|
|
|
|
|
viewing 1 To 13 of 13 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
TAIGA 030LP
|
Pressing of 300 copies on crystal-clear 200-gram virgin vinyl packaged in a custom letterpress jacket printed, die-cut, and hand-assembled at Studio On Fire in Minneapolis, with particular care taken to retain the fine detail of the cover's microscopic type. "Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion" --Pedro Higueras, Sonom Studios. "UNTITLED#300 is an LP based on multi-track field recordings I did in 2011 of a large colony of seagulls in a group of small islands right in front of the Moroccan-Algerian border, together with hydrophone and contact mic recordings of sea creatures underwater from the same location (side A and B of the LP, respectively). Being interested in going beyond a traditional 'soundscape' perspective, I've played freely with mixing and editing, in an unorthodox way, different multi-channel recordings I did. Side A ('abovewater') is the large seagull colony. In side B ('underwater') what you hear is predominantly millions of very small shrimp-like crustaceans, dolphin sonar (the beating pattern of the first section), and occasional fish (the 'frog-like' calls)" --Francisco López. Original environmental sound matter recorded in the Chafarinas Islands off the coast of Morocco, summer 2011. Edited, mixed, and mastered at mobile messor, The Hague, the Netherlands, summer 2012. Field work carried out with the collaboration and support of the SIGEIN-Chafarinas research group (Integral Ecological Management System of the Chafarinas Islands), directed by Francisco J. Acosta (Universidad Complutense de Madrid, Spain) and coordinated by Javier Zapata (Spanish National Park Service).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TAIGA 026LP
|
LP version on Taiga. Soaring sixth solo album by American electric guitarist Sarah Lipstate. Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl in an edition of 400. Housed in a heavy custom weight black paper jacket letterpress printed with silver ink, diecut and hand-assembled at Studio on Fire in Minneapolis. "Sarah Lipstate is Noveller. No Dreams, her sixth full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. The compositions on No Dreams explore the artist's struggle with her blurred perception of reality and hallucination in the twilight of sleep and awakening. The songs alternate between being firmly rooted in place, like the epic, beat-driven "Mannahatta" and the playful guitar melodies of "Rue de Montmorency," and navigating the murky underworld of nightmare as in the dissonant layers of bowed guitar and manipulated piano in "The Fright." Title track "No Dreams" is a gloriously melancholic plea from Lipstate's overdriven electric guitar for exemption from the throes of parasomnia." --Important Records
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TAIGA 019LP
|
Wired Open Day 2009 is a vinyl-only release documenting live performances by Alan Lamb, Garry Bradbury, David Burraston, Oren Ambarchi and Robin Fox. Held outdoors during the evening of October 31st at The WIRED Lab, in rural South West, New South Wales, Australia, this 2LP is a document of the event; the result of an artist-in-residence program to explore the sonic possibilities of The Wires, landscape scale installations in rural NSW. The WIRED Lab is an artist-run initiative founded in 2007 to foster art/science collaborations in a rural environment. The initial focus of this project was to establish a site to preserve and expand on The Wires, a distinctly Australian invention that was pioneered by Australian artist Alan Lamb since the 1970s. Wiredlab.org notes that, "Lamb's formal investigations of The Wires started in 1976 with his discovery of a 1km stretch of abandoned telegraph wires on a farm in the Great Southern region of Western Australia ... Lamb learnt to record them and later devised compositions with these recordings. When these telegraph lines eventually decayed, Lamb commenced building wire installations primarily for recording. Like the scale of the original telegraph wires, these purpose-built wire installations were not of a domestic scale, they too had a deep connection with nature and spanned 100s of meters across the rural landscape. Although principally functioning like a giant æolian harp, it is not only wind that 'plays' The Wires, it seems that on their own accord The Wires often harmonically 'sing,' vibrate or roar as they react to environmental factors, thereby creating a unique and infinite instrumentation of itself and its surrounds, in the words of David Burraston 'they are nature's microphone.'" The four sides of Wired Open Day 2009 display the expansive range of the Wire installations built by The Wired Lab. Commencing at sunset, Garry Bradbury and Alan Lamb coax a gentle eco with acoustic recordings into deep and sonorous reverberations on side A. David Burraston and Alan Lamb focus on droplets of zaps and wire oscillations at twilight, with side B culminating in a downpour of crackling spray. At nightfall, Oren Ambarchi applies his mastery of condensed and layered tones on side C, with shuddering overtones, husky drones and rich clusters of sustain. Robin Fox concludes, in the dark, on side D, mashing off-kilter rhythms with a tumble of staccato bursts and fuzzy crunch. An edition of 500 double LPs in hand-numbered matte-varnished Stoughton tip-on gatefold jackets, Wired Open Day 2009 was mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl. This release features photographs from the site and text by Sarah Last, founder of The WIRED Lab and Curator of Wired Open Day 2009.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+12"
|
|
TAIGA 017LP
|
House Of Low Culture is the long-running solo project of Aaron Turner (Isis, Mamiffer, Lotus Eaters, etc.) and Poisoned Soil is their first proper album to be released in nearly a decade. HOLC's first release, Submarine Immersion Techniques Vol. 1, would set the tone for all that would follow. Recorded from 1997-1999, released in 2000, the album explored lonely, lysergic drone territories and the construction of textural weavings. Over the course of the next several years, Turner broadened HOLC's sonic palette considerably -- incorporating voices, keyboard textures, and other non-guitar instrumentation -- while engaging in collaborative efforts with the likes of Merzbow/Masami Akita, James Plotkin, Z'ev, Stephen O'Malley and others. As of late, Faith Coloccia, Turner's wife (and bandmate in Mamiffer), has become a regular contributor. Her presence can be heard and felt on HOLC's new full-length recording, as can that of percussionist B.R.A.D (Asva, Master Musicians Of Bukkake, Burning Witch, etc). The three lengthy compositions within conjure a wide variety of spatial effects and spectral imagery when experienced under headphones: distant rumblings, ominous premonitions and strange equilibrium disturbances, all underscored by the hiss of naked electrical current. Mastered by James Plotkin, cut by John Golden and pressed on 200 gram virgin vinyl, Poisoned Soil is presented as a grand LP+12" set with spot colors, printed innersleeves and flooded pockets in an edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TAIGA 016LP
|
According to Rafael Toral, the Space Program is all about a simple idea: to perform abstract electronic music under jazz values. The result is full of fascinating paradoxes: "melodic without notes, rhythmic without a beat, familiar but strange, meticulous but radically free." Taiga now releases its most eloquent example so far: "Space Elements Vol. III is the strongest and musically most diverse statement within Rafael Toral's Space Program to date. You will experience "jazz on electronics" in full effect -- a totally new language in sound." --Staubgold; With blooming sound, compliments of the mastering by James Plotkin (not found on previous releases in the Space Program), Space Elements Vol. III has a very rhythmic, percussive character. It unfolds a fresh set of collaborations with an array of drummers and percussionists, while Toral's electronic phrasing reaches previously-unheard heights of maturity. Edition of 500 LPs featuring João Paulo Feliciano's artwork and graphic design by NOTYPE. Pressed on 200 gram plasma virgin vinyl, the LP was cut with DMM.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TAIGA 015LP
|
Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Previously issued on CD, Plotkin has remixed, remastered and rearranged Wurmwulv for this vinyl edition using alternate takes from the original recording sessions. The 2LP also includes reworked material from Lotus Eaters' self-titled 7" released by Drone Records. 52 minutes and 29 seconds on 3 sides of direct metal mastered 200 gram virgin vinyl, the 2LP has a drawing by Turner etched on side D. Housed in a Stoughton tip-on gatefold jacket designed by O'Malley, Wurmwulv features Stephen Kasner paintings printed on linen-textured woven paper, a spot varnished interior and flooded pockets. The Kasner paintings and Turner drawings included were created specifically for this vinyl edition of 1,000. Reconfigured for vinyl, Wurmwulv is a solvent-soaked carpet ride into loose soil. Worms writhe over cilia as moist roots lick and graze skin. The dampened howls of wolves reverberate through water freezing into creaking crystals. When oxygen levels reach a critical low, a cacophony of clanging metal provides an inhalation of humid air.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TAIGA 012LP
|
The Timeless Pulse trio is Pauline Oliveros (accordion), with percussionists George Marsh and Jennifer Wilsey. Released in honor of the 20th annual Deep Listening Retreats held this year in Camallera, Spain and Petaluma, California, this is the third Timeless Pulse album. Formed in 1991 during a residency at the Deep Listening Institute, the full ensemble, including Thomas Buckner and David Wessel, has released two live recordings on CD: Live At CNMAT and Quintet. This is the first time this entity has been stripped down to a trio, recorded in a studio and released on vinyl. Divided into four sides with titled subsections, the album includes guests Ione and Joyce Kouffman contributing spoken word and cello on "Real As Any Dream." Mastered for vinyl by Kenny Evans at Mesa Recording, cut direct to metal and pressed on 200 gram virgin vinyl, this double LP is limited to 500 copies. It comes packaged in the custom designed slipcover and jacket with double-wide spines used for the Deep Listening Band Then & Now Now & Then 2LP. The slipcover features two exquisite photographs and is dual-finished with a gloss front and uncoated back. The jacket is printed with metallic ink, has a flooded pocket and features an essay by Amy Beal, Professor of Music at the University of California, Santa Cruz. "The sound world within which Timeless Pulse Trio prefers to work: sustained sounds like Pauline's accordion drones, gongs, bowed cymbals, ornamented by rattles, bells and the cracks and pops of the drum set and struck resonant objects ... These recordings emanate from a culture of active listening, as promoted and practiced by this trio, as well as by many other ensemble-based improvisers and meditative musical practices around the globe. The heart of free improvisation rests in the act of listening, and in the discovery inherent to that process." --excerpted from Beal's essay
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TAIGA 010LP
|
2025 restock. Space Elements Vol. II is the fourth release in Rafael Toral's ongoing project, the Space Program. Following the first Elements release, this volume features a new set of collaborators: Evan Parker (soprano sax), Manuel Mota (guitar), Afonso Simões (drums), Stefano Tedesco (vibraphone), João Paulo Feliciano (Rhodes piano), and Ruben Costa (digital synthesizer), as well as returning guests Sei Miguel (trumpet), César Burago (percussion), Fala Mariam (trombone), and Rute Praça (cello). Space Elements Vol. II displays a melodic quality that, along with a refined management of silence, marks a new area and consolidates the Space Program's complex network. Its spaciousness is explained in Toral's liner notes: "While finding ways to make decisions on sound emission, it became evident to me that such sounds should have a reason to exist, they should be essential and necessary." Dan Warburton's writing in The Wire about Space fits Space Elements Vol. II perfectly: "The melodic logic that drives certain instruments within Space also recalls birdsong, with dense, convoluted runs of twittering melody ending in single piping notes, as spontaneous as Messiaen's birdsong transcriptions were painstaking and meticulous." Toral's music is a jazz-inspired re-evaluation of live electronics: "Despite working in a sound world that is cosmetically closer to R2D2's vocabulary than Louis Armstrong's or John Coltrane's, Toral has claimed a kinship to jazz because it models instant music making within a disciplined framework." (Bill Meyer, Dusted); "Toral is looking for nothing less than a totally fresh language to work in" (The Wire). Space Elements Vol. II was mastered direct to metal from 24-bit files and pressed on clear 200 gram virgin-vinyl. With design by Helder Luis at NOTYPE, the LP features a collage by João Paulo Feliciano. Presented in a limited edition of 500. CD version available on Staubgold.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TAIGA 009LP
|
MAP is Mary Halvorson (guitar), Tatsuya Nakatani (percussion) and Reuben Radding (bass). Fever Dream is a vinyl-only release of high-temperature improvisations that elicit abstract thought. Following their first album, Six Improvisations For Guitar, Bass And Drums, a somber black & white affair with former bassist Clayton Thomas released on CD in 2004, Fever Dream blasts forth from the sweaty sheets of a sleepless night in vivid color. Meticulously recorded by new bassist Radding and mastered by James Plotkin, the trio sounds dense, bright and clear. Prolific in myriad collaborative configurations, all three members of MAP have been carving their own paths in the world of contemporary improvisation. According to Steve Dollar in the New York Sun, Halvorson "plays guitar in a way that fractures conventions, restlessly inventing her own paradigms." Julian Cowley wrote for Wire magazine, "Nakatani's sparse punctuation suggests observance of esoteric ritual." More than a side-project, MAP is intrinsic to these musicians' collective maturation and Fever Dream is evidence of advancement. This three-sided double LP was cut direct to metal and pressed on 200 gram virgin vinyl, including a lacy D-side etching. It comes housed in an old-style Stoughton tip-on gatefold jacket designed by Minneapolis firm Loaf Nest. The jacket is printed in blinding full-color on uncoated paper with cyan-flooded pockets. Presented in a limited edition of 1,000.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TAIGA 008LP
|
Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Initially released on CD in 2002 by Neurot Recordings, Mind Control For Infants has been expanded, remixed and rearranged for this vinyl edition using alternate takes from the original recording sessions. Quietly subversive and contemplative, Mind Control For Infants features droning and silvery finger-picked guitars that conjure holy states, grumbling thunderclouds, and dark metal ambience that breathes in the stillness. This version also incorporates reconfigured material from "Marijuana," the group's contribution to The Ajna Offensive 4CD+book compilation, Infernal Proteus. This ultra-deluxe double LP release was cut direct to metal and pressed on 200 gram virgin vinyl. It comes housed in an old-style Stoughton tip-on gatefold jacket wrapped in foil-stamped brown linen with an 8x8" offset print mounted on the front cover. Heavy-duty printed innersleeves with flooded pockets are also included. Presented in a limited edition of 1000. Black vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
TAIGA 006EP
|
The second in a series of 3 EPs by Giuseppe Ielasi focuses on the use of one turntable and vinyl records as the source for raw material, with pulses as the main organizational principle. Short segments and loops or longer and more complex improvisations were collected via "turntablism" rather than through traditional sampling. Mastered and cut to lacquer at Dubplates & Mastering, Berlin. Pressed on 200g virgin vinyl and packaged in a full-color gloss-varnished jacket printed on heavy stock. Photo by Italian artist Amedeo Martegani. Limited edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TAIGA 003LP
|
2025 restock. This is the third in Rafael Toral's Space Program series of releases -- his long-term research project launched in 2004, through which he has unearthed an innovative approach and a complete re-thinking of how electronic music is conceived and experienced. Using custom experimental instruments, Toral performs electronic music concerned with "phrasing and swing" and performing strange melodies with physicality, movement and gesture in flux. The result is something you're unlikely to have heard before, a kind of alien electronic jazz. After the acclaimed, orchestral Space and the follow-up Space Solo 1, this is the first volume of the Space Elements series, each release being focused on one kind of instrument, on small settings and including collaborations. Space Elements Vol. I features Rute Praça (cello), Margarida Garcia (electric double-bass), Sei Miguel's amazing percussionist César Burago, and David Toop (flute), besides a short appearance by Sei Miguel himself. From Toral's liner notes: "Having found that jazz is the field of musical knowledge where disciplined decision-making is most developed, this music is more informed by jazz than by any other. The Space Program emphasizes articulating silence and sound, by structuring musical discourse on experimental instruments with a simple and clear sonic identity. To my surprise, I found no historical precedents to this practice, being that it draws practically no information from electronic music history (which is grounded on different thinking patterns), and it draws very little from jazz history as well, since the instruments I use are inadequate to play any music based on the Western system. I regard this approach to jazz (meaning a system of individual decision-making from the standpoint of free-spectrum live electronics) as a new and exciting field of creative possibilities. I called it 'post-free jazz electronic music.'" Space Elements Vol. I was mastered direct to metal and pressed on clear 200 gram virgin vinyl in a limited edition of 500 copies. The jacket was designed by Helder Luís at No Type and features a collage by contemporary artist João Paulo Feliciano.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TAIGA 002LP
|
Originally released on CD by Staubgold side-label Quecksilber in 2007, Space Solo 1 is Rafael Toral's second release in his ongoing Space Program, a venturesomely bold series of recordings. Internationally-acclaimed for his experimental drone and ambient guitar work, the Space Program is completely divergent from his past output. Equipped with handmade instruments, Toral's project is a performance-based discipline, which he calls "post-free jazz electronic music." Following the Space Program's inaugural release, Space, Space Solo 1 presents a raw exploration of a select few instruments Toral designed for the series. In contrast to Space, which consists of thoughtfully layered recordings from various live and studio performances, Space Solo 1 presents unaccompanied instruments traveling through unfamiliar territories where sounds exist in their singularity. The result grabs at the listener to stay alert, tiptoeing around silent moments, increasingly mounting tension and inspiring awe. As each instrument hints at a particular language belonging only to itself, Toral's masterful playing is revealed as an instinctual process. Space Solo 1 is 44 minutes of otherworldly splashing, ripping, beeping, hissing, etc. An indefinite number of sounds carefully coaxed from unique instruments, drawing a blurry line between ancestral and futuristic. Now available on LP through Taiga, this deluxe audiophile version was mastered direct to metal, pressed on 200 gram transparent red virgin vinyl and is presented in a limited edition of 500 copies. The jacket was cleanly designed by Helder Luís at No Type, featuring the Rui Toscano drawing from the CD version printed on reversed stock with a pantone red flood in the pocket.
|
|