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CD
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ROTOR 039CD
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$23.50
PREORDER
RELEASE DATE: 5/8/2026
Certainly one of the greatest UFOs in the history of music, Cromagnon and their 1969 concept album Orgasm were the precursors of what was to come thirty years later: industrial, metal, and experimental music bathed in improvised experiments on LSD. "The project couldn't be smooth, otherwise humanity would be lost. There's room for computers, but the soul is gone." Cromagnon is: Brian Elliot , Austin Grasmere, Salvador Salgado, and The Connecticut Tribe. Brian, Bob and Sal were responsible for lyrics, and Brian was the biggest contributor. Bob, Vincent, Peter, Gary, and Louie all helped create the music (writing chord changes etc.)
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ROTOR 082CD
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$23.50
PREORDER
RELEASE DATE: 5/8/2026
Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
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ROTOR 082LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. First time vinyl reissue. Feu! by MKB Fraction Provisoire, recorded in 1993, reissued 30 years later. Featuring Jac Berrocal, MKB Fraction Provisoire (Messageros Killers Boys) is the variable-geometry musical project of filmmaker and writer F.J. Ossang, founded in 1980 in response to a need for creativity fueled by the punk movement and industrial music, which the band called Noise'n'Roll. "This record was invented in ten days. When Nagi Baz offered us the use of his studio for a week, we had just finished recording Doctor Chance in 1993. The project was immediately to pay a sort of tribute to my writer friend Jean-François Charpin (1957-1987), a Sex Pistols accomplice who had initiated the Chalet du Lac concert in September 1976, before creating the excellent and short-lived avant-garde magazine Grabuge in 1978 (two issues published). We spent an entire weekend with Jack Belsen laying the foundations for six tracks using machine matrices and looped rhythms, while I wrote at full speed on the typewriter. On Monday, I finished editing the raw texts while Belsen recorded the rhythms. The next day, it was my turn to record the vocals in a single block -- then Jac Berrocal and Little Drake played their instrumental parts. The following Monday, Nagi Baz left his record company. After thirty years, the reissue of the album Feu! set for the first time on vinyl by Rotorelief Records (augmented by the Messageros Killer Boy genotype, recorded just before I left for Chile in 1994) turns out to be a double eulogy for J.F. Charpin, but also for Jack Belsen, brutally snatched from life for a terrible season, between late spring 2018 and his death on December 7 the following year."
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ROTOR 091LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside". Black vinyl.
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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ROTOR 091C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Dark crystal color vinyl. New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside".
"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.
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2LP
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ROTOR 090LP
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$52.50
PREORDER
RELEASE DATE: 5/8/2026
An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such. Black vinyl.
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2LP
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ROTOR 090C-LP
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$70.00
PREORDER
RELEASE DATE: 5/8/2026
Double LP version. Dark ice color vinyl version. Gatefold sleeve. An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such.
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ROTOR 089LP
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$42.00
PREORDER
RELEASE DATE: 5/8/2026
Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano. Black vinyl.
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ROTOR 089C-LP
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$45.50
PREORDER
RELEASE DATE: 5/8/2026
LP version. Gatefold sleeve. Silver-grey and black vinyl. Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano.
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CD
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ROTOR 088CD
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$22.50
PREORDER
RELEASE DATE: 5/8/2026
Infini is an encounter between Marc Hurtado, known for his duo project Étant Donnés created in 1977 from the French experimental and industrial music scene, and Mark Cunningham from the New York No Wave scene since the late '70s, under the entity Mars. Infini was born in 2020 and completed in 2023, and this particular project is a kind of 360° astral voyage at the speed of light, swept up in the grace, madness, fire and kaleidoscopic whirlwind of the telescoping of the two artists' burning souls. Against a backdrop of Mark Cunningham's trumpet, bass and guitar, Marc Hurtado lays down his noisy drones and bewitching voice, a moment of sealing and construction of an edifice whose stones seem to be cut and refined like real diamonds. The atmosphere is psychedelic, cosmic, vaporous and blindingly dark. Infini is the sound of blood, the blood of sound, a shattering mirror of fire, a wave of light in the sky, a path, a voice, a silence, a cry. Marc Hurtado: vocals, sounds; Mark Cunningham: trumpet, guitar, bass.
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ROTOR 081LP
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Camizole's first unreleased album Erahtic, recorded in 1972, released 50 years later on vinyl by Rotorelief. These are the very first recordings of Camizole made in 1972 with a cassette recorder. The main instrument used is a self-built zither, a primitive lutherie supplemented from time to time by an alto violin and a flute. "The goal was to obtain new, dissonant, noisy sounds. The following year, when I bought my first synthesizer, I considered the instrument now useless and destroyed it. In 2016 I wanted to rework these recordings with tools that appeared later, asking myself a decisive question: if I had had access to this material at the time, what would it have given? That's why I didn't remove anything, nor add anything, the pieces are delivered whole and without any editing. I only ran the original sound through pitches, delays, harmonizers, harps, reverse, and then mixed the resulting new tracks." Dominique Grimaud - zither, viola, flute, electronic. Pre-mastering by David Fenech. Mastering by Andreas Lubitch. Artwork by Frédéric Tacer.
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2LP
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ROTOR 080LP
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The long-running and infamous project known as Nurse With Wound -- essentially Steven Stapleton joined by a rotating cast of characters -- mixes the overly serious chin-scratching of the contemporary avant-garde with a healthy dose of absurdist humor and wit. Often unfortunately branded with the industrial's tag, Stapleton's music actually reflects elements of musique concrète, ambient, and free improvisation juxtaposed against more traditional forms. No one pigeonhole can adequately describe this diverse and immense catalogue: only by diving in can one truly appreciate the varied sonic possibilities of Stapleton's unfettered imagination. He's that weird, and he's that good. In the mid-1980s, Nurse With Wound existed as a live band for only eight shows, of which only five were in front of an actual audience. Live at Bar Maldoror, released in 1991, documents these various live incarnations. Having been remastered by Andrew Liles, the diverse and lengthy pieces (which were actually recorded in disparate locales, none of which are named "Bar Maldoror") sound rather contemporary. Sparse percussion, tape manipulation, loops, noise, dark drones, improvised semi-musical instrumentation and strangled glossolalia all expose the many facets of Stapleton's oeuvre. In 2023, as part of the silver editions, Rotorelief Records released Bar Maldoror as a double vinyl album, in a luxurious gatefold with four panels of artwork by Babs Santini.
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2LP
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ROTOR 080SIL-LP
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Double LP version. Silver vinyl. The long-running and infamous project known as Nurse With Wound -- essentially Steven Stapleton joined by a rotating cast of characters -- mixes the overly serious chin-scratching of the contemporary avant-garde with a healthy dose of absurdist humor and wit. Often unfortunately branded with the industrial's tag, Stapleton's music actually reflects elements of musique concrète, ambient, and free improvisation juxtaposed against more traditional forms. No one pigeonhole can adequately describe this diverse and immense catalogue: only by diving in can one truly appreciate the varied sonic possibilities of Stapleton's unfettered imagination. He's that weird, and he's that good. In the mid-1980s, Nurse With Wound existed as a live band for only eight shows, of which only five were in front of an actual audience. Live at Bar Maldoror, released in 1991, documents these various live incarnations. Having been remastered by Andrew Liles, the diverse and lengthy pieces (which were actually recorded in disparate locales, none of which are named "Bar Maldoror") sound rather contemporary. Sparse percussion, tape manipulation, loops, noise, dark drones, improvised semi-musical instrumentation and strangled glossolalia all expose the many facets of Stapleton's oeuvre. In 2023, as part of the silver editions, Rotorelief Records released Bar Maldoror as a double vinyl album, in a luxurious gatefold with four panels of artwork by Babs Santini.
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ROTOR 073LP
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Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. 200 gram vinyl; numbered and limited edition of 99 copies.
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ROTOR 073PUR-LP
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LP version. Purple vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave.
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ROTOR 071LP
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Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. 200 gram vinyl; numbered and limited edition of 99 copies.
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ROTOR 071IVO-LP
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LP version. Ivory vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster.
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ROTOR 072LP
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Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period. 200 gram vinyl; numbered and limited edition of 99 copies.
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ROTOR 072PIN-LP
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LP version. Pink vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period.
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ROTOR 076CD
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The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann. CD version comes in deluxe DVD style packaging.
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ROTOR 076LP
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LP version. The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann.
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ROTOR 077CD
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Deluxe art book CD of 24-pages, sewn; all artworks by Babs Santini. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
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ROTOR 079CD
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Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal. Double-CD version comes deluxe DVD style packaging.
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2LP
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ROTOR 079LP
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Double LP version. Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal.
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LP
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ROTOR 078LP
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Kontraktion (ROTOR 051LP) and Extruder (ROTOR 066LP/CLR-LP) are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con's former studio Leberstrasse in Berlin. The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinist energy and infernal industrial sound-eruptions similar to Conrad's first three albums Schwarz (BB 112CD/LP), Rot (BB 102CD/LP), and Blau (BB 103CD/LP) and to the rumbling train wheel rhythms of Zug (MINIMAL 001LP) (from the Red Cassette 1974). The albums also carry the spirit of the first Cluster album (released in 1971 on Philips) due to the imposing brutalist elements and uneasy sci-fi atmospheres. Schubkraft, the third and final album of the Schnitzler/Pharmakustik-triology (recorded during the same sessions in Berlin) contains two long pieces of thrust generated force and propulsive power. Soundwise an album combining mechanically driven rhythms and propelling velocity with rusty organic textures. The shiny yellow cover reflects the sheer explosive drive of the audio-material. The complete session-material has been refurbished, restructured and recombined by Siegmar Fricke at Pharmakustik-studio Germany.
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