書き下ろされたライナーノーツ付き。 Originally released by Side Effects in 1986, “Zamia Lehmanni” was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After “Information Overload Unit” cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of “Leichenschrei”, the “body without organs” was fully eviscerated. Graeme felt ‘industrial music’ was becoming ossified and needed to be taken into radically new territories: ‘post-industrial’. The track “In Flagrante Delicto” (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film “Dead Calm”, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute’s 1992 CD edition, we now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graeme Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). CD in a 6-panel digipak. The track “The Doctrine Of Eternal Ice” appears on CD only. Features new liner notes from Graeme Revell, 2019.
¥1,500 SOLD OUT
Z'EV - 'HEART BEAT EAR DRUM' (DVD)
Z'EV - 'HEART BEAT EAR DRUM' (DVD)
伝説のインダストリアルアーティストZ'EV(1951-2017)についてのEllen Zweig監督の長編ドキュメンタリー。Cold Springよりリリース。 "Heart Beat Ear Drum" is a feature length documentary about the late artist and musician Z'EV (1951-2017), known for his punk era scrap metal music - an extraordinary range of acoustic phenomena resulting in trance-inducing sounds. This documentary shows how his music changed and grew and how his personal journey led him to the margins of art and the depths of heart. From 2007-2015, director Ellen Zweig followed Z'EV, shooting concerts and interviews, and collecting archival footage. In addition to interviews with Z'EV, there are interviews with a community of artists who have known him since the 1970's, curators who have encountered him in the 1990's, and younger people who have only heard his recorded music or read his philosophical texts (Bob Bellerue, Bow Gamelan Ensemble, HATI, Barbara Stevini, Simone Forti, Zach Layton, Carl Stone, Ned Sublette, Johanna Went and more). Z’EV began with a "wild style", crashing and throwing pieces of metal to make sound. He collected the materials for his art at scrap yards. 30 years later, almost all the scrap yards are closed. Z'EV now uses mallet percussion to explore acoustic phenomena. Z'EV was a crusader: for art, for trance meditation, and for living a thoughtful life. His found object aesthetic made us see art in all of the objects around us. His art activities included drumming, sculpture, gardening, even cooking. This film is divided in chapters and organised with both a narrative and a digressive structure. The structure is topic based, not strictly chronological. The first half of the film uses archival concert footage and interviews to establish Z'EV's place in the world of art and music. The second half uses contemporary concert footage and interviews to explore the changes that led Z'EV to a more contemplative style. The film ends with an extended concert. There is music throughout the film, but at the end, you are immersed in the music and in Z'EV's exploration of resonance. Director: Ellen Zweig
¥2,000
THROAT ‎– Bareback (Stripped & Remasked) (2CD)
THROAT ‎– Bareback (Stripped & Remasked) (2CD)
Sample https://ihatethroat.bandcamp.com/track/no-hard-shoulder-himukalt-remix https://ihatethroat.bandcamp.com/track/maritime-like-weeds-remix フィンランドのレーベルKaos Kontrolの主催者Jukka Mattilaのノイズ・ロックバンドTHROAT。 2ndアルバム『Beard』(Svart Records、2018年)のリリースから2年、世界のノイズ/インダストリアル・シーンから招いた超豪華かつ前代未聞なアーティスト陣にスタジオ・トラックを分解/破壊/アレンジさせるという2枚組リミックスアルバムが登場。 ノイズ界の大御所Sshe Retina Stimulants、Lasse Marhaug、Black Leather Jesus, や日本からはGovernment Alpha,Like Weeds, Linekraft,Kazuma Kubotaが参加している他、Himukalt, Deison, Vanhala, Heat Signature, Concrete Mascara, Erratix, Niku Daruma,Jarl and Keränenなど「え、このアーティストリミックスとかやるの?」的なメンツでそのコンセプト自体でもう面白い。内容もそれぞれのアーティストが個性を生かし己の世界観とTHROATのサウンドを融合させてリミックスともセッションとも言える独自の解体再構築が各々に感じられる。その中でも全くブレないKazuma Kubota節には驚きました。 フロントアートワークが特殊加工でプリントされた6パネル紙ジャケット仕様で所有欲を掻き立てられる良作。 As a result, "Bareback (Stripped & Remasked)" contains a remixed version of the original album - not just once, but twice! The result is a wild ride of sonic madness ranging from brutal harsh noise to more experimental industrial sounds and everything in between. Simultaneously presenting completely new material from the artists involved and Throat paying homage to influential genres of sound not necessarily so obvious in their usual material. Label:Kaos Kontrol ‎– K\K 033 Format:2 × CD, Album Country:Finland Released:11 Sep 2020
¥1,880
Bruno Duplant ‎– Quelques Usines Fantômes N°3(CD)
Bruno Duplant ‎– Quelques Usines Fantômes N°3(CD)
Sample https://flagdayrecordings.bandcamp.com/album/quelques-usines-fant-mes-n-3 Modern life is full of sudden unexpected turns. quelques usines fantômes n°3 both observes and ignores the norms of traditional time signatures by letting in an uncertain between-ness, a quasi-balancing of our immediate surroundings with the inner self. An internal battle or an eternal limbo? On this recording Bruno Duplant seems to further be exploring a slowing of time, almost as if to boundlessly analyze the unseen. Within passing moments of static and pulse the silences deliberately begin to speak volumes about the weight of any gap in time and space. The way he gently blends creaks, snaps and other motor reflexes, however subtle, make for a listening experience intent on calming and stimulating the central nervous system. Thoughts of classic French cinema and 70’s science fiction flood the mind via the faint and pronounced reverberations that snake through this recording. The lows are transfixing, taking sweet time to burn out. In a nod to one of his influencers, Luc Ferrari, Duplant has locked into an opaque, simulated dream state in a way that is wholly tangible, surrounding you with every tiny moment. Though there’s something irrational happening here, as if observing one’s stream of consciousness in real time. This circumambient sense of place falls away as scale and scene seem to languidly flux organically. In one moment the listener may experience a certain synaesthesia, perhaps aboard a jettisoning rocket miles above the ozone, and the next in deep contemplation amid a wide-open landscape. This constant massaging of the sedentary state is in a word, hallucinatory. TJ Norris, May 2020 Label:Flag Day Recordings ‎– FDR45 Format:CD, Album Country:US Released:07 Aug 2020
¥1,540
TED BYRNES – All Hands (CS)
TED BYRNES – All Hands (CS)
Charlie Mumma(SISSY SPACEK)とのユニットWood And Metalのメンバーとして知られるパーカッショニストTED BYRNESのソロ作。 DLコード付き。カナダのディストロSCREAM AND WRITHEのレーベルAbsurd Expositionより。 “There’s something life reaffirming about each Ted Byrnes release. The intensity of his playing is ejaculatory and joyful. His recordings are intimate, and every time I hear them I feel like I’ve been ushered into a private ritual by a masked attendant to see something in a molten, liminal space outside of daily experience. Purity has not yet been fully exorcised from modern life, and in Ted’s work, it feels like we can still have a brush with that elusive quality. Something flows directly from his heart into his work, and the flurry of rattles, pops, rolls and plinks in his sound feels like taking flight. There’s a momentum he builds over each painstaking, feverishly rendered track that’s entirely unto itself. On his new release “All Hands,” Byrnes is as vibrant and exploratory as ever. He absolutely jackhammers through cuts like “Gifts” and imbues opener “Adjacent Object” with little frills and touches that indicate the subtlety he explored on another excellent 2020 release, “Tactility.” He’s the kind of artist you can show practically anyone and leave them mouths agape. If you can split the difference between Penis Geyser and Rashied Ali, as Ted has, you’re clearly onto something – and if you’re not listening to Mr. Byrnes, I have no idea what you’re doing.” – Josh Landes (Limbs Bin) TED BYRNES – Solo acoustic percussion Recorded 2020 Edition of 102 pro-dubbed tapes with 4×6 artwork housed in plastic bags. Includes download code. Label:Absurd Exposition ‎– AE46 Format:Cassette Country:Canada Released:20 Mar 2020
¥1,100
ANDREW NOLAN – Museum Etiquette (CS)
ANDREW NOLAN – Museum Etiquette (CS)
Sample: https://survivalistdeathcult.bandcamp.com/album/museum-etiquette ※ケース割れあり カナダ・パワーバイオレンスThe Endless BlockadeのメンバーでもあるANDREW NOLANのソロ・ノイズ作。 DLコード付き。カナダのディストロSCREAM AND WRITHEのレーベルAbsurd Expositionより。 Description Andrew Nolan (INTENSIVE CARE, WOLFAGRAM) returns once again to Absurd Exposition, following “Background Music” (2018) and “We Know Now What a Modern Society Can Do with a Parking Lot” (2016). This latest effort, “Museum Etiquette”, continues the theme of urban anxiety explored through processed field recordings of various dialogues, intense encounters, overheard incidents, trains, rain and the general hustle and bustle of the city weaved into the fabric of a modulated noise soundscape. The A-side starts with metal bars clanging and suddenly you’re stuck in a cell (or in traffic, transit, or some greater definition), being slowly squeezed by the increasing pressure of the outside world as it drones, hums, and buzzes around you, with any exit appearing ever distant. The B-side brings to mind both classic industrial and early 80s electronic music scores with faint reminisces of Throbbing Gristle a la “After Cease to Exist” and John Carpenter shining through. All in all, “Museum Etiquette” is a sensible continuation of, and expansion upon, the works Nolan has previously put forth. Edition of 126 pro-dubbed tapes with pad-printed labels. The first 100 copies include download codes. Label:Absurd Exposition ‎– none Format:Cassette Country:Canada Released:30 Aug 2020
¥1,100 SOLD OUT
M.B. – The Sacral Inhabitat (CD)
M.B. – The Sacral Inhabitat (CD)
It begins. A slow mournful droning as if the very world itself is emitting a long low sigh of anguish. An anguished moan that rises and echoes into the vast subterranean chamber. Imperceptible and indistinct, a gentle tolling of bells emerge from the dark murky sonic abyss that is beginning to slowly unfurl around you. It’s almost as if this almost unobtrusive nebulous pealing of bells is the bell of Charon, sounding as he slowly approaches you on his rust coloured skiff. Upon the lake in that vast underground chamber where the living and the dead finally coalesce. A squall of energy seems to appear from nowhere building in pace and volume before breaking down and scattering into the distance like a cascade of shattered glass. Sine waves; the terminal tones of medical life support machines flicker and dance across the periphery. The fluctuating spirals of sound an electrical storm that skitters across the surface of a deep subterranean expanse of inky black water. A water that seethes and pulsates from the huge almost invisible forms that inhabit the dark inky murk beneath. The echoing roaring gulf of sound, bouncing off of the surface of a gargantuan chamber as shards of serrated metal spin upon a crooked and perverse axis. Razor sharp sonic particles that threaten to spin out of control, into a fierce paroxysm of sonic debris. Spiraling cascading atoms of noise that rent and tear into the monstrous darkness of sound that threatens to engulf and erase. These squalling clusters of sound are almost as if a colossal factory has fallen dormant to abandonment. The once mighty machinery not quite dead but on life support, still emitting half dead electrical breaths into circuits that fail to engage as they are surrounded by tectonic plates of sound that shift and grind against one another, a strange disembodied choral arrangement can be faintly heard in the yawning gulf of tumultuous metallic void. All the while kaleidoscopic bursts of static flit across the crepuscular gloom. To describe the latest album by Maurizio Bianchi as immersive would not be doing it justice. The two thirty minute tracks that make up this album completely overwhelm the senses. There is a plethora of constantly evolving shapes and sounds that make up this deeply complicated and complex work of audio sculpture. Working with his long time collaborator and friend the German sound designer Siegmar Fricke this is a work of profound intensity. The use of crackling squalls of razor sharp sound was evident on their last collaboration Zersetzung which was released by 4IB last year. However with the lengthy nature of the two individual tracks on here; that twisting cascade of granular sound has more time to grow and develop. These dancing particles are so finely honed they could be atomic atoms from the nuclear energy factory that adorns the albums artwork. Sacral is described in the dictionary as meaning ” related to sacred rites and symbols ” and there is a definite sacral element to this work. Whether this is from the emotions it invokes or the processes that these two alchemists of sound, utilise in order to produce work of such breathtaking and intricate explorative sound. (by Kristian Carter. April 2020.) Label:4iB Records ‎– 4iB CD/1119/047 Format:CD, Album, Limited Edition Country:Singapore Released:07 May 2020
¥1,650
V.A. ‎– 10時間 / Ju-Jikan: 10 Hours Of Sound From Japan(2CDs)
V.A. ‎– 10時間 / Ju-Jikan: 10 Hours Of Sound From Japan(2CDs)
In 2001, the San Francisco sound-arts organization 23five and the San Francisco Museum of Modern Art copresented Ju-Jikan — a ten hour ‘listening event’ documenting the past 50 years of Japanese experimental music. The curators of Ju-Jikan Atau Tanaka, Ryoji Ikeda, and Shunichiro Okada did not intend their exhibition to be a comprehensive encyclopedia of Japanese experimentation; rather they sought “to trace the complex web of sonic style that constitutes the current Japenese musical landscape.” Tanaka, whose lucid writings are found within Ju-Jikan’s liner notes, takes great care in describing the contradictions and unspoken connections that linger not just within the niches of Japanese audio experimentation but also throughout all of Japanese culture. Just as technology and electronics are the lone assimilating factors within the broad scope of Ju-Jikan, these same tools also gave the possibility for separation from the West and from each other to create a wealth of new languages. While the ten hour ‘listening event’ at SFMOMA spanned 5 decades of historical recordings, the double CD centers upon the last decade, as a means to publish previously unreleased work from many of featured arrtists. All of the artists with Ju-Jikan (both the 2CD and the SFMOMA listening event) draw from the recombinant power of electronic synthesis and the juxtaposition of disparate styles; which together have become a standard if elusively-defined musical vocabulary for Japanese music. Tanaka, Ikeda, and Okada offered convenient catagories (computer music, anti-academic movements, noise, anti-pop permutations, ambient fields, after improvised music, etc.) as ports of entry; however, they point out that many Japanese experimental artists refuse to paint themselves into an aesthetic corner. Ju-Jikan’s CD companion features compositions from Tamami Toro, Pain Jerk, Yasunao Tone, Nerve Net Noise, Otomo Yoshihide, Atau Tanaka, i.d., Masonna, Kozo Inada, Ichiro Nodaira, Hanatarash, Yuji Takahashi, Ryoji Ikeda, Merzbow, Kazuo Uehara, Astro, and Testuo Furudate. Label:23five ‎– 23F/SFM 901, San Francisco Museum Of Modern Art ‎– 23F/SFM 901 Format:2 × CD Country:US Released:2002
¥2,200
Amplified Humans Festival / Uplink Screening Edition - (Tshirt)
Amplified Humans Festival / Uplink Screening Edition - (Tshirt)
2016年9月にUSAオハイオ州デイトンで開催された"Ampliried Humans Festival"で当時販売されたTシャツを、渋谷Uplinkでの映像上映を記念して限定復刻!Skelton Dust Records完全協力のもとオリジナルデータにUplinkの開催情報を追記したこの日の為のデザインとして生まれ変わっています。 Body: Printstar Size: S / M / L / XL ※画像はイメージです。実際の商品とは色味が異なる場合があります。 「地域とノイズ」第1回|特集:USノイズ・フェス「AMPLIFIED HUMANS FESTIVAL」 (トーク出演:Kazumoto Endo、Kenny Sanderson、Kazuma Kubota、ystk hrn) 日時7月2日(月)19:00開場/19:30開演 料金一律¥1,500(1ドリンク付き) 会場渋谷UPLINK FACTORY(1F) -現代アメリカのノイズ音楽シーンの一端をとらえたライブ映像集を解説付きで上映- 2016年夏、アメリカ合衆国オハイオ州の都市デイトンで2日間に渡り開催されたノイズミュージック・フェスティバル「AMPLIFIED HUMANS FESTIVAL」。その模様を記録した(総勢24組の出演者たちの演奏がフルセットで収録されている)2枚組DVDがレーベルSkeleton Dust Recordsからリリースされました。現行のノイズミュージックが宿る場所に注目し、その紹介を目的とする新イベントシリーズ「地域とノイズ」の第一回は、同DVDを劇場公開版として90分に再編集したバージョンを、このフェスにヘッドライナーとして参加した日本の3人のアーティストたち── Kazumoto Endo(KILLER BUG)、Kazuma Kubota、Facialmess ──のトーク付きで上映します。
¥2,000 SOLD OUT