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LP
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AMIRW 035LP
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"The fifth installment in the label's Required Wreckers series features side‐long compositions that borrow as much from the worlds of noise and power electronics that Swanson and Shiflet were affiliated with in the early parts of their careers, as from techno and modern composition. Mike Shiflet's 'Bedside' utilizes disparate sources - guitar, field recordings, abstract electronic textures and white noise - to create a composition that's both warmly pastoral and defamiliar. Pete Swanson's 'College View' documents another example of his recent recordings' attempt to blur the lines between techno, noise, and electronic music. 'College View' drags Detroit dance music into a static field of electricity, and then doubles back again." Includes 12-page booklet; wrapped in letterpressed Required Wreckers band.
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AMIRW 034LP
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"While these performances occurred on opposite coasts, the source material is closely aligned in both concept and process. These works highlight Gregg's ongoing preoccupations with sound and setting, incorporating the focused blend of acoustic and electronic sources that Kowalsky is already well known for. 'Electronic Music for Square and Sine Waves' documents Kowalsky's contribution to the 2011 Activating the Medium festival in San Francisco. This commissioned piece continues Kowalsky's interest in how sound engages, manipulates and modifies one's awareness of space. 'For Baroque Lute, Tapes and Resonant Space' documents Kowalsky's on going tape chants process, a project previously realized on both his Battery Townsley (2011) and Tape Chants (2009) LPs. For this iteration, Kowalsky tuned square and sine waves to Dutch lutanist Jozef van Wissem's lute and then played these recordings through cassette players."
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CD
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AMI 044CD
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"Amish is pleased to officially announce a new release from Humboldt County's finest contemporary experimental unit, Starving Weirdos. A couple of years in the making, Land Lines documents a vital step in the evolution and refinement of Starving Weirdos' freeform improvisational practices, as well as its infamous and highly disciplined studio practices. Land Lines chronicles Starving Weirdos' most focused and structured release to date, with pieces that import a distinctly European flavor into the sound of what, until now, has been a uniquely Northern Californian form of sonic experimentation."
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LP
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AMI 044LP
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LP version with download code.
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AMIRW 033LP
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$19.00
NOT IN STOCK, SPECIAL ORDER
"Amish is pleased to announce the third iteration in its Required Wreckers Series, a split LP featuring new and exclusive work from Ben Vida and Keith Fullerton Whitman. Having collaborated over the last decade as a trio with Greg Davis, this release features new solo-work by two of America's most important emerging sound artists. The first side of this release debuts a new composition from Ben Vida. In keeping with his recent patchwork-based compositions, Aggregatepulseripper (Damaged IIII) continues to explore Vida's interest in both digital and analog control sources, a compositional process that refuses to fetishize one technology over another and, more interestingly, appears to displace the musician's hand from the compositional process. The flipside of this LP features Keith Fullerton Whitman's third in a series of splits (previous releases have included No Fun Production's b/w Carlos Giffoni and Amethyst Sunset's b/w with Mike Shiflet) documenting a particularly productive period in his creative output--a series of 'synth concerts' from 2007 and 2008. Recorded on January 14, 2008 at PA's Lounge in Somerville, MA, this piece documents the fourth in Whitman's solo synthesizer sets. Throughout the recording one can discern talking from the audience and ambient room--tone noise, as well as sound coming from different sources spread throughout the room--a small battery powered speaker on stage right, a giant Barbetta on stage left. Each speaker was fed into a different patch irrespective of its frequency response. Whitman uses a hybrid system of digital and analog sound sources that, with the exception of a single 4096 bd delay, is presented here without treatment, overdub, or sequencing of any sort."
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CD
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AMI 042CD
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"...out of the ancient ruins of The Tower Recordings has now finally risen a stealth Metal Mountains! It features Helen Rush, Pat Gubler (Mr. PG Six) and Samara Lubelski, all former Tower soldiers, and some may say the very key ones. There's a sort of haunted architecture to Metal Mountains, they morph 1960s electric and psychedelic folk rock, the right VU influence, spatial excursions, and whispery dreams into a unique whole. It is a carefully crafted album that is real and intimate, yet has the air of ease and playfulness about it. It is confident in its frailty, if that makes any sense to you. Did I say it is perfectly sequenced? Y'know, that's the kind of thing a reviewer needs to mention if he wants to be taken at all seriously." -- Jesper Eklow/November 2010
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7"
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AMI 043EP
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"Mauser O.K. celebrates much of what makes this German-ensemble so essential, drawing from a variety of sources and influences to provide listeners with another important indication of the contribution Metabolismus has made to psych and outsider experiments over its almost three-decade-long existence. Whether it be lo-fi pop, free improvisation, sixties psychedelia or music concrete tape manipulation, like the Sun City Girls (who formed around the same year) Metabolismus 'metabolizes music' of all styles, shapes and forms; for this release, they transform Crass' screed 'Do They Owe Us a Living' into a Canterbury classic and resituate Brian Brain's 'Asthma Game' into the delicate pastoral landscape of their native Germany. These pieces were recorded and compiled over a fifteen-year span and it has been well worth the wait."
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AMI 042LP
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"...out of the ancient ruins of The Tower Recordings has now finally risen a stealth Metal Mountains! It features Helen Rush, Pat Gubler (Mr. PG Six) and Samara Lubelski, all former Tower soldiers, and some may say the very key ones. There's a sort of haunted architecture to Metal Mountains, they morph 1960s electric and psychedelic folk rock, the right VU influence, spatial excursions, and whispery dreams into a unique whole. It is a carefully crafted album that is real and intimate, yet has the air of ease and playfulness about it. It is confident in its frailty, if that makes any sense to you. Did I say it is perfectly sequenced? Y'know, that's the kind of thing a reviewer needs to mention if he wants to be taken at all seriously." -- Jesper Eklow / November 2010
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AMIRW 032LP
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"Brian Pyle is Ensemble Economique. This is the first LP release from Ensemble Economique. Digitalis issued the At the Foot of Nameless Roads CD in 2008. Both recordings are important primers to Pyle's nascent invocations of Holger Czukay's Cannaxis (on No GPS) and Karlheinz Stockhausen's Kontake (on At the Foot). With Standing Still, Facing Forward Ensemble Economique provides the most mature realization of Pyle's compositional process, which utilizes found sounds, field recordings, and musical performance that he later meticulously edits, layers, and loops in the studio. The effects of these processes are dramatic, cinematic and conceptually rigorous and this recording evidences Pyle as an important new composer emerging out of the long and storied tradition of West Coast experimentalism. Utilizing a delicate combination of the homespun improvisation of his other project, Starving Weirdos (whose work sounds like an American echo of AMM) with his own unique variation on the European avant-garde in Ensemble Economique, Pyle's practice involves a dense approach to composition akin to assemblage. But unlike electronic and laptop composition, Pyle's studio work aims to re-establish an organicism associated with live (or, in the case of the field recordings, lived) performance that pushes the studio out into nature and nature into the studio. In short, the Northern Californian landscape plays an integral part in Ensemble Economique's soundscapes, and this record captures much of the atmosphere of Pyle's home terrain." LP comes wrapped in a letter-pressed band and contains a 16-page art book.
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CD
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AMI 041CD
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"Bird Show Band documents Bird Show's new collaborative spirit and stands as the culmination of Ben Vida's Chicago-based work, featuring a who's who of the city's improvisational luminaries, including Josh Abrams, Jim Baker, Dan Bitney and John Herndon. The improvisatory feel of the Bird Show Band sessions function as Vida's paean to the Windy City. Rather than another Bird Show release that involves guest accompaniment on select tracks, Vida conceived of these recordings as a foray into session playing, tracking the entire album over just two days. While Herndon and Bitney's percussion invokes German psych, progressive rock, and jazz idioms, Vida's synth-based experiments, here accompanied by Jim Baker's ARP 2600, provide the first indication of his recent musical preoccupations, an interest that relies heavily on the Moog and his own fluid, lyrical melodic lines. If you have had the luck of catching Bird Show or Ben Vida perform live over the last few years, you have witnessed the centrality he now gives to the Moog and one-touch patchwork, experimental forays that point to Europe and the mid-century avant-garde, especially the Cologne-based innovations of Stockhausen and his many students during the late 1960s and early 1970s. Regardless of this description, Bird Show Band is more than a mere intellectual exercise and the sessions balance brain with musical brawn in ways that Vida has yet to achieve on his previous outings."
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