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Artist: ASHLEY, ROBERT
Title: String Quartet Describing the Motions of Large Real Bodies - How Can I Tel the Difference?
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $47.00
2002 release. "Double LP reprint of the compact disc by Robert Ashley titled String Quartet Describing the Motions of Large Real Bodies / How can I Tell the Difference? (I & II). String Quartet was composed as the potential orchestra for an opera based on the text of In Sara, Mencken, Christ and Beethoven There Were Men and Women. When the work was composed, in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound producing devices as yet undreamed of. The piece consists of an electronic orchestra of 42 sound producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here few of the technical resources were available. Now, of course, there are computer patching programs that would make the job possible, but complicated. Such are dreams, when technology promises a new world. Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of the World War II to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of How Can I Tell the Difference? the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the String Quartet as an orchestra, in the way intended to be used in the opera. In Version Two of How Can I Tell the Difference? a solo string player using the same playing technique as in the String Quartet opens and closes the sound gates to electronic reverberations and prerecorded sounds running continuously with the performance. This edition comes in a colour gatefold LP cover with new graphic and lay-out. A double LP set with 3 recorded sides (side 1, 3 and 4; side 2 is blank). Edition of 500 copies only." - Alga Marghen.

Artist: ASHLEY, ROBERT
Title: String Quartet Describing the Motions of Large Real Bodies/How Can I Tell The Difference
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
2000 release. "String Quartet Describing the Motions of Large Real Bodies" was composed as the potential orchestra for an opera-based on the text of In Sara, Mencken, Christ and Beethoven There Were Men And Women." When the work was composed in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound-producing devices as yet undreamed-of. The piece consists of an electronic orchestra of 42 sound-producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound-producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here, few of the technical resources were available. Now, of course, there are computer "patching" programs that would make the job possible, but complicated. Such are dreams, when technology promises a "new world." Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II, to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of "How Can I Tell the Difference?" the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the "String Quartet" as an "orchestra," in the way it was intended to be used in the opera. In Version Two of "How Can I Tell the Difference?" a solo string player using the same playing technique as in the "String Quartet" opens and closes the sound "gates" to electronic reverberations and pre-recorded sounds running continuously with the performance. A digipack CD edition including an 8-page booklet with scores and liner notes written by Robert Ashley.” - Alga Marghen.

Artist: ASHLEY, ROBERT
Title: The Wolfman
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Alga Marghen presents a 2015 remastered CD edition of its 2003 CD The Wolfman, a collection of pieces that introduce the listener to the most extreme experimental side of American composer Robert Ashley. Presented in digipak with 12-page booklet including liner notes written by the composer and the complete score of "The Wolfman," first issued in Source magazine. The program starts with "The Fox" (1957), Ashleys first electronic work, which displays his nascent electronic music theater style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single live pass. "The Wolfman" was composed in early 1964 and first performed at Charlotte Moormans 1964 second Annual Avant Garde Festival of New York. The piece immediately won a considerable reputation as a threat to the listeners health. For the occasion, instigated by Morton Feldman, Ashley composed a piece of tape music, "The Wolfman Tape," to be played along with the vocal performance of "The Wolfman." The tape composition, played out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), filled in the ongoing performance sound and transformed the performance into an elaborate version of drone under the influence of electronics. For the performance of "The Wolfman" recorded here, produced at the University of California, Davis, Ashley used a 1960 tape composition titled "The 4th of July." That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. "The Wolfman Tape" (1964) is, as described above, a tape composition made for a short performance of "The Wolfman." It uses tape-speed manipulation and mixes of many layers of found sounds, both from AM radio and from recordings made using different kinds of microphones. "The Bottleman" was composed in 1960 as music for an experimental film by George Manupelli. The 40-minute version presented here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit hum (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other found sounds played back at various tape speeds." - Alga Marghen.

Artist: ASHLEY, ROBERT
Title: Wolfman
Format: LP
Label: Alga Marghen
Country: Italy
Price: $27.00
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Artist: BEHRMAN, DAVID
Title: Wave Train
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"2015 remastered CD in digipak with 12-page booklet including liner notes written by the composer as well as diagrams and scores relating to the published works. Wave Train, originally released by Alga Marghen in 1998, collects experimental works by David Behrman recorded between 1959 and 1968, featuring the Sonic Arts Union. The CD starts with "Canons," a short piece created in Darmstadt over three weeks in the summer of 1959 with David Tudor on piano and Christoph Caskel on percussion. "Ricercar" is a prepared piano piece made in 1961 and has the flexible form of the kind favored by European composers in the early 1960s, and also reflects the work of Cowell and Cage. "Wave Train" (1966), a powerful feedback piece performed live with Gordon Mumma, marks the radical moment when Behrman threw away established techniques. "Players With Circuits" (1966) is an exploration of raw materials; a combination of live electronics and amplified acoustic sound. "Sounds for a Film By Bob Watts," for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists cooperative which John Cage, David Tudor, Sari Dienes, and other friends had established. The last piece, "Runthrough," was made for performance by members of the Sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley, and, of course, Behrman himself; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969." - Alga Marghen.

Artist: BERROCAL, JACQUES
Title: Catalogue
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Released in 1979 in a limited edition on his own dAvantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the dAvantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on Tango (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on Incontrolablslaooo and Faits Divers, moving from a 60-a-day smokers cough to a terrifying sequence of gargles and vomits. The grungy free rock of No More Dirty Bla Blaps, the Portsmouth Sinfonia-like spoof Dixieland of Rideau, the distressing punk of Signe Particulier and all manner of fields recordings and cut-ups in Berrocals Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic dAvantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition.      Catalogue represents the most experimental and complex of Berrocals records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jaques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWWs second album, but thats another story." - Alga Marghen.

Artist: BERROCAL, JACQUES
Title: Paralleles
Format: CD
Label: Alga Marghen
Country: Italy
Price: $21.00
2009 repress, originally released in 2001. "Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rocknroll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of dAvantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jac and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 dAvantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rocknroll who inspired David Bowies Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Would record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the Futurist Russolo (again, two years later, Mr.Stapleton dedicated his first NWW record to the same Italian artist). Also to mention are Post-Card, recorded in a Pigsty in 1976, and the legendary Rocknroll Station, a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). The remastered CD also includes five previously unreleased tracks that were actually left out of the original record: Villa Povera Naturale (1972) is a short piece for pocket trumpet and various concrete elements; Occupè by Michel Potage is an excerpt taken from an LP that dAvantage never issued; Shorten and Lisylis Pavillon are the first experiments using electronics and Cryptea IV, taken from the sessions of the early Futura LP. Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable. A digipack CD edition including a folded insert with very nice original photos and scores." -Alga Marghen.

Artist: BIANCHI, MAURIZIO
Title: Antarctic Mosaic
Format: CDR
Label: Alga Marghen
Country: Italy
Price: $18.00
"Following the path opened by Frammenti, this new work represents the radicalization of the fragmentary approach in Maurizio Bianchis music. A musical composition resulting from the combination of various elements: Hetzian-waves, classical and electronic music. MB eagerly explores the immaculate spaces of the so-called frozen continent, the only one not contaminated by the human presence. The hostile surroundings and the prohibitive temperatures made the frozen paradise so stimulating and pure. Antarctica was an immense park frozen after the post-Flood events when unexpectedly and suddenly the temperatures felt of many centigrade degrees. This process is well emphasized in the Antartic track. On the other hand, in Mosaic the listener mind is projected into the future when, after the decontamination process of human presence on Earth, the frozen continent will become again a paradise. Again a strictly formal and structured work, two long and exhausting sound-collages made of little fragments, even more radical than his approach when MB was active under the name of Sacher-pelz. Also included is an excerpt from The Technological Nonsense, a text presenting the forthcoming book on Maurizio Bianchi activities soon to be issued by EEsT. As MB stated: Antarctic: sonorous infiltration in a deteriorated glacier and Mosaic: liquid resonances for asymmetric decodings. Are the glacial 1980s so far away? Available now in a CDR edition limited to 300 copies." - Alga Marghen.
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Artist: BIANCHI, MAURIZIO
Title: Cycles
Format: CDR
Label: Alga Marghen
Country: Italy
Price: $19.00
"The terminal concept of Cycles is matured after the sharp Fragments and the Glacial Mosaics of MBs recent artistic reproduction, at the end of a triennial project, aiming to exacerbate the routine of prefab sound, the common and forgone sound created to be exclusively consumed by an amorphous and servile mass, sunken in a sullen entertainment. The approach here is totally new and the fragment is isolated and constantly repeated in order to build an aural minimal architecture. As MB states: Our whole existence is subordinated to intense and mathematical cycles, from the biological to the technological one, from the solar to the lunar one, from the historical to the legendary one. The cyclicity of the sonorous meanders of Cycles is, probably, the unique example of cyclic music. Particular and interatomic sonorous repercussions infinitely and distinctly repeating themselves, captured in a spectroscopy of atavic and coriaceous notes. And in the classic mood of the early 80s style, MB continues: The establishment will disagree. Such an experiment will be considered tedious and banal. What matters to me is not the ephemeral judgement of this sick and condemned reality. Finally the nine cycles included in this minimal work could be considered my appropriate epitaph. I have already entirely expressed my own artistic freedom and I wonder whether this might be nothig but the end of another cycle, in anxious expectation of the... eternal cycle. Due to the extreme nature of the material included, the reproduction of this edition has been limited to 200 copies only."- Alga Marghen

Artist: BRAU, JEAN-LOUIS
Title: Instrumentations Verbales
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"After releasing the first LPs ever published by Isidore Isou, Gil J Wolman, Hidlgo&Marchettis ZAJ... here is another historical premiere, or the first LP ever issued by French pre-situationist Jean-Louis Brau. Jean-Louis Brau (1930-1985) at the age of 20 joined along with Gil J Wolman, Isidore Isous Lettrist group, creating in this context (the same of Wolmans mégapneums, Dufrênes crirythmes, Lemaîtres hyperphonies and Isous poèmes ciselants) what he called instrumentations verbales. In 1952 he recorded on a lathe the soundtrack to the unfinished film La barque de la vie courante (the first ever recording of experimental poetry). In the same year, with Debord, Berna and Wolman, he gave birth to the Internationale Lettriste, from which he was eventually rejected for his military deviation. After the Indochina war (where he ran a brothel and traded opium), Brau joined the French Army in Algeria, between 1956 and 1958. In 1963, back in Paris, Brau gave birth to a Deuxième Internationale Lettriste together with Wolman and Dufrêne. He also designed an astonishing métagraphic roman: No More. He approached everything in an explosive way, creating a body of work which is discontinuous, small and incomplete, in which he sometimes achieved some major results: for example with his sound poetry, as demonstrated by Turn back nightingale (1972), in which Brau makes references to François Dufrêne, on a background of disarticulated drums and pre-punk saturations. Also included on this one-sided LP are Elégie Elémentaire and Ataloche Roche, both recorded in 1961 during Isidore Isous conference at the Musée dArt Moderne in Paris, as well as Instrumentation Verbale and Cantate pour linterdiction de Mandrake, both recorded in 1963 and first published in Poésie Physique, book with 3 singles (Brau, Dufrêne, Wolman), Achèle, in 1965. Edition limited to 350 copies reproducing a page from No More on the front sleeve, as well as an essay by Frederic Acquaviva." - Alga Marghen.

Artist: BRAU, JEAN-LOUIS
Title: Instrumentations Verbales
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release. The first LP ever issued by French pre-Situationist Jean-Louis Brau. Jean-Louis Brau (1930-1985) at the age of 20, joined along with Gil J. Wolman, Isidore Isous Lettrist group, creating in this context (the same as Wolmans "Mégapneums," François Dufrênes "Crirythmes," Lemaîtres "Hyperphonies" and Isous "Poèmes ciselants") what he called "Instrumentations verbales." In 1952 he recorded on a lathe the soundtrack to the unfinished film La barque de la vie courante (the first-ever recording of experimental poetry). In the same year, with Debord, Berna and Wolman, he gave birth to the Internationale Lettriste, from which he was eventually rejected for his military deviation. After the Indochina war (where he ran a brothel and traded opium), Brau joined the French Army in Algeria, between 1956 and 1958. In 1963, back in Paris, Brau gave birth to a Deuxième Internationale Lettriste together with Wolman and Dufrêne. He also designed an astonishing métagraphic roman: No More. He approached everything in an explosive way, creating a body of work which is discontinuous, small and incomplete, in which he sometimes achieved some major results: for example with his sound poetry, as demonstrated by "Turn Back Nightingale" (1972), in which Brau makes references to François Dufrêne, on a background of disarticulated drums and pre-punk saturations. Also included on this one-sided LP are "Elégie Elémentaire" and "Ataloche Roche," both recorded in 1961 during Isidore Isous conference at the Musée dArt Moderne in Paris, as well as "Instrumentation Verbale" and "Cantate pour linterdiction de Mandrake," both recorded in 1963 and first published in Poésie Physique, a book with three singles (Brau, Dufrêne, Wolman), Achèle, in 1965. Edition limited to 350 copies. Features a reproduction of a page from No More on the front sleeve, as well as an essay by Frederic Acquaviva." - Alga Marghen.

Artist: BRUHIN, ANTON
Title: 11 Heldengesange und 3 Gedichte
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"11 Heldengesange und 3 Gedichte was privately published by Anton Bruhin in 1977 as a luxury 2x10" box. This unique and imaginistic sound poetry work has been issued on LP by Alga Marghen for the VocSon series and is now available for distribution for the first time, ever. Its a sound poem which takes us into a medieval world of minstrels and errant knights, a phantasmagoria in text and sound. It is also a modern document of the not-yet-existing electronic Sampling Art of the 1970s. Anton Bruhin wrote: "In the Heldengesange, I conceived each hero speaking a different invented dialect and coming from a different fictional geographical region. I also wanted to give each hero his own music as a companion. I have used various musical materials and played a variety of instruments, but also taken parts from existing musics and manipulated them." Like an anthropologist, Anton Bruhin presents this fictional culture, inventing its language and music as well as drawing its objects -- a hat, a cup, an arm, a flag, a wurst -- everyday-life artifacts from an ancient time catalogued with scientific precision. In 11 Heldengesange und 3 Gedichte, a masterpiece by Anton Bruhin, all is artificial and nothing is real -- exactly like in our contemporary world. Edition limited to 350 copies, including a large LP-size folded insert with the full Heldengesange and Gedichte texts as well as a selection of original graphic works." - Alga Marghen.

Artist: BRUHIN, ANTON
Title: Deux Pipes
Format: LP
Label: Alga Marghen
Country: Italy
Price: $33.00
"In the past few years alga marghen successfully released on CD some of Anton Bruhin more experimental works. InOut, Rotomotor and the CD version of his first LP masterpiece from 1969 Vom goldabfischer, made many of you become familiar with the eccentric creations of this obscure Swiss artist. But for this new release alga marghen decided to concentrate on Anton Bruhins favorite instrument, the Jews harp. Included in this LP record are six breathtaking Jews harp pieces of pure genius. On Side 1 Apocalypt Rb- with sampling loop and Chor H+ with sampling loop and solo reverb pot, recorded in January 2000 while testing some modified Jews harp self-made instruments created by Zoltan Szilagyi. This virtuoso performance is improvised over to a loop-continuum sampled through a Casio child synth. On Side 2 the all-time-classic titled Maultrommel und Sprache (i.e. Jews Harp and Speaking) where Bruhin is scientifically investigating the use of Jews harp in rendering human voice. Recorded in 1994 this piece, divided in five short paragraphs, move from the very basic structure of language (vocals, diptongues, triptongues) and constructs a perfectly accomplished sonic statement. Also on Side 2 are three pieces from 1995 for Electric-Trumpi-2, the only existing second generation electric Jews harp, constructed specially by Szilagyi for Anton Bruhin. Towards the G-Spot, ET2 with fly and cough and ET2 extreme filling grandly complete the collection of limousine musics selected for this record. Gatefold sleeve with large 8-page booklet reproducing four mind-blowing drawings released between 1969 and 2006 that well prove Anton Bruhins ultra-modernistic talent of the most refined nature. Also included in the booklet with the complete score of Maultrommel und Sprache. Edition limited to 330 copies." - Alga Marghen.
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Artist: BRUHIN, ANTON
Title: Rotomotor
Format: CD
Label: Alga Marghen
Country: USA
Price: $20.00
2001 release. "The new compact disc by Anton Bruhin issued by Alga Marghen is titled r o t o m o t o r and covers two different areas of the artists research. The first one is represented by a group of works including the short and mysterious environmental recording "ORAX" as well as "Lange Tone," "VERSUCHPILZ 6," and "Paul Is 35," three excerpts from the epic "MC-10 zyklus" created between 1976 and 1977, recording various layers of sound sources on two cassette recorders with loudspeakers. The complete zyklus consists of 12 different episodes (each one 10 minutes long) which investigate the multi-layer ping-pong recording technique; the spatial illusion of the monoaural replay which moves away from the listeners ears into the depth of space. Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. The title-track is a 28 minute-long reading of one of Bruhins major works. Rotomotor is a poetic Idiotikon of the Swiss-German dialect where, instead of the straight alphabetical order, the words are organized according to the similarities of their letters (each word differs from the previous one by just one letter). For this reading, a delay is repeated in the signal after 0.6 seconds and each word is superimposed into the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, and maybe more easily perceivable in a state of alternate consciousness. But surely, it is a quite unique sense of acoustic approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list." - Alga Marghen.

Artist: BRUHIN, ANTON
Title: Vogelsang/Vogelsong/Vogelsung/Vögelsäng
Format: 4 CD Box
Label: Alga Marghen
Country: Italy
Price: $60.00
“On the occasion of the 2015 exhibition Le Caselle di Anton Bruhin at the Istituto Svizzero di Roma in Milan, Alga Marghen presents the complete edition ofAnton Bruhins 1977 cycleVogelsang/Vogelsong/Vogelsung/Vögelsäng. If the idea of recording birds came from Bruhins friend, the Swiss painter Hans Krüsi (this was a common practice for the art brut master, who layered recordings of the many birds sharing his living space into primitive multi-track sonic sculptures), Bruhin is able to use the same material to create a cacophonic and distorted world of unrecognizable nature, all in one low-fidelity stroke. In the 1960s, Anton Bruhin began organizing happenings and performances, creating sound works, designing and typesetting his own books (which he self-published with Hannes R. Bossert through April-Verlag), and drawing and writing poetry. Bruhin was a member of the first class to study at the F+F Schule für experimentelle Gestaltung in Zürich with Serge Stauffer, famous art teacher and specialist in Marcel Duchamp, where he came into contact with concrete poetry, Fluxus, and experimental music. Dieter Roth and André Thomkins are recognizable influences too. In the mid-1970s, Anton Bruhin was surely at the peak of his tape manipulation work. Always using poor techniques and equipment, he sculpted everyday-life sonic objects and turned them into very accomplished and yet totally experimental musical artifacts. The works presented here belong to this same period of expanded creativity, combining themes of excess and chaos with a pragmatic interest in simple structural schemata. To be consistent with the aesthetic quality of these works, Alga Marghen presents each of these four CDs in a silkscreened jewel case, with the four CDs housed in a numbered slipcase. Limited edition of 200.” - Alga Marghen.

Artist: BRUHIN, ANTON
Title: Vom Goldabfischer
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"The new compact disc by Anton Bruhin issued by Alga Marghen is titled Vom Goldabfisher and presents for the first time on CD the classic experimental folk recordings with the same title first issued on LP in 1969. Anton Bruhin conceived some of the most original sonic art musiks, a double of his artistic work as an outsider painter and with the help of Stefan Wittwer on electric guitar and Cristian Koradi on bass and cello, recorded this masterpiece of far out sonorities well hidden in the Swiss mountains. Anton Bruhin sings and plays jews harp (his favorite instrument), ch-phon (an instrument he invented constructed with a PVC tube with saxophone reed), harmonica, flute, fiddle, percussion, water. This record, surely one of the most psychedelic, experimental and private to be issued in Europe in the 1960s, should be of great influence for the actual renaissance of experimental folk music. Surely it was an important source of magick for Steven Stapleton, so no surprise to see it mentioned in the mythical list of references that Nurse With Wound included in their first LP. This CD edition also includes 5 jews harp instrumental tracks. In the late 1970s, Anton Bruhin was asked to edit a record of folk and ethnic music, documenting the use of jews harp in Switzerland. Bruhin climbed up the mountains in order to record some of the most obscure, old jews harp players. Those mysterious sounds were issued in 1979 on a record titled Maultrommel, Mundhermonika, Kamm. This CD includes 3 solo jews harp tracks where Anton Bruhin plays themes from the Vom Goldabfischer LP, plus 2 massive, maximal and resonating duos with W. Gwerder, recorded in 1979 at Radio Schweiz International. Beautiful digipack sleeve with photos and liner notes, also including a folded insert reproducing lyrics, technical notes and a group of ink drawings originally created for the Vom Goldabfischer LP sleeve." -Alga Marghen
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Artist: CARRION, ULISES
Title: Dear Reader. Dont Read
Format: CD/Book
Label: Alga Marghen
Country: Italy
Price: $40.00
"Key figure in Mexican conceptual art, Ulises Carrión was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde. Dear Reader. Dont Read, an A4-size, 272-page book with CD, issued in collaboration with the Museum Reina Sofia in Madrid within the context of Carrion large retrospective, is focused on Ulises Carrións personal and groundbreaking approach, managing to illustrate all aspects of his artistic and intellectual work. This includes books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrións initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured to place a spotlight on every facet of his production. Without losing sight of the unclassifiable nature of his oeuvre, this book emphasizes Ulises Carrións constant search for new cultural strategies and the extent to which his projects were determined by two fundamental themes: structure and language. These represent artistic guidelines influenced by a literary education, which he invariably struggled against, and are pervasive in his work. This duality corresponds to the exhibition title Dear Reader. Dont Read which illustrates his ambiguous relation to literature, a recurring theme in his work. Due to his interest in new art forms and innovative trends, Carrión actively participated in most of the artistic disciplines of his time. He co-founded the independent artist-run space In-Out Center in Amsterdam and founded the legendary bookshop-gallery Other Books and So (1975-79), the first of its kind dedicated to the presentation, production, and distribution of publications that were no longer literary texts nor about art, but rather books that were art or, as Carrión himself called them, "non-books, anti-books, pseudo books, quasi books, concrete books, visual books, conceptual books, structural books, project books, statement books, instruction books". Along with his artistic activities, Ulises Carrión developed a wide range of theoretical work having a great influence on young visual artists. It is fascinating to see that Ulises Carrións theories are seemingly precursors to more recent art theories of the twenty-first-century digital world. During his most creative artistic period, he participated in the international mail art network which Carrión considered a kind of guerilla strategy." - Alga Marghen.

Artist: CARRION, ULISES
Title: The Poets Tongue
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Ulises Carrións audio works clearly reflect his passion for language, its structures, sounds and meanings. He greatly enjoyed grammatically dissecting languages and trying to understand and explore their structures. His many initiatives and projects bear witness to his boundless obsessions with communication and circulation of works and ideas as a cultural strategy. This LP includes Hamlet for Two Voices (1977) in which two voices read out the names of the characters in the Shakespearean play as they appear in the script, audibly representing the structure of the roles the characters perform. Poema (1977) orally represents the structure and spatial characteristics of a poem, by listing all its structural elements: words, paragraphs and verses, etc. The LP also includes Aritmetica, Three Spanish Pieces, and First Spanish Lesson, as well as the legendary 45 Revoluciones por Minuto, the grooviest track ever created within the context of conceptual art. All pieces, recorded at the Instituut voor Sonologie in Utrecht between September and October 1977, have in common their refusal of discursiveness. They are not meant to be true or beautiful. Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary: they could go on infinitely. They should go on. They go on. First LP ever issued by Ulises Carrion who in 1975 created the legendary bookshop-gallery Other Books & So, the first space dedicated exclusively to artists publications such as artists records, books, magazines, postcards. Edition limited to 270 copies." - Alga Marghen

Artist: CARRION, ULISES
Title: The Poets Tongue
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2012 release. Ulises Carrións audio works clearly reflect his passion for language, its structures, sounds and meanings. He greatly enjoyed grammatically dissecting languages and trying to understand and explore their structures. His many initiatives and projects bear witness to his boundless obsessions with communication and circulation of works and ideas as a cultural strategy. This LP includes "Hamlet for Two Voices" (1977) in which two voices read out the names of the characters in the Shakespearean play as they appear in the script, audibly representing the structure of the roles the characters perform. "Poema" (1977) orally represents the structure and spatial characteristics of a poem, by listing all its structural elements: words, paragraphs and verses, etc. The LP also includes "Aritmetica," "Three Spanish Pieces," and "First Spanish Lesson," as well as the legendary "45 Revoluciones por Minuto," the grooviest track ever created within the context of conceptual art. All pieces, recorded at the Instituut voor Sonologie in Utrecht between September and October 1977, have in common their refusal of discursiveness. They are not meant to be true or beautiful. Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary: they could go on infinitely. They should go on. They go on. First LP ever issued by Ulises Carrión, who in 1975 "created" the legendary bookshop-gallery "Other Books & So," the first space dedicated exclusively to artists publications such as artists records, books, magazines, postcards, etc. Edition limited to 270 copies." - Alga Marghen.

Artist: CHOPIN, HENRI
Title: Revue OU
Format: 4CD/Book
Label: Alga Marghen
Country: Italy
Price: $112.00
"Alga Marghen proudly presents a new edition of the already historical Chopins Revue OU. All the original contents (4CDs + book + complete inserts) have also been included here, but presented now in a more modern and flexible way. The first press heavy boxset had been substituted with a lighter and colour slipcase while many important details and info about the contents of this anthology (missing in the original layout) are presented on a new colour obi." Incredible that this has been reissued again, at a slightly cheaper cost even! Miraculously over-the-top presentation of Henri Chopins famous sound-poetry "magazine", issued on 4CDs (or 6 LPs -- a few copies of the original LP reissue box still available). "Since the end of the fifties, Henri Chopin, an explorer in the new recorded sound poetry field, has never ceased, through hid own work as well as through his publishing activities (Revue OU, a magazine with record from 1963 to 1974) to defend the electronic exploration of the voice and the body. If Henri Chopins Revue OU is such a remarkable publication, then this is surely because it is one of the truly -- and most authentically -- contemporary publications of its time. Yet at first sight, the word contemporary seems to offer a rather simplistic description of such a visionary publication as Chopins OU. When we consider in the general cultural context of the sixties, for example, arent all mid-century art publications generally contemporary in one way or another? And when considered in terms of most other poetry publications of the sixties, doesnt Chopins OU clearly stand out as one of the most significant experimental or avant-garde publications of the mid-century? As Chopin observes, he considered the sound poetry published on the records in OU to be a distinctively new form of art. On one hand sound poetry constitutes an almost archetypal practice, but on the other hand sound poetry also emerges from the very sources of recording technology by means of its use of electro-magnetics. As this collection of CDs (remastered under the supervision of Henri Chopin) reissuing the complete Revue OU records indicates, Chopins most striking achievement was to consistently identify and publish the first major works of many of the most visionary transatlantic artists exploring the new recording technologies of the fifties, sixties and seventies. Far from attempting to establish any monodimensional movement, Chopin characteristically championed a wide veriety of those poets, writers and composers whom he perceived to be in movement, and whom he subsequently applauds as Fabulous Independents. Following an editorial logic of selectively eclectic inclusion, Chopins OU records published an astonishing diversity of inter-generational and international experiments. These include intense electronic readings by William Burroughs and Brion Gysin; pioneering optophonetic works by the Dadaist Raoul Hausmann; crirythmes and vocalic improvisations by François Dufrene and Gil J Wolman; fragmentary poemes-partitions by Bernard Heidsieck; high-tech text-sound works by composers such as Ake Hodell and Sten Hanson; electronic abstractions by Bengt Emil Johnson; phonetic poems by Mimmo Rotella; handy tech performances on self-built electronic instruments by Hugh Davies; haunting tape-manipulations by Ladislav Novak; playful improvisations by Bob Cobbing with Anna Lockwood; dramatic monologues by Paul de Vree; electronic concrete music by Jacques Bekaert and -- of course -- Chopins dynamic orchestrations of the bodys factory of corporeal sounds. Chopins writings equally consistently championed the electronic language revolution facilitated by what he describes as technological means which extend the human body, thereby inaugurating an enormous expansion of human expression. Many manifestos and theoretical texts, as well as original photos, have been published in a 76 page book. Also included are 30 fold-out black and white OU inserts reproducing the original scores of the audio works featured on the 4 CDs (by Chopin, Heidsieck, de Vree, Davies, Cobbing, Bekaert) as well as graphic works by John Cage, Tom Phillips, Arrigo Lora-Totino, Michel Seuphor, Ben Vautier, Stefan Themerson, Richard Orton, Pierre Albert-Birot." - Alga Marghen.
SOLD OUT

Artist: CORNER, PHILIP
Title: Coldwater Basin No. 2
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Re-emerging from deep Fluxus celebrations in this 2012 summer, Alga Marghen realized that Philip Corner Coldwater Basin (ALGA 037) LP was instantly sold out. Could there be a better decision than issuing an alternative version of this masterpiece from the glorious 60s, by master of ecstatic music Philip Corner? If you fluctuated over sonic landscapes with the first version, then Coldwater Basin No. 2 will knock your socks off! More intense that Whitehouse, more liquid than your wildest dreams. Remember? When you made these things at home, on the best equipment you or your other poor friends could find? And you had that Japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961. Again, a home recording of water running from a faucet into a sink. New York City, the Lower East Side, sometime in the 60s with Bill Fontana still on microphone. And I always dreamed of passing an entire night bathed in this... It was never long enough. Edition limited to 310 copies with front sleeve design and calligraphies by Philip Corner." - Alga Marghen.

Artist: CORNER, PHILIP
Title: Gong +
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
2002 release. "Gong + presents three previously-unpublished compositions by Philip Corner recorded in New York City, 1974. "Metal Meditations with Listening Center," a 29-minute long piece, is a collaboration between Philip Corner and Bill Fontana. At that time Bill Fontana was very interested in the resonance properties of every object, putting his ear to everything, and sometimes recording what he called "Listening Centers," a microphone placed in a resonating space (for example a jar, or a pipe) recording the environment with no intervention from the artist. This time the "Listening Center" was integrated as an active element on two pages from "Metal Meditations" ("one stroke: vigorous: one resonance" and "these are twirlings, sworlings") performed at the Intermedia Foundation. The continuous resonance of metal objects mixed with the chaotic sounds of New York City distorted through the "Listening Center." Gong! is a series of works and can be considered forms of kinds of "Metal Meditations." They are more-elaborated performing plans for/on this "prototype of all rich resonances," so, are musics assuming long-resounding & more-than-single-pitched large-surfaced (likely) lower-tone-favoring metals. Some substitutions are possible: piano -- low clusters and selected sonorities. Colors controlled from pedal. Struck by soft stick(s) or from keyboard. This specific version, titled "2 as entrance - passageway (resounding regularly)," was recorded on May 22nd, 1974 at The Kitchen and performed by Philip Corner, Brian Dallow, Daniel Goode and Carole Weber. The piece starts with deep resonances of the gong played by two performers and very slowly fades into the pulsation of the low-key strings of the piano. The last composition, taken from a different series of works titled "Pulse Polyphony," was also recorded at The Kitchen during the same festival. "Pulse Polyphony" compositions may use very different materials; one of them (the central part of "Oracle," an electronic music piece) was included in On Tape from the Judson Years, a previous CD issued by Alga Marghen. The version presented here is the passage from string piano to bell-tree." - Alga Marghen.

Artist: CORNER, PHILIP
Title: Metal Meditations
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
Originally released in 1997. "Metal Meditations is the culmination of many years experience and experiment with the properties of resonant metal objects, whether intended for music for not." --Philip Corner. "One side is taken from a 1974 performance at Merce Cunninghams studio, performed by David Behrman (electronics and performer) and others. There is also a 1975 performance with Bill Fontana and Corner (long metal pipe with active microphone) as well as a short version from the Avant Garde Festival in Cambridge, MA, 1978." - Alga Marghen.

Artist: CORNER, PHILIP
Title: More from the Judson Years (Early 60s) Instrumental-Vocal Works Vol. 2
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
2004 release. "Excerpts from the liner notes of More from the Judson Years (Early 60s) Instrumental-Vocal Works Vol. 2, written by Philip Corner: "Everything Max Has" (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. "A performance of Maxs taking down all of his stuff; tons of equipment filling entire stages." "Big Trombone" (1963), Jim Fulkerson improvisation over tape collage. "Homage to Revere" (1962) for ensemble of copper-bottom kitchen utensils. "Punkt" (1961) for ensemble of staccato sounds. "Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music." "Passionate Expanse of the Law (1959) for ensemble, recorded at the Composers Forum, NY, 1972. "Expressions in Parallel" (1958) for ensemble. "From my earliest compositions I have been more enticed by an opening out towards greater possibilities than in cheap and arbitrary limits of stylistic unity." Housed in a digipack, including a 12-page booklet with liner notes, scores and original documentation." - Alga Marghen.

Artist: CORNER, PHILIP
Title: More from the Judson Years, (Early 60s) Instrumental-Vocal Works Vol. 1
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
2004 release. "Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater -- the site of Philip Corners first performance. The concert was in early 1962, January 2nd, to be exact. Excerpts from the liner notes of volume one of More from the Judson Years, Early 60s, written by Philip Corner: "Handwritten change on typescript: Yoko Onos studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi and Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene." "Passionate Expanse of the Law" (1959) is an extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, and Malcolm Goldstein. "I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development in my exploration of maximum disjunction." "Air Effect" (1961), first performance, featuring Philip Corner, Alison Knowles, and Malcolm Goldstein. "From 1961 already my music became characterized more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing." This piece follows through in theme to "OM Emerging" (1971). "As Pure to Begin" (1963), Philip Corner, piano with preparations, objects and amplification. "The purity of keyboard sounds turn progressively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones." "Music, Reserved Until Now" (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, and Chieko Shiomi. "A score for non-traditional sound sources." "Composition With or Without Beverly" (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. Including a 12-page booklet with liner notes, scores and original documentation." - Alga Marghen.

Artist: CORNER, PHILIP
Title: Piano Activities
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"One-sided LP. Alga Marghen proudly presents the most iconic of all Fluxus pieces, Philip Corners "Piano Activities," in the legendary 1962 premiere performed by George Maciunas,Nam June Paik, Wolf Vostell, Emmett Williams, Ben Patterson, Dick Higgins, and Alison Knowles. Until now, recordings of concerts from the International Festival Of The Newest Music, which took place in Wiesbaden in 1962, were thoroughly unknown. This festival, the first public event described as Fluxus, was known primarily through pictures and descriptions by the protagonists. In 2011 a tape including two versions of Philip Corners "Piano Activities" was found inKuniharu Akiyamas archives, who in 1965 was declared Japans Fluxus representative. The first of these recordings is identical to one found in 2012 in the archive of Vytautis Landsbergis, former president of Lithuania and friend of George Maciunas. "Piano Activities" represents the first-ever effective realization of the anti-art art intentions of Fluxus propaganda and the performance organized by George Maciunas brought the score to its extreme consequences. When Philip Corner, who had not been present at the Wiesbaden Festum Fluxorum concerts, learned about the destruction of the piano, he was at first shocked. In the tradition of John Cage, the score that Corner wrote was intended to shape something coherent out of the chaotic reservoir of sounds that he saw in the instrument and to broaden the field of possibilities for freedom in performance. But the performers by their exaggeration brought out a potential that the composer had not suspected. As the listeners of this LP will experience, the destruction gives an opening to the previously unheard-of. Two evenings from the Wiesbaden performances are presented on this LP. One take was made at the beginning of the concert series. It begins with a cluster played in the low register. There follows conventionally-played passages from Paik interrupted by single notes and chords. These traditional sounds are accompanied by brutal noises such as splintering wood, scratching, tearing, crushing, rubbing, hammering, that sound at times like a bomb assault was happening, and sometimes more like an unobtrusive clattering. As this continues, improvisation makes itself heard, as the players produce the most refined dynamics, relate to each other, and create collective noise landscapes. The shorter second recording is of a completely different character. Freed from the traditionalistic accompaniment, this version consists of practically nothing else than hammering, sawing, rattling and clattering. As if an industrious artisans guild were at work, there is hardly to be noted any interaction between the players. The sound event happens in front of an exceptionally euphoric audience. The scenes make one think of a hot free-jazz event. First-ever edition of this landmark straight-ahead anti-art Fluxus piece, issued in an edition of only 262 copies and including a four-page large folded insert with an essay by Helmut Schmidt, inner sleeve with "Piano Activities" score and Philip Corner collages. Front sleeve design and calligraphies by Philip Corner." - Alga Marghen.

Artist: CORNER, PHILIP
Title: PoorManMusic
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00

PoorManMusic (1966)

"The simplest materials and the things your own body is and does claps, slaps, stamps. Rubbing and scratching: body, all parts, and clothing if any voices. And all the sounds your voice and breath and throat may make except words. Although a mightbe rare&special one- sound deep word and meaning / warning, affectations show up. If sincere, express. Better a middle and easy utterance of like natural soundings & thus beyond outside things, but the matter might be simple sticks of every day life. The small stones and the fabrics papers and textures, easily picked up. Rattle, rattles, nuts little bells, seeds this is not quite all of homemade noise makers."

"Homemade noise made by, among others, Philip Corner, Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg... the Technicians of the Sacred. Gift Event III: A Celebration for poets, musicians, and dancers, based on the orders of the Seneca Indian Eagle Dance and performed at the Judson Dance Theatre, Judson Memorial Church, New York City, March 21 and 22, 1967. A part of the Spring Happenings.
The group cohesion and reentering and listen ing (ensemble sensitive) Out of flux of differing individual tempi, to fuse into one Felt agreed beat (this is easier, very easy, than it may seem) In period of pulse - polyphony... non-rationalizable multipl licity of the beats. And the whole at ease. If ever at extremes of intensity, and moving towards their implications of passions, let it relax and tend intowards the mean, just the energy and the continuing which is devotion in every day life and works.
Historical recording of previously unpublished Fluxus classic masterpiece available now in a limited edition of 300 copies. Pulse polyphony!" - Alga Marghen.

Artist: CORNER, PHILIP
Title: PoorManMusic (Box Set)
Format: LP Box Set
Label: Alga Marghen
Country: Italy
Price: $950.00
Edition limited to 30 copies. "Art edition of PoorManMusic, a classic Fluxus work by Philip Corner from 1966 and first released by alga marghen in 2015. Edition limited to 30 copies. Including: A signed and numbered LP sleeve with hand-drawn calligraphy on front and hand-drawn score on the back, a signed and numbered black-vinyl LP record with hand-written labels, a signed and numbered print with hand-made graphic interventions, a signed and numbered score print, a signed and numbered 4-page printed text with graphics, dry leaves, a wooden comb, a metal ring, a piece of black and white fabric, four plastic bottle caps in different colors, two ropes, a date pit, a cherry pit. The whole magnificently presented in a luxury linen box. Homemade noise made by, among others, Philip Corner, Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg... the Technicians of the Sacred. Gift Event III: A Celebration for poets, musicians, and dancers, based on the orders of the Seneca Indian Eagle Dance and performed at the Judson Dance Theatre, Judson Memorial Church, New York City, March 21 and 22, 1967." - Alga Marghen.

Artist: DUFRENE, FRANCOIS
Title: Oeuvre Désintégrale
Format: 4LP Box Set
Label: Alga Marghen
Country: Italy
Price: $99.00
"Alga Marghen presents one of the most impressive sound poetry anthologies ever published, introducing you to the sound works of the Nouveau Realiste artist, Francois Dufrene. His work, along with that of Gil J Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell. These recordings show him that through the tape machine his poems could reach deeper and wider creative dynamics. Since the mid-1950s, the tape-machine became for him a poetical and experimental tool and Dufrene fully develops its potentials with stereophonic recordings as well as with the superimposition of his Crirhythms. The loudspeakers amplifies sounds while the microphone captures even the most detailed concrete sound produced by his voice. The physical tempest he produces is a real concrete electronic sound attack. Dufrene produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: its known that Pierre Henry was deeply inspired by Dufrene. This 4LP anthology, conceived by the same author and privately issued as a 3 cassette edition in the mid-1970s, includes only previously unpublished sound works that finally fully documents the creativity of such a radical artist. Deluxe heavy boxset edition limited to 345 copies." - Alga Marghen.

Artist: DUFRENE, FRANCOIS
Title: Oeuvre Desintegrale
Format: 3CD Box Set
Label: Alga Marghen
Country: Italy
Price: $79.00
"Alga Marghen presents one of the most impressive sound poetry anthologies ever published, introducing you to the sound works of the Nouveau Realiste artist Francois Dufrene. His work, along with that of Gil J Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell. Previously issued in 2007 as a 4LP box set, this first edition on CD also includes Crirythme pour Tinguely as bonus track. François Dufrene could be considered the younger of the first generation sound poets. Already in the Lettrist group when he was only 16 years old, with his own style marked by a hyper-powerful voice. In 1953, at the age of 23, he became Ultra-Lettrist, starting his first crirhythms by overpassing the alphabet in the perspective of the physical improvised scream. With the crirhythms sound poetry enters for the first time in the factory of projective sounds. In the beginning Dufrene uses the tape recorder only to document his creations. These recordings showed him that through the tape machine his poems could reach deeper and wider creative dynamics. Since the mid-1950s the tape-machine became for him a poetical and experimental tool and Dufrene fully develops its potentials with stereophonic recordings, as well as with the superimposition of his crirhythms. The loudspeaker amplifies sounds while the microphone captures even the most detailed concrete sound produced by his voice. The physical tempest he produces is a real concrete electronic sound attack. Dufrene produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: its known that Pierre Henry was deeply inspired by Dufrene. The anthology presented here includes 10 crirhythms from different periods dating from 1965 to 1976, plus Crirythme pour Tinguely (first issued on a 7" single included in Revue AXE No.2 in 1975 and not available on the alga marghen 4LP anthology from 2007). Also included is Osmose-art, a long piece from 1969 divided in two suites where Dufrene superimposes his crirhythms to classical music. A similar technique was applied a few years earlier adding jazz music (specially drum and percussion pieces) to poems marked by strong Lettristic esthetic. Two of those Lecture-collage dating from 1965 are presented here, as well as two Comptinuum from his early on-progress works started in 1958. François Dufrene also developed unique performances, with live reading of his written text. The most famous is Tombeau de Pierre Larousse, published in 1958. This is a work half way between the written text and the sound poem whose unity is achieved through Dufrene performing it. Its a masterpiece of synthesis of active poetry. Eryximaque, suite choreographique au Tombeau de Pierre Larusse is also included in this anthology. Apart from the crirythmes that Henri Chopin issued on his Revue OU disc magazine and a few short pieces issued on obscure sound poetry anthologies in the end of the 1960s, François Dufrenes work is practically unavailable. This 3 CD anthology, conceived by the Dufrene himself as a 3 cassette edition privately issued by Guy Schraenen in the mid-1970s (only a handful of copies made), includes only previously unpublished sound works that finally fully document the creativity of such a radical artist. Edition limited to 300 copies, including a 3CD as well as a 28-page booklet including two essays by Dufrene, the biography, the complete discography as well as original photos of various performances from the 1960s and 1970s." - Alga Merghen

Artist: DUFRENE, FRANCOIS
Title: s/t
Format: Book/CD
Label: Alga Marghen
Country: Italy
Price: $65.00
"François Dufrêne (1930-1982) is one of the leading artists from the post-War European and French art scene. He played a key role in many of the initiatives of Lettrism, Nouveau Réalisme and sound poetry. In François Dufrênes oeuvre, art and poetry intersect in a reciprocal experimentation of the possibilities of transgression of their specific grammars. His oeuvre constitutes a singular example of this special relationship between art and language, which throughout the 20th century proved to be one of the most fertile grounds for expanding the limits seemingly imposed on Western art via the history of artistic genres. Many of his artistic creations use objects retrieved from the urban context, such as posters or stencils, or use the voice in non-linguistic contexts. Examples of the latter include his creation of the crirhythm, wherein he reinvented sound poetry and the relationship between performance and text. The present release attempts to present François Dufrênes work as a totality, wherein it would be artificial to separate his status as a poet from that as a visual artist. Poems, books, records, recordings, reverse sides of posters, stencils, films and photographs documenting the artists actions are combined together in a mosaic that makes it possible to reinterpret François Dufrênes work as one of the most singular adventures of his epoch, and also re-evaluate the relevance of the challenges he posed to contemporary culture. This album includes the fantastic crirhythm from 1970 titled "Belle nuisances hantez nos nuits," the complete "Osmose-Art" from 1969 where crirhythms are superimposed to classical music, "Eryximaque" and two "Lecture-collage" from 1965 as well as the 1958-70 "Comptinuum." All the sound works presented on the CD are also included in the 4LP boxset anthology issued by Alga Marghen and titled Oeuvre Désintégrale. Full color catalog in A4 size, 250 pages, all texts translated in English, French and Portuguese. The book includes a large selection of experimental visual works dating from 1957 to 1981 as well as the biography, essays and original texts (among them "Pragmatics of Crirhythm" and "The Crirhythm and the Rest," both from the mid-1960s). Full discography and filmography are also included. First edition of this large catalog, the first ever to fully document the work of François Dufrêne." - Alga Marghen.

Artist: FERRARI, BRUNHILD
Title: Tranquilles Impatiences
Format: LP
Label: Alga Marghen
Country: Italy
Price: $29.00
"Alga Marghen proudly presents the first record edition ever by Brunhild Meyer-Ferrari, a very refined and talented German composer, wife of Luc Ferrari with whom she collaborated for over 40 years in creating some of the most beautiful sound works ever created in the past decades. First there was Et tournent les sons dans la Garrigue that Luc Ferrari composed in 1977 before Exercises dImprovisation in the same year (a previously unreleased work, to be issued on the PLANAM label). These two pieces ...conceived for individual or collective improvisation for any instrument or instrumental group... are based on identical sound elements. Exercises dImprovisation consists of a sequence of 7 separate tapes, while for Et tournent les sons dans la Garrigue Luc Ferrari mixed these tapes into one. Listening to the separate tapes Brunhild Meyer-Ferrari felt the irresistible desire to compose a new piece using ad libitum five of these seven tapes. As she remarked: Impatiences represents for me those high-pitched rhythmic sounds, those imperturbable wriggling interfering with the low rhythms which are falsely quiet, because each of them is submitted to different and contradictory rhythms. I wished these to be perturbing enough to make the physical balance stagger by fractions of seconds. Edition limited to 300 copies, issued by Alga Marghen to celebrate the Oeuvres sonores 3 event conceived in collaboration with the New Media Department of Centre Pompidou and La mason rouge, Fondation Antoine de Galbert in Paris. This LP is the third in the Oeuvres sonores series after the Charlemagne Palestine Sound I LP and Luc Ferrari Danse LP. One-sided release." -Alga Marghen

Artist: FERRARI, LUC
Title: Ephemere I & II
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Presented here for the first time, �?phémère I & II (for tape, or to be played with various instruments) are two previously unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalogue of Luc Ferrari. Even if Luc Ferraris perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two works presented here is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performers intervention (a perspective he decided not to develop in future researches). Exercises dImprovisation, a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. �?phémère I (or Lordinateur ça sert à quoin? i.e. Whats the use of computers) is a 27 minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a sea-like continuum. �?phémère II (or Lyon 75 after the only recorded realization) is a 51 minute tape piece with guitar improvisation. The electronic repetitive structure reminds some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite lead us back into more abstract and live-electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. First press limited to 500 copies in tri-folded digipack sleeve. Please note: these 2 previously unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition." -Alga Marghen

Artist: FERRARI, LUC
Title: Labyrinthe de Violence/Dance
Format: LP
Label: Alga Marghen
Country: Italy
Price: $32.00
"One-sided release. Dance was part of a sound/visual installation called Labyrinthe De Violence. Previously unpublished, this radical experimental work has now been released on LP record in collaboration with the New Media Dept of Centre Pompidou (National Museum of Modern Art) in Paris for Oeuvres sonores 2, a 2-day-event organized by Emanuele Carcano at Beaubourg on April 5th & 6th, 2009. Labyrinthe De Violence was an installation for tape sounds and 2 slide projectors conceived in 1975 by Luc Ferrari. The installation was a visual and sound metaphor of violence within contemporary civilized society. Four different rooms with a central space created the spatial context of this work. The specific environmental sonority (1. Violence; 2. Pollution; 3. Profit; 4. Mechanism / Paysage / Danse) created for each of the four rooms naturally superposed themselves in the central space. Dance was one of those sonorities, minimally constructed using 2 different sounds: a very low electronic drone deeply resonating for the whole duration with, in the end, the accumulation of deconstructed sequences played by Luc Ferrari on an electric organ. Documenting one of Luc Ferraris most beautiful and mysterious sonic works, this LP edition will be the first in a series of Alga Marghen projects presenting a still undiscovered side of the poetical universe of this fundamental composer. This 1-sided LP, issued in an edition limited to 500 copies only." -Alga Marghen

Artist: GESCHWISTER AKRE
Title: Untitled
Format: LP
Label: Alga Marghen
Country: Italy
Price: $25.00
"It was around Christmas time, a couple of years ago, and some of you received a strange record as a gift, probably unexpected. The record was the anonymous Geschwister Bar LP, issued in a phantom edition of 60 copies in a private collaboration with Bar Schalplatten, including the music performed in 1967 by 4 little children, the Bear Family. No info after that, and still the complete operation is kept secret. And secretly the material included on that record was remixed adding new and previously unpublished fragments from the same session: Geschwister AKRE, even more obscure, issued in an edition of 161 copies, is probably the bad brother which is better keep closed down in the basement, probably the negative of a negative." - Alga Marghen.
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Artist: GOLDSTEIN, MALCOLM
Title: Early Electronic/Tape Collage Music
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Alga Marghen proudly presents an LP edition including some of the seminal electronic/tape collage pieces by Malcolm Goldstein, created in close connection to the sulphuric New York pre-Fluxus environment of the early 1960s. The 1960s downtown New York City, rich with activities, doors opening upon a world fertile with possibilities: the delightful unknown. Malcolm Goldstein first worked at the Columbia-Princeton Electronic Music Center, then joined the Judson Dance Theater with dancers, musicians, poets, and visual artists all interacting in the common ground of improvisation/exploration. Most of the music on this recording was created for the Judson Dance Theater, Sheep Meadow (1966), a collage of two musics, folk & court music, was realized on a very cheap single tape recorder that offered its own electronic distortion embellishments. It was created for an anti-war demonstration to be held in that meadow of Central Park, with a dancer on top of a flat-bed truck and with loudspeakers. Images Of Cheng Hsieh (1967) was for a dance by Carol Marcy at Judson Church, simultaneously with an instrumental ensemble performing from the calligraphic graphic score, with the name of Cheng Hsieh. It Seemed To Me (1963) was composed for a dance by Arlene Rothlein; a collage of traditional musics chosen by her to be incorporated with electronic sounds. Judson #6 Piece (1963) was for Ruth Emerson, using only electronic sounds. Finally Illuminations From Fantastic Gardens (1964), the only composition for a vocal ensemble on this recording, was composed for Elaine Summers An Evening of Fantastic Gardens, a multi-media event of dance, music, film and visual projections, as part of the Judson Dance Theater concerts. It is the first music notated by Malcolm Goldstein with graphic renditions of the words of Rimbaud and without traditional music notation. Two performers were trained singers, while the others were a visual artist and an actor; two women & two men, all in the spirit of the times, sources coming together, as art & life blended in an overflowing of exploration. Edition limited to 350 copies, also including a 12-page large booklet with the reproduction of the complete Illuminations From Fantastic Gardens graphic score." -Alga Marghen

Artist: GYSIN, BRION
Title: Bruits du Beaubourg
Format: LP
Label: Alga Marghen
Country: Italy
Price: $20.00
Original 2001 release.
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Artist: HANSON, STEN
Title: The Sonosopher Retrospective
Format: LP
Label: Alga Marghen
Country: Italy
Price: $31.00
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Artist: HANSON, STEN
Title: The Sonosopher Retrospective
Format: CD/Book
Label: Alga Marghen
Country: Italy
Price: $85.00
"This edition is the digital version of the LP issued some years ago in the VocSon series and is only available with the alga marghen copies of Sten Hansons heavy hardcover luxury book titled Works / Oeuvres / Werke /Arbeten. The cd contains works from more than three decades, thus covering almost the entire career of Sten Hanson as a sound artist. All these works were previously released on record by alga marghen on the now sold out LP with the same title, as well as in various Text Sound Composition rare LP anthologies issued in Sweden between 1968 and 1970. The oldest work on the record is Danse figure (for EP) which was first performed at the Pistol Theatre, Stockholm in 1965. The work is inspired by a poem by Ezra Pound with the same title and is made out of recording of the first two lines in that poem. This work is followed by three examples of Hansons shamanistic poems: Hermetic Back Piece, The New York Lament and Skärp dig, för fan!. Lettre dun etranger deals with the problems of communication between people close to one other and was first performed in the framwork of Polyphonix 13, Paris in 1988. Am strengsten verboten is the contribution to an intermedia event by Charlie Morrow, Carles Santos and Sten Hanson himself performed in two boxing rings at Bobby Gleasons Gym, in the shadow of Madison Square Garden, New York in 1981. Les Martyrs was a part of the intermedia opera Robespierres Last Night, first performed in Hudiksvall, Sweden in 1975. Les sabots de bouc is a poem without words telling a story like a medieval morality from the times when the cathedrals were built and the devil was a force to be reckoned with. Che is a pamphlet based on a speech by Ernesto Che Guevara, while Coucher et soufler is a play on the problems of human communication. Western Europe 1969 is a satire on superficiality. The Destruction of Your Genetical Code by Drugs, Poisons and Radiation is based on a visual poem already conceived in 1960, when the idea that genetic damage could affect mans offspring for coming generations was a fairly new and shocking one. Au 197.0 was composed at the request of choreographer Susanne Valentin, who wanted a piece for a work on rites; as rite demands religion and it seemed clear to the composer that materialism is the only real living religion of our time. Finale, a piece to end with, was first performed in Annecy, France in 1995. Edition limited to 90 copies, including a 12 page booklet with liner notes, photos as well as concrete and visual poems." -Alga Marghen. 100+ page hardcover book with CD.

Artist: HANSON, STEN
Title: The Sonosopher Retrospective
Format: Book/CD
Label: Alga Marghen
Country: Italy
Price: $85.00
"This edition is the digital version of the LP issued some years ago in the VocSon series and is only available with the alga marghen copies of Sten Hansons heavy hardcover luxury book titled Works / Oeuvres / Werke /Arbeten. The cd contains works from more than three decades, thus covering almost the entire career of Sten Hanson as a sound artist. All these works were previously released on record by alga marghen on the now sold out LP with the same title, as well as in various Text Sound Composition rare LP anthologies issued in Sweden between 1968 and 1970. The oldest work on the record is Danse figure (for EP) which was first performed at the Pistol Theatre, Stockholm in 1965. The work is inspired by a poem by Ezra Pound with the same title and is made out of recording of the first two lines in that poem. This work is followed by three examples of Hansons shamanistic poems: Hermetic Back Piece, The New York Lament and Skärp dig, för fan!. Lettre dun etranger deals with the problems of communication between people close to one other and was first performed in the framwork of Polyphonix 13, Paris in 1988. Am strengsten verboten is the contribution to an intermedia event by Charlie Morrow, Carles Santos and Sten Hanson himself performed in two boxing rings at Bobby Gleasons Gym, in the shadow of Madison Square Garden, New York in 1981. Les Martyrs was a part of the intermedia opera Robespierres Last Night, first performed in Hudiksvall, Sweden in 1975. Les sabots de bouc is a poem without words telling a story like a medieval morality from the times when the cathedrals were built and the devil was a force to be reckoned with. Che is a pamphlet based on a speech by Ernesto Che Guevara, while Coucher et soufler is a play on the problems of human communication. Western Europe 1969 is a satire on superficiality. The Destruction of Your Genetical Code by Drugs, Poisons and Radiation is based on a visual poem already conceived in 1960, when the idea that genetic damage could affect mans offspring for coming generations was a fairly new and shocking one. Au 197.0 was composed at the request of choreographer Susanne Valentin, who wanted a piece for a work on rites; as rite demands religion and it seemed clear to the composer that materialism is the only real living religion of our time. Finale, a piece to end with, was first performed in Annecy, France in 1995. Edition limited to 90 copies, including a 12 page booklet with liner notes, photos as well as concrete and visual poems." - Alga Marghen. 100+ page hardcover book with CD.

Artist: HEIDSIECK, BERNARD
Title: 50 / 70
Format: LP
Label: Alga Marghen
Country: Italy
Price: $15.00
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Artist: HEIDSIECK, BERNARD
Title: Poème-Partition X
Format: CD/Book
Label: Alga Marghen
Country: Italy
Price: $73.00
"Poème-Partition X was created by Bernard Heidsieck during 1960 and recorded in October the same year. A few excerpts of the 1st and 4th movements were performed on November 22nd, 1960 at the Quatre Saisons Gallery in Paris, during the Festival of Avant-Garde Art. Poème-Partition X might be considered Heidsiecks first major work, whose duration (more than 40 minutes long) never allowed the author to give a public reading of it. Its destination was a record (released by Alga Marghen in 1996, starting the VocSon LP series, 36 years after its creation)! Alga Marghen is proud to now present this new edition of Poème-Partition X, extended to the CD format and included in a luxury 96 page hardbound book, limited to 350 copies. The book reproduces for the first time the complete score, a visual wonder and a major experimental printed work. Bernard Heidsiecks memories of an historic lecture at the Jean Tinguely atelier is included as an introduction, as well as his testimony on Ian Sommerville and Brion Gysins Dream Machine. Also on the CD is a lecture of extracts of Poème-Partition X accompanied by the saxophone of the American painter Larry Rivers. This recording from 1962 was not included in the LP edition and is here presented for the first time. In August 1962, Bernard Heidsieck went with John Ashberry, the American poet, to dinner at the studio of Jean Tinguely and Niky de Saint Phalle. Larry Rivers had a studio in the same place and was also there. Tinguely prepared grilled meat, skewered on one of his rotating sculptures. After dinner Rivers returned to his studio and began to play, alone and for himself. He earned his living, at the time, by playing sax at an after-hours jazz club. So, while he was playing Bernard Heidsieck joined him in his studio and suggested that they do an improvisation together. Something that Heidsieck had never done before, and has never done since! Larry Rivers immediately accepted, and an appointment was set up at Heidsiecks home a few days later. August 6th, 1962. A dinner party was organized for the same guests who had been at Tinguelys place and this unique 17 minute improvisation was recorded, but until now never released. It was, however, presented at the first Fylkingen Text-Sound Composition Festival in Stockholm in 1968. Luxury hardbound edition limited to 350 copies." -Alga Marghen

Artist: HIDALGO, JUAN
Title: Una Voz
Format: LP
Label: Alga Marghen
Country: Italy
Price: $17.50
"ZAJ has always been located close to the limits of the arts, the music, the theatre, the writing, the word, the object, the body. This has conducted to stay at the borders of the traditional artistic circuits, of the institutional spaces and, curiously enough, of the official vanguardias (fluxus, wiener aktionismus, etcS?). Since 1964 ZAJ organise several festivals and premiered most of the compositions of Walter Marchetti and Juan Hidalgo. They also invited other composers including the devastating performance of Fontana-Mix-Feed by Max Neuhaus in 1965 and a reading of Bernard Heidsieck in 1967. They privately issued 5 ZAJ-books: Juan Hidalgo Viaje a Argel, 1967, and De Juan Hidalgo, 1971; José Luis Castillejo La Caida de lAvion, 1967, and La Politica, 1968; Walter Marchetti Larpocrate seduto sul loto, 1968. But they never produced a recordS? And here it is, the first ZAJ record ever issued: Una Voz, written by Juan Hidalgo, read by Javier Martinez Cuadrado and recorded by Walter Marchetti who also added some music by opening the windows on Paseo de Santa Maria de la Cabeza. An evening in Madrid on September 1967. As Juan Hidalgo wrote for the liner notes: I spent about 10 years reading, hearing and meditating, outside, around and inside Zen Buddhism. Una Voz, this repetitive vocal music, couldnt have been conceived without these circumstances. This metaphysic work developed in the years I was living in Italy; first in Milan and then in Rome. Walter Marchetti and John Cage supported all this with their knowledge and friendship. The final result is a reflection on life, non-life, pain and pleasure. This project has been coordinated by Walter Marchetti who strongly wanted this LP to be the first ZAJ record. This edition also includes a 16 pages booklet (size cm. 30x30) with the complete Spanish text (first published in De Juan Hidalgo) and the English translation. Edition of 323 copies." - Alga Marghen.
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Artist: HIGGINS, DICK
Title: The Thousand Symphonies
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Alga Marghen presents the first edition ever issued of Dick Higgins music. Fluxus founding member, in 1958 Dick Higgins studied Composition and Experimental Music with John Cage in his class at the New School for Social Research in New York together with, among others, La Monte Young, Richard Maxfield, Toshi Ichiyanaghi, George Brecht, Allan Kaprow, Al Hansen, Jackson Mac Low. In the Spring of 1968 Geoffrey Hendricks and Robert Watts told Dick Higgins of a project that was afoot at Douglass College, where both were teaching at the time, to organize a show around guns. At that time the USA police seemed to have nothing better to do than to chase down teenagers for possessing miniscule amounts of marijuana and throwing them in jail, thus ruining their lives. Dick Higgins decided it would be more worthy if one could set all the policemen in the USA to composing symphonies themselves. So he proposed that the beautiful music paper be machine gunned and that symphonies be derived from the result. Geoffrey Hendricks arranged for Captain Toby of the South Brunswick Police to do this, which duly happened with a 9mm MP40 Schmeisser submachine gun, filmed by Alison Knowles. A volunteer orchestra, conducted by Philip Corner and including Charlotte Moorman, performed nine of the resulting symphonies at Douglass College on December 9th. The Douglass concert was taped, but the only copy disappeared when the Ars Viva! Gallery in Berlin, Germany, went bankrupt in 1984. The whole situation was documented with photographs in Source Magazine in 1970. As Philip Corner, conductor of the recordings presented here, said: Leave it to Dick Higgins to come up with the most spectacular way to generate a page of patternless notes. Once over this dramatic gesture with machine-gun bullets leaves a stack of paper full of holes. I had not thought of this before but there must have been a conscious connection to the social turmoil of the 60s - all too unfortunately, come back around to high relevance these days. First press limited to 500 copies with digipack sleeve, also including a 16 page booklet with full documentation presenting 2 texts by Dick Higgins from the 1960s as well as a Philip Corner testimony, original photos and original scores." -Alga Marghen.

Artist: HODELL, AKE
Title: 220 Volt Buddha
Format: LP
Label: Alga Marghen
Country: Sweden
Price: $20.00
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Artist: INTERSYSTEMS
Title: Free Psychedelic Poster Inside
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen presents a reissue of Intersystems Free Psychedelic Poster Inside (1968). Intersystems occupied a difficult-to-reach critical nook between the many tropes that had established to frame the various artistic trends of 1960s. Announcing itself with a quivering beam of fluorescent sound, the beginning of Intersystems Free Psychedelic Poster Inside feels as though its slowly piercing right through your frontal lobe. Blake Parkers poetry is a dark glimpse into mundane domesticity and the suburbs. One cant help but sense that theyre being brainwashed: the slow metamorphosis of sound is juxtaposed against Parkers even-tempered yet electronically-tampered-with speech. There are occasional hints at the twitchy energy of Peachy (NMN 093-2LP), but everything is braced by a spine of lean, cool tones, making Free Psychedelic Poster Inside a far more stark outing than either of its predecessors. Yet the sense of impending danger and general volatility found in the rest of the catalogue is still present - if not amplified. In contrast to Peachy, the shapes the music cuts are smooth rather than jagged, but one is never sure just when Parkers strangely uninflected voice will emerge from the blinding aggregates of pure color. While these clusters of glowing sustain assert an aggressive mesmerism, they serve as a primer for the ears, ominously readying them for virtually anything to happen. When something does, theres often a sense mild alarm on the listeners part even when said change comes in the form of a reprieve from the relentless swarms of high frequency - cascades of synthetic giggles, sliding slow elastic melodies, vigorous strobing modulations and bubbling passages of electronic fizz. Musician and insatiable collector Julian Cope, on his exhaustive online chronicle of all things rare and psychedelic, "Head Heritage" calls Intersystems third LP "one of the densest, most oblique collections of sound ever". Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Comes with original LP graphics as well as a new insert. Edition of 300." - Alga Marghen.

Artist: INTERSYSTEMS
Title: Number One Intersystems
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen presents a reissue of Intersystems Number One Intersystems (1967). Intersystems works evoke the heightened awareness, intermittent psychosis, intellectual over-stimulation and giddy nihilism of an acid expedition. "Orange Juice and Velvet Underwear" may indeed be the most typically "Psychedelic" cut of Intersystems entire catalog. Its saturated crypto-Indian drone and bent acoustic guitar notes, are upstaged by Parkers lurid-sounding declamations and Mills-Cockells fierce industrial clatter. From there, it all spirals further into a vortex of frayed cacophony and sober-yet-surreal orations. The sixteen-minute "Blackout Mix" is a perfect demonstration of just how tenuous their relationship was to even the furthest-out reaches of psychedelia in spite of their own pronounced use of related terminology. All curdled puddles of synth noise and caustic electronic howls, Parkers fragmentary deadpan bark both penetrates, and is enveloped by, the sticky sonic tapestry. He unfurls a series of disparate images, more-than-flirting with the mundane horror enumerated later (and more explicitly) by the likes of Throbbing Gristle. "Vox 3/13/67" is Number One Intersystems second longest and arguably most varied piece. Johns contributions span dimly elegiac textures, evoking distant chimes and striated choral voices. Parker delivers his writing as staunchly as ever, yet hacks certain words into syllabic mincemeat that spills violently and incoherently into the middles of sentences. Its by no means less anxious than other pieces on the album, but its tension is achieved through an eerily pronounced sense of breath and movement rather more aggressive means. Where elsewhere Number One Intersystems seems to forecast post-punk excursions into avant-noise antagonism, here theres more indication of Mills-Cockells training and more canonical influences in its careful phrase-shaping. Featured throughout the album was a homespun instrument devised by John, dubbed "The Coffin", which was also employed live in their "presentations". Mills-Cockell recalls: "It was a 6 foot long box line with purple satin, housing a long plank strung with many parallel lengths of piano wire held in place with tuning pegs which were adjustable with a wrench we kept on board for the purpose. There were contact mikes which were switchable, just like on a Telecaster except that the switches could permit not only selection of different harmonic spectra when the instrument sounded, but of a variety of loudspeakers in various locations in a performance space." Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Edition of 300. Presented in the original Allied Records sleeve." - Alga Marghen.

Artist: INTERSYSTEMS
Title: Peachy
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen presents a reissue of Intersystems Peachy (1967). The sound work of Intersystems cannibalized stray bits of McLuhanism, psychedelia, Cagean experimentalism, and even the modernist gestural strains of nascent electronic music, yet it was all couched within a very particular DIY ethos. Peachy pushes the meticulousness of Number One Intersystems (NMN 093-1LP) even further and, as such, represents a more balanced amalgam of Intersystems various disparate stylistic and emotional elements. The truncated opening cut "Experienced Not Watched" is deceptive, beginning with lush, tuneful organ swells that almost border on the ecclesiastical and washed-out metallic pulsations. Yet, the track comes to an abrupt end. What follows is thinner and more gestural, imbued with both poise and awkward buoyancy, owing more to musique concrète than anything on Number One Intersystems. Each sound is framed within ample negative space, inviting listeners to savor each moment, yet its dynamism, and boisterousness, mischievous character steer it well away from being too precious. This impression is reinforced by the decidedly rugged and opaque timbre of much of the sonic activity. Peachys balance can also be attributed to its consistent flow. The album may superficially be divided into discrete tracks yet the pieces follow one another seamlessly, conveying a single arc, with many continuities and recurring motives. Many of these motives are just mere pithy jolts or shudders of white noise that dart in and out of the aural scenery. In "So They Took The Guns", it matches the gestural profile of the opening cut - its suddenly lopped off, shifting decisively back toward a slice of Parkers grim narrative, planted squarely in the foreground amidst various percolating abstract chatter. Just as the musical textures have a more unified logic, Parkers texts are also more integrated into the total picture, both aurally and thematically. Despite its sharp veerings into death and violence, the abrupt leaps have a more absurd timbre, than one of abjection and morbidity. And the sudden shifts, of course, are complemented well by the restless intensity of Mills-Cockells contributions. Parkers voice is subject to a wider spectrum of electronic treatments than before. Theyre also situated in various places, both spatially and within the mix. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Edition of 300." - Alga Marghen.

Artist: INTERSYSTEMS
Title: s/t
Format: Triple LP Box
Label: Alga Marghen
Country: Italy
Price: $93.00
“First historical edition! Three-LP box version. One-time limited edition of 500. Remastered by Intersystems founding member John Mills-Cockell; mastered for vinyl by Giuseppe Ielasi. Includes Number One Intersystems (1967), with the correct side sequence and (for the first time) the original tracks sub-section divisions, in the original 1967 avant-press sleeve designed by Intersystems founding member Michael Hayden; Peachy (1967), with (for the first time) the correct track separations, timings, and titles; and Free Psychedelic Poster Inside(1968), with (for the first time) the original (double) track titles, in a silkscreened envelope reproducing the original 1968 sleeve. Also includes a 132-page book with the detailed chronology of all the Intersystems Presentations and 110 full-page images illustrating for the first time ever the story of this essential collective, as well as the following texts: "How the Mind Excursion came to be" by Michael Hayden, covering details on Intersystems Presentations and meetings with Andy Warhol, Lou Reed,John Cale, Timothy Leary, Richard Alpert, Ralph Metzner, John Cage, Robert Rauschenberg, and Allen Ginsberg; "Intersystems" by John Mills-Cockell, introducing his sonic adventures from the early encounters with Ann Southam and Udo Kasemets to the accomplishment of the Intersystems multimedia works; "Selected Poems" by Intersystems founding member Blake Parker; "Notes" by Michael Hayden; "Network" by Bart Schoales and John Mills-Cockell, on the early mixed-media Presentation of the same title and meeting with Jerry Rubin and Abbie Hoffman, founders of the Yippie movement; "Intersystems" by Nick Storring, including a short introduction to Blake Parker as well as analysis of Intersystems sonic productions in relation to their historical context; "Radically Rethinking Art" by Dennis Reid, analyzing the chronology of Intersystems Presentations in relation to contemporary art; "Intersystems and Allied" by Jack Boswell (founder of Allied Records); "Intersystems and Moog" by William Blakeney; "Recalling Intersystems" by Tom Recchion; "The 60s: something happened but what?" by Ed Fitzgerald; "Memoir" by Russ Little, on John Mills-Cockell; and "Notes on the mastering of Intersystems recordings" by William Blakeney.” - Alga Marghen.

The Intersystems 3LP box on Alga Marghen is really something else!

A video posted by Forced Exposure (@forcedexposure2) on


Artist: INTERSYSTEMS
Title: s/t
Format: 3 CD Box Set
Label: Alga Marghen
Country: Italy
Price: $55.00
“First historical edition! Limited to 500 copies. This three-disc box collects Number One Intersystems (1967), presenting the correct side sequence and (for the first time) the original tracks sub-section divisions; Peachy (1967), with (for the first time) the correct track separations, timings, and titles; and Free Psychedelic Poster Inside (1968), with (for the first time) the original (double) track titles. All works remastered by Intersystems founding member John Mills-Cockell for this edition. The three-CD box includes full-color digipak sleeves and a 56-page booklet with two texts by Intersystems founding members Michael Hayden and John Mills-Cockell situating Intersystems in the contexts of contemporary art and music, a text by Nick Storring about the original three records and Intersystems founding member Blake Parker, the complete chronology of Intersystems Presentations, and 23 full-page images illustrating the dense evolution of this short-lived and essential mixed-media collective.” - Alga Marghen.

Artist: KAC, EDUARDO
Title: Porneia
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"Previously un-issued recordings from the Porn Art Movement (1980-1982), including five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the anti-normative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. His use of stigmatizing words in these Porn-poems transformed them from denigrating to empowering, through political critique and defiance. The LP also includes the "Manifesto Pornô" (1980) and four recordings of "Flatographic Poems" from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flow as material. "Flatographic Poems" have visual scores - one of which can be seen on the cover - for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the movement to literally explore the internal side of the body. Includes an LP-size 40-page full-color book with full documentation on the Porn Art Movement. Edition of 270." - Alga Marghen.

Artist: KRUSI, HANS
Title: Ex Hk.
Format: LP
Label: Alga Marghen
Country: Italy
Price: $34.00
"While preparing a new edition of Anton Bruhin works, Alga Marghen discovered some mysterious tapes by Hans Krüsi. Fascinated by the raw and brute contents of those sounds, mixing field recordings of insects, sheep and distant bells with primitive chanting, percussive noises and distorted radio folk songs, Alga Marghen started to conceive one of the most obscure editions in his catalog. The Swiss-born, self-taught painter Hans Krüsi (1920-1995) was a wiry man who eked out an existence on the margins of society. Even among outsider-art experts, his work is less well known than that of his Swiss compatriot Adolf Wölfli, who died in 1930 and whose richly patterned drawings have become treasures of classic European art brute, or raw art, made by untrained, visionary artists. Krüsi was orphaned as an infant and brought up on a farm in northeastern Switzerland by foster parents who largely ignored him. He scraped by with odd jobs (including gardening work) and eventually settled in the city of St. Gallen. There Krüsi lived in run-down buildings. In his late 20s, he began commuting by train almost daily to Zurich, to the west, where he sold flowers and, later, his artworks, on the Bahnhofstrasse, one of the most luxurious shopping streets in Europe. Among the wall-to-wall clutter of Krüsis ramshackle lodgings, where pigeons flew in and perched, evidence of an unexpectedly experimental spirit abounded, including Krüsis old cameras and the second-hand tape recorders with which he liked to capture the sounds of birds, insects and church bells. The artists inventiveness and fertile imagination seemed to contrast sharply with his humble way of life. Krüsi took subjects from the agrarian world that he knew: alpine farmhouses, forested mountains, cows, birds, rabbits and cats. In his varied oeuvre, the folkloric and the psychedelic often appear to converge. Some works are even hallucinatory, with bright, brushy passages of acid green, lemon yellow or Pepto-Bismol pink in which watchful, lounging cats, clusters of dithering birds or watery human figures huddle or writhe. LP edition limited to 200 copies, issued in collaboration with the Swiss Kunstmuseum des Kantons Thurgau (the repository of the artists estate) and published on the occasion of Alga Marghens invitation to the Artists Record Pavillion at Art Basel 2008." -Alga Marghen
SOLD OUT

Artist: LEMAITRE, MAURICE
Title: Poemes et musiques lettristes et hyperphonie
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"Alga Marghen proudly presents an exceptionally wild sonic art and poetry document, Maurice Lemaîtres Poemes et musiques lettristes et hyperphonie, recorded between 1952 and 1968. What does Lemaître contribute to the Isouian poetic creation? What? Music as background to "lettries?" These are heretic hyperphonies forming such a specific corpus in the Lettric sphere. Neither Isou, nor Pomerand, Dufrene, Wolman, or Spacagna achieved what Lemaître did. Lemaître dares the unthinkable: neo-yé-yé rhythmic Muzak destroyed by "lettries," disseminated with the utmost care. One more treasure: the very "pop music"-oriented Lemaître with his "I wanna go home mister" blues, here in a version with a borderline insane companion: Isidore Isou. Never a bluesman, thanks only to his irradiant genius, has ever been such a stoned sideman as Isou. This record includes an improvisation held at the Museum of Modern Art, Paris, 1961, in the context of a reading by Isidore Isou. Also included on this LP is a previously-unreleased torrid "concerto" titled "Lalcove," for a Lettrist male chorus and female solo orgasms, followed by "Lascension du Phenix M.B.," a sound collage from 1967 (predating more than 10 years M.B.s first primitive concrète music assemblages under the name Sacher Pelz). No need for Yoko Onos loops for another "Revolution 9" -- one year before, Lemaître cuts the tape with a scalpel, leaving the cuts exposed: home revolution in between two manifestos and three hypergraphic paintings. Offer yourself the joy of listening to these recordings that alas, Lemaître, whose hearing stops precisely at 250Hz, can no longer have the pleasure to taste. Edition limited to 240 copies, with liner notes by Frédéric Acquaviva and a fantastic front cover drawing by Maurice Lemaître." - Alga Marghen.

Artist: LORA-TOTINO, ARRIGO
Title: Fonemi
Format: LP
Label: Alga Marghen
Country: Italy
Price: $22.00
Original 2001 release.
SOLD OUT

Artist: LUCA, GHERASIM
Title: Two Poems
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen proudly presents an LP edition including two experimental sound works by Gherasim Luca, created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. As Henri Chopin wrote some years later in his legendary Poésie Sonore Internationale book, Ghérasim Luca made a big impression at the Third Stockholm Festival in 1970. Luca was born in Bucarest in 1913. Before leaving to Israel, he had a leading role among the Roumanian Surrealist group. He eventually moved to Paris where he lived until the end of his life in 1992. Gherasim Lucas work is very personal, giving his poems a very uncommon and ironic character. Again Henri Chopin underlines that in his recordings, which are not many, he superimposes his very warm voice, marked by his Roumanian accent; its a sound wonder. In fact Luca is not a sound poet. He is more a speaker who managed, without complex, to enter into the Fylkingen studio vortex. On 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter can not understand French. Autres Secrets Du Vide Et Du Plein (April 1971) and Crimes Sens Initiales (April 1972) were both recorded one track at the time on a 4 track tape and afterwards subjected to electronic treatments. They were recorded in Sweden at EMS and first performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Edition limited to 385 copies, also including the reproduction of a wonderful drawing by Gherasim Luca on the front cover, a photo portrait of the author by Gilles Ehrmann from 1959 and an essay by Henri Chopin." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Concerto For The Left Hand In One Movement
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"The Concerto For The Left Hand In One Movement, for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015. This performance by Reinier van Houdt was recorded on April 29, 2015, at Onder De Linden in Valthermond, Netherlands, and is presented with liner notes by Gabriele Bonomo, translated from the Italian by Philip Corner. Composed in 1994, the Concerto For The Left Hand belongs to a series of works written between 1994 and 1997 -- along with "Con vista sui suoni," "Eight or Nine Movements for String Quartet," and "La perdita del tempo" -- which develop from a preceding composition titled "Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam." In these works Marchetti made a systematic and assertive return to conventional music notation, while also not excluding performance and installation practices and the use of pre-recorded "concrète" sounds, which, since the 60s, had been his privileged field of action (a modality shared principally within the exquisitely iconoclastic and desecratory activities of the ZAJ group). What was particularly interesting to Marchetti in this recourse to musical writing was the weakening of the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions. The title alone is used to hide a paradox in which the notes to the performer intervene to subvert the following paradigm: "The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto." From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: on the one hand, the restrictive imposition of the paradox by which the music cannot manifest itself while respecting the letter of the enunciation, which leads to the impossibility of the musics "existence" (i.e. the obligation of holding an open black umbrella in the same hand) or, on the other hand, the transgression of this encumbrance in favor of the implicit possibility of playing the score with the right hand, leaving the music subjected to its own manifestation no longer able to coincide with its own realization -- "a magic made free from the lie of being truth." Limited edition of 300. Full-color sleeve with printed inner sleeve bearing photos and the liner notes." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: Concerto For The Left Hand In One Movement
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"The Concerto For The Left Hand In One Movement, for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015. This performance by Reinier van Houdt was recorded on April 29, 2015, at Onder De Linden in Valthermond, Netherlands, and is presented with liner notes by Gabriele Bonomo, translated from the Italian by Philip Corner. Composed in 1994, the Concerto For The Left Hand belongs to an ongoing series of works written between 1994 and 1997 -- along with "Con vista sui suoni," "Eight or Nine Movements for String Quartet," and "La perdita del tempo" -- which develop from a preceding composition titled "Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam." In these works Marchetti made a systematic and assertive return to conventional music notation, while also not excluding performance and installation practices and the use of pre-recorded "concrète" sounds which, since the 60s, had been his privileged field of action (a modality shared principally within the exquisitely iconoclast and desecratory activities of the ZAJ group). What was particularly interesting to Marchetti in this recourse to musical writing was the weakening of the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions. The title alone is used to hide a paradox in which the notes to the performer intervene to subvert the following paradigm: "The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto." From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: on the one hand, the restrictive imposition of the paradox by which the music cannot manifest itself while respecting the letter of the enunciation, which leads to the impossibility of the musics "existence" (i.e. the obligation of holding an open black umbrella in the same hand) or, on the other hand, the transgression of this encumbrance in favor of the implicit possibility of playing the score with the right hand, leaving the music subjected to its own manifestation no longer be able to coincide with its own realization -- "a magic made free from the lie of being truth." Limited edition of 300. Digipak with full-color booklet containing photos and the liner notes." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: De Musica Inversa
Format: 4 CD Box Set/Book
Label: Alga Marghen
Country: Italy
Price: $116.00
"Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. An LP sized 4CD box set including La Caccia, In Terram Utopicam, Per La Sete Dellorecchio, Natura Morta and Vandalia. Also included is the new book by Walter Marchetti titled De Musica Inversa, an instruction manual of both theory and practice for the proper and improper use of music. A method for perfecting oneself in composition annotated and commented upon by Gabriele Bonomo." The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence. CD1, titled La Caccia, includes La Caccia (1965), Adversus (Home-made electric music) (1966) and Osmanthus fragrans (Home-made electric music) (1973). The 16-page booklet presents the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original La caccia LP layout. CD2, titled In Terram Utopican, includes Jaimerais Jouer Avec Un Piano Qui Aurait Une Grosse Queue (1974/75) and Per La Sete Dellorecchio (1981). The 16-page booklet presents the original score of Jaimerais Jouer, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original In Terram Utopicam LP layout. CD3, titled Natura Morta, includes the piece with the same title from 1980. The 8-page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled In My Music. CD4, titled Vandalia, includes Perpetuum Mobile (1981), Song For John Cage (1985) and Le Secche Del Delirio (1989). The 8-page booklet presents the photo of the Perpetuum Mobile performance at Musicalia in 1981, the score of Song For John Cage, the photos of two Musica Da Camera installations, as well as the reproduction of the original Vandalia CD layout. The 180-page De Musica Inversa book and all the texts included in the CD booklets are published in both English and Italian. Too true: in all music there are, in effect, a lot of sounds henceforth-more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death. CD edition limited to 400 copies." - Alga Merghen

Artist: MARCHETTI, WALTER
Title: De Musica Inversa
Format: Book
Label: Alga Marghen
Country: Italy
Price: $36.00
"Alga Marghen very proudly presents the new book by Walter Marchetti titled De Musica Inversa, an instruction manual of both theory and practice for the proper and improper use of music. A method for perfecting oneself in composition annotated and commented upon by Gabriele Bonomo. "The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence. The 180-page De Musica Inversa book is published in both English and Italian. First included in an LP sized 4CD box set together with other 4 CDs titled La Caccia, In Terram Utopicam, Natura Morta and Vandalia, this book is also available now, separately from the complete box set, in a very limited number of copies. Too true: in all music there are, in effect, a lot of sounds henceforth?more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death." -Alga Marghen
SOLD OUT

Artist: MARCHETTI, WALTER
Title: De Musicorum Infelicitate
Format: Book/Double LP
Label: Alga Marghen
Country: Italy
Price: $70.00
"Two years ago Alga Marghen issued the third compact disc by Walter Marchetti, the mysterious and inaccessible De musicorum infelicitate. The edition included a folded poster with the presentation written by Gabriele Bonomo, a series of aphorisms to introduce the listeners to this work. The composer had then decided to let this edition circulate with no extra information looking at it as a perfect final statement. But a complete score was existing, and what a score. And it took several months to convince him to let it be printed as a book in order to provide a new perspective to this multi-layer cryptic unhappiness of music. For this is not only the score of a great composition but also a series of statements which help us to enter the composers epistemology and his point of view about music, creation and our contemporary condition in general. Now as we approach the end, music seems to hasten our pace; now that the word is mantled in a vast cloak incessant vibrations and, sadly, everything is becoming music; now it was the perfect right time to issue this precious book. A book with no poetic moments, never obscured by art, never the servant of art, meant to give an immediate image of music. Such a book could only be published as a high quality industrial object, album hardbound, 200 pages in DIN A 4 size, published in English and Italian, issued in an edition limited to 300 copies only. Music! Deadly dust for the mind. The world as music: a cosmic catastrophe. At this point, music remains in possession of only a single sound; all the others have been discarded. The last sound is recorded on the double-LP, as well as the complete painful variations previously issued on the Alga Marghen CD with the same title." - Alga Marghen.
SOLD OUT

Artist: MARCHETTI, WALTER
Title: Il Divano Dellorecchio
Format: 5LP Box Set
Label: Alga Marghen
Country: Italy
Price: $160.00
"Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. A 5LP box set including La Caccia, In Terram Utopicam, Per La Sete Dellorecchio, Natura Morta and Vandalia. LP1 includes the same materials as the original 1974 Cramps LP titled La Caccia (1965). The LP sleeve reproduces the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia. The full-color inner sleeve reproduces the original La Caccia LP layout. LP2 includes the same materials as the original 1978 Cramps LP titled In Terram Utipicam, or Jaimerais Jouer Avec Un Piano Qui Aurait Une Grosse Queue (1974/75), Adversus (Home-made electric music) (1966) and Osmanthus Fragrans (Home-made electric music) (1973). The LP sleeve reproduces the original scores of Jaimerais Jouer and Adversus, photos of the performance at the Venice Biennale. The full color inner sleeve reproduces photos of various Marchetti performances as well as the original In Terram Utopicam LP layout. LP3 includes Per La Sete Dellorecchio (1981), previously privately issued on the LP with the same title and Song for John Cage (1985), never available on vinyl before. The LP sleeve reproduces the Song for John Cage score. The full color inner sleeve reproduces the original Per La Sete Dellorecchio LP layout. LP4 includes Natura Morta (1980), never available on vinyl before. The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as the text In My Music. The full color inner sleeve reproduces a photo of the Natura Morta installation. LP5, titled Vandalia, includes Perpetuum Mobile (1981) and Le Secche Del Delirio (1989). Both pieces were never available on vinyl before. The LP sleeve reproduces a photo of the Perpetuum Mobile performance at Musicalia in 1981. The full color inner sleeve reproduces a Musica Da Camera installation and the original Vandalia layout. LP edition limited to 350 copies." - Alga Marghen

Artist: MARCHETTI, WALTER
Title: In Terram Utopicam
Format: CD
Label: Alga Marghen
Country: Italy
Price: $21.00
"Walter Marchetti is one of the most original and controversial pre-Fluxus authors. In this work he frees all of his sophisticated poeticism. In Terram Utopican, includes Jaimerais Jouer Avec Un Piano Qui Aurait Une Grosse Queue (1974/75) and Per La Sete Dellorecchio (1981). The 16-page booklet presents the original score of Jaimerais Jouer, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original In Terram Utopicam LP layout. All texts are published both in English and Italian." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: In Terram Utopicam
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"LP version, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). Includes the same materials as the original 1978 Cramps LP titled In Terram Utopicam, or Jaimerais Jouer Avec Un Piano Qui Aurait Une Grosse Queue (1974/75), Adversus (Home-made electric music) (1966) and Osmanthus Fragrans (Home-made electric music) (1973). The LP sleeve reproduces the original scores of Jaimerais Jouer and Adversus, photos of the performance at the Venice Biennale. The full color inner sleeve reproduces photos of various Marchetti performances as well as the original In Terram Utopicam LP layout." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: In Terram Utopicam
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release. LP version, previously released in the Il Divano Dellorecchio 5LP box. Includes the same materials as the original 1978 Cramps LP titled In Terram Utopicam, or "Jaimerais jouer avec un piano qui aurait une grosse queue" (1974/1975), "Adversus" (Home-made electric music) (1966) and "Osmanthus Fragrans" (Home-made electric music) (1973). The LP sleeve reproduces the original scores of "Jaimerais jouer" and "Adversus," and includes photos of the performance at the Venice Biennale. The full-color inner sleeve reproduces photos of various Marchetti performances as well as the original In Terram Utopicam LP layout." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: La Caccia
Format: CD
Label: Alga Marghen
Country: Italy
Price: $21.00
"Alga Marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. The recording of La Caccia, one of the most radical in the neo-avantgarde panorama for 35 years, is divided in two tracks: Versione Allaria Aperta and Versione Per Uno Spazio Chiuso. The sound is generated by hunting calls for birds and other animals. According to Steven Stapleton, this is one of the best records ever published. The CD includes La Caccia (1965) as well as two extreme electronic ZAJ pieces, Adversus (Home-made electric music) (1966) and Osmanthus Fragrans (Home-made electric music) (1973). The 16-page booklet presents the orginal scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original La Caccia LP layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with 3 other CDs titled In Terram Utopicam, Natura Morta and Vandalia, plus the new book by Walter Marchetti titled De Musica Inversa, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: La Caccia
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"LP version, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). Includes the same materials as the original 1974 Cramps LP titled La Caccia (1965). The LP sleeve reproduces the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia. The full-color inner sleeve reproduces the original La Caccia LP layout." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: La Caccia
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release, previously released in the Il Divano Dellorecchio 5LP box. Includes the same materials as the original 1974 Cramps LP titled La Caccia (1965). The LP sleeve reproduces the original scores, photos of both the 1965 ZAJ performances and of Marchetti recording La Caccia. The full-color inner sleeve reproduces the original La Caccia LP layout." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: Natura Morta
Format: CD
Label: Alga Marghen
Country: Italy
Price: $21.00
"A very simple sequence of piano accidents, according to Robert Ashley one of the most beautiful piano music ever recorded. Natura Morta, includes the piece with the same title from 1980. The 8-page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled In My Music. All texts are published both in English and Italian." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Natura Morta
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"LP version, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as the text In My Music. The full color inner sleeve reproduces a photo of the Natura Morta installation." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Natura Morta
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as the text In My Music. The full-color inner sleeve reproduces a photo of the Natura Morta installation." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: Per La Sete Dellorecchio
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"The LP includes Per La Sete Dellorecchio (1981), previously privately issued on the LP with the same title as well as Song for John Cage (1985), never available on vinyl before. The LP sleeve reproduces the Song for John Cage score. The full color inner sleeve reproduces the original Per La Sete Dellorecchio LP layout. All texts are published both in English and Italian. First included in a 5LP box set together with other 4 LPs titled La Caccia, In Terram Utopicam, Natura Morta and Vandalia, this LP is also available now, separately from the complete box set, in a very limited number of copies." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Per La Sete Dellorecchio
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release. This LP includes "Per La Sete Dellorecchio" (1981), previously privately issued on the LP of the same title. This reissue also includes "Song for John Cage" (1985), which has never been available on vinyl before. The LP sleeve reproduces the "Song for John Cage" score. The full-color inner sleeve reproduces the original Per La Sete Dellorecchio LP layout. All texts are published both in English and Italian. First included in a 5LP box set together with other 4 LPs titled La Caccia, In Terram Utopicam, Natura Morta and Vandalia." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: Utopia Andata e Ritorno
Format: Double CD
Label: Alga Marghen
Country: Italy
Price: $36.00
"Music: the foundation of that presence in which we find ourselves shows itself as pure negative. Everything is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. But, accepting its negativity, makes of this self-negation the real act, the true reality - the true foundation, the real and actual continuity: this is musics sense. Utopia Andata e Ritorno is the title of the new composition by Walter Marchetti, recorded in Milano in 2005. It has two parts, each one CD long. The first part, LAndata, puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a piano concert. The second CD, Il Ritorno, reverses the direction of the first record and literally destroys itself. In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotal in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. Three-folded digipack 2CD edition. It includes a 32-page booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies." - Alga Marghen.

Artist: MARCHETTI, WALTER
Title: Vandalia
Format: CD
Label: Alga Marghen
Country: Italy
Price: $21.00
"With Vandalia Walter Marchetti is focusing his concrete and radical themes. Also including is an homage to John Cage. Action Music! Vandalia includes Perpetuum Mobile (1981), Song for John Cage (1985) and Le Secche Del Delirio (1989). The 8-page booklet presents the photo of the Perpetuum Mobile performance at Musicalia in 1981, the score of Song for John Cage, the photos of two Musica Da Camera installations, as well as the reproduction of the original Vandalia CD layout. All texts are published both in English and Italian." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Vandalia
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"LP version, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). Includes Perpetuum Mobile (1981) and Le Secche Del Delirio (1989). Both pieces were never available on vinyl before. The LP sleeve reproduces a photo of the Perpetuum Mobile performance at Musicalia in 1981. The full color inner sleeve reproduces a Musica Da Camera installation and the original Vandalia layout." -Alga Marghen

Artist: MARCHETTI, WALTER
Title: Vandalia
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"2010 release, previously released in the Il Divano Dellorecchio 5LP box (ALGA 083LP). Includes "Perpetuum Mobile" (1981) and "Le Secche Del Delirio" (1989). Both pieces have never been available on vinyl before. The LP sleeve reproduces a photo of the "Perpetuum Mobile" performance at Musicalia in 1981. The full-color inner sleeve reproduces a "Musica Da Camera" installation and the original Vandalia layout." - Alga Marghen.

Artist: MILK FROM CHELTENHAM
Title: Triptych of Poisoners
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Milk fron Cheltenham is the first in a series of Alga Marghen editions documenting the activities of the Its War Boys underground label, founded by Amos (of The Homosexuals fame) in the late 1970s. The original LP was issued in an edition limited to 300 copies. The material was recorded from 1979 to 1981 but wasnt released until 1983 due to problems with the silkscreened sleeve. The band only put out this record, a real hidden gem. Lepke said that he wanted it to sound like a Beach Boys LP by using lots of different studios but it was mostly done on a cassette machine with a primitive surround function. Lepke is the man who does the impossible every time he picks up a tin, carton, bottle or instrument. The first person with enough originality to adopt anything to his own idiosyncratic style. Retired to an obscure basement, still without peers in the world. Lounge makes rhythms that by this time need no words of praise with a wallop, that when left, makes the usual praise words disintegrate. A mix of inestimable ability with feelings as wild as it is rare. Salamander has that certain something that most people can never have even if they practice for an eternity. Most important in his influence, most endearing in his emotional impact and most convincing in his new-found authority. If The Homosexuals were a strange prospect, and their music should fit into a similar spot as that of angry young men like Wire and Magazine who carried their penchants for art-school angst in the midst of proto-thug posturing, Milk from Cheltenham were an even more extreme band. Not only progressive with a certain artistic notion (a reference could be found in This Heat, Family Fodder and Chris Cutlers bands Henry Cow and the Art Bears) but also closer to more primitive sound experimentations of a cryptic and sinister Residential perspective. This release finally documents one of the most important projects developed in the scene explored by The Homosexuals. Amos&Sara, Sara Goes Pop, Nancy Sesay & The Melodaires and more hidden mysterious activities will soon be available through Alga Marghen." - Alga Marghen. Highly Recommended!

Artist: MODERN SHIT
Title: Modern Shit/Artcoustics: The Stories Told By Record Covers
Format: CD/Book
Label: Alga Marghen
Country: Italy
Price: $65.00
"Alga Marghen presents a new chapter in the documentation of Amos/Its War Boys/Homosexuals recordings. Directly taken from the original Its War Boys catalog, here is one of the most obscure sonic works of the early 1980s, Modern Shit! First issued on tape (cat No. $21) this work circulated only privately among the close friends of the label and was never officially distributed. Actually, it represents one of the most intense and experimental outputs of this creative London period. The idea was to create a contemporary Non-stop, vaguely in emulous contradiction to product by people like Cerrone and Biddulph (1970s disco queens). Lepke and Amos, the two minds behind this project (and 2/3 of the Milk from Cheltenham adventures), each constructed a half hour near-continuous non-stop using only the foulest materials. In those days, they had their 8-track studio in a moldy basement below Brixton Road, South London and they happened to occasionally record some awful wannabe pop bands. It was a truly horrible experience but with a good side. Almost as soon as the idiots left the studio, Lepke and Amos would start re-mixing their music, often stealing and sticking it (suitably mangled) onto new tracks, the basis material for Modern Shit! Also included is Artcoustics: The Stories Told by Record Covers, a 500-page full color catalog issued by Mednarodni Graficni Likovni center in Ljubljana. The catalog is the documentation of an exhibition of record covers conceived by Guy Schraenen mainly based on punk/DIY/underground records from ex-Yugoslavia as well as contemporary/Fluxus/minimal/conceptual art record editions. Some Alga Marghen titles from theVocSon series are included as well. The stories are Black Plastic; Never Mind The Bollocks, Heres Design; On Records, Record Covers, and Starving Children; The Eloquence of the Useful Adornment: Stories of the Sleeves of Slovenias Independent Alternative Records in the Pre-Digital Age; A Radio Stations Library, or The Endless Pursuit of the Ultimate Sound (and the Ultimate Album Cover). Also included is a Sound Art chapter featuring Guy Schraenens essay Installing Sound. The CD is presented in beautiful slim-jewel-box with full color cover. First edition of 150 copies. The book and the CD are distributed together by Alga Marghen but they are considered two separate kinds of anthologies." - Alga Marghen. Highly recommended!
SOLD OUT

Artist: MODERN SHIT
Title: Will Make You Ill
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"After surfacing briefly in 2007 in a very limited number of copies on slim-jewel-box together with the Artkoustics catalog, Alga Marghen is now proud to present the final edition of Modern Shit, a very singular chapter in the Amos/Its War Boys/Milk from Cheltenham/Homosexuals history. Directly taken from the original Its War Boys catalog, here is one of the most obscure sonic works of the early 1980s, Modern Shit! First issued on tape (cat No. $21) this work circulated only privately among the close friends of the label and was never officially distributed. Actually it represents one of the most intense and experimental outputs of this creative London period. The idea was to create a contemporary non-stop, vaguely in emulous contradiction to product by people like Cerrone and Biddulph (1970s disco queens). Lepke and Amos, the two minds behind this project (and 2/3 of the Milk from Cheltenham adventures), each constructed a half hour near-continuous non-stop using only the foulest materials. In those days they had their 8-track studio in a moldy basement below Brixton Road, South London and they happened to occasionally record some awful wannabe pop bands. It was a truly horrible experience but with a good side. Almost as soon as the idiots left the studio, Lepke and Amos would start re-mixing their music, often stealing and sticking it (suitably mangled) onto new tracks, the basis material for Modern Shit! The CD is presented in a new digipack edition with full color cover. Final edition of 500 copies." - Alga Marghen.

Artist: MONOFONICORCHESTRA
Title: Musicdesign
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Monofonicorchestra is not a disc recorded in mono / is not ambient music / is not funky / is not experimental music / is not funny / Monofonicorchestra is not avant-garde / is not pop / is not op / is not dada / Monofonicorchestra is not fashion / is not hard-core / is not horror / is not Frigidaire was writing Maurizio Marsico at 10h20 on Wednesday, December 23rd, 1981. A country: Italy. Several countries: Italies. Late seventies, early eighties. The ether of punk is in everyones nose and disco virus invades even the most reticent legs. New-wave for sure rules the underground. Neo dandyism attitude applied to the Italian post-rock era; Dolce Vita with a dreamed revolution in the background. United Countries of Italy! Bologna and the Confusional Quartet, Gaznevada, The Stupid Set. Not to forget the Naif Orchestra from Florence and all trans-borders adventurous navigators such as Piermario Ciani, Vittore Baroni (Lieutenant Murnau, Trax), the members of the musical theatre Magazzini Criminali. The vivid eclecticism of the above mentioned is to be compared to the aesthetic manifesto of the AtaTak crew from Düsseldorf (Der Plan, DAF, Tödliche Doris, Pyrolator). or the Vanity labelJapanesee explorers (Tolerance, Aunt Sally, Normal Brain, BGM, RNA Organism). These bands were not leading the italo disco movement neither were they really punk or industrial nor waving cold-wave banners. They went off the industrial darkness adolescent like romanticism to assert humor, may it be black, as a revolutionary weapon throbbing over the ruins of radicalism. Its getting cold in here. The dreams have moved toward conscious needs: the desperate hope of having fun. And so is the Monofonicorchestra. The music of Maurizio Marsico is repetitive music. Mi. La. Short pieces 1, 2, 3, 4, 5,... Every record Marsico makes is a conceptual sequence of drawings. Casual Casio-jazz cartoon soundtrack like. There is nothing to decipher here, its all given already, all referenced. The appearances are pleasant and you get trapped into the depth of some cynical easy listening rhizome where ZNR merges with Steve Reich and Blue Gene Tyranny. Indeed, it has something of the Lovely Music elegance. First pressing limited to 500 copies with full color digipack sleeve. Also including a 12 page full color booklet with original graphics, photos as well as liner notes by Samon Takahashi." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE
Title: Aachen Konzert, July 25th, 1966
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"This CD presents a concert from July 25th, 1966 in the Theatersaal in Aachen, Germany. In addition to the New York concert on September 12th, 1964, the recordings of this European concert well represent the kind of performances that Charlotte Moorman and Nam June Paik presented in Europe in the second stage of their historical "duo" exhibitions. This Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive program, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several classic works of their programs like "261.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi and a work by Giuseppe Chiari titled "Ave Maria di Schubert" (written for the cellist and dedicated to her) in "Sonata No. 1 for Adults Only" and especially the first performance of "Opera Sextronique," both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. This disc also includes another unspecified rendering of Ichiyanagis "Duet II" and an abbreviated version of Cages "21.1499 for a String Player." A Fluxus concert classic! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE
Title: Cello Anthology
Format: 4 CD Box
Label: Alga Marghen
Country: USA
Price: $166.00
"2007 release. Stunning oversize boxset (similar in production to Alga Marghens OU box). Historic Fluxus sound documentation at its finest. Featuring music by: Earl Brown, Sylvano Bussotti, John Cage, Giuseppe Chiari, Toshi Ichiyanagi, Terry Jennings, Jackson MacLow, Nam June Paik and Karlheinz Stockhausen. Recordings from 1964-1966 & 1982. Performed by David Behrman, Philip Corner, Malcolm Goldstein, Terry Jennings, Charlotte Moorman, Nam June Paik, etc. Limited to only 500 copies and worth the extra pennies.

The cellist Charlotte Moorman can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early 60s. A documentation of her activities as a performer is generally available only in various catalogs which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moormans work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines -- from music to sound and concrete poetry, from visual and plastic art to cinema and to video art -- is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the 15 editions of the New York Avant Garde Festival she organized between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realized in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar corporeality of the cellists performance gesture and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiaris affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early 60s -- works which affirmed the Florentine artist on the international scene -- and the reprint of Gisela Gronemeyers poignant essay dedicated to Charlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents. Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. The third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982, which includes a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Lows composition The Long Hot Summer, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Paik in 1972 in collaboration with Russel Connor, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full-color photos and scores; a set of 16 full-color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. First boxset edition limited to 500 copies." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE
Title: The Long Hot Summer/Interview Oct. 1969/Waiting for Commercials
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"This CD restores three documents from the Charlotte Moorman canon. One happy example is a choral work performed on the 3rd of September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Lows composition "The Long Hot Summer." This very relevant concert, distinguished by a marked ethico-political intonation and valence, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Nam June Paik in 1972 in collaboration with Russell Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes this anthology put together and offered here. One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE
Title: TV Cello
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Of the famous "TV Cello," conceived by Nam June Paik for Charlotte Moorman as a "living sculpture," this CD offers an in-situ recording released on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on the 11th, 12th and 14th of September in 1982. This version contains, respectively, the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes," largely improvised, "including a tape collage by Ornette Coleman prepared for Charlotte, also talking with the audience." Charlotte Moorman world music theater! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE
Title: WBAI Concert, New York, Sept. 12th 1964
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"This CD highlights an exceptional document, a performance recorded by radio station WBAI in New York on September 12th, 1964. This event superbly represents the type of repertoire that Charlotte Moorman and Nam June Paik cultivated and proposed in the U.S., in the years following their meeting, in their memorable "duo" exhibitions. The program of the concert presented several true war-horses of their exhibitions like "261.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi, a work by Giuseppe Chiari titled "Per Arco," written for the cellist and dedicated to her, the premiere of Earle Browns "Synergy," a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of "Plus Minus" by Karlheinz Stockhausen aided by Paiks Robot. The history of the avant-garde! One of the four Charlotte Moorman CDs originally included in the Cello Anthology box, now individually available for the first time." - Alga Marghen.

Artist: MOORMAN, CHARLOTTE/NAM JUNE PAIK
Title: TV Cello
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $52.00
"A documentation of Charlotte Moorman activities as a performer is generally available only on the iconographic level in various catalogues which documents the crucial intersection with the work of Nam June Paik or the association with events connected to the Fluxus movement. One of Charlotte Moormans more substantial merits is having consciously reversed the traditional role of the virtuoso performer on her own instrument, uncovering by this overturning one of the most authentic keys for comprehending the aesthetics of experimental music. It was properly the natural spontaneity in this attitude to fascinate Paik and to have decreed her indispensable capacity as a performer, thus giving rise to the reasons animating their fecund and symbiotic collaboration. Cello Anthology is a collection of documents (sonic and photographic) as well as original texts and testimonies, made available for the first time in a unitary form by Alga Marghen. One of the CDs included in the edition, currently in a final process of realisation, will offer an in situ recording of the famous TV Cello, realised in September 1982 during the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago. The 2LP edition presented here introduces to a different version of the same piece, conceived by Paik for Moorman as a living sculpture: the Concerto for TV Cello and Video Tapes historical World Premiere, recorded at Galeria Bonino, New York City, 1971. More rough and primitive than the masterpiece recorded in 1982 in Chicago, these uncompromisingly obscure original recordings will not be included in the forthcoming 4CD anthology. 2LP set in gatefold cover reproducing photos of Charlotte Moorman with John Lennon and Yoko Ono playing the TV Cello at Galeria Bonino 1971 vernissage. Private edition limited to 200 copies." - Alga Marghen.
SOLD OUT

Artist: MOSCONI, DAVIDE
Title: La Musica Dell Anno Zero -1982
Format: LP
Label: Alga Marghen
Country: Italy
Price: $35.00
"Davide Mosconi, of NADMA fame, spent a few months in 1982 recording the fog horn sounds located in Scotland. These specially modified fog horns came from lighthouses, transmitting a specific long sound. By new digital means these foghorns were cancelled in the lighthouses. So these sounds were captured in these recordings, in gatefold sleeve with a b/w map reproducing the location, printed in an edition less than 200 copies." - Alga Marghen.
SOLD OUT

Artist: MOSCONI, DAVIDE
Title: Mosconi Wagner
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"In one of the last projects he conceived, interrupted by his premature death in 2002, Davide Mosconi chose to absolutize as "concrete" sonic data the complete cycle of Wagners Ring. Mosconi, an artist equally divided between the sonic universe and the visual sphere, perhaps could not resist the temptation of picking up the torch -- to intentionally fan the flame -- of he who made the Gesamtkunstwerk one of the theoretical groundings of his futuristic ideology and therefore inspired a never-more-to-be-soothed utopia in the phenomenology of contemporary arts. It is not surprising that even John Cage in one of his rare but precisely aimed iconoclastic incursions intended to refer to the Wagnerian tetralogy to ensure the translocation of this speculative object to a metalinguistic mimesis: in 1987, with the complicity of the director Frank Scheffer, he reduced Wagners Ring to a short film in which The Ring of the Nibelungs prologue and three days breeze by in a single sequence accelerated to a spasm, finally approaching the approximate duration -- a detail not irrelevant -- of his celebrated silent piece (4:24 vs. 433"). MOSCONI WAGNER shares, by analogy, a similar metamusical inclination, but, opposed to Cages openly negative paradigm -- which nullifies the context by nullifying the text -- accepts a confrontation with the hypertrophic Ring concept, which it subsumes in its entirety. Mosconi, by a rigorous procedure of montage following a logic of stratification, is perhaps trying to obtain a paroxysm of unheard-of violence in the musical material, nourishing itself on Wagners music -- which is still structurally perceived as such -- almost like an organic lymph. He pushes to an extreme limit all the aesthetic and ideological pulsations that come together in Wagners concept of music drama and react like a muddle of inextricable opposing forces. Digipak CD limited to 300 copies; includes full-color booklet containing photos by Mosconi from the "Polvere" series as well as liner notes by Gabriele Bonomo, who supervised the final mix of MOSCONI WAGNER using the recorded material prepared by the composer and following his prescriptions." - Alga Marghen.

Artist: MOSCONI, DAVIDE
Title: Sezione aurea/Sezione ritmica
Format: Six LP Box Set
Label: Alga Marghen
Country: Italy
Price: $907.00
"Sezione aurea (dedicated to the artist daughter Tantra) was conceived at her birth in 1971 and started in 2000 thanks to the solicitations of Gabriele Bonomo and the good will of the Milanese record producer Emanuele Carcano. The work was born of an old desire of Davide Mosconi: make a music which will be always different at each playing, however without altering its constituent elements. Other works based on the same premise are Musica del Paradiso for the tower in the park in Hiroshima, and Opera Rotta for the La Scala theater. The first section of Sezione aurea with the title Sezione ritmica (i.e. Rhythmic Section) makes use of at least three turntables and monophonic amplifiers where the loudspeakers are placed in semicircle around the listeners. The discs themselves are mute (in the sense of having no recorded sound) but with lines traced on their surfaces by means of various pointed objects thus producing a variety of sounds. These signs are different for each face of the three records and generate a rhythmic cage with eight combinatorial possibilities never the same, just because it will never be possible to start the records in the same way. It is the same in the visual field when two graphic lenses are superimposed and moved against each other (the moiree effect). Ten signs are used to mark the records, which correspond to the five sides of a pentagram and those of a five-pointed star, inscribed in a circle of equal diameter to that of the disc; plus two radiating lines: one on a vertex of the star and the other on a vertex of the internal pentagram. The golden section of a circle takes on both algebraically and arrhythmically the property of the dominant geometry of the pentacle (associated with the Pythagorean tradition). The star-form of the pentagram is symbolic either of creative love or the beauty of harmony and of health (from Matila C. Ghykas The Golden Section, ed. Gallimard 1931). Each record of the Sezione ritmica 6LP box has been individually laser-etched at Fad Lab in Qatar over a period of 3 years. The whole process to release this edition took 14 years. An edition of 35 numbered copies is now available in a silk-screened box with diagrams and full liner notes. The world premiere of the installation with 6 record players has been presented during the Art Fair in Brussels this past April. The edition will be officially available for sale for the first time at ArtBasel on June 18th, 2014. Several installations are planned throughout 2015." - Alga Marghen.

Artist: MOSCONI/INEZ KLOK/GUSTAVO BONORA, DAVIDE
Title: Archi
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Issued for an art event presented at the Galleria Milano in the first week of April 2012, the recordings on this LP edition represent a very specific and intimate moment in the creative sound production of Davide Mosconi with NADMA associates Inez Klok and Gustavo Bonora. For Davide Mosconi and for all the artists and musicians involved in the groups he founded (the legendary NADMA, Organic Archestra, Il Quartetto, Alea), improvising sessions were a daily practice that founded their very idea of music: a constant flux, a spontaneous research as important as life itself, mainly carried out in their private spaces and homes. Sometimes, like in the case of Archi, these sessions were recorded giving us the chance to appreciate their unique sound approach coming from avant-garde experiences liberated by post-free jazz currents, as well as from classical studies or from experiences in the visual arts. Archi (i.e. Strings) features cellist and violinist Gustavo Bonora (a founding member of Il Quartetto, the core of what would become the larger improvising ensemble NADMA), harpist Inez Klok (also member of the NADMA as well as involved in Aktuala) and Davide Mosconi. This improvisation was recorded on September 24th, 1974, one year after the publication of the only NADMA LP by RCA. The continuous, fluid music of Archi perfectly succeeds in expressing the parallel influences of ecstatic Afro-American ethnic music and of the contemporary neo-avant-gardes. This trio, as well as NADMA and the other entities organized around the key figure of Davide Mosconi, was surely one of the most innovative among the collectives of improvisers active in those years in Europe (Incus, FMP and ICP) and USA (especially Sun Ra Arkestra and post-ESP derivative free spiritual artists on Strata East), creating a sound which was then unparalleled in the Italian improvised music scene. One time pressing limited to 330 copies." -Alga Marghen.

Artist: MUSICA ELETTRONICA VIVA
Title: Friday
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"The MEV group was formed in September 1966 by Alvin Curran, Richard Teitelbaum, Frederic Rzewski, Allen Bryant, Carol Plantamura, Ivan Vandor, and Jon Phetteplace. In the beginning they performed compositions by themselves and others which involved the use of electronic sound produced in real time, or live electronic music. In the summer of 1967, they began to work more with improvisation and less with determinate structures. MEV focus more on interpreting the moment, rather than constructing repeatable programs; creating meaningful rituals, not images; becoming involved with the process, the operation, and not with the result of it, or its effects on people. MEVs music is highly eclectic, resisting ready classification by combining elements of improvised music, computer music, world music, jazz and classical composition, without being clearly definable as any one of them. Being creatures of the 60s, MEV members partook of many of the apparent contradictions which the very richness of those extraordinary times, made possible mixing rationalistic social and political theories and action with magic, mysticism and hashish, musically juxtaposing pseudo-primitive rhythmic pulses, drones and chants with avant garde post-serial textures and techniques, inter-connecting organic rhythms of the human body with cutting edge, high-tech synthesizers. But by maintaining an attitude of openness, acceptance, and inclusiveness that allowed for any and all things to co-exist equally, and refusing to regard such dichotomies as contradictions at all, they made what were undoubtedly among MEV, major contributions. For the realization of Friday, recorded in London in May 1969, MEV were Frederic Rzewski (piano, electronics, etc.), Alvin Curran (flugelhorn, etc.), Richard Teitelbaum (Moog synthesizer), Franco Cataldi (trombone, etc.), Gunther Carius (saxophone, etc.). The main theme around this MEV piece is communication. Communication by means of music can be a very efficient means of reaching quick agreement among large numbers of people, because when you call something music, you have tacitly accepted a convention by which it is understood that the sounds that you make have no particular meaning, they are just sounds and therefore free to serve the general purpose of pure communication. Music can bring people together where language divides them. When this happens, the concert will come to resemble other other liberated forms such as the party or the day-off, themselves secular remnants or earlier ceremonies. MEV music is not meant to impress people, but to liberate them. This CD is included in a beautiful digipack full-color sleeve with photos and liner notes. Also included is an 8-page booklet with an essay on Friday by Frederic Rzewski as well as MEV Then and Now by Richard Teitelbaum." Alga Marghen

Artist: N.A.D.M.A.
Title: Paura
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"N.A.D.M.A. was officially born between August and the beginning of September 1972 during the time spent in a little village in the Tuscan-Emilian Apennines. The identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sensibilities coming from avant-garde jazz experiences liberated by post-free currents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. All the group members assimilated and creatively incorporated the most progressive influences of Afro-American music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-European, especially African, musical cultures. The Natural Arkestra Da Maya Alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by RCA in 1973. The group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. The concerts took place mostly in Milan during 1973-74. The CD starting this series, Paura, is named after the first track of the N.A.D.M.A. concert at Circolo Lepetit in Milan in March 1973, presented here in its entirety. In this concert, the very first live concert preserved on tape, N.A.D.M.A. already." - Alga Marghen.

Artist: NEUHAUS, MAX
Title: The New York School: Nine Realizations of Cage, Feldman, Brown
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"2004 release. Previously-unreleased recordings, made 1964-1968. Different realizations than those featured on the Columbia LP Electronics and Percussion -- Five Realizations from 68. The term "New York School" refers to a circle of composers in the 1950s who orbited around John Cage: Morton Feldman, Earle Brown, Christian Wolff and David Tudor, above all. Their music paralleled the music and events of the Fluxus group, and drew its name from the New York School of mostly Abstract Expressionist painters who had got their start in the 40s: Motherwell, Pollock, de Kooning, Rothko, and Kline. What brought these artists together was a faith in the liberation of the unconscious and an excitement drawn from the street energies of Manhattan. This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of "Four Systems - For Four Amplified Cymbals," recorded between 1964 and 1968), Morton Feldman (three realizations of "King of Denmark," recorded between 1965 and 1968) and John Cage (one realization 64 and two realizations 65 of "2710.554""). All three composers conformed to the ethos of the 60s, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrument or of a tape with concrète sounds in the Cage performances) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music. This edition includes a 16-page booklet with original photos and concert programs, Max Neuhaus own comments on the original scores, an editorial note by John Rockwell, and reviews by Malcolm Goldstein and Theodore Strongin." -Alga Marghen.

Artist: NEUHAUS, MAX
Title: Zyklus
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
Four previously unreleased realizations of "Zylus" (different recordings than the one featured on the Columbia LP Electronics and Percussion -- Five Realizations (CD: SICC 79). Recorded 1959-68. "The term New York School refers to a circle of composers "Zyklus was written in 1959 and is one of the first solo pieces to utilize such a large number of percussion instruments (twenty one). When Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausens idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it. Coming from the world of jazz Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing twenty one simultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre. Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform Zyklus on the first American tour. Stockhausen came over to New York to hear Neuhaus play, but he wasnt satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before. Each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This CD also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetic of freedom and control. This edition includes a 12 pages booklet with original photos of both official concerts and performances for invited audiences, Max Neuhaus own comments on the original score and an editorial note by John Rockwell." - Alga Marghen.

Artist: NEUHAUS, MAX/JOHN CAGE
Title: Fontana Mix-Feed
Format: LP
Label: Alga Marghen
Country: Italy
Price: $32.00
Original 2002 release.

Artist: NITSCH, HERMANN
Title: Requiem für meine Frau Beate: Musik der 5.6.Aktion
Format: Double CD
Label: Alga Marghen
Country: Italy
Price: $44.00
"Alga Marghen proudly present the documentation of Requiem für meine Frau Beate, which took place in the Chiesa di Santa Lucia in Bologna, Italy, in 1977 shortly after Beate Nitschs death. This was not only one of the strongest and most powerful aktionen by Hermann Nitsch but also a crucial point in the development of his art. Beginning in 1977, Beate Nitsch was travelling in Schwarzwald. She has been inaugurating a nursery-school and wanted to meet some relatives in Stuttgart when, near Ulm, she had a terrible car accident. Beate had supported her husbands art not only sharing the sentimental part of their life but also actively collaborating to the organization of his work. She organized the purchase of a castle in Prinzendorf, the central place where Nitsch would develop his Orgien Mysterien Theater. For Hermann Nitsch, this loss was a complete collapse. He suddenly felt to be on the opposite side of life, alone and full of despair. In those days, he reached the deepest point of black unhappiness. Nitsch decided then to go Naples where he organized a Lehraktion at Morra Gallery. His friend Kubelka joined him from the USA. During the Lehraktion, he was told about a big Performance Festival that would have taken place in Bologna. Nitsch was invited to participate with an aktion to be performed in a big old church. It was clear to Nitsch that he would have conceived an aktion dedicated to the memory of Beate. A requiem, even. Before the aktion in Bologna, Hermann Nitschs music was basically released as a wall of noise. The musicians could play what they wanted and the only instruction was to play as loud as possible. Only the duration, the starting point and the noise level of each instrument was fixed. For the first time with the Requiem, Nitsch started to conceive longer tone clusters, specially for the wind instruments. The perfect acoustics of the church with its wonderful organ, which shocked Nitsch with its intensity and power, suggested him a new direction in music. Among the lucky audience were many friends coming from all over the world to witness the event. For everyone the Requiem was an important and ecstatic experience. The big success of the aktion gave Nitsch the strength to continue his work. Shortly after Bologna he was invited to create new aktionen in Canada and Los Angeles. First time 2CD edition, in tri-folded digipack, reproducing the impossible-to-find 3LP art gallery edition issued in Naples in 1977 for the Radiotaxi series. Including a 12-page folded insert with drawings and directions from the LP boxset original graphics. This edition also includes a 32-page shocking full color photo documentation of the aktion, for the first time available now. Edition of 1000 copies." - Alga Marghen.

Artist: PALESTINE & SIMONE FORTI, CHARLEMAGNE
Title: Illuminations
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Alga Marghen proudly presents the first ever release of Illuminatios, or Charlemagne Palestine and Simone Forti duo interactions, illuminated with dim red lights. In early 1970 Mort Subotnick asked Charlemagne Palestine to join his soon to be created Media Department at the new Dream School of the Future endowed by the Disneys to be called the California Institute of the Arts. Charlemagne and Simone Forti met there in 1970, when La Monte Young asked them to arrange a California concert for Pandit Pran Nath. They decided to try an improvisation session together and Charlemagne invited Simone the first time to the electronic music studio where he worked regularly. Their medium blended as a play of interacting sound waves and solid matter in motion as Charlemagne and Simone shared energy and focus. The three previously unreleased recordings on this LP were made between October and December 1971. The first take, titled Illumination, is for two voices moving in the space with small bells and crystal glasses while Simone Forti plays the molimo, a corrugated tube meant for connecting the gas stove. The second take titled, Wed Oct 13th 1971, has Simone and Charlemagne in a song dialogue as animals do. It was also at Cal Arts that Charlemagne Palestine first encountered a Bosendorfer Imperial Piano of Vienna. He played it often as Simone danced during their Illuminations. Take three is a song sang in falsetto while playing the Bosendorfer Imperial in an arpeggiated style that predates the strummings. Listening to these three takes 40 years later, they ooze a timeless, carefree mystical, magical, dreamy atmosphere that evoked the times of the late 60s to early 70s in Charlemagne and Simone part of the California Art Scene. Illuminations were a unique open spontaneous form of performance, ritual and prayer. Edition limited to 365 copies with an essay by both Charlemagne Palestine and Simone Forti, as well as photos of the performances reproduced on the LP front sleeve." - Alga Marghen.
SOLD OUT

Artist: PALESTINE, CHARLEMAGNE
Title: Alloy (Golden 1)
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
“Originally released in 2000. The Golden Research is the name chosen for the complete documentation of previously unpublished works by Charlemagne Palestine starting from the early 1960s to the mid-late 1970s. Such a huge project will include seminal collage and electronic music, Bell Studies, New York and California drones, piano drones as well as more specific compositions. All the recordings will be exclusively available through Alga Marghen. Be ready to change your own opinion about minimalism and music in general? Holy1 and Holy2 were both recorded in NYC in 1967. Charlemagne Palestine was listening to a lot of ethnic world music; he was also immersed in the late night New York soundscape, absorbing the spatial sound diversity and beauty that such a big city could only express very late at night. He also worked at night building up a sound, oscillator by oscillator; then adding tiny increments of white noise that would gradually make the sounds thicker and thicker until they were immense sacred machines humming like gargantuan Tibetan bees. The sounds were played very, very loud, making all the objects in the room resonate, while outside all was quiet and sleeping. Holy1 & Holy2 were done this way. Then, in 1969, Tony Conrad asked Charlemagne Palestine to make some carillon music for his film Coming Attractions. They were seeing each other regularly when the Free Music Store of radio station WBAI asked Palestine to create a piece for an event they were preparing to broadcast live on radio. So he asked Tony, his saxophonist Bob Feldman and his then-wife and soprano Deborah Glaser to collaborate on a work that he would organize around an instrument that he invented at that time called an Alumonium. Tony Conrad played an instrument that he invented, the Long String Drone, that was a long string attached to a long wooden structure and amplified. Bob played the chimes and a conch. Deborah sang and played chimes and Charlemagne sang, also played the chimes and some percussion instruments that they found lying around the hall where they played. The piece became Alloy and the sound used as an all-electronic background continuum, played through loudspeakers in the hall, were Holy1+2 from 1968. Digipak CD edition with folded insert and liner notes.” - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Bells Studies
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
“Edition of 400 copies. Includes original photos from the recording sessions. High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, Charlemagne Palestines "HellsBells" became the sonic mainstay of 53rd Street and 5th Avenue, NYC, from 1963 to 1970. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if hed be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time above 53rd and 5th, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. This LP collects some of the most relevant recordings from those early days. Side A presents the complete reel-tape "Bells Studies," an intense, pulsating work in five movements. It begins with slow, hypnotic, large sonorities and accelerates into more dense and maximal explosions. Side B collects some shorter studies: "Bells," the two parts of "Confiscated Bell Tape," and an excerpt from "Dumb Bell Tape." Each track was recorded by the composer in single takes around 1965 and unheard since, until now.” - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: CharleBelllzzz at Saint Thomas (Golden 666)
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Presented in tri-fold digipak sleeve. Alga Marghen presents the "sixSIXsix"th installment of its Golden Research Charlemagne Palestine archive series: CharleBelllzzz at Saint Thomas. These previously unreleased recordings of Palestines "Bells Studies" are both some of his earliest recordings and some of his darkest and most accomplished works. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if hed be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time high above 53rd Street and 5th Avenue, accessible only by a spiral staircase, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. "Bells Carillon" and "St Thomas Bells," both recorded at unidentified dates between 1966 and 1968, are maximal-bells-pure-resonating frontal attacks, building up in a structure that anticipates the later Strumming campaigns (SR 297CD). Unique and clashing dissonances created like an instinctive, spontaneous outburst. Palestine played the bells right next to his body. The sounds became physical, visceral; each crack of the clapper was like a small earthquake." - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Four Manifestations On Six Elements
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"2015 remastered version of Alga Marghens 2010 reissue of the Sonnabend Gallerys 1974 limited edition double LP. Presented in digipak sleeve with full-color 12-page booklet including two essays, originals score, and visual materials relating to the composition. Alga Marghen presents the fifth installment of its Golden Research Charlemagne Palestine archive series: Four Manifestations On Six Elements, one of Palestines most well-known works. In 1973 the Sonnabend Gallery in New York commissioned Palestine to make Four Manifestations On Six Elements. "Two Perfect Fifths, a Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre -- sound color -- through exploration of the inert chemical activity in the overtone series of tone fundamentals. This genre of Palestines work is akin to a kind of sound alchemy, blending elements over and over again in search of the Golden Sound: the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, in the Rhythm 3 Against 2, for Piano" (1973), Palestine uses the resonant Bösendorfer piano to create a more lively and complex variation of tones, intervals, overtones, and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different, as Palestine reinterprets these simple elements and listens within them for variations of amplitude, mixture, and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually, by adding the sustain pedal, the external rhythmic pattern begins to internalize, becoming an inert part of the whole timbral fabric -- a piece expressing the struggle for dominance between rhythm and timbre. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel, and Monet. "Three Perfect Fifths, a Major Second Apart, Reinforced Twice" (1973) is the complexification and continuation of track one. A pure and sonorous phenomenon.." -Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Four Manifestations on Six Elements
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $284.00
"One of Charlemagne Palestines most well-known works, Four Manifestations on Six Elements is presented here as a 2LP record edition limited to 180 numbered copies, the first publication of Algamars, the new sonic art division of Alga Marghen. The gatefold sleeve is silkscreened in one color and presents a signed drawing by Charlemagne Palestine on the front cover. In 1973 Charlemagne Palestine was commissioned to make Four Manifestations on Six Elements by the Sonnabend Gallery in New York. As the gallery was well known for its presentation of conceptual art, Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. "Two Perfect Fifths, a Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre and sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemist -- blending elements over and over again through the years searching for the "Golden Sound" -- the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, in the Rhythm 3 Against 2, for Piano" (1973) the elements introduced are now elaborated upon on the piano. The resonant Bösendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal, the external rhythmic pattern begins to internalize, becoming an inert part of the whole timbral fabric -- a piece expressing the battle of rhythm versus timbre for dominance. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel and Monet. "Three Perfect Fifths, a Major Second Apart, Reinforced Twice" (1973) is the continuation of wall one. A pure and sonorous phenomenon. Edition limited to 180 signed and numbered copies in a silkscreened gatefold sleeve, with an original drawing by Charlemagne Palestine on the front cover." - Algha Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Four Manifestations on Six Elements
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $130.00
"One of Charlemagne Palestines most well-known works, Four Manifestations on Six Elements is presented here as 2LP record edition limited to 120 numbered copies pressed into white vinyl. The gatefold sleeve is silkscreened in one color and presents the original score from 1970. In 1973 Charlemagne Palestine was commissioned to make Four Manifestations on Six Elements by the Sonnabend Gallery in New York. As the gallery was well-known for its presentation of conceptual art, Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. "Two Perfect Fifths, A Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemy -- blending elements over and over again through the years searching for the Golden Sound - the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano" (1973) the elements introduced are now elaborated upon on the piano. The resonant Bosendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize becoming an inert part of the whole timbral fabric -- a piece expressing the battle of rhythm versus timbre for dominance. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel and Monet. "Three Perfect Fifths, A Major Second Apart, Reinforced Twice" (1973) is the continuation of wall one. A pure and sonorous phenomenon." - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Holy 1 & Holy 2
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $60.00
"Holy1 and Holy2 (both composed in 1967) were edited in 1999 by Charlemagne Palestine and interconnected through a long cross-fade; the wonderful 30 minutes resulting from the editing are to be heard on the Alloy CD. At the same time it was also decided to produce a double-LP featuring the uncut, original Holy1 and Holy2 in their full duration beauty. The complete 42 minutes of Holy1 were printed on side A and side B. The shorter Holy2 was printed on side C. As the composer underlines these 2 compositions may also be played  simultaneously, creating a new original work, as it happened in the late 1960s when he used them as a texture for an experimental dance piece. This double-LP was designed to give the chance to recreate the environment resulting from the simultaneous playback of Holy1 and Holy2. A sound installation to be privately performed at home by playing the records in the same moment on two turntable systems (side A+C or B+C). The very subtle variations of the two compositions generate a continuously changing and never ending sound environment. Side D features the music of Holy1 + 2 created in 1968 for Gus  Solomon, a choreographer at New York University and student of Merce Cunningham. Edition of 380 numbered copies." - Alga Marghen.
SOLD OUT

Artist: PALESTINE, CHARLEMAGNE
Title: In Mid-Air (Golden 3)
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Originally released in 2003. The first electronically generated sounds thatCharlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especially the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the electronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous "Podme Electronique" of Varèse, Xenakis and "Gesang der Junglinge" of Stockhausen. He immediately reacted buying a cheap reel-to-reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sound waves looked and sounded like through an oscilloscope and he began studying Helmholtzs On the Sensation of Tone. He started dreaming of an expressive, continuous, ever-moving, ever-changing sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems, the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid, ever-changing mix of adding or filtering overtones and white noise to create sonorities, constantly changing timbres, and weight. Five early electronic compositions including "Sine Tone Study" (1967); "Open Closing" (1968), created through speed alterations of "Holy 1+2"; "Seven Organism Study" (1968); "Negative Sound Study" (1969) and "Timbral for Pran Nath" (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously-unreleased. 3-folded digipak cover with original photos and liner notes written by the composer." -Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Negative Sound Study
Format: One Sided LP
Label: Alga Marghen
Country: Italy
Price: $32.00
"Negative Sound Study" was composed in 1969 directly on a historical Buchla 100-System experimental synthesizer available at the Intermedia Centre of the New York University. Charlemagne Palestine was dreaming of an expressive continuous evermoving, everchanging sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white niose to create sonorities constantly changing timbres and weight. "Negative Sound Study", remained unheard for the last 33 years, is one of the purest and most compelling works for electronic sonorities ever composed. LP edition of 290 copies only." - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Relationship Studies
Format: LP
Label: Alga Marghen
Country: Italy
Price: $33.00
"Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or Relationship Study No. 1 (1967) and the generally titled Electronic from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated, Charlemagne Palestine bought primitive electronic equipment and started to experiment, creating his original electronic-esque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid, ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s, these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies." -Alga Marghen
SOLD OUT

Artist: PALESTINE, CHARLEMAGNE
Title: Running and Chanting and Falling and Ranting
Format: CD/Book
Label: Alga Marghen
Country: Italy
Price: $68.00
"Privately issued by the artist in collaboration with Alga Marghen, Running and Chanting and Falling and Ranting is quite a unique book presenting images from Charlemagne Palestines complete video productions. "Body Music I" (1973) and "Body Music II" (1974) were Palestines first incursions into the video medium. They were followed, from 1974 until 1979, by a series of works that together form one of the seminal and most distinctive bodies of conceptual, performance-driven video of that decade. As a composer, performer and visual artist, Palestine has gained international recognition for his influential music, sound compositions and performances across six decades. His psychodramatic video works of the 1970s, which are less well known, transform and extend his sound and performance art into the electronic medium. Throughout these pieces, Palestine activates ritualistic movements and vocal expressions (hypnotic chants, screams, keening wails) as outward articulations of interior states. The very titles of these fervent enactments suggest extreme physical and psychological catharses, release and escape. Palestines video works of the 1970s are visceral, raw, urgent. While his video works must be seen in dialogue with Palestines music and performances (his signature objects like stuffed animals, cognac, and scarves appear across media), they also speak to the specific conditions of early video art practices and the wider alternative art scene and countercultural sensibility of the era. Palestines unruly, unpredictable performance videos emerged in the context of an equally unruly and unpredictable landscape of art-making in the 1970s. As art practices moved away from object-making towards an emphasis on process, the prevailing discourses of conceptual art and post-Minimalism were manifested in the dematerialized gestures of Body Art and performance, and in hybrid forms such as installation, experimental music, expanded cinema, intermedia art, and video. The nascent video art scene was further cross-pollinated with generative ideas and influences that ranged from technology and television to cybernetic theory and political activism. The presiding spirit was one of experimentation, ad hoc and collective processes, and improvisation, a renegade ethos tracked in the decades underground art from counterculture to punk. The book includes an essay by Lori Zippay titled Body Music: Charlemagne Palestines Video Rituals, a long interview by Serpentine Gallery directorHans Ulrich Obrist as well as a CD with the full soundtracks of "Body Music I," "Body Music II," "Island Song," "Running Outburst" and "Tying Myself Up." 254 color pages, A4 size. Co-release with Filipson Editions." - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Sacred Bordello
Format: Book/CD
Label: Alga Marghen
Country: Italy
Price: $72.00
"As one of the most influential figures of experimental music and performance Charlemagne Palestine has remained an enigma. Unlike his illustrious contemporaries Terry Riley, John Cale, Steve Reich and Phillip Glass little has been written on Palestine and his continuing influence. In his own right, he was and remains today a pivotal personality whose research in musical composition and performance has been characterized over the years by its incantatory repetitiveness, its flamboyance and its mysticism, but also by its violence. Born in Brooklyn in 1947 his first musical experiences were as a cantorial singer in the synagogues of New York. Through his contact with Tony Conrad Palestine was soon introduced to the thriving experimental art scene of the late 1960s. The circles around Andy Warhol and La Monte Young provided a crucial backdrop for Palestines work which increasingly extended beyond the scope of music. His groundbreaking appearances, which combined violent piano playing, performance, video and installation, were considered to be amongst the most radical musical experiences, leaving a lasting impression on followers such as Arto Lindsay, Glenn Branca, Sonic Youth, and the Sex Pistols as well as Tintin creator Herge. His musical oeuvre escapes any ready categorisation Brooklyn, is a synthesised drone mixed with field recordings of a festival. Palestines epic durations, microtonal trembles and dense overtones are reoccurring features in contemporary industrial and electronic music. Palestines unique style of singing, Indian singer Prandit Pran Nath Charleworld, were crucial influences on artists such as Mike Kelley and Paul McCarthy. Through recent collaborations with Barcelona based techno duo Pan Sonic and David Coulter (Kronos Quartet) Palestine remains a crucial contributor to todays experimental music scene.  A wonderful full colour book (size cm. 23,50x18,50), with flexicover, 192 pages including essays, scores, original photos of both performances and installation. The most complete documentation on Charlemagne Palestine art. The compact disc will feature the 60 minutes recordings of a lecture that Charlemagne Palestine gave on March 7th, 1975 at ArtNow Centre in Canada. After the performance of a strumming music concert, the author freely speaks about his music, the philosophy beyond his composition techniques and art involving the students in some kind of magic ritual. Starting as a question and answer conversation, the lecture develops into an intimate speech in which particularly private subjects are discussed. The lecture ends with a particularly touching suspended atmosphere showing how real communication in universities should be. The compact disc also includes a breathtaking multi-layer voice study of the early 1960s never published before on record, very similar in sound and structure to the electronic music studies just issued by Alga Marghen." - Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Sharing A Sonority
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Alga Marghen proudly presents a new chapter in the documentation series of Charlemagne Palestines historical works. This CD of previously unavailable recordings not only presents you Charlemagne Palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the New York loft scene and Cal Arts, but also features world premiere recordings of Terry Jennings and The Fundamental D Flat Group. Short & Sweet is the title of a breathtaking duo for piano and sax performed on April 24th by Charlemagne Palestine and Terry Jennings. The two composers happened to play together in very private concerts at Cal Arts, but never recorded those sessions, until a special day when Charlemagne happened to have a little tape recorder around. The recording was considered lost for more than 30 years, when finally a copy was found thanks to Tony Conrad. The piano part reminds some of the early pieces by Charlemagne Palestine titled Piano Drones (as the one pre-dating of a couple of years this duo and presented on the Continuous Sound Forms CD issued on Alga Marghen. The liner notes of the same CD mention this duo with Terry Jennings at the time considered lost). Terry Jennings soprano sax is very elaborated and decorative. Around 1967, Charlemagne was experimenting mainly with voice and electronics. He also occasionally recorded piano and sax improvisations with his friend Bob Feldman. This CD featured a very special duo by Palestine and Feldman playing electronics and flute. The two artists met in 1961 when Bob Feldman worked in a jazz record shop in the Times Square subway station. Palestine didnt know much about jazz and Feldman guided him through the new progressive jazz styles of the times. Later at the Intermedia Center of NYU where they had a Buchla synthesizer, Charlemagne and Bob Feldman experimented between jazz raga and electronics. Very little was recorded. This is one rare duet that dates probably from around 1967. The last track on this CD is the first 30 minutes of a recording from April 22, 1972 by The Fundamental D Flat Group performing in Db. During one trip back to NYC from Cal Arts, Charlemagne Palestine was invited by Tony Conrad (together with Rhys Chatham) to Albright College in New Jersey for a Sunday afternoon concert. That was the first and last time The Fundamental D Flat Group played in public (Tony Conrad: violin, horn, string drone; Rhys Chatham: flute, organ, string drone; Charlemagne Palestine: voice, pipes, snifter). Although the piece lasted all afternoon, the first 30 minutes were the only portion recorded during the performance. The Fundamental D Flat Group invite you to listen and meditate in the mode of Db. To hear this is to enter the deepest realm of knowledge of the sound current. The ear, the understanding, and the core of the spirit resonate to the mode of the single tone and its harmonic family. You read, and hear, and feel the empathy of human spirit. This CD is housed in a beautiful digipack with a full color sleeve with photos and liner notes. The edition presents some of the best recordings ever issued by Charlemagne Palestine, a highlight in the Alga Marghen catalog and a unique chance to listen to the core of Charlemagne Palestine." -Alga Marghen

Artist: PALESTINE, CHARLEMAGNE
Title: Sound 1
Format: LP
Label: Alga Marghen
Country: Italy
Price: $32.00
"As the title well underlines, Sound 1, electronic sonority is a starting point in Charlemagne Palestines research for the Golden Sonority. Previously unpublished, this radical and fundamental work has now been released on LP record in collaboration with the New Media Dept. of Centre Pompidou (National Museum of Modern Art) in Paris for the first Oeuvres Sonores event, December 15th, 2008. Charlemagne Palestine started to dream of an expressive, continuous, ever-moving, ever-changing sound-form; an enormous sonorous 3-dimensional sculptural canvas in mid-air, using electronically-produced sounds. At first, he began experiments with simple sine tone generators, emitting the purest sound waves without any overtones. Then, gradually, with access to Moog and arps, he constructed sounds using the sine/sawtooth/square wave oscillators in a fluid, ever-changing mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Palestine experimented in this way from 1964 till 1974 in NYC and then, in California. Finally, he assembled his own drone machine of 16 ultra stable oscillators designed by Serge Tcherepnin and 4 band pass filters designed by Donald Buchla. He would build up a sound, oscillator by oscillator, then add ever-so-slightly to the oscillator input, tiny increments of white noise that would gradually make the sounds thicker and thicker, until they were immense, sacred machines humming like gargantuan Tibetan bees. Charlemagne played them very, very loud, making all the room and objects in it resonate, while outside all was quiet and sleeping. He worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, mixing, adding, and then lying on the mattress and listening and fine-tuning. Finally, at a certain point, after several nights, the sonority seemed ready to record. Hed put on the tape, prepare the tape machine with the proper level as not to overload it, and record the texture. This 1-sided LP was issued in an edition limited to 500 copies. Includes a 25-page program booklet, including an essay by Charlemagne Palestine and artwork by John Giorno." -Alga Marghen

Artist: PALESTINE, CHARLEMAGNE
Title: Two Electronic Sonorities
Format: LP
Label: Alga Marghen
Country: Italy
Price: $28.00
"Alga Marghen proudly presents two seminal electronic music radical realizations by Charlemagne Palestine. These previously unpublished pieces confirm once more how advanced his Golden Research already was in the 1960s, a very personal approach to sound which would have later become so influential for future generations. Continuous Sound, built by an ever-changing mix of adding and filtering white noise and simple sine tone generators, is the most solid sound construction that Charlemagne created in preparation of his lost electronic masterpiece LAvventura, inspired by the Michelangelo Antonioni movie with the same title. Continuous Sound pre-dates LAvventura of just a few months and with its suspended atmospheres and its deep sense of mystery represent one of the most fascinating sonic works by Charlemagne Palestine. Crown Chan is an electronic music piece created for a dance by Gus Solomon in 1970. Conceiving music for dancers gave Charlemagne the possibility to experiment and manipulate the reel tapes of some of his electronic sonorities. In a previous collaboration with Gus Salomon, Charlemagne created a new sound by simply superimposing two already existing and accomplished electronic drones. Holy1 and Holy2 thus became a completely new sonority titled Holy1+2 (these works were included in the CD titled Alloy, also issued by Alga Marghen). In the case of Crown Chan Charlemagne worked in a more structural way, shaping his electronic sound materials into two stereo reel tapes (titled Crown Chan 1&2 and Crown Chan 3&4) which also integrated silent parts and were meant to be played back simultaneously, thus providing a powerful live music for the dancers. Edition limited to 380 copies, with an institutional portrait of the composer on front and back sleeve for you consumers to enjoy." -Alga Marghen.

Artist: PALESTINE, CHARLEMAGNE
Title: Voice Studies
Format: LP
Label: Alga Marghen
Country: Italy
Price: $27.00
"The VocSon series presents on limited edition LPs the most advanced international vocal experiments and is mainly dedicated to the documentation of sound poetry. This series includes now the new LP record by Charlemagne Palestine titled Voice Studies. Charlemagne Palestines introduction to music or sound was first with his own voice. He began at four years old to sing versions of popular songs and operas in his own way. Later on, a director of a Jewish sacred music choir auditioned him to sing with them, Charlemagne was seven years old at the time and for the next seven years, he sang all over the East Coast and the U.S. as a member of a choir that sang with many of the greatest European Chazans (Jewish Sacred Singers) who had fled Europe during the rise of anti-Semitism and resettled in America. From them he learned to sing in a long chanting style with his own natural voice. At the same time he met Pran Nath, the master of Kirana singing and studied a short time with him as well as Javanese singing with Ki Wasito di Puro at Cal Arts. Over the years, Charlemagne Palestine has performed and recorded vocal works as an important part of his output as a sonic artist. This LP includes the very early Surrealistic Studies, recorded in Brooklyn in the beginning of the 1960s. Using a Webcor reel-to-reel tape recorder and discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. No other electronic sound manipulation techniques were used. Voice + Piano Study I & II are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. Recorded at Cal Arts on September 29th, 1971. Voice Study was recorded in Manhattan in the mid-1960s. In this study Charlemagne sings in a falsetto duet with himself on two separate tracks. Sung in a resonant space reminiscent of a synagogue in the falsetto voice that he began to develop from Jewish male sacred chant falsettos. He searches for intervals that resonate together and respond like electronic sound wave oscillators played against each other. Finally, there is the fantastic 6-minute Beauty Chord + Voice with Charlemagne playing piano and singing. Edition limited to 385 copies." -Alga Marghen
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Artist: PATTERSON, BEN
Title: A Fluxus Elegy
Format: One Sided LP
Label: Alga Marghen
Country: Italy
Price: $25.00
One-sided LP in an edition of 345 copies. "The new Ben Patterson piece, issued on Alga Marghens VocSon series, is based on the basic principles of the polyphonic music of the Bantu tribes of West and Central Africa. First principle: the practice of interlocking individual pitches or tones performed by one person into spaces between other pitches or tones performed by another person, thus alternating pitches or tones of one part with those of another part to create a whole. Second principle: use of cyclical and open-ended forms involving one or more ostinato melodic/rhythmic pattern as a foundation. Third principle: community participation...non-specialists are encouraged to join in long performances with much repetition. Fourth principle: rhythmic complexity with the juxtaposition of double and triple patterns, multiple layering of different patterns, and interaction between a core foundation and improvised parts. And, most important, the family ownership of a specific tone: in the musical culture of these tribes, each ancestral family owns and is responsible for one or more specific tones, which must be sounded at specific points, sequencing with the many other specific tones owned by other families, to create a seamless melody. Ben Patterson made a music based on this information by taking the initials of artists listed in Fluxus: The Most Radical and Experimental Art Movement of the Sixties and encoding them in basic International Morse Code. These dots and dashes were then performed on a Yamaha DJX keyboard (voice pattern setting), connected to a Digitech JamMan Looper (over-dub setting), connected to an Eurorack MX 602A mixer. Front cover reproducing the original score." - Alga Marghen.

Artist: PATTERSON, BEN
Title: Born In The State Of FLUX/us
Format: Double CD
Label: Alga Marghen
Country: Italy
Price: $51.00
"Published for the opening of Ben Patterson first large retrospective exhibition at the Contemporary Art Museum in Houston, this double CD anthology includes both historical recordings taken from the Early Works (issued some years ago by alga marghen), from 370 Flies CDs (an art multiple also issued by alga marghen and long sold out) as well as the first digital version of the no longer available LP titled A Fluxus Elegy and a previously unpublished track. The first CD starts with the first ever recording of Ants (1960), one of Ben Patterson first graphic scores, pre-dating the Fluxus group. Also included in this CD are two essential 1961 documents: Duo For Voice And A String Instrument and Variations for Double-bass, both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. Two more tracks titled Paper Piece(1960), the work that cut the umbilical cord to all of the authors previous classical and contemporary musical training and experience, and Pond (1962), a piece that reminds of Richard Maxfields electronic music with voice collage, see the collaboration of Philip Corner, Walter Marchetti and Davide Mosconi. The second CD includes more recent works as A Simple Opera (1995), a repetitive hommage to Emmett Willons on his 70th birthday, also recorded in collaboration with Philip Corner, Walter Marchetti and Davide Mosconi; 370 Flies (2003) for electronic loops and voice; as well as A Fluxus Elegy (2006), previously issued on Alga Marghens VocSon LP series and based on the basic principles of the polyphonic music of the Bantu tribes of West and Central Africa, applied to the initials of artists listed in Fluxus: The Most Radical and Experimental Art Movement of the Sixties, through encoding them in basic International Morse Code. Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avantgarde music classics, a crossover between John Cage exploding influences and the experimental art atmosphere of the early 1960s in Europe. Edition limited to 200 copies in silkscreened digipack sleeve, including a 4 page folded insert with liner notes, original score as well as performance photos and program from the 1962 concert at Galerie Parnass, Wuppertal." -Alga Marghen
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Artist: PATTERSON, BEN
Title: Drip Music/370 Flies
Format: CDR
Label: Alga Marghen
Country: Italy
Price: $45.00
"Gerge Brecht Drip Music (1959). Realization by Ben Patterson, 2002. As the author wrote in the liner notes: Recently, as I was preparing a concert of classic Fluxus works, I decided to re-examine the original scores, rather than rely on my memory of preformances of the traditional interpretations of these works. Thus, I discovered that George Brechts original instructions for Drip Music allowed for both a single source or multiple sources of dripping water. Remembering Georges first career as a chemist, employing laboratory equipment to produce multiple, dripping sources seemed appropriate. A device was constructed including 3 gerbil water bottles suspended from metal rods and a piece of molded plastic packaging, amplified with contact microphone. Only micro adjustments were made to provide differing drip frequencies. No electro-acoustic manipulations or editorial tricks. Also included is Ben Patterson 370 Flies (2003), dedicated to the double-bassist Sylvester Paumgartner (178?-18??) for inspiring this work. A list of artificial flies names read over the sound loops derived from the fourth movement of Franz Schuberts String Quintet, D 667 op. post. 114, the Trout Quintet. An artificial fly is included on front cover, while a reproduction of the Drip Music score is stamped on the back cover. CDR edition limited to 200 signed copies." - Alga Marghen.
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Artist: PATTERSON, BEN
Title: Early Works
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
“2002 release. Alga Marghen proudly presents the first record ever produced by Ben Patterson: "This is not only my first CD, but also the first recordings of these works available to the general public." Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avant garde music classics, a crossover between John Cages exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: "Duo for Voice and a String Instrument" and "Variations for Double-Bass," both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. "Duo" was Pattersons most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while "Variations" represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; a collaboration with Philip Corner, Walter Marchetti, Davide Mosconi, and a few more friends. These newly-recorded pieces include "A Simple Opera" (1995), a repetitive homage to Emmett Williams on his 70th birthday; "Paper Piece" (1960), the work that cut the umbilical cord to all of the authors previous classical and contemporary musical training and experience, and "Pond" (1961), a piece that reminds of Richard Maxfields electronic music with voice collage. The edition includes a fold-out 16-page insert with original scores and photos.” - Alga Marghen.

Artist: POTAGE, MICHEL
Title: Occupe
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"alga marghen presents one of the treasures of the French avant scene of the 1970s, published now for the first time. An ideal parallel to Jac Berrocals cult LP Paralleles, the realization of these pieces, recorded by Daniel Deshays and produced by dAvantage in 1977 that also conceived a very elaborate sleeve design, was mysteriously discontinued making this record one of the lost jewels of the French underground. Together with Michel Potage (voice and various instruments) and Jac Berrocal (trumpet, valve trombone, tibetal oboe, percussions), the same ensemble that recorded Berrocals Paralleles, or Pierre Bastien of Nu Creative Methods fame (bass, Tibetan reed instruments, trumpet, voice), the father of French free jazz Bernard Vitet (bugle, trumpet, reed instruments, violin, voice), Roger Ferlet (trumpet, slide trombone, voice), Claude Parle (accordion, reed instruments, voice), Françoise Achard (voice, chant, lao mouth organ, balano, rainstick), the legendary producer and sound engineer Daniel Deshays (voice), poet Jean-Marie Gibbal (voice) and a Ford Break (engine, speed, brakes, light, etc.), everyone is here following Michel Potages vision and enters into a magic sound territory. Michel Potage was co-founder with Berrocal of the dAvantage label in 1976, he played in the first Catalogue band (with Jac Berrocal and Jean-François Pauvros), a performer close to Julian Becks Living Theatre on one side and to James Chances no-wave Contortions on the other, musique concrete avant-gardist and poet of destroyed lyricism. After 3 years of collaboration in close connection with the author, alga marghen conceived a new layout with original photos of the recording sessions and proudly co-released this production with dAvantage. The sound was restored from the original masters by Daniel Deshays. Edition limited to 385 copies, including an LP-size 8-page booklet with complete lyrics and photos from the recording session. Gatefold sleeve." -Alga Marghen

Artist: POUSSEUR, HENRI
Title: Paysages Planetaires
Format: Triple CD Box Set
Label: Alga Marghen
Country: Italy
Price: $80.00
"2004 release. In 2000, Henri Pousseur was asked by Philippe Samyn, a Brussels-based architect who liked to work in collaboration with other artforms, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus marking the hours between 6 a.m. and 10 p.m. Henri Poussuer imagined then a connection between Nivelles-time (a city 40 km south of Brussels, where this large project would be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last research in the office) correspond to the 24 hours of a complete terrestrial revolution. He then divided the globe into eight large north/south "slices," themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated three regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe. Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc., there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized as quasi-traditional music. This work once finished (realized in the studio of the composers son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous Etudes paraboliques) in 16 Paysages Planetaires. The titles of the landscapes express by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" is a sort of play on something between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circumplanetary movement of the work. Michel Butor wrote the luminous prose-verse alternating poetic structure which accompanies these landscapes. His text is included in the 60-page documentation booklet, also featuring two long essays by Henri Pousseur: "Paysages Planetaires" and "Atmospheric and Cultural Sources for Each of the Landscapes." Finally, with this work, Henri Pousseur makes an homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvelous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of lifes multiplicity. All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer. Housed in a heavy cardboard slipcase with 3CDs and a 60-page booklet." -Alga Marghen.

Artist: QUARTETTO
Title: Organic, Playco 1969
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"The stable Quartetto that pianist Davide Mosconi, saxophonist Enzo Gardenghi, percussionist Marco Cristofolini, and cellist and violinist Gustavo Bonora brought to life beginning in the late 60s constituted the core of what would, in the early years of the next decade, become the larger improvising ensemble NADMA. The group was also an elegant and accomplished expression of the musical objectives of its members. The rich yields that Davide Mosconi cultivated from his exploration of improvisation and the visionary creativity that revealed influences from parallel planes throughout his oeuvre originated in his formative years. In the life story of Mosconi before the formation of the Quartetto, it emerges that his first musical affirmations arose as he was completing his studies as a photographer. Mosconi furthered his training as a photographer in New York from 1964-1968, including stints as assistant to Richard Avedon and Hiro. Prior to his definitive return to Italy, he spent 1968 in Mexico, a lengthy visit documented splendidly in his photographs. During his stay there, he may have been the first European musician to meet Conlon Nancarrow and encounter his music. From Nancarrow, Mosconi learned the workings of the Ampico player piano. Only much later indeed, in the early 80s, when György Ligeti championed his works, was this now-legendary American composer rediscovered internationally. The Quartetto represented, at last, a solid foundation with which Davide Mosconi succeeded in realizing his own notion of improvisation, aided by musicians who shared his ideal of a continuous, fluid music and thus of a pliable expression that superseded the limits of existential consciousness. In 1968-1969, the group launched an uninterrupted series of private events, studio sessions and live concerts at venues that ranged from offhand happenings to alternative clubs to concert halls. It is possible to reconstruct rather faithfully the activities of Davide Mosconis Quartetto due to a vast amount of material documentation and a conspicuous number of archive recordings. The first recording sessions date from February 14, 1968, and from April of this same year, both made at the Playco studio in Milan and both featuring the lineup of Davide Mosconi, Marco Cristofolini and Enzo Gardenghi, with the additional presence of bassist Giorgio Buratti for the February recordings. The majority of these early Playco recordings, however, date from various months of 1969 until October, after the group solidified its roster with Gustavo Bonora. In several reel tapes dating back to this era, the collective name is often given not as Quartetto, but, alternately, as Organic or Organic Orchestra, designations that foreshadow the Natural Arkestra moniker later associated with NADMA. If one excludes the live recordings from the Auditorium San Fedele and Circolo Lepetit concerts of November and December 1969, the best evidence of the musical art of the Quartetto is found on the reel labeled Organic 1969 Playco, heard in its entirety on the present CD. Examination of the various tapes that document the Playco sessions of 1969 show that this reel is the only one with any consistent identification of the titles of individual tracks, as well as the only one to show signs of careful editing, perhaps intended use as a demo. There are tracks that focus concretely on timbral resources and instrumental gesture (Tubi sonori in scale and Disturbi di violino) and pieces that have decidedly parodistic moments (Parodia della festa and the diptych of Avanti! Para babà and Babà-fui-pà). At least two classics of the Quartetto playlist are also to be found: the opener Fattoria degli animali, whose title manifestly evokes George Orwells dystopic novel, with its onomatopoeic sounds at the onset; and Pugno chiuso, the last of the pieces to be recorded and the one which Gustavo Bonora later called the purest emblem of the musical art of the Quartetto. This latter work is a perfect example of an enragé performance praxis that was then unparalleled in the Italian improvised music scene. The albums sign-off does not stem from the same sessions. It is instead an edited extract from the Circolo Lepetit concert of December 1, 1969, and as such is a most effective taste of the informal and symbiotic potency that distinguished the live Quartetto experience: the merging of individual instruments into a unified whole. This CD is included in a beautiful digipack full-color sleeve with photos and liner notes. Also included is a 12-page booklet with an essay titled Before NADMA: Davide Mosconi and the Quartetto by Gabriele Bonomo as well as the testimonies by Enzo Gardenghi and Gustavo Bonora." -Alga Marghen

Artist: RADIGUE, ELIANE
Title: Feedback Works 1969-1970
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $31.00
2015 repress, with new cover art and gold gatefold sleeve. "Alga Marghen very proudly presents the complete documentation of Eliane Radigues sound installations from 1969-1970. These previously unpublished recordings include the broad tectonic vibrations of Omnht, the celestial voices of Usral, Stress Osakas massive chant, and the moving horizon in Vice-Versa, Etc... The works of the feedback period finally revealed! It is amazing that she could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for him at the Studio dEssai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète. Created 10 years after her Studio dEssai experience, the Feedback Works of Eliane Radigue immediately take a new direction from the explorations of musique concrète. Her adventure is intuitively going toward flux, toward contemplative stasis: a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art, as if she meditated for 10 years before striking the first blow, with an impressive precision! First pressing of 400 copies also including a 16-page LP-size booklet with original photos, scores and liner notes as well as a second LP titled Vice-Versa, Etc..., originally a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at Lara Vincys gallery in 1970, which contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum... This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods." - Alga Marghen.
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Artist: RADIGUE, ELIANE
Title: Feedback Works 1969-1970
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"Alga Marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht," the celestial voices of "Usral," the massive chant of "Stress Osaka," and more -- the works of this artists feedback period finally revealed. It is amazing that Radigue could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for Henry at the Studio dEssai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète. Created 10 years after her Studio dEssai experience, the feedback works of Eliane Radigue immediately take a new direction from the explorations of musique concrète. Her adventure intuitively goes towards flux, towards contemplative stasis -- a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art -- as if she meditated for 10 years before striking the first blow, with impressive precision. This is the context in which Eliane composed "Omnht" in 1970 for the architectonic spaces of the visual artist Tania Mouraud titled "One More Night," presented at the Gallery of the Rive Gauche in Paris; "Usral" (the title comes from a phonetic compression of ultrasounds slowed-down, in French "ultra-sons ralentis") is one of the first works by Eliane Radigue to be given in public as a sound environment for a sculpture by Marc Halpern in the Salon des Artistes Décorateurs at the Grand Palais of Paris in 1969; "Stress-Osaka" was conceived when the artist was invited to create a sonic environment for the International Fair in Osaka in 1970. There is no doubt that Eliane Radigues vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light -- a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music, a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow its the very texture of the sounds, which leads the form of her compositions. Edition of 300 copies. Includes a 16-page LP-size booklet with original photos, scores and liner notes." - Alga Marghen.

Artist: RADIGUE, ELIANE
Title: Jouet Electronique/Elemental I
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen proudly presents two sublime pieces by Eliane Radigue, Jouet Electronique (1967) for feedback on magnetic tape and Elemental I (1968) for feedback of natural sounds on magnetic tape. Both works, recorded at Pierre Henrys Studio Apsome in Paris, have not been published before. Between 1967 and 1968, Eliane Radigue was the assistant of Pierre Henry in his studio, mainly for the editing of LApocalypse de Jean. He also put her in charge of organizing his sound archive according to different criteria. It was endless work -- there were incredible sounds, a true sound library! Eliane Radigue really enjoyed doing this work, even if it took a long time. So, sometimes she decided to set the machines of the studio to do some little work on her own. Jouet Electronique and Elemental I were born this way as a kind of recreation during her time as a studio assistant. Working with feedback is something that Eliane Radigue learned through Pierre Henry. Do you remember Voyage? Theres that fluid part which is made of feedback constructed with a microphone. Everything had to be set at a precise distance from the loudspeakers because that is the specific problem with feedback -- you have to be at the right distance. Afterwards, these high tone recordings were slowed down in order to discover the deeper character of their color. This work with feedback was in the end quite limited and the composer preferred working with two reel tape machines to produce sounds. The first was set on the recording mode while the other was playing and it was the accidents happening in this phase that made the feedback richer. With some fine-tuning you could reach very beautiful results: low pulsations, very high-pitched sounds -- sometimes both at the same time -- or long sounds. All of these sounds could be slowed down or accelerated, which gave her a beautiful material to work with. With Jouet Electronique Eliane Radigue had a lot of fun, hence the title. As far as Elemental I is concerned, it was the first attempt at something which was very important to her based on the theme of the basic elements: water, fire, air and earth. Eliane had the chance to record in open air thanks to a small Stella Vox that Arman gave her in the beginning of the 1960s. At the time she was still living in Nice and every now and then she went for a walk to do some recordings of the sea, the wind, the rain, the fire -- Eliane Radigue continued this way to build her very minimal sound library, consisting of not more than ten reel tapes. This was the starting point and in 1968 she used these recordings for her work with two reel tape machines. First pressing limited to 300 copies, with a text by Emmanuel Holterbach and a photo portrait by Arman." -Alga Marghen.

Artist: RADIGUE, ELIANE
Title: Opus 17
Format: Double LP
Label: Alga Marghen
Country: Italy
Price: $47.00
Repressed. "Alga Marghen very proudly presents Opus 17, a major turning-point in the sonic oeuvre of Eliane Radigue. Finished in 1970, it was the last work composed with feedback materials. From that experimental period, Opus 17 preserves a plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. Its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. Her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her Endless Musics and here reinserted in the five scenes making up Opus 17. In 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. Opus 17 has the quality of showing off the sum of the achieved techniques and methods. Eliane Radigues music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. This dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in Opus 17. It is to be underlined that with Opus 17 Eliane Radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. For that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. Imperceptible all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. Time is suspended, smoothed out, stretched. It is this technique which Eliane Radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtle. Opus 17 is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. As Rhys Chatham recalls: "Eliane Radigue (...) had just moved to New York and had the idea of acquiring an analog modular synthesizer, which is why she worked at NYU in order to try out the possibilities of the Buchla 100 series which we had there. One day, while gossiping, she invited me to her loft, which was just on the corner. She had me listen to a piece composed in France; the piece called Opus 17. (...) What I heard changed to course of my life as a composer. (...) That piece, impressive source of inspiration, gave the impression of being in a grand cathedral, both for the sensation of immensity of being in such a large cathedral, as for the effect of being so close to God." Opus 17 was created at the artistic center of Verderonne on May 23, 1970, for the Fête en blanc (i.e. White Festival) organized by the visual artists Antoni Miralda, Joan Rabascall, Dorothée Selz and Jaume Xifra. Previously unreleased, Opus 17 is now issued on Alga Marghen in a first edition of 400 copies in a gatefold sleeve." - Alga Marghen.

Artist: RADIGUE, ELIANE
Title: Vice-Versa, Etc...
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigues Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincys gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigues vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow its the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening. This edition limited to 300 copies includes an insert with liner notes." - Alga Marghen.
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Artist: TAKIS
Title: Pendules Magnétiques (1964-66)/Le Siècle De Kafka (1984)
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
"Alga Marghen proudly presents one of the highlights of his catalogue, an exclusive LP edition with the recordings of Takis electro-magnetic sculptures. Takis is the originator of this new approach to the musicality of sound, which consists in laying bare the repetitious structure of musical form and its functional derivation, thus rejecting the symbolism of representation. Takis was born in 1925 in Athens. Preferring, as a matter of principle, to teach himself rather than study in an institution, he left Greece in 1954 and lived as a citizen of the world, traveling through Europe and the USA. Some of his earliest manifestations in the 1940s consisted of explosions carried out in open places. His first Signals date from 1954: they were rods consisting of piano wires which created musical vibrations as they stuck against each other in the wind. In fact they constituted the first appearance in his work and in contemporary art history of a form of musical expression in which sounds are called forth in an un-programmed way, owing to the action of natural forces. In 1961 Takis meets Marcel Duchamp in New York. Duchamps perpetual moving bicycle wheels inspired Takis hydromagnetic sculptures. In the period between 1964 and 1965 Takis conceives his Pendules magnètiques and constructs his first Sound Sculptures. After the exhibition of Takis titled Electro-musical relief at Indica Gallery in London in 1966, the New Scientist magazine in an article entitled The sounds of tomorrow commented that Takis, Iannis Xenakis and John Cage are the most promising musicians of the century. Takis Pendules magnétiques are based on the simple concept of using magnetic waves caused by electricity as a means to activate repeated musical sounds: the latter are to be heard every time a needle strikes a string, when attracted by a magnet. The sounds reproduced in this edition were recorded in 1993 by Samon Takahashi at Takis retrospective at Jeu de Paume in Paris. Takis participates in 1984 at the exhibition titled The Century of Kafka at Centre Pompidou in Paris and sound work with the same title is also reproduced on this LP edition. As an artist he seeks a natural origin for the construction of sound, and in particular that origin which is furthest removed from the artists arbitrary decision. For about forty years now, it has been Takis purpose to investigate language as a natural function, conceiving function as a form of work. Furthermore, he has broken down the frontiers between sculpture and music in a number of pieces which can only be read by identifying their functionalism as structured units, with their morphological, visual and acoustic aspects. Edition limited to 380 copies with full-color sleeve, printed inner-sleeve reproducing a testimony by Marcel Duchamp and insert with photos of the Pendules magnètiques and a testimony by William Burroughs." - Alga Marghen.

Artist: TAZARTES, GHEDALIA
Title: Diasporas
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Remastered CD edition of Diasporas, Ghedalia Tazartes 1979 debut LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Diasporas and Tazartes 1987 self-titled fourth album, which is also now available in an expanded CD edition (TES 089CD). In addition to the entire original release of Diasporas, this CD includes the first CD release of "Ferme ta gueule, Zarathustra," a composition largely based on materials pre-dating Diasporas, originally issued as side A of Granny Awards (ALGA 036LP). In "Ferme ta gueule, Zarathustra," Tazartes freely connects Raphaël Glucksmanns garbled voix denfant with intoxicating, slow-moving, and sustained synth chords, before jump-cutting into bird calls, dissonant arabesque strings, and eccentric vocalizations with a blinding sense of freedom. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartes is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control." - Alga Marghen.

Artist: TAZARTES, GHEDALIA
Title: Diasporas/Tazartes
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"2009 repress. More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and the forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Dont become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalias intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!" -Alga Marghen
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Artist: TAZARTES, GHEDALIA
Title: Granny Awards
Format: LP
Label: Alga Marghen
Country: Italy
Price: $29.00
"alga marghen was the first label to issue on CD the 4 record LPs that Ghedalia Tazartes privately produced between the late 1970s and early 1980s, therefore contributing to the diffusion of this music among the new generations. At the same time Ghedalia Tazartes music defined the high standard level of the alga marghen label in its early days. These great recordings are still available in their original CD editions and no surprise that alga marghen has now the privilege to bring you the pleasure of listening to a previously unpublished LP recently discovered in the artists archives. Side 1 features Ferme ta gueule, Zarathustra (i.e. Shut Up, Zarathustra) a long track constructed by several fragments recorded in the early 1980s that would have later composed, with different editings, some of the best parts of Une eclipse totale de soleil. On side 2 we find five shorter tracks titled Whatever, Works, Singing, Wild, My Rock Ghedalia. Recorded in the artists own studio in his anhydridic Paris, these pieces are based on materials pre-dating Ghedalia Tazartes first LP Diasporas and were re-elaborated in the early 1980s to be included in this lost work of art. Ghedalia Tazartes is a nomad. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. He is also one of the most original artists in the sonic art scene. Edition limited to 450 copies." -Alga Marghen
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Artist: TAZARTES, GHEDALIA
Title: Les Danseurs de la Pluie
Format: 3" CD
Label: Alga Marghen
Country: Italy
Price: $16.00
"Les Danseurs de la Pluie", which gives title to the complete anthology, is a 12-minute mini-CD, presented on creative disc, including four previously unavailable tracks. Two 1977 killer recordings from the Eclipse Totale sessions of a very wild and residential nature; and two colossal new pieces recorded in 2005." - Alga Marghen. Repressed!

Artist: TAZARTES, GHEDALIA
Title: Les Danseurs de la Pluie/Tazartès Transports...
Format: 4CD Box Set
Label: Alga Marghen
Country: Italy
Price: $69.00
"This lavish set includes the complete Ghedalia Tazartes recordings previously issued on CD by Alga Marghen. This edition is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves. Diasporas is the CD edition of Tazartes 1979 first album, also including "Ferme ta gueule, Zarathustra" (previously issued as side A of Granny Awards (ALGA 036LP)). Tazartes Transports is the CD edition of Tazartes 1980 second album complete with four "Assassins" bonus tracks (previously issued as the mini-CD Les danseurs de la pluie (TES 063CD)). Une eclipse totale de soleil is the CD edition of Tazartes 1984 third album. Originally conceived in two parts, this CD edition is completed by the long bonus track "Il regalo della befana," or "Une eclipse totale de soleil (Part III)" and "Elie," a charming piano piece performed as a duet with Tazartes young daughter. Tazartes is the CD edition of Tazartes 1987 fourth album, also including "Whatever Works Singing Wild My Rock Ghedalia" (previously issued as side B of Granny Awards (ALGA 036LP)). Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. Tazartes is an orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition. To hell with the technocrats of noise and the purists of synthetic culture; this music refuses classification and escapes control." - Alga Marghen.

Artist: TAZARTES, GHEDALIA
Title: Tazartes
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Remastered CD edition of Tazartes, Ghedalia Tazartes 1987 fourth LP. Now available as an expanded individual CD, this edition was previously only available as part of a CD containing both Tazartes and Diasporas, Tazartes 1979 debut album, which is also now available in an expanded CD edition (TES 088CD). Immersive, transporting, and deeply arresting music from the revered autodidact and audio oddity. If youve never encountered Tazartes before, this is an excellent place to start, welcoming you to a unique world of exotic, electro, and acoustic sounds, composed according to a genuinely far-reaching and individual agenda. In addition to the entire original release of Tazartes, this CD also includes the first CD release of "Whatever Works Singing Wild My Rock Ghedalia," recorded in Paris in the early 80s and originally issued as side B of Granny Awards (ALGA 036LP). Spread over five tracks, the piece features a comedic, exuberant vocal set to crackly 78 backing on "Whatever," turns blind corners into ethno-noise trance-outs on "Singing," delivers hyper-rhythmic experiments on "Wild," and closes with a jarring hardcore punk-out in "My Rock Ghedalia." The freedom of expression and taste for exotic, arabesque tonalities is a mighty revelation." - Alga Marghen.

Artist: TAZARTES, GHEDALIA
Title: Tazartes Transports
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Remastered CD edition of Tazartes Transports, autodidact and outsider composer Ghedalia Tazartes 1980 second LP. This album probably represents the most original example of the artists poetical and personal approach to sound organization. The tracks for Tazartes Transports, recorded in 1977 at Tazartes own studio in Paris, are blends of stream-of-consciousness rippling electro rhythms, outer-national singing styles, collaged field recordings, tape loops, and chants. The musique concrete soundscapes and exotic atmospheres take on a perpetual sense of drift and magical imagination. The listener is spellbound from the start to finish, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5, and the lost zones of the closing stages. This edition also includes four "Assassins" tracks, originally released on the 2006 mini-CD Les danseurs de la pluie (TES 063CD). The first two of these bonus tracks were recorded in 1977, around the time of the recording of Une eclipse totale de soleil (TES 005CD), and consist of banking guitar feedback, unhinged hollers, and an unsettling piece of childrens screams looped against droning synth tones and electronic pulses. The second two "Assassins" tracks were recorded in 2005; "Assassin 3" is a mystical piece of ecstatic ululations and plangent electric guitar riffs, while "Assassin 4" feels more opulent, with plush synth pads set against strange, strafing distortion, rhythmic exhortations, and surreal, cinematic percussion. This edition concludes with a final bonus track, "Elie," a charming piano piece performed as a duet with Tazartes young daughter. Once again, Tazartes provides some of the most compelling, weirdly life-affirming music out there." - Alga Marghen.

Artist: TAZARTES, GHEDALIA
Title: Une Eclipse Totale de Soleil
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Remastered CD edition of Une eclipse totale de soleil, Ghedalia Tazartes third LP, originally released in 1984. Far away from contemporary music intellectualisms and the works of synthetic noise purists, this album features a new form of musical expression and is certainly one of the most original and creative records of the 80s. The value of this work was at the time underestimated and only a few people had a chance to listen to this beautiful music. The record utilizes collage, Tazartes unique vocals, trance-ethno backing splices, droning organ, and childish naivete, in a spirit all its own. Originally conceived in two parts,Une eclipse totale de soleil is here supplemented with a 25-minute piece titled "Il regalo della befana" or "Une eclipse totale de soleil (Part III)," composed expressly for the original 1996 release of this CD edition. The original two parts are constructed from sung passages of Middle Eastern musics, drum machine noises, distorted signals, and the voices of small children. The newer third part takes some of the same sorts of cues but is more in keeping with turntablism or sampling culture, dipping into recordings recycled from pop culture. Tazartes music compiles fragments from a wide variety of sources in a stunning, idiomatic fashion, still undiminished by the passage of time." - Alga Marghen.

Artist: V/A
Title: Avant Marghen Vol. 1
Format: 7 LP Box Set
Label: Alga Marghen
Country: Italy
Price: $178.00
Incredible set of 3 boxes, each with 7LPs in it, from the Alga Marghen archives. These are all previously released LPs, but most have been o/p for many years now. The boxes are limited to a numbered edition of 80 copies each. "The VocSon series might be identified as the starting point of all the Alga Marghen activities. This series, which still continues to present on limited LP records the most advanced international vocal experiments, is mainly dedicated to the documentation of sound poetry. Since most of the titles immediately sold out, Alga Marghen decided to issue a kind of anthology, specially issued for ArtBasel where Alga Marghen will present its catalog following an invitation by Maurizio Nannucci of the Artists Record Pavillion. This also in order to give the opportunity to those who missed the-now-rare original editions to be able to find them now, even if in a very limited run. Each LP is numbered on the VocSon innersleeve expressly conceived for this edition. This luxury boxset edition actually includes the first 7 LPs issued for the VocSon series, or: 1) Bernard Heidsieck Poème-Partition X LP. First 80 copies from the original 300 copies edition issued in 1997. The very early experimental poem by Bernard Heidsieck may be considered one of his first important creations. The record which started the VocSon series. 2) Henri Chopin Cantata for Two Farts & Co. LP. Edition of 80 copies with new labels. Henri Chopin presents previously unreleased audiopoems as well as the reprint of two pieces from the Radiotaxi LP (the tracks taken from Radiotaxi are here presented for the first time mastered at the correct speed). 3) Bernard Heidsieck Vaduz LP. Edition of 80 copies with new labels. Vaduz (12:23) can be considered one of Bernard Heidsiecks major works. Very experimental with a lot of electronic manipulations. According to Henri Chopin, this is the only true audiopoem by Heidsieck. Composed June to December 1974 and recorded on a Revox A 700 at the authors studio. 4) Philip Corner Word-Voices LP. First 80 copies from the original 500 copies edition issued in 1997. A record LP of vocal utterances including early Fluxus voice and instrumental pieces. 5) Henri Chopin Les Mirifiques Tundras & Co.. Original pre-released edition of 80 copies on yellow vinyl, never offered before. Extreme voice sound manipulations. Somehow in the vein of Hodell Text-Sound composition, just more primitive and visceral. 6) Sten Hanson The Sonosopher Retrospective LP. First 80 copies from the original 545 copies edition issued in 1998. An anthology of Sten Hanson Text-Sound composition. This edition pre-dates the anthologized CDs which were issued in Sweden. 7) Ake Hodell 220 Volts Buddha LP. First 80 copies from the original 545 copies edition issued in 1998. Fantastic electronic music LP. The pieces on this LP were included in the 3CD anthology issued by Fylkingen. Your chance to get the original edition on LP now." - Alga Marghen.
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Artist: V/A
Title: Avant Marghen Vol. 2
Format: 7 LP Box Set
Label: Alga Marghen
Country: Italy
Price: $178.00
Second volume of the Avant MarghenVocSon series, numbered edition of 80 copies. "This luxury boxset edition actually includes the second group of 7 LPs issued for the VocSon series: 1) Brion Gysins Poems Of Poems LP. First 80 copies from the original 630 copies edition issued in 1998. Very early poetical experimentation recorded in 1958 at the Beat Hotel, Paris. The origins of cut-up are documented in this radical edition. You will experience why Brion Gysin was a strong reference for Henri Chopin and Bernard Heidsieck. 2) Bernard Heidsieck 50/70 LP. First 80 copies from the original 480 copies edition issued in 1998. The third Bernard Heidsieck LP issued by Alga Marghen draws the picture of two specific moments on artistic creation: the 1950s and the 1970s. 3) Jose Luis Castillejo The Book of is LP. First 80 copies from the original 240 copies edition issued in 1998. Very limited and immediately sold out edition of Castillejo conceptual recordings. Jose Luis Castillejo books always included him among the Concrete Poems and were regarded as very special graphic creations. A deep exploration of his abstract and radical poetry will lead to a more conceptual and philosophical understanding as this LP clearly states. 4) Jil G. Wolman Lanticoncept LP. Edition of 80 copies with new labels. Edition of Gil J Wolman megapneums, or the beginning of the whole sonic adventures. If Gysin was a strong conceptual influence for the Henri Chopin and Bernard Heidsieck generation, Wolman was showing them the sonic direction. Just with the use of the breath and respiration, his Megapneums had the same intensity of the electronic manipulation that will make Chopins audiopoems so radically new and uncompromising. This LP also include excerpts from Wolman sound-film LAnticoncept from 1952. 5) Isidore Isou Poèmes Lettristes 1944-99 LP. Edition of 80 copies with new labels. Historical edition by Isidore Isou. This is the first record LP ever published by the father of Lettrism. Poems from 1944 to 1999 including a breath taking improvisation, some 1970s recordings by Maurice Lemaitre and an early, primitive and incredible performance by Francois Dufrene. Recorded at Isous apartement in 1999. 6) Juan Hidalgo Una Voz LP. First 80 copies from the original 323 copies edition issued in 2000. First ever ZAJ LP record! An historical recording of Juan Hidalgo Una Voz, including concrete sound interventions by Walter Marchetti. A large size booklet with the transcription in English and Spanish of the spoken text is also included. Capital! 7) Arrigo Lora-Totino Fonemi LP. First 80 copies from the original 345 copies edition issued in 2000. Arrigo Lora-Totino is probably best known for having been the editor of the famous sound poetry anthology issued by Cramps Records in the 1970s with the title Futura. But only a few know about his sound poetry production. Following Henri Chopins idea that poetry is above all an expression of the body through its own language, Lora-Totino started his important poetic practice in 1965 with Fonemi, a sound sample of erasure: the reading of a text recorded on tape is filtered through an electronic pulse generator that splits it into small fragments." - Alga Marghen.
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Artist: V/A
Title: Avant Marghen Vol. 3
Format: 7 LP Box Set
Label: Alga Marghen
Country: Italy
Price: $178.00
Third volume in the Avant Marghen boxset series, numbered edition of 80 copies. "This luxury boxset actually includes a new picture disc edition of Revue OU anthology plus an Henri Chopin LP and the Ben Patterson LP. 1) VA Revue OU. Record 1 picture LP. Original pre-released of 80 copies on picture disc with different graphics, never offered before. First of a set of 5 picture discs reproducing the integral recordings of the journal OU edited by Henri Chopin from 1958 to 1974. 2) VA: Revue OU. Record 2 picture LP. Original pre-released of 80 copies on picture disc with different graphics, never offered before. Second of a set of 5 picture discs reproducing the integral recordings of the journal OU edited by Henri Chopin from 1958 to 1974. 3) VA: Revue OU. Record 3 picture LP. Original pre-released of 80 copies on picture disc with different graphics, never offered before. Third of a set of 5 picture discs reproducing the integral recordings of the journal OU edited by Henri Chopin from 1958 to 1974. 4) VA: Revue OU. Record 4 picture LP. Original pre-released of 80 copies on picture disc with different graphics, never offered before. Forth of a set of 5 picture discs reproducing the integral recordings of the journal OU edited by Henri Chopin from 1958 to 1974. 5) VVAA Revue OU. Record 5 picture LP. Original pre-released of 80 copies on picture disc with different graphics, never offered before. Fifth of a set of 5 picture discs reproducing the integral recordings of the journal OU edited by Henri Chopin from1958 to 1974. 6) Henri Chopin The Body Is A Sound Factory & Co. LP (16VocSon046). Edition of 80 copies with new labels. Originally issued in an edition of 300 copies, only available with the vinyl edition of the Revue OU LP anthology. This LP includes previously unreleased audiopoems dating from 1965 to 1981. 7) Ben Patterson A Fluxus Elegy LP. First 80 copies from the original 345 copies edition issued in 2006. This Ben Patterson composition, issued on is based on the basic principles of the polyphonic music of the Bantu tribes of West and Central Africa. First principle: the practice of interlocking individual pitches or tones performed by one person into spaces between other pitches or tones performed by another person, thus alternating pitches or tones of one part with those of another part to create a whole. Second principle: use of cyclical and open-ended forms involving one or more ostinato melodic/rhythmic pattern as a foundation. Third principle: community participation... non-specialists are encouraged to join in long performances with much repetition. Fourth principle: rhythmic complexity with the juxtaposition of double and triple patterns, multiple layering of different patterns, and interaction between a core foundation and improvised parts. And, most important, the family ownership of a specific tone: in the musical culture of these tribes, each ancestral family owns and is responsible for one or more specific tones, which must be sounded at specific points, sequencing with the many other specific tones owned by other families, to create a seamless melody. Ben Patterson made a music based on this information by taking the initials of artists listed in Fluxus: The Most Radical and Experimental Art Movement of the Sixties and encoding them in basic International Morse Code. These dots and dashes were then performed on a Yamaha DJX keyboard (voice pattern setting), connected to a Digitech JamMan Looper (over-dub setting), connected to an Eurorack MX 602A mixer. Front cover reproducing the original score." - Alga Marghen.
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Artist: V/A
Title: Avant Marghen Vol. 4
Format: 7 LP Box Set
Label: Alga Marghen
Country: Italy
Price: $176.00
"New volume of the Avant Marghen series in a numbered edition of 80 copies. This luxury black boxset edition actually includes the fourth group of 7 LPs previously issued for the VocSon series and now sold out. Each individual LP record includes a numbered Avant Marghen inner-sleeve. LP 1 to 4) François Dufrene Oeuvre Désintégrale 4 LP set. First 80 copies from the original pressing of 345 copies issued in 2007, presented here with minimal hand-elaboration on each sleeve. François Dufrenes impressive work, along with that of Gil J. Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell. LP1) Oeuvre Désintégrale 1 LP includes an 18-minute-long crirythme from 1969 as well as Osmose-art, a long piece from 1969 divided into two suites where Dufrene superimposes his crirhythms to classical music. LP2) Oeuvre Désintégrale 2 LP includes six majestic crirythmes (created between 1965 and 1976) as well as Eryximaque, suite choreographique au Tombeau de Pierre Larusse, a work halfway between the written text and the sound poem whose unity is achieved through Dufrene performing it, a masterpiece of synthesis of active poetry. LP3) Oeuvre Désintégrale 3 LP includes two Lecture-collages dating from 1965, adding jazz music (especially drum and percussion pieces) to poems marked by strong Lettristic esthetic. One of his most extreme crirythmes, titled Belles nuisances, hantez nos nuits, dating from 1970, is also included on this record. LP4) Oeuvre Désintégrale 4 LP includes three breathtaking crirythmes as well as two Comptinuum from his early on-progress works started in 1958. LP5) Charlemagne Palestine Voice Studies LP, limited to 80 numbered copies pressed on dark blue vinyl and featuring a new sleeve, only available with this boxset edition. Palestines introduction to music or sound was first with his own voice. This LP includes the very early Surrealistic Studies, using a Webcor reel-to-reel tape recorder, discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. Voice + Piano Study I & II are short and beautiful piano improvisations with tape superimposition of accelerated voice pieces. In Voice Study Charlemagne sings in a falsetto duet with himself on two separate tracks in a resonant space, searching for intervals that resonate together and respond like electronic sound wave oscillators played against each other. LP6) Gherasim Luca Two Poems LP. First 80 copies from the original pressing of 385 copies issued in 2009. Created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. Autres Secrets Du Vide Et Du Plein (April 1971) and Crimes Sens Initiales (April 1972) were both performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Including an essay by Henri Chopin. LP7) Charlemagne Palestine & Simone Forti Illuminations LP. First 80 copies from the original pressing of 365 copies issued in 2010. Duo interactions, illuminated with dim red lights. The three previously unreleased recordings on this LP were made between October and December 1971." - Alga Marghen.

Artist: V/A
Title: OU 20-21/OU 23-24
Format: Picture Disc LP
Label: Alga Marghen
Country: Italy
Price: $44.00
"Available now in very limited quantities (less than 40 copies of each title) the single picture LPs of the Revue OU series. The picture LPs are the same pressing as the one included in the Avant Marghen Vol.3 boxset, but they are not numbered. Including Bernard Heidsieck Poème-partition D4P, Ou Art Poétique; Brion Gysin I Am; Brion Gysin Pistol-Poem; Henri Chopin Vibrespace; François Dufrêne Batteries Vocales; François Dufrêne Paix En Algérie; François Dufrêne Ténu-Tenu; Mimmo Rotella 7 Poèmes Phonétiques; Bernard Heidsieck Poème-Partition J; Bernard Heidsieck Poème-Partition H1 + H2: Le Quatrième plan; Brion Gysin 3 Permutations; Henri Chopin Lénergie Du Sommeil. - Alga Marghen.

Artist: V/A
Title: OU 28-29/OU 30-31
Format: Picture Disc LP
Label: Alga Marghen
Country: Italy
Price: $44.00
Including François Dufrêne Triptycrirythme; Paul De Vree Verokina; Paul De Vree Ogenblik; Paul De Vree Kleine Caroli; Paul De Vree Vertigo Gil; Paul De Vree Een Roos A Rose; Henri Chopin Sol Air; Henri Chopin Le Corps.

Artist: V/A
Title: OU 34-35/OU 36-37
Format: Picture Disc LP
Label: Alga Marghen
Country: Italy
Price: $44.00
"Including François Dufrêne Haut-Satur (June 1967); François Dufrêne Haut-Satur (December 1967); François Dufrêne Haut-Satur (November 1968); Bob Cobbing Marvo Movie Natter; Bob Cobbing Spontaneous Appealinair Vontemprate Apollinaire; Henri Chopin Mes Bronches; Ladislav Novák La Structure Phonétique De La Langue Tchèque; Hugh Davies Shozyg 1 & 2; Sten Hanson Dont Hesitate Do It, Do It Right Now; Sten Hanson The Glorious Desertion; Henri Chopin Les Grenouilles dAristophane; Bernard Heidsieck Ravaillac, Tu Connais?: Passe-Partout N° 1".

Artist: V/A
Title: OU 38-39/OU 40-41
Format: Picture Disc LP
Label: Alga Marghen
Country: Italy
Price: $44.00
Including Henri Chopin Le Rire Est Debout; Bengt Emil Johnson Among II; Sten Hanson Revolution; Sten Hanson Railroad Poem; Jacques Bekaert The Day After; J.A. Da Silva Audio-Poem; William S. Burroughs Valentine Day Reading; Brion Gysin Poems; Bernard Heidsieck Chapeau: Passe-Partout N° 4; Henri Chopin La Soleil Est Mécanique.

Artist: V/A
Title: Rumori Alla Rotonda
Format: CD
Label: Alga Marghen
Country: Italy
Price: $20.00
"Live recording at the Rotonda del Pellegrini, Milan, January 21st, 1959 featuring John Cage, Morton Feldman, Juan Hidalgo, Leopoldo La Rosa, and Walter Marchetti. Among all the events involving John Cage during the long stay in Europe that followed his controversial appearance at Darmstadt Ferienkurse in September 1958, the concert he held in Milan on January 21st perhaps represents a less well known episode. Featuring Cages intervention both as composer and performer of ones own work as well as of two piano pieces by Morton Feldman, the concert at Pellegrinis Rotonda may be considered the first event of experimental music in Europe in which the presentation of American and European composers consciously acted on an equal aesthetic horizon. Both the set of pieces in the program and the peculiar environmental frame of the concert emphasized the radical aesthetic conceptions of the compositions performed. Cages choice was highly representative and relapsed into those works of his recent catalog that represented conscious neutralization of compositive intention. "Duo" opens the concert, consisting of parts for flute and viola excerpted from his celebrated "Concert for Piano and Orchestra." Cage then completed his participation in the concert, besides performing some unspecified numbers from "Music for Piano," also performing two of the three "Piano Pieces" with which Morton Feldman, in 1954, was converted to adopt the aleatory graphic notations. Juan Hidalgo, Walter Marchetti, and Leopoldo La Rosa premiered six compositions purposefully written for this occasion, employing aleatory procedures for the first time in their works. Both Hidalgo and Marchetti wrote a trio and a quartet firstly following a common notational stylization, which provides the spatial distribution of a prearranged, but reversible sequence of intervals within a flexible temporal grid, structured on a time limit. Exploiting the circular architectonic structure of the concert hall, all the performers were spread abroad among the audience, with the piano exactly in the center. The concert at Pellegrinis Rotonda was characterized by the performance of works that accepted the indeterminacy as their own operative premise, but also for having been a collective event in which the individual contribution of each composer mutually acted as autonomous elements. The edition includes a 36-page essay with photos and full documentation of the event." - Alga Marghen.

Artist: V/A
Title: Sounds of Silence
Format: LP
Label: Alga Marghen
Country: Italy
Price: $30.00
"Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with "4 33". Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences. This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Only 250 copies available for distribution, in a gatefold iconic sleeve." - Alga Marghen.

Artist: WOLMAN, GIL
Title: Wolman et son double
Format: LP
Label: Alga Marghen
Country: Italy
Price: $26.00
“Is it to "en finir avec cette idée des chefs-doeuvre" ("be done with this idea of masterpieces"), asAntonin Artaud proclaimed, that Gil J Wolman calls his recording Wolman et son double, in a détournement of Artauds famous essay collection and "masterpiece" Le Théâtre et son double (The Theatre and Its Double) (1938)? Artauds Tête-à-têteperformance at the Théâtre du Vieux Colombier on January 13, 1947, had a major impact on the future sound poets of the "poésie physique," François Dufrêne, Jean-Louis Brau, and Gil J Wolman. The "poésie physique" of Gil J Wolman, his "mégapneumie" (poems of breath and sound) appeared as soon as 1950 and eventually developed into an improvisation for breath and organic sounds originating from the throat and the whole body. The work seems to be designed to disturb the human aspect of speech. Wolman et son double, a previously unreleased recording probably from the late 70s, is Wolmans most theatrical -- as well as musical and lyrical -- piece. This is due to its duration and above all to its experimental recording techniques; Wolman records a series of improvisations on a 30-minute track, then mixes them with a new series of mégapneumes. The mixing and manipulations with echo and Larsen effects are a novelty if compared to the other mégapneumes recordings. The first track begins with a hum, immediately overlaid by Wolmans "poésie physique": hoarseness, cough, strangulation, twisting, wheeze, rumbling, hiccups, asphyxia; a whole set of gripes against himself and his speech. Wolman breaths and winces, he mimes the impacts, the scars of the blows by an invisible fighter, actually his double. Wolman et son double suggests a theatrical set, with characters entering the stage of the mégapneume. They are archetypes rather than psychological characters: a dybbuk or an old witch with a sardonic laugh; the drum major with his martial clicks; several warbling, trumpeting and barking animals, mad masters of a human speech conspiracy. Before the pieces end, an insolent call for a national strike is heard. Artaud observed that "actors in France no longer know how to do anything but talk"; Wolman et son double may well be the national strike from that show, from "masterpiece" art.” - Alga Marghen.

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