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ASH 15-0CD
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Written and performed by Ian Wellman. The Night the Stars Fell is a journey that begins in a fire-scarred forest. The fourth album by Ian Wellman, and his Ash International debut, The Night the Stars Fell is built from field recordings from the forests and deserts of Southern California, shortwave radio static, and cassette tape loops layered in distortion. The eleven tracks across the album are carried by the physicality of wind which drove the fires that burned the forests where the sounds were recorded. The Night the Stars Fell explores a time of rebuilding, of searching for a new path. Ian Wellman is a sound artist currently residing in Los Angeles, CA. His recordings have been published by Room40, Dragon's Eye Recordings, Luminous Drift, and Industrial Coast. Ian is an IATSE Y-1 journeyman, and a member of the LA-based sound collective VOLUME. Recorded, composed, and mixed in Los Angeles between 2021-2023. Field recordings recorded in the forests and deserts of Southern California.
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ASH 14-8CD
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$14.50
PREORDER
RELEASE DATE: 5/17/2024
Written and performed by strom|morts. Superphénix is an industrial prototype for high-power sodium-cooled fast neutron reactors. It is located on the Creys-Malville site in France, close to the Swiss border. It is the largest fast neutron reactor in the world. It is also the world's largest reactor currently being dismantled. Commissioned in 1985 and definitively shut down in 1998, the plant operated for just 53 months. Numerous incidents, lengthy technical shutdowns, costs, protests and the dangerous nature of the facility led to the nuclear power station being shut down. What was presented at the time as the flagship of French nuclear power turned out to be the most dangerous machine in the world. Using modular synthesizers, field recordings and a bit of guitar, strom|morts take you on an aural tour of the plant in full operation. Discover the nuclear site room by room. From the control room to the reactor, the twelve drone pieces that make up the tour will give you an intense experience.
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ASH 13-9CD
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Stefan Goldmann's Call and Response has been crafted entirely from artificial reverb and nothing else: historic and contemporary units, responding only to brief electronic impulses (clicks). All sounds stem exclusively from the intrinsic properties of machines designed to replicate spatial acoustics. These range from early mechanical means such as springs and plates to increasingly complex algorithms aimed at convincingly approximating the rich acoustic responses of real world environments. The devices' idiosyncrasies enable the creation of spaces that fall short of naturalistic expectations. Yet new possibilities of exploring physically impossible alternative realities emerge. Recorded music has a rich history of much beloved and highly unreal spatial designs -- from the slap-back sounds of rock n' roll and the echoes of dub to gated snare reverbs and the nonlinear reflection bursts of 1980s drum machine fame. Despite the expected obsolescence of most historic efforts in the age of convolution reverb technology, many odd spatialization techniques persist and are now the subject of contemporary emulation. In Call and Response, the capacity of artificial reverb to go far beyond what the reflections of physical surfaces can elicit is often amplified to gargantuan proportions, only to be folded back into what appears to be the most minuscule of entrapments. Hissing tunnels and threatening wells vibrate left and right. A succession of "frozen" reverbs solidifies what otherwise would be fleeting reflections. Rapid shifts create artifacts that tear the fabric of space, only to reveal the underlying mechanics of its simulation. Occasional feedback, a reverb's output looped back into a unit's input, produces eerie harmonic textures inherent in algorithmic response curves (analogous to resonance frequencies determined by a room's geometric shape). The continuously dynamic handling of parameters such as size, density and shape allows for the exploration of impossible architecture along impossible trajectories. An aural choreography, plotted along permanently receding walls, liquid ceilings and crumbling floors. This is Goldmann's first album for Ash International. He runs the Macro label with Finn Johannsen.
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ASH 14-2CD
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IHVH are a duo composed of Touch artists Mark Van Hoen of Locust fame, and violinist Zachary Paul. This album is an electro-acoustic excursion of sorts into the often-obscure worlds of mystical religions of our times. The Kabbalah, the Indian mystics, the Christian church -- the moods of these belief systems and more, and their sounds as well, are sampled and referenced throughout these ten tracks. With a mix of real instrumentation, including the violin playing of Zachary Paul and the cello, bass, and viola played by guest musicians on some of the tracks, and the many electronic treatments created by Mark Van Hoen including the sounds of insects, African drumming, liturgical droning, and classical and operatic samples -- this portentous and mysterious, at times dark, but overall spiritually absorbing album is an imaginary voyage into the realms of Agnosticism, and it's insinuations into the other major religions of the world. Zachary's violin is multi layered and processed, often rendered unrecognizable -- with minimal ghostly and decayed electronics added by Mark. Most of the tracks were recorded in an improvisation session at Mark's studio in Los Angeles. Two of the pieces "Black Angels" and "Sister Ferdinande (Kolkata)" were recorded at film sound maestro Charlie Campagne's studio -- and feature him on double bass as well as Katt Newlon of LA's Sonic Open Orchestra on cello.
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ASH 14-1CD
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Mikromedas AdS/CFT 001 is the concept-driven, new electronic album from Dr. Valery Vermeulen featuring music produced using data from one of the most enigmatic, exotic objects in space: black holes. With this album, Vermeulen augments electronic music, art and science in previously unexplored ways. Black holes were first theoretically discovered and proposed in 1916 by German physicist and astronomer Karl Schwarzchild. Their possible existence resulted from an exact solution Schwarzchild had found of Einstein's theory of General Relativity published a year earlier. Being a long-contested concept, the existence of the first black hole, Cygnus X, was confirmed in 1971. Four decades later, in February 2016, science made another huge leap as the first merger of two black holes was observed by the LIGO -- VIRGO telescope. This discovery announced a new exciting era in observational astronomy based on gravitational wave detection. Using the latest technology, Mikromedas AdS/CFT 001 connects these fascinating scientific evolutions to the realm of electronic music. Having worked on previous astrophysics related musical projects, Vermeulen had the first idea for the album in 2016. It was not until 2018 that these conceptual ideas became a reality when Concertgebouw Brugge (BE) commissioned a new musical piece and live show for their Cosmos Festival. This work ultimately resulted in the album Mikromedas AdS/CFT 001. The six-track album is produced using data streams generated by various simulation models of astrophysical black holes and observational data of regions in space with extreme gravitational fields. Data used for the realization of Mikromedas AdS/CFT 001 includes gravitational wave data, data generated by black branes (i.e. higher dimensional generalizations of black holes), neutron star data, data from white dwarfs and trajectory data of elementary particles near black holes. As a mathematician and artist, Vermeulen effectively designed and programmed new innovative data sonification, i.e. the means to translate data into sound and music, systems and techniques. These were used to transform black hole data and their associated mathematical models into engaging, moving and multidimensional sound experiences. Mikromedas is a data-driven audio/visual project in which compositions are produced using data from space, deep space, and astrophysical simulation models. Limited edition compact disc in extended ecopak.
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ASH 13-8CD
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Ash International presents Mirror Views, a new long-form work from LA-based composer Byron Westbrook. While Westbrook's field recording process has been central for many years to both his composition and installation works, there has yet to be a major release showcasing this aspect of his artistic practice. On Mirror Views, he seamlessly blends cassette field recordings with "faked" synthesizer binaural environments created from noise and unstable tones. The album's four sections and 72 minutes unfold with patience, taking cues from Luc Ferrari and Maryanne Amacher to use the passage of time to create deeply immersive effects. Westbrook also incorporates animated phase relationships between speakers to simulate perspective shifts, blurring what is a documented event vs. electronic fabrication. This is a work of subtlety and sonic precision that is only possible to reproduce on CD and digital formats. Artwork & design by Philip Marshall. Photography by Byron Westbrook.
Byron Westbrook is an artist and composer based in Los Angeles, CA. He works with both music performance and installation formats, with a focus on architectural qualities of sound and the potential for audio to generate visual spaces. Westbrook holds an MFA from Bard College, where he studied with Marcus Schmickler, David Behrman and Marina Rosenfeld. He also worked closely with Phill Niblock to produce, record and archive concerts at Experimental Intermedia Foundation in NYC from 2005-2014. His work has been presented by international institutions such as the Walker Art Center, ICA London, Rewire Festival, MaerzMusik Festival and he has recently been visiting faculty with Pratt Institute MFA, Columbia University Sound Arts MFA, and International Center of Photography's New Media Narratives program.
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ASH 12-3CD
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In 2000, The Wire wrote of Richard Chartier's work: "it's worth stretching the ears in search of Chartier's sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows," the same holds true today. Formed over the course of five years, Removed was a process of removal/erasure. Only trace elements appear from what was. Their interactions merely a ghost of a composition -- subtle echoes across the sound spectrum. A glacially paced progression of discreet relational sonic events and flows. Inspired in part by the rigorous line drawings of American visual artist Linn Meyers, whose 2011 untitled drawing graces the cover, Removed draws the listener in to follow patterns. Meyers often creates large scale on-site works that transform a space into durational installations of seemingly endless lines. Seen from a distance these lines appear as almost natural ripples in a wall surface, but deeper, upon closer inspection, the delicate echoes and fluctuations of the artist's hand arise from the density of details. Chartier's precise sound compositions work in a similar manner. Austere and shimmering, the two compositions on Removed beg for careful listening on headphones. Or let these two compositions play quietly amplified across your space. Either way, a physically captivating dimensional experience. Removed is a continuing reflection on major aesthetic elements of Chartier's artistic language as it has evolved through the years. This is Chartier's first new solo studio album since 2013's field recording exploration, Interior Field, and 2012's purely digital Recurrence, both released on Line. Richard Chartier is a Los Angeles based artist and is considered one of the key figures in the current of reductionist sound known as both "microsound" and Neo-Modernist.
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ASH 11-2LP
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Yoiking with the Winged Ones is a vinyl record with yoiks yoiked by Ánde Somby and recorded and mixed by Chris Watson. Yoiking is the ancient chanting practice of the Sámi people, the indigenous inhabitants of the Arctic area of Sápmi, today encompassing the far north of Europe. Yoiking's origins date from time immemorial -- legend has it that it was the fairies and elves of the Arctic lands who gave yoiks to the Sámi. Yoiking was an important element of the religious rituals in pre-Christian times and has survived Christianity, imperialism, and the confiscation of Sámi areas by Norway, Finland, Sweden, and Russia. Ánde Somby is deeply rooted in the yoik tradition. He comes from the eastern part of the north Sámi areas, with connections to the tundra tradition of the reindeer herders and the valley tradition of arctic farmers. His yoiking is quite technical as well as melodic; Somby is at once a traditional and innovative yoiker, with an expressive style on the borders of the human voice. Here, all three pieces on side A are his compositions. The album's title refers to the migratory birds that travel to the Arctic for their breeding season and break the Arctic silence with their singing and calling, while also referring to the sound that flies from the echoing mountains. The project draws inspiration from the fairies and elves who gave the yoiks to humans, tying the yoiks to the earth, and from the ongoing war against those fairies and elves; this war was waged in Norway by 19th-century national poet Henrik Wergeland in the song "Nisser og Dverge," and has continued by stripping the earth of its soul and giving free license to aggressive exploitation. The album is also inspired by the Greek myth of Narcissus and Echo, in which Echo is rejected by Narcissus but gains an eternal voice; here, Echo yoiks along together with the underground energies of the ancient practice. Recorded by world-famous sound artist and field recordist Chris Watson in Kvalnes, Lofoten, Norway, in mid-June 2014, while the arctic winds rested for a moment. Post-production by Chris Watson. A K Dolven took the photos for the project and was instrumental in developing the concept. Artwork and design by Philip Marshall. Thanks also to Tony Myatt. Yoiking with the Winged Ones was made possible by the generous support granted by Sámediggi - Sametinget.
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ASH 12-0LP
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freq_out has been a musical project since 2003, when Carl Michael von Hausswolff was invited to Copenhagen to invent and install a sound-art installation. He divided up the audible sonic register into 12 parts and asked 12 artists, musicians, composers, and architects to each accept one of the 12 parts and compose a sonic piece from it. The result became 12 compositions/artworks that were simultaneously played on 12 different sound systems in the art space of Charlottenborg, thus becoming one piece. Since then, freq_out has also been installed in Oslo, Berlin, Paris, Budapest, Chiang Mai, Kortrijk, Stockholm, Amsterdam, and Marrakesh. This LP contains the studio mix and a live recording of the first permanent installation of a freq_out piece called freq_out 1.2 ∞ SKANDION. At the time of this release, the work is up and running in the entrance garden at the Skandion Clinique -- a hospital for cancer treatment inaugurated in May 2015 -- in Uppsala, Sweden. It's accessible 24/7 and anyone that comes by the place can enjoy the work. The artists who contributed to the work are Jana Winderen, Maia Urstad, Christine Ödlund, Brandon LaBelle, JG Thirlwell, Petteri Nisunen, Tommi Grönlund, The Sons of God, Franz Pomassl, Anna Ceeh, Mike Harding, Finnbogi Pétursson, BJ Nilsen, Jacob Kirkegaard, PerMagnus Lindborg, and Carl Michael von Hausswolff.
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ASH 11-4CD
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"Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, DVD player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light..." Guitars: Guild 12-string D-125 and Vintage Guild six-string GF-25. Mics: induction coil pick up and hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider, and Logic Pro. Simon Scott (b. 1971) is a British multi-instrumentalist based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition, and sonic art. Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012. It explores the aesthetics of active listening, sound ecology, and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analog and digital timbres, the man-made and natural-world sounds captured in his local sunken landscape of The Fens in East Anglia create a fusion of digital signal manipulation combined with organic acoustic textures. Since the late 1990s Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions, and digital multi-media projects. He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 Souvlaki album. His track "Für Betty" was included on the German label Kompakt's Pop Ambient 2014 compilation (KOMP 113CD). Scott is also a freelance composer and sound recordist for film and television; in 2015, he appeared on the BBC program Springwatch Unsprung recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught music technology and sound recording in Cambridgeshire and lectured at Cambridge University. In 2008 he established the Kesh Recordings label, releasing global artists' audio and visual projects. He has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan, and James Blackshaw.
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ASH 11-1LP
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Based on the original score for the film I Am Here (2014), written and directed by Anders Morgenthaler, starring Kim Basinger, Jordan Prentice and Sebastian Schipper. Written and produced by Jóhann Jóhannsson and BJ Nilsen. This is the first collaboration between Jóhann Jóhannsson and BJ Nilsen -- very much a mix between their two worlds, you can hear both their signatures, and with the help of additional musicians, including Hildur Guðnadóttir on cello and the remarkable voices of Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson, they together create a world of great beauty and mystery. Hildur Guðnadóttir (cello), Daniella Strasfogel (violin and viola), Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson (vocals), Jóhann Jóhannsson (piano, guitar and electronics), BJ Nilsen (electronics). Recorded and mixed by Jóhann Jóhannsson and BJ Nilsen in Berlin, December 2013-January 2014. Mastered and cut by Jason at Transition August 20th, 2014.
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ASH 9.5CD
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Christian Fennesz's score of the film AUN: The Beginning And The End Of All Things -- a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker, Edgar Honetschläger. It is an Austrian/Japanese co-production realized by Edoko Institute, Vienna and Ribo Ltd., Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province. AUN: The Beginning And The End Of All Things tells the story of mankind's quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can't be solved by means of economics and science anymore. Enlightenment's merits have taken the West's ability to sense what is not to be seen, what is only to be felt. Beliefs are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction -- of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all -- nature -- by playfully laying out its dichotomy with human culture. The film equals mankind's beauty with nature by announcing that "everything mankind creates is nature." Sadly, the hubris ends and gives the audience the chance to heartily weep for the world. Director's statement: "AUN: The Beginning And The End Of All Things follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan's unique Shintoism, whose millions of gods inhabit and preserve nature. The film focuses on the dichotomy of man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada."
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ASH 8.9CD
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Joachim Nordwall is deeply interested in the power of sound, and how sound can create certain states of mind, but also the other way around; how certain states of mind can create sound. Since his teens in the late '80s, growing up in the remote, crude southeast Sweden, he has experimented with something he prefers to call "Psychic Broadcasting" rather than composition, at first in the still almost-active analog synth drone duo Alvars Orkester. Nordwall went on to play in various experimental music projects and spent time in Paris and London. Back in Sweden, he formed iDEAL Recordings in 1998 and joined the sweaty avant-punk rock group Kid Commando the year after, touring like mad, eventually hitting rock-bottom in 2005. After the death of KC, he formed the ritual rock/drone band The Skull Defekts, which has kept him busy ever since (recently releasing records on Chicago-based Thrill Jockey Records). In 2006, his first solo album was released under his The Idealist moniker. A few years in the making, the album offered was a deep study of Nordwall's interior life, during a time when everything was pitch-black inside. Today, Joachim Nordwall is very active curating his iDEAL label and organization for festivals, concert series and sound art exhibitions. He is also the chairman of the legendary Stockholm venue for experimental stage art, Fylkingen. Nordwall is a man that lives and breathes sound. A few years have passed and Ignition is here, Joachim Nordwall's second solo album. Recorded under brighter circumstances but still with many shadows present. Ignition is on one hand a solid, highly electronic trip, on the other hand, a very sensitive, analog and warm drone symphony. Ignition was released (and is still available) on cassette in 2010, thus asserting the primacy of the analog format. Received and recorded by Joachim Nordwall at Morgan Avenue (Brooklyn), Lampo (Chicago), iDEAL (Gothenburg), EMS (Stockholm) 2006-2010. Technical specifications: RITM-2, iDEALIST DRONE MACHINE, LITTLE BLACK BOY, GLAMOUR BOX, KORG MS-20, iDEALIST NOISE MACHINE, MacBook Pro (various software) and various effects. Analog sound sources, sometimes processed digitally.
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ASH 010.1EP
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Four new tracks from Purity Supreme, a collaboration between French musician, composer and producer Christophe Van Huffel and American writer, musician and composer Leslie Winer. Always Already was recorded in France at Studio7Love in May 2011. Leslie Winer's '90s album Witch, released under the artist name ©, is a genuine lost classic, pioneering many of the sounds that have followed. Christophe Van Huffel, ex-guitarist of Tanger, has recently produced legendary French singer, Christophe.
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ASH 8.9CS
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Sweden's Joachim Nordwall runs iDEAL Recordings and is a member of The Skull Defekts. Received and recorded in Brooklyn, Chicago, Gothenberg and Stockholm between 2006 and 2010. Equipment used: analog synthesizers, effects and computer. This cassette was mastered by BJNilsen and edited by Philip Marshall. Program repeats on both sides. Limited edition of 500 copies only.
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ASH 9.1CS
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Ash International presents a cassette-only release of 2008 live tracks from Swedish sound recordist BJ Nilsen. BJ Nilsen was born in 1975 and he has been active with experimental music for over 20 years. For the past 10 years, he has been releasing albums on Touch, and making music and doing sound design for documentary film, television and commercials. He is focused on field recordings and on the sound of nature and its effect on humans and the perception of time and space as experienced through sound, often electronically treated. Nilsen has collaborated with artists such as Chris Watson, Hildur Gudnadóttir, Philip Jeck and Stilluppsteypa, amongst others. Illustration by Sav X, entitled Dead Flowerz 1 (first in a series of 6).
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ASH 8.8CD
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Ash International presents a live recorded performance by Thomas Ankersmit in Utrecht from late in 2007. Live In Utrecht is his first official CD album release. Thomas Ankersmit is a 30 year-old saxophonist, electronic musician and installation artist born and raised in the Netherlands and now primarily based in Berlin who combines abstract, intensely-focused saxophone playing with hyper-kinetic analog synth and computer improvisation. He also creates installation pieces that use sound, infrasound and "modifications to the acoustic characters of spaces" that disrupt the viewer/listener's perception of the exhibition space and their presence within it. He frequently works together with New York minimalist Phill Niblock and Sicilian electroacoustic improviser Valerio Tricoli, and as well as other collaborators, mostly for live performances, including Tony Conrad, Maryanne Amacher, Jim O'Rourke, Kevin Drumm and Borbetomagus. Thomas Ankersmit: Serge analog modular synthesizer, computer, alto saxophone. Pre-recorded saxophone and reel-to-reel parts composed by Valerio Tricoli, with source material by Ankersmit.
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ASH 8.7LP
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Vinyl release. On November 19, 2009, there took part at Café Oto, London, the first-ever "The Night Of The Long Worms" -- a label night held by the cassette label, The Tapeworm. Presented here is a track each by Tapeworm artists Meltaot (UK artist/musician/broadcaster Sharon Gal and artist/writer/musician SavX aka Savage Pencil aka Edwin Pouncey) and mystery group Souls On Board (featuring Bruce Gilbert). Meltaot features Savage Pencil on electric guitar scree/cymbal and Sharon Gal thrumming a bass guitar while she produces some serious guttural horror. Souls On Board provide some black-hearted electronic throb/drone/pulse with a "Pirates Mix" by Bruce Gilbert. Comes with a Meltaot sticker.
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ASH 7.8EP
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This 7" is the fourth in a series of vinyl acoustic versions for the National Anthems of Elgaland-Vargaland. These recordings were regally made during the unofficial inauguration of the KREV Ministry of Bankrupt Shopping Malls in Porto, Portugal, on October 10, 2008, in the presence of the KREV Ambassadors Michael Harding and Heitor Alvelos. Genuflections to the Future Places digital media festival, University of Porto Masters in Image Design, and the University of Texas at Austin and Transmedia Brussels.
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ASH 8.1CS
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Cassette only, in an edition of 500 copies. Second edition, with alternate inlay. Recorded by Norwegian sound recordist, Jana Winderen, who also provided the illustration. Winderen writes that The Noisiest Guys On The Planet is "an ongoing investigation into the use and production of sound by decapods." The decapods or Decapoda ("ten-footed") are an order of crustaceans within the class Malacostraca, including many familiar groups, such as crayfish, crabs, lobsters, prawns and shrimp. Most decapods are scavengers. As their name implies, all decapods have ten legs; these are the last five of the eight pairs of thoracic appendages characteristic of crustaceans. The front three pairs function as mouthparts and are generally referred to as maxillipeds, the remainder being pereiopods. In many decapods, however, one pair of legs has enlarged pincers; the claws are called chelae, so those legs may be called chelipeds. Jana Winderen researches the hidden depths of the sea with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of glacier crevasses are brought to the surface. She is occupied with finding sound from its hidden source, like blind field recording.
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ASH 7.6EP
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This is the third in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the mariachi and the klezmer/Afrobeat versions, both issued in 2007 via Ash International. Kampen Skoles Musikkorps consists of around 24 musicians aged from 9 to 16. It was founded in 1906 and is the third oldest school marching band in Norway. Recorded on March 12, 2008 at Kampen Skole in Oslo. The "KREV Underwater National Anthem" was recorded under MS Reichenau on the occasion of the Annexation of the Bodensee (Lake Constance) including Überlinger See, Zeller See, Gnadensee, Untersee and the Insel Mainau (Island of Mainau), formerly a part of Switzerland, Austria, Germany, by the Kingdoms of Elgaland-Vargaland on May 28, 2008. Recorded using Dolphin Ear hydrophones and a Nagra Ares P-11 flash recorder while The Emmishofer Brass Band and The Diessenhofen Yodelling Choir performed.
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ASH 7.4EP
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These recordings were regally made on October 21, 2006, Haus der Kulturen der Welt, Berlin at the opening of the Elgaland-Vargaland Embassy for Germany in the presence of the Kings, Michael I and Leif I, Consul Hans Ulrich Obrist (who made the inauguration speech) and the KREV Ambassador, Bernd M. Scherer. This 7" is the second in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. "Kabukabu" is explosive Afro-beat, while "Klezmer Chidesch" is pure, heart-moving Klezmer.
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ASH 7.2EP
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...National Anthem #2. These recordings were made during the inauguration of The Embassy of The Kingdoms of Elgaland-Vargaland in Mexico City on August 30, 2002, in the presence of the KREV Ambassador Magalí Arriola and invited guests at Colima 244, Colonia Roma, Mexico City. This is the 2nd in the series of National Anthems released by Ash International, following The National Anthem of Elgaland-Vargaland No. 1 (1996), and the first in a series of limited edition vinyl releases (including the klezmer version, the marching band version) to follow in 2007 and 2008.
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ASH 7.1CD
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Subtitled: Field Recordings from Tibet. Geir Jenssen is a Norwegian composer and performer, best known for his work as Biosphere, who has released five albums on Touch over the last ten years. In the early 1990s, Jenssen was a pioneer of so-called "ambient techno," but since then, he has refined his sound into something more magnetic and enduring. These recordings were made by Jenssen while climbing "Cho Oyu" in Tibet in September and October 2001. Cho Oyu is the sixth highest mountain in the world at 8201 meters, situated in the Himalayas near Mount Everest, on the Tibetan/Nepalese border. This album may be regarded as the soundtrack to the film of this journey, also containing some of the source material for the most recent Biosphere album, Dropsonde. The Cho Oyu climb, with six climbers and one sherpa, was made from Kathmandu into Tibet, taking two weeks to reach Base Camp in staged intervals so as to avoid altitude sickness. Each track represents one such stage in the journey, from base to base to summit, absorbing the only sounds possible on the trip to the mountain and all the way up. "Tingri: The Last Truck" captures the sounds of trucks zooming past livestock, horses and carts, pigs and yaks, overtaken by vehicles blasting their horns, on the last inhabited area before the mountain. Wind, yak bells and ambient sound provide the material for "Chinese Base Camp: Near A Stone Shelter," while "Nangpa La: Birds Feeding On Biscuits" was Jenssen's attempt to get a clean, unprocessed recording of mountain birds by baiting them with food. "Camp 3: Neighbours on Oxygen" was made when the wind picked up and ferocious hail hit the tents. One group chose to wear oxygen masks and could easily be heard from Jenssen's tent, where he made this recording. Cho Oyu 8201M is a document of a difficult journey told in sound: of random hillside transistor radio music, pilot chatter from planes over the Himalayas via shortwave frequency, and of absolute cold and ambient, still silence.
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ASH 6.9CD
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This is a release of analog sound experiments from old Sweden circa 1987-2006 from electronic drone/noise masters Joachim Nordwall (ex-Kid Commando) and Jan Svensson. Alvars Orkester was formed in 1987 in Johannishus, a small village in the southeast of Sweden by a group of young boys interested in the mysteries of psychic sickness, mental institutions, the industrial music culture and the power of sound. During the first years, Alvars was very active within the independent cassette culture scene, releasing their stuff on small labels in Italy, Portugal, USA etc. AO was always very closely connected to the electronic noise and their self-run industrial label Börft Records, but their work soon drifted from the industrialism inspired by Test Dept, TG, SPK and Z'ev to an atmospheric, psychedelic and more ambient version of noise. In 1994, Nordwall left the label and Sweden (to return to the country forming the iDEAL Organisation) and Svensson continued by focusing on bent acid house and psychedelic dance stuff. For years, AO remained silent with a few short exceptions, but in April 2005, Nordwall and Svensson recorded the Interference album for Ash International. Colored by Svensson's increasing paranoia sickness and the tension between the two that has been there since their youth, they put down the mysteries of psychic broadcasting and manipulation on tape. Interference consists of analog drones, interspersed with hardcore electronics, hair-raising voices and spine-chilling ambience.
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