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viewing 1 To 10 of 25 items
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LP
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PAN 037LP
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Based in Greece, Mohammad make long-form drone works that explore the lower end of the frequency spectrum while retaining an intense emotional capacity. The results are monumental, slow-moving blocks of sound, both daunting and musical. The sheer weight of these recordings is impressive, the interplay of the musicians and instruments staggering, this end result being an album rich with harmonious abstraction which highlights years of dedication to their unique path. Following on from their previous releases (the highly-regarded Roto Vildblomma CD and the Spiriti 3LP box, both on Antifrost) Som Sakrifis follows the trio through three tracks of deep space experimentation where the acoustic and electronic blend together as a monumental whole. Listening to Som Sakrifis takes the listener on an expansive journey through the netherworld of the low range while retaining distinct traces of musicality. The time and space in these works have a logic more akin to that of Hungarian filmmaker Béla Tarr than any contemporary music references. Monumental monochromatic movement is the order of the day. Sit back, strap in and let these fine explorers take you way out into the nether world. Mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl. Packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
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PAN 031LP
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Commercial Mouth is the debut LP from Jar Moff, an Athens-based artist working in collage forms. Following on from his previous remix on the Harald Grosskopf Synthesist/Re-Synthesist LP on RVNG, and a digital release for Leaving Records, this is his first full-length album. Both his visual and aural oeuvre take the form of cut-up and reformations in the manner of previous PAN stablemates like Joseph Hammer and Ghedalia Tazartes, remodeling the past in order to create something new out of the modern detritus, and nestles in nicely alongside the recent Diversions release from Lee Gamble. The result is a baffling-yet-functioning head-on collision between early plunderphonics and an abstracted futuristic hip-hop aesthetic. Mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl. Packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
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PAN 038LP
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From behind your ear, PAN pluck a blink-and-miss exclusive: a 35-minute audio response by Mark Fell (aka Sensate Focus) to source material by Heatsick, somewhere between cover version, remix, and deconstruction. Along the A-side "X" plane, tones are exploded, harmonies refracted with HD dissonance; time is extruded, made ductile yet intangible. On the B-side, "Y" axis hydraulic undulations and roiling tones expand and contract between kinetic kink and gyroscopic funk with the pointillist, freeform choreography of a Merce Cunningham piece.
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PAN 036LP
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Repressed. Dutch Tvashar Plumes seems to map the changes in Lee Gamble's approach to music-making over the last couple of years. From his initial exposure and subsequent immersion into jungle as a teenager, he soon began experimenting with structure and sound design, which led him to a more "academic" approach to "computer music." There were many self-imposed rules he adhered to during this time. These last few years he decided to break with that and make an intuitive venture forward. This record is the first real document of that. Lee Gamble started out as a teenager DJing on pirate radio and on the emerging jungle scene; however, his own approach to music has taken a more experimental direction. Exploring the outer realms of abstraction through digital synthesis/re-synthesis, Lee has described his current compositional process as: "The configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. What you then have left is often the detritus or debris of an idea. Phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. This abstraction allows several interests to appear in the works simultaneously." He is a also a founding member of the UK-based CYRK collective and has curated/co-curated several CYRK events. He has also produced and curated three radio series for London-based radio station Resonance 104.4FM and he continues to DJ. Lee has released his computer compositions on the Entr'acte label and has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders. Packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas. Mastered and cut by Rashad Becker at Dubplates & Mastering and pressed on 140 gram vinyl.
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PAN 035LP
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$25.50
NOT IN STOCK, SPECIAL ORDER
Kouhei Matsunaga's Dance Classics Vol. II is the continuation of his ongoing development of his more dance-oriented material, as seen from his sets with Sensational and also his other minimal techno project, NHK. Not feeling tied down to one genre, Matsunaga nestles in the Pan roster. That isn't to say, however, that he is dance per se, as witnessed from his recent collaborations with Conrad Schnitzler. The album focuses more on bass/base electronics, music for the dancefloor and/or altered-state reflection. Having composed pieces for WDR based on Henri Chopin, Kouhei is equally at ease jamming with Sensational, while simultaneously executing an obsessively numerical sequence of dance pieces that borders on Hanne Darboven-like compulsivity. Born in Osaka, Kouhei Matsunaga is a musician and an illustrator. He grew up listening to hardcore techno and hip-hop, studied architecture, and has been mainly making music since 1992. Under many different aliases (NHK, NHKyx, Internet Magic, Koyxen) he has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton, and his first-ever album Upside Down on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers' Sensational, Autechre's Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium's High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf "RLW" Wehowsky and so on. The LP is mastered and cut by Rashad Becker at Dubplates & Mastering and pressed on 140 gram vinyl. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
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PAN 033LP
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Limited 2013 repress. The 30-minute Diversions 1994-1996 EP is made up entirely from samples from the collection of Lee Gamble's jungle cassette mix-tapes. The audio has been subjected to analog and digital deformations, while trying to extract, expand upon, and convey particular qualities emblematic of the original music. The effect is that of a musical body scan, all that is solid melts into air. Sounds are unearthed, dissected on the operating table, melted and unlocked , evoking sonics not unlike the heavy dub processes of Jah Shaka and Scion in an INA GRM frame of mind or bearing a similar methodological approach with what Mark Leckey explored in his piece "Fiorucci Made Me Hardcore." It can be heard as a "memory" of a period of music and for some could work as a "cued recall," which is a form of memory retrieval. Lee Gamble started out as a teenager DJing on pirate radio and on the emerging jungle scene; however, his own approach to music has taken a more experimental direction. Exploring the outer realms of abstraction through digital synthesis/resynthesis, Lee has described his current compositional process as "the configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. What you then have left is often the detritus or debris of an idea. Phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. This abstraction allows several interests to appear in the works simultaneously." He is also a founding member of the UK-based CYRK collective and has curated/co-curated several CYRK events. He has also produced and curated three radio series for London-based radio station Resonance 104.4 FM and he continues to DJ. Lee has released his computer compositions on the Entr'acte label and has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders. Diversions 1994-1996 is the beginning of a longer-term collaboration with Pan. Mastered and cut by Rashad Becker at Dubplates & Mastering. Pressed on 140 gram white vinyl housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
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2CD
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PAN 032CD
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$20.00
NOT IN STOCK, SPECIAL ORDER
PAN presents a 2CD set from experimental composer/artist/multi-instrumentalist Eli Keszler. The first disc features two ensemble versions of Cold Pin (PAN 021LP), previously released in a 2011 LP of the same title on PAN, plus a 26-minute, previously-unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces). The personnel for all three tracks is Eli Keszler (drums, percussion, crotales, guitar); Ashley Paul (alto saxophone, bass harp); Geoff Mullen (prepared guitar); Greg Kelley (trumpet); Reuben Son (bassoon) and Benny Nelson (cello). The second disc begins with the title-track, "Catching Net," a 17-minute score for string quartet and piano with the "Cold Pin" installation. It is performed by pianist Sakiko Mori and the Providence String Quartet: Carole Bestvater (violin); Rachel Panitch (violin); Chloë Kline (viola); Laura Cetilia (cello). The score is fully notated, timed with stopwatch markings rather than tempo or meter. Following are two recordings of Keszler's large-scale installations functioning on their own. "Collecting Basin" features piano strings/wires up to 250 feet long splayed from a two-story water tower in Shreveport, Louisiana, across two large, empty water purification basins, which acted as an amplifier for the sounds produced by the installation. A "solo" version of "Cold Pin" (without live performers) concludes the album. Tracks 1 and 3 on the first disc and track 2 on the second disc were recorded at the historic Cyclorama, a massive dome at the Boston Center for the Arts. "Cold Pin" was installed directly on a large curved wall in the dome, using micro-controlled motors and beaters to strike extended strings ranging in length from three to 25 feet. The 2CD is mastered by Rashad Becker at Clunk, in a limited edition of 1,000 copies. It is packaged in a pro-press digisleeve jacket which itself is housed in a silk screened PVC sleeve with extensive images from the installations, program notes, sketches of the installations, scores, electronic schematics from the projects, and accompanying drawings and artwork by Eli Keszler and Bill Kouligas.
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LP
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PAN 030LP
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$25.50
NOT IN STOCK, SPECIAL ORDER
Grapes and Snakes is the first collaborative work of two of the most respected American underground experimental/noise artists, Aaron Dilloway and Jason Lescalleet. Using purely analog synths and tape manipulation, they build a foggy psychoacoustic mass that lies between dynamic yet patiently treated tape-music and industrial howl. Aaron Dilloway has been releasing and recording music since the age of 16. He was a member of experimental bands Couch, Galen and Universal Indians. He is a former guitarist and tape manipulator for the experimental band Wolf Eyes, which he left in 2005 to live most of that year in Kathmandu, Nepal. While his wife did her graduate work there, he roamed the streets recording every sound he could, many of which are used in his recent recordings and performances. Currently he runs the noise record label, record store and mailorder Hanson Records, which he began in Brighton, Michigan in 1994. Hanson then moved to Ann Arbor, Michigan for several years, before finally settling in Oberlin, Ohio, after a brief return to Ann Arbor. He performs solo using eight track tapes and vocal sounds, and records modular synthesizer music as Spine Scavenger. Recently, he has played with an ever-changing cast of sound artists under the name The Nevari Butchers. Jason Lescalleet's sound world occupies a space between noise, contemporary composition, and minimal electronics. Using decidedly primitive tactics and equipment (e.g. antiquated reel-to-reel recorders, damaged tape, etc.), his work focuses on extreme frequencies and microscopic audio detail. He's been a member of Due Process, performed and recorded with Keith Rowe, Joe Colley, Jason Kahn, John Hudak, Bhob Rainey and Greg Kelley (both separately and as Nmperign), and most recently Graham Lambkin in their Breadwinner project which has yielded unprecedented and glorious results in the electroacoustic music of today. He lives and works in the state of Maine. The LP is mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl and it is packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas. Aaron Dilloway (synth and tapes); Jason Lescalleet (synth, tapes, and Dell XPS).
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12"
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PAN 029EP
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Equipped with only a Casio keyboard, Heatsick has played alongside everyone from Omar Souleyman to DJ Harvey, Daniel Wang and Legowelt, and has demonstrated his ability not only to extend his keyboard to its limits, but to transcend its musical territory. Déviation features four tracks of kaleidoscopic house that combine a lo-fi aesthetic with clear, textured structures. Mastered and cut by Rashad Becker at D&M and pressed on 140 gram white vinyl, housed in a silk-screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
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LP
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PAN 027LP
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Impossible Symmetry is the third full length record by Helm, the project of London-based artist Luke Younger. It marks a new chapter in the artists' canon as it's his first to be informed by live performance rather than studio experimentation. The recording and engineering was primarily a solo venture, with some technical assistance from John Hannon on a few tracks. Most of the compositions were created out of ideas/improvisations that were conceived in a live context and then fed back into the studio work. The album was recorded over the duration of a year in London with source material culled from acoustic sound sources in a similar methodology to his previous album, Cryptography, while also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early Coil and Cabaret Voltaire to even Traversable Wormhole's industrial minimalism. His last LP, Cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. This sound is steered through a mélange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. For the past ten years, Younger has also performed extensively in Europe and the U.S. with Steven Warwick as pioneering avant-drone duo Birds Of Delay. The LP was mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with photos by Traianos Pakioufakis and artwork by Kathryn Politis and Bill Kouligas.
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