Jim Strong is a US based artist and musician who in recent years has left a trail of enigmatic releases on labels such as Vitrine, More Mars and Chocolate Monk. He will also be familiar to some for his past work with Melkings, Eyes of the Amaryllis, and Weyesblood. Now HoP is pleased to announce Jim’s first solo vinyl outing. My Enemies Are Mine To Keep is Jim’s most clearly defined statement to date. Its sides illustrate his self-sufficient, world-building methods through a mixture of orchestral miniatures and eerie, haptic pop songs fashioned from the artists home-made and invented instruments. The attention to process does not over-shadow Jim’s commitment to making deeply affecting, human work. With his unique mechanical orchestra wheezing behind him, Jim’s heartfelt vocals (plus a duet with long-time collaborator, Natalie Mering / Weyesblood) guide listeners through themes of futurity and isolation observing, among other things; the macrocosms of a break up; the discovery of a dead body in a sleepy beach town; and an angel measuring the shape of God. My Enemies Are Mine To Keep’s unique sound palette & approach to songcraft make comparisons futile but if we have to we’ll say Joe Meek, Harry Partch, Voice Crack, & The Incredible String Band. Capiche?

Jordan Deal’s 2022 debut GOGO Underworld (Cor Ardens) hipped us to their multidisciplinary practice which shapeshifts across film, sculpture, sound & performance. Now we are proud to present the next chapter in Jordan’s recorded legacy. Seas of Triple Consciousness was recorded between monasteries & churches in rural France and Jordan’s home in Philadelphia. It takes cues from the gospel, blues and folk traditions as well as avant-garde composition techniques. Essentially a song-suite centred around grand piano with occasional percussion, harmonica, field recordings and guitar, the album starts with a world collapsing before presenting the listener with an imagined future where Jordan channels a series of personae traversing a surreal landscape inhabited by the victims of oppressive forces. With plaintive, soulful and fragile expressions of defiance, nostalgia and hope Jordan’s jaw-dropping creation is as mind-bending as it is familiar. For comparisons try Nina Simone, Moor Mother, & Julius Eastman. It’s after the end of the world! Don’t you know that yet?

In 1969 both Anthony Moore and the filmmaker David Larcher were at the start of their respective careers and both were inspired by the ideas of the avant garde and the new technologies becoming available to them. David experimented with the various techniques being explored in the medium of film making and Anthony tested the limits of what could be done with tape recorders. It was an open and co-operative exploration. The results of their first collaboration was the film Mare’s Tail - an unusually long 2:30 hour film of non linear multi layered audio visual collage filmed in a wide variety of locations interspersed with texts coming from readings and talks, Kabalistic texts, recorded phone calls, loops, children’s voices and other found material. The musical dimension is mainly supplied by various struck objects/noise/feedback/field recordings and samples. There are instruments too and we even get treated to a small section of what was to become a Slapp Happy tune. The blurry dreamscape/nightmare that slowly unfolds is laden with late 60s delirium. The original master tapes are long gone and all that remains is the audio track on existing copies of the film and various bits of the make up tapes, most of which were used (but some not), in the final cut. The low grade 16mm audio track (a degraded source to begin with), is further worn with age, subsequent duplication and repeated screenings. It all adds to the haze - a quality that David would have most likely approved. Edition of 500 numbered copies.

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. 'Patty Waters is a visionary avant-garde vocalist and composer, best known for her groundbreaking 1960s recordings for the legendary free jazz label ESP-Disk. Captivated by the music of Billie Holiday, she sang with Bill Evans, Charlie Mingus, Chick Corea, and Herbie Hancock before coming to the attention of Albert Ayler, who introduced her to ESP-Disk’s Bernard Stollman. The rest is history. Recorded with pianist Burton Greene, Waters’ haunting 1966 debut Sings juxtaposes a side of hushed self-composed jazz ballad miniatures with an iconoclastic take on the standard “Black Is the Color of My True Love’s Hair.” Sharing Ayler’s affinity for the deconstruction of folk idioms, Waters dismantles the tune through a series of anguished wails, moans, whispers, and screams that cemented her reputation as a vocal innovator, predating the extended techniques of Yoko Ono, Joan La Barbara, and Linda Sharrock, and cited as a direct influence to Diamanda Galás and Patti Smith’s own freeform vocal excursions. The mythic side-long exposition stands as one of the 20th century’s most harrowing expressions of madness and grief, its incantatory mutilation of the word “black” into a full-spectrum monochrome resounding with a particular potency at a time when battles for civil rights were erupting across the country. After recording a second ESP-Disk album Waters disappeared from the music scene, moving from New York to California to raise her son. It wasn’t until 1996 that she returned with a new recording of jazz standards associated with Billie Holiday and began performing sporadically. Her Blank Forms concert—with original pianist Burton Greene as well as bassist Mario Pavone and percussionist Barry Altschul, both veterans of Paul Bley’s ensembles—was Waters’ first New York appearance since 2003. Dedicated to Cecil Taylor, who had passed away moments before she took the stage, Patty Waters Live preserves the mournful tension that was in the air that night. Her first new release on vinyl since 1966’s College Tour, the record divides the session in the spirit of her debut. Side A features a set of desolate ballads, including Waters’ own classic “Moon, Don’t Come Up Tonight,” while the B-side puts into stark relief the fact that the fight for civil rights that Waters invoked over 50 years ago is far from over. Beginning with her rendition of “Strange Fruit,” a 1937 song written in protest of black lynching and American racism, the suite’s form-bending contortions also features the second-ever recording of Waters’ original, exceptional lyrical take on Ornette Coleman’s “Lonely Woman.” Equally adept at channeling the heartbroken intimacy of Lady Day and the catharsis of The New Thing, on April 5th, 2018 Waters proved that she has lost none of her fire, remaining one of the greatest living jazz singers.' - Blankforms

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period. Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here. In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies. The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel. At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions. The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’. ‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women´s Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction. On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye. In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops. Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Mort. Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Works for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon. The two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results. Flips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work.

As co-founder of the GRM in 1958 with Pierre Schaeffer, and behind dozens of singular LPs during the 2nd half of the 20th century, Luc Ferrari (1929-2005) is by any measure one of the legends of musique electro-acoustique. As his treasured archive continues to turn out gems on the Recollection GRM series, Ferrari’s precious, poetic work now joins that of peers such as Bernard Parmegiani and François Bayle on Transversales Disques, the label run by GRM’s audio restoration engineer, Jonathan Fitoussi, with four pieces spanning psychedelic surrealism thru to a sort of late ‘80s sci-fi romance. Known as the poet of the GRM and concrète disciplines, Ferrari’s exceptional recordings leant away from academic exercises to inventively express a synthesis of styles that simultaneously intersected minimalism, musical theatre, field recordings, orchestral music and soundtracks. The four pieces of ‘Photophonie’ beautifully and thrillingly speak to Ferrari’s grasp of the sonosphere and its omnipresent plurality with a deftness of arrangement and overarching vision that that sounds both of its era and also within its own parallel dream dimension.  Written for a photographic exhibition by Alain Willhaume, the opening, 25’ long first piece ‘Photophonie’ (1989) emerges like an MTV ident, and continues like some hypermodern deco-dance work, all fractured shrapnel and acres of negative space, but soon flows out into a remarkable tract of vast ambient space conveying the sensation of exploring an abandoned space station, only to find some whispering French and German characters surviving in its bowels. If weren’t told otherwise, this work could have easily been the modern day soundtrack to something like  ‘Beyond the Black Rainbow.’ The other side scrolls back to 1973 with ‘Il état une fois’, a 17’ piece spanning field recordings thru to queasy drones and cartoonish honks which perhaps sounds more of its time, but then again recalls Rashad Becker’s music for notional species gone to an alien fairground, while an all too brief snippet of ‘Trans Voices’ (1992) gives way to a lather of sampled voices, choral drones and pulsating rhythm in ’Tu m’écoutes’ (1975) that holds among the darkest and proto-acidic/technoid works we’ve heard from Ferrari, at the least. --- Transversales Disques, 2019

Musique composée, interprétée et enregistrée par Luc Ferrari. Solitude Transit, 1989-1990. Musique en 3 actes pour le spectacle de la chorégraphe Anne-Marie Reynaud : Roman de gare / Ligne de fuite / On part chez Marie-Christine Chorégraphie : Anne-Marie Reynaud Musique : Luc Ferrari Décors : Claude Meiller Costumes : Jean Pierre Capeyron Lumières : Jacques Roveyrollis Dramaturgie : Michel Azama Huit danseurs

Feedback Moves returns with the reissue of Estrada Longa by Vasco Alves, originally released in 2021 on Cafe Oto’s digital label, Takuroku. Built in the 1940s, Estrada Nacional 2 is 720km long and spans the length of Portugal, from Chaves in the north to Faro on the southern Atlantic coast. Vasco Alves cycled the route in summer 2020, across 8 days and documented the names of each town and village by recording them on his phone. The tracks are named in accordance with the distance travelled each day and the town name presented in chronological order. These words are set against a utilitarian set up of synthesis and rhythm. We hear a familiar set of sounds across each track, though Alves has a way of adding, subtracting and layering them, to create new spaces and situations for each composition. The music clicks and stutters, like the sound of a bicycle changing gears. The tracks are awash with bass tone and static texture, which recall his earlier, radio focussed work. It’s hard to draw comparisons with this music, moments from of Mika Vainio’s Ø project and Muslimgauze’s ‘Azzazzin’ come to mind, though Alves has conjured a unique world of absorbing sound which exudes a sense of focus and introspection. Vasco Alves is a musician from Lisbon, Portugal. His work explores the physicality of sound through the use of electronic and acoustic processes, including synthesis and amplification techniques, and the gaita de fole (Portuguese bagpipes). He is a member of VA AA LR with Adam Asnan and Louie Rice, known for their electroacoustic works and radical performance - live shows have included the use of distress flares and wheeling the PA through the audience. His solo music has been released by We Can Elude Control and After Action Review, who in 2020 released Gaita Contra Computador - a set of works for gaita de fole and computer. For this album Alves pares back his tools, using synthesiser and voice across 8 pieces, which act as an imaginary audio diary to his cycle journey along the Estrada Longa. "Part experimental audio diary, part road movie and part psychogeographic meditation, Estrada Longa is an absorbing work of chiselled, enveloping sound and haunting textual exploration" - Fielding Hope, Cafe Oto

John Hubbard, who is also a book designer and based in Finland, had released the sole recordings of the legendary project “Vogelscheiß Und Seine Verrückten Kröten” in 1989 in a limited edition of just 50 copies on his Strength Through Joy label. Now these rare recordings are re-issued for the first time by Art Into Life. In 1988, upon meeting Steve Stapleton while on vacation in Europe, John then went to Aachen and visited Christoph Heemann & Andreas Martin, and the enigmatic sessions they recorded are revealed here.

A mysterious sound aurora on the magical paths of the infinite universe of percussion, originally released in 1985 and then almost completley lost. The well-educated drummer Tiziano Tononi, together with David Searcy and Jonathan Scully, while working at the temple of classical music, Il Teatro alla Scala of Milano decides to realize a personal compendium of sounds using only purcussion instruments. The recording offers to us an amazing concert of sounds with acoustic purity, in perfect balance between wild rhythm and deep relaxation. Ecstatic elements of Japan ambient minimalism dialogue with contemporary musical solutions (Varese, Ligeti), in the stream of a harmonious fusion of ancient and modern. It’s a propitiatory ceremony of supernatural happenings that open portals of blissfulness, tribal and shamanic darkness, and,timeless jungles. Between amazon fires and African safaris, we float in the Asian rivers of meditation, lost in water games, echoes of caves and rocks in the night, synergies of frogs, birds, snakes, marimbas, chimes, gongs, and wooden drums.

"I made the basic recordings of Tim Goss's voice during a recent return trip to England. Despite some initial reservations Tim ended up giving an animated and robust reading, drawn exclusively from work of his own creation. These tapes were then transported back to Poughkeepsie, NY, where the project was teased to completion." (Original LP sleeve notes)

A study in anticipation, Softly Softly Copy Copy (Kye, 2009) repurposes the expectant rumblings of an audience-in-waiting, lifted by Lambkin from various concert recordings of the German kosmische band Tangerine Dream. These bootlegged clips provide a skeleton for various sonic scraps and interludes—including distorted and abandoned fragments from Lambkin’s archive, new recordings on guitar and violin by Austin Argentieri and Samara Lubelski, respectively—that, together, form a composition suffused with the atmosphere of potential energy. With this Blank Forms reissue, Softly Softly Copy Copy is available on LP for the first time.

This at length awaited CD version includes contents from the original 1983's LP Autumn Resonance / Domino Figures released by danish label Paula. Inedited Voices Recurrent and Music for 21 Clarinets are available along with linear notes written by the author, echoing the current value of his experimental approach to the sound practice. A selection of the most radical impressive works composed by Wayne Siegel when he was mid-twenties. Moved to Denmark, between 1979 and 1980, he began to investigate possibilities of a very personal language, contributing to mould the heterogeneous kaleidoscope of Post-Minimalism results. The early works are constructed around a relentless musical process that consists of delaying and repeating every element in a certain measure, without intentional alteration. Siegel called this process canon technique, letting it to become over time his nutritious obsession.

Edition of 500 copies, screen printed cover. Includes two inserts: a replica of the original insert and the english translation Henry Krutzen is a relatively shadowy figure in the history of experimental sound. Between the early 80s and the 2010s, there are only a handful of albums that bear his name, and very little information about them. A multi-instrumentalist and composer who studied percussion, saxophone, and harmony in various schools and jazz clinics across Belgium, over the years he played in a diverse range of musical projects across the idioms of jazz, new wave, heavy metal, experimental, chanson française, world music and progressive rock, before relocating to Brazil during the early 2000s. “Silances”, originally released by Igloo Records – the Belgian imprint founded in 1978 by Daniel Sotiaux – sitting alongside astounding and remarkably unique albums by Leo Küpper, Jacques Bekaert, Henri Chopin, Arthur Pétronio, André Stordeur, and numerous others, is an entirely singular gesture at the borders of sound poetry, musique concrète, and radical electroacoustic practice that draws upon disparate elements of drone, jazz, minimalism, ecstatic tribalism, and various traditions of music from across the globe. Decades on from its original release it remains as striking, unique, and compelling as it did upon its release. In a note that Krutzen penned in 2022 when he was contacted for the reissue of “Silances”, Krutzen recalls: “Since I was 16, I had been experimenting with concrete music with a technician friend and we used all a teenager’s room could offer to make sounds into music: faucets, glasses of water, metal springs on ladders, objects of any kind… I had hours of recordings I pitched to Daniel [Sotiaux], to see if he was interested in making an album. I also had other ideas I wanted to be able to develop. What a joy when he accepted to work on the project! So I got to work. First, I set up a vocal improvisation quartet, and we spent long afternoons rehearsing using input I provided… We went into the studio and recorded almost two hours of improvisation, from which I then chose the best moments for the final product”.

Coupla Triples is a collection of two recordings made by MP Hopkins in 2014. The first piece, Spins, Groans, Tones, was previously self-released as part of a CDR/chapbook edition, while the second piece Waves, Feedback, Thoughts, has remained unreleased until now. Both pieces were created using a simple compositional method, in which random word prompts were selected from a list of sounds and ‘interpreted’ in an immediate manner with only basic recording equipment - a microphone, a tape loop, a voice recorder and an amp. Three sounds, twice. Arranged carelessly but carefully. A coupla triples, nothing fancy. Recorded and mixed on the land of the Gadigal people, Sydney, 2014. MP Hopkins is a sound artist and musician working on Wangal land in Sydney, Australia. He uses voice, feedback, recording/playback devices, and text scores within different acoustic environments, which are deconstructed and presented to the listener in delicate and degraded ways.