admin, Author at A S T R E S D'OR

December 29, 2025January 27, 2026

MASSIMO TONIUTTI with ALLAN ZANE ~ UNANALYSABLE

LP (180 Gram)
Original Artwork by Massimo Toniutti
Inlay by Allan Zane
Numbered & signed edition of 25 ex.
d’or091
Date of Publication: 5 January 2026
SOLD at Astres d’Or. May still be available at Allan Zane and Disk Union Japan.

Massimo Toniutti (1966) is an Italian experimental musician and sound designer based in Udine. Exposed to avant-garde music as a teenager, he has been working with sound since the early 1980s, evolving from a set of tape recordings of everyday sounds into a personal approach to electroacoustic composition focused on concrete sound, spatial perception, and silence. A key moment in this trajectory is the trilogy leading from *Cava xi xi 86* (Ferns reissue, 2019) to the LP *Il Museo Selvatico* (1991), a crucial node in his work (Black Truffle reissue, 2018).
He has produced radio pieces and collaborated with filmmakers on video art and documentary projects, while keeping electroacoustic research at the core of a practice that continues to develop. Recent works include the eyepiece musique of *The Clear Observatory* (Klanggalerie) and *Shanghai Files*, the first release on Darren Tate’s new imprint.
His live sets have occasionally been presented in contexts such as Café OTO (London) and INA-GRM (Paris). Among his recent collaborations are the CD *Scritti Imperfetti* (2024) and this joint work for Astres d’Or.
https://massimotoniutti.bandcamp.com/

Allan Zane (1970) Sound-sculptor/sound-designer/musician from the age of 15, Allan Zane is best known for his “dark ambient” musical project WYRM (2000-2011). WYRM is now in the resurrection process.
In addition to WYRM, Zane’s first recording project conceived in the late 1980’s amidst adolescence and inebriation was (and still is) Le Scrambled Debutante. From those early beginnings, there were only 2 bedroom recordings sessions that exist on chrome cassettes that never saw the light of day–until recently (see: ‘Vintage Deb (1988-1990)’). Now, 30+ years later, we have the return of Le Scrambled Debutante. How would one describe the sound of Le Scrambled Debutante you may ask?! Imagine Ono & Lennon’s ‘Unfinished Music No. 1: Two Virgins’, Nurse With Wound, old Severed Heads, Mixed Band Philanthropist & The New Blockaders (of which Zane is also an occasional member of both) and other assorted bands and genres, tossed into a blender on high speed with the lid left off. That’s Le Scrambled Debutante. Pure Sonic Dada and Aural Buffoonery!!!
Zane received a degree in Video Editing and Post-Production in 2008. Current works include commissions, music DVDs, art-house films, and promotional videos. Zane currently works in Mental Health. Zane also dabbles in the visual mediums of art. Although live sets are rare for Zane, he has performed live on radio with WYRM in the greater Seattle area 2008–plus performed twice in NYC (once at the late CBGBs in 2001, and recently at TV Eye in 2024), among other times and locations.
https://allanzane.bandcamp.com/

Back in April, while I was working on one of my projects, Allan sent me a rather interesting “noise single.” In my work, I often find myself especially receptive to certain sounds when I am immersed in them, and his recording immediately set something off. I opened a session right away and began working on it. The curious thing, however, is that my insatiable nature pushed me past the original intent — building and building until I drifted off the initial path. In the end, I abandoned it. But the process had already begun, also thanks to another couple of sonic cues that Allan — unaware of what was taking shape in my studio — had sent me.

I open far more sessions than I close, which means my archive keeps expanding. That’s where I found the real spark for this project: a pair of “themes” that had been waiting for a home since 2021. One could be described as an involuntary raga that surfaced by mistake from one of my experiments, and the other as a slowed-down study on whistling tones.

For quite some time, I did nothing but explore new combinations in search of the most compatible path between our materials. By August, it became clear that new recordings were needed. I made many — and they proved essential: they connected scattered points and gave coherence to the whole. I distributed them, together with what I had already sketched, across the final score, which, over the course of at least two months, practically sculpted itself.

In short, I’ll name a few of the nuclei that set the composition in motion: space, improvisation, wonder, and the connective tissues that hold together this creature- like ensemble — a still unanalysable material fauna.

Massimo Toniutti, December 7, 2025

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I first became aware of the work of the Toniutti brothers in the early-to-mid 1990s (via such “access points” at the time like Anomalous Records and Robot Records). My introduction was Giancarlo’s LP, ‘Epigènesi’. It immediately struck me with its attractive “organic dissonance” and “academic feel”. I found the concepts of Giancarlo’s work fascinating—especially the notion of site-specific geological totems represented by his album with Andrew Chalk, ‘ Tahta Tarla’. Not long afterwards, at all, my introduction to Massimo’s work was the album, ‘Il Museo Selvatico’. This LP, too, possessed an organic quality—all the while retaining an undeniably charming mystique. Despite its mysterious qualities, it felt quite “familiar” as well. That may seem paradoxical in nature, but that appears to be the pervasive atmosphere that the Toniutti brothers project (at least in my mind). They were both like a breath of fresh air to me at the time (and still are). I was listening to many “electronic compositions” in the 1990s, so their work was exactly what I needed then in order to shake what had become near indoctrination.

It could have been as early as 2023 that I had approached Massimo over the idea of a collaboration… but I cannot recall the specifics at this time. I had been corresponding with him and his brother for some time. Considering my collaborative nature when it comes to the work that I produce, it only felt natural to put forth the proposition onto the table. I have always possessed great admiration and respect for the Toniutti brothers, so I was delighted to hear that Massimo was receptive to the notion! I did realize that the two of us residing on separate continents (never mind separate countries!) would rob us of any face-to-face chemistry that direct collaborations can yield. Still, most of my collaborations are long-distance and “virtual”, so I did not find this as much of a deterrence. In fact, I placed my complete faith in Massimo and his processes. His work speaks for itself. I fully expected what we would get as an end-result would be pure gold. Moreover, it was! That is not to say that I completely turned the wheel over to him. Still, I had faith in the process of how he works. In order to arrive at the best conceivable results/recordings, I supplied him with multiple sound-sources (some organic in nature, while some were even artificially-constructed from inverse sinewave generators). I stepped back a bit and let him work his magic. After a time, what he came back with was just that—magical! Mostly due to the fact that it compositionally disregards ANY preconceived expectations. It defies compartmentalization. The culmination of our work together truly IS “unanalyzable”.

Allan Zane, December 12, 2025.

MASSIMO TONIUTTI with ALLAN ZANE ~ UNANALYSABLE

A Side
Il Primo 23:56

B Side
Il secondo finisce il primo 05:14
Il terzo introduce il quarto 03:26
Il Quarto 09:47

Composition: April/October 2025 Mastering: Early November 2025

Original Artwork by Massimo Toniutti

MASSIMO TONIUTTI with ALLAN ZANE ~ UNANALYSABLE Side A Excerpt

MASSIMO TONIUTTI with ALLAN ZANE ~ UNANALYSABLE Side B Excerpt

Artwork description: ink, tempera, enamel, engine grease, shop rag on cardboard, by Massimo Toniutti

August 31, 2025November 30, 2025

TIMO VAN LUIJK / JON MUELLER ~ UNKNOWN PLACES

LP (180 Gram)
Original Artwork by Timo van Luijk and Jon Mueller
Numbered & signed edition of 25 ex.
d’or090
Date of Publication: 6 September 2025
Price: 120 euro

Timo van Luijk is an autodidact sound instrumentalist / improvising composer, photographer and printmaker. An appearing constant in all his work is a profound attraction to an irrational, organic and delicate stilled world observed through antique lenses, a fin de siècle aura faded through erosion of time. He is a founding member of the Noise-Maker’s Fifes collective (1989-2006) and since 2000 he publishes his solo music (Af Ursin) and collaboration projects with a.o. Andrew Chalk, Bart De Paepe, Christoph Heemann, Frederik Croene, Kris Vanderstraeten, Raymond Dijkstra on his La Scie Dorée imprint. In 2007 he founded the Metaphon record label releasing a releasing archive works of experimental music composers and sound artists like Michael Ranta, Arsène Souffriau, Rolf Gehlhaar, Robert Fesler …

Jon Mueller studied jazz drumming with Hal Russell at Columbia College in Chicago, and singing with La Monte Young and Marian Zazeela at the Kirana Center for Indian Classical Music in New York. A prolific performer, he tours extensively and has appeared at festivals and venues throughout the United States, Canada, England, Europe and Japan. In addition to his solo work, his collaborations include Olivia Block, Aaron Turner, Jason Kahn, Hal Rammel, Asmus Tietchens, Z’EV, Rhys Chatham, Jarboe, James Plotkin, Duane Pitre, and Raymond Dijkstra.

Artwork description:
Half of the edition by Timo van Luijk. Special prints of photos of old graves on cemeteries throughout Belgium
Half of the edition by Jon Mueller. Conceptual work consisting of prints and drawings

August 31, 2025November 30, 2025

JIM O’ROURKE ~ THE LIGHT OF THE BUTTON IS VERY DIM

LP (180 Gram)
Original Artwork by Jim O’Rourke
Numbered & signed edition of 40 ex.
d’or089
Date of Publication: 6 September 2025
SOLD

Jim O’Rourke (January 18, 1969, Chicago, Illinois) is a Tokyo-based American performer, composer and record producer.
Jim O’Rourke has been working in music and film since the late 80’s, as a producer for Wilco, Sonic Youth, Beth Orton,Stereolab, John Fahey, Joanna Newsom and many others, including the Grammy Award winning “A Ghost is Born” by Wilco. He has been a member of Gastr Del Sol, Fennoberg (with Christian Fennesz and Peter Rehberg), Loose Fur (with Jeff Tweedy and Glenn Kotche), The Red Krayola, and Sonic Youth.
In film he has scored films for Werner Herzog, Koji Wakamatsu, Olivier Assayass, as well as musical consultant for The School of Rock.
His own work ranges everywhere between his series of albums on Drag City like Eureka and Insignificance, to his work with Merce Cunningham, commisions for the Ina-Grm, as well as his work championing underappreciated artists like Tony Conrad, Loren Connors and Roland Kayn both through his own reissue labels and archival work to secure the future of their music.

JIM O’ROURKE ~ THE LIGHT OF THE BUTTON IS VERY DIM
A Side
Leonore 22:22

B Side
Crossing 20:58

Jim O’Rourke, 2025

June 13, 2025November 30, 2025

GIANCARLO TONIUTTI ~ ARGILLE

LP (180 Gram)
Original Artwork by Giancarlo Toniutti
Numbered & signed edition of 25 ex.
d’or088
Date of Publication: 20 July 2025
Price: 120 euro

Giancarlo Toniutti lives in Udine from birth (1963). He started with music in 1977/78 with radical and experimental criteria regarding sound. At his very beginning often working with his friend Tiziano Dominighini (time and again under the moniker “airthrob in”), they animated a number of electroacoustic improvisations in Tiziano’s warehouse some of which has been lately documented in Counterchronology (Final Muzik, FME7, 2015). These music actions soon gave way to proper compositional works, thanks also to his studies at Venice Conservatory (electronic music course, 1982-1985) under Alvise Vidolin (who worked with Luigi Nono among others), and his personal interest in morphogenesis (cf. René Thom), generating and incorporating extended timbral and morphological investigations through the years, with the consequent publication of several of his music compositions internationally (see www.quasi-rn.org, or www.discogs.com/artist/83226-Giancarlo-Toniutti, for a list). This profound interest in morphogenesis led him to a strong material approach to sound sources and their acoustic generation, ranging from the apparently most resonantly inert sources as in *KO/USK- (1988-1995 for stones and pebbles from the world), to more traditionally distinctive instruments (both from Western and non- Western heritage), through a multitude of hand-made or discovered sonic objects, all of them considered in their structurally inherent ability to generate significant sonic phenomena, subsequently unfolded in electroacoustic entities.

Compositionally speaking this quality ostensibly emerged as a deep application of morphological and topological principles to the developmental paths of sound structures, both at the microstructural level, the generation of sound, and the macrostructural level, the generation of musical forms, as well as the mesostructural level, the most important one, the generation of inner continuous relations between layers.

In his considerable trajectory he has also collaborated with several composers, from Conrad Schnitzler to James Wyness, Siegmar Fricke, Andrew Chalk, Massimo Toniutti, Enrico Piva and others, and performed various quadraphonic concerts or displayed multilayered sound installations.

In recent years he enlarged his interest into specific contexts of microtonality and critical bands, as marked sonic phenomena, with connection to enlarged studies of monodies, multiphonics, and micropolyphonies—cf. the work Bàardum Guùmuse (for your red tongue) on Anomalous records 2024, for example, and also the previous one on Astres d’Or, disperse specie del mio sonno che mai ritornerà, 2023.

“These two new pieces follows where the previous works (d’Or072) left off. There’s a similar débrayage between layers, a comparable relation between structures and their developments.This time, the very materic approach to sources, where materials emerge in their multiphonic and homogeneous actions, hints to an inner movement which becomes form in the ears of listeners. Space remains at the core of the processes, but rather than crossing it, all sounds incorporate it as part of the formal generation. Space is embraced and embedded by every single sonic events, it moves with sounds not around it. Both pieces proceed from a common relational standpoint, and even inside their finite compass they unfold a huge array of microvariational timbral vitality. You can find that the very large collaboration among all the isolated kinetic points constitutes the layering technique, so much so that it becomes almost impossible to distinguish lines from points, from surfaces, from curves. And vice versa.“

Giancarlo Toniutti, June 22, 2025

Giancarlo Toniutti ~ argille

1. (harpunteater) 16’38”
2. (nebberteater) 15’38”

composed / recorded january-april 2025

studio work february-june 2025 (la stanza nera – Udine)

prepared aerophones and idiophones, environments

pigments, natural earths, oxides

© giancarlo toniutti, 2025

Giancarlo Toniutti ~ Argille A side excerpt

Giancarlo Toniutti ~ Argille B side excerpt

Artwork description: Gouache on paper by Giancarlo Toniutti

June 12, 2025December 29, 2025

QUENTIN ROLLET / PAUL COLLINS / MARIJA KOVACEVIC ~ BEZ VREMENA

LP (180 Gram)
Original Artwork by Paul Collins
Numbered & signed edition of 25 ex.
d’or087
Date of Publication: 6 September 2025
Price: 120 euro

Quentin Rollet (born August 26, 1974) is a French musician and co-founder of the labels Rectangle, reQords, and BISOU Records. Quentin Rollet was introduced to improvised music from a young age. The son of Christian Rollet (a founding member of ARFI), he attended his concerts and later accompanied him on tour, where he quickly became familiar with free and experimental soundscapes. He began playing the saxophone at age 11 in a jazz school, and later entered the conservatory. Following a classical apprenticeship on his instrument, he gravitated toward more contemporary aesthetics, which piqued his curiosity for less conventional musical forms. After some experience with various groups, Quentin Rollet met Fabrice and Nicolas Laureau, members of Prohibition, in 1992. It was through him that the band signed their first two albums to the Distortion label. Quentin Rollet was quickly integrated into the band live, then on their albums, eventually becoming a permanent member of the group until its dissolution in 1999. In parallel and following this stage experience in Europe and the United States, Quentin Rollet participated in numerous projects for varying lengths of time. We can mention his contribution to Akosh S. Unit from 1999 to 2005 on stage and on various albums, but also more punctually with different musicians and groups such as The Red Krayola, Melmac, Mendelson, Dragibus, Herman Dune, Phoebe Killdeer & The Short Straws, David Grubbs, Thierry Müller, Rubin Steiner, Jérôme Lorichon, Charlie O, Dan-Charles Dahan, eRikm, Zsolt Söres, Pal Toth, Jean-Noël Cognard, Jean-Pierre Barja, Jac Berrocal, Rivkah, Benoît de Villeneuve, Andrew Liles and many others. Present on stage on some or all of certain albums, Quentin Rollet offers an entirely improvised and free approach to different saxophones or various instruments[1]. In 2011, he met Colin Potter with whom he embarked on a duo album. This project will lead him to perform on different stages with Nurse With Wound and to intervene on several albums since 2016.

Paul Collins. Born in 1955 in Toronto, where he completed his studies and began his career as an artist. He moved to Paris in 1982. His multidisciplinary practice alternates and combines painting, printmaking, and music. In 1986, he began teaching in art schools in France. He currently teaches at the École supérieure d’arts et média, Caen/Cherbourg. He is represented by General Hardware Contemporary, Toronto. Paul Collins studied at York University and the New School of Art in Toronto. His multidisciplinary practice alternates and combines painting, printmaking, and music. In Toronto, he worked at Coach House Press, exhibited at the Museum of Contemporary Canadian Art, A Space, YYZ, and Mercer Union, and performed improvised and post-punk music at the Cabana Room of the Spadina Hotel. He has contributed to Only Paper Today and co-founded Permanent Press on Mercer Street. He exhibited at the Art Gallery of Ontario for the exhibition “Canadian Art in the 1960s and 1970s through the lens of Coach House Press.” 2009. He moved to Paris in 1982, where he exhibited and performed at the Fondation Cartier, Paris; Crédac, Ivry sur Seine; the Museum of Fine Arts in Mulhouse; the Artothèque in Caen; l’Impasse, Moments artistiques, La Générale ((Belleville et Sèvre)), les Instants Chavirés and Treize in Paris. In 1986, he began teaching in art schools in France. Currently, he teaches painting, printmaking and experimental music at the École supérieure d’arts et média, Caen/Cherbourg. In 2015, he performed with The Glenn Branca Orchestra at the Philharmonie de Paris. His latest artist book, Vent: Photographs 1977 – 2017, was published in 2016. His duo, Protocol Warum, has performed at the Palais de Tokyo and their latest album was released in 2017.

Marija Kovačević Serbian born, New York City based violinist, works in classical, experimental and improvised music and theater. She has a B.M and M.M degrees in Violin Performance from Fakultet Muzičkih Umetnosti in Belgrade, Serbia. While working as a violin teacher at the Brooklyn Music School in 2020, Kovačević came upon a storage closet full of broken violins and took them home, imagining that the discarded instruments might have an afterlife as an installation for experimentation by non-musicians. Playing around with them herself, she soon discovered a heterogeneous world of rich sounding potential within the unpredictable, once-precious objects. Learning how to work with and from each broken violin and bow, Kovačević has since developed an idiosyncratic vocabulary of dragging strings, playing cracks, bowing broken bodies, wrapping loose hair, and creaking pegs. In performance, there is a minimalist, ritualistic structure to her unembellished studies, as each instrument is approached in procession, with silence in between each visceral deviance from the accepted technical norms. Marija Kovačević has performed at The Stone, Roulette Intermedium, MoMa PS1, The Lincoln Center, David Geffen Hall, The Museum of Modern Art, Artist Space, Shift 411, Museo del Barrio, La MaMa Theater, The Jewish Museum, The Brick Theater, Target Margin Theater, The Exponential Festival, American Museum of Natural History, Symphony Space, Performance Space New York etc. Her music was featured on BBC Radio 3 “Freeness”, “Late Junction”, “Brian Turner Show” and WFMU’s “Strength Through Failure”.

Artwork description: Letterpress prints of abstract forms. Each different.

February 2, 2025November 30, 2025

EUGENE CHADBOURNE ~ CATALOGUE D’OISEAUX II

LP (180 Gram)
Original Artwork by Eugene Chadbourne
Numbered edition of 25 ex.
d’or086
Date of Publication: 20 July 2025
Price: 120 euro.

Eugene Chadbourne was born in Mt. Vernon, New York, USA in 1954. He grew up in Boulder, Colorado where he was exposed to an incredible range of music including locally based composers and performers such as avant garde composers Tod Dockstoder and George Crumb and guitarist Tommy Bolin. He began playing guitar in bands as a teenager, at first garage rock and then strongly influenced by Jimi Hendrix and the Mothers of Invention. He released his first album of solo guitar in 1977 and became a professional musician shortly thereafter. He performs and records an unparalleled range of styles–jazz, rock, country and western, classical from Bach to Messiaen–on guitar and banjo and as a vocalist.

“My practice routine is a favorite aspect of my life, contributing to both mental and physical health. These hours of sight reading that begin each morning are more difficult to maintain on a concert tour but perhaps less necessary considering the amount of creative and physical activity that takes place at the usually nightly concerts.

With the international pandemic a few years ago and subsequent events, my life changed radically in terms of the amount of travel and the amount of time at home free to pursue musical study in more detail.

Messiaen was a key element from the beginning based on the existence of financial support from the USA Small Business Administration. With these funds I greatly expanded my library of scores including the purchase of all the Messiaen Catalog of Birds score books as well as his book of piano pieces in honor of Jesus Christ. The latter I had already downloaded off a free web site but I also wanted a legitimate score book.

Now for some months Messiaen has framed my practice day with Jesus at the beginning and birds at the end. In between I hit piano pieces by Jelly Roll Morton, the piano score for Stravinsky’s Rites of Spring, a Hindemith chamber score, a book of Miles Davis trumpet solos and Morton Feldman’s works for solo piano. I use a simple rotation system to bring in a new book once I have read through something, for example today June 20 2025 I once again completed the Stravinsky and in the random series of replacements in comes a book of Bach piano pieces.

As my sight reading ability improves–the most difficult part of it being able to figure out chording fingerings for 10 (or more!) piano keys to strike–what I play sounds more and more like music. A section or a page will flow well enough that I wonder when the time will come that I can just whip through a whole Messiaen bird book. I look forward to that day, whenever it may come.

As a young guitarist, like many of my peers I was greatly influenced by the improvisations of the late Derek Bailey. We all wondered, what are those chords he is playing? Knowledgeable types dropped names from the Viennese school; adding Berg, Webern and Schoenberg piano scores to my rotation has undoubtedly helped my sight reading but as to what extent it has cleared up the Derek Bailey mystery I am not so sure. Nowadays many of Messiaen”s harmonies make me think of Bailey, but once again it is not so much the act of recognizing something as recognizing what something isn’t.

Here’s to the mysteries of music–what it is, what it brings out of a loyal subject such as I. Music is my kingdom of heaven, with plenty of room for birds and even a nook for Jesus Christ. “

Eugene Chadbourne, June 20, 2025

Eugene Chadbourne ~ Catalogue d’oiseaux II

A side:
La parole toute-puissante (Vingt regards sur l’enfant-Jésus) (13:12)
Courlis Cendré (8:08)

B side:
La Bouscarle (22:07)

Artwork description:
Oil paintings on linen by Eugene Chadbourne

February 2, 2025November 30, 2025

EDWARD KA-SPEL ~ TBA

LP (180 Gram)
Original Artwork by Edward Ka-spel
Numbered edition of 25 ex.
d’or085
Date of Publication: TBA

Text to be updated

February 2, 2025November 30, 2025

MARC HURTADO ~ ROUGE

LP (180 Gram)
Original Artwork by Marc Hurtado
Numbered edition of 25 ex.
d’or084
Date of Publication: 20 July 2025
Price: 150 euro.

MARC HURTADO

Leading figure of the international experimental film and music scene, co-founder of the duo Etant Donnés with his brother Éric in 1977, Marc Hurtado has since then followed a polymorphous career of musician, performer, poet, visual artist, film music composer and filmmaker. He directed 26 films including 4 feature films, realised 46 albums and more than 500 concerts / performances in venues like the New York Kitchen ,Matresss Factory Pittsburg, Baltic Centre for Contemporary Art Newcastle, Kassel Documenta, Foundation Cartier Paris, Centre Beaubourg Paris, Collège des Bernardins Paris, Sonar Festival Barcelona, Etrange Festival de Paris , Atonal Berlin Festival, Click Festival Copenhagen, Luff Festival Lausanne and the Transmusicales de Rennes.

He founded the solo project Sol Ixent and collaborated with musicians like Alan Vega, Gabi Delgabo (DAF), Genesis P. Orridge (Pyschic TV, Throbbing Gristle), Michael Gira (Swans), Lydia Lunch, Mark Cunningham (Mars), Z’ev, Craig Walker (Archive), John Duncan, Vomir, The Hacker, Laurent Garnier, Saba Komossa, The Liminanas, Bachir Attar and the Master Musicians of Jajouka , Pascal Comelade and Christophe.

He made film soundtracks for the filmmakers Philippe Grandrieux, Pierre -Luc Vaillancourt, Jessica Hausner, Mathieu Dufois and Philippe Roche.

Marc Hurtado has exhibited his paintings , installations , films and videos in La Galerie du Jour in Paris, Le Confort Moderne in Poitiers, the Microscope Gallery in New York, Laurent Godin Gallerie in Paris, Centre d’Art De Lausanne, Deitch Gallery New York, Malba Buenos Aires, Palacio de bellas artes Mexico, Museum of Contemporary Art of Zagreb, Biennale d’art contemporain de Lyon, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , The Empty Gallery in Hong Kong, Centre national d’art contemporain de Grenoble ( Le Magasin), Galerie Aorta , Amsterdam , Espace Lyonnais d’art Contemporain de Lyon, University of Rome, Museum of Grenoble and Kassel Documenta

Retrospectives of his films were organized at the Cinéma du Réel Festival at the Beaubourg Center, the Cinémathèque Française in Paris, the Microscope Gallery in Brooklyn , Luff Festival , the Film Mutations Festival in Zagreb and BAFICI in Buenos Aires
Screenings of his films were made at numerous festivals, galleries and museum such as the Fid de Marseille, Locarno Festival, Belfort Interviews Festival, Cinémed de Montpellier, Distrito de Mexico Festival, Doc Festival of Buenos Aires, Fronteira Goiânia Festival in Brazil, London Gallery, Withechapel Gallery of London, Museum of Contemporary Art of Zagreb, Stededelijk Museum in Amsterdam, Cultural Arts Council of Houston , or the Museum of Modern Art (MoMA) of New York.
His films were bought by the Centre Beaubourg Paris , the Museum of Modern Art in Villeurbanne, the Magasin / Cnac in Grenoble, the Anthology Film Archives in New York, and the film “Jajouka, something good comes to you” ( co-directed with his brother Eric) was acquired by the Museum of Modern Art (MoMA) of New York.

In 2024, the 300-page book “DE CŒUR A COEUR” was published by Presses du Réel in France. This book was directed by Monica Delgado and José Sarmiento Hinojosa and is composed of 28 texts, poems, and paintings by 23 artists, writers, and journalists including Lydia Lunch, Pascal Comelade, F.J Ossang, Kris Needs, Nick Soulsby, Nicole Brenez, Nicolas Ballet, Romain Perrot, Mathieu Dufois, Pierre-Luc Vaillancourt, Sébastien Vitré and Marie Möör.

ROUGE is the second publication on ASTRES D’OR, the first publication was HURT in 2019.

ROUGE by Marc Hurtado

ROUGE is the color of the rising sun .

ROUGE is the color of the setting sun.

ROUGE is the color of blood.

ROUGE is the color of fire.

The brain is on fire.

The body is on fire.

The sky is on fire.

The Earth is on fire.

Our souls are on fire.

ROUGE is the color of the sound of this album, the sound of the heart and soul exploding and dispersing into space, the sound of star particles bound by liquid roses.

ROUGE is a deafening sound, the silence of the cremation of a disintegrating star, a pulverized white star, torn apart in absolute blackness, a gesture at the speed of light that has neither end nor beginning.

ROUGE is the invisible, static, universal color that hides in the total darkness of white light, it is the cry of the mute, the inner black eye of the blind.

ROUGE is the way of the visible, the voice of the invisible.

Marc Hurtado – June 14 . 2025

ROUGE – Excerpt of Side A

ROUGE – Excerpt of Side B

Artwork description: White gouache on black cardboard (LP covers) by Marc Hurtado

September 22, 2024November 30, 2025

BART DE PAEPE ~ SPROKKELHOUT

LP (180 Gram)
Original Artwork by Bart de Paepe
Numbered edition of 25 ex.
d’or083
Date of Publication: October 12, 2024
Price: 120 euro.

Bart de Paepe has released several solo albums of psychedelic soggy murkiness on Vohu Manah, Beyond Beyond Is Beyond, Kerm whistling through the leaves and branches adjusting in/out of focus at random as we drift between reality and perception. Some of his resonance wood can be enjoyed in Ilta Hämärä (with Timo van Luijk), Wendingen 1918 (with Raymond Dijkstra), Bombay Lunatic Asylum (with Koen Vandenhoudt and Louise Landes Levi), Fort Bedmar (with Dave Colohan).

For over 10 years, he has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock over bedroom poetry readings to laid-back cosmic Euro-prog in microscopic editions.

The cover of Sprokkelhout is made with found pieces of various tree bark, a small tribute to the tree spirits of yesterday: Atlanteia, Phoebe, Chrysopeleia, Dryope, Erato, Eurydice, Tithorea[, Karya, Balanos, Kraneia, Morea, Aigeiros, Ptelea, Ampelos, Syke among many other moss people.

https://sloowtapes.blogspot.com/

Bart de Paepe ~ Sprokkelhout

A side:
Houtworm
Houtblazer

B side:
Torhout
Houtduif

All music played and composed by by Bart de Paepe, 2024

Bart de Paepe ~ Sprokkelhout, A side excerpt

Bart de Paepe ~ Sprokkelhout, B side excerpt

Artwork description: Bark collected by Bart de Paepe. Glued on Cardboard cover. Backside with handwritten text by de Paepe

September 16, 2024November 30, 2025

RLW / PAAK – Von Der Arbeit II

LP (180 Gram)
Original Artwork by Peter Kastner
Numbered edition of 25 ex.
d’or082
Date of Publication: October 5, 2024
Price: 120 euro

RLW / PAAK …Von der Arbeit II…

Ralf Wehowsky and Peter Kastner, aka RLW and PAAK, have been established names in electroacoustic music for many years. RLW began his musical career with the group P.D. (later renamed P16.D4) in the early eighties and has been organising collaborative works and releasing solo recordings under own name since the early nineties. PAAK is a visual / sound / performance artist from Hamburg. He also runs the record label permaREV Platten and organises Rauschmelder events from time to time.

…Von der Arbeit II… is their fourth studio collaboration (after Mahlzeit – CD 2008, Klingelbeutel – LP 2012, and …Zur Arbeit I… – LP 2016). Eight years after …Zur Arbeit I… (To Work I…) , it’s time to update: …Von der Arbeit II… (Back From Work II…) , together with the previous collaborations, forms a series of sonic reflections on the state of economy and society, power and religion, technological progress and oppression, capitalism and resistance. (To be continued …). The pieces are based on, among other things, found sounds and the output of a primitive AI, but ultimately follow the old (utopian) idea of brain-, hand- and heart-controlled artworks.

RLW mix

PAAK mix

Artwork description: Cut and pasted paper, ink, 0n paper. Artwork by Peter Kastner. Each copy is handmade and different from each other, despite using the same motifs.

https://peterkastner.eu , https://paak.bandcamp.com , https://sonictoylab.bandcamp.com

Artwork front

LP cover front

LP cover back

Artwork back