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LP
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ST 1044LP
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"Streamline presents OG23, the first in a series of projected new LPs by Chicago-based composer Kevin Drumm, famous for his string of great releases on labels such as Sonoris, Mego, Moikai, Thin Wrist etc. Ever unpredictable, Drumm this time takes the fellow time-traveler through what sounds like an electronic field recording, a journey through an electronic soundscape of luminescent textures that invites immersive listening. The appropriately mysterious looking cover was designed by Christoph Heemann. Who wants to find out where that submarine is going? Mastering by Jim O'Rourke."
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ST 1042LP
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"After her stunning collaborations with Vincent Royer (for Mode Records), Jim O'Rourke, and Christoph Heemann (both for Oren Ambarchi's Black Truffle Records) Brunhild Ferrari returns to the scene with this new solo album. Extérieur-jour is comprised of two previously unreleased compositions, one being the title track the album is named after and the other 'Le Piano Englouti (version original).' Extérieur-jour translates to 'Outside Day,' and indicates an instruction for a film scene, a piece of cinéma pour l'oreille, a movie for the ears. It was recorded at Luc Ferrari's Atelier Post Billig in January and February 2014. 'Le Piano Englouti' ('The Sunken Piano'), another electroacoustic composition which was realized over a period of fourteen years between 1996 and 2010, also brings forth cinematic elements with sound sources recorded in places as diverse as a Greek island by the noisy Agean Sea, a Pachinko place and a quiet island in Japan. It comes across as a meditation on the loss and reappearance of memory and silence. The graphics for the album sleeve were created by the late Wolfgang Meyer Tormin, artist and composer and also father of Brunhild Ferrari. The album was mastered for vinyl from the original source by Jim O'Rourke."
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ST 1043LP
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"Icelandic artist and musician Sigtryggur Berg Sigmarsson is known not only for his work with Stilluppsteypa but also numerous solo albums and collaborations with Swedish composer BJ Nilsen as well as several other artists. On Into the Second Half, his new solo album, recorded in 2022, Sigmarsson takes the listener into a calming yet mysterious world of sound. Starting from almost silence he creates a different state of listening that we could only find elsewhere when concerned with works of Robert Ashley. Carefully composed textures as subtle as the changes of light in the forbidden zone in Andrei Tarkovsky's Stalker weave in and out of each other to make for a hypnotic ride. The cover and label photos were taken by Sigtryggur Berg Sigmarsson. Mastered for vinyl by Jim O'Rourke."
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CD
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ST 1041CD
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"In combination with the Dawson-Davies Hen Ogledd CD release, Streamline is glad to present the first-ever CD issue of Bronze, the second Hen Ogledd album, originally released in 2016 as a small edition LP pressing on the Alt.vinyl label. At first considered an unlikely meeting of the minds of singer/painter/guitarist Richard Dawson and reductionist, free improvising Welsh harpist Rhodri Davies, Hen Ogledd reappear as a trio this time including the talent of Dawn Bothwell (voice and electronics). As unusual as the sounds contained in these recordings is the development the band has taken, from the abrasive amped directness of the first album to this avant-folk excursion evoking both ancient and contemporary qualities. These six hypnotic pieces of distorted improvised folklore -- ranging from archaic, electrified stomping pulses to the floaty sounds of echoed harp and guitar strings and fragile, ghostly vocal choruses -- represent an important step in the development of one of Britain's most unusual and unpredictable outfits as well as a singular completely unique musical expression. Hen Ogledd's Bronze has been remastered for CD from the original source recordings by Jim O'Rourke and is presented in mini-LP sleeves replicating the original LP artwork."
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ST 1040CD
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"The story of Hen Ogledd (Welsh for Old North), one of Britain's more colorful and unusually unpredictable contemporary bands, begins with this duo recording of Richard Dawson and Rhodri Davies, first released in 2013 on an LP in an edition of 250 copies by the Alt.vinyl imprint. This Streamline edition is its first-ever CD release. Hailing from Newcastle, Richard Dawson should not need any introduction, as he has made his name with numerous solo and collaborative outings, while Welshman Rhodri Davies, known for his involvement with the British school of reductionist free improvisation, has collaborated with and performed for a great number of improvisers and composers. Guitar playing singer/songwriter Dawson met with Davies (who is featured here on pedal harp, amplified lap harp, electric harp, percussion and electronics) to produce these five pieces of heavily distorted improvisation that veer refreshingly away from any academic background one might expect at such an encounter. Instead, we find a highly energetic blend of lo-fi rock, improvisation and imaginary folklore that suggests jam sessions between Captain Beefheart's legendary Magic Band and Northern English noise champions The New Blockaders. While this analogy does not seem fully satisfactory and one struggles for words for an appropriate reference, the uniqueness of Hen Ogledd becomes apparent once again. The fact that Hen Ogledd has already become its own best reference here should speak for itself. Hen Ogledd has been remastered for CD from the original source recordings by Jim O'Rourke and is presented in mini-LP sleeves replicating the original LP artwork."
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STREAM 1038LP
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"Unleash your inner caffeine-addicted Zipper model in the privacy of your own abode, now given added lustre thanks to the premiere vinyl release of Oorutaichi's Drifting My Folklore on Streamline Records! Remember the time you tried to imagine your cat reversing a balloon landing so you could both escape? When you first realised that vaporwave and black MIDI had broken Trevor Horn's glasses on the cover of Adventures in Modern Recording? Recreate and synthesize all these experiences and more in 3D with Oorutaichi's primary coloured musical blocks. You can dance, you can roco, you can cosmic coco, a thousand future folklores, blue sky drifting forever."
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STREAM 1035LP
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2023 restock. "From the Host of Late-Comers represents the latest challenge manifested by Plastic Palace People, the duo of Jim O'Rourke and Christoph Heemann, who have been collaborating continuously (even though in a largely unnoticed fashion) since 1989. Previous Streamline releases from Mimir contain some of their earlier work; Plastic Palace People first saw release in 2011. After two releases in quick succession, it has been a long wait for more, and finally here is a recent piece of work from them, recorded at Super Deluxe in Tokyo, Japan, in August 2013. After all these years of contact, friendship and collaboration, the collective strength and mutual understanding of this duo has grown into a state where it is almost impossible to distinguish who is responsible for an utterance directed at the other at any given time, at a fast, almost speed-of-light succession of soundscapes chasing one another. The build seems to be never ending, but what about the descent? It's all about sitting back and enjoying the ride giving it a try while spinning the grooves of this high fidelity platter mastered and manufactured to the highest standards for you, dear listener."
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STREAM 1036LP
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"First in a series of collaborative albums produced by Will Long (Celer) and Christoph Heemann. When Will and Christoph first met in the Texan countryside in 2010 they found themselves in an expansive mansion with equally large garden, equipped with pools, a toy castle, and a soundsystem covering the entire grounds. Sitting outside in the starry night by a campfire a loop that Will had created for the beginning of a new piece was blasting all over the territory and served as inspiration and starting point for the resulting cooperative work. 'A richly dense stream consisting of a multitude of swirling, ever-changing sounds eventually transforms, picks up again to form a cohesive whole as its conclusion.' Would you like to know more?"
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STREAM 1037LP
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"The trio of Limpe Fuchs, Christoph Heemann, and Timo van Luijk are taking a musical expedition into unexplored territiories; Limpe Fuchs (of Anima krautrock fame) combines her original, self-built sound sculpture instruments with her unique singing and piano playing while Timo (Af Ursin, Onde, Elodie) and Christoph use analogue electronics and electro-acoustic sounds to weave a surrounding organic audio forest to accompany her. As the three explore, they discover how landscape changes, the forest thickens. New creatures, shapes, and colours appear. Recorded at the Loft studio in Cologne and expertly mixed by Zoro Babel in Munich in 2012."
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STREAM 1033LP
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"From the very start the world around you is singing. There's a distant conversation spoken through the trees, but it stays unclear against the clarity of the songs of the forest. Within that life the forms of the heart open up, as if immediately transported to a city-wide window, with only the view of afternoon traffic below, the burning concrete, and the inside of a small apartment. Nothing more than a toy piano lifting its head over the plumes of steam from a cup of tea. Momentary narratives of the content of autumn breathe like the next nap of an afternoon, simple in their inspirational emotion, but symbolic in the whole they form. Ideas are included, and inside, we are reminded of the focus of the ecstasy of music. Changes approach, but the heartbeat remains, steady like a poem. There's something hidden inside this surrounding world, something much deeper, elevatory and true. Luz is the debut by Every Hidden Color, the duo of Federico Durand and Nicholas Szczepanik."
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2LP
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STREAM 1034LP
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"We made a box of tape loops in the Malibu Motel, from strings and pianos, and an old reel to reel tape of Sinatra. From the top of the cliffs, the view was completely clear, and even in a completely black and starless night, nothing stirred. A few stories, put together with no previous purpose, than having their own place and time. In being put together, something new is formed. This was the basis for I, Anatomy. There wasn't any intention, it was just a diary. These things happened, and became the source material, finding their directions from what was before directionless, and become the whole. Going back to these moments and memories, I, Anatomy isn't a story, it's one hundred stories. The original I, Anatomy also included the EPs All At Once Is What Eternity Is and The Die That's Caste, now together in a single edition as they were originally intended, with artwork by Christoph Heemann."
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CD
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STREAM 1029CD
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"The windows
are ringing.
Shaking
Night-nites
For angels,
rattling throats
up and down
on a beam. Cooling
The hearts,
cooling the plasma,
keeping
ice junkies
packed hard
on a seam." -- (N.S. Engel)
"Produced by Jim O'Rourke and Christoph Heemann in Aachen, Germany 1992, mainly composed from field recordings and found sounds of all sorts."
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STREAM 1031CD
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"Finding direction can be a simple understatement. It's a process that lasts a lifetime, and in the end there's still the question if anything was ever answered. The new work of Nicholas Szczepanik, Please Stop Loving Me, is a desire for something more. With torrential energy, this piece filled with raw emotion has a far-reaching expanse and the willingness to disenthrall expectation and requirement. Upended wellings lay within the ambit of the album's sound. Harmony dives forward, undulates behind and catches up again. Nicholas Szczepanik has always been fascinated by music. After acquiring a tape recorder from a thrift store in his native Maryland, Nicholas became enthralled with the sounds around him. He now focuses on creating sound art heavily influenced by emotion and memory. Following his highly praised debut album, The Chiasmus and the mini-epic, Dear Dad, comes this most intimate Szczepanik work to date, Please Stop Loving Me. It offers a true example of passionate instinct, carefree ambition and subtle poise. So seldom does an album unseat restriction, yet retain the virtue of creative purity, without fundamental concern, kindling the calms of fearlessness. This music is presented by Streamline with genuine empathy and sense of purpose."
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STREAM 1030CD
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"Originally released as a limited edition LP on the Three Poplars label in 2003, it is now available on CD for the first time ever. Some quotes from reviews of the LP version illustrate how this enigmatic earliest of Basinski's released works takes a special place among his catalogue and his listeners: 'Think how Erik Satie could have sounded like if his most famous pieces had been inserted in a muffling mix after dropping him down a couple of octaves: a lament of decaying sounds, the feeling of a growing sorrow... I suggest you to listen to this on a sunny late afternoon; you could have a lot of secrets revealed.' --Massimo Ricci"
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CD
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STREAM 1028CD
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"An album of previously-unreleased recordings that go back as far as 1991 when Jim O'Rourke had just graduated from music school and traveled to Aachen, Germany to meet Christoph Heemann -- who had just set up his studio there. Both The Elvis Messiahs -- Jim's first band from school days -- and Christoph's H.N.A.S. were in their final stages, and both collaborators felt the desire to explore different directions, drawing inspiration from their wide ranging musical interests and varying backgrounds. Volume One presents an intense three-part journey, a mix of granular synthesis and concrete sounds, reshaped, reassembled:
'But there was something high in the sky, swinging slowly down toward the mound. Something globular that wore what looked like a shining crown and shook like a mound of jelly.
Nearer it came and nearer, swinging lower with each vibration of its circular bulk.
It blazed suddenly into sharp visibility. It wasn't a king, and it wore no crown. It was a floating spheroid, veined and translucent, filled with an intricate assortment of moving parts that gave off a continuous whirring sound...'"
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STREAM 1024LP
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"The development and reproduction of new sound spaces, Move Ground is based on the soundtrack of an audio-visual installation of the same title that was premiered at the third Horkunst Festival in Erlangen, Germany in 2005. Field recordings from locations with inspiring acoustic qualities in Cologne were edited and mixed with select electronic sounds to create a sonic journey exploring varying external and internal spaces, providing an experience of the atmosphere and the spatial dimensions of the different locations. Move Ground was recorded and mixed by Andrés Krause in 2004-2006."
"From the top you can make out the wonderful and awesome sight of the plains that lie below, worn out at the foot of the city. On the horizon tall brick chimneys, round and square, vomit billows of soot into the clouds, while little further down, barely passing over the flat roofs of workshops covered in bituminized felt and sheet metal, whistling jets of white steam escape from thin aluminum flue pipes. A great silence descends over the plain as the rumble of the city dies out little by little and the noise from distant factories reaches you but falteringly. Sometimes, however, like a horrible complaint, you can hear the dull, raucous whistle of trains from the station as they pass, hidden by an embankment planted with acacias and ash trees. Finally, in the distance, in the far distance, a large white road climbs a hill and loses itself in the sky, its summit crowned by a billow of dust, like a cloud stirred up by an invisible horse drawn cart, hidden by the curve of the earth."
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STREAM 1027LP
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"Two side-long pieces from the early '90s released here for the first time ever. Part One, May 1994 - Lee Ranaldo lends the voice and words of his 'Bloomington, Indiana' piece to Jim O'Rourke and Christoph Heemann for a text-based collaborative composition that turns into an electro-acoustic exploration making use of Ranaldo's voice exclusively. A critic's remark made after a first version of this piece was premiered at a sound art festival in the Netherlands that same year: 'Rock and roll burnout syndrome goes whistling down a dark and lonely street,' still appears as peculiar as the piece itself. Part Two - 'Autumn' goes back further to the time when Heemann and O'Rourke produced several pieces for their Plastic Palace People project (of which more releases are in preparation now)."
"Well then - a painting or a piece of statuary is a thing outside the human life, your life. It is an emotional experience only. It has actually nothing to do with you yourself. You could live very well the rest of your life if you never saw it again, although you would remember it every now and then the ache would come again at the memory of it. But imagine a form of life, a culture, a way of life, a way you yourself could live, so beautiful that it made you ache just like the painting, but a thousand-fold more so..."
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STREAM 1025LP
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"Red Favorite, a cycle of compositions for guitars, electronics and voices created by Jeremy Pisani was first released as a limited edition CD on Spirit of Orr and is now offered, as it was originally conceived to appear, on an LP. He moved closer and looked through the peephole. And he saw: the world stretched out before him, a quiet and gentle space with a broad expanse of grass that practically glistened in its greenness. A sparkling brook ran through the meadow in the middle distance, and now he saw that the grass was dotted with the pale blue and soft yellow of many blooming flowers, which, half hidden in the grass, stared out at him like so many frightened eyes. On a distant hilltop stood a grove of small pink trees, covered and obscured by the astonishing pinkness of their blossoms. The world had a sense of freshness, as if it might only be minutes old -- washed clean by a careful springtime rain, dried and scrubbed by a solicitous breeze, burnished to its brightness by the rays of a gentle sun. It was an uncomplicated place, a very simple place. But what it had was quite enough; it had all it needed."
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2CD
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STREAM 1023CD
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"Long Night, a 2½ hour electronic drone work produced by Jim O'Rourke in 1990 around the time of his graduation from music school had been buried in the archives along with several other electronic music pieces Jim had created before he went about to explore other musical territories. Unearthed, remastered and now released for the first time, its ageless qualities shine as brightly as ever." "...the tower was not a tower; it was a needle. Standing on top a high hill, it jabbed a finger heavenward. At the base it measured a good six feet across, tapering to a sharp point a hundred feet or more above the ground. It was of a rather nasty pinkish color and was made of a substance that appeared similar to the substance of which the cube had been constructed. Plastic, he thought to himself, although he was fairly sure it was not plastic. When he laid his hand flat against its surface, he could feel a slight vibration, as if the wind out of the west, playing upon it, was causing it to vibrate along its entire length as a freestanding, tapering, most unlikely violin string would vibrate to the bow. It was not generally loud, although at times it became a little louder. Despite the fact that more often than not it was a soft music, it had fantastic carrying power."
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STREAM 1014CD
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"A completely remixed/reworked version of the first Mimir album which was originally recorded between 1989/'90 and released in 1991: Edward Ka-spel, Andreas Martin, Silverman and Christoph Heemann concentrate on a variety of analog synths and Krautrock guitars: '...immediately after he caught sight of the lights marking the town, he pressed the ejection button and felt himself flung upward with a greater violence than he had expected. For a moment he was enveloped in darkness; then, as his body spun, he saw the lights of the town again. His fall was slackening and suddenly, as the chute popped open to its full extent, he was jerked sidewise and began swinging in wide arcs. An updraft caught the chute, forcing it back toward the looming peaks and slowing the swinging; but in a moment it slid out of the updraft and was floating smoothly downward.'"
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STREAM 1001CD
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2007 repress. "Jim O'Rourke first joined Mimir for Mimyriad in 1992. It was completed and released as the first Streamline CD in 1993. In 1998, a radically remixed and re-edited version was issued as a limited edition Streamline LP. This new CD release contains a remastered version of the Mimyriad LP material and comes in a reworked and updated package. '...peering down, he tried to gauge how close he might be drifting to solid ground, but the darkness made it impossible to judge. He found himself tensing, then consciously willed himself to relax. When he hit, he had to be relaxed. The spatter of brilliance that was the space port was almost dead ahead. A blackness intervened to shield out the spaceport lights and he hit the ground, knees buckling under him...'"
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STREAM 1013CD
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"The long awaited CD issue of the long-deleted and sought after fourth H.N.A.S. album. A few months after the original LP version appeared on DOM in June 1987. Jon Carbon (Certain Music) wrote: 'Germany's most bizarre underground terrorists have struck again with an even more surprising blast of avant-weirdness. The group centered around Christoph Heemann and Andreas Martin have created a carefully crafted and most diverse, yet cohesive journey of soundscapes, drones and songs that reminds us of the likes of Faust, Nurse With Wound, Pierrot Lunaire ... the two sides seem to form one long piece that comes across like a surreal bus ride into post-psychedelic wonderland...' Reissues of the other HNAS albums are in preparation featuring remastered versions of the original tapes and faithfully restored original artwork."
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12"
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STREAM 1021EP
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12" vinyl version. "Little Annie (a/k/a Annie Anxiety Bandez) is known for her own records and collaborative work with Adrian Sherwood, Keith Leblanc, Crass, Coil and Nurse With Wound. This, her first release of all-new material in a number of years, includes songs written in collaboration with Larry T. and Joseph Budenholzer, and a remix by Christoph Heemann. It marks a change of direction for her.... 'Her voice touched something immeasurably old in him, something that slept deep. It lulled the surface parts of his consciousness to sleep, allowing what was far more ancient to awaken. Like the town, with its elaborate pretense of modern active life, the upper layers of his being became dulled, soothed, muffled, and what lay underneath began to stir in its sleep. The big curtain swayed a little to and fro. Presently it might lift altogether....' by Algernon Blackwood."
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STREAM 1021CD
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"Little Annie (a/k/a Annie Anxiety Bandez) is known for her own records and collaborative work with Adrian Sherwood, Keith Leblanc, Crass, Coil and Nurse With Wound. This, her first release of all-new material in a number of years, includes songs written in collaboration with Larry T. and Joseph Budenholzer, and a remix by Christoph Heemann. It marks a change of direction for her.... 'Her voice touched something immeasurably old in him, something that slept deep. It lulled the surface parts of his consciousness to sleep, allowing what was far more ancient to awaken. Like the town, with its elaborate pretense of modern active life, the upper layers of his being became dulled, soothed, muffled, and what lay underneath began to stir in its sleep. The big curtain swayed a little to and fro. Presently it might lift altogether....' by Algernon Blackwood."
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STREAM 1016CD
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Repress of this 1999 release. "It is no exaggeration to say that Limpe Fuchs' musical creations really have a life of their own, whether the sounds are produced by conventional instruments, vocal chords, or even from objects she found or constructed specifically for that purpose. Her music is characterized, especially when she is playing the ballastring instruments, by the reverberating humming of the strings, rich in overtones, and by the mysterious echoes emanating from stones. For Limpe Fuchs, music means setting out on a joyous journey of discovery. She is not afraid to leave firm ground behind and thus, by avoiding rigidity, preserves the vitality of her music. This particularly comes across when collaborating with other musicians, whether improvising freely or on a given theme. Her music makes us sit up and listen, and at the same time enriches us, for only when we have learned how to listen can we really appreciate the true nature of things. 'Sound events are created for each composition with carefully chosen materials: rows of oakwood pieces, rows of marble and serpentinit stones, bronze sheets, horn of wood, ballast string instruments, developed by Paul Fuchs: heavy bronze bars fixed on a long piano wire, suspended from a broad bronze drum. The visual aspect is of the same importance as the acoustic. The violin is integrated into the sound environment, the piano creates its own characteristic. Life and music alive is music no life without music the musical material the touch the stone the breath my body touch the body of the material strike tickle scratch the stone vibration of the air touch the body symphony of vibration play instructions experience musical notation combination of sounds different touching.'"
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