Cat #
Artist
Title
Format
Date
PAN 76
ADR (Aaron David Ross)
Throat
Digital
2016

‘THROAT’ is the new album by composer/producer Aaron David Ross (ADR). Arriving as the New York artist’s second release on PAN, ‘THROAT’ is made entirely from vocal sounds. It could only be crafted in the ultra-present; an age where the poetry of songwriting is flattened into catchy hooks. As words are sliced into sounds, ideas are reduced to sibilant syllables that still contain a range of emotional power, but deliver it in subversively different ways.

‘THROAT’ exploits these ways, borrowing vocal fragments from everywhere to collage a choral congregation of singing servers; pinging one another to create open-source equal-opportunity electronic pop music. Reichian polyrhythmic EDM drops into Bieber-esque beatboxing. Hypothetical K-pop stars conduct holographic choirs in altruistic ritual. Virtual summer festival DJs transcode into pure phonemes; anthropomorphizing formant-shifted vacuums of communication. When you drop the cargo of making sense, you can go so much faster.

As a classically trained musician inspired equally by pop and contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Besides ongoing collaborations with an international community of vocalists, producers, artists and fashion designers, Ross releases solo recordings, composes music for film, TV and advertising, and maintains a practice of live performance and sound installation.

The release is mastered by Jeremy Cox featuring artwork by Alex Gvojic.

PAN 75
Steven Warwick
Nadir
Digital
2016

The Berlin-based producer and artist Steven Warwick presents a unique audio-visual ‘mixtape’ on PAN, compiled of a series of darkly lyrical and sonic musings, as well as personal snapshots, written stories and videos taken across trips whilst residing in LA and Berlin. Arriving as his first musical release under his own name, Warwick (aka Heatsick)’s latest venture also utilises a new sonic repertoire allowing for a new route for his music, “It’s a reset in a way, creatively and emotionally”.

Titled ‘Nadir’, the release reflects on a somewhat sardonic, and at times melancholic and unsettling mood. Recorded in both Los Angeles, New York and Berlin, it is a soundtrack and document of time spent in and around those environments both urban and rural.

The release is mastered by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

PAN 74
Rashad Becker
Traditional Music of Notional Species Vol. II
LP / DL
2016

Rashad Becker’s new full length album, ‘Traditional Music of Notional Species Vol. II’ is a newly developed continuation and exploration of work since his highly-acclaimed first volume.

Incorporating more instrumental-sounding components, the record moves through both fluid and dissonant sounds which take on different structural and sculptural challenges through carefully-layered compositions. Following ‘Traditional Music of Notional Species Vol. I’, the new album expands in various elements, distorted and warped, focusing in on the tension and energy of synthesized sounds that appear to exist hauntingly physical.

Known for his unrivalled attention to sonic detail across his work, Becker’s unique techniques and expressive manipulations of sound are laid bare in an exhilarating new form, stylistically distinctive and uncompromising.

The album is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

 

PAN 73
Yves Tumor
Serpent Music
LP/DL
2016

The enigmatic Tennessee-raised, Turin-based Yves Tumor presents a poignant new album, recorded between Miami, Leipzig, Los Angeles and Berlin over the past three years.

Evolved from a diverse and prolific creative history under an expansive plethora of covert aliases via various forward-thinking labels, ‘Yves Tumor’ emerges as his most personal and matured incarnation to date.

With involvement across various artistic outlets expanding to fashion such as a visceral live performance for LA’s Hood By Air earlier this year, the global artist has built a distinctly bold personal aesthetic both musically and visually as a performer.

Painstakingly written from pieces developed upon since 2013, the new record, titled ‘Serpent Music’, was initially composed as a soul record – based around delicate and emotive songwriting in various forms. It was a highly difficult project to undertake on both a creative and personal level, weaving thematic links through paranoia, social anxiety, and missing loved ones. “The songs come from a much more emotional and very vulnerable place… They’re very close to me and I’ve been cautious of how I would eventually present them to the world.” he explains.

The album spans sonically diverse and richly-textured pieces, formed from live, organic instruments, samples and various field recordings. Dreamlike lo-fi psychedelia sits alongside broken electronic experimentations, ambient compositions between abrasive noise offer insight into a haunting otherworld. From melodic choral vocals and soaring synths, to screeching guitar riffs, dramatic spoken word samples and live drumming, ‘Serpent Music’ evidently moves through a strange and intriguing personal journey.

The album is mastered and cut by Rashad Becker at D&M, featuring photography by Daniel Sannwald.

PAN 72
Jenna Sutela & Ville Haimala
eAR
Web
2016

eAR is a location-based augmented reality sound and text piece in the form of first-person fiction. It presents a series of dramatized field recordings from our digitally mediated environment together with commentary inspired by the Let’s Play format. eAR allows the listeners to reimagine their immediate surroundings via augmented hearing, and to take the scenic route through sound.

Sound by Ville Haimala, text by Jenna Sutela, design and programming by Harm van den Dorpel.

Finnish music producer and artist Ville Haimala currently lives and works in Berlin. With his background in architecture and electronic club music, he is now focusing on more experimental studio work. This work, produced under different monikers and often blurring the boundaries between music and contemporary art, has been presented and performed at various internationally acclaimed institutions including MoMA PS1 and Volksbühne in Berlin and events such as Unsound, Ultima and CTM Festivals.

Berlin-based Finnish artist Jenna Sutela’s installations, text and sound performances seek to identify and react to precarious social and material moments – most recently, the relationship between the body and its technologically-mediated environment. Her work has been presented, among other places, at Haus der Kulturen der Welt in Berlin, Museum of Contemporary Art Tokyo and South London Gallery and writing published by, for example, Fiktion, Harvard Design Magazine and Sternberg Press.

view eAR: ear.fi

CDS004
SKY H1
Motion
12"/DL
2016

‘Motion’ is the new EP release on PAN’s sublabel CODES from Belgian producer SKY H1.

Having previously collaborated with producers and collectives such as Bala Club and Creamcake, Brussels-based SKY H1 has since performed at the likes of multi-media 3HD Festival and Amsterdam’s Sonic Acts to high acclaim for her distinctly forward-thinking sound.

Drawing from a background of widely-varying musical tastes from Ambient to Grime, her own work is an amalgamation of emotive compositions of orchestral Elysian synths, often displaced with sparse percussive elements.

The new record, ‘Motion’ is a highly personal endeavour, constructed from the results of a turbulent time where she describes it as ‘a flash of her emotional state over the last few months’. “It signifies leaving behind a period in my life and stepping into something new.” She explains.

Moving through bleak soundscapes layering vaporous choral synths, ethereal vocals and glassy, lucid tones crafted in complex structures, the record bears moments of melancholy as well as joy on tracks like ‘Tell Me’ and ‘I Think I Am’. “It’s about going through the different stages of grief and accepting the positive effects the loss of someone can have on you.” She says. “It’s about experiencing an intensely emotional time with a lot of ups and downs, and I think this is transparent in the way the tracks are ordered.”

PAN 71
Valerio Tricoli
Clonic Earth
2xLP/DL
2016

The experimental Italian composer returns to PAN with a new LP, titled ‘Clonic Earth’. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-’00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.

Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.

His studio compositions, documented on few records, often explore themes of the internal – represented both by the psychological and the physical – and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

The new record, ‘Clonic Earth’ is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions.

Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of ‘Clonic Earth’ explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting.

The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, ‘Miseri Lares': “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.”

This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element – hence a representation of the infinite decay and a mean of communication with the otherworldly – serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.

The 2xLP is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

PAN 70
HELM
Beatrice Dillon / N1L (Remixes)
12"
2016

Beatrice Dillon and N1L remixes of HELM’s Olympic Mess for the dancefloor. Hand-stamped limited edition of 300 copies.

PAN 69
M.E.S.H.
Damaged Merc
Digital
2016

Emerging as an entirely different beast to the experimental producer’s previous works ’Piteous Gate’ and ‘Scythians’ for the label, the new record sees a departure from the off-grid, theatrical densities of his long player, instead taking an unabashedly club-oriented approach. While conserving various stylistic tropes heard across previous releases and in his sets at Janus club nights, the new record is distinct in its direction and tone—a play on some of the cerebral aspirations rippling through club culture.

The EP is led by ‘Damaged Merc’, which frantically intersplices broken arpeggiated notes with brash vocal snippets and triplicated snare blasts. ‘Follow & Mute’ is full of gratifyingly frenzied percussion on urgent attack, while ‘Kritikal Thirst’ pieces together fragmented moments of industrial and latin sounds. ‘Victim Lord’ is stumbling drums and hydraulic distortion behind tinted SUV windows, its heavy-paced rhythm dirge grinding to a murky halt to finish it all off.

CDS003
LING
Attachment
12"/DL
2016

The young Liverpool-based producer LING releases his debut EP on PAN & Visionist’s CODES label.

‘Attachment’ is a data-centric collection built from field and browser recordings, loosely exploring the themes
of habitual mental tendencies. “The idea that taking an instinctual interpretation of information potentially warps and distorts reality. If data triggers internal responses, it risks following a predetermined path that can stray from reality.”

The heavily processed sample material re-explores recordings collected from over the last 4 years. Reconstructed within sound collages across the record, they strive to find an independent voice but at times back away in order to grapple something else. Merging explorative futurist sounds, Ling’s glacial and at times glitchy constructions feature fleeting snippets of differing vocals or malfunctioning machines, whilst dipping into tentative, broken melodies. Loose references to UK culture and contemporary sounds are restructured, offering moments of something teasingly familiar before withdrawing into abstraction.

The EP was made in summer 2015 in Liverpool, mixed by Chris Pawlusek, mastered by Matt Colton at Alchemy, and features artwork by PWR Studio & Bill Kouligas with additional art by James Whipple.

PAN 68
ADR
Deceptionista
SD Card
2015

Deceptionista is a new audio-visual work by composer and artist Aaron David Ross (ADR). Realized as both an album and a fully immersive virtual ecosystem, Deceptionista unpacks and further mystifies the spiralling inconsistenciesthat permeate our globally networked lifestyles.

Released through PAN via digital and a limited edition SD card as well as a series of live performances, Deceptionista combines the relentless unknowability of the real-time internet with ADR’s distinct compositional approach. As a classically trained musician with a propensity towards contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Deceptionista seeks to accelerate detailed, high-definition visions of public intimacies into a form of 21st century psychedelia; which embraces the cognitive derangement of the senses that defines the habits of today’s internet browsing constituency.

Utilizing the free online tool Vpeeker, which provides a feed of the most recently uploaded Vine clip at any given moment, ADR has discovered an untapped world of internet detritus, ranging from the clean and corporately produced, to a blissfully ignorant preteen with an iPod Touch. Inside Vpeeker, the internet voyeur is no longer carefully curating their content consumption from safely behind a screen… they are deep inside your pocket. Vpeeker lets you view the world through the smartphone camera of a random, time-zone determined user some- where on the planet, only to disengage and reattach to another 6 seconds later. Sourcing both audio and video from this tool, ADR has accessed a real-time feed of the entire connected population, totally unfiltered and united only by timestamps.

The project’s visual representation takes the form of a playable video game-like environment where users can explore various geometries and particle systems, all skinned entirely in video texture maps sourced from Vpeeker. The dynamic color palettes and ephemeral energy that emerges from the onslaught of these randomly selected clips creates strings of incongruous alternations; where real conflates with virtual, irony conflates with true belief, and human emotion and spirituality conflate with the limitations of broadband upload speeds. Deceptionista seeks to dramatize these dichotomies by traversing the deep chasms between them; often looking forward, backward and in between the cracks to find the most profound and poetic juxtapositions in the most unlikely places.

Aaron David Ross is a composer, producer and artist preoccupied with music’s affective potentiality. In addition to his work as one half of the critically acclaimed Gatekeeper duo, Aaron releases solo recordings, composes bespoke music for film, TV and advertising, hosts an array of ongoing collaborations and maintains a practice of live perfor- mance and sound installation.

With a background in classical composition and a propensity towards contemporary art & technology practices, Aaron’s work dances precariously on both sides of the chasm between irony and true belief, often conflating the two completely. He explores the failures or impartial successes of cultural ephemera through detailed, high-definition visions of optimistic resignation.

PAN 67
Visionist
Safe
LP/CD/DL
2015

Having recently partnered with Bill Kouligas to relaunch his Lost Codes imprint as Codes, Visionist takes a defining step forward with the release of his PAN debut album, ‘Safe’.

The South London artist born Louis Carnell broke during a period of experimentation in UK music when, with the disintegration of the dubstep scene, emerging producers began looking to juke and Chicago house for inspiration. A pair of EPs on Lit City Trax (and a collaboration with Fatima Al Qadiri) in 2013 and ’14 introduced Visionist’s minimalist take on fractured R&B and liquid grime, establishing him as a leading voice in new-wave UK soundsystem culture.

On ‘Safe’, Visionist sculpts and extends that signature into new terrain and makes his most personal statement yet. Distilling his influences down to a sparse palette of manipulated folk, pop and R&B acapellas, icy synths, and metallic drum samples, he plays off ever-present anxiety and his own battle not to let it overwhelm him. “Comfort, protection, salvation—this is what we search for,” he says. “We are taught that a life of no worries is better for us, and therefore we try to create one that is ‘Safe.'”

But while safe as a musical concept implies conformity, ‘Safe’ as an artistic statement is anything but. At a moment when the UK scene, once known for innovation, has settled into rehashing old tropes, Visionist continues to propel his sound into more experimental territory. The album traces the arc of an anxiety attack, from its onset through to recovery. Following the stately discord of brief opener “You Stayed,” the grimy, ballistic assault of “Victim” sends its targets diving into mirrored corners. “I’ve Said” is a brutal, almost militant advance, its sound cutting in and out as though transmitted via shortwave radio. “Too Careful To Care” trades in skittering paranoia, with the soporific “Sleep Luxury” closing out affairs.

Since 2012, Visionist has toured extensively throughout Europe, Unites States and Asia, appearing at industry standard clubs and festivals like Fabric, Berghain, Sonar and Unsound and as well as various underground venues. He has scored music for Kenzo, Liam Hodges and Roxanne Farahmand in the world of fashion, and remixed Kelis, Ghost Poet and Glasser. In 2014, he supported FKA Twigs on her first-ever UK tour.

The LP was mastered by Jeremy Cox and cut by Rashad Becker at D&M, and pressed on 140g LP and CD. It features photography & artwork by Daniel Sannwald and layout by Bill Kouligas.

PAN 66
M.E.S.H.
Piteous Gate
LP/CD/DL
2015

Following his acclaimed Scythians EP on PAN last year, M.E.S.H. returns to the label with his debut album, the opulent and dystopian Piteous Gate.

Alongside fellow members of Berlin’s Janus collective, recently behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club synco- pation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo-feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener ‘Piteous Gate’ to life. Drawing from action-scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into ‘Optimate’—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. ‘Thorium’ sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums. ‘The Black Pill’ smears high-end renaissance sample libraries through arcs of static. In ‘Epithet,’ temple sewer atmospheres are ruptured by ‘Scythians’-style cut-up drums. ‘Jester’s Visage’ indulges a minute-long baroque guitar improv, and territorial youths air their beef in ‘Kritikal & X.’ Closing out the album, ‘Methy Imbiß’ is a machinic rhythm track, and ‘Azov Seepage’ mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker at D&M, and pressed on 140g LP and CD.

PAN 65
Lee Gamble
B23 Steelhouse / Motor System (Extension)
12"
2015

Limited pressing / white label featuring two unreleased tracks.

‘B23 Steelhouse’ is a rework of ‘Steelhouse Chaconne’, itself an unreleased Lee Gamble dub from 2013. On the flip is ‘Motor System’, a track taken from last year’s Koch album and extended.

Both tracks have been remastered and sound much louder and dynamic than the album cuts – primed for the DJs.

PAN 64
Errorsmith & Mark Fell
Protogravity
12"/DL
2015

PAN presents the first collaborative single from electronic composers Mark Fell and Erik Wiegand, the latter appearing under his Errorsmith alias for the first time in eleven years.

Both Fell and Wiegand have contributed hugely to the development of alternative dance forms and are no strangers to collaboration; Fell alongside DJ Sprinkles and as one half of SND, Wiegand as Smith N Hack together with Soundstream and more frequently accompanying Fiedel as MMM. The seminal Errorsmith albums from the turn of the millennium are often referenced beside Fell’s early works as pivotal moments in the evolution of club music, owing as much to dub and the hardcore continuum as they do to minimalism and the avant garde. This project is a relished opportunity to combine their creative approaches.

Made in June 2014 at Wiegand’s Berlin studio, the Protogravity EP explores different working methods and musical structures, yet results in a cohesive collection of subterranean techno. Engaging with dance music’s rich lineage through an anamorphic lens, the pair yield maximum effect from lucid, idiosyncratic sound, offering up three hypnotic cuts with a playfulness that often underlies their solo work.

The 12” is mastered and cut by Rashad Becker at D&M, with artwork by Kathryn Politis & Bill Kouligas.

PAN 63
HELM
Olympic Mess
2xLP/CD/DL
2015

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’, a record born of destructive practice, competing desires, and troubled optimism.

Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

“It’s about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one’s personal and artistic lives,” Younger says. “Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos”.

Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, ‘Olympic Mess’ was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP and CD. It features photography by Kim Thue and artwork by Bill Kouligas.

PAN 62
Vom Grill (Dennis Tyfus)
Knerpen! (bevel)
LP/DL
2015

Antwerp-based nonconformist Dennis Tyfus debuts on PAN under his Vom Grill moniker with the ‘Knerpen! (bevel)’ LP. Tyfus’ dealings in unstable media—spanning paintings and illustrations, films, radio transmissions and more—reflect the freeform, sometimes parodic nature of his sonic output, which has been archived on his own Ultra Eczema imprint alongside many outsider, weirdo and noise underground artists.

‘Knerpen! (bevel)’ is a jarring collage of skewed electronics, tape loops and treated vocals. Opening sequence ‘I’ writhes and seizes with electricity. Skull-resonant clangs are sucked and “scrunched” back into themselves, before throbs of condensed static give way to the sound of someone rummaging around inside the bodies of acoustic instruments. On b-side ‘II,’ Tyfus multitracks the vocalizations of opera singer Emilie Fleamountains into an empyrean choir, before winding back the tape into a foaming-at-the-mouth mechanical meltdown.

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g LP. It features photography by Dennis Tyfus and layout by Bill Kouligas.

“What arouses the interest of Dennis Tyfus, with his difficult feet, is a clear, artful and wild realism whose extravagance never leaves one indifferent and can be summarised above all as the attempt to have fun in the end, after all”. — Wim van Mulders

CDS001
Acre & Filter Dread
Interference
12"/DL
2015

Interference is the first joint release from PAN and Visionist’s Lost Codes, which is re-baptized here as PAN sublabel Codes.

Two of Visionist’s key discoveries, Mancunian hybridist Acre and Cambridge’s transplant Filter Dread both cut their teeth on UK soundsystem culture and have appeared on vital outlets like Tectonic and Ramp. The pair’s EP updates 8-bit grime, warehouse rave, and dark bass with hyper-modern sound design and bastard club rhythms. Rather than rely on mimicry, they contort familiar aesthetics, giving rise to the baroque, processional gloom of “Drumz 34″ to “Flash Speed”‘s bassbin elasticity and the modem drones of “Trashed” (for the steppers).

The EP is mastered by Matt Colton at Alchemy, and features artwork by PWR Studio & Bill Kouligas with additional art by Max Shannon.

PAN 61
Lifted
1
LP/DL
2015

PAN is pleased to announce the debut release from Lifted, an ongoing collaborative project initiated by Matt Papich (AKA Co La) and Beautiful Swimmers’ Max D.

Drawing on studio sessions recorded in their respective hometowns of Baltimore and Washington DC, the album sees the pair break free from the constrictions of the grid and exercise their versatility through improvised fusion. Working outside the framework that underlies their solo output, the eight tracks on offer showcase experiments in freeform techno, hyaline electronics, and ambient, with the duo reaching out to Motion Graphics, 1432 R co-founder Dawit Eklund, and Jeremy Hyman for additional synthesis, drumset and percussion.

The album also exhibits solo performances from Gigi Masin and Jordan GCZ (Juju & Jordash), who submitted overdubs from their bases in Venice and Amsterdam.

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g LP. It features photography by Traianos Pakioufakis and artwork by Bill Kouligas.

PAN 47
Florian Hecker & Mark Leckey
Hecker Leckey Sound Voice Chimera
LP/DL
2015

In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its listeners, while Leckey’s work across performance, sculpture, and installation takes up transcendence and the occupation (or animation) of new bodies and modes of being.

In Hecker Leckey Sound Voice Chimera, Hecker decomposes, modulates, and re-synthesizes the vocal track from Leckey’s 2010 performance piece “GreenScreenRefrigeratorAction” (for which Leckey intoned the inner monologue of a black Samsung fridge) and his own “3 Channel Chronics” installation from that same year, where distinct sounds from three speakers telescoping down from the ceiling were combined and altered by visitors’ movements. The result- ing work—like that three-headed beast of Greek mythology—is a multivalent, tri-part hybrid in which heavily distorted fragments of Leckey’s narrative intersperse Hecker’s synthetic textures and fidgety tonal patterns. On the PAN release itself, channel 1 from Hecker Leckey Sound Voice Chimera corresponds with side A and channel 2 with side B; channel 3 is available as a monophonic mp3 download.

Florian Hecker returns to PAN following his 2011 vinyl issue of Sun Pandämonium. Trained in computational linguistics and fine arts, Hecker’s work deals with specific compositional developments of post-war modernity, electro-acoustic music and psychophysical domains of audition. A fixture of the Editions Mego roster with releases on Rephlex and Presto?!, Hecker Leckey Sound Voice Chimera is included in his recently published artist book Chimerizations, which both documents and extends the concept behind his project for for documenta 13 (2012) and includes texts by the writer and philosopher Reza Negarestani, anthropologist Stefan Helmreich, and curator Catherine Wood.

Mark Leckey is a British artist, pop-culture provocational agent, and self-described autodidact working across sculp- ture, sound, film, and performance. His notable video works (collaged from found material) include the 1999 cult short Fiorucci Made Me Hardcore and Industrial Lights and Magic, for which he was awarded the Turner Prize in 2008. A career retrospective, “Lending Enchantment to Vulgar Materials,” was recently presented at WIELS in Belgium, and his work is included in the collections of the Centre Georges Pompidou, Hammer Museum, and Walker Art Center, among others. He has served as Film Studies professor at the Städelschule in Frankfurt-am-Main, Germany, and is currently Reader in Fine Art at Goldsmiths, London. The first comprehensive monograph of his work, On Pleasure Bent, was published in 2014.

Hecker Leckey Sound Voice Chimera is written and produced by Florian Hecker; GreenScreenRefrigeratorAction courtesy of Mark Leckey. The album is mastered and cut by Rashad Becker at D&M. It includes liner notes by art historian Alex Kitnick, and artwork by Florian Hecker & Bill Kouligas.

PAN 58
Spectre
Ruff Kutz
2xLP/DL
2015

PAN digs into the archives of WordSound label founder Skiz Fernando Jr. (a.k.a. Spectre) to reissue his 1998 experimental hip-hop mixtape, Ruff Kutz, originally released as an extremely limited edition cassette. A 90 minute, mixtape featuring hits and remixes, previ- ously unreleased tracks, and dub-plate specials featuring Sensational, Mr Dead, Bill Las- well, Jungle Brothers, Kevin Martin and many more.

The early ’90s witnessed a spike in mutant strains of future dub. In Bristol, trip-hop and jungle were on the rise; in Manhattan it was noise and breakbeat. But in Brooklyn, hip-hop experimentation was gaining momentum, led by Skiz’s independent label WordSound. With support from Bill Laswell, WordSound charted the experimental edge of hip-hop and dub, taking equal inspiration from Bronx Rap and Jamaican Roots music as they pioneered a lo-fi sound both primal and futuristic. By the turn of the decade, the combination of dub, ambient, and hip hop aesthetics had been baptized by The Wire magazine as Illbient—a short-lived classification now being exhumed in the form of Spectre’s obscure mixtape, Ruff Kutz.

Ruff Kutz revisits the years between 1994-98, a formative era for WordSound and experimen- tal beats in general. The original cassette, according to Skiz, was comprised of alternative mixes, obscure beats, and unreleased tracks and edits. Unsigned material from Dubadelic (supergroup of Bill Laswell, Ted Parsons, DXT, and others), rapper Sensational, Kevin ‘The Bug’ Martin’s Techno Animal project, Professor Shehab as his lyrical alter-ego Psycho Priest, Djini Brown, Mr. Dead of the Metabolics, Doc Israel, Scotty Hard, and Slotek all feature throughout this vinyl reissue, fully mastered for the first time from the original DAT tapes in their original sequence.

The album is mastered and cut at D&M, pressed on 140g 2xLP.

PAN 53
Oren Ambarchi
Live Knots
2xLP/CD/DL
2015

Live Knots, Oren Ambarchi’s first release for PAN, presents two live realizations of ‘Knots’, the epic centrepiece of his Audience of One (Touch, 2012) release. Built on the interplay between Ambarchi’s swirling, guitar harmonics and the metronomic pulse and shifting accents of Joe Talia’s DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework.

‘Tokyo Knots’ presents the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo’s legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia’s insistent ride cymbal and the shifting tonal bed of Ambarchi’s rich overtone-drenched guitar, eventually going into a free rock free fall of buzzsaw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit.

‘Krakow Knots’, recorded live at Unsound Festival in Krakow in 2013, works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece’s textural range with lush chordal blocks, uneasy dissonances and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves towards its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece’s final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole’s amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause.

– Francis Plagne

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP and CD. It features photography by Traianos Pakioufakis and artwork by Bill Kouligas.

PAN 52-R
M.E.S.H.
Scythians Remixes
DL
2014

M.E.S.H.’s track Scythians from the eponymous EP gets reworked by Jersey Club producer DJ J Heat, Janus resident Lotic, Grime auteur Logos and club upstart Grovestreet. The four remixes push deeper into the rhythmic spaces suggested by the original’s broken percussion and cavernous acoustics. Available as a digital release only.

PAN 57
Black Sites (Helena Hauff & F#X)
Unit 2669
12"/DL
2014

Helena Hauff and F#X finally unleash their second record as Black Sites. Returning to PAN following 2013’s Prototype EP, the two hardware fetishists and resident DJs at Hamburg’s iconic Golden Pudel club turn out two cauterizing, long-form acid/techno cuts on Unit 2669 EP.

A-side “Unit 2669″ is built around a narcotic, modulated 303 line and protean drones, while on the flip, “Москва” is an exercise in tape manipulation and visceral mechanics; with its circuitry corroded by parasites, the track’s lurching pulse of paranoid sirens is eviscerated by surges of tearing feedback.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g vinyl with artwork by Bill Kouligas.

PAN 54
Afrikan Sciences
Circuitous
2xLP/CD/DL
2014

Peerless rhythmist and sonic explorer Afrikan Sciences makes his PAN debut with ‘Circuitous,’ the third full-length, freeform offering from the New York-based artist.

At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Douglas Porter casts itself and its creator in a liminal zone most recognizably charted by astral traveler Sun Ra. ‘Circuitous’ follows from nearly a decade of releases for Deepblak —the Oakland-rooted imprint of frequent collaborator Aybee— and shares common blood with both the elevated consciousness of late ’80s club culture and contemporary West Coast beat scene.

Built around Porter’s signature polyrhythms and complex melodies, the unorthodox agility demonstrated throughout the album’s fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist’s own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to ‘Circuitous’ reveal the dynamic multiplicity embodied within.

‘Circuitous’ is a free and unbound body of work—one that defies easy classification yet translates fluidly across multiple environments—compiled over double LP in order to fully realize the scope of Afrikan Science’s sonic palette.

The album is mastered and cut by Rashad Becker at D&M, pressed on a double 140g vinyl & CD, featuring artwork by Louis Reith & Bill Kouligas.

PAN 60
Objekt
Flatland
2xLP/CD/DL
2014

PAN is excited to announce the release of Objekt’s debut album, Flatland. Written between 2012 and 2014, Flatland follows up a succession of dynamic single releases from his base in Berlin, including the recent split 12” with Dopplereffekt on Leisure System, Cactus b/w Porcupine on Hessle Audio and three 12” singles on his eponymous white label series. His recorded work so far has toyed with techno and electro conventions and has turned dancefloor tropes on their head, tickling the boundaries of what can or can’t constitute an effective club record.

Approaching the album format on its own terms, Objekt makes full use of the larger canvas to explore a framework of competing truths, multiple perspectives and conflicting accounts. Flatland imagines a world in which any scene can be seen from every angle at once. Sem- blances and cross-references entwine the eleven original tracks and Objekt’s existing record- ings, shaping a powerful and absorbing album that weaves between the alien and the haunt- ingly familiar.

This is an effervescent body of work, its sound design evoking vivid imagery and conveying the same unmistakeable sense of detail and movement for which Objekt has become known. On his first attempt, Objekt has constructed a mature and multilayered album with its own story to tell, from whichever angle you choose to approach it.

The album is mastered and cut by Matt Colton at Alchemy, pressed on a double 140g vinyl & CD. It features photography by Joe Dilworth and artwork by Bill Kouligas & Kathryn Politis.

PAN 59
Lee Gamble
Koch
2xLP/CD/DL
2014

Following up from the success of his emphatic PAN releases ‘Dutch Tvashar Plumes’ and ‘Diversions 1994-1996’ in 2012, we are excited to announce ‘KOCH’ (pronounced “cotch”), the new album from London’s Lee Gamble.

Sharing some stylistic affinity with his previous records, which excavated his deeply personal history with UK jungle and rave, and techno, this new work dives even deeper to reveal a singu- lar and intimate musical vantage point, shifting to approaching music as projection, state, hallucination, an other place. In ‘KOCH’, we experience an artist constructing a future after time spent deconstructing the past.

In the music we witness such dimensional abstraction, zooming between epic macro scenery and claustrophobically close detail, disorientation and absolute focus. Rhythms fuse together and phase apart, club tracks tunnel into an anxious wilderness, with themes and textures emerging as threads throughout the record, wormholing between each track.

There is a sense of the seen and the unseen, an honest tension between music as function (for this world) and as artistic exploration (for another world) as cracks in the surface appear to reveal the odd and alien minutiae within. ‘KOCH’ represents an intimate and revelatory new phase in Lee Gamble’s practice. Producing tracks that can live and grow on their own in a club or personal listening environment, the artist’s exploratory framework creates threads of consistency and tension between disparate spaces, locations, and mental states.

The LP is mastered and cut at D&M, with artwork by Bill Kouligas.

PAN 56
Lee Gamble
Kuang
12"/DL
2014

Lee Gamble is a UK-based artist and electronic music producer with roots in the original jungle-techno and extreme computer music fields. In 2012 he released a couple of highly acclaimed records via PAN, ‘Dutch Tvashar Plumes’ and ‘Diversions 1994-1996′, that refracted dancefloor and home-listening dimensions into trippy new head-spaces which touched a raw nerve with ravers young and old(er). He’s since expanded those records into live audio-visual performance with fellow CYRK collective founder Dave Gaskarth and continues monthly broad- casts of his NTS radio show.

The ‘Kuang’ EP heralds the release of Gamble’s keenly awaited 2nd LP ‘KOCH’ (due September ’14) with three tracks of dissociative ambient/techno. ‘Kali Wave’ opens with a bittersweet breakbeat roller sounding something like early AGCG playing in a hall of mirrors, whereas ‘Mimas Skank’ diffuses oily acid and dry dub techno inna dancefloor wormhole, and the detached ambient drift of ‘Girl Drop’ rends a gasp of post-rave bliss into twelve minutes of spectral sublime or precipitous dread, depending on your perspective.

The 12” is mastered and cut at D&M, with artwork by Bill Kouligas & Kathryn Politis.

PAN 55
James Hoff
Blaster
LP/DL
2014

New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions.

Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it’s way through social networks, reduced to bits and programmed to infiltrate and replicate.

“Viruses, like art, need a host. Preferably a popular one.”

Interested in ways in which the virus works could mutate and spread socially, the first side of ‘Blaster’ contains these sonic presentations, and the second houses all of the artist’s infected samples and serves as a scratch record for DJ’s, an object of utility, and ultimately a provoca- tion, mobilizing its new hosts as a point of potential transmission.

Blaster is a logical progression from Hoff’s PAN debut LP “How Wheeling Feels when the Ground Walks Away”, which dealt with aural documents of riots and disruptions and the record is part of a larger body of work by the artist that also includes virus paintings.

The LP is mastered and cut by Rashad Becker at D&M. The artwork was constructed using viral images from the artist and typography by Bill Kouligas.

PAN 52
M.E.S.H.
Scythians
12"/DL
2014

A resident at the now infamous Janus party in Berlin, M.E.S.H. follows up releases with kindred labels Dyssembler and Black Ocean with his debut PAN EP, ’Scythians’.

In addition to his club experience, M.E.S.H’s work is equally well contextualized by his community of peers – he is a frequent collaborator with contemporary artist Aleksandra Domanović, has exchanged remixes with Arca and Fatima Al Qadiri, and is a formative figure in an ascendent community of net aware underground club artists in Berlin including Lotic, Renaissance Man and TCF.

Opener ‘Scythians’ introduces the textural depth of foley blades and draining sewers to his distinctive combination of synthetic sheen and abstract breaks. ‘Interdictor’ is a high drama production, combining staggered sub kicks and crunching metallic textures with wavering chords over a staggered rhythm. In ‘Captivated’ – 808 kicks and an ominous voice punctuate hypnotic washes of noise and hi-hats. ‘Imperial Sewers’ frames synthetic voices and growling pads within a majestic up-tempo hip hop track. In the beatless ‘Glassel Finisher’, metallic, resonant scratches cut through air above the sounds of fabric dragging.

Mastered and cut by Rashad Becker at Dubplates & Mastering, with artwork by M.E.S.H. Bill Kouligas.

PAN 51
Beneath
Vobes
12"/DL
2014

UK soundboy Beneath makes a shocking step forward with the ice cold bassbin futurism of his PAN debut. Since 2012 the Sheffield-based producer has carved a steadfast reputation with an ascetic production technique augmenting the dread torque and atmospheres of early DMZ dubs with the velocity of classic Grime and Bleep Techno, and the haughty rudeness of early New York House, minting a distinct new sound which sent shockwaves thru the scene thanks to his now-legendary showcase mix for Keysound.

Beneath’s PAN 12″ consolidates up-to-the-minute electronics and rooted dancefloor dynamics with incisive style and pattern. All four tracks are skeletal but big-boned rollers’ riddims and masterful exercises in dancefloor pressure. ‘Bored 2′ rent with cattle-prod Grime stabs and a show-stealing, radioactive bass roil, whereas the hunched, grimy rolige of ‘Occupy’ is all about his shifty, idiosyncratic syncopation. ‘One Blings’ cools out on buoyant subs with glass-cut electronic motifs standing miles out from his scene, and ‘Stress 1′ trips out with restless drums and lucid electronics tessellating dipping rhythms with skin-prickling harmonic resonance.

It adds up to the freshest mutation of accelerated UK dub/SoundSystem culture, stoking an aesthetic extant since the first rumblings of Saxon Studio International and Coxsone in the late ’70s/early ’80s, thru the forward leanings of the contemporary UK sound in 2014, mapping the software timbres and possibilities of new technology to the timeless mantra of rudeboy dub proper, yielding maximum affect from optimised elements. Come test.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 44
Valerio Tricoli
Miseri Lares
2xLP/DL
2014

Composed in Berlin and Munich, 2011/2013.
A former version of Miseri Lares was originally presented in 2011 at the festival “l’Audible” (Paris), curated by Jerome Noetinger.

It has been 7 years since ”Metaprogramming from within the eye of the storm’, the last solo full length release by Valerio Tricoli. In the years between he has established himself as a formidable presence on the international experimental live circuit and released acclaimed collaborations with Antoine Chessex, ‘Coi Tormenti’ (Dilemma Records, 2010) and Thomas Ankersmit, ‘Forma II’ (PAN, 2011) along with the fifth full length release by his band with fellow Italiancohorts 3/4HadBeenEliminated, ‘Oblivion’ (Die Schachtel, 2010). Throughout these shows, collaborations and ongoing explorations Valerio has developed upon his signature style of beautifully unsettling Musique Concrète. The result of his tireless explorations, ‘Miseri Lares’ is his magnum opus, a multilayered and heavily nuanced work which epitomises the uncanny in the realm of sound.

‘Miseri Lares’ explores a variety of interlocking themes and sonic tapestries that combine in a quietly disturbing and deeply existential work. As a contemporary take on Musique Concrète Tricoli utilises his full explorations of the Revox tape recorder alongside digital processing whilst retaining all of the mystery and surprise elements found in the classic approach of pioneers such as Bernard Parmegiani, Eugeniusz Rudnik and Michel Chion.

Themes of the internal, represented by both the psychological and the physical, play throughout the record. A mind lays waste to it’s own self abasement the immediate surrounds (casa or ‘home’) feeds on the collapse of the individual. As a symbol of spirits preying on the grief within, haunting wisps of sound swirl around a throbbing bass in ‘Hic Labor Ille Domus et Inextricabilis Error’, whereas ‘La Casa Deviata’ emphasises the paranoid structure as looming creaks make way for abandoned pipes and a cloud of escaping water. Here, the tension at play is injected with a treated dictaphone recording: “Tell me what happened”,”I can’t remember… THE SMELL!!! There was a tape recorder, where is the tape”?

Spoken text (Italian and English) appears throughout the record, mostly as texture or as a dehumanised floorboard. A play on the albums themes of the psychological, emotional and irrational horror within. Texts by Italian poets Dante and Guido Ceronetti appear alongside excerpts from The Ecclesiastes (in hebrew, Qohelet), H.P. Lovecraft, E. M. Cioran, and writings by Tricoli himself. These add an extra weight to the recording, making it reminiscent of Robert Ashley or even the comedic tragedy of later day Scott Walker (baritone aside).

Valerio Tricoli’s release for PAN adds another piece to the puzzle of narrative based concrete music, yet deviating from all conventional forms and playing out like a literary form of unsettling sound sculpture.

The 2xLP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press jacket which itself is housed in a silkscreened pvc sleeve with with photography by Traianos Pakioufakis and artwork by Bill Kouligas.

PAN 41
Bass Clef
Raven Yr Own Worl
12"/DL
2014

Ralph Cumbers’ debut Bass Clef 12″ for PAN sees the modular maestro stalking the ‘floor with typical, technical suss and cheeky UK humour. The ‘Raven Yr Own Worl’ EP is the latest and most sharply focussed in a golden streak of releases which have seen the London-based producer tour some of the bastions of British electronica, from Punch Drunk to Alter and Public Information, not to mention his own, cultishly adored Magic + Dreams label.

Thru the prism of his favoured BugBrand Modular system – handmade by Bristol’s Tom Bugs – the four tracks of his ‘Raven Yr Own Worl’ EP patch a lattice of reference ports between Radiophonic experimentation, bedroom electronica, classic dub production techniques, and the not-so-distant spirits of halcyon UK rave music. His ‘Self-Perpetuating Fun Loop’ is razor-sharp acid funk in the tradition of Luke Vibert and the Rephlex hordes, and ‘Fluorescent City Shining City’ a deftly playful piece of acid dub strut recalling early Two Lone Swordsmen. His bleep techno tribute ‘Euphoric Nihilism’ is possibly the most intricate and evocative number, also flashing glimpses of ‘ardcore whistles and EBM in its tightly coiled matrix, whilst ‘Adventures Unventured, Tenderness Untendered’ is a blissed steppers’ kiss off meeting digi-dub and misty-eyed IDM at the warehouse.

The effortless fluidity and charm of these tracks belies the skill, personality and intuitively dextrous approach of Bass Clef and his affinity with the machine. They’re timeless pieces of UK electronica carrying the weight of heritage forward. Bass Clef is due to tour in his Some Truths alias with Tom Bug, promising uniquely alien electronic soundscapes with each performance.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 50
Helm
The Hollow Organ
12"/DL
2014

‘The Hollow Organ’ toes a deliberate line in the mud between his previous transgressions and a chokingly dank realisation of his most untoward, paralytic sound. Poised as a dark interpreter between the grotesque and the transcendent, he activates research gleaned from his petrifying live performances coupled with an increasingly squalid and visceral palette of anguished machine voices, sub-zero drones and bone-scraped rhythmic noise to divine unearthly space somewhere between semi-legal horror soundtrack and hyperstitious surreality.

Its opening gambit, ‘Carrier’ is the most succinct and uncannily ambiguous; perilously close to Gas-like ambient pop but rescued from serenity by manic tape spool and excoriating, demonic vocal. The vortex of ‘Analogues’ proceeds, ploughed by stereo-twinned engines of churning tape loops to a pitch black, eschatalogical climax, and ‘Spiteful Jester’ feels like the unshakable onset of a panic attack, ratcheting the intensity with blank-eyed, stoic method. For ten minutes ‘The Hollow Organ’ drains last with an unnerving, quiet blood-letting of carmine iron drones evaporating ferric overtones whilst percussions clank in your blind spot behind the screen.

The 12″ is mastered and cut by Matt Colton at Alchemy. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Bill Kouligas.

PAN 49
Jar Moff
Financial Glam
LP/DL
2013

This is a music of upheaval. Continuing with themes established on his previous ‘Commercial Mouth’ LP, ‘Financial Glam’ reflects the flux and tension of his home city, a gripping opus of grandiose crescendo and collapse, broken rhythm and disquieting calm.

These intricately composed collage works, constructed from hundreds of archived samples, provide a fitting and highly personal soundtrack to austerity in the shadow of empire. The craft hints at a year’s worth of meticulous assembly and industry; the album title hints at a biting critique of the circus outside.

The combination of Jar Moff’s technique, ear and unique perspective on, and proximity to, one of the defining stories of our era makes this release a truly important work.

A side ‘Financial Glam’ and builds with growing fanfare and unease, the malaise occasionally tamed by sublime stabs of synth and rhythm. B side ‘Kresentosiagona’ (translation: “Crescendo of the Jaw”) is characterized by a complex rhythmic treatment of individual orchestral samples. The perpetual escalation of the instru- ments begin to form a fragile and perilous platform over time, it’s fragile movements and majesty ever close to the crash.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 48
Heatsick
Re-Engineering
LP/DL
2013

RE-ENGINEERING is the bold new album from Heatsick, aka Berlin based British artist Steven Warwick.

Well known for his epic multi-hour live club sets and acerbic wit, he characterizes this collection of new material as a “cybernetic poem” that both indulges us in the mores of hypnotic dance music while holding a critical, and at times satirical, lens toward the culture writ large.

The opening title track is symbolic of this balance, the crisp spoken word poetry communicating hypermodernity in crisis in a piece that equally evokes the masked humour of Chic and the biting surreality of Chris Morris.

“Modern life is still rubbish you say. Modern rubbish is still life”

The tracks ‘MIMOSA’ and ‘SPECULATIVE’ play with a similar conflict, warping the themes of modern luxury familiar to Malcolm McLaren’s seminal ‘Paris’ album, and delivering rare vocal lines that convey distance and a degree of uneasiness.

The masterful club tracks that constitute the bulk of this album feel all the more powerful and honest when framed in this hyper aware context, confirming the underlying inclusiveness in Warwick’s music and perspective.

We dance together, we crash together.

PAN 42
NHK'Koyxen
Dance Classics Vol.III
LP/DL
2013

Kouhei Matsunaga’s ‘Dance Classics Vol.III’ is the continuation of his ongoing development of his more dance oriented material, as seen from his sets with Sensational and also his other minimal techno project NHK. Not feeling tied down to one genre, Matsunaga nestles in the PAN roster, and however that isn’t to say that he is dance per se as witnessed from his recent collaborations with Conrad Schnit- zler. The album focuses more on bass/base electronics, music for the dancefloor and/or altered state reflection. Having composed pieces for WDR based on Henry Chopin, Kouhei is equally at ease jam- ming with Sensational, whilst simultaneously executing a obsessively numerical sequence of dance pieces that borders on Hanne Darboven-like compulsivity.

Born in Osaka, Kouhei Matsunaga is a musician and an illustrator. He started drawing during child- hood under the influence of his grandfather. He grew up listening to hardcore- techno and hip hop, studied architecture and has been mainly making music since 1992. Under many different aliases (NHK, NHKyx, Internet Magic, Koyxen) he has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton and his first ever album “Upside Down” on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers’ Sensational, Autechre’s Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium’s High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf ‘RLW’ Wehowsky and so on. His own label Flying Swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro- press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 45
Dalglish
Niaiw Ot Vile
LP/DL
2013

Chris Douglas’ story reads like a lesson in the development of outsider electronic music over the past 20 years. He began throwing the first ambient techno parties in San Francisco at just 16 years old, and moved to Detroit a year later to begin working with Mike Banks (Underground Resistance) and James Stinson (Drexciya).

He relocated to Berlin in the early 2000’s after being invited to support Autechre on their Confield tour (and perform at the now legendary Autechre curated ATP Festival), and has since steadily released challenging and intense records as Dalglish, O.S.T., Scald Rougish and Seaes, all the while maintaining an elusive personal profile. He has also worked extensively in film music as having recently composed the soundtrack for the film ‘Out of Competition’ for the 70th Venice Biennale, as well as Anna Eborn’s recent film ‘Pine Ridge’ among others. Furthermore he is a founding member of audiovisual collective SYNKEN featuring members of Transforma.

His PAN debut, dedicated to his friend, the sadly deceased musician and Isolate Records founder Wai Cheng (Optic), is a complex and cavernous exercise in texture and rhythm, marrying the freedom and tonal breadth of electroacoustic composition with percussive patterns disjointed to the point of collapse.

It is easy to see how his work is often critically received as emotionally challenging. There is a closeness to these compositions, and his muscular, full spectrum passages are often counteracted with brittle and delicate detail. Unhinged and unrestrained, you will be hard pressed to find a single loop throughout the entire album, with each of the compositions mutated through vividly reverberating, clangorous landscapes.

The LP is mastered and cut by Rashad Becker at D&M. It is pressed on a 140g vinyl which itself is housed in a silk screened pvc sleeve featuring artwork by Ian Liddle, Bill Kouligas & Kathryn Politis.

PAN 40
Rene Hell
Vanilla Call Option
LP/DL
2013

An important figure in the American underground since his teens, over innumerable releases the aesthetic choices of Jeff Witscher have prophesized many of the pivotal shifts in US underground culture spanning the last decade. Most recently receiving critical acclaim for experimental synth albums ‘Porcelain Opera’ and ‘The Terminal Symphony'(Type) and a 2012 split release with Oneohtrix Point Never, ‘Vanilla Call Option’ represents Rene Hell’s most abstract and refined vision to date.

Witscher is a notoriously unique artist, a magnetic and nomadic SoCal intellectual everyman. An avid chess player, he occupies the role of both trickster and aesthete, an embodied example of a time where experimental ideas and attitudes travel fluidly between the club and gallery.

Travel is a central theme of this work, with the digital and minimalist palette for ‘Vanilla Call Option’ being built whilst on the move between airports, performance spaces and public libraries. In his own words, Witscher attempted to construct “vertical narratives” that at times evoke the musique concrete of Bernard Parmegiani and probing electronic experiments of Charles Dodge. Rejecting melody to form a new language of timbre, timing and flight, these crisp compositions oscillate between flux and grandeur, piercing synthesis and meditative piano, strings and voice.

This is bold futurist music, characterized by deliberate decisions and an uncompromising clarity of vision. One would be advised to pay attention.

The LP is mastered and cut by Rashad Becker at D&M. It is pressed on a 140g vinyl which itself is housed in a silk screened pvc sleeve featuring artwork by Bill Kouligas.

PAN 25
Marginal Consort
Instal. Glasgow 2008
4xLP/DL
2013

Marginal Consort is a Japanese avant-garde improvisational collective made of sound and visual artists, who were all students of Takehisa Kosugi at the radical Bigaku school of aesthetics in Tokyo in the 70’s. The group is a reformation of the East Bionic Symphonia, who released an incredible long-form drone record in the early 80’s, a large improvisation ensemble in the spirit of his Kosugi’s Group Ongaku and Taj Mahal Travellers projects. Marginal Consort is formed around musicians, Kazuo Imai, (a student of Japanese Free Jazz linchpin Masayuki Takayanagi and also member of both Taj Mahal Travellers and Takayanagi’s New Direction Unit), Tomonao Koshikawa, Kei Shii, and sound-artist Masami Tada (also in group GAP).

Their extended set explores forms of sound and ways of playing that never coalesce into music, but create a group dynamic of ebb and flow, of exploration and fluidity. Marginal Consort also featured previously artists Yasushi Ozawa, bassist in Keiji Haino’s Fushitsusha, and Chie Mukai, from dreamy psychedelic group Che-Shizu. With this cast on board, they took their free improvisation to the streets to create drones and percussive interplay in urban communal harmony.

“A form of sound that does not turn into music and a group that does not produce harmony; individual concepts and group fluidity; individuals who are at once independent entities and components of the whole; coexisting time frames and intersecting rhythms – these are among the images of group improvisation that have occupied my mind since the ’70s. These images neither presuppose specific elements nor regulate the entire process. There always remain, however, the fundamental premises that sounds are separately produced phenomena and that their accumulation forms the whole”. – Kazuo Imai

The boxset is mastered and cut by Rashad Becker at D&M. It is pressed on 4x 140g vinyls which themselves are housed in a silk screened pvc sleeve. It features liner notes by Barry Esson, extended photo documentation by Bryony McIntyre and artwork by Bill Kouligas.

PAN 46
Black Sites (Helena Hauff & F#X)
Prototype
12"/DL
2013

The debut 12” by Black Sites, is a collaboration between Hamburg based artists Helena Hauff and F#X. Both residents at iconic Hamburg club ‘The Golden Pudel’, Hauff and F#X are stellar repre- sentatives of an experimental approach that has earned the underground spot it’s growing reputation. Emergence is a fitting theme, as 2013 is already shaping up to be a breakthrough year for the duo. Hauff is soon to release a solo 12” on Actress’s Werkdisks label, and F#X recently releasing a dubbed out single on Pudel’s own ‘Pudel Produkte’ imprint as a member of ‘Circuit Diagram’.

This is riotous and cerebral club music. The analog artifacts of A side ‘Prototype’ permutate in tandem with melodic Detroit chords, a pounding rhythm section and a central ascending 303 line. B side ‘N313P’ maintains the intense pace. Building around competing resonances, the untethered Drexciyan melodies probe, expand and contract to rapturous effect.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 39
Concrete Fence (Regis & Russell Haswell)
New Release (1)
12"/DL
2013

The pedigree of this collaboration should need little explanation. Luminaries of British electronic music spanning over two decades, Russell Haswell (Gescom, Haswell & Hecker) and Downwards label founder Karl O’Connor (Regis, Sandwell District, British Murder Boys) have come together to produce three tracks of inimitable experimental techno in their debut collaborative release.

With each track built upon a permutating sonic foundation, these are muscular and expertly paced compositions that effortlessly transition between hypnotic rhythms and textural and timbral experimentation.

‘Industrial Disease”s mid paced dark dancehall rhythm snakes around ominous and monu- mental roars of synthesis, hard transitioning into an abstract concrete composition. ‘Caulk’ relocates the dark and delayed mood into a sonic wind tunnel, amidst roughly textured radio transmissions and epic resonant sweeps. ‘The Unabridged Truth’ introduces the first unswerving 4/4 beat of the release, which grows in stature until the violent electronic bursts are eventually wrestled into an unsettled closing passage.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Bill Kouligas & Russell Haswell.

PAN 34
Rashad Becker
Traditional Music of Notional Species Vol. I
LP/DL
2013

‘Traditional Music of Notional Species Vol. I’ is a devastating display of potential which ensures a journey unlike any you have encountered. In the vast world of electronic music, where sounds, signifiers and gesture’s are recontextualized to a numbing degree it is increasingly rare and refreshing to encounter a release as perspective distorting as the debut full length release by Rashad Becker. The album is a masterpiece of focussed non-referential electronic environments. It is is both warm, alien, paranoid and exhilarating. Sounds are stretched in the most unusual manner, foreign bodies are frequent and the structure is simply bewildering. Split into ‘Themes and Dances’, the 8 tracks guide the listener through Becker’s brave new world. Despite being entirely synthetic there are sounds which appear like a distortion of the world around us, on occasion ‘voice-like’ sounds are present, elsewhere there appears the sound of cicada’s, only these cicada’s are made of mercury and swim through time. The end result is beautiful in a way only a unique work of art can be. PAN is proud to present the outside from within.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with artwork by Bill Kouligas.

Rashad Becker creates precise, phantasmic computer sound designs encouraging audiences to focus their hearing. His carefully constructed, sparse improvisations, have unexpected qualities, and have been called conversational not only for his sampling of dissected human voices, but for the way these samples integrate with the timbre of his electronics. “It sounded like a long stream-of-consciousness sentence made up short syllables, electronic oohs and wahs, sections of muttering, and occasionally bickering. Whatever he does, it seems Becker has the knack of giving sound its voice.” (Scott McMillan in the Liminal)

PAN 37
Mohammad
Som Sakrifis
LP/DL
2013

MOHAMMAD is a chamber music trio consisting of Coti K (contrabass), ILIOS (oscillators) and Nikos Veliotis (cello). Based in Greece, Mohammad make long form work drone works that explore the lower end of the frequency spectrum whilst retaining an intense emotional capacity. The results are monumental slow moving physical blocks of sound, both daunting and musical. The sheer weight of these recordings is impressive, the interplay of the musicians and instruments staggering, this end result being an album rich with immense harmonious abstraction which highlights years of dedication to their unique path.

Following on from their previous releases (the highly regarded ‘Roto Vildblomma’ CD and the ‘Spiriti’ 3LP box, both on Antifrost) ‘Som Sakrifis’ follows the trio through three tracks of deep space experimentation where the acoustic and electronic blend together as a monumental whole. Listening to ‘Som Sakrifis’ takes the listener on an expansive journey through the netherworld of the low range whilst retaining distinct traces of musicality. The time and space in these works have a logic more akin to that of Hungarian filmmaker Bela Tarr than any contemporary music references. Monumental monochromatic movement is the order of the day. Sit back, strap in and let these fine explorers take you way out into the nether world.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with with photos by Babis Makridis & Traianos Pakioufakis and artwork by Kathryn Politis & Bill Kouligas.

PAN 31
Jar Moff
Commercial Mouth
LP/DL
2013

‘Commercial Mouth’ is the debut LP from Jar Moff, an Athens based artist working in collage forms. Following on from his previous remix on the Harald Grosskopf Synthesist / Re-Synthesist LP on RVNG last year, and a digital release for Leaving Records, this is his first full-length LP. Both his visual and aural oeuvre take the form of cut up and reformations in the manner of previous PAN stablemates like Joseph Hammer and Ghedalia Tazartes, remodeling the past in order to create something new out of the modern detritus, and nestles in nicely alongside the recent ‘Diversions 1994-1996′ release from Lee Gamble. The result is a baffling yet functioning head-on collision between early plunderphonics and an abstracted futuristic hip hop aesthetic.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 38
Sensate Focus
Déviation Heat-treated
12"/DL
2012

Déviation Heat-treated is Mark Fell’s (SND) response to Heatsick’s recent Déviation EP on PAN. Somewhere between cover version, remix or deconstruction, just over 34 minutes of re-layering of patterns and sounds.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g black vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 36
Lee Gamble
Dutch Tvashar Plumes
LP/DL
2012

‘Dutch Tvashar Plumes’ seems to map the changes in Lee’s approach to music making over the last 4/5 years. From his initial exposure and subsequent immersion into Jungle as a teenager, he soon began experimenting with structure and sound design which led him to a more ‘academic’ approach with ‘Computer Music’. There were many self-imposed rules he adhered to during this time. These last few years he decided to break with that and make an intuitive venture forward. This record is the first real document of that.

Lee Gamble started out as a teenager dj-ing on pirate radio and on the emerging Jungle scene, however his own approach to music has taken a more experimental direction. Exploring the outer realms of abstraction through digital synthesis/resynthesis, Lee has described his current compositional process as: “…The configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. What you then have left is often the detritus or debris of an idea. Phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. This abstraction allows several interests to appear in the works simultaneously…”.  He is a also a founding member of the UK-based CYRK collective and has curated/co-curated several Cyrk events. He has also produced and curated three radio series for London based radio station Resonance104.4FM and he continues to DJ. Lee has released his computer compositions on the Entr’acte label and has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 35
NHK'Koyxen
Dance Classics Vol.II
LP/DL
2012

Kouhei Matsunaga’s ‘Dance Classics Vol.II’ is the continuation of his ongoing development of his more dance oriented material, as seen from his sets with Sensational and also his other minimal techno project NHK. Not feeling tied down to one genre, Matsunaga nestles in the PAN roster, and however that isn’t to say that he is dance per se as witnessed from his recent collaborations with Conrad Schnitzler. The album focuses more on bass/base electronics, music for the dancefloor and/or altered state reflection. Having composed pieces for WDR based on Henry Chopin, Kouhei is equally at ease jamming with Sensational, whilst simultaneously executing a obsessively numerical sequence of dance pieces that borders on Hanne Darboven-like compulsivity.

Born in Osaka, Kouhei Matsunaga is a musician and an illustrator. He started drawing during childhood under the influence of his grandfather. He grew up listening to hardcore- techno and hip hop, studied architecture and has been mainly making music since 1992. Under many different aliases (NHK, NHKyx, Internet Magic, Koyxen) he has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton and his first ever album “Upside Down” on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers’ Sensational, Autechre’s Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium’s High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf ‘RLW’ Wehowsky and so on. His own label Flying Swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 92
James Hoff
How Wheeling Feels When the Ground Walks Away
LP/DL
2011

James Hoff’s “How Wheeling Feels when the Ground Walks Away” presents an audio landscape comprised of various historic riots, from the concert hall and music venue to the sounds of modern warfare. Presented in surround sound, the work relentlessly envelops the audience as the tumultuous panorama of over-layered riots travel around the gallery. Part of Riot Radio Ballad, which explores the performative and futurist aspects of spoken word, audio, and radio material. Curated by Mark Beasley. Commissioned by Performa. Co-presented by Performa and Artists Space. Produced by Mike Skinner and James Hoff – sound design Mike Skinner and James Hoff.

James Hoff is an artist, editor and art curator living in New York City. He has been working with sound and performance since 2003. He is also co-founder and editor of Primary Information- an organization devoted to publishing lost works of the avant-garde and artists publications vital to discussions in contemporary artistic practice.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 200 copies, pressed on a 140g one-sided picture disc, housed in a silk-screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 33
Lee Gamble
Diversions 1994–1996
12"/DL
2012

‘Diversions 1994-1996′ is made up entirely from samples from the collection of Lee Gamble’s Jungle cassette mixtapes. The audio has been subjected to analog and digital deformations, whilst trying to extract, expand upon and convey particular qualities emblematic of the original music. The effect is that of a musical body scan, all that is solid melts into air. Sounds are unearthed, dissected on the operating table, melted and unlocked , evoking sonics not unlike the heavy dub processes of Jah Shaka and Scion in a INA GRM frame of mind or bearing  a similar  methodological approach with what explored Mark Leckey in his piece “Fiorucci Made me Hardcore”. It can be heard as a ‘memory’ of a period of music and for some could work as a ‘cued recall’, which is a form of memory retrieval.

Lee Gamble started out as a teenager dj-ing on pirate radio and on the emerging Jungle scene, however his own approach to music has taken a more experimental direction. Exploring the outer realms of abstraction through digital synthesis/resynthesis, Lee has described his current compositional process as: “…The configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. What you then have left is often the detritus or debris of an idea. Phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. This abstraction allows several interests to appear in the works simultaneously…”.  He is a also a founding member of the UK-based CYRK collective and has curated/co-curated several Cyrk events. He has also produced and curated three radio series for London based radio station Resonance104.4FM and he continues to DJ. Lee has released his computer compositions on the Entr’acte label and has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders. ‘Diversions 1994-1996′ E.P is is the beginning of a longer-term collaboration with PAN which also includes a full length album later this year.

The 12″ is mastered and cut by Rashad Becker at D&M. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 32
Eli Keszler
Catching Net
LP/DL
2012

Catching Net is a collection of selected installations and compositions Eli Keszler created during the last two year. The double-CD set includes both stand-alone recordings of the installations and the integrated ensemble scores performed in conjunction with those installations. The first disc features two ensemble versions of Cold Pin, previously released in a 2011 LP of the same title on PAN, plus a 26-minute, previously unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces). The personnel for all three tracks is Eli Keszler drums, percussion, crotales, guitar; Ashley Paul, alto saxophone, bass harp; Geoff Mullen, prepared guitar; Greg Kelley, trumpet; Reuben Son, bassoon; and Benny Nelson, cello. The second disc begins with the title track, Catching Net, a 17-minute score for string quartet and piano with the Cold Pin installation. It is performed by pianist Sakiko Mori and the Providence String Quartet: Carole Bestvater, violin; Rachel Panitch, violin; Chloë Kline, viola; Laura Cetilia, cello. The score is fully notated, timed with stopwatch markings rather than tempo or meter. Following are two recordings of Keszler’s large-scale installations functioning on their own. Collecting Basin features piano strings/wires up to 250 feet long splayed from a two-story water tower in Shreveport / Louisiana, across two large, empty water purification basins, which acted as an amplifier for the sounds produced by the installation. A ‘solo’ version of Cold Pin (without live performers) concludes the album. Tracks 1 and 3 on the first disc and track 2 on the second disc were recorded at the historic Cyclorama, a massive dome at the Boston Center for the Arts. Cold Pin was installed directly on a large curved wall in the dome, using micro-controlled motors and beaters to strike extended strings ranging in length from three to 25 feet.

Born in Brookline, Massachusetts, visionary composer/percussionist/multimedia artist Eli Keszler began playing drums at eight, and composing at twelve. Before finding an interest in experimental music and improvisation, he played in rock and hardcore bands; his work retains an intense physicality and churning, often ferocious energy. He is a graduate of the New England Conservatory, where he studied composition with Anthony Coleman and Ran Blake. A self-taught visual artist, his aesthetic outlook owes as much to Richard Serra and Robert Smithson as it does to musical icons like Xenakis, Nancarrow, and Ornette Coleman. He has collaborated with Phill Niblock, Roscoe Mitchell, Joe McPhee, Loren Connors, Jandek, and many others, and has recorded more than a dozen CDs and LPs for ESP-DISK, REL, and PAN. Keszler’s installations employ piano wires of varying lengths; these are struck, scraped, and vibrated by microprocessor-controlled motorized arms, giving rise to harmonically complex tones that are percussive yet resonant. These installations are heard on their own and with accompanying ensemble scores. Said Keszler in a NPR All Songs Considered interview, “I like to work with raw material, like simple sounds, primitive or very old sounds; sounds that won’t get dated in any way. I was thinking of ways I could use strings or acoustic material without using pedals or pre-recordings, so the live aspects appealed to me.” In addition, the patterns formed by the overlapping piano wires allow Keszler to create visual components that relate directly to the music, without having to use projections or other electronic equipment.

The 2xCD is mastered by Rashad Becker at Clunk, in a limited edition of 1000 copies. It is packaged in a pro-press digisleeve jacket which itself is housed in a silk screened pvc sleeve with extensive images from the installations, program notes, sketches of the installations, scores, electronic schematics from the projects, and accompanying drawings and artwork by Eli Keszler and Bill Kouligas.

PAN 30
Aaron Dilloway / Jason Lescalleet
Grapes And Snakes
LP/DL
2012

Aaron Dilloway: synth and tapes recorded at Tarker Mills, Oberlin OH
Jason Lescalleet: synth, tapes, and Dell XPS recorded and mixed at Glistening Labs, Berwick ME

‘Grapes and Snakes’ is the first collaborative work of two of the most respected American underground experimental/noise artists, Aaron Dilloway and Jason Lescalleet. Using purely analog synths and tape manipulation, they build a foggy psychoacoustic mass that lies between dynamic yet patiently treated tape-music and industrial howl.

Jason Lescalleet’s sound world occupies a space between noise, contemporary composition, and minimal electronics. Using decidedly primitive tactics and equipment (e.g. antiquated reel-to-reel recorders, damaged tape, etc.), his work focuses on extreme frequencies and microscopic audio detail. He’s been a member of Due Process, performed and recorded with Keith Rowe, Joe Colley, Jason Kahn, John Hudak, Bhob Rainey and Greg Kelley (both separately and as Nmperign), and most recently Graham Lambkin in their Breadwinner project which has yielded unprecedented and glorious results in the electroacoustic music of today. He lives and works in the state of Maine.

Phenomenal live performer and recording artist, Aaron Dilloway utilizes magnetic tape, synths, contact mic growls, and various other electronics and evocative sounds to create experimental noise and electronic sets that tend to start with a slow burn and build to mindmelting climaxes of intense energy and catharsis. A very physical and versatile performer who has shared the stage and collaborated with a who’s who in noise and experimental electronic sound, audiences tend to walk away from Aaron’s sets completely dumbfounded. He is a former member of the band Wolf Eyes, and currently also works with his solo modular synth project Spine Scavenger and an ever-changing cast of sound artists under the name The Nevari Butchers.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and it is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve.

PAN 29
Heatsick
Déviation
12"
2012

If “Dream Tennis” was any indication, Heatsick has struck a nerve with his singles that stretch preset washes of polyphony through sunset-hued landscapes of disco and house. Equipped with only a Casio keyboard, he has played alongside everyone from Omar Souleyman to DJ Harvey, Daniel Wang and Legowelt, and has demonstrated his ability not only to extend his keyboard to its limits, but to transcend its musical territory, opening up a diverse range of styles, genres and gestures to his dance-addled mimicries and musings.

“Déviation” marks Heatsick’s most expansive dance release to date, featuring four tracks of kaleidoscopic house that combine a lo-fi aesthetic with clear, textured structures akin to wandering through a densely gridded, sultry urban environment. With influences ranging from Fela Kuti to Todd Terry, the EP revolves around as much of a disco aesthetic as it does a leisurely soundtrack to a casual day of hanging out.

The dub-influenced title track begins with a rhythmic, Latin-oriented introduction that delicately deviates towards its shimmering second half as the pitch spirals in a locked progression. The climax refuses to come quickly, however, and a flow of excitement frames the track until it finishes in step. The EP’s subdued second track, “C’était un rendez-vous”, presents a sort of chill-out vibe with a cinematic consciousness. This track features backing by the prodigious saxophonist André Vida, whose snippets of smooth to free jazz are seamlessly interlaced within the last two tracks as well.

On the B-side, the B1 track “The Stars Down to Earth” is overlaid with a vocal sample and brims with a frenetic energy that calls to mind an ebulliently bassy, Bristol mentality. The concluding track, “No Fixed Address”, takes the territory of the B1 and introduces it to a 90s Todd Terry treatment, providing a jacking conclusion to this varied, densely-packed release worthy of multiple listenings.

The 12″ was recorded by Mauro Martinuz & Luca Sella at Transfert Studios and mastered and cut by Rashad Becker at D&M. It is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 28
Mika Vainio / Kevin Drumm / Axel Dörner / Lucio Capece
Venexia
LP
2012

The original idea of this project was to allow musicians from different scenes (but who shared common ideas) to work together. In this case, a development of two pre-existent duos.

Quite often musicians from different sonic languages are seen being put together, in an attempt to be prompted into developing unexpected works. Vainio, Drumm, Dörner and Capece have many strong points in common, that have been executed within different contexts. The music map is generally divided into categories that are determined by it’s most evident and often banal elements; if it has beats or not, if it is quiet or loud, if it has raw material or a carefully worked aesthetic. These four musicians have been working using all the previous elements, but these elements did not determine the music; instead they were used at the service of deeper ideas related to time and perception. How the sound of our environment can become music; how music can be attractive without telling a story; the work of sound in it’s extreme: noise, granular and delicate, digital, electronic, instrumental extended techniques, preparations. Kevin Drumm and Axel Dörner started working together in the late 90’s as part of a trio with Paul Lovens. As a duo they released an influential album on Erstwhile Records. Vainio and Drumm met in 2005 in Australia, both as part of the touring festival What is Music? and although both musicians declared to have had a great time touring the country, they never actually played together. Drumm’s and Vainio’s music is often compared by critics. Capece has released a duo CD on L’Innomable label with Axel Dörner and a trio with Dörner and tubist Robin Hayward on Azul Discográfica label from New York. Dörner and Capece have worked on several projects together, including a residency with Keith Rowe working on ‘Treatise’ by Cornelius Cardew. Mika Vainio and Lucio Capece have released the album ‘Trahnie’ – an album they worked on tgether for three years, and have also played several concerts as a duo.

In May 2008, the quartet completed a 6 day residency which culminated in a concert at Vooruit, in Ghent, followed by a 5 concert European tour, that took them to Venice. In 2011, the group played at Konfrontationen Festival in Austria. Meanwhile Capece and Vainio have been part of the Vladislav delay Quartet. Capece has played, and toured, with Kevin Drumm as a trio with Radu Malfatti and Dörner has played with Drumm as a trio with Paul Lovens at the Meteo festival in France. The recording in Venice is a multitrack. It was mixed by Capece with minimal edits, basically panning and volume adjustments.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with photos by Traianos Pakioufakis & artwork by Kathryn Politis & Bill Kouligas.

PAN 27
Helm
Impossible Symmetry
LP
2012

HELM ‘Impossible Symmetry’ (PAN 27)

Impossible Symmetry is the third full length record by Helm, the project of London based artist Luke Younger. It marks a new chapter in the artists’ canon as it’s his first to be informed by live performance rather than studio experimentation. The recording and engineering was primarily a solo venture, with some technical assistance from John Hannon on a few tracks. Most of the compositions were created out of ideas / improvisations that were conceived in a live context and then fed back into the studio work. The album was recorded over the duration of a year in London with source material culled from acoustic sound sources in a similar methodology to his previous album ‘Cryptography’, whilst also simultaneously incorporating more extensive use of electronic elements and moments of rhythmic dark ambience recalling the outputs from early Coil and Cabaret Voltaire to even Traversable Wormhole’s industrial minimalism.

Helm is Luke Younger – a sound artist and experimental musician based in London, working with a vast array of revolving instrumentation and abstract sound sources. Younger’s compositions build a dense aural landscape that touches on musique concrete, uncomfortable sound poetry, noise, and hallucinatory drones. His most last LP Cryptography, presented a five-part suite of expertly rendered electro-acoustic study which uses processed piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where these instruments morph into spectral rust, a shimmering klang swims alongside passive noise and the relationship between acoustic and electronic derived sounds forms a solid foundation. This sound is steered through a melange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in a post-industrial fashion with a commitment to homemade exploratory zeal. For the past ten years, Younger has also performed extensively in Europe and the US with Steven Warwick as pioneering avant-drone duo Birds of Delay.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with photos by Traianos Pakioufakis & artwork by Kathryn Politis & Bill Kouligas.

PAN 26
SND / NHK
Split
12"
2012

Split 12″ between two of the artists at the forefront of the experimental dance scene, SND and NHK. Aside from sharing 3 letter names and having an upcoming Japanese tour together, the two acts also nicely compliment each other via skewed electronics which come out of mutual dance and minimal electronic sensibilities. SND offer a cut of jacking minimal loops, flows of repetition crafted at once as structured yet simultaneously unfolding before your eyes (and ears), whilst on the flipside NHK is suitably equal part bass squelch with rudimentary snare motorik via pirate radio broadcast.

SND formed in Sheffield, UK, in 1998 by Mark Fell and Mat Steel. Three critically acclaimed albums for Mille Plateaux alongside the continuing series on their own label put SND at the forefront of new digital minimalism, pioneering a sound that always influenced but also resisted the so called ‘clicks and cuts’ movement that built up around them. After their third album — Tender Love — for Mille Plateaux in 2002, SND became disillusioned with the recording treadmill and proliferation of the genre they seemed to inhabit, and turned to other projects; solo work, curating events and installations, the occasional contribution to compilations, an album for Raster Noton from side project ‘Blir’, remix work for the likes of Ryuichi Sakamoto, and sound design for fellow Sheffielders The Designers Republic. During this time they also honed their impressive live performance through extensive touring of Japan, America, and Europe (most notably with Autechre), and one off shows at major festivals and venues around the world. Experiencing an SND performance can be alienating, engaging, dynamic, and unforgiving; each event a unique exploration of the relationship between performer, audience, software and context. Snd continued an active year with another European tour supporting Autechre, a reworking of Billie Jean for the ‘Recovery’ box set on Fractured Records, a major feature in the Wire magazine, a tour of Japan and the recording of another album.

NHK formed in 2006 in Osaka, Japan by Kouhei Matsunaga and Toshio Munehiro. Mainly as a side project of prolific producer Kouhei Matsunaga (who is working under many different aliases such as NHK’Koyxen, NHKyx, Internet Magic, Koyxen), they started making experimental dub techno with a more raw and harsh edge to it. Kouhei has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton and his first ever album “Upside Down” on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers’ Sensational, Autechre’s Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium’s High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf ‘RLW’ Wehowsky and so on. His own label Flying Swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art.

The Lp is mastered and cut by Rashad Becker at D&M, pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 24
NHK'Koyxeи
Dance Classics Vol.I
LP
2012

Prolific producer Kouhei Matsunaga’s ‘Dance Classics Vol.I’ LP documents his more dance oriented material, as seen from his sets with Sensational and also his other minimal techno project NHK. Not feeling tied down to one genre, Matsunaga nestles in the PAN roster, and however that isn’t to say that he is dance per se as witnessed from his recent collaborations with Conrad Schnitzler. The album focuses more on bass/base electronics, music for the dancefloor and/or altered state reflection. Having composed pieces for WDR based on Henry Chopin, Kouhei is equally at ease jamming with Sensational, whilst simultaneously executing a obsessively numerical sequence of dance pieces that borders on Hanne Darboven-like compulsivity.

Born in Osaka, Kouhei Matsunaga is a musician and an illustrator. He started drawing during childhood under the influence of his grandfather. He grew up listening to hardcore-techno and hip hop, studied architecture and has been mainly making music since 1992. Under many different aliases (NHK, NHKyx, Internet Magic, Koyxen) he has released numerous albums on labels such as Skam Records, Wordsound, Raster Noton and his first ever album “Upside Down” on Mille Plateaux in 1998. He has also collaborated with artists like Merzbow, Jungle Brothers’ Sensational, Autechre’s Sean Booth, Mika Vainio, Conrad Schnitzler, Anti Pop Consorium’s High Priest, Rudolf Eb.er, Puppetmastaz crew, Asmus Tietchens, Ralf ‘RLW’ Wehowsky and so on. His own label Flying Swimming was founded in 2002 with the main purpose being to publish and curate events of experimental contemporary music and art.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

http://vimeo.com/37013624

PAN 23
Ben Vida
esstends-esstends-esstends
LP
2012

Five pieces for Computer Controlled Modular Synthesizer and Digital Signal Processing. Composed and recorded from February 2010 – April 2011 in Brooklyn, New York. ‘esstends-esstends-esstends’ is a collection of spatial compositions in which audio focal points shift between external and internal emanation sources. The intent with this work is to escape the stereo image and create an activated listening space of expanded spatialization. Using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging the listener’s sense of aural perception and sound localization in relationship to compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal.

Ben Vida is a composer, improviser and sound artist who lives in Brooklyn, NY. Ben led the group Town and Country and experimented with world musique concrète under the name Bird Show. In collaboration with Keith Fullerton Whitman and Greg Davis he explores cross control voltage integrated improvisation and real time automatic group composition. Ben has worked with artists Hisham Bharoocha (duo as Soft Circle), Siebren Versteeg, Doug Aitken, Nadia Hironaka and Mathew Suib. He has played in ensembles led by Tony Conrad, Rhys Chattam, and Werner Dafeldecker. As an improviser he has performed with Milo Fine, Fred Lonberg-Holm, Chad Taylor, Kevin Drumm, Yamatsuka Eye and C. Spencer Yeh among many others. He has released over twenty records on such labels as Thrill Jockey, Drag City, PAN, Amish, Bottrop-Boy, Hapna and Kranky. In 2011 Ben was Composer in Residency at Diapason Space, NYC and at EMS Studios, Stockholm and was awarded a Swedish Arts Committee Travel Grant, ISSUE Project Room Emerging Artists Commission and Museu d’Art Contemporani de Barcelona “Composing with Process” Exclusive Works Commission. As both a solo artist and in collaboration Ben has presented his work in the United States, Canada, Europe, South Korea and Japan.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 22
John Wiese
Seven of Wands
LP
2012

As a composer, John Wiese is an elusive one. Employing a very healthy range of conceptual framework throughout his oevure, he’s unmistakably recognizable, but rarely easy to predict. No matter what the sound, we find it always sounds like Wiese. Seven Of Wands contains a romanticism only hinted at previously. Comprised of pieces from a range of eras and sequenced into a narrative arc, this very unique album has a quality of being beautiful, listenable, immersive, and transportive all at once. He probably wouldn’t like this, but I dare say  “musical.”

Let’s look for a second at the development of Wiese’s solo albums to date: Magical Crystal Blah (2003), Soft Punk (2002–2005), Dramatic Accessories (2007), Circle Snare (2008), Zombie (2009), and now Seven Of Wands (2004–2010). With the exception of Zombie’s rigid conceptualism, what we can see is a development of a completely individual approach to cutting and stereo spectrum, with a constantly fluctuating degree of severity in choice of sounds. On this latest, we see this transposed to a longer-form, with more emphasis on beauty and musical qualities (well, don’t get me wrong), employing strategies and techniques of musique concrète and electroacoustic music throughout, all the while further emphasizing the mixing desk as a true instrument.

Two of the albums central pieces were developed while touring the US, UK and Europe with Liars, No Age, and (in quadraphonic) Matmos, and feature source material contributed by Angus Andrew (voice, field recording) and Julian Gross (percussion) of Liars. This is Wiese’s second release on PAN, following the vinyl edition of C-Section, his duo album with Evan Parker.

The CD is a limited edition of 1000 copies, and is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with artwork by John Wiese and Bill Kouligas.

PAN 21
Eli Keszler
Cold Pin
LP/DL
2011

Over two years in the making, Cold Pin is the new full length record by Eli Keszler. Both a composition and stand alone installation, 14 strings ranging in length from 25 to 3 feet are strung across a 15 x 40 curved wall, with motors attacking the strings, connected by micro-controllers, pick-ups and rca cables. Recorded in Boston’s historic Cyclorama, a massive dome built to house the Cyclorama of the Battle of Gettysburg painting in 1884. The b side features in addition, a ‘dry’ version of the installation with motor attacks on metal squares rather then strings, creating dense percussive clusters. Cold Pin works within the frame work of left to right time and vertical structure. The installation acts as the architecture of the music, surrounding and immersing the live instruments into incredible density and sharp angular mass shapes, and functions alone as the performers stops. Rather then an individual sound the sustained horns, strings, drums and metallic attacks function as a singular unit, and continue too when they stop alongside the installation. Cold Pin features Eli Keszler (drums, crotales installation and guitar), Geoff Mullen (guitar), Ashley Paul (clarinet, guitar, greenbox) Greg Kelley (trumpet), Reuben Son (bassoon) and Benjamin Nelson (cello).

Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. In performance, he often plays drums, bowed crotales and guitar in conjunction with his installations. In his ensemble compositions, he uses extended strings, motors, crotales, horns and mechanical devices to create his sound, balancing intense harmonic formations with acoustic sustain, fast jarring rhythm, mechanical propulsion, dense textures and detailed visual presentations. Eli has toured extensively throughout Europe and the US, performing solo and in collaboration with artists such as Phill Niblock, Aki Onda, Joe Mcphee, Loren Connors, Jandek, Roscoe Mitchell, Anthony Coleman, Joe Morris, Steve Beresford, C Spencer Yeh, Greg Kelley (Nmperign), T Model Ford, Ran Blake, Ashley Paul and Steve Pyne. He has recorded solo releases for labels such as hiw own REL Records, ESP-DISK’ and Type (Red Horse). His installations have appeared at the Boston Center for the Arts and Nuit Blanche NYC and the Shreveport MSPC New Music Festival. He has most recently won the Mata composers competition for the 2012 season. Eli Keszler is a graduate of the New England Conservatory in Boston where he studied with Anthony Coleman and Ran Blake.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

http://vimeo.com/31076501

PAN 20
Andre Vida
Brud: Volumes I-III
3xCD/DL
2011

Brud is a three volume compilation of recordings from 1995 to 2011 by Andre Vida, morphing seamlessly between a sense of total irreverence and the sublime. His spontaneous compositions and notated works are the angled mirrored counterparts of a transient saxophone driven performance language, drawing on elements of 1970s performance art, new music, improvisation cult, folk and pop hybrids, channeling them into asymmetrical tunes of feral beauty.

BRUD traces the development of Vida’s wayward language through 16 years of copious ruminations. The three delightfully polymorphic perverse discs unite sparkling solo sax, pieces for cello and woodwind sextet, synth / concrete electronic music, nocturnal improvisations, rare 90’s New York free jazz compositions, and the Kreuzberg suite — a distilled culmination of a hundred nights of Berlin mayhem into ecstatic swinging lyricism. Both solo works and as well as various collaborations with Anthony Braxton, Rashad Becker, Axel Dörner, Matt “MV” Valentine, Tim Barnes, Helen Rush, Olaf Rupp, Clare Cooper, Clayton Thomas, Brandon Evans, Elisabeth King, Steve Heather and many more.

Andre Vida is a Hungarian American saxophonist, composer and lyricist living in Berlin. More downtown cheeky grin than mere caveman smile, he is cosmically notorious for continuing the Rahsaan Roland Kirk one man horn section legacy with hydra headed style. He has been at the forefront of several major developments in experimental music, being mainly in Anthony Braxton’s original Ghost Trance Ensemble, as founding member of New York collective the CTIA, subsequent ‘freak folk’ groups such as The Tower Recordings, and his extensive collaborations with electronic music visionaries Jamie Lidell, Tim Exile and Kevin Blechdom, Elton John, Gonzales, Cecil Taylor, Ornette Coleman to name but a few, sewing up some heavy threads in downtown sax patchwork refracted through a Borgesian lens.

The 3xCD is a limited edition of 1000 copies, and is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with artwork by Andre Vida and Bill Kouligas.

PAN 19
Heatsick
Intersex
LP/DL
2011

Intersex is the debut LP by Steven Warwick a.k.a Heatsick. The title references the work of German sexologist Magnus Hirschfeld looking at how music and sexuality can operate in flux on a constantly sliding scale. Executed on just a Casio keyboard and manipulated loops via guitar pedals, Intersex deliberately evokes “ersatz” notions of electronic dance music and early electronics in the line of Roberto Cacciapaglia’s Ann Steel record , the work of Warner Jepson and the kaleidoscopic sound of Ron Hardy, pushing dance/body music through a saturated psychedelic lens.

Steven Warwick is a Berlin based performer, also known for his work in the electronic duo, Birds of Delay. His approach is one of carefully thought out loops which are then sent into varying interactions and play. Active in the club, art and music scenes, Warwick’s work is one existing in a liminal space, meditating both at once in real time and the “just past”.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Steven Warwick, Kathryn Politis & Bill Kouligas.

PAN 18
R/S (Rehberg/Schmickler)
USA
LP/DL
2011

Real time extreme music improvisations presented at Lampo in Chicago and No Fun Fest in New York City. ‘USA’ is the second full length release by the leading electronic music duo, follow up to their 2007 ‘One (Snow Mud Rain)’ on Erstwhile Records.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 17
Ghédalia Tazartès
Repas Froid
LP/DL
2011

An extraordinary combination of culled found and taped fragments juxtaposed against drums, field recordings and mystery noises, sound loops, birdsong, keyboards and emanations of his own throaty drones and voice propelled by hypnotic, ritualistic rhythms balanced on a razor sharp edge.

This is the complete work of Repas Froid; previously released on cd as brief tracks of source material and palette of various sounds. It includes archival and as of yet previously unreleased recordings from the late 1970s and early 1980s, strung together to form two long compositions.

A French musician of Turkish parentage, Ghédalia Tazartès is an uncompromising character who defies categorization. Born 1947 in Paris, is one of France’s most idiosyncratic talents. He has spent over 30 years within musical practice and experimentation, letting his musical work wander from chant to rhythm, from one voice to another. Utilising magnetic tape recorders into a rough collage and loose ethno-instrumental mulch, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 16
Thomas Ankersmit / Valerio Tricoli
Forma II
CD/DL
2011

‘Forma II’ is the first collaborative output by Thomas Ankersmit and Valerio Tricoli.

Composed and recorded in Berlin from 2008 to 2010 the music consists of four electroacoustic pieces based largely on analogue synthesizer material and one long-form swarm-like composition for multiple overdubbed saxophones. Additional sounds range from metal foil floating on ultrasonic sound-beams to mechanical clickers recorded in the abandoned radar domes at Teufelsberg. The raw materials have been extensively processed and re-constructed using analogue tape and digital methods. The five pieces shift between sharply detailed blizzards of electronic interference to passages of delicate balance, between calm and turbulence, between stasis and rapid shape-shifting, between multiple virtual spaces and non-spaces.

Thomas Ankersmit is a saxophonist, electronic musician and installation artist based in Berlin and Amsterdam, who combines abstract, intensely focused acoustic saxophone work with hyper-kinetic analogue synth and computer improvisation. He also creates installation pieces that use sound, infrasound and “modifications to the acoustic characters of spaces” that disrupt the viewer/listener’s perception of the exhibition space and their presence within it. He frequently works together with New York minimalist Phill Niblock. Other recent collaborators have included Kevin Drumm and Borbetomagus.

Valerio Tricoli is a Berlin-based composer, improviser, sound installation artist, producer, sound engineer and curator bridging musique concrète and conceptual forms of sound with a radical interest in how reality, virtuality and memory relate to each other during the acoustic event. He mostly uses analogue electronic devices (reel-to-reel tape recorders, synthesizers, microphones, light effects, ultrasonic speakers). The structure of the setup is ever-changing however, seeking multiple relations between the performers, the device and the space in which the event takes place. He is one of the founders of 3/4HadBeenEliminated and the Bowindo label/collective.

The CD is mastered by Rashad Becker at Clunk, in a limited edition of 1000 copies. It is packaged in a pro-press digisleeve jacket which itself is housed in a one-tone silk screened pvc sleeve with interweaving geometric designs, with artwork by Kathryn Politis and Bill Kouligas.

PAN 15
Florian Hecker
Sun Pandämonium
LP/DL
2011

“One of the most beautifully recorded bits of unpleasantness” – William Bennet (Whitehouse)

Deluxe vinyl issue of one of the most important albums of modern music and quite simply some of the finest computer audio excursions unleashed in recent years. Sun Pandämonium is the third full- length album from Florian Hecker, originally released in CD format on Mego in 2003. Sun Pandämonium also received the Award of Distinction Digital Music at the Prix Ars Electronica – the “International Competition for CyberArts” – the same year.

Striking the listener from many angles with a diverse range of fiercely dynamic electronic scenarios, Hecker utilizes the computer to materialize new compositional strategies, leaving behind standard musical structures and seeking out unusual timbral and textural effects. As one reviewer stated, “This record is electronic music as psilocybin science.” Or, as the American online journal Pitchforkmedia states: “Loud and overwhelming at any volume setting,” Sun Pandämonium contains “the sounds and frequencies not only of diamonds being sharpened, but then being used to etch directly on the lenses of your optical readers. Call him a sick fuck, a genius, or even Mister Antichrist, but this will cleanse the audio palate as it blows your teeth out.”

Florian Hecker’s releases under his own name contain some of the most subtle, nebulous computer music. His extensive discography includes: NEU CD, Galerie Neu, Berlin, 2010; Acid in the Style of David Tudor, Editions Mego, Vienna, 2009; Haswell & Hecker: Blackest Ever Black (Electroacoustic UPIC Recordings), Warner Classics, London, 2007; Recordings for Rephlex, Rephlex, London, 2006. Recent solo exhibitions include MMK Museum für Moderne Kunst, Frankfurt (2010), Chisenhale Gallery, London (2010), Bawag Contemporary, Vienna (2009) and Sadie Coles HQ London (2008).

The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 800 copies, pressed on 140g vinyl and comes in a poly- lined inner sleeve. It is packaged with six monochrome lacquered sheets which are housed in a silk screened PVC sleeve with the original artwork by Tina Frank & Florian Hecker.

PAN 14
Frieder Butzmann
Wie Zeit Vergeht
LP/DL
2011

Berlin’s berserk Frieder Butzmann composes an uninterrupted stream of timbre changing and alternating sounds. Taking influence from aspects of Karlheinz Stockhausen’s work, albeit certainly far from Serielle Komposition methods, using an entirely different array of equipment and caring less for technical finesse, a raw and sometimes absurd quality emerges. In spite of the dramatic character of the compositions, Butzmann works with the same joy and intuition of when he first heard them almost 40 years ago. Manipulating analogue sounds culled from old electronic recordings that he made at STEIM in Amsterdam back in 1995 (using the infamous ‘Black Box’ modular system), a dadaistic influence shines through in the semi-naive use of electronics, vocals and undefined sound sources – the basic idea is always more important than the perfect realization. The lyrics are excerpts of articles … wie die Zeit vergeht …, Telemusik and Kurzwellen by Stockhausen plus re-writings of lyrics used in the first section of the composer’s concrete and electronic composition Hymnen.

Frieder Butzmann is a veteran German composer, radio play author and performance artist. He has been playing overt eccentricity for quite some time (since the end of the 60s), though he would find his true metier during the NDW zeitgeist, a period during which his work was hugely influential, having been an early member of D.A.F as well as Din-A Testbild. A self-proclaimed “spokesman of the people,” more specifically of the Berlin underground, at a time when electronic music was taking over punk, dada and new wave, replacing teenage angst. Butzmann’s work threw longer and more disturbing shades out of the Berlin behind the wall – not unlike Die Tödliche Doris or Minus Delta T. He has collaborated with artists such as Genesis P. Orridge, Malaria! / Gudrun Gut, Thomas Kapielski and most notable is his ongoing work with Wolfgang Müller. His ‘Vertrauensmann des Volkes,’ debut album often states as the cornerstone of the German experimental and electronic scene.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 13
Keith Fullerton Whitman
Disingenuity b/w Disingenuousness
LP/DL
2010

Keith Fullerton Whitman bursts back with his first full length record in four years, “Disingenuity b/w Disingenuousness”, comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. Live and studio recordings of the past two years (Cambridge-New York-Toronto) were used as source material, which were then realized into two longform compositions. Using a Musique Concrète approach of deconstructed sounds (ala Pietro Grossi, Costin Miereanu, Basil Kirchin, Dub Taylor, etc) “Disingenuity b/w Disingenuousness” encompasses various reference points from François Bayle, Jacques Lejeune, Richard Pinhas & Heldon to the minimal textures of Basic Channel-Chain reaction axis…

Both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic’s that translate not just the sound coming from the speakers, but the actual mechanical “interface” of the unit into control voltage & triggers that drive a modular synth that’s processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning VCA’s, filters, etc).

Keith Fullerton Whitman is an American electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock. He records and performs using many aliases, of which the most familiar is Hrvatski and has been also member in many 90s bands, including El-Ron, The Liver Sadness, Sheket/Trabant, The Finger Lakes and Gai/Jin. He started recording using his own name in 2001, and most of his work recorded today is under that name. He studied computer music at Berklee College of Music, where he was exposed to modern electronic music composition and synthesis. His moniker ASCIII has released music distributed with an academic journal. His studio and live setup usually consists of computer devices and other analogue instruments, such as guitars, ouds and synthesizers. Whitman has released albums on labels such as Planet Mu, Kranky, Carpark Records, No Fun Productions, Root Strata as well on his own Entschuldigen and (now defunct) Reckankreuzungsklankewerkzeuge labels.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Bill Kouligas.

PAN 12
Trevor Wishart
Fanfare & Contrapunctus / Imago
LP/DL
2010

Issue of two very important works by this early British sound art composer, compiling one of Trevor Wishart’s first ever pieces ‘Fanfare & Contrapunctus’ (from 1976) and one of his latest, ‘Imago’ (from 2002), documenting a modern approach in composition and an extremely unique progress in sound manipulation and music technology.

‘Fanfare & Contrapunctus’ (1976) “These two short pieces were made at the newly opened electronic studio at the Sydney Conservatorium, before the advent of music computer technology. The source material derives from free improvisations by Trevor Wishart and Martin Mayes using “soft trumpets”, pop-guns, French Horn and virtuoso eating noises, plus recordings of birdsong and other environmental sources.”

‘Imago’ (2002) ‘…the universe in a grain of sand…’ “Imago is a piece of magical sound metamorphosis in which the single ‘clink’ of two whisky glasses gradually metamorphoses into a multitude of other sounds, eventually alluding to the sounds of birdsong, a junkyard gamelan, the ocean and the human voice, but never entirely abandoning its links to this minimal source. The piece was made using sound transformation software written by the composer, available through the Composers Desktop Project, and the original source sound was taken from Jonty Harrison’s ‘et ainsi de suite’.”

Trevor Wishart is an English composer, based in York. He is widely acknowledged for his contributions to composing with digital audio media, both fixed and interactive. He has been very active since the early 1970s in the area of electro-acoustic music (first with tape manipulation, later with computer pieces) and musical theatre pieces. Not only has he composed many significant pieces, but he has also written extensively on the topic of what he terms “sonic art,” and contributed to the design and implementation of many software tools used in the creation of digital music. His compositional interests deal mainly with the human voice. He has also written two major books, ‘On Sonic Art’ and ‘Audible Design’.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly- lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.

PAN 11
Billy Bao
Urban Disease
LP/DL
2010

‘Urban Disease’ is the new radical work by Billy Bao, Mattin, Taku Unami, Tim Barnes, Barry Weisblat and Margarida Garcia.

It’s important to remember that before Mattin and anarchism ruined his life, Billy Bao was a bit of a troubadour who accompanied himself on acoustic guitar and warbled wild songs of protest in his native Nigerian patois. This new album, his third on vinyl, finds Billy in a transitional phase toward the end of 2006, before the gaztetxes of Bilbao burrowed into his marrow, before Mattin became the Merle to his G.G., before Billy turned into herpes sore in the mouth of global capitalism.

“Billy doesn’t believe in hypnagogia,” we’re told, “because he always sleeps with one eye open, and when he dreams, all he sees is AIDS denialists, German shepherds, and soldiers disguised as UN peacekeepers.” Before Taku Unami fucked it up, this session found Bao relaxed and in high spirits as he conducted a pickup band of itinerant improvisers through a song-by-song cover of Amon Düül’s Psychedelic Underground. Margarida Garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument with the tension of string on wood and the disruptive potential of a crackle box. Barry Weisblat, meanwhile, teased out a century of drone from a Cornell lunchbox of filament and circuitry. Who better to play drums and percussion than the sainted Tim Barnes? Mattin, thumb and forefinger compulsively pinching or stroking his Hitler mustache after every take, funneled Billy’s malaise through laptop, percussion, and folk instrumentation. There was even, astonishingly, a women’s choir on hand, eerily filling out the atmosphere with wordless vocals and incantations. But this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of uneasy silence and scrape.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a silk screened PVC sleeve with original artwork by conceptual artist Henry Flynt.

PAN 9
John Wiese / Evan Parker
C-Section
LP/DL
2010

British free jazz phenomenon Evan Parker with electronic and tape noise artist John Wiese in a set of real-time evolving improvisations intended for maximum volume. Vinyl version of the CD released earlier this year, but slightly different containing all the final mixes and edits of the sessions with a new and more intense mastering for the maximum listening experience. C-Section finds density in scarcity – deep, glacial muck bubbles emerge beneath Parker’s inhuman circular breathing, only to plunge into an incessant clatter of industrial landscape.

Evan Parker is a free sax legend, best known for his work with Keith Rowe (AMM), Anthony Braxton, Joe McPhee, Cecil Taylor, Peter Brotzmann (including on his epochal ‘Machine Gun’), Derek Bailey, and for his inspired, individualistic take on musical freedom. Being the UK’s equivalent of Peter Brotzmann means that as far as free jazz saxophonists go, Evan Parker has very few equals. Hugely respected with a rich and varied back catalogue, Parker has graced the cream of the free jazz racks for the last forty years.

John Wiese is an artist and composer from Los Angeles, California. His recent works have a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the world, covering the US, UK, Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding member of the concrète grindcore band Sissy Spacek.

The Lp is mastered by Diane Maroney, cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 8
Joseph Hammer
I Love You Please Love Me Too
LP/DL
2010

With “I love you please love me too”, Joseph Hammer continues his journey into playful yet heavily focused idiot-savant infinite psychedelic inertia. Utilising consumer audio technology and 20th century detritus, Hammer lovingly decodes his passion for mid century sci fi and AM radio station beyond all point of recognition like a snakecharmer. Multi-dimensional audio collage techniques to a free form and completely unorthodox plunderphonic hypnosis. Baked devotionals for tape loop minds.

Joseph Hammer, a sound artist from Los Angeles, has actively created experimental works since 1980 as a member of the LAFMS collective. His practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. In various collaborations, solo, and as a founding member of the trio Solid Eye along with several other projects (Joe & Joe, Dinosaurs With Horns, Dimmer, Points of Friction), Hammer has performed widely and is an influential contributor to the Los Angeles underground scene.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 7
Sewer Election
Vidöppna Sår
LP/DL
2010

Following on from his Kassettmusik release, ‘Vidöppna Sår’ is an evolution in scum-brow field recordings and voice recorded to mono tape, akin to OU revue recorded on a building site. This record shows the development, as witnessed from his recent live performances of aggressive blur build up and ominous restraint, tape speed replacing effect pedals, going beyond the mere “junk noise” description closer to the original idea of musique concrete, namely altering everyday sounds onto tape into a wholly other vocabulary.

Sewer Election is Dan Johansson, based in Gothenburg, Sweden. He is most known for his extreme and nasty noise on often limited edition cassettes and obscure vinyl releases on labels such as iDEAL, Troniks, Chondritic Sound, Release the Bats!, Freak Animal, Segerhuva, Gameboy to name a few.. He is a member of the swedish collective Utmarken and lo-fi group Ättestupa. What separates him from the rest of the wall-of-noise-heads is that he is great at creating uncomfort and filth. To experience his stuff is like experiencing pure power and energy through subtle and restrained soundscapes of a world falling into pieces..

The Lp is mastered by Viktor Ottosson and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened PVC sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 91
Joke Lanz / Rudolf Eb.er
Akustische Aktion' (Essen) – Zurich 1991
LP
2009

“A dinner is a dinner:
Joke Lanz (Sudden Infant) & Rudolf Eb.er (Runzelstirn & Gurgelstock) bite, chew, smack, gulp and slurp in order to tickle your ears and your digestive system. Instead of decay and corruption, Lanz and Eb.er deliver a true and undiluted composition of this existential act of annihilation.

We believe that, what we are doing, is right, because we are endeavouring to remain true. We want to create no false illusions, no sickly aesthetic or anything beautiful. We want to find things that we are not even looking for and we wish to unite them together to form a new reality.” – Joke Lanz & Rudolf Eb.er, 1991.

This historical document of an early Schimpfluch Gruppe performance is an absolute must for fans of actionistic noise and performance-art.

The Lp is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and is packaged in a pro-press folded cover including all information and photos which itself is housed in a silk screened PVC sleeve with the text from the original documentation of the performance. Limited art edition to 200 copies.

PAN 6
Das Synthetische Mischegewebe
Frequency Conquistadors
LP/DL
2009

Words are more often then not the point of departure for many works of Das Synthetische Mischegewebe. The track – titles here stem from ‘El Mundo Alucinante’ de Reinaldo Arenas, which itself is inspired by François-René de Chateaubriand’s ‘Mémoires d’outre-tombe’. It is about time rather than history and about being in history. Having lost the war of time, the only thing that remains to do is being, and here we go, ‘being infiniment exigent’ in it’s means of expression.

DSM began in Berlin armed with a visual education from the early 80’s. They quickly became part of the international industrial cassette scene. Composing for light installations with open-reel machines, cassette recorders, microphone and guitar fuzz boxes with both loud, quiet, occasionally full blast and frequently sneaking in little sounds, all alternating within a few seconds, create an electroacoustic anti-music. With unusual concerts in the underground network as well as in high art institutions and museums (such as Centre Pompidou) and later on with performances for mixed media installation, exhibitions and conferences on cognitive science and neurologic research related topics, the group  toured with changing casts since the early 80’s, and participated in international festivals throughout Europe and the US.

Since 1982 they continue to produce vinyls, CD’s and tapes on many international labels:
Discos Esplendor Geometrico, RRRecords, Hypnagogia, Vinyl-on-Demand, Auf Abwegen, Harsh Reality Music, Equation Records, Das Cassetten Combinat and many others.
Live and recording collaborations with musicians such as:
The New Blockaders, Ralf Wehowsky, Frans de Waard, Ios Smolders, Zeitkratzer Ensemble, Artificial Memory Trace, ERG, MSBR, Toy Bizarre, Roel Meelkop and others.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. All artwork by Kathryn Politis and Bill Kouligas.

PAN 5
Blood Stereo
Your Snakelike King
LP/DL
2009

Blood Stereo is the duo of Dylan Nyoukis and Karen Constance. ‘Your Snake Like King’ picks up where last years ‘The Magnetic Headache’ left off, a shape shifting and strange mix of tape collage, free vocals and electro-acoustic mischief.  Midnight to 3am recordings fueled by grape and smoke conjour up a blurred narrative, the meaning of which is never quite clear, like weird off camera sounds in some tripped out movie.

“Anal fins tucked in tight behind them, Blood Stereo look like a pair of ill-kempt roosters, fighting over a doughnut. The guy rooster is jibbering in some unknown tongue, turning his face inside out, while shoving the microphone slowly through a hole in his cheek. The girl rooster appears to be pecking at him, either that or she’s picking at various trash they have strewn around the stage. Every time she ducks
her head there is the sound of a jet passing overhead. But when you look up at the sky there is no sign of a comtrail. After a while you think you are starting to get a handle on what they are doing, but the guy falls down and starts doing a spazz
dance so utterly convincing you begin to worry about him. Then the girls starts screaming and it seems as though something is really profoundly wrong. And it is.
But it’s not like they’re in any kind of trouble. They’re just wrong, y’know? So savagely wrong from every angle that it’s really tough to imagine there ‘s anything you could do to really help them. As if they’d even want in. In their masks or out, they sow confusion like wheat.” – Byron Coley

The LP is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 4
ILIOS
Kenrimono
LP/DL
2009

‘Kenrimono’ is a type of pachinko machine for advanced players which gives certain privileges during the course of a high-risk game. This LP is entirely based on field recordings and manipulations made from sounds in pachinko parlors in Kansai area, Japan in 2007.  A very intense and meditative atmosphere to be played at maximum volume.

Active since the early 90’s in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound palette touching and surpassing the limits of the sound spectrum he definitely advocates for an anti-career.  By 2009 ILIOS has performed more than 170 times in various venues and festivals in Asia, Europe, South and North America, pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. He has done studio and live collaborations with the likes of:  Francisco Lopez, Jason Kahn, Keiichiro Shibuya, Mattin, Michael Gendreau, Norbert Möslang, Coti K, Xabier Erkizia, Julien Ottavi, Bernd Schurer, Ralph Steinbruechel, Takehiro Nishide, Tzesne, Thurston Moore amongst many others. Since 1997 he runs Antifrost, a publishing label for sound media with more than 40 works published to date.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 3
Mark Durgan
Ploughing Furrows Into Rotten Burrows
LP/DL
2008

Made up of junk sounds, be they acoustic or electronic, ‘Ploughing Furrows into Rotten Burrows’ is informed by a caustic patience and steady pacing. With a concentrated approach, Mark Durgan makes the space, and even silences between sounds, an integral part of his constructions. He builds up tracks from the beginning with loops, samples or acoustic sounds, then the sound becomes quite automated due to the influence of the feedback generated from the electronic devices.

For the past twenty years, Mark Durgan, known under the Putrefier moniker and his label Birthbiter (1986), is one of the few genuinely curious anomalies operating today. Disassociated with a lot of noise, he is more of a true outsider of this scene, somewhat akin to the older sound poets. Although their realm of art is very different to that of his, comparisons can be made. The lack of concrete documentation, both written and recorded, could be construed as an attempt at mystery, but the reality is that it all comes down to a total ambivalence about having a public persona.

Despite that this is his first official work under his own name, it still bears similarity to the Putrefier concept. From the influences of Power Electronics and especially early nineties Japanese noise (‘Cog Dominance’ cassette, 1987 on Broken Flag), his music has developed into different areas of the avant garde spectrum, such as musique concrete, improvisation and electroacoustic music, demonstrated in one of his latest works done with The New Blockaders. Being able to appreciate other forms of experimentation, he takes noise to a different level.

The Lp is mastered and cut by Rashad Becker in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened PVC sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 2
Andy Ortmann
Provocative Electronics
LP/DL
2008

‘Provocative Electronics’, first in a series of Electronic Music recordings from Andy Ortmann, is an exploration in analog synthesizers and recording techniques (eight different synthesizers were used on this record). As in the days of Musique Concrete and the beginning years of synthesizer development Ortmann experiments with tones and his own brand of electronic tweakage.

Provocative Electronics is not an homage, but yet another document in the ongoing history of Electronic Music. Focusing on the aspects of 60’s-70’s era electronics, part academic (for fans of the 20th century Greek composer Xenakis, minimalist John Cage or pioneer of Musique Concrete Pierre Schaeffer, Mort Garson, Milton Babbitt, Tom Dissevelt, Ruth White, Delia Derbyshire, Lejaren Hiller, Raymond Scott, Jean Jacques Perrey and Pierre Schaeffer) and part cheesball (aka Mort Garson, Bruce Haack).
Andy Ortmann is also known for his work with the transgressive experimental group Panicsville, acid psych freaks Plastic Crimawave Sound and sole curator of the equally bizarre Nihilist Records label (USA).

The Lp is mastered and cut by Rashad Becker in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened PVC sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

PAN 1
Astro / Family Battle Snake
Split
LP/DL
2008

Delving into the realm of deep listening, transported by way of analog synthesisers, Family Battle Snake weaves an electronic web that cocoons the listener in warm cascading frequencies. Calls to mind classic electronic composers such as Charles Dodge, Eliane Radigue and even a hint of NWW.

Astro is Hiroshi Hasegawa of the legendary and now defunct Japanese noise unit C.C.C.C. Sonic waves of squealing feedback and oscillating waveforms meld with biting distortion in the appropriately titled “Lunatic Luminescence”. Enveloped by haywire electronics and burbling loops & skree, Astro has constructed an impressive piece of modern electronic music of devastating magnitude.

The Lp is mastered and cut by Rashad Becker in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. Artwork by Kathryn Politis and Bill Kouligas.

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