{"title":"Karlrecords","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eKarlrecords is an experimental music label that was founded in 2006. With a focus on pushing boundaries and exploring new sounds, Karlrecords has become a leading force in the avant-garde music scene. The label is run by [a5149164], who has a deep passion for experimental music and a keen eye for talent.\u003c\/p\u003e\n\n\u003cp\u003eSince its inception, Karlrecords has been dedicated to releasing innovative and thought-provoking music from artists around the world. The label's catalog features a diverse range of genres, including ambient, drone, noise, electronic, and more. Each release showcases the unique vision and creativity of *Karlrecords* artists.\u003c\/p\u003e\n\n\u003cp\u003eWith its commitment to quality and artistic integrity, Karlrecords has gained recognition as one of the most influential labels in the experimental music community. Its releases have received critical acclaim and have been praised for their boundary-pushing nature. Whether you're an avid fan of experimental music or simply curious about exploring new sonic landscapes, Karlrecords offers a captivating listening experience that will leave you inspired.\u003c\/p\u003e","products":[{"product_id":"reinhold-friedl-scarlatti","title":"Reinhold Friedl: Scarlatti","description":"\u003cp\u003ezeitkratzer director REINHOLD FRIEDL and his ensemble present new compositions, grounded on DOMENICO SCARLATTI's piano sonata F-minor K.466. Commissioned by the dance company RUBATO and dedicated to MARIO BERTONCINI (1932-2019).\nLittle is known about DOMENICO SCARLATTI (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also the fingers get their right: playful and haptic it goes. Scarlatti explained, \"since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them.\"\nFreedom, friction and listening pleasure instead of convention: \"He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music - the ear.\"\nREINHOLD FRIEDL applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noisified, sound structures extracted, floating. Those who know the sonata, will more than smell it's shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.\n\"Wild flowers\", Barbara Zubers had once called Scarlatti's music. Let them bloom.\n\nzeitkratzer directed by Reinhold Friedl\nFrank Gratkowski clarinets, flutes\nHild Sofie Tafjord french horn\nReinhold Friedl piano\nMaurice de Martin percussion\nBurkhard Schlothauer violin, viola\nUlrich Phillipp doublebass\nMartin Heinze doublebass\n\ncredits:\nall music composed by Reinhold Friedl\ndrawn from Domenico Scarlatti's Sonata f-minor K.466\ncommissioned by Tanzcompagnie Rubato\nrecorded Oct 13, 2021 by Klaus Dobbrick at Uferstudios Berlin\nmixed 2022 by Nik Hummer at minusgroundzero Vienna\nmastering \u0026amp; lacquer cut by Kassian Troyer at D\u0026amp;M Berlin\nlayout: kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP.","offer_id":50392641732939,"sku":"2045995","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_4c663816_thumbnail_4096.jpg?v=1726410198"},{"product_id":"invisible-cities-ii","title":"Invisible Cities II","description":"\u003cp\u003eAIDAN BAKER (NADJA, B\/B\/S) and bass clarinetist GARETH DAVIS continue their fruitful collaboration with \"Invisible Cities II\" - five new tracks of finest ambient \/ chamber jazz \/ subtle drones of a highly meditative quality. Available as 180gr LP and download. \n\n\n2 years ago, the Canadian guitar player AIDAN BAKER and clarinetist GARETH DAVIS from Belgium released their duo debut \"Invisible Cities\" that surprised many by its quiet, even meditative quality. DAVIS had made himself a name in a wide range of fields, from the postrock of A-SUN AMISSA or OISEAUX-TEMPÊTE, new music (PETER ABLINGER, BERNHARD LANG), or experimentation with the likes of ELLIOTT SHARP, MERZBOW or SCANNER, while BAKER is mostly known for his drone \/ postmetal duo NADJA, but that's just one out of several steady projects (e.g.B\/B\/S with ANDREA BELFI and ERIK SKODVIN aka SVARTE GREINER) and a multitude of solo albums.\n\nOn \"Invisible Cities\" the duo explored the calmer side of things – from chamber jazz to ambient \/ drone and back, giving much space and air to breathe to their respective instrument. Subtle guitar drones, sonore clarinet sounds, a sonic scenery of peacefullness and meditative introspection – all this you'll also find on the new album \"Invisible Cities II\" which is an accomplished continuation and refinement of the duo's first collaborative effort from 2018.\n\nRecorded between 2018 and 2019 in Berlin and Amsterdam, mastered and cut at D\u0026amp;M Berlin by KASSIAN TROYER.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP.","offer_id":50394689044811,"sku":"2055986","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_426af274_thumbnail_4096.jpg?v=1726445685"},{"product_id":"pleasure-voltage-2","title":"Pleasure-Voltage","description":"\u003cp\u003eBENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.\n\"Pleasure-Voltage\" was born in the mind (and studio) of BENJAMIN FINGER – a composer, electronic music producer, DJ, photographer and film-maker based in Oslo \/ Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin \/ electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN \/ MICK HARRIS, K.K: NULL and many more.\nOn \"Pleasure-Voltage\" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient \/ drone \/ psychedelia.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50394713489739,"sku":"2056117","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_b22ed3e5_thumbnail_4096.jpg?v=1726446559"},{"product_id":"zwischenraum","title":"Zwischenraum","description":"\u003cp\u003ethe 2nd chapter \"zwischenraum\"of the \"raum\"-trilogy by dominik grenzler aka an moku and stefan schmidt. finely crafted ambient \/ soundscapes using stringed instruments, synthesizer, electronics and field recordings.\nwhen dominik grenzler aka an moku, a sound artist and bass player based in zurich, approached stefan schmidt (guitarist, composer and improviser from baden-baden) with the idea of collaborating, it turned out the initial spark for a fruitful process and artistic exchange. within just a couple of weeks they not only managed to craft \"raum\" (the german word for room \/ space), the duo also realized there was still a plethora of ideas to explore and that this first album wouldn't be their last – rather, they conceived a full \"raum\"-trilogy, named after and inspired by a sentence grenzler had read in david foster wallace's unconventional bestseller novel \"infinite jest\": \"die echte welt ist nur ein raum.\" (\"the real world is just a room.\").\non \"zwischenraum\", grenzler and schmidt continue their sonic trip into abstract voids, crafted by finely processed sounds of different origins like cello, field recordings and a vast array of electronic equipment. From the opener \"yama\" with its indian drone to the closer \"sediment\" the atmosphere is dark and alien, with references to hauntology and musique concrète, and yet organic, even harmonic. The future may be bleak, but there is still life.\nthe musicians::\ndominik grenzler (born 1977) is a sound artist and bass guitar player with a spot for experimental and ambient soundscapes. In 2008, after years of playing e-bass in several bands or being hired for concert tours, he began with the initial recording sessions for an moku. the literal translation of the japanese word \"anmoku\" is \"tacit, unsaid, implicit\" conveying that an idea or thought cannot be put into words but is subconsciously understood. inspired and animated, with this approach, dominik's abstract, cinematic music gives the listener room for imagination and interpretation. his approach to ambient is highly personal, as he manages to generate tension with a hidden musicality, drowned in a miasma of organic, yet manipulated sounds.dominik's primary interests lie in simplicity, repetition and the relationship between sound and art.\nprivately, dominik grenzler lives and works in his adopted hometown of zurich where he co-owns a café with an artisan cake bakery section.\nwww.anmoku.net\n\nstefan schmidt (born 1974) is a guitarist, composer, improviser and teacher. he gathered his first musical experiences as a member of various punk bands and later studied classical guitar at the hochschule für musik trossingen with professor andreas higi and at the conservatorio juan josé castro in buenos aires with victor villadangos.\nwhile early projects (e.g. farang) and several collaborations put focus on distorted sounds and rhythms, recent works center on slowly evolving structures, sound design and free improvisation, giving more emphasis on his main instrument, the classical guitar, and the exploration of other stringed instruments such as tenor ukulele, fretless bass ukulele, fretless classical guitar, electric guitar,[d]ronin \u0026amp; ronin, stringed psalter, cello and baroque lute.\nwww.musicforoverexposedcelluloid.com\n\ncredits::\nall tracks composed and produced by an moku and stefan schmidt\nmastered by weldroid www.weldroid.net\ncover artwork by stefan schmidt\nsynthesizer, tape recorder, electromagnetic microphones by an moku\nfield recordings, synthesizer, cello, fretless guitar by stefan schmidt\ndouble bass on schwere see by adriano orrù\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50394718634315,"sku":"2056018","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_c1022ef5_thumbnail_4096.jpg?v=1726446729"},{"product_id":"raum-im-raum","title":"Raum Im Raum","description":"\u003cp\u003eThe third and closing chapter of the \"Raum\" trilogy by an moku and stefan schmidt – \"Raum Im Raum\" serves finely crafted ambient \/ soundscapes, and is the most intense and darkest album of the series.\nAs written in the previous infosheets, the \"Raum\"-trilogy (named after and inspired by a sentence from david foster wallace's unconventional bestseller novel \"infinite jest\") is a child of the recent pandemic: when public life more or less came to a hold, dominik grenzler aka an moku, a sound artist and bass player based in zurich, contacted stefan schmidt (guitarist, composer and improviser from baden-baden) with the idea of collaborating. It turned out a fruitful idea and within just a couple of weeks they not only managed to craft \"raum\" but indeed had so many ideas that it was impossible to put them all in just one album, a trilogy was the logical consequence. This series now sees its 3rd and final part with \"Raum Im Raum\", maybe the most intense and darkest chapter of the trilogy that deals with the abstraction of a possible space within a possible space.\ngrenzler and schmidt continue their adventurous sonic trip into abstract voids, crafted by finely processed sounds of different origins like synthesizer or fretless guitar, field recordings and a vast array of electronic equipment – like they did before, but without simpy re-cooking the approved recipe, instead adding new spices like a saz or kalimba (schmidt being a vituoso on many stringed instruments).\nthe atmosphere is dark and alien, with references to hauntology and musique concrète, and yet organic, and rich of details.\n\"..Soon, I loose the ability to distinguish between the two kinds of darkness. I can no longer tell if my eyes are open or closed. But as my eyes became used to the darkness, though, I began to pick out slight differences…\" - H. Murakami\n\ncredits:\nall tracks composed and produced by\nan moku and stefan schmidt\nmastered by weldroid www.weldroid.net\ncover artwork by stefan schmidt\nmodular, microphonic soundbox, bass guitar, obsolete recordings by an moku\nsynths, saz, fretless guitar, kalimba, field recordings by stefan schmidt\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50394719289675,"sku":"2056017","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_49a2fb88_thumbnail_4096.jpg?v=1726446749"},{"product_id":"why-is-it-they-say-a-city-like-any-city","title":"Why Is It They Say A City Like Any City?","description":"\u003cp\u003eThe new album by the Peruvian-born \/ Berlin-based experimental artist Ale Hop was\nconceived in a context of immobility and provides six sonic vignettes that wonder about\nlocation, circularity, rootedness and experience. In collaboration with Ana Quiroga,\nConcepcion Huerta, Daniela Huerta, Elsa M'balla, Felicity Magan, Fil Uno, Ignacio Briceño,\nKMRU, Manongo Mujica, Moises Horta, Nicole L'huillier, Raul Jardín, Sukitoa Onamau,\nTomas Tello.\n\nFollowing her explorations on music's inherent fixation to geographic space and time, be it through\nthe longing of home (\"Apophenia\" 2019) or scientific magnification of invisible worlds (\"The Life of\nInsects\" 2020), Berlin-based Peruvian-born experimental composer Ale Hop's fourth album, \"Why\nIs It They Say a City Like Any City?\", was conceived in a context of immobility. During the lockdown\nmonths, she started a process of remote collaboration, by sending messages, posted from various\ncities along a South American trip, to thirteen musicians from around the world. She journaled her\nimpressions upon these places to an intimate fictional character while reflecting on matters of time,\nsound, space, cosmology and colonial memory. The thirteen musicians dialogued with this voice by\ntaking upon the challenge of responding to the messages with sound collaborations.\nField recordings, mouth drumming, drone cellos, electronic loops, arrhythmic rhythms and voices\ncame back from this experiment. Ale assembled them, by layering, twisting and turning, into sonic\nvignettes that wonder about location, circularity, rootedness and experience, making it the first time\nshe's set her guitar aside. Expect no answers to the album's title question, but an innermost\npsychedelic rumination.\n\"Despite the technological resources that appear to dilute distances, the simulation of closeness\nmirrored on the digital space is an emptied body, a state of precarity, a flat surface; unable to\nwithhold an experience of exchange,\" Ale states. \"So, I began this project by asking myself, how\ncan we escape from the reduced experience of the virtual? The idea behind this experiment was\nthat my messages and the places they describe could drive the composition, be a catalyzer, a\nscore. Thus, to use geography as a tool to remember and imagine, to allow new soundscapes to\nemerge.\"\n\"Memory, diffuse and divergent, sometimes reaches out to the future in its search for form, taking\nshape from the reflections and echoes that come back … like throwing a rock in a pond and having\na rock thrown back at you.\"\nTracklist:\n# The Mountain That Eats Men (collab. with Raul Jardín \u0026amp; Sukitoa o Namau)\n# Mayu Islapi (collab. with Ana Quiroga, Fil Uno \u0026amp; Ignacio Briceño)\n# Latitud 0  (collab. with Daniela Huerta \u0026amp; Manongo Mujica)\n# They Thought of Themselves (collab. with Felicity Mangan \u0026amp; KMRU)\n# Chiapas \u0026amp; Phinaya (collab. with Concepción Huerta \u0026amp; Tomas Tello)\n# Once Upon a Time (collab. with Elsa M'Balla \u0026amp; Nicole L'Huillier)\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP.","offer_id":50394724401483,"sku":"2055996","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_d9baec2c_thumbnail_4096.jpg?v=1726446863"},{"product_id":"lichtung-2","title":"Lichtung","description":"\u003cp\u003eREINHOLD FRIEDL (piano) meets RADIAN member MARTIN SIEWERT \n (guitar, electronics): Three spontaneous sonic explorations - subtle and explosive!\nWith over a dozen releases on Karlrecords, and a total output of more than 100 albums in general, Reinhold Friedl doesn't need much of an introduction to anyone interested in contemporary music \/ avantgarde: his ensemble zeitkratzer is as respected as it is feared for its radical approach on music, and it seems redundant to mention all collaborators and projects.\nFriedl is known for his unique piano sound, his advanced techniques, and his musical intensity paired with precise exuberant sound constructions and consistent compositional thinking. He cooperated with musicans from Phil Niblock to Lou Reed, Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) to Whitehouse, Laurie Anderson to Rashad Becker and works as guest professor at various universities across Europe. The \"multi-talented renaissance man\" (as Naut Human turned it) is also known as a specialist for Iannis Xenakis, and curates the Perihel series on Karlrecords.\n\"Lichtung\" is the collaboration of Friedl and no other than Vienna-based Martin Siewert, himself a highly prolific and reputated innovative guitar player and producer in groups like Radian or Trapist. Martin Siewert played with the who is who in experimental and improvised music and celebrated his strong musical identity in international collaborations with Otomo Yoshihide to Oren Ambarchi, Meg Stuart to Christian Fennesz, Sainkho Namtchylak to The Necks. Siewerts guitar play at the intersection of acoustic \/ electronic generated sounds is unique, evoking echoes of krautrock and musique concrete to electronic jazz and avantgarde.\n\"Lichtung\" was recorded in Vienna: Several studio meetings condensed to three intense tracks, a statement and musical adventure between noise and silence, subtle and explosive! Two musicians, who couldn't be more diverse, here – in every sense – they act in concert.\n\n\ncredits:\nReinhold Friedl: piano\nMartin Siewert: guitar, electronics\n\nrecorded on june 22nd2021 in Vienna\nmix and mastering: Martin Siewert\ncover photo: Thomas Herbst\nlayout \u0026amp; design: kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"CD.","offer_id":50396481585483,"sku":"2167233","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_250411c9_thumbnail_4096.jpg?v=1726482488"},{"product_id":"the-commune-of-nightmares","title":"The Commune Of Nightmares","description":"\u003cp\u003eThe new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.\nDavid Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.\nThe Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.\nCredits:\nAll music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape.","offer_id":50398014079307,"sku":"2170730","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_76740d50_thumbnail_4096.jpg?v=1726493226"},{"product_id":"zound-delta-2","title":"Zound Delta 2","description":"\u003cp\u003eA new piece by minimalist \/ experimental composer PHILL NIBLOCK (1933 - 2024), co-composed and performed by ANNA CLEMENTI \u0026amp; THOMAS STERN. Intense, menacing layers of thick drones and alien sounds.\nIn summer 2022, within just a few weeks and by pure coincidence, 2 proposals regarding PHILL NIBLOCK albums arrived: one suggesting an overdue vinyl reissue of a CD release (more on that when the time has come for it), the other email was from ANNA CLEMENTI saying she and THOMAS STERN were working on new pieces that PHILL NIBLOCK has written for her … when \"Zound Delta 2\" was complete, PHILL sent photographs for the two artworks, we met twice to discuss details, but unfortunately he died unexpectedly early january this year so the album now is, sad as it is, a posthumous release … an intense goodbye from one of 20thcentury most iconic composers.\n\nPhill Niblock\nPhill Niblock (1933-2024, USA) was an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, Niblock's signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l'Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.\nhttps:\/\/phillniblock.com\/\n\nAnna Clementi\nItalian-Swedish singer Anna Clementi grew up in Rome, where she first studied the flute and completed acting training before moving to Berlin and studying experimental vocal music and experimental music theater with the composer Dieter Schnebel at Hochschule der Künste (now UdK Berlin). Anna Clementi sees herself as an \"actress of the voice\" rather than exclusively as a singer. In this way she also articulates the diversity of her artistic expression, with which she is always searching for new connections between voice, gesture, language, dance and theater.\nDuring her decades spanning career, Anna Clementi has performed at the most important festivals, has premiered numerous works, many of which have been composed especially for her, and worked with Fast Forward, Michael Hirsch, Rupert Huber, Christian Kesten, Alexander Kolkowski, Olga Neuwirth, Josef Anton Riedl, Iris ter Schiphorst, Dieter Schnebel, Laurie Schwartz, Elliott Sharp, and many others.\nA special focus of hers is the work of John Cage, whose pieces she has performed worldwide.\nhttps:\/\/www.annaclementi.com\/\n\n\n Thomas Stern\nBorn in Bremen, Thomas Stern moved to Berlin in 1984 where he joined Mona Mur with Alex Hacke and F. M. Einheit (both from Einstürzende Neubauten, with which Stern also worked as live sound engineer for many years). Around 1987 he co-founded the Berlin set up of Crime And The City Solution (Mick Harvey, Alex Hacke a.o.). Over the years, he has has collaborated with artists like Ulrike Haage, Phew, Nick Cave, Ton Steine Scherben, Meret Becker, Nina Hagen, Jaki Liebezeit, Ben Becker, N.U. Unruh, Gry, Iris ter Schiphorst, Automat, Swans, Hans Joacxhim Irmler and many more, on the road or in his own Sternstaubstudio.\nhttp:\/\/www.thomasstern.de\/\n\ncredits:\nAnna Clementi: voice\nThomas Stern: slide guitar, bass and soundprocessing\nComposition by Phill Niblock, Anna Clementi and Thomas Stern\nRecorded and mixed by Thomas Stern at Sternstaubstudio, Berlin\nMastering and lacquer cut: Kassian Troyer at D\u0026amp;M, Berlin\nCover photography by Phill Niblock\nLayout and design by kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP.","offer_id":50405320163659,"sku":"2185075","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD.","offer_id":50405319868747,"sku":"2185059","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_b65bdb67_thumbnail_4096.jpg?v=1726575592"},{"product_id":"silver-apples-of-the-moon","title":"Silver Apples Of The Moon","description":"\u003cp\u003eAs composer, musician and initiator of the San Francisco Tape Music Center which he co-founded with PAULINE OLIVEROS and RAMON SENDER in 1961, MORTON SUBOTNICK (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with DON BUCHLA on the development of the early synthesizer \"Buchla Series 100\" before moving to New York where the artist-in-residence at the newly established Tisch School Of The Arts of the New York University was enabled to set up his own studio. That's where SUBOTNICK's most popular work \"Silver Apples Of The Moon\" was commissioned by NONESUCH as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Till the current day this seminal album has not lost his visionary power, has since long been considered one of the essential milestones in electronic music with great effect on later generations of artists – starting from the cult formation SILVER APPLES to LAIKA who titled their debut \"Silver Apples Of The Moon\" too. Now for the first time since its original 1967 release, SUBOTNICK's masterpiece (which was selected for the Library Of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180gm LP that was cautiosly remastered for vinyl. Limited to 500 items worldwide!\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50417150263627,"sku":"1092219","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cbc3a497-26e7-4782-8f40-bbad8824e9eb_thumbnail_4096.jpg?v=1726719059"},{"product_id":"friendly-electrons","title":"Friendly Electrons","description":"\u003cp\u003e\"Friendly Electrons\" presents the electronic side of the original TON STEINE SCHERBEN drummer, book author and longtime CONRAD SCHNITZLER friend \/ collaborator WOLFGANG SEIDEL. \nBorn in winter 1949 in a grey and gloomy post-war Berlin, WOLFGANG SEIDEL's first encounter with electronic sounds was at the cinema: the music for \"Forbidden Planet\" by LOUIS and BEBE BARRON sounded like the promise of a bright, exciting future … but in the 1960's, the biggest thing for young musicians was to play in a rock band, and as the friends around him all already played guitar, SEIDEL chose the drums and later co-founded TON STEINE SCHERBEN, the legendary German anarchist band. Around the same time, SEIDEL regularly attended the Zodiak Free Arts Lab, the birth place of so-called \"Kosmische Musik \/ Berliner Schule\" (TANGERINE DREAM, CLUSTER, MANUEL GÖTTSCHING etc), and became close friends with CONRAD SCHNITZLER. Realizing how much more artistic freedom electronic music offers, he grew tired of playing the same songs night after night, left the band after their debut album had been released and started experimenting with contact microphones and tape delay (and later, when he could afford one, with a Buchla synthesizer). SEIDEL joined SCHNITZLER's groupERUPTION and worked with him till his death in 2011 (sometimes credited as WOLF SEQUENZA) on several albums, and also toured some art institutions presenting SCHNITZLER's \"cassette concerts\" (who had dropped his suitcases with the tape machines in front of SEIDEL's flat door and appointed him the \"future conductor\").\nIn the 2000s, SEIDEL started playing drums again, this time in the free jazz \/ improv scene (a.o. others with ALFRED A. HARTH and HANS JOACHIM IRMLER), wrote books about his former band (\"Scherben – Musik, Politik und Wirkung der Ton Steine Scherben\") and Krautrock (\"Wir müssen hier raus! Krautrock, Free Beat, Reeducation\") … and continued his sonic explorations with his Buchla in his studio in Berlin-Wedding.\nWhen we met at a birthday party, Wolfgang told me about his electronic pieces - I was interested right away – so he browsed his archive and sent me a selection of tracks. These are often based on older ideas and sketches that he had completed during the pandemic when there were no concerts to play. The result is \"Friendly Electrons\" – a collection of 18 tracks, inspired by SCHNITZLER's collage technique and SEIDEL's own experiences with improvisation. With the exception of 2 pieces that are actually composed there were no fixed ideas – simply start from scratch and see what happens, review the result from different angles and refine the tracks where necessary. Whereas electronic music is often considered dystopian, the album title mirrors SEIDEL's positive attitude towards modernism, so his electrons are of a friendly kind!\n\n\ncredits:\nAll music created, mixed \u0026amp; produced by Wolfgang Seidel\nMastered by Ruy Mariné at D\u0026amp;M, Berlin\nCover photo by Wolfgang Seidel\nLayout \u0026amp; design by kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"CD","offer_id":50417268916555,"sku":"2197973","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_061de887_thumbnail_4096.jpg?v=1726724270"},{"product_id":"execution-ground","title":"Execution Ground","description":"\u003cp\u003eNow represed by popular demand! The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.\n\nWhen PAINKILLER started in 1991, their first two albums \"Guts Of A Virgin\" and \"Buried Secrets\" (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN \/ SONNY SHARROCK \/ RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album \"Execution Ground\" that remains the opus magnum of the brilliant trio: ZORN's unmistakable shrieking saxophone, HARRIS' pounding drums and LASWELL's growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians' skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the ambient versions of disc 2.\nMastered and cut by RASHAD BECKER at D\u0026amp;M Berlin, \"Execution Ground\" is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50417307451723,"sku":"2096943","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_f981e947_thumbnail_4096.jpg?v=1726725529"},{"product_id":"james-tenney","title":"James Tenney","description":"\u003cp\u003eBy zkr director Reinhold Friedl's personal request now available on vinyl for the first time: zeitkratzer's critically acclaimed interpretations of groundbreaking compositions by Jame Tenney (1934 - 2006), who was a composer, music theorist and pioneer especially in the field of microtonal music, being an influential part of the so-called New York avantgarde scene. Besides his compositional work, Tenny was teacher at various universities with students like Charlemagne Palestine, Carl Stone or Catherine Lamb, and a close friend with Eliane Radigue. This album by zeitkratzer presents three compositions by Tenney whose music has been part of zeitkratzer's repertoire since their beginning: # \"Critical Band\" – Tenney's late classic – with maximum clarity and precision of bearing tone rhythms and microtonal tuning as light effect. # the first recording of \"Harmonium #2\". Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved with his microtonal settings. # \"Koan: Having Never Written A Note For Percussion\" (incl. in the download) is an orgiastic listening experience in the form of a huge crescendo on a tam-tam - from whispering to singing, culminating in shrill roaring and blustering – and it's dark decay.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black | LP","offer_id":50452235157835,"sku":"2001275","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/James_Tenney_old_school_5141658a_thumbnail_4096.jpg?v=1727144857"},{"product_id":"hakdanzeisen","title":"hK\/Danzeisen","description":"\u003cp\u003eModular synthesizers \/ electronics + a drum kit enhanced with triggers and sensors: on its self-titled debut album, the duo hÄK \/ Danzeisen creates a sonic energy that oscillates between high-precision rhythm patterns, analogue sounds and frenzy climaxes.\nOne must imagine hÄK \/ Danzeisen as a man-machine apparatus. A collection of cables, resonating bodies and restless limbs that together question all routines. Who overthrow conventional role of instruments and explore the possibilities of a new sound language. Bernd Norbert Würtz alias hÄK operates modular synthesizers, self-soldered circuits and control knobs. Philipp Danzeisen plays a drum kit enhanced with triggers and sensors. These two poles are connected to an interdependent whole in which a constant musical dialogue takes place. The dependencies within this system have been meticulously defined by hÄK \/ Danzeisen: Drum rolls and sound modulations are interconnected in such a way that there is no contradiction between the strict technological structure and the creative outburst that is possible at any time.\nWhat drives hÄK \/ Danzeisen is the basic idea that the contrast between acoustic drums and synthetically produced sounds must be overcome in order to create a new experience. Würtz, Danzeisen and their combined instrumentation simultaneously rub up against the same edges, finding a single, piercing voice.\nIdeal manifestations of this approach are the duo's live performances: raw energy that oscillates as precisely as it surprises between drones, abstraction and noise attacks, driven by an impudent take on jazz. Constantly oscillating between the registers of \"composed\" and \"improvised\", each performance by hÄK \/ Danzeisen ultimately becomes one of a kind. (Arno Raffeiner)\n\ncredits:\n Philipp Danzeisen: drums, percussion\n B. Norbert Würtz alias hÄK: modular synth, electronics\nall music by hÄK\/Danzeisen\n recorded by Ingo Krauss at Candy Bomber Studios, november 2021\n edited by B. Norbert Würtz\n Kurve \/ Aufwärts mixed by Ingo Krauss\n Abwärts \/ Ungerade mixed by B.Norbert Würtz \n mastered \u0026amp; lacquer cut by Ruy Mariné at D\u0026amp;M, Berlin\n cover photo by Beat Halberschmidt\n artwork concept by Thomas Herbst, layout by kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50460549120331,"sku":"2014766","price":9.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50460548464971,"sku":"2014761","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_cef6afd0_thumbnail_4096.jpg?v=1727234230"},{"product_id":"schemen","title":"Schemen","description":"\u003cp\u003e11th album by the one-of-a-kind collective: psychedelia and free form jazz (not jazz) trigger a sophisticated excursion into weird textures with drastic turns. Dislocated dense music full of secret connections!\nKammerflimmer Kollektief – \"Schemen\" \n \n Before reason prevails, invoked by those who want everything to remain as it is, Kammerflimmer Kollektief disrupts the established supply chains of sound. It seeks more interesting ways to assemble them. Trusting in this, because of the fact that every sound that still comes out of a guitar, a bass, a harmonium, drums and electronic devices has already been taken into the common mangle of meaning anyway. Enough of all that. Here, nothing is explained. Here we speak in schemes. Polished and jerky. \n \n The images that Kammerflimmer Kollektief conjures up therefore happen not in the focus of consciousness, but rather in its outer realms. In those to which one does not give one's full attention at the moment, but which are nevertheless perceived. For example, when a leaf falls from the ground back up to the tree in the corner of your eye, and for an instant you think this is possible, before you realize it was a small bird flying into the tree; it is in just such irritating moments between perception and realization that the art of the Kollektief also unfolds. On \"Schemen\", familiar fragments float gently around their core – a Fender Rhodes tone, a bass figure, a guitar motif, a masterful drum shuffle, a moment of icy stasis borrowed from the harmonium playing of Christa 'Nico' Päffgen. Triggering brief associations, they slowly rush off in other directions through free jazz-informed editing work, whereupon such zones can also arise in which perception has a few tricks ready and earlier experience suddenly breaks into the now in a completely different way. Half suspected, half seen. \n \n Half-music like Can from Cologne – also masters of improvised editing – sometimes produced a few decades ago in their in-between moments. The first minutes of \"Future Days\" for example, which fade in gently, sketch a barely graspable figure emerging from all directions of the room. Kammerflimmer Kollektief also engages in similarly open moments of development. Loosely, it eludes the first formative impressions, keeping itself ready for moments that do not follow any logic of appointment. This looseness in handling makes Kammerflimmer Kollektief so fluidly audible, even when dissonant peaks and free playing arise. What Karlheinz Stockhausen is to Can's understanding of composition, the recordings of The Cocoon are to Kammerflimmer Kollektief. The Cocoon, a meeting of garage psychedelics from the Hannover area with free jazzers from the Galaxie Dream Band, whose album \"While The Recording Engineer Sleeps\", recorded in 1985 in unguarded moments, operates in a very similar way with decentralized perceptual ambivalences and only appeared more or less secretly four years later on Wilhelm Reich Schallspeicher. Other traces of \"Schemen\" lead to the debut album of Quicksilver Messenger Service. The guitars of Gary Duncan and John Cipollina, which refer to themselves in an unforced manner, are instructions to let go. They don't want to be traced in every note as a solo, but they give their music a sense that the essential takes place off center, in the mutual and intuitive gift of loving attentions. Consciousness-free. \n \n Loving turns like the little guitar phrase that, like a kind of leitmotif, is repeatedly ghosting more or less unchanged through all of the Kammerflimmer Kollektief albums. A Coricidin induced, very catchy slide idea filtered out of ancient Æther, which – who knows – maybe even centuries ago found its way from somewhere to America – the old, the eerie – and from there wafted on through the ages to southern Germany, to a smoky studio in the Upper Rhine lowlands. A memory of which even the memory no longer knows what it once reminded. Unsaid, then forgotten. \n \n In Kammerflimmer Kollektief you will also find a friend of slowly building, unhurried music, which probably would have been appreciated by the old Franz Mesmer, who 200 years ago, after tranquilizing treatments, sometimes used to play for his patients ambient melodies on the enormous glass harmonica. However, in order not to surrender completely to the flow of one's own life energy, as Mesmer had in mind with his therapies, Kammerflimmer Kollektief occasionally adds hectic tensions, gently embraced by the droning of a sine wave generator, as if a trance could briefly refesh. This old analog sine wave generator is new in the Kammerflimmer assortment of sounds. So, the art of the Kollektief likes to dock occasionally in modern times, yet with the past in mind. Mental states begin to flicker between imagination and certainty, between culture-bound art expression and coincidences: A cawing and scraping can always just be a cawing and scraping with Kammerflimmer Kollektief, the way Andy Warhol's mushroom eater just eats a mushroom. \n \n Heike Aumüller's cover works, which illustrate all the Kammerflimmer Kollektief albums, additionally act as amplifiers of unexplained refractions. Her style consists of eye-corner art that remains so, even when looked at directly. Her shots remain disquieting because they do not jolt themselves into a reassuring order, even in retrospect. Rather than evading the fear that arises when looking at them by trying to impose some irrational rhyme or reason, that fear must simply be endured. This strategy of endurance is equally applicable to the music. The trick is to let parts be parts without compulsively seeking delusional patterns that lull us into a false sense of security and in doing so, possibly delude ourselves. In this context, freedom means not having to anxiously attach a fantasized superior meaning to everything. \"Schemen\" has an conspiracy disintegrating effect.\n–Werner Ahrensfeld\n\nGruppo\nHeike Aumüller: Harmonium,synthesizer,sinusgenerator\nChristopher \"Giga\" Brunner:drums\nJohannes Frisch:double bass\nThomas Weber: Electric guitar,loops,feedbacks\n\nCredits\nProduction, arrangements \u0026amp; collage: Thomas Weber\nStudio: Kinda real cloudy, Karlsruhe, Mai 2018 - Juli 2022\nMusick: Thomas Weber \u0026amp; Heike Aumüller, Verlag: Future World\nMastering: Anne Taegert, D\u0026amp;M Berlin\nCover artwork: Heike Aumüller, deep in the woods\nStills: Iris Drögekamp\nGraphic realisation: kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50460665708875,"sku":"2014718","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50460666462539,"sku":"2014731","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_ddd3b5ce_thumbnail_4096.jpg?v=1727236352"},{"product_id":"boundary-2","title":"Boundary","description":"\u003cp\u003eAfter several years of intense performance activity, the Italian sound artist and\nvocalist SARA PERSICO releases her debut EP \"Boundary\", to be followed by a full album.\n\nBorn and raised in Naples, Berlin-based sound artist \/ vocalist SARA PERSICO cut her teeth\nexperimenting on the fringes of Naples' fiery underground experimental\/noise scene, developing a\ntechnique that would integrate her voice with analogue electronics, field recordings, and samples.\nPERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the\nConservatory of Bologna and gained several residencies and scholarships like Temp Studio,\nLisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,\nArgentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM\nFestival, Ortigia Sound System Festival\/Bosco Colto, Codex Club, Documenta Fifteen, Dancity\nFestival, Radical DB, Life Libertas Festival, among others.\n\nAs improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN\nSAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed \"light-years\" show at Rewire\nFestival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY\nMOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,\nRECORDAT, and many others.\nShe's also a fearless DJ who's able to straddle vastly different worlds, offering just as much\nattention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal\nexperiments. She is currently a resident on Bethlehem's Radio Alhara.\nAll this energy and experience radiates from her solo debut \"Boundary\": PERSICO's expressive\nvocals play a central role, but her command of precisely sculpted electronic textures and dynamic\nrhythmic structures is just as crucial to the overall experience.\nDeconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense\nintrospective work that explores intimately the boundaries of the self. Identity rupture as a survival\ntechnique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a\nheavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.\nCredits:\nAll tracks written by Sara Persico\nProduced by Koenraad Ecker and Sara Persico\nMixed by Koenraad Ecker\nMastered by James Ginzburg\nBaritone saxophone on Exit by Sofia Salvo\nArtwork by Mothanna Hussein\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50465942536523,"sku":"2010413","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_839f6786_thumbnail_4096.jpg?v=1727299490"},{"product_id":"real-6","title":"Real","description":"\u003cp\u003eThe Italian sound artist returns with his 4th album; \u003ci\u003eReal\u003c\/i\u003e is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed \u003ci\u003eBorders And Ruins\u003c\/i\u003e (2017), \u003ci\u003eDisappearing In A Mirror\u003c\/i\u003e (2018) and \u003ci\u003eShards Of Distant Times\u003c\/i\u003e which all made it onto several year's best lists.\u003c\/p\u003e\u003cp\u003eThe sound artist from Siena \/ IT has proved a steady and prolific artist on the label roster. And each time, he delivers a new ambient masterpiece that clearly carries his signature as composer \/ producer and yet reveals a slightly different approach to his modus operandi. Aldinucci''s massive layers of sound, built from field recordings and an array of electronic gear, blend droney ambient with heavenly voices \/ sacred music that create an atmosphere of a consolatory melancholy – alien, but with a graspable presence of human souls. And each album deals with a topic that Aldinucci came across in his observations of and reflections about today's society.\u003c\/p\u003e\u003cp\u003eIn the words of Giulio himself:\u003c\/p\u003e\u003cp\u003e\"The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. \"Real\" is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism.\"\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50466316190027,"sku":"2001279","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cover.ki-3_2e22dd69_thumbnail_4096.jpg?v=1727311503"},{"product_id":"ereignishorizont","title":"Ereignishorizont","description":"\u003cp\u003eSchneider TM's new album with a duration of over 80 minutes is a truly epic album, which sounds and feels like a soundtrack for a yet-to-be-made sci-fi movie and exposes the essence of Dresselhaus' artistic approaches, crafted here with a more pared-down set-up, an awareness of advanced musical techniques, the physicality of sound, and an improvisational spirit that is based on the experience that things are strongest when they happen first. Performed on (partly self-developed) electroacoustic guitars + effects through a stereo set of tube amps with sensibilities for the world of modular synthesis and a range of seemingly contrarian musical directions, the 8 tracks present transcendental micro- and macrotonal soundscapes and polyrhythms, a musical cosmology that appears to be located in a sort of idiosyncratic alternate or parallel universe where parameters are slightly shifted, which doesn't necessarily mean something like 'otherworldliness' but certainly offer a view onto 'reality' from a bunch of different angles.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP","offer_id":50469966446923,"sku":"2026046","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50469968970059,"sku":"2026047","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cover.ki_9b233121_thumbnail_4096.jpg?v=1727370304"},{"product_id":"pita-friedl","title":"Pita \/ Friedl","description":"\u003cp\u003eElectronic music legend and head of Editions Mego, Peter Rehberg, teams up with zeitkratzer mastermind Reinhold Friedl. 3 side-long pieces melting electronic \/ contemporary avantgarde. Uncompromising.\nWhen Peter \"Pita\" Rehberg and Reinhold Friedl first met each other, they did not like each other \"at all,\" as Friedl emphasises with a hearty laugh. The two would however eventually bond over the years thanks to a mutual respect for each other's music. In the summer of 2021, they entered the studio together for the first time. Their joint album for Berlin's Karlrecords is a faithful document—no editing, no overdubs—of their improvisations during two recording sessions shortly before Rehberg's sudden and untimely passing on July 22nd of that year. The three pieces see Rehberg working with electronics and Friedl with his inside piano, proving that they had indeed managed to find a common ground—up to a point where it at times becomes hard to tell who plays what on this record.\nFriedl ran into Rehberg in Zbigniew Karkowski's tiny Tokyo apartment in 1999 while organising the first edition of the Off-ICMC that was set to take place in the following year. \"I came uninvited and slept a night at Zbigeniew's before Peter arrived and I had to move out,\" remembers Friedl, who ended up inviting the Mego founder to perform at the Off-ICMC even though he found it hard to relate to his music. \"We had very different backgrounds: he came from industrial and I had roots in classical music and improv, a high-brow prick!\" After having met several times at different concerts without ever really speaking to each other in the following years, a concert in Vienna in the late 2010s marked a turning point in their relationship (or lack thereof). Playing their sets back to back and loving every second of what the other was doing, the two finally clicked on musical level. \"We met for dinner on each of the three following nights!,\" remembers Friedl.\nThe two would go on to become good friends, meeting regularly to discuss music and everything else while both were living in Vienna just a few minutes away from each other. Rehberg put out Friedl's collaboration with Eryck Abecassis, \"Animal Électrique\" on his Editions Mego label in 2020 and eventually they entered the studio twice for sessions that were completely improvised with no prior preparation. \"Caciara,\" \"Chiasso,\" and \"Clamore\"—named retrospectively after three Italian words for \"noise\"—capture the spontaneity of two artists who had always been outliers in their respective fields finding a common ground in sprawling dynamics and sonic intensity as well as enabling each other to expand their individual sound palettes. \"Peter gave me cover,\" explains Friedl. \"I had the feeling that I was able to do things I otherwise wouldn't play.\"\nIf there is one thing that united them, Friedl adds, it was listening, and throughout these roughly 64 minutes, you can indeed hear them listening closely to each other, giving each other space and reacting to what the other is doing. Even though they unfortunately never managed to get together for a planned third session, these recordings—carefully mixed by Dirk Dresselhaus, but otherwise virtually untouched—perfectly encapsulate the energy unleashed by two free spirits coming together over a shared love for pushing the envelope of improvised noise music, unlocking the sensory potentials of it. It is quite fitting that this veritable onslaught of noise would end in the most understated way: \"The computer says stop,\" quips Rehberg. \"That's enough!\" The rest is laughter.\n\ncredits:\nPeter Rehberg: electronics\nReinhold Friedl: inside piano\n\nrecorded july 2021 at Studio Aichhorn, Vienna\nmixed by Dirk Dresselhaus at ZONE, Berlin\nmastered \u0026amp; lacquer cut by Kassian Troyer at D\u0026amp;M, Berlin\ncover concept by Thomas Herbst\nlayout by kaidoh\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP","offer_id":50470666666315,"sku":"2010440","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_7c22cb10_thumbnail_4096.jpg?v=1727380101"},{"product_id":"music-for-empty-flats","title":"Music for Empty Flats","description":"\u003cp\u003eCello player and electronic artist martina bertoni's new album \"music for empty flats\" delivers masterfully crafted experimental ambient \/ drone for fans of Hildur Guðnadóttir, Giulio Aldinucci or Lawrence English.\u003c\/p\u003e\u003cp\u003eMartina bertoni is a Berlin based cellist and composer. She started playing the cello at a very young age. classically trained, Bertoni's career soon developed around experimental and film music where her cello has been featured in numerous records, soundtracks for awarded movies and tv series and collaborations, among others with Blixa Bargeld and Teho Teardo with whom she recorded several albums and performed at many prestigious festivals all around the globe.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black | LP","offer_id":50489798984011,"sku":"1112704","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8ab24cfc-02fb-4805-9186-de6b31ebb507_thumbnail_4096.jpg?v=1727643774"},{"product_id":"the-devil-and-the-river-vol-1","title":"The Devil And The River Vol. 1","description":"\u003cp\u003eIn his most recent solo release, \"The Devil And The River: Volume One\", recorded live in his rural New Mexico studio, William Fowler Collins tremolo brushes his electric guitar using a calligraphy brush, playing a single chord with no overdubs to produce two compelling side-long pieces of music. Ever present are the minimalist widescreen reflections of the high desert environment in which he lives, with the two sides giving the impressions of a sun rising and then a sun setting over the vast and sparsely populated landscape. The music in the two pieces shifts dynamically from gentle and hypnotic to immense and resonant walls of drone, searing and overdriven. At times the music can suggest a collision between Terry Riley's \"Descending Moonshine Dervishes\" and the loud, distorted, emotional abstractions of My Bloody Valentine.\nCollins first began to focus on performing this music on his 2022-23 European tours with Aaron Turner and Emma Ruth Rundle, respectively.\nThe artwork here is done by Chris Bigg, renowned for his art and design work for the 4AD label.\n\nQUOTES:\n\"William Fowler Collins's set… isan ethereal reprieve of understated cinematic drone… Though loud, the minimal wall of noise is gentle and allows another moment for quiet reflection while bathing in waves of feedback. \"\n-Astral Noize review of Collins' live set at Amplifest 2022, in Porto, Portugal.\n\n\"The music made by William Fowler Collins is sculptural, unwaveringly focused, and succeeds in\nbeing deeply evocative while utilizing only the most minimal sonic forms. Events arrive and recede\nin elemental and seismic fashion—seemingly created by natural forces rather than human hand.\nThat said, William's musical voice is compellingly distinct whether he is using his primary\ninstrument of guitar, manipulating electronics and field recordings, or as a director in tandem with\nhis collaborators. The potency of his compositions is built not only on the sounds he creates but\nwithin his admirable restraint and deeply affective use of space. It is music as much of absence as\nit is of presence.\"\n- Aaron Turner (SUMAC, SIGE Records)\n\nCREDITS:\nAll music composed, performed and recorded live in one take by William Fowler Collins in New\nMexico, USA, 2023\nMastered by John Dieterich\nArt by Chris Bigg\nDesign by William Fowler Collins\n\nBIO:\nBased in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist, and\nperformer. His music extends across and beyond many genres (including modern classical, drone,\nminimalism, and free improvisation).\nCollins has released music on the SIGE, Type, Karl Records, Blackest Rainbow, Handmade Birds,\nDaymare, Sicksicksick, Tapeworm, and Root Strata labels. He also performs and records in the\nduo Mesa Ritual with Raven Chacon. Additionally, he has co-founded several collaborative projects\nincluding Thalassa with Aaron Turner (SUMAC, Isis), a duo with James Jackson Toth (Wooden\nWand), and Summer of Seventeen (with Aaron Turner, Faith Coloccia, Monika Khot, Daniel\nMenche). Collins has also recorded\/performed\/collaborated\/toured with Margarida Garcia, Monika\nKhot (Nordra) Johanna Hedva, Marshall Trammell (Music Research Strategies, Black Spirituals),\nFaith Coloccia (Mamiffer), John Dieterich (Deerhoof), Jeremy Barnes, Heather Trost, Maria\nValentina Chirico, SUMAC, and Emma Ruth Rundle among others.\nCollins performs nationally and internationally, in both solo and group contexts. He is on Swamp\nBooking's roster for European tours. For EU booking: giorgio@swampbooking.com\nIn 2004 Collins graduated from Mills College with an MFA in Electronic Music and Recording\nMedia.\nwilliamfowlercollins.com\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50531065725259,"sku":"2209658","price":10.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_847a6ff2_thumbnail_4096.jpg?v=1728092153"},{"product_id":"scattered-memories","title":"Scattered Memories","description":"\u003cp\u003eOn his debut album \"Scattered Memories\", the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran. \u003c\/p\u003e\u003cp\u003eBorn in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLEat the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental \/ technological aspect in his electronic \/ electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation \"Girih: Iranian Sound Artists\" that he had curated.In 2018, ALIZADEH self-released his debut \"Scattered Memories\" on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded \"world music\" audience as well as fans of current streams like ambient or drone in its most subtle forms.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50903141417291,"sku":"1056656","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5cfbe03c-a1b2-4aec-83aa-3149d3c119ee_thumbnail_4096.jpg?v=1732800382"},{"product_id":"the-wild-bull-2","title":"The Wild Bull","description":"\u003cp\u003eBased on an ancient Sumerian poem, Subotnick's follow-up to his highly influential milestone \u003ci\u003eSilver Apples Of The Moon\u003c\/i\u003e is no less an adventurous sonic trip on the Buchla synthesizer.  Born 1933, Subotnick is a key figure in the progress of electronic music: along with Pauline Oliveros and Ramon Sender he co-founded the San Francisco Tape Music Centre in 1961 and from 1963 on he worked with Don Buchla on the development of the early synthesizer \"Buchla Series 100\". In 1967 the composer and musician released his debut \"Silver Apples Of The Moon\", which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library Of Congress in 2009). A year later Subotnik presented his adventurous follow-up \u003ci\u003eThe Wild Bull\u003c\/i\u003e. Loosely based on \/ inspired by an ancient Sumerian poem of the same name - a lament about loss and death caused by war - the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. 54 years after its initial release, \u003ci\u003eThe Wild Bull\u003c\/i\u003e has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"LP","offer_id":50906595262795,"sku":"2001287","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cover.ki-4_214b5291_thumbnail_4096.jpg?v=1732872214"},{"product_id":"electroacoustic-works-for-halldorophone","title":"Electroacoustic Works For Halldorophone","description":"\u003cp\u003eFor her new and most radical album \"Electroacoustic Works for Halldorophone\", Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.\nMartina Bertoni returns to Karlrecords with \"Electroacoustic Works for Halldorophone,\" her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm's legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between harmonic frequencies. Aiming to analyse and understand their interaction beyond the composer's control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four \"Electroacoustic Works for Halldorophone\" seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.\nWhile the halldorophone—famously used by Hildur Guðnadóttir for her \"Joker\" score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on \"minimal interventions—some string strumming and plucking\" that set the interactions of different sounds and frequencies into motion. \"I decided to not approach it like a cellist would,\" she explains. \"Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.\"\nBertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O'Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. \"The halldorophone doesn't have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,\" she explains. \"That's why there's plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my 'chamber music record'.\" And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.\nIndeed, \"Electroacoustic Works for Halldorophone\" is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener \"Omen in G\" is counterpointed by massive bass drones, while the second piece, \"Nominal in D,\" plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. \"Fades in C\"—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and \"Organon in D\" closes the album by underscoring how Bertoni's unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.\n\nCredits:\nHalldorophone recorded at EMS Stockholm in November 2023\nAll music recorded, composed and produced by Martina Bertoni\nMixed and mastered by Ciaran O'Shea\nLacquer cut by Kassian Troyer at D\u0026amp;M, Berlin\nCover Artwork by Gregory Cowling \/ Praxis Typography\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP","offer_id":50923658412363,"sku":"2235046","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_322717e7_thumbnail_4096.jpg?v=1733239573"},{"product_id":"crudelta-necessaria-1","title":"Crudelta Necessaria","description":"\u003cp\u003eNoise artist DAVID WALLRAF returns with his second album on Karl - \"Crudeltá Necessaria\" deals with the role of cruelty in the works of PIER PAOLO PASOLINI.\nDAVID WALLRAF is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet.In the academic world, WALLRAF graduated with a BA in musicology at University of Hamburg, MA in time based media at Hochschule für bildende Künste, PhD on noise at HFBK, his PhD thesis \"Grenzen des Hörens. Noise und die Akustik des Politischen\" (Limits of Hearing. Noise and the Acoustics of the Political) has been published in German. He also regularly gives lectures on power relations in music, noise-theory, sound art\/studies and the politics of listening.\n\"Crudeltá Necessaria\", the follow-up to last year's \"The Commune Of Nightmares\", deals with the role of cruelty in the works of PIER PAOLO PASOLINI by blending noise, raw electronics and field recordings into a detailed dystopian sonic experience that \"you don't have to be afraid of\" (R. Mießner, taz).\nIn the words of WALLRAF himself:\n\"The world (another word for society) is cruel in a banal sense: unjust, brutal and segregating. Life under capitalism is the generalized and global form of this cruelty, organized by the logic of abstract labor and alienation. But cruelty also carries a different meaning, one that has resonated with a few artists of the 20thcentury who positioned themselves against the cruel banality of their times. Cruelty in the sense of mercilessness or remorselessness, both a realism and a necessary stance in a battle against an overly powerful enemy. Antonin Artaud's conception of the theater of cruelty exemplifies this stance, an \"appeal to cruelty and terror […] whose range probes our entire vitality, confronts us with all our possibilities\" (The Theater and Cruelty). All our possibilities: an affirmation of radical difference. A similar posture, although it replaces Artaud's mysticism with a communist viewpoint, can be found in the works of Pier Paolo Pasolini.\nPasolini was a merciless analyst and critic of society under capitalist production. His answer to the banal brutality of capitalism was an artistic cruelty of his own design, a necessary cruelty which is evident in the films and texts that inspired these recordings. It is evident in the transformations and transitions of the novel-fragment Petrolio, it glares and screams from the screen in his films. You can hear it in the last and only words of the young cannibal in Porcile (\"I killed my father. I ate human flesh. I quiver with joy.\"), in Medea's curse against Iason (\"It's useless! Nothing is possible anymore!\") and in the Sphinx's desperate cry when murdered by Oedipus (\"It's useless! The abyss you're throwing me in is in yourself!\"). It gazes through the masks of mythological and historical settings. It is evident in the almost violent way Pasolini edited his films, a form of Verfremdungseffekt that exemplifies his remorseless stance towards his audience, the spectacle of the film industry, fascism and capitalistic society. This necessary cruelty serves as a last line of defense in the political and artistic struggle against societal and political pressure. With this release I hope to capture at least a fragment of this demeanor.\"\n\n\nCredits:\nRecorded in Hamburg-Wilhelmsburg, 2023-2024. Sound design fragments from Pasolini's films Edipo Re (1967), Porcile (1969) and Medea (1969) were recorded to ¼-inch tape loops and appear throughout these selections.\nChanting on A1 recorded on Easter Sunday 2019 outside Karola Boromeusza church in Warsaw, Poland. Boars on A1 recorded in November 2022 in Hellenthal, Germany.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Tape","offer_id":50923817337163,"sku":"2235043","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_0808663a_thumbnail_4096_92d808f8-9beb-4671-83aa-4e182cd8a690.jpg?v=1733242087"},{"product_id":"the-stone","title":"The Stone","description":"\u003cp\u003ePURPLE TRAP, the powerful trio of KEIJI HAINO (voice, guitar), BILL LASWELL on bass and RASHIED ALI (drums), recorded live on stage at The Stone.\n\nRecorded in december 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 BILL LASWELL made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by DIRK DRESSELHAUS (SchneiderTM) and mastered \/ cut by RUY MARINÉ at Dubplates \u0026amp; Mastering Berlin.\n\nPURPLE TRAP, the trio of LASWELL \/ HAINO \/ ALI, reunited for this one-off gig as part of a 5-day-HAINO-festival at John Zorn's venue \"The Stone\", seven years after its only album Decided ... Already The Motionless Heart Of Tranquility, Tangling The Prayer Called \"I\" had been recorded (released on Tzadik in 1999).\nThe six untitled tracks (+ one as digital bonus) deliver what can be expected from such musical masters:\nRASHIED ALI, iconic free jazz drummer who played with JOHN and ALICE COLTRANE, PHAROAH SANDERS, SONNY ROLLINS, JAMES BLOOD ULMER and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns.\nKEIJI HAINO, one of the most prolific artists of the Japanese experimental \/ noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts.\nBILL LASWELL, who as producer and musician created a massive body of work in fiields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like MASSACRE, PAINKILLER or (early) MATERIAL and provides the low-end grounding with his signicature bass sound, or adds effect-laden ornaments to the whole.\nAn overdue addition to a very small body of work by a clearly under-documented supergroup!\nCredits:\nKEIJI HAINO: voice, guitar BILL LASWELL: bass RASHIED ALI: drums\nRecorded at The Stone, New York, december 15th, 2005. Edited by James Dellatacoma at Orange Music, West Orange, NJ. Mixed by Dirk Dresselhaus at the Zone, Berlin. Mastered \u0026amp; cut by Ruy Mariné at D\u0026amp;M, Berlin.\nLayout \u0026amp; design by kaidoh. Cover photography by Jasmin Bär.\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP","offer_id":51103433523531,"sku":"2239574","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_defa37b0_thumbnail_4096.jpg?v=1736950324"},{"product_id":"the-burning-bright-light","title":"The Burning Bright Light","description":"\u003cp\u003eTHE BURNING BRIGHT LIGHT is a mind-meld between improvisation trio DROMEDARIES (saxophonist Keir Neuringer of Irreversible Entanglements, Shayna Dulberger on double bass and percussionist Julius Masri) and sci-fi writer\/vocalist ALEXOTERIC (Alex Smith), evoking epic sci-fi cinemascapes, vocabulary- and reference-rich underground writing, the liberatory jazz tradition, and playful avant-garde experimentation.\nRecorded in a single high voltage burst of cosmic collaboration on an October afternoon at Philadelphia's Rittenhouse Soundworks, THE BURNING BRIGHT LIGHT is a sonic document like no other. A mind-meld between improvisation trio DROMEDARIES and sci-fi writer\/vocalist ALEXOTERIC (Alex Smith), the album emerges organically on a foundation of speculative fiction, free jazz interaction, avant-garde textures, and freestyle refrains. With no rules set in advance, each participant brought their entire creativity to bear on a session that birthed a constellation of shimmering stories narrated through equally deep music and words. While it retains all the power and excitement of a spontaneous meeting, the album also reveals deep and atypical shared affinities that are simultaneously sonic, musical, social, political, and cosmic. A key figure in multiple Philadelphia arts subcultures, Smith's literary voice is unlike any other, and on this recording he stretches his vocal acrobatics to their greatest extent yet. We hear references to grounded, earthly concerns and figures shot through the farthest reaches of spacetime, always with Smith's incisive queer afrofuturist lens.\nSmith describes the album as \"a future color spray, a hidden missive laser etched intotheseams of your galactic multi-death cult corporation flight jacket, the snow fallen ash and embers of a world you can only view through a prism-powered holo-sim. Wild jazz, bad, fresh with no jive—the perfect script for the download digital age, transcending experimental musics through the solar battery at the bio-borg filling station. The anti-Boeing, proto-mothership, swinging the body eclectic, crash landing on a brass planet. Dromedaries are plugged in and transforming, delivering ancient spells like slam poetry on Cybertron.\"\nAll of the music you hear was recorded in real time; for their part instrumentalists Shayna Dulberger, Julius Masri, and Keir Neuringer expanded their energetic, telepathic, playful mode of collective improvisation developed over the past decade together to both embrace Smith as a fourth and equal voice and elevate him as a sacred cosmic orator. The Burning Bright Light at once evokes epic sci-fi cinemascapes, vocabulary- and reference-rich underground writing, the liberatory jazz tradition, and playful avant-garde experimentation. Recording took place in October 2022 at Philadelphia's Rittenhouse Sound works (home to notable recent recordings from Sun Ra Arkestra and Irreversible Entanglements, among others) and was mixed there through 2023 by engineer Mike Richelle and Masri.\nDROMEDARIES is a collaborative improvisation trio active since 2014 comprised of saxophonistKeirNeuringer (Irreversible Entanglements), Shayna Dulberger (Chaser; Warrior of Light)on double bass, and percussionistJuliusMasri (Mephisto Halabi; Spectral Forces; Night Raids). They climb deep into their instruments and play hard to reward listeners for their time, grounding their work in technical virtuosity, instrumental physicality, and a rigorous approach to form. Each has received critical praise for their solo work and collaborations. DROMEDARIES has previously released studio recordings on Relative Pitch Records (2020) and Already Dead Tapes (2017), as well as a live recording released in 2021 by Fire Over Heaven.\nALEXOTERIC, aka Alex Smith (Spectral Forces; Solarized; Arkdust short story collection), is a Philadelphia artist and activist whose writing—from science fiction, to superhero comics, to music and art critique—delves into worlds often forgotten, inhabited by people often marginalized. His work as a critic has appeared on Bandcamp and Pitchfork, as well as in local press for Artblog, The Key, and Philadelphia Gay News, highlighting the strange worlds inhabited by gender, class and racial outliers. As does his fiction.\n\nMusicians:\nALEXOTERIC aka ALEX SMITH voice and texts\nSHAYNA DULBERGER double bass\nJULIUS MASRI drums and electronics\nKEIR NEURINGER saxophone, synth, percussion\n\nCredits:\nAll music composed in real time by the artists\nRecorded October 1, 2022 at Rittenhouse Sound Works in Philadelphia by Mike Richelle\nMixed by Mike Richelle and Julius Masri\nProduced by Julius Masri\nMastering and vinyl cut by Ruy Mariné at D\u0026amp;M, Berlin\nCover art \"Ghetto \/ Griot Cyborg Jawn\" by Alex Smith\u003c\/p\u003e","brand":"Karlrecords","offers":[{"title":"Black LP","offer_id":51146761208139,"sku":"2230254","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_c3537275_thumbnail_4096.jpg?v=1737694757"},{"product_id":"selected-recordings-from-grapefruit","title":"Selected Recordings From Grapefruit","description":"\u003cp\u003eFor the first time a full album with recordings based on \u003cem\u003eYOKO ONO's\u003c\/em\u003e 1964 collection of texts, event scores, and drawings \"\u003cem\u003eGrapefruit\u003c\/em\u003e\", a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by \u003cstrong\u003eTHE GREAT LEARNING ORCHESTRA\u003c\/strong\u003e which has during the 25 years of its existence worked with \u003cstrong\u003eGAVIN BRYARS\u003c\/strong\u003e, \u003cstrong\u003eTERRY RILEY\u003c\/strong\u003e, \u003cstrong\u003ePAULINE OLIVEROS\u003c\/strong\u003e, \u003cstrong\u003eJ.G. THIRLWELL\u003c\/strong\u003e, \u003cstrong\u003eARNOLD DREYBLATT\u003c\/strong\u003e a.o. \u003c\/p\u003e\n\n\u003cp\u003eOriginally self-published in 1964 in a limited edition of 500 copies under \u003cem\u003eYOKO ONO\u003c\/em\u003e's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores, and drawings that comprise \"\u003cem\u003eGrapefruit\u003c\/em\u003e\" has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to \u003cstrong\u003eJOHN CAGE\u003c\/strong\u003e may seem obvious, \u003cem\u003eONO\u003c\/em\u003e's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from \u003cstrong\u003eCAGE\u003c\/strong\u003e's influence.\u003c\/p\u003e\n\n\u003cp\u003eAnother factor that sets these scores apart from associated forms of verbal notation from the same period (like \u003cem\u003eLA MONTE YOUNG\u003c\/em\u003e's \"\u003cem\u003eAn Anthology Of Chance Operations\u003c\/em\u003e\" – with a contribution from \u003cem\u003eONO\u003c\/em\u003e - or \u003cem\u003eGEORGE BRECHT\u003c\/em\u003e's \"\u003cem\u003eWater Yam\u003c\/em\u003e\", both from 1963) is \u003cem\u003eONO\u003c\/em\u003e's ambivalence towards the necessity, or even possibility, of their physical realization – instead the idea being that the realization should take place in the mind of the reader (\"\u003cem\u003eMusic of the Mind\u003c\/em\u003e\" is also the title of the current traveling exhibition which opened at Tate Modern, London in 2024).\u003c\/p\u003e\n\n\u003cp\u003eHowever, a number of pieces from \"\u003cem\u003eGrapefruit\u003c\/em\u003e\" function very well as performance or event scores, with several of them becoming mainstays of \u003cem\u003eONO\u003c\/em\u003e's concerts and performances throughout the early to mid 1960s. But hardly any performances have been recorded and released on disc (one notable exception being \u003cstrong\u003eSONIC YOUTH\u003c\/strong\u003e's recording of \"\u003cem\u003eVoice Piece For Soprano\u003c\/em\u003e\") – so, 60 years after \"\u003cem\u003eGrapefruit\u003c\/em\u003e\" first appeared, \"\u003cem\u003eSelected Recordings From Grapefruit\u003c\/em\u003e\" is the very first full album of pieces selected from the many sections of the book.\u003c\/p\u003e\n\n\u003cp\u003eThe sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental, and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations, and environments that you hear are real. The accompanying booklet with rare performance photos and some original typewritten scores from \u003cem\u003eONO\u003c\/em\u003e's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of \u003cstrong\u003eTHE GREAT LEARNING ORCHESTRA\u003c\/strong\u003e and the resulting recording.\u003c\/p\u003e\n\n\u003cp\u003eWith 20 tracks and approx. 85 minutes duration, \"\u003cem\u003eSelected Recordings From Grapefruit\u003c\/em\u003e\" finally brings to ear some of the most important and influential 20th-century avant-garde art! \u003cem\u003eYoko Ono\u003c\/em\u003e is an artist, musician, composer, and peace activist, born in Tokyo, Japan in 1933. She was active with the international avant-garde music, art, and performance scenes of the early 1960s, organizing a series of important events in her New York loft, also active in Tokyo and London, and later becoming a key figure within the Fluxus network of artists. Her solo albums, including \u003cem\u003eYoko Ono\/Plastic Ono Band\u003c\/em\u003e (1970), \u003cem\u003eFly\u003c\/em\u003e (1971) and \u003cem\u003eApproximately Infinite Universe\u003c\/em\u003e (1973) have proved to be highly influential on the emergence of punk, post-punk, new wave, noise and a wide range of later experimental popular musics. She has staged many high-profile campaigns to promote world peace, including the international WAR IS OVER! If you want it billboard campaign (1969), and the proclamation of the conceptual state of Nutopia (1973), in collaboration with John Lennon, and the IMAGINE PEACE TOWER, near Reykjavik, Iceland (2007). As an artist, she has exhibited at numerous galleries, museums, and institutions internationally. In recent years, this has included a series of retrospective exhibitions, including \"YES YOKO ONO\" at Japan Society, New York (2001), \"\u003cem\u003eYoko Ono: One Woman Show, 1960 – 1971\u003c\/em\u003e\" at the Museum of Modern Art, New York (2015) and \"\u003cem\u003eYoko Ono: Music of the Mind\u003c\/em\u003e\" at Tate Modern, London (2024).\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe Great Learning Orchestra\u003c\/strong\u003e is an ensemble based in Stockholm, Sweden, which has been organizing performances, workshops, and events for 25 years. Essentially a network where musicians and artists come together to perform exploratory music, which centers around practices of listening. The ensemble is self-selecting from a list of over 100 musicians for each new project. 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He works in the field of experimental, improvised music and sound art, realizing installations and performances with light and sound, and working with photography and film. In addition to his solo activities, he is a member of various ensembles and collaborates with artists who work in many different art forms, e.g. Burkhard Beins, Mazen Kerbaj, Ute Wassermann, Reinhold Friedl, to name a few. Based in Berlin, his list of activities includes numerous concerts, performances and exhibitions in Europe, America, Asia and Australia. Michael Vorfeld participated in the \u003ci\u003edocumenta 8\u003c\/i\u003e, Kassel with the sound performance group \"Heinrich Mucken\".\u003c\/p\u003e\n\u003cp\u003eSince the mid-1980s, Vorfeld has been realizing a multiplicity of partly site-specific light works (most of which also included sound) and where the incandescent lamp played an essential role. 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Yes.\u003c\/p\u003e\n\u003cp\u003eThere are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone \/ Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.\u003c\/p\u003e\n\u003cp\u003eThis is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. 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