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DE LA CATESSEN RECORDS (AUSTRALIA) 22 Titles

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Artist	Title	Format	Label	Catalog #

BENAUD TRIO	Oblivion	CD	DE LA CATESSEN RECORDS	DLC 022CD
$14.50 PREORDER RELEASE DATE: 8/29/2025 Benaud Trio celebrate their 20th anniversary year with the release of Oblivion on De la Catessen Records. Oblivion is their sixth studio album since bursting into the world in 2005 with the irresistible fusion of playfulness and professionalism that has characterized their career. Oblivion boasts all the pizazz that made Benaud Trio's previous albums like Mixtape (ABC Classic) and Bohemian Rhapsody (Melba Recordings) so popular, framed by a thoughtful selection of pieces that showcases them at their electrifying best. Chick Corea's modern classic "Spain" leaps out of the timeless classical melody of Rodrigo's "En Aranjeuz con tu Amor," in a fiery arrangement for piano trio by Nicholas Buc. "Closer" by Mark Isaacs was originally created for jazz quintet, and appears here in a warm and lyrical adaptation that sees Benaud Trio carrying its smooth sensibilities into the classical realm. Their readings of Piazolla's "Cuatro Estaciones Porteñas" and "Oblivion" are a smoldering account of his stylistic crucible of tango, jazz, and classical music. Benaud Trio have long been known for their alchemy onstage, fusing disparate qualities together: endurance and youthfulness; sincerity and lightness; playfulness and insight. In Oblivion, Benaud Trio are in their element, exploring fusion of the musical kind, through pieces by composers who share some of the same rare qualities as them.

Artist	Title	Format	Label	Catalog #
GOLONKA	Cut Out the Day	LP	DE LA CATESSEN RECORDS	DLC 019LP
$27.00 PREORDER RELEASE DATE: 8/29/2025 De la Catessen Records presents Cut Out the Day, the third album by Adelaide world music/cabaret outfit, Golonka. Cut Out the Day is a wild and original mix of gypsy vibes, European blues and gritty klezmer: a mixture of originals and covers from the fringes of Eastern Europe. This theatrical collection of original numbers and poetic arrangements of a wide range of eastern European folk tunes boasts moments of sublimely atmospheric melancholy, and the laughter of dark whimsy. Whatever trouble and sadness might be the seed of a song, Golonka's cure is furious rhythm and wild dancing. Golonka's five musicians from diverse backgrounds have performed all around the world, each having carved out their own career with a distinct musical voice that makes Golonka more than the sum of its considerable parts. The group formed almost 20 years ago and have been gigging constantly since then, with highlights including Womad and a tour of Japan. Featuring Dylan Woolcock on vocals, guitar and domra, Quincy Grant on clarinet and guitar, Gareth Chin on accordion, Belinda Gehlert on violin, and Harley Gray on double bass.

Artist	Title	Format	Label	Catalog #
DALE, JON	Last Blues	CD	DE LA CATESSEN RECORDS	DLC 006CD
$14.50 PREORDER RELEASE DATE: 8/29/2025 In Last Blues, De la Catessen presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. Listeners are invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows listeners something that may never have happened there. "Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance

Artist	Title	Format	Label	Catalog #
DALE, JON	Theatre	CD	DE LA CATESSEN RECORDS	DLC 016CD
$14.50 PREORDER RELEASE DATE: 8/29/2025 "It's music where nothing happened. It's the kind of music somebody might write in Adelaide, Australia. Nothing happened." --Morton Feldman Theatre is De la Catessen's second venture into the archive of Jon Dale. Originally released in a tiny CD-r edition of 50 copies on Tristes Tropiques in 2019, Theatre now reappears in an edition of 150 glass-mastered CDs. Theatre sees Jon Dale eschewing the hearthwarm drones of his previous album on de la Catessen, Last Blues, and dwelling upon an elusive aural concept: a limbo. Theatre hums with an occupied silence, heightened by scattered expectant sounds: a door opens or closes; muffled voices murmur nearby. As almost nothing continues to happen, the listener occupying the silence seems to hover at the edge of (non)existence. It's tempting to classify Theatre as a purely conceptual listening experience, or to compare it to listening to someone who is in the quiet act of listening to something else, just out of earshot. But at its heart, Theatre is a simple and elegant manifestation of the dichotomy that dynamizes minimalism: how little of something -- versus how much of nothing -- must be.

Artist	Title	Format	Label	Catalog #
SMITH, RAYMOND CHAPMAN	Amir Farid Performs Traktat Vom Licht: Piano Music Of Raymond Chapman Smith	CD	DE LA CATESSEN RECORDS	DLC 018CD
$14.50 PREORDER RELEASE DATE: 8/29/2025 "Light is the vehicle of the community -- of the universe. All that is visible clings to the invisible. That which can be heard to that which cannot -- that which can be felt to that which cannot. Perhaps the thinkable to the unthinkable. Like ourselves, the stars float between illumination and darkening in turn -- but even in the state of darkness we are granted, as they are, a consoling, hopeful glimmer of companion stars that are luminous and illuminated." --Novalis, Traktat vom Licht Amir Farid returns to De la Catessen Records with the premiere recordings of Traktat vom Licht/Variations on a Minuet by Mozart -- the second volume in an ongoing survey of endearingly quixotic piano music by Adelaidean composer Raymond Chapman Smith. In this new collection, following on from 2023's Nachschriften/Ländler (DLC 013CD), pianist Amir Farid sheds further light on a fruitful period of Chapman Smith's work, in which he utters in a uniquely mellifluous voice a beautiful old language recognized by so many but spoken by so few. Chapman Smith's musical journey, through Sydney's experimental scene of the early '70s, to his study with Australian modernist doyen Richard Meale, and his leadership of the notorious ACME New Music through the '90s, has led him to -- of all places -- the green pastures of nineteenth century German romanticism, where he invites listeners to join him in thoughtful spiritual contentedness through the current phase of his craft. The title of Chapman Smith's 26-part Traktat vom Licht is borrowed from a cycle of 26 poetic-scientific-metaphysical fragments by Novalis, a crucial voice in the formulation of the first phase of German Romanticism. Written in 2006 as an acknowledgement of the 250th anniversary of Mozart's birth, Variations on a Minuet by Mozart takes the theme from the first piece in Mozart's catalogue -- his K1, written when he was five years old -- and turns it through a set of twelve variations.

Artist	Title	Format	Label	Catalog #
PASCOE & MARTIN	Here Comes Everything	18CD BOX	DE LA CATESSEN RECORDS	DLC 020CD
$115.50 PREORDER RELEASE DATE: 8/22/2025 De la Catessen Records presents Here Comes Everything, a monumental 18CD box set marking the long-overdue recording debut of duo Pascoe & Martin. This is De la Catessen's most lavish production to date in its ongoing commitment to unearthing, documenting, and illuminating experimental music from Port Adelaide, Australia. The world of Here Comes Everything is rich, playful, and virtuosic. In its limitless variety it invokes a day-long perspective -- and what a glorious day -- of quotidian experiences, from the wondrous to the mundane. Here Comes Everything is sublime in its reverence of detail; awesome in its cumulative flood of experience; revelatory in its many extemporary dialogues whispered and roared. Each of the 18 parts of this Here Comes Everything is a single long improvisation, named after one of the 18 chapters of Ulysses. James Joyce's schema for Ulysses -- an 18-row chart he devised to help his friends navigate the labyrinth of each chapter's themes and references -- is the structure on which Pascoe & Martin's far-reaching musical epic is based. Here Comes Everything is the saga of two contradictory musical characters in their search for meaning and for each other. Chris Martin's piano is elevated, cabalistic, and rapturous. Derek Pascoe's saxophone is earthy, sensual and profane. Pascoe and Martin's journey in Here Comes Everything is akin to that of Bloom and Dedalus in Ulysses, where the fundamental inspiration for Here Comes Everything can be found. Pascoe & Martin have been honing their craft as a long-form improvising duo for 25 years. Since 2000 their public performances have been unmissable events. Pascoe & Martin continue to challenge and contradict each other in their open-ended Socratic dialogue. Years in the making, yet entirely and thrillingly in the moment, De la Catessen Records presents Here Comes Everything in an edition of just 300 copies. Lavishly illustrated by Michael Hocking with drawings taken from life during 18 recording sessions, Here Comes Everything is not to be missed.

Artist	Title	Format	Label	Catalog #
ALTMANN, LUKE	Iron Winter	LP	DE LA CATESSEN RECORDS	DLC 021LP
$27.00 PREORDER RELEASE DATE: 8/22/2025 The cinematic documentary Iron Winter, directed by Kasimir Burgess, follows two young herdsmen from the Tsakhir Valley in their quest to keep their community's herd of 2000 horses alive through Mongolia's harshest winter. The temperature regularly falls below -40℃ as they drive their herd into the mountains in search of pastures under the snow. As deteriorating climatic conditions make winter herding even more gravely dangerous, and the city lures away the young people, this ancient traditional rite of passage has nearly entirely disappeared. Through Iron Winter's score the Mongolian landscape shimmers and shivers with harmonics. Endless snowscapes glisten and swish, but stress and upheaval are also evident in the score's ominous murmurs. The tremors of imminent environmental and cultural collapse can be felt in the distant creak and clatter of the unseen, while tradition groans under the weight of obligation resting upon fewer and fewer shoulders. But to the sound of a mysterious reveille the herders and their horses are pulled irresistibly deeper into the mountains, exacerbating their vulnerability to dire cold and starvation, to the accompaniment of the howling wolves of the steppe. De la Catessen Records presents the original soundtrack for Iron Winter by Port Adelaide based composer Luke Altmann in a hand-numbered vinyl edition of 250 copies.

Artist	Title	Format	Label	Catalog #
LOUTH-ROBINS, TRISTAN	Borrowed Out Of Time	LP	DE LA CATESSEN RECORDS	DLC 017LP
$27.00 PREORDER RELEASE DATE: 8/22/2025 "Borrowed Out Of Time is the latest album by Kaurna Country artist and writer, Tristan Louth-Robins. It follows a steadily paced run of releases for labels like 3LEAVES and his own Studio Maurilia which share an inquisitive spirit, informed by, but different from, influences such as Alvin Lucier and Rolf Julius. While Tristan's compositions might be neatly situated somewhere adjacent to both sound art and acoustic ecology, they aren't beholden to those genres, and his work with field recordings and composition are smart in their suggestive possibilities. Borrowed Out Of Time feels like a step forward for Tristan; it makes sense that it's his first full-length vinyl release, made real by Adelaide's redoubtable De La Catessen imprint. Tristan is one of those consistent presences within Adelaide's network of experimental musicians, sound artists, and general refuseniks... The album itself started with Tristan's use of remote acoustic recorders. Deploying them to a reef at low tide, near his hometown in Normanville, he found himself empathizing with these lonely, passive technological presences: 'It was the first time I could remember a profound pang of something for what the technology was experiencing, sensing and 'feeling'.' A loosely contemporaneous encounter with James Bridie's Ways Of Being and the concept of unwelt ('the way non-human things sense and experience the world around them'), plus a commission for an installation work for Adelaide Festival's Neoterica, nudged Tristan further in the album's direction, thinking through ideas of the uncanny/unheimlich and interference. If that material, plus other recordings sourced from those acoustic recorders, proffers the groundwork for Borrowed Out Of Time, Tristan's embellishments and extrapolations in his home studio bring other voices to bear -- a Tama acoustic guitar; tape hiss; digital noise; cymbals; fence wire; ring modulation; yet more -- producing a suite of four works that strike as gently poignant, even as they deal with source material that is sometimes disembodied, denaturalized, or rendered adrift through processes of compositional dislocation... Throughout, I hear a cussed curiosity and a sharpness in attention, coupled with a compositional ear that's hitherto been mostly implied; now, though, Tristan's music has achieved an easeful poetics that has no need to ask you to be enamoured of it. It's simply there, smartly designed, inviting even at its most austere, ready to welcome you to its world, on its own terms, but with warmth and understated wit." --Jon Dale

Artist	Title	Format	Label	Catalog #
SCHULTZ, CHESTER	Sounds Like Work	LP	DE LA CATESSEN RECORDS	DLC 015LP
$27.50 LOW STOCK LEVEL De La Catessen offers the first re-release in over 40 years of the long-lost soundscape composition Sounds Like Work, initially privately released on cassette in 1978, by South Australian composer and scholar, Chester Schultz. Drawing from material recorded in late 1976 in the workplaces of members of the Maylands Church of Christ congregation, subsequently edited at the electronic music studio of Adelaide University in early 1978, Sounds Like Work has an oddly contemporary cast, given both the sophistication and intelligence of its composition, and the ever-relevant address of the meanings of the "working environment" that Schultz explores here. Doing this via sound, however, reveals plenty of previously unnoticed, or under-recognized, things about peoples' lives at work. Schultz's composition is refreshingly free of direct polemical or political intervention, though there is a subtle undercurrent of critique of the way the workplace makes us both suffer, and conform to expectation. Schultz's questions about the workplace -- what it does to the worker; the ways the worker tries to wrest control of the working day; work's alignment, or not, with our inner private lives and beliefs -- are poetically explored through lyrical editing, curious juxtaposition, and an unerring ability to know when to 'leave things be.' There's also an understanding here that the socio-cultural context of sound has both its specificities and its generalities. The voices heard here could be from nowhere other than Australia, yet what they speak of, and the everyday sounds they're surrounded by, could come from most anywhere. Schultz's approach to the use and understanding of sound via the soundscape came predominantly from reading and listening to R. Murray Schafer, and you can certainly hear the implications of Schafer's thinking in Sounds Like Work. It also recalls other, loosely analogous compositions, like Luc Ferrari's acousmatic tour de force, Presque Rien. Most of all, though, Sounds Like Work is a startling composition, one which subtly redraws the histories listeners long been told about Antipodean avant-garde sound.

Artist	Title	Format	Label	Catalog #
BENAUD TRIO	Empyrean Traces	CD	DE LA CATESSEN RECORDS	DLC 012CD
$15.00$12.75 IN STOCK With Empyrean Traces, De La Catessen Records focuses on another aspect of Adelaide composer David Kotlowy's career -- his works for trio. It follows the 2021 release of Final Fragments: Piano Music of David Kotlowy, where David Kotlowy's solo piano compositions were performed by composer and scholar Stephen Whittington. The three compositions on Empyrean Traces are brought to life by the Benaud Trio, whose ability to carry the gentle poetics of such work allows for bravura performances: as Luke Altmann of De La Catessen says, "it often felt during these sessions less like we were listening to the Benaud Trio and more like we were scanning for a signal from outer space." Indeed, Kotlowy's compositions share something otherworldly. His compositional ethos is informed by several key influences -- Japanese musical aesthetics; John Cage; Morton Feldman; Ross Bolleter and his ruined pianos -- but while you can hear relationships between Kotlowy's compositions and these forebears, Kotlowy is not beholden to that which has come before, and over several decades, has marked out his own patch of aesthetic territory with unerring clarity. The works on Empyrean Traces span the 1990s to 2020s, with two "earlier" pieces, "Chromatic Traces" and "Under Stars", revised earlier this decade. While significant time has elapsed between their composition, the three pieces on Empyrean Traces share the same "sound world", one where an exterior seeming-fragility masks a resolute interior: these are sturdy, powerful pieces. Kotlowy draws from several compositional tactics -- the use of Cagean time brackets, or breathing as measure, such that this album, in his own words, "traces a transition from outer to inner clock time." There is also a "relaxing of musical austerity" as Empyrean Traces progresses; the spare chill of "Chromatic Traces" acquiesces to the relative richness of the title composition. A gorgeous album of deeply moving music, Empyrean Traces is sure to appeal to fans of composers such as Morton Feldman, Jürg Frey, or Tōru Takemitsu. CD version comes in edition of 300.

Artist	Title	Format	Label	Catalog #
BENAUD TRIO	Empyrean Traces	LP	DE LA CATESSEN RECORDS	DLC 012LP
$27.50$23.38 IN STOCK LP version. Edition of 300; hand-numbered. With Empyrean Traces, De La Catessen Records focuses on another aspect of Adelaide composer David Kotlowy's career -- his works for trio. It follows the 2021 release of Final Fragments: Piano Music of David Kotlowy, where David Kotlowy's solo piano compositions were performed by composer and scholar Stephen Whittington. The three compositions on Empyrean Traces are brought to life by the Benaud Trio, whose ability to carry the gentle poetics of such work allows for bravura performances: as Luke Altmann of De La Catessen says, "it often felt during these sessions less like we were listening to the Benaud Trio and more like we were scanning for a signal from outer space." Indeed, Kotlowy's compositions share something otherworldly. His compositional ethos is informed by several key influences -- Japanese musical aesthetics; John Cage; Morton Feldman; Ross Bolleter and his ruined pianos -- but while you can hear relationships between Kotlowy's compositions and these forebears, Kotlowy is not beholden to that which has come before, and over several decades, has marked out his own patch of aesthetic territory with unerring clarity. The works on Empyrean Traces span the 1990s to 2020s, with two "earlier" pieces, "Chromatic Traces" and "Under Stars", revised earlier this decade. While significant time has elapsed between their composition, the three pieces on Empyrean Traces share the same "sound world", one where an exterior seeming-fragility masks a resolute interior: these are sturdy, powerful pieces. Kotlowy draws from several compositional tactics -- the use of Cagean time brackets, or breathing as measure, such that this album, in his own words, "traces a transition from outer to inner clock time." There is also a "relaxing of musical austerity" as Empyrean Traces progresses; the spare chill of "Chromatic Traces" acquiesces to the relative richness of the title composition. A gorgeous album of deeply moving music, Empyrean Traces is sure to appeal to fans of composers such as Morton Feldman, Jürg Frey, or Tōru Takemitsu.

Artist	Title	Format	Label	Catalog #
LEITMOTIV LIMBO	Superior State	LP	DE LA CATESSEN RECORDS	DLC 014LP
$27.50$23.38 IN STOCK Superior State is the second Leitmotiv Limbo album released by Port Adelaide's De la Catessen Records, after the 2022 CD Spiritual Disturbance. This time, Leitmotiv Limbo's isolationist studies have been bumped to vinyl, which feels like the perfect format for these twelve miniatures. The project of Adelaide artist Elijah Värttö, Leitmotiv Limbo has, over the past few decades, tracked a history of quietly insistent experimentation, embracing several technologies -- invented instruments; analog filters; drum synth -- to sketch desolate, cavernous structures, sometimes performed in reverberant spaces, such as church halls, which gifts the recordings a ritualistic air. For Superior State, Värttö is more intently focused on rhythms and pulses, resulting in a beautifully sculpted collection of poetic vignettes. You can hear some trace elements, here, of the minimalist techno-not-techno of artists like Pan Sonic, or Studio 1/Freiland, in their reductionist ethos. But also, in the insistence of Värttö's attention to detail, and his careful focus on a delimited number of elements, the twelve pieces on Superior State recall the work of mysterious German outfits Werkbund and Mechthild Von Leutsch, or the solo explorations of artists like Asmus Tietchens, Achim Wollscheid, and Goem. It's intensely evocative music, recalling all kinds of phenomena, both man-made and natural: electricity pulsing through wires; the humming of the central nervous system; the quiet hiss of deserted computer laboratories; the pulsations of plant life; the molecular vibration of atoms. Värttö has tapped into the poetry of the programmatic on Superior State, and he's sharp in his grasp of the significant effect that the incremental shifting of a few simple parameters can have on the overarching structures he's building here. Indeed, that poetry is echoed back in the beautiful liner notes by Adelaide artist Michael Hocking. Alive, flickering with incident, Superior State is energy transmitted, coursing through the collective's veins. Edition of 300; hand-numbered.

Artist	Title	Format	Label	Catalog #
ALTMANN, LUKE	Franklin: Original Motion Picture Soundtrack	CD	DE LA CATESSEN RECORDS	DLC 010CD
$15.00$12.75 IN STOCK De la Catessen Records present the original score of the celebrated cinematic feature documentary Franklin by AACTA nominated composer Luke Altmann (Transfusion, Fell, The Leunig Fragments). Franklin (dir. Kasimir Burgess) tells the story of the seven-year campaign to save Tasmania's wild Franklin River from being dammed, through Oliver Cassidy's rafting adventure in the footsteps of his late father -- one of the original activists of the Tasmanian Wilderness Society. Franklin had its world premiere at the Melbourne International Film Festival in 2022, and has since screened around the world to wide acclaim. From moments of quiet musical intimacy to sweeping orchestral grandeur, Luke Altmann's original score for Franklin features stunning performances by the Adelaide Symphony Orchestra, Benaud Trio, and Konstantin Shamray. Franklin is the first original soundtrack release by Luke Altmann on De la Catessen records.

Artist	Title	Format	Label	Catalog #
ALTMANN, LUKE	Transfusion	LP	DE LA CATESSEN RECORDS	DLC 011LP
$27.50$23.38 IN STOCK De la Catessen Records presents a limited vinyl release of the original score for the 2023 film Transfusion (a Stan. original film) by Luke Altmann (Franklin, The Leunig Fragments, Fell). Leaning into the sense of fragility, grief, and volatility of the film's central characters, Luke Altmann's original score for Transfusion combines compelling performances from ensembles of understated and gorgeously recorded drifting strings, trumpet, ronroco, and broken piano, with the visceral and barely suppressed dread of growling brass and orchestral percussion. Transfusion is the second original soundtrack release by Luke Altmann on De la Catessen records, following his score for the celebrated cinematic feature documentary Franklin (dir. Kasimir Burgess).

Artist	Title	Format	Label	Catalog #
SMITH, RAYMOND CHAPMAN	Nachschriften / Landler	CD	DE LA CATESSEN RECORDS	DLC 013CD
$15.00$12.75 IN STOCK As co-director of new music organization The Firm, Raymond Chapman Smith has quietly presented over 130 concerts of new music. But his uncomplicated disinterest in recognition or recording means his music is rarely heard beyond the walls of Adelaide's Elder Hall, where The Firm's annual concert series is presented to a regular audience of 50-100 initiates. This is the first album of his work, played by US born Australian-Iranian pianist Amir Farid. As a teenager in the 1970s, Chapman Smith began performing in AZ Music in Sydney with the recently returned Australian assistant to Cardew and Stockhausen, David Ahern, feeding new ideas into the local music scene, and fielding phoned-in performance instructions from La Monte Young for their improvisations at Brett Whiteley's gallery. After moving to Adelaide to study with Richard Meale, through the '80s and '90s Chapman Smith founded and co-helmed loosely Cageian composer-performer collectives. Since 1996 he has co-directed new music organization The Firm, reveling in the poetic aesthetic of 19th Century German romanticism. On Ländler from 2002, Chapman Smith says: "The references, the paying of homage to Beethoven, Schubert, Schumann, Brahms, Mahler, Wolf, and Zemlinsky are so obvious as to hardly need comment. They are heard through lenses polished by a later, more reductive aesthetic and a somewhat fortuitous arrival at a kind of diatonic serialism." Of 2003's Nachschriften: "Some of my thoughts while making this music revolved around a passage from a speech which Paul Celan gave in 1958. Celan, of course, was speaking of lyric poetry but I would respectfully paraphrase his words as follows ... 'Music is not timeless. Certainly, it lays claim to infinity, it seeks to reach through time -- through it, not above or beyond it. Music, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the -- not always greatly hopeful -- belief that somewhere and sometime it could wash up on land, on heartland perhaps. Music in this sense too is underway: it is a making toward something. Toward what? Toward something standing open, occupiable, perhaps towards an addressable Thou, toward an addressable reality.'"

Artist	Title	Format	Label	Catalog #
DALE, JON	Last Blues	LP	DE LA CATESSEN RECORDS	DLC 006LP
$23.00$19.55 IN STOCK 2023 restock. In Last Blues, De la Catessen Records presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. We're invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract Polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows us something that may never have happened there. "Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance

Artist	Title	Format	Label	Catalog #
MUSIC OF TRANSPARENT MEANS	Selected Live Recordings	LP	DE LA CATESSEN RECORDS	DLC 007LP
$23.00$19.55 IN STOCK Limited restock. Selected Live Recordings is the third release De La Catessen Records has divined from the archives of New-York-via-Adelaide minimalist composer Alex Carpenter, and the second in this series for his shape-shifting collective, Music Of Transparent Means. It follows the two side-long fantasias of 2021's self-titled album; this time, we pan out slightly, to grant the listener a varied and yet more complex understanding of the material Carpenter was writing and performing when this music was happening, during the noughties. On this album, you can hear the results of some intensive explorations of the possibilities of minimalism both at its most delicate, and at its most feverish. The heavenly stasis of "Disappearance #1", for massed wine glasses and bowed guitars, feels like being jettisoned in a water tower filled with ether; the wooziness of "Burial Music" captures something of the spirit of Fripp & Eno's (No Pussyfooting), but as though the tape is slowly disintegrating; the music is blurred at the edges, warped and sidereal. Perhaps the centerpiece of Selected Live Recordings, though, is the simple, yet ravishing, "Rose Street Womb". With its performers given a simple set of instructions -- to continually repeat and elongate a series of phrases, while listening and responding to the overall sound of the ensemble -- its pastoral psychedelia recalls the gentle slippages of Arthur Russell's landmark composition, Tower Of Meaning. Elsewhere, "Mountain Piece #2" is a thunderstorm for massed drums, while "Second Presencing" uses delays as a structuring device to paint an "audio canvas" from a clutch of damaged tones. Throughout, you can hear Carpenter's knowledge and deep study of the history of minimalist composition -- he has written extensively on the work of La Monte Young, and there is certainly some aesthetic and ideological crossover with the likes of Phill Niblock, Terry Riley, and Arnold Dreyblatt. But it is also very much his own thing, the result of an intensive period of study and exploration of the possibilities, not just of minimalist composition, but also of Just Intonation. With the material long whispered about in reverent tones, and circulating on CD-R only amongst a small group of like-minded souls, De La Catessen's ongoing series of releases of Carpenter's music is a major development, bringing to light one of minimalism's hidden histories.

Artist	Title	Format	Label	Catalog #
SCHULTZ, CHESTER	Within Our Reach	CD	DE LA CATESSEN RECORDS	DLC 008CD
$15.00$12.75 IN STOCK The first widely available edition of this singular, long-form composition, Within Our Reach: A Symphony Of The Port River: Soundscapes, by Port Adelaide, Australia-based pianist, composer, writer and researcher Chester Schultz. Originally self-released by Schultz in 1996, on his own Waterhole imprint, Within Our Reach was initially distributed free as a community resource, and not available for sale. De La Catessen's reissue is an invaluable contribution to developing histories of music and composition from Adelaide. It also offers the chance for germane reflection on the implications of late capitalism, gentrification, and "development" for both landscape and inhabitants. For Within Our Reach, Schultz has mapped out, via field recordings, an intricate, generous composition that documents the sounds of the Port River tidal inlet area of the greater Adelaide city. The recordings cover the period between 1989 to 1995, during which time the last of the industries based on the banks of the Port's higher land closed; there's something of a ghosted psychogeography of industry past during parts of Within Our Reach, with Schultz's evocative use of field recordings offering the listener clues as to the ongoing spatial rearrangement of the Port River area. Throughout Within Our Reach, you hear the interaction of multiple phenomena. The cawing and singing of birds, individual and en masse, broadcasts out over the submerged drone that modern transport "gifts" to the urban soundscape; for example, a rambling human voice, singing the traditional song "Down By The Riverside", is tangled up in the hum and purr of traffic, and the call of the seagull. Water and wind interact; the wind plays the guitar strings like an Aeolian harp; on "Hulks", Schultz and friends 'play' the debris of the mudflats, tapping on rusty bolts and rotting wood; a scherzo of people, wandering through the everyday, leads into a documentation of families gathered on the mudflats, playing guitar, recorder and clarinets, humming along idly; story fragments drift by, from Schultz and others. The delicate balancing act undertaken here, between the sounds of the natural world, the intrusions of the industrial world, and the constant negotiations of the people and animals that live within, and around, these spaces, is testament to Schultz's sensitive ear and careful, considered composition. Dedicated to theologian social critic Jacques Ellul, composer and ornithologist Olivier Messiaen, soundscape composer R. Murray Schafer, and the residents of Port Adelaide, Within Our Reach is a deeply moving document of the transformation of public space, and a profound, genuinely critical "music of place".

Artist	Title	Format	Label	Catalog #
LEITMOTIV LIMBO	Spiritual Disturbance	CD	DE LA CATESSEN RECORDS	DLC 009CD
$15.00$12.75 IN STOCK De la Catessen Records presents Spiritual Disturbance from Elijah Värttö's project Leitmotiv Limbo. Currently based in Port Adelaide, Australia, Leitmotiv Limbo has developed, slowly but surely, over the past few decades, through international travel and relocation, including five years in Estonia (2008-2012), where Värttö set up the Servataguse Muusika concert series. Spiritual Disturbance was recorded in 2020 and released privately as a small run of recycled cassettes -- this CD version is the first widely available Leitmotiv Limbo release since their 2018 split cassette with RNPno2 on Finnish label Hyster Tapes. Central to the Leitmotiv Limbo ethos are Värttö's self-made instruments, built from discarded, repurposed, and found objects, such as loose springs and other metallic implements. Affixed to wood sourced from a disused and dismantled piano frame, their deep resonance, both percussive and timbral, positions Värttö's approach within a trajectory of instrument builders/creators -- you can hear echoes of the music of artists like Z'ev, Hal Rammel, and Rod Cooper in the shattered textures and industrial drones of tracks like "Submersive", for example. There's also a tactility to the performances here, a haptic resonance, and a strange, viscous sensuality to the material. Värttö recorded Spiritual Disturbance in a church hall in Adelaide, on a four-track, using room mics and direct line input, and it's made up largely of one-take performances on Värttö's self-made instruments, with minimal intervention, at times, from analog filters and a drum synth. The combination of the evacuated tonalities of the instruments, plus the cavernous reverb of the recording space, gives Spiritual Disturbance a distinctly ritualistic sensibility; poetic and primitive, but eloquent in its exploration. It also brings to mind mysterious projects like Organum, Morphogenesis, Metgumbnerbone, perhaps even an acoustic Voice Crack, where conceptual rigor meets unpredictability via real-time improvisation. Spectral and haunted, Leitmotiv Limbo's Spiritual Disturbance is a compelling collection of oneiric expression, and an eloquent articulation of a unique, invented universe. Includes four-page booklet; edition of 300.

Artist	Title	Format	Label	Catalog #
MUSIC OF TRANSPARENT MEANS	Music of Transparent Means	LP	DE LA CATESSEN RECORDS	DLC 004LP
$27.50 LOW STOCK LEVEL Limited restock. The first ever vinyl release from the archives of Music of Transparent Means, the constantly evolving minimalist ensemble of up to 21 players active in Adelaide, Australia from 2002-2007. Long celebrated by a tiny circle of initiates and hardcore minimalism aficionados, Music of Transparent Means shaped the sound of its native city to its most euphoric and immersive state with a series of terrifically intense concerts of original compositions. After its leader Alex Carpenter was lured to New York in 2007, the surviving artifacts -- coveted CDr editions handmade by Carpenter himself -- were circulated only among the most trusting fans. De la Catessen Records presents "Chord From The Second Delphic Hymn" alongside Music of Transparent Means' anthem "Emerging Like An Infant From The House Of Truth", recorded live at an evening performance at De la Catessen Gallery in 2007. Lovers of the music of La Monte Young, Phill Niblock, Tony Conrad, and Arnold Dreyblatt will discover much on this album to rejoice. Alex Carpenter is an Australian-born artist and researcher living in New York City. His large-scale minimalist orchestra Music of Transparent Means won notoriety in the early 2000s for its experimental live marathons, with as many as 21 players and as few as one. "Joyous sensory over-stimulation (...) a kind of blissful, obliterated exhaustion (...) the music is, quite simply, a head-fucking blast to listen to and swim through" --Jon Dale. "Staggering... one of the records of the year" --Shame File Music. "'Chord from the Second Delphic Hymn' shimmers and undulates clangorously like some freshly awakened metallic beast... textures chime like an orchestra of dulcimers ... controlled thunder ... a kind of inner euphoria ... the result both a mutating organism and volcanic forcefield" --Textura

Artist	Title	Format	Label	Catalog #
CARPENTER, ALEX	Excavation Patterns	LP	DE LA CATESSEN RECORDS	DLC 005LP
$23.00$19.55 IN STOCK De la Catessen Records presents a reissue of Alex Carpenter's Excavation Patterns, originally released by the Vanished Records imprint in a tiny CDr edition in 2005. This epic four movement work for electric guitar and delay is available on vinyl for the first time. Excavation Patterns is a uniquely pervasive touchstone of Adelaide's music culture, and has since put down roots around the world among devoted aficionados of minimalism, ambient music, and improvisation. At 52 sprawling minutes in length, Excavation Patterns follows De la Catessen's 2021 release of "Chord From The Second Delphic Hymn"/"Emerging Like An Infant From The House Of Truth" by Alex Carpenter's minimalist orchestra Music of Transparent Means (DLC 004LP). In contrast to that white-hot furnace of molten drones, Excavation Patterns reveals an achingly fragile and delicate side of Carpenter's work. Direct metal mastered and pressed by RAND in Leipzig; edition of 300 (hand-numbered). Alex Carpenter is an Australian-born artist and researcher living in New York City. His large-scale minimalist orchestra Music of Transparent Means won notoriety in the early 2000s, and he has since continued to expand his practice in recording and public performance. "Notes fall ... like careful snowflakes ... on a slow drift into the night" --Frans de Waard, Vital Weekly.

Artist	Title	Format	Label	Catalog #
WHITTINGTON, STEPHEN	Final Fragments - Piano Music of David Kotlowy	LP	DE LA CATESSEN RECORDS	DLC 003LP
$27.50$23.38 IN STOCK 2021 release. Final Fragments is the first album dedicated to the music of quiet revolutionary David Kotlowy, and surveys his piano music from the early '90s to the '00s. Kotlowy's music is often extremely delicate, sometimes straddles the threshold of audibility, and creates pregnant silences, producing a maximum effect from a limited amount of material. Among the selections on this record are examples of his gorgeous and original "breath pieces", in which the duration of musical notes and gestures are determined exclusively by the performer's unhurried breathing. Stephen Whittington's performances of new piano music have long been celebrated worldwide, but until now he has been extremely elusive on disc. De la Catessen Records presents his first commercial album as solo pianist. Since the 1970s, he has shaped the development of new music by giving the first performances in Australia of works by Morton Feldman, Cornelius Cardew, James Tenney, and many others. "Radically beautiful, and perhaps, most of all, radically human (...) Throughout, I am struck by the music's poetics, its capacity to still the moment, and its ability to balance rigor of praxis with gentleness of touch" --Jon Dale.