LA LUZ - 'IT'S ALIVE'

Formats

• HAR076CD - CD

  098787307627

• HARLP076COL - LP (COLOURED)

  098787307634

Details

**REPRESSED ON LTD RED VINYL**In Spanish, La Luz means “light” and that’s the perfect thing to evoke when your songs give the illusion of veering in the opposite direction. But lift out most any lyric—which is a good excuse to give a closer listen to the delicate, four-part harmonies that are fast becoming the band’s signature—and you’ll find that the aches and pains of love and loss, of living in a world where no foothold is ever a promise—all this is delivered with a nuanced dose of perfectly timed exhilaration, like the whole thing might just be worth it in the end. It's Alive is the debut LP from Seattle's La Luz.

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GRATEFUL DEAD / JOHN OSWALD - 'GRAYFOLDED'

Formats

• IMPREC399 - 3xLP

  793447539928

Details

This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high end audiophile pressings.In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album.Oswald chose to focus on the Dead’s Dark Star, which, over the courseof a quarter century, they had expanded and transformed in myriad waysin live performances. Oswald was given access to the Vaults, whereover the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which throughthe following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in someof their most psychedelic, symphonic, and rocking excursions— asingular 110-minute fantasy performance.Here it is, Deadheads, the ultimate Dark Star is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six"time maps" which chart the source concerts of Dark Star.Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc. Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded"to produce one large, new re-composed Dark Star.John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the í90ís he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work,commissioned by the BBC, combining aspects of The Beatles, Gyˆrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence

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BOOMVISION - 'ARCADE'

Formats

• BMV001 - LP

  5061041821530

Details

*LIMITED BLUE VINYL* Boomvision is an Italo-British multidisciplinary artist crafting bold, emotionally charged music that blends ambient electronics, glitchy pop, and punk-rooted DIY ethos. Their debut solo project ‘Arcade’ is a genre-fluid visual album steeped in queer identity, modern mythology, and emotional storytelling. Entirely self-conceived and co-produced, the album introduces Boomvision as a powerful new creative voice: visionary, vulnerable, and defiantly original. The single ‘Chun Li’ arrives 24 July, setting the tone for Arcade’s world of sonic archetypes and emotional alchemy. Named after the iconic Street Fighter character, the track is a defiant, high-energy anthem of resilience, driven by sharp beats, bursts of distortion, and Boomvision’s brooding, stirring vocals. Built around a looping vocal sample that brings a glitchy, arcade-style edge, it’s a track that channels strength through dissonance and play; a powerful, cathartic statement of intent. “Chun-Li is the first female fighter in video game history. As an AFAB queer person who’s often existed in very male-dominated spaces, I always related to her,” Boomvision explains. “I connected with that attitude of: I’ll just do what I need to do, keep laughing, keep going, and I’ll get where I’m meant to be. Because I can. It doesn’t matter what you think I am.” The release also lands just two days before the one-year anniversary of a serious road accident that left Boomvision recovering from a brain injury. An experience they describe as “a massive recovery year”. “I feel fucking lucky to be here, fully healthy and alive,” they say. That sense of defiance and gratitude threads through the track; a refusal to be flattened by expectation, injury, or identity. Known for their work as a session musician and co-producer for artists including Kate Nash, Boomvision now steps fully into their own voice with a genre-fluid visual album that is as emotionally expansive as it is meticulously crafted. Alongside their artistic work, Boomvision is also a co-founder of Spark the Noise; a London-based non-profit that champions trans and FLINTA voices through music, workshops, and community-building. Born out of a desire to make creative spaces safer and more inclusive, the project has grown from a grassroots collective into a vital platform for queer expression, resistance, and joy. Every track on ‘Arcade’ is named after a Street Fighter character, using those figures as emotional containers for real experiences. Written during a period of upheaval, navigating a breakup and coming out as non-binary, the album leans into fantasy and magic realism to tell a story of identity, power, and transformation. “I asked myself: if my music was a comic book superhero of dreams, what would it sound like?” Boom says. “The answer was retro ‘90s badass. Street Fighter, Mad Max, bad CGI.” The release date for ‘Chun Li’, July 24 - was chosen to align with the New Moon, tying into the project’s themes of mysticism and magic realism. It also lands just ahead of London Trans Pride, adding another layer of intention to a track that speaks to resilience, visibility and self-definition. ‘Arcade’ will be released 6 October, accompanied by a 35-minute visual album. A narrative film set in the fictional world of Mintaka, a place of tradition and control, where two Arcadian warriors rebel to rewrite the rules and rediscover themselves.

Tracks

1. ELIZA/KEN
2. ROSE
3. HADOUKEN
4. HONDA
5. CHUN LI
6. BLANKA
7. RYU
8. BISON

Press

Boomvision is an Italo-British multidisciplinary artist crafting bold, emotionally charged music that blends ambient electronics, glitchy pop, and punk-rooted DIY ethos

Audio & Video

COIL - 'APE OF NAPLES'

Formats

• IMPREC174 - 2xLPs

  0793447617428

Details

The Ape of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece. This re-press is packaged in a heavy duty jacket with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is housed in a printed inner sleeve and side D contains all three original etchings. Ape's lyrics are spread across the gatefold.

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ALESSANDRO CORTINI - 'FORSE 1'

Formats

• IMPREC488 - 4xCDs

  0793447548821

Details

Alessandro Cortini's acclaimed Forse series is available for the first time on CD including an exclusive disc of Forse performed live.......Packaged in matte coated digipacks housed in a heavy duty tip-on style outer box. Composed using only an original Buchla Music Easel, an incredibly rare electronic music instrument designed by Don Buchla, the Forse series features long, romantic compositions full of voluminous, bombastic tones and dripping with thick timbre.

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CATERINA BARBIERI - 'PATTERNS OF CONCIOUSNESS'

Formats

• IMPREC449 - 2xLPs

  793447544915

Details

BLACK VINYL REPRESS NOW AVAILABLE IN UK Patterns Of Consciousness is the powerful second full length album from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Highly recommended to fans of Alessandro Cortini and Eleh. Barbieri's latest work Patterns of Consciousness consists of a series of compositions originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an Indexed Quad Sequencer and an Harmonic Oscillator). By means of subtraction, addition and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator by only using additive synthesis, fast progressions, extreme melodic jumps and intricate delay lines. Note against note, gate against gate, she develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. These instructions translate into slow yet persistent, relentless variations in pitch and velocity: sharp interval resizing, pristine melodic transpositions, severe shifts in the metric structure of pulses and stresses. At the core of this process is the massive use of the gate, one of the fundamental concepts of voltage-controlled synthesis, here employed as the main creative tool to compose in a subtractive way and develop a negative counterpoint style. In this perspective, composing becomes an act of tuning to an ongoing sound field and making it selective, a subtractive practice rather than a demiurgic act of creation from scratch. The ongoing sound field is the rich sound spectrum offered by the harmonic oscillator - a monolith decomposed into its partials, a complex signal made selective to derive melodic information, a continuous field of electricity "gated" and discretized in points of condensed abstraction and emotion. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments: in a present of spinning scenarios and volatile qualities where the decoding of complex and chaotic surfaces becomes harder and harder, human desire of pattern detection and recognition is what is left. But the highly formulaic and germinative style of the pieces is also influenced by Indian classical music's vision of sound as an agent of change and recreation: sound causing processes rather than objects, verbs rather than nouns. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. Thus, this recording is only one of the many possible incarnations of this re-combinatory practice. Can sound synthesize new patterns of consciousness? In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. "A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centers, where our psycho-motor attention is attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential. The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." ~ Caterina Barbieri

Tracks

This Causes Consciousness To Fracture 14:40
TCCTF 7:50
Information Needed To Create An Entire Body 6:32
INTCAEB 9:18
Scratches On the Readable Surface 5:51
SOTRS 9:27
Gravity That Binds 15:47

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CATERINA BARBIERI - 'BORN AGAIN IN THE VOLTAGE'

Formats

• IMPREC460 - LP

  793447546018

Details

“Born Again In The Voltage” is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Edition of 500. Music produced by Caterina Barbieri between August 2014 and August 2015. Recorded and mixed at EMS (Elektronmusikstudion) in Stockholm (SE). Buchla 200 modular synthesizer + vocals + cello. Cello by Antonello Mostacci.

Tracks

1. HOW TO DECODE AN ILLUSION / 8'20''
2. RENDERING INTUITIONS / 6'30''
14'5''
3. HUMAN DEVELOPERS / 12'41''
4. WE ACCESS ONLY A FRACTION I / 8'57''
20'98''

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ALESSANDRO CORTINI - 'FORSE VOL: 1'

Formats

• IMPREC373 - 2xLPs

  793447537320

Details

BLACK VINYL REPRESS NOW AVAILABLE IN UK Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel, of which only 13 are known to exist. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Important to release in 2013. "All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion, filtering, wave shaping, etc.) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. "Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment." ~ Alessandro Cortini

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ALLESANDRO CORTINI & MERZBOW - 'S/T'

Formats

• IMPREC431 - 2xLPs

  793447543116

Details

Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Massami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early 70's notorious for it's patch matrix, portability and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40 year old analog synthesizer is a tool for the ages. 180 gram double vinyl. Metallic shimmer print on heavy duty jackets.

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Christina Kubisch - 'Magnetic Flights'

Formats

• IMPREC328CD - CD

  793447532820

Details

Two brand new pieces from one of the most exciting, active & relevant members of the first generation sound artists. Magnetic Flights is a perfect follow up to Five Electrical Walks (IMPREC167) and it is being released at the same time as a collection of two of Kubisch's unreleased archival pieces, also on Important. Magnetic Flights is entirely made of electromagnetic field recordings of international airports and inside airplanes. The recordings of this piece were made by Christina Kubisch on her travels in 2007 from and to the airports of Bukarest, Manchester, Chicago, Seoul, Munich, Amsterdam, Zurich, Frankfort, Paris, Lisbon, Berlin, Pisa, Milan and London. The sounds were neither altered electronically nor changed in any other way. The only tool which was used, and only for a part of it, was a filtering program (DINR). All recordings were made with the help of special sensitive wireless headphones, by which the aboveground and underground electromagnetic fields are detected, amplified and made audible. The headphones are custom made, developed by Kubisch, and constructed by the engineer Manfred Fox, Berlin. The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Magnetic flights consists of three parts with a short special sound at the beginning, and another one at the end. The piece starts with an electromagnetic sound recorded just before departure, and continues with the material of flight radiations recorded inside different airplanes. These electromagnetic fields slightly change pitch during departure and arrival, but remain quite constant during the flight itself. The relatively high and compact sounds gradually build up a dense layer of vibrations with continuous minimal variations. In the second part, some of the previous flight radiations gradually become filtered. The single signals mingle into a mix of small, short, nervous and very rhythmic signals. Their origin might be radio waves, communication signals with the tower, internet and atmospheric disturbances, but these are only guesses. The third part, the situation of arrival or transition, is a mix of typical electromagnetic sounds in the waiting areas of airports such as the deep vibrations of the screens of monitors which slowly fade in and out. The piece ends with the electrical flickering of an electromagnetic field of unknown origin.

Tracks

1. Magnetic Flights
2. Double Scanning

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Audio & Video

Eleh - 'Retreat Return Repose'

Formats

• IMPREC369CD - 3xCDs

  793447536927

Details

This deluxe 3 CD set presents Eleh's Retreat, Return & Repose together for the first time. The LPs were originally only available via Important Records mailorder. Retreat is a collection of exploratory sound assemblages put together during a cabin sojourn. New timbral richness, tonal expansion and deep synthesis make these pieces rather different from previous work. Return reflects on time away. Repose contains only one piece, the final recording of Circle Two: Coastal Rotation For Dune Loop which was debuted at 2010's Mutek festival in Montreal. This piece completes the Retreat/Return trilogy with Repose and is intended to stand very much on its own. Rain on your hood. Your heart beats. A beach break roaring in the distance. Isolated pines are played by the wind. A fine spot for repose. You turn around and head home. "Eleh demonstrates once again how a single amplified gesture delivered just so can reveal the inner worikings of an entire cosmos." Tony Herrington/Wire

Tracks

Retreat:
W1SIP/Operating Position
W1SIP In The Sun
Brain Camp
Wires In The Woods
Prayer For Departure

Return:
Indictiva
Music For Jan Wilsgaard
Dawn Fade Dub
Dawn Fade For Serge Modular

Repose:
Circle Two: Coastal Rotation For Dune Loop

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Audio & Video

Eleh - 'For Moussavi Atrium'

Formats

• IMPREC400CD - CD

  0793447540023

Details

For Moussavi Atrium is a brand new 38 minute piece from Eleh written for performance at the Cleveland Museum of Contemporary Art.

Tracks

1. For Moussavi Atrium

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Eleh - 'Home Age 2'

Formats

• IMPREC445CD - CD

  793447544519

Details

ELEH’s Home Age series was composed and recorded over a period of 5 years and it reflects a search for color, form, connection and growth. The handmade artwork contained in each package was created during the same period of time the music was composed and is an integral part of the meaning of Home Age. For this release Eleh plays modular & analog synthesizers, piano, organ, bass and symphonic chimes.

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Christina Kubisch/Eleh - 'Tesla's Dream / Ohmage/Resistor'

Formats

• IMPREC451 - LP

  0793447545110

Details

Christina Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world. In this piece Kubisch considers whether this is the future Tesla envisioned, and what remoteness means in an age where remoteness hardly exists at all. Tesla's Dream includes electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, security systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world. Eleh's composition Ohmage/Resistor utilizes a new kind of spaciousness and was composed for piano & Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded it takes on a new meaning and is well paired with Kubisch's. From Christina Kubisch: "The figure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He was not only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was unable to realize many of his ideas because of money problems and as well his 'difficult' character. "I discovered his work during my studies of electronics in Milan at the end of the 70s. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the first telephone amplifier in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifier with incorporated small coils to listen to the sounds in my installations. Later on my work with electromagnetic induction had developed into the series 'Electrical Walks,' city walks with special headphones which make audible the usually hidden electromagnetic fields around us. In 2012, I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got special permission to test them. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece about electrical remoteness. "Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of thirty-six, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by100,000 electrical lamps. "The new technologies concerning light, radio, radar etc. were developing with such an incredible speed then, like the components of the digital world today. "I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc.? Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Tesla's equipment." "Teslas Dream" opens with the magnetic fields recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Tesla's devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual fields of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether. Tesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore. The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical field recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam.

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Alvin Lucier & Morton Feldman - 'Chamber Music'

Formats

• IMPREC468CD - CD

  793447546827

Details

Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello & Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier. “For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes. “Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”

Tracks

1. Alvin Lucier: August Moon (2015)
2. Morton Feldman: Two Instruments (1958)
3. Alvin Lucier: Trio For Clarinet, Cello & Tuba (2008)
4. Morton Feldman: Three Clarinets, Cello And Piano (1971)
5. Alvin Lucier: Step, Slide and Sustain (2014)
6. Morton Feldman: Durations 2 (1960)

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Saint Abdullah - 'To Live A La West I'

Formats

• IMPREC499CD - CD

  793447549927

Details

Every new St. Abdullah record is an attempt to present new ideas and To Live A La West is no exception. Spread out over a CD on Imprec and a cassette on sister label Cassauna, To Live A La West is simply moving, a collection of profound and spiritual tracks miraculously existing at the impossible intersection of free jazz and electro where mystery and clarity exist together. Neither complicated or complex but profound, St. Abdullah’s new work is partially inspired by their love for Jon Hassell’s compositions

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VARIOUS - 'The Harmonic Series II'

Formats

• IMPREC500 - LP

  793447550015

Details

Curated by Duane Pitre, Important Records returns with its second volume of compiled works in just intonation. The Harmonic Series II. Unlike equal temperament - the tuning system most commonly encountered in contemporary music - which equally divides an octave into 12 fixed notes, just intonation utilizes intervals of whole number ratios - chosen by a composer - to determine tonal positions, which can result in a highly individualised tonal language and holds the potential for more nuanced relationships and striking, sympathetic resonances. Rooted in ideas that trace their way across the last 2500 years - seeking to mirror the natural behaviour of sound within music - just intonation lays at the foundation for numerous Indian, Persian, and East Asian musical traditions, as well as a substantial amount of European music prior to the 17th century. Reintroduced into western music during the 20th century by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young, it has left an indelible mark on experimental practice ever since.

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MERZBOW - 'Material Action 2'

Formats

• IMPREC510CD - CD

  793447551012

Details

First time on CD for this classic Merzbow duo album from 1983... ......Material Action is a favorite among early Merzbow free-music, junk-noise workouts. Psychedelic improvised instrumental energy abounds on this essential early recording that is PURE MERZ.

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Alvin Lucier - 'One Arm Bandits'

Formats

• IMPREC514CD - CD

Details

One Arm Bandits is an hour-long piece in four parts, scored for four cellists. The cellists play only open strings, thus using only their right arms, never fingering the strings with the left hand. Recorded in Alvin Lucier's dining room, this work features cellists Tyler J. Borden, Laura Cetilia, Charles Curtis and Judith Hamann. Lucier oversaw and produced the recording, and approved the final takes.

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Eleh - 'Snoweight'

Formats

• IMPREC486CD - CD

  793447548623

Details

Recorded during two days of extreme weather, ELEH's Snoweight conveys the mesmerizing force of a winter storm with sonic realism and romanticism. These two new compositions evoke both warm security and wild, blanketing intensity in ways that are both emotionally arresting and time stopping.

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