Rita Ackermann/Dave Nuss GazHeart, 2004Vinyl

With Gazheart, celebrated visual artist Rita Ackermann (voice) & the No Neck Blues Band’s Dave Nuss (found percussion) created a playful spontaneous sound the seemingly bridged the gap between the broken pop sounds of certain strains of the no wave movement, sound poetry and catchy, otherworldly art folk using the barest of resources available to them. “The GazHeart recordings were made in August of 2004 after the disintegration of Angelblood at ATP in April. Rita and I traveled every August to Budapest to be with her family, who live in the hills outside the city in a small German village called Budaörs, created after WWII. The mise-en-scene of our life there was total village simplicity – grandma’s cooking, dogs running the streets, babies with leaky diapers on big wheels, and gypsies hanging out in bars. We would go every Sunday morning to the gypsy market where the vendors would spread out a bunch of garbage on blankets in a parking lot, all the proprieters drunk by 10am on wine consumed from coke bottles. At the time of recording Rita had adopted the surrealist idea of automatic, unmedi-ated writing direct from the unconscious, using spontaneous text to create songlike atmospheres, in the spirit of Tristan Tzara. For the percussion, I wound up keeping it simple and true to the environs: a bucket, a glass jar, a co�ee can & a straw broom. All recordings were made to magnetic tape in the back yard late at night after the village was sleeping.” - Dave Nuss One time pressing of this special edition 1 sided lp features an original etching by visual artist Rita Ackermann on the �ip side.GazHeart is housed in a plain jacket with two opposing drawings for front & back by Ackermann reproduced on high quality archival paper stock.

http://www.normanrecords.com/records/95973-gazheart-rita-ackermanndave-nuss-gazheart

Tunde Adebimpe, Bart Higgins, Courtney Smith, Iván Navarro Oido, 2013Vinyl

TV On The Radio front-man Tunde Adebimpe meets Bart Higgins (of Emergency Party) to team-up with visual artists Iván Navarro & Courtney Smith in the creation of the unique experience of OÍDO: An Experiment in Sound and Sculpture. Navarro and Smith built an ensemble of several sculpture works that were wired with microphones and e�ects to be used as one-of-a-kind instruments for a live performance featuring Adebimpe & Higgins: the result was a multi-fronted improvisational show with voice and percussion played on strangely lit mirror-works and gorgeous quasi-furniture. Recorded live at The Saints Peter & Paul Theater in Brooklyn, NY, all proceeds from its sales will bene�t Brooklyn's Public School #84. Published by HR in a vinyl a edition of 100 copies and CD edition of 500 copies. The CD includes a bonus track and video of the live performance.

Carlos AmoralesFaces, 2007Vinyl

Hybridity returns as a motif in Faces (2007), Amorales’s most recent black-and-white animation, in which he renews his e�orts to build an abstract visual vocabulary of horror by amalgamating elements from his Liquid Archive at a fast-paced rhythm. From the multitude of shapes and forms that race across the screen, untamed gazes, masked faces, and carved pro�les emerge for a split second only to disappear again in the amorphous mass that spewed them out. In Faces, the �gurative components of the archive are pushed to the limits of representation. Here a new abstract language surfaces as Amorales’s technique emulates the gestural painting method of Abstract Expression-ists such as Jackson Pollock. The playfulness of Rorschach Test Animation comes to mind as the viewer struggles to identify familiar �gures among the suggestive graphic forms that appear at an increasing speed. The rhythm of the animation sequences is dictated by a musical soundtrack in which sides A and B of a 1950s album of atonal music are played simultaneously with surprisingly harmonious results. Now and again an extraordinary, clearly de�ned face struggles to emerge from the nebulous fusion of shapes. For an instant it appears to gain enough materiality to jump out and exist as an independent physical object, but the illusion is short-lived and the features of the face return to the chaos from which they came, not to be seen again. This sense of materiality is the result of an anima-tion technique employed by Amorales, where real faces covered in makeup and paper cutouts of various elements from the archive are manipulated and imbued with three-dimensional qualities.

http://www.philamuseum.org/exhibitions/313.html?page=2

ATOM™RADETZKY LOOPS VOL.1, 2013Vinyl

To honor Austrian Field-Marshall Joseph Radetzky von Radetz after his victory in the Battle of Custoza, a musical piece was commissioned from composer Johann Strauss. The resulting military march –1848's Radetzky March– is to this day still used as the o�cial presentation march of Chile's main School for Military O�cers. From of a vintage version of the original march by Strauss–and in mind a collaboration with sculptor Iván Navarro– Atom™ has created a total of 38 locked grooves, a truly experimental work in his signature über-neat style. These tracks were �rst heard by the public as part of a public-art piece commissioned by Santiago's 11th New Media Biennial. They were piped through speakers placed inside a 5-ton mining truck’s tire laid �at in front of the city's Museo de Bellas Artes. Sold separately, Radetzky Loops Vol. 1 contains loops #1 through #20), while Radetzky Loops Vol. 2 contains loops #21 through #38. Recorded in Brooklyn and The Bowman Suite in Santiago de Chile, published by Freibank Musikverlag, Hamburg (under exclusive license of AtomTM_Audio_Archive); mastered for vin yl by Leandro González at Stereodisk, Brooklyn, the two volumes are released by HR in a limited edition of a 100 copies each.

ATOM™RADETZKY LOOPS VOL.2, 2013Vinyl

To honor Austrian Field-Marshall Joseph Radetzky von Radetz after his victory in the Battle of Custoza, a musical piece was commissioned from composer Johann Strauss. The resulting military march –1848's Radetzky March– is to this day still used as the o�cial presentation march of Chile's main School for Military O�cers. From of a vintage version of the original march by Strauss–and in mind a collaboration with sculptor Iván Navarro– Atom™ has created a total of 38 locked grooves, a truly experimental work in his signature über-neat style. These tracks were �rst heard by the public as part of a public-art piece commissioned by Santiago's 11th New Media Biennial. They were piped through speakers placed inside a 5-ton mining truck’s tire laid �at in front of the city's Museo de Bellas Artes. Sold separately, Radetzky Loops Vol. 1 contains loops #1 through #20), while Radetzky Loops Vol. 2 contains loops #21 through #38. Recorded in Brooklyn and The Bowman Suite in Santiago de Chile, published by Freibank Musikverlag, Hamburg (under exclusive license of AtomTM_Audio_Archive); mastered for vin yl by Leandro González at Stereodisk, Brooklyn, the two volumes are released by HR in a limited edition of a 100 copies each.

Henning ChristiansenKreuzmusik Fluxid Behandlung Op 189, 1989Vinyl

"Kye is proud to present in association with Penultimate Press the fully authorized reissue of Henning Christiansens Kreuzmusik FLUXID BEHANDLUNG Op 189. Kreuzmusik FLUXID BEHANDLUNG Op 189 was commissioned by the Bonner Kunstverein Gallery, Kunstfond, Germany in August 1989, for inclusion in their Taking Fluxus Around for a Drive happening, (also featuring performances by Dieter Daniels, George Maciunas, Allan Kaprow, Al Hansen, Joe Jones and others) and originally issued on cassette in 1990 by Neue Bildende Kunst in an edition of 100 copies. Kreuzmusik FLUXID BEHANDLUNG Op189 arrives in a full color high gloss sleeve, with original score reproduction insert, mastered from the original tapes by Jason Lescalleet at Glistening Labs, in an edition of 500 copies."

http://www.fusetronsound.com/label.php?whomart=CHRISTIANSEN,HENNING

kye is proud to present in association with penultimate press the fully authorized reissue of henning christiansen's 'kreuzmusik �uxid behandlung op 189'. kreuzmusik was commissioned by the bonner kunstverein gallery, kunst-fond, germany in august 1989, for inclusion in their 'taking �uxus around for a drive' happening, (also featuring performances by dieter daniels, george maciunas, allan kaprow, al hansen, joe jones and others) and originally issued on cassette in 1990 by neue bildende kunst in an edition of 100 copies.

in 1967 joseph beuys and i travelled to darmstadt for a performance of hauptstrom �uxus from 1:00 -11:00pm (10 hours) on the 20th march. hauptstrom was basically a new ritual, which is how a lot of people saw it at the time, and later on too. beuys used his own body as a deeply primal human language, and i made 10 hours of ritual music using a number of tape recorders. and obviously we wanted to make a completely new space for hauptstrom. the space at franz dahlem's at 7 aha street was small and there was even less space for the rather large audience because beuys made a roughly 7cm high rampart of margarine around his own performance space; and my main motif was a knocking sound, like the sound of a heart beating, which i used to create peace in the space, separate from the other more energetic sound-music passages. when i got the invitation for 'taking �uxus around for a drive' i immediately remembered that darmstadt exhibition in 1967. it's not all that far from denmark, 150 km to bonn-darmstadt, but a timespan of 22 years. i thought of jörg immendorf's lidl-bundestag, which you could say landed in the roses outside the real bundestag. this poetic, political act impressed me at the time, because it showed that our world could basically be quite di�erent. i decided straight away that i wanted to make kreuz-musik, and i was also sure that no other �uxus people would come up with the same idea. most of my �uxus friends go for homo ludens and that's �ne, but i wanted to feel the intimacy again in a small space, i wanted to make a scandinavian ritual in �uxid behandlung. i took my stone age gramophone (which really does play stones) called my friend ernst ludwig kretzer from hamburg and arranged with him that he would operate a time delay on my tapes and voice so that i could ritualise freely.

in kunstfond i didn't make a mound of margarine - of course not - instead i made one from �our (bread), in the middle of this was the stone age gramophone and hanging on the wall there were strange crosses, made out of socks and clothes hangers; as well as this there was a headless �gure of christ and a toy cessna plane in a little canary cage.

i began with my piece io am en vogel as a 'starter' (about 20 minutes), then i performed zum preis des �uxus, which had been my contribution to the wiesbaden �uxus 82 catalogue, then i threw green stones into a bucket of water, then to the accompaniment of the eurasienstab -�uxorum organum music i played a green cutting sheet that was hanging on my chest, then to european zen i played 3 glass bowls with red sticks, the bells and knocking für das alte russland (for old russia). then everything went dark and i lit candles while my deep groundnote played. after 5 minutes played the lights came on again and my groundnote led into the sheep composition (sheep instead of �ddles); i used my green fat-�ddle to make little twittering sounds; for me, sheep mean peace and insight. this soundworld then lead into the composition with 180 hammer blows against war monkeys. i hammered very sharply and powerfully. beuys once wrote a piece with the title: der dumme hammer tritt auf (the stupid hammer performs), that's how it should be - against the war monkeys, logical. this sequence then �nally lead into peaceful bird twitterings in a piece that i call die freiheit ist um die ecke (freedom is around the corner). during this i slowly immersed the cesna plane inside the canary cage in a tub of water , after i had �own around in my own space for a while. and that was the end of the whole seance. it lasted over an hour.

- henning christiansen, 1990.

Henning ChristiansenKreuzmusik Fluxid Behandlung Op 189, 1989Vinyl

"Kye is proud to present in association with Penultimate Press the fully authorized reissue of Henning Christiansens Kreuzmusik FLUXID BEHANDLUNG Op 189. Kreuzmusik FLUXID BEHANDLUNG Op 189 was commissioned by the Bonner Kunstverein Gallery, Kunstfond, Germany in August 1989, for inclusion in their Taking Fluxus Around for a Drive happening, (also featuring performances by Dieter Daniels, George Maciunas, Allan Kaprow, Al Hansen, Joe Jones and others) and originally issued on cassette in 1990 by Neue Bildende Kunst in an edition of 100 copies. Kreuzmusik FLUXID BEHANDLUNG Op189 arrives in a full color high gloss sleeve, with original score reproduction insert, mastered from the original tapes by Jason Lescalleet at Glistening Labs, in an edition of 500 copies."

http://www.fusetronsound.com/label.php?whomart=CHRISTIANSEN,HENNING

kye is proud to present in association with penultimate press the fully authorized reissue of henning christiansen's 'kreuzmusik �uxid behandlung op 189'. kreuzmusik was commissioned by the bonner kunstverein gallery, kunst-fond, germany in august 1989, for inclusion in their 'taking �uxus around for a drive' happening, (also featuring performances by dieter daniels, george maciunas, allan kaprow, al hansen, joe jones and others) and originally issued on cassette in 1990 by neue bildende kunst in an edition of 100 copies.

in 1967 joseph beuys and i travelled to darmstadt for a performance of hauptstrom �uxus from 1:00 -11:00pm (10 hours) on the 20th march. hauptstrom was basically a new ritual, which is how a lot of people saw it at the time, and later on too. beuys used his own body as a deeply primal human language, and i made 10 hours of ritual music using a number of tape recorders. and obviously we wanted to make a completely new space for hauptstrom. the space at franz dahlem's at 7 aha street was small and there was even less space for the rather large audience because beuys made a roughly 7cm high rampart of margarine around his own performance space; and my main motif was a knocking sound, like the sound of a heart beating, which i used to create peace in the space, separate from the other more energetic sound-music passages. when i got the invitation for 'taking �uxus around for a drive' i immediately remembered that darmstadt exhibition in 1967. it's not all that far from denmark, 150 km to bonn-darmstadt, but a timespan of 22 years. i thought of jörg immendorf's lidl-bundestag, which you could say landed in the roses outside the real bundestag. this poetic, political act impressed me at the time, because it showed that our world could basically be quite di�erent. i decided straight away that i wanted to make kreuz-musik, and i was also sure that no other �uxus people would come up with the same idea. most of my �uxus friends go for homo ludens and that's �ne, but i wanted to feel the intimacy again in a small space, i wanted to make a scandinavian ritual in �uxid behandlung. i took my stone age gramophone (which really does play stones) called my friend ernst ludwig kretzer from hamburg and arranged with him that he would operate a time delay on my tapes and voice so that i could ritualise freely.

in kunstfond i didn't make a mound of margarine - of course not - instead i made one from �our (bread), in the middle of this was the stone age gramophone and hanging on the wall there were strange crosses, made out of socks and clothes hangers; as well as this there was a headless �gure of christ and a toy cessna plane in a little canary cage.

i began with my piece io am en vogel as a 'starter' (about 20 minutes), then i performed zum preis des �uxus, which had been my contribution to the wiesbaden �uxus 82 catalogue, then i threw green stones into a bucket of water, then to the accompaniment of the eurasienstab -�uxorum organum music i played a green cutting sheet that was hanging on my chest, then to european zen i played 3 glass bowls with red sticks, the bells and knocking für das alte russland (for old russia). then everything went dark and i lit candles while my deep groundnote played. after 5 minutes played the lights came on again and my groundnote led into the sheep composition (sheep instead of �ddles); i used my green fat-�ddle to make little twittering sounds; for me, sheep mean peace and insight. this soundworld then lead into the composition with 180 hammer blows against war monkeys. i hammered very sharply and powerfully. beuys once wrote a piece with the title: der dumme hammer tritt auf (the stupid hammer performs), that's how it should be - against the war monkeys, logical. this sequence then �nally lead into peaceful bird twitterings in a piece that i call die freiheit ist um die ecke (freedom is around the corner). during this i slowly immersed the cesna plane inside the canary cage in a tub of water , after i had �own around in my own space for a while. and that was the end of the whole seance. it lasted over an hour.

- henning christiansen, 1990.

Walter De MariaDrums And Nature, Cricket Music 1964, Ocean Music 1968Vinyl

Self released CD (with almost no distribution) featuring De Marias tribal drumming mixed with �eld recordings (as the title implies). The two pieces, Cricket Music and Ocean Music, were originally recorded in 1964 and 1968 (evidently with some help from Tony Conrad). Restocked yet again... Very highly recommended!

http://www.fusetronsound.com/label.php?whomart=DEMARIA,WALTER

HurrayDreams, Not Soft Illusion, 2004Vinyl

"Hurray is Zak Prekop, Josh Brand, Pete Mandradjie� & Rich Aldrich. They hail from the hidden sectors of New York City, and have released one 7" on the skul record label and recently presented their �rst art show at the Nicole Klagsbrun Gallery also of New York City. This is their �rst full length recording and is a must for fans of ambiguous, anomalous, and unobtrusive sound creation whose mystery is not invoked by hyperbole, pseudo-mythology or fake histories, but by giving full allowance to otherness and seeking beauty by allowing it to happen, which often means allowing it not to happen. Mishandled guitars, unknown electronics, ampli�ed percussives and various layers of buzz coagulate and dissipate in measured restraint. I hesitate to use blighted terms like "lowercase" music, as Hurray shys not from some harsher territories and melodic (if emaciated and ghostly) material sometimes drifts into consciousness; two things I think of as contrasting w/ the more didactic, "European" music associated w/ said term. So, Ill avoid terminology and just say Im very glad to know this record." - Greg Kelley

Al HansenJoseph Beuys Stuka Dive Bomber Piece & other stories, 2006Vinyl

Balloni brothers balloon work (9:30) 1987Joseph Beuys stuka divebomber piece (10:10) 1987Car bibbe (5:40) 1958/1989The futuristic chattanooga choo choo in the mongolian desert (12:30) 1989

2006 release ; four pieces from �uxus artist al hansen, including a ridiculous balloon-orchestra piece, a bit of sound-poetry, the riotous tape-piece “car bibbe”, then an amazing 12-minute psychedelic raga-guitar / beat-poetry bit (that kind of sounds like amon düül - listen to the sound-sample) ...

http://www.mimaroglumusicsales.com/artists/al+hansen.html

Iván NavarroDecomposition I , 2013 Vinyl

Brooklyn-based Chilean artist Iván Navarro has been interested in sound experimentation now for more than a decade, collaborating with early line-ups of Nutria NN and participating in several other still unreleased musical adventures including Grupo Nada, Los Ñatos and Los Históricos until �nally canalizing his interest through the creation of the Hueso Records Label. This is his �rst truly personal output, a conceptual record inspired by an invitation to take part in a collection of chess-game related artworks, commissioned in New York City by Prince Street Editions. Decomposition is a nihilistic exploration in sound, recorded as Navarro destroys several sets of chess-pieces through an old school hand-powered meat-grinder. Published by HR in an edition of 90 copies.

Iván Navarro (Compilation)No Man's Land, 2008Vinyl

Compiled by Iván Navarro. This record contains 3 tracks that, at di�erent places and times, have been presented in association with sculpture & installation works by Brooklyn-based Chilean artist Iván Navarro. The �rst one is No Soy De Aquí, Ni Soy De Allá (written by Facundo Cabral in 1970, interpreted by Nutria NN) soundtrack to Navarro's 2006 project Flashlight: I'm Not From Here, I'm Not From There, which video shows an immigrant character pushing a wheelbarrow made out of �uorescent light tubes through a barren industrial landscape. The second one is Juan Sin Tierra (written by Jorge Saldana in 1910, interpreted by Nutria NN) soundtrack to Navarro's 2004 piece Home-less Lamp: The Juice Sucker, which video shows the wanderings of two men pushing a shopping cart made out of �uorescent light tubes through the streets of Chelsea (New York City's art-gallery district) as they repeatedly –and illegally– tap into the city's street power-sources to "steal" the energy necessary to lit up the rolling sculpture. The third track is Nowhere Man (written by Lennon/McCartney in 1966, interpreted by Courtney Smith & Nutria NN) soundtrack to the 2006 project Die Again (Monument for Tony Smith), where –inside a 12 feet black plywood cube inside which everything is dark except for a few mirrored light boxes that suggest an endless space– an acoustic version of The Beatles' song guides the visitors to a complex re�ection on the transient experience of expatriates & the dark limbo of the disappeared. Published by HR in an Edition of 300 copies.

Martin Kippenberger Musik / 1979 - 1995Vinyl

Martin Kippenberger skipped out on this world after just 44 years – in 1997, the art world’s �amboyant enfant terrible, one of Germany’s most famous painters and best known for his biting provocations and proli�c output, died of the consequences of his equally proli�c alcohol consumption. In 1978, Kippenberger moved to Berlin, launched „Kippenbergers Büro“ (together with his future gallerist Gisela Capitain) and became the managing director of Kreuzberg’s seminal venue SO36 where he proceeded to confuse the local punks with acts like Red Krayola, Scritti Politti, Kleenex or Kevin Coyne. His own band Luxus (featuring Christine Hahn of Malaria, among others) released a limited edition single in 1979, available in homeopathic quan-tities. In subsequent years, he cranked out a steady stream of further singles, a. o. with fellow painter Albert Oehlen. Kippenberger’s not so secret love and passion, however, was swing music – expansive, and possibly pompous, big band jazz – and traces of this have found their way onto a Golden Kot Quartett release, which lists Kippenberger as its drummer. Yuppi Du, on the other hand, makes the most of his Dadaist humour, while several versions of Ja, Ja, Ja, Nee, Nee, Nee pay tongue-in-cheek homage to Joseph Beuys. Now, give or take three decades later, Edition Kröthenhayn releases the surviving works of Kippenberger and his friends on CD and vinyl. Expect 60 minutes of music: jazz, noise and obscure sound experiments squeezed into a limited, hand-numbered (1000 copies) 10” vinyl box containing three records and a book or an equally limited CD box featuring a 72-page book. Both editions come replete with a slip lid box and banderole and are prime exam-ples of luxurious, high-quality bookbinding. In addition, essays and writing by Max Dax (Spex), Wolfgang Müller (Die Tödliche Doris) and Frieder Butzmann are accompanied by many previously unpublished – and unseen – photographs.

http://www.kroethenhayn.com/?cat=products&subcat=169&id=197

La Monte Young + The Theatre of Eternal Music Raag Bhairava (Excerpt), 1960 Vinyl

Edition of only 150 copies private press LP that presents a monster unreleased raag drone from La Monte Young and The Theatre Of Eternal Music: two sides of complex drone bliss with La Monte and Marian Zazeela generating crescendos of peaking vocal improvisations w/Angus MacLise on levitational tabla work. Recorded in New York City in 1960, this is another amazing glimpse inside the Dream Syndicate and a necessary unearthing of some of the most important sound-as-thought of the 20th Century. Packaged in ‘Black Album’ style all-black or negative all-white sleeves with nada in terms of information except a photocopied insert. Immediately sold out at source. Very highly recommended!

http://www.volcanictongue.com/artists/browse_all/10539

The name Theatre of Eternal Music was �rst applied in February 1965 to a group of musicians working with La Monte Young, although most of the initial line up had been working together since the Summer of 1962. In 1963 and early 1964, the core consisted of Tony Conrad, Angus MacLise, La Monte Young and Marian Zazeela, with John Cale joining in September 1963. In 1963, before the Theatre of Eternal Music name was used, this core group was augmented by Larry Poons, Joseph Byrd, Dottie Moskowitz, and Jack Smith, although they don't seem to have been part of the actual group. MacLise left the group in February 1964. Cale left next in 1965 to be replaced by Terry Riley, who only performed in public with the group twice. Young o�cially disbanded the group following the August 20, 1966 performance at the Sundance Festival in Pennsylvania. However, he revived the group in 1969 with Conrad, Zazeela and other new members including Alex Dea, Jon Gibson, Jon Hassell, Lee Konitz, Garrett List

and David Rosenboom. Other members of group have included Terry Jennings, Dennis Johnson, Ben Neill, Charles Curtis, Jon Catler, Brad Catler, Hansford Rowe, Michael Harrison, Jim O’Connor, Stephen Burns, Rich Clymer, Tom Varner, Steve Johns, Marcus Rojas, Don Hayward and others.

Sides One + Two: Raag Bhairava (Excerpt) LA MONTE YOUNG + THE

THEATRE OF ETERNAL MUSIC New York City, 1960

La Monte Young + The Theatre of Eternal Music Raag Bhairava (Excerpt), 1960 Vinyl

Edition of only 150 copies private press LP that presents a monster unreleased raag drone from La Monte Young and The Theatre Of Eternal Music: two sides of complex drone bliss with La Monte and Marian Zazeela generating crescendos of peaking vocal improvisations w/Angus MacLise on levitational tabla work. Recorded in New York City in 1960, this is another amazing glimpse inside the Dream Syndicate and a necessary unearthing of some of the most important sound-as-thought of the 20th Century. Packaged in ‘Black Album’ style all-black or negative all-white sleeves with nada in terms of information except a photocopied insert. Immediately sold out at source. Very highly recommended!

http://www.volcanictongue.com/artists/browse_all/10539

The name Theatre of Eternal Music was �rst applied in February 1965 to a group of musicians working with La Monte Young, although most of the initial line up had been working together since the Summer of 1962. In 1963 and early 1964, the core consisted of Tony Conrad, Angus MacLise, La Monte Young and Marian Zazeela, with John Cale joining in September 1963. In 1963, before the Theatre of Eternal Music name was used, this core group was augmented by Larry Poons, Joseph Byrd, Dottie Moskowitz, and Jack Smith, although they don't seem to have been part of the actual group. MacLise left the group in February 1964. Cale left next in 1965 to be replaced by Terry Riley, who only performed in public with the group twice. Young o�cially disbanded the group following the August 20, 1966 performance at the Sundance Festival in Pennsylvania. However, he revived the group in 1969 with Conrad, Zazeela and other new members including Alex Dea, Jon Gibson, Jon Hassell, Lee Konitz, Garrett List

and David Rosenboom. Other members of group have included Terry Jennings, Dennis Johnson, Ben Neill, Charles Curtis, Jon Catler, Brad Catler, Hansford Rowe, Michael Harrison, Jim O’Connor, Stephen Burns, Rich Clymer, Tom Varner, Steve Johns, Marcus Rojas, Don Hayward and others.

La Nueva Grá�ca Chilena (LNGCH)Grandes Exitos, 2012Vinyl

Although LNGCH was �rst established in Santiago de Chile on May 1st of 2000 as a group of similar interest co-operative artists, its current formation includes 7 members coming from backgrounds that are as di�erent as, art, design, science, business and TV-comedy, with many of their activities (video, performance, graphics & installa-tions) having been showcased in exhibitions around the world. None of the participants in LNGCH has ever had any formal musical training but, as they say, "We love listening to music, or, put simply, just listening, in general". In 2012 LNGCH got an invitation to participate in Santiago's main contemporary art fair, and for such occasion their battle horse was an empty vinyl-LP cover (group picture on it and a folded-poster inside) sold along a promise to deliver the lacking vinyl as soon as they would sign in with a record label. And so in 2013 Hueso Records is announcing the release of LNGCH's Grandes Éxitos, containing just one long track per side that brings together a number of raw demos, wild-audio captures, sound experiments, mobile phone �les and –even– some proper studio compositions/recordings, all "Compiled in cinematic order." This is an audio piece that, according to its authors, "Can only be fully recovered within the art world." Published by HR in a limited edition of 100 copies.

MaestroM1, 2011Vinyl

Based in Santiago de Chile, Maestro was an experimental trio formed in 1993 by three non-musician students (Architecture, Fine Arts, Philosophy) who decided to collaborate following one single rule: a constant rotation of instruments and roles within the band. During their nearly 10-year-long career the band self-released 3 CD’s, which once and again exempli�ed their non-conventional musical approach with very diverse styles & sounds, including instrumental minimalism, popular folk-songs, dark soundtracks, and even the rarely-heard musical entitled Maestro en Chile. Independently released by the band in 1997 as Este es el Primer Compacto de Maestro (This is Maestro’s First Compact-Disc) the vinyl edition of M1 contains the same one-take recordings made at Bodega de Calera de Tango and multi-track recordings made at Estudios Konztantinopla that the original CD had. Co-produced by Carlos Cabezas (HR-21 & 24, HR-C-01, 02 & 12) and published by HR in a limited edition of 250 copies, in double-gate folder and with all the original graphics.

Haymarket SquareMagic Lantern, 1969Vinyl

Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the U.S. under-ground psychedelic scene: the Magic Lantern album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album o�ers crude, dark psychedelic rock featuring trippy, fuzzed-out/wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster.

Christian MarclayGuitar Drag, 2006Vinyl

This is a bit of a treat – we've been able to secure a few copies of this extremely limited piece of musical history, the incredible vinyl pressing of American artist/turntable god Christian Marclay’s ‘Guitar Drag’. The piece was originally a video, shown in 2000 at London’s Hayward Gallery, following an electric guitar lashed to the back of a pick-up truck in dusty San Antonio, Texas. The guitar was dragged by the truck for 15 minutes and the sound recorded, which resulted in otherworldly rumblings, hissing, buzzing and crunching – even the odd chord strangely enough, and of course, the soundtrack quickly achieved cult status in sound-art circles. So �nally, six years later we have an ultra high quality clear vinyl cut of the acclaimed piece, strangely reminiscent of the earthlier edges of Doom metal and thick ri�age - I can imagine playing this next to Sunn o)))’s early work or Earth’s ‘Extra Capsular Distraction’ and nobody batting an eyelid. Marclay’s piece is heavy and a�ecting in all the right ways, and what’s more the concept is just great. Buy it now before it disappears for ever.

http://boomkat.com/vinyl/22959-christian-marclay-guitar-drag

Soundtrack from the video Guitar Drag, 2000. Recorded in San Antonio Texas, on November 18th 1999. 12" one-sided transparent vinyl. 14 minutes. "The record is actually the soundtrack for Marclay's video with the same title that was shown �rst at London's Hayward Gallery sound art exhibition Sonic Boom in 2000. The piece as well as Marclay has become an icon in sound art circles, and although the video can only be seen in exhibitions as an installation, it is widely known. The full 14-minute soundtrack is released on a beautiful 12" clear vinyl record pack-aged in a sleeve with stills from the video. Filmed in San Antonio Texas, it shows an ampli�ed Fender Stratocaster

guitar attached to a rope being pulled behind a pick-up truck. As the guitar drags across the road it produces a range of sounds from the bumping and the friction against the varied surfaces. A fantastic visual piece, but also an amazing sound piece, that stands just as well alone, and in some ways just as visual! From the �rst sounds of duct-tape being ripped, the familiar sound of someone gently slamming the strings of the guitar, to the sounds of an engine starting and then slowly the beginning of a sound that is hollow and at the same time human, and that takes us through the deepest roarings to high pitched screams until the very end when it all slows down and stops, unwillingly it seems. Knowing the story behind the work or not, the sound itself triggers your imagination, leaving your soul no peace. For even if this could be seen, or heard, solely as a beautiful noisy sound piece, there is too much to the idea behind Guitar Drag, for it to not leave you restless and thoughtful."

http://www.forcedexposure.com/artists/marclay.christian.html

Christian MarclayGuitar Drag, 2006Vinyl

This is a bit of a treat – we've been able to secure a few copies of this extremely limited piece of musical history, the incredible vinyl pressing of American artist/turntable god Christian Marclay’s ‘Guitar Drag’. The piece was originally a video, shown in 2000 at London’s Hayward Gallery, following an electric guitar lashed to the back of a pick-up truck in dusty San Antonio, Texas. The guitar was dragged by the truck for 15 minutes and the sound recorded, which resulted in otherworldly rumblings, hissing, buzzing and crunching – even the odd chord strangely enough, and of course, the soundtrack quickly achieved cult status in sound-art circles. So �nally, six years later we have an ultra high quality clear vinyl cut of the acclaimed piece, strangely reminiscent of the earthlier edges of Doom metal and thick ri�age - I can imagine playing this next to Sunn o)))’s early work or Earth’s ‘Extra Capsular Distraction’ and nobody batting an eyelid. Marclay’s piece is heavy and a�ecting in all the right ways, and what’s more the concept is just great. Buy it now before it disappears for ever.

http://boomkat.com/vinyl/22959-christian-marclay-guitar-drag

Soundtrack from the video Guitar Drag, 2000. Recorded in San Antonio Texas, on November 18th 1999. 12" one-sided transparent vinyl. 14 minutes. "The record is actually the soundtrack for Marclay's video with the same title that was shown �rst at London's Hayward Gallery sound art exhibition Sonic Boom in 2000. The piece as well as Marclay has become an icon in sound art circles, and although the video can only be seen in exhibitions as an installation, it is widely known. The full 14-minute soundtrack is released on a beautiful 12" clear vinyl record pack-aged in a sleeve with stills from the video. Filmed in San Antonio Texas, it shows an ampli�ed Fender Stratocaster

guitar attached to a rope being pulled behind a pick-up truck. As the guitar drags across the road it produces a range of sounds from the bumping and the friction against the varied surfaces. A fantastic visual piece, but also an amazing sound piece, that stands just as well alone, and in some ways just as visual! From the �rst sounds of duct-tape being ripped, the familiar sound of someone gently slamming the strings of the guitar, to the sounds of an engine starting and then slowly the beginning of a sound that is hollow and at the same time human, and that takes us through the deepest roarings to high pitched screams until the very end when it all slows down and stops, unwillingly it seems. Knowing the story behind the work or not, the sound itself triggers your imagination, leaving your soul no peace. For even if this could be seen, or heard, solely as a beautiful noisy sound piece, there is too much to the idea behind Guitar Drag, for it to not leave you restless and thoughtful."

http://www.forcedexposure.com/artists/marclay.christian.html

Minimal TechnologyMinimal Technology, 2012Vinyl

Minimal Technology started in Santiago de Chile in the early 90's, as three graphic-design students ventured into the creation of sound pieces. After several months of studio recording –"Working with an archaic sampler, an electric bass, a disposable drum machine, a mic and di�erent interventions on tape"– Japanese music curator/publisher Kino Mitsouko took an interest in their explorations and the band was invited to Tokyo, occasion that was to become "A truly artistic experience for the band, for which we prepared a special container-object, similar to mail art". Back in Santiago, they performed live just twice (both times on stages related to their alma-mater, Universidad de Chile) got interviewed on the late Radio Umbral and invited to publish an article about their work in the now mythical Música Marginal fanzine. Minimal Technology recalls the direct in�uence of Orbital and Einsturzende Neubauten, but their work has also been classi�ed as widely as: experimental, electro-acoustic, techno & neo-brutalist; at any rate, the band's �rst recognizable track, Power On, immediately ranked them among the most radical pioneers of electronic sound/composition in Chile. Published by HR in an edition of 100 copies.

Montaña Extendida & Mario NavarroLaboratorio Rojo, 2014Vinyl

Mario Navarro (Santiago de Chile, 1970) is one of the most notorious contemporary artists working in Chile for the last 20 years, whose work extends into several di�erent �elds, often developing around the utopias & political dreams of historical characters somehow forgotten or "failed", which Mario's perspective then uses as a critical standing point. In his latest exhibition, Laboratorio Rojo, Mario explores the biography of Dean Reed, a second-rate singer/actor from the USA whom, starting in the 60's –trying to capitalize the little fame he had– moved to South-america, where he slowly deepened his closeness with socialist ideas, started to criticize the US foreign policies, declared his admiration for �gures like Victor Jara and devoted his time to some sort of political activism; then he moved to the USSR and then to the GDR, where he was �nally found dead, in a mysterious drowning accident in a Berlin lake in 1986. The two tracks on this 7" are based on two songs originally recorded by Reed while living in Chile, "recovered" by Mario's investigation and remixed in collaboration with fellow artist/musician Rodrigo Araya (a.k.a. Montaña Extendida). On side A, "A Pair Of Scissors (Remix)", the rythm-based electronic treatment and assorted sounds provided by Montaña Extendida interlace with Mario's guitar to produce a mid-tempo washed-o� dub with a distorted voice reciting verses by Reed about loneliness, �nally entering into quite a trippy progression where the rythm gets faster, in more complex combinations, eventually including african strings; on side B, "No Nos Moverán (Remix)," a classic piece of Southamerican resistence-folk has been deformed beyond recognition, turning it into a ghostly dance piece with heavy bass-drum, industrial choirs and sharp electric guitar. Published by HR in an edition of 100 copies.

Angel Nevarez & Valerie Tevere with Mariachi Ciudad de GuadalajaraTouching From A Distance, 2012Vinyl

The inaugural LP release of Textual Records is a labor of love, stemming from the two-channel video Touching From A Distance by Angel Nevarez & Valerie Tevere in collaboration with Mariachi Ciudad de Guadalajara (interpreting Joy Division's Transmission). The LP Touching From A Distance features full studio and instrumental tracks performed by Mariachi Ciudad de Guadalajara and the extended video audio extractalong with an interview Regine Basha conducted with Nevarez & Tevere. LP liner notes were written as essay by Nato Thompson.

Nutria NNEstadio Chile, 2008Vinyl

Featuring Brooklyn-based ex-Maestro (HR-10) Chris Torres as Nutria NN, playing guitar and narrating the poem Estadio Chile, attributed to Chilean folk-singer & activist Victor Jara in September of 1973, just hours before his death. Published by HR in an Edition of 300 copies. dense bases that evoke a full-�edged sense of melancholy. The vinyl contains 8 tracks and a download code to access a digital copy plus extra bonus material. Published by HR in an edition of 100 copies.

O�ending CommandStray, 2011Vinyl

O�ending Command is the sound moniker of Mateo Zlatar, whose roots are in Chile but has been based in New York since the early days of this century. O�ending Command's eclectic mixes span across full decades of elec-tronica, bass-lines, Pan-American sounds and house music. Stray is an electronic pop album (with no lyrics, com-pletely "instrumental") exploring the maximalist side of dance music: lush chords, complex drum patterns and improvised light-hearted melodies �owing over dark and dense bases that evoke a full-�edged sense of melan-choly. The vinyl contains 8 tracks and a download code to access a digital copy plus extra bonus material. Published by HR in an edition of 100 copies.

Tovah Olson & Tony Conrad – TovinatorLet there be music, 2009 Vinyl

One-sided release. “YES!!! Finally!! Angus and Bon Scott would def label this knockout collab as grade A T-N-T!!! Here’s how it went down: The Machines were kicking it Brooklyn style last January for some jam time with Burning Sess Core, and the Tovinator had a solo slot in Glasslands on Super Bowl Sunday. Seeing how we both were worked up from the Pitts power plays and amazing Puck and Queen B quality time, Thurston added fuel to the �re and suggested that Conrad hit the stage with Tovah. Seeing how Tony only had his pajamas and an rusty old auto harp in tow, the aural jam scape was destined to be stripped down and tense. So here are the results!! Tovah on tin can ‘voice,’ tapes, and the sheet metal/spring ‘mailbox’ sculpture and Tony on unprocessed auto harp. No drone sound in sight, just a clanging, echoed, tangled sharp barbed nasty JAM. Super duper, like nothing else in either discogra-phy. Could be seen as a celebration in real time to the STEELERS, with STEEL and STRINGS. Amazing!!!! Edition of 200 in super weird covers, hand numbered.” -- John Olson

http://tomentosarecords.com/shop/tovah-olson-tony-conrad-let-there-be-music-tovinator/

Alexander Ross Grandfather Paradox,1989Vinyl

Critically celebrated for his candy coated biomorphic abstractions, Alexander Ross' equally visionary feats of sonic Surrealism have until now remained an insider's secret. Thanks to Kemialliset Ystavat and Tomutonttu mastermind Jan Anderzen, the resplendent oddness of Ross' musical imagination is now �nally available to be rolled around on the collective tongue of humanity once again via this vinyl reissue for his Vauva imprint.Originally issued as a cassette on the cult electronic label Generations Unlimited, this freak fringe tour de force from 1989 has its navigational coordinates governed by the kind of psychically dislocating dream logic more associated with Nurse With Wound. Across the epic suite that comprises these two album sides, Ross' musical syntax pops with all manner of unexpected rhythmic and textural detailing. The friction and frisson generated by raking kernels of assorted organic ephemera from rolls of dice, clinks of ice or the rattle of bamboo wind chimes against the fur of his countervailing compositional gestures is responsible for generating a lot of the drama heard here. On the excerpt from Side A found below, they counterpoint foghorn-like trombone fanfares, ecstatic ethno-logical forgeries and welling tides of smeared orchestration. Grandfather Paradox is available at this moment from Volcanic Tongue in Britain and any day now from Fusetron in the U.S.

http://adhoc.fm/post/alexander-ross-grandfather-paradox/

TAZOSFrota Frota, 2005Vinyl

This recording is a wide-ranging compilation made by improv and experimental duo Tazos. All recordings (�eld or bedroom/bathroom) were captured using a hand-held cassette recorder. It would be super�cial to label their sound as "incidental." As Musgo, one half of the band a�rmed: "Tazos' sound has evolved and transformed; it's been ever changing, from folk-rock to "povera"-rock (poor-rock) to cheap-electronica to metal to lo-� to ambient and all of the above combined."

Jean Tinguely Sound Sculptures, Tate Gallery, 1982Vinyl

Second release by Austrian Edition Bierammer (after the Joseph Beuys / Nam June Paik 'Coyote III' LP). This time a long-overdue reissue of Jean Tinguely's 'Sound Sculptures' cassette from 1983. Presenting recordings of 13 of Tinguely's kinetic sculptures at the Tate Gallery exhibition in 1982 including a 18 minute piece performed by 'Meta-Harmonie'. Essential document of one of the important artists in this �eld. Edition of 150 copies with gold on white silkscreen cover.

http://www.tochnit-aleph.com/catalog/product_info.php?products_id=329

Joe VillablancaLDT, 2012Vinyl

Hueso Records presents a rather unusual chapter in Joe Villablanca's proli�c discography. Started in Hamburg and �nished in Santiago de Chile, this record contains two pieces that extend for the whole length of each side; Farolito (Small Lamp) and Agua Para El Hambre (Water For Hunger) present an un-interrupted �ow of melodies, rhythms, musical landscapes and states of mind. While in most of his previous albums Joe sing his heart out, in neither one of these two does he utter a single word: devoid of any message, it's Joe's music and only music, as if turning the radio's dial, every three minutes or so the sound, speed and mood go changing. Joe Villablanca (Santiago de Chile, 1971) is one of the most peculiar –and most underground- artist/musicians currently living in Santiago. His music career started in 1993 when, along brothers Chris & Claudio Torres, founded the experimental trio Maestro (HR-10). Later, around 1997 he went to produce solo musical projects in which he managed to blend a wide spectrum of interests, characters, discourses & musical styles (including the memorable Canción Cultural) as well as, in a transla-tion of medium and form, deepen into many of the ideas he had previously developed as a visual artist. His in�u-ences range from Marcel Duchamp to Charly García, from Emil Cioran to Violeta Parra; his multiple skills have turned him into a recognized renaissance-man of that particular artistic scene, lately achieving the usual shades of one that is soon to become a living legend. Published by HR in an edition of 100 copies.

Lawrence Weiner7, 1972 Vinyl

Artist edition published by Yvon Lambert Gallery, Paris, 1972. In cover designed by the artist. On Side A Weiner reads texts accompanied by the �ute of Pierre-Yves Artaud. The same text is read in French on Side B by Beatrice Conrad-Eybesfeld accompanied by the �ute of Pierre-Ycvs Artaud. Both texts are reproduced on the back sleeve. This LP is referenced in the book 'Broken Music' pages 252-254.

http://www.popsike.com/Lawrence-Weiner-7-LP-Yvon-Lambert-edition/280065845793.html

W ARTIST SONGS VOLUME 2, 2011Vinyl

Die Strasse ist naßBy Peter Weibel & Hotel Morphilia OrchesterPerformed by ACO

Pictures on the Wall of Your HeartBy Tom WesselmanPerformed by ACO

Deutsche Angst By Lawrence Weiner and Peter GordonPerformed by ACO

performed by the Art Critics OrchestraMicz Flor (guitar, vocals), Laura Oldenbourg (keys), Judith Raum (vocals, guitar), Andreas Schlaegel (drums, vocals) und Raimar Stange (bass)

Mixing, mastering: Alexander Ott, Paul-Lincke-StudioCover artwork © 2011 Silke WagnerEdition of 500Published by Little & Large Editions, 2011