Four Perfect Balls Bohman Bohman Ghikas and Thomas Extremely limited £20 vinyl release: 200 numbered copies ‘Shopping list stickers‘ sleeve design by Vincent Oliver Includes digital download code  Four Perfect Balls is a blend of speech, layers of multi-tracked free improvisation using unamplified objects and modified instruments, field recordings and computer generated synthesis. Speech content is derived from a collage of original writing and Police Training Manuals, pulp potboilers, recipes, menus and information relating to the North Sea fishing economy. These improvised interactions took place in the headphone soundstage rather than the live space. The edited results are pieces that self-subvert, gyrating between pulseless baroque pointillism, post-rock-ist incoherence and word beats. For almost 20 years Adam and Jonathan Bohman, Panos Ghikas and Richard Thomas have worked together, as live performers in the large ensemble The Bohman Extended Family as well as in other splinter groups and ad hoc formations. This is their first LP as a quartet.   Adam Bohman: objects, voice Jonathan Bohman: objects, oscillator, guitar, voice Panos Ghikas: violin, bass, unreal-time audio Richard Thomas: guitar, voice, found sounds, other sounds   Performed over 3 sessions in 2014 at Boundary Studio, London. Edited and compiled by Panos Ghikas and Richard Thomas. Recorded, mixed and produced by Panos Ghikas Migro Records © 2016 

Bohman Bohman Ghikas and Thomas - Four Perfect Balls LP

William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works.The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder. Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.  The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.

William S. Burroughs - Curse Got Back LP

Slow, quiet and relaxed - Eva-Maria Houben’s first appearance at OTO touched all that heard it. Part of the Wandelweiser collective, Houben creates vast, incorporeal forms from almost nothing - music that lingers long after the last note has dissipated. Includes the premiere of Tiefe – Depth for Piano - a flawless study in decay and resonance. --- Eva-Maria Houben / piano --- Recorded live at Cafe OTO by Shaun Crook on Tuesday 30th August, 2016. Mixed by Abby Thomas. Mastered by James Dunn.  --- Transcipt from the evening:  “I’m very glad to be here. I had some very nice days here in London before this night, and I am very glad this night to be here. We spoke about the programme for this night and we decided upon 3 sections, and if you allow I would like to say some words. On the whole, I will play two first performances, and then I will play a few other pieces, and the first section will be a piece form 2014, Loosely Connected. It is not the first performance, it had already been performed in August in Germany, and it was a full experience for me. And then I will play the piece Depth - it’s short, and this will be the first performance. So, both pieces together will come I think, to twenty minutes. Two ten minute pieces. And then we have the first break, and you could take something, and then follows Sonata Number 10 that will have a duration of twenty four minutes, and then, at last, I will finish with Dandelion, a new piece, a first performance, and then The Hanging Garden or The Suspended Garden. Yes. And now, Loosely Connected and Depth. Thank you very much.” — "And now, the second set and it will be Sonata for Piano Number 10. This Sonata has a subtitle - it’s called in French, erm, Le Croche de Soils - Dreambirds. I have dreamt this piece and there were different sounds of birds from different countries and different towers and I listened before to a piece by Enescu, a Roman composer, and it was very impressive. And he imitated real birds by the piano, by sounds and keys which seemed to be wrong but they sounded like birds because there are birds which have disharmony partials - or harmonic partials but disharmonic partials too - and this was very fascinating for me and I tried to be on the traces of different composers. This sonata has 5 movements, and the first movement is dedicated to Mussorgsky, the second movement to Enescu, the third movement to Schumann, the fourth movement to Liszt, and the last and fifth movement to Olivier Messiaen. It is not their sounds but traces, smells, of those composers. Not more. You will listen to 5 movements and the whole sonata will have a duration of 24 up to 25 minutes. Then we will have the second break. Thank you." — "So or the last set we have at first, Dandelion. Dandelion could be a very long piece - it is a collection with many pieces of paper and every sheet is a world on its own, and I will play 3 pages, not more. But I could play many pages and could have played only Dandelion this evening, it’s a collection with many pages, but I play 3. It is a study on partials of the piano. And then follows Les Jardins Suspendus - The Hanging Gardens, yes, and this piece closes the night. And both pieces together I think will last I think 15 minutes. The first perhaps 8 minutes, and then 7 minutes." — "Thank you very much for your kind welcome. And I could play the famous Drei Choräles, they are very short. They have repetitions and I would think I will take about 4 or 5 minutes. Yes." —

Eva-Maria Houben - 30.8.16