Sur l’onde calme et noire où dorment les étoiles La blanche Ophélia flotte comme un grand lys, Flotte très lentement, couchée en ses longs voiles… – On entend dans les bois lointains des hallalis. Voici plus de mille ans que la triste Ophélie Passe, fantôme blanc, sur le long fleuve noir Voici plus de mille ans que sa douce folie Murmure sa romance à la brise du soir Le vent baise ses seins et déploie en corolle Ses grands voiles bercés mollement par les eaux ; Les saules frissonnants pleurent sur son épaule, Sur son grand front rêveur s’inclinent les roseaux. Les nénuphars froissés soupirent autour d’elle ; Elle éveille parfois, dans un aune qui dort, Quelque nid, d’où s’échappe un petit frisson d’aile : – Un chant mystérieux tombe des astres d’or
LP (180 Gram) Original Artwork by James Worse Numbered & signed edition of 25 ex. d’or073 Date of Publication: 25 November 2023
James Worseis an autistic artist, writer and sound maker from the UK, currently based in Melbourne. He performs spoken word using a vocabulary of his own invention and improvises percussion with found objects, digital interfaces and sometimes traditional instruments. https://jamesworse.bandcamp.com/ https://www.instagram.com/flartitude/
YOUR FACE.
“Recorded at home in 1988, this was an early attempt to create a soothing, womb-like sensory environment for myself. I would use slide projections in a darkened room while tape loops played on several portable machines. The mixer fed directly back into itself causing my bass guitar signal to jitter and deteriorate as a detuned TV intermittently flared static.
hearing it now, I’m startled by how similar my intentions are today – I’m still using sound in a textural manner to regulate sensory overwhelm and to ultimately reach a peaceful state of calm.
nobody had heard these recordings until I digitised them recently and I think that kid would have loved that his experiments had made it onto vinyl.
This record sings back to a younger self and to any other misfits who hid their truth because their faces didn’t fit.“
Artwork Description Letterpress prints of graphic forms and text on brown cardboard by James Worse
1/25 (Not for sale)1/25 Back (Back all same for each ex except for dots)2/252/25 back3/254/255/256/257/258/259/2510/2511/2512/2513/2514/2515/2516/2517/2518/2519/2520/25Insert
LP (180 Gram) Original Artwork by Giancarlo Toniutti Numbered & signed edition of 25 ex. d’or072 Date of Publication: 25 November 2023
Sold
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.
More recently he has also developed an intense interest into specific contexts of microtonality and critical bands, as marked sonic phenomena, with a certain connection to studies of musical forms like monodies (e.g. in his yet unpublished, and seeking publication, 50’ composition Bàardum Guùmuse (for your red tongue) for prepared idiophones, 2022), or these now published new pieces, specifically realized for Astres d’Or, which explore imbrication as a strategy within expanded spaces.
His other interests range from sculpture to painting, to anthropology and science, linguistics and history, narrative and theoretics, etc. The research goes on.
disperse specie del mio sonno che mai ritornerà (2023)
side 1 – pars Gracilis
side 2 – pars Robustus
These two pieces stem from the same core, a syntactic alliance between the timbral nature of maltreated clarinet recordings and the dynamics of concrete spatial events of a pointillistic nature. Yet they followed two almost opposing evolutions. On one side the structure developed around the mingling experience of a circulation of non- linear roving clarinet forms which erratically recede into extensive stationary postludes, resulting from a diffused activity in a large space, only to come back recapitulating variations. On the other side the growth and form of dense and discrete jagged reticula of tiny plucked sounds gradually occupy space and dynamics in its curved system, where decelerated layers of low key clarinet resonances strive to embroider and enhance the acoustic field often collapsing into semi-ordered clusters, whose form operates as counterpoise to the punctual pace.
title from Subnarcosi (1973) poem by Andrea Zanzotto this work is dedicated to my brother Gualtiero Toniutti (27.4.1961 – 31.5.2023)
Giancarlo Toniutti – pars Gracilis (excerpt)Giancarlo Toniutti – pars Robustus (excerpt)
Artwork Description Charcoal drawing on paper (gatefold). With handwritten text. Artwork, text, by Giancarlo Toniutti.
2/25 (Not for sale)Inside gatefold2/25 back (same for each ex)4/256/258/2510/2512/2514/2516/2518/2520/2522/2524/2525/25
LP (180 Gram) Original Artwork by Rayastre Numbered & signed edition of 5 ex. d’or071 Date of Publication:
Para Brahma the formless, the imageless, the soundless. I was dissolved into nothingness. My first awareness of self was that I was moving forward fast, being a small particle in a rushing all pervading energy, where each moment lasted an eternity…
Artwork description: Red velvet hardcover box with collage of dried leaves, iron ornaments and debossed gold stamp.
Price: 2LP + artwork 750 euro Artwork only 375 euro
Artwork description: Handmade collages by Steven Stapleton, made with scissor and glue on Mexican Newspaper, pasted on black cardboard. Signed by Steven Stapleton and Andrew Keogh.
6/251/25 (Young Steven Stapleton. Not for sale)7/258/259/2510/2511/2512/2513/25
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2LP Multiple with photostills of the film Mismantler by Andrew Keogh Ltd edition of 25 ex. Signed by Steven Stapleton and Andrew Keogh Publishing date 30 May 2023
New Work by NWW. Soundtrack of the film Mismantler.
A collaboration between Director Andrew Keogh, Steve Stapleton & Nurse With Wound. Mismantler grew out of animated visuals for a live Nurse With Wound show. The main character ‘The Mismantler’ is taken from a collage by Stapleton.
The film is a stream of consciousness exquisite corpse, an attempt to fill a bin bag until brimming with all the worst things on planet earth; our home.
A film for billionaires who aspire to being trillionaires, the millionaires who aspire to being billionaires, the wealthy aspiring to be millionaires. For those who other, those who control narratives; those who blame the poor.
For those who would debase everything to an economic exchange.
Those people who can no longer look humans and creatures in the eye.
LP (180 Gram) Original Artwork by Philip Sanderson Numbered & signed edition of 25 ex. d’or069 Date of Publication: 31 March 2023
“The four pieces are loose meditations on the movement of bodies through the circular ticket hall and tunnels of Piccadilly Underground.” (PS)
Born in 1960, Philip Sanderson first began experimenting with reel-to-reel tape recorders and ‘circuit bent’ electronics in his teens. He completed his first cassette Dark Cuttings in 1977 and in 1978 formed the Snatch Tapes label releasing Snatch 1, the first outing for Claire Thomas & Susan Vezey, and Storm Bugs (a collaborative project with Steven Ball).
1980 saw the release of Snatch 2 and the first Storm Bugs EP entitled Table Matters as well as the cassette release, Reprint by Claire Thomas & Susan Vezey, and A Safe Substitute by Storm Bugs. Both tapes featured the quirky British synthesizer the VCS3 as the main instrument. The following year 1981, Bright Waves by Thomas & Vezey was the opening track on the Cherry Red Perspectives And Distortion LP and a second Storm Bugs single was released on the French L’invitation au Suicide label.
In the early 1980s Sanderson collaborated/played with David Jackman (of Organum), Orior, Alien Brains, and the Rupenus Brothers (TNB), as well as recording with the chanteuse Naomi. From this came two more tape releases in the shape of O North and Telephone Music. The second half of the 1980s saw Sanderson working on a range of experimental film projects including Green on the Horizon (made with Steven Ball), Hangway Turning, and Shadowman. The films were screened at festivals both in the UK and internationally including at the BFI and the Tate.
The involvement with film led to Sanderson working at the London Filmmakers Co-operative in the early 1990s before spending the rest of the decade creating kinetic sound and light installations, exhibited predominantly in alternative art venues in London. The installations were reviewed in publications such as Art Monthly and national newspapers.
In 1997 Sanderson bought his first Mac computer and began to record music again as well as re-mastering the Storm Bugs back catalogue. The early 2000s was marked by a string of re-issues of material on numerous labels including: Fusetron, Anomalous, Vinyl on Demand, Harbinger, and Die Stadt. These were well reviewed in the Wire music magazine and the Sound Projector and online sites.
Releases of new material followed including Seal Pool Sounds in 2006, the Hollow Gravity LP in 2012,Ice Yacht – Pole of Cold in 2015, and Certified Original and Vintage Fakes by Storm Bugs in 2017. The last five years have been particularly busy with new Ice Yacht (a Sanderson side project) and solo releases as well as the On One of These Bends LP that brought together soundtrack pieces recorded in the 1980s.
More recently Sanderson has returned to his noise-sound roots with a number of new releases – a move inspired by his contribution of a track for Changez Retravaillé a 2CD set of re-workings of TNB’s Changez Les Blockeurs. In the pipeline for release are further collaborations with TNB and various new long-form noise-sound works such as this Dilly Dreamers.
LP (180 Gram) Original Artwork by Bart de Paepe & Louise Landes Levi Booklet by Louise Landes Levi Numbered edition of 25 ex. d’or068 Date of Publication: 1 March 2023
Louise Landes Levi: voice, sarangi, flute Sien Sonck: bowl Jan D’hooghe: percussion, synth Bart de Paepe: organ, guitar, synth, percussion
“The text on Kerouac is marvelous. I feel like you approach him as a poet, and very few people understand or appreciate that side of him. Because to understand Kerouac as a poet, you have to let go of every conception you have about poetry. He represents the ‘original mind’ of the poem—its natural state.” (R. Foye)
Nada (excerpt)Moonshine (excerpt)
Artwork Description: brown gatefold cover with photographs by Louise Landes Levi from her covid induced stay in Kyoto, Japan, 2020-2022. Handwritten text and adorned with dried ginkgo leaves by Bart de Paepe. All text on the inside of the gatefold cover is extracted from Kerouac’s “Mexican City Blues”. Booklet with text by Louise Landes Levi as presented in spoken word and song, at Jack Kerouac 100 event, Ruigoord (Netherlands) 9-10-2022. Booklet design Bart de Paepe.
Front: photo and dried ginkgo leaves. Inside: two b/w photos and handwritten text (each nr. has the same photos and text, but individually handwritten). Back: text and photograph.
LP (180 Gram) Original Artwork by Olivier Bringer Numbered & signed edition of 25 ex. d’or067 Date of Publication: 20 January 2023
Olivier Bringer is an autodidact visual artist / poet / musician from France born 20 November 1951.
“I hate drawing less than poetry but all the same there is something about art that makes me nauseous…”. (Les Chuchoteurs, les éditions artderien, artbook published in 2021). Olivier Bringer is an outsider artist from France, who’s themes include the horror, the fall or the faillure. The universe of Olivier Bringer is reminiscent of Edgar Allen Poe, Alfred Jarry, Marquis de Sade, Antonin Artaud…
Face A: Fou Komvous (29 November 2022) Face B: Calciné (8 November 2022)
Olivier Bringer ~ Fou Komvous (excerpt)Olivier Bringer ~ Calciné (excerpt)
Description Artwork: 25 unique collage / paintings by Olivier Bringer. Ink, paint on printed media. Black gatefold cover with original signature on front and artwork between transparent sheet of paper.
LP (180 Gram) Original Artwork by Christian Wolff Numbered & signed edition of 25 ex. d’or066 Date of Publication: 9 December 2022
A
Line Exercise (14:04)
B
For Ordinary Affects (24:00)
Cello: Laura Cetilia Vibraphone: J.P.A. Falzone Violin: Morgan Evans-Weiler E. Guitar: Luke Martin Piano & Melodica: Christian Wolff Pieces composed by Christian Wolff. Recorded: Luke Moldof Mixed and Mastered: Luke Damrosch Mastered for vinyl: Astres d’Or November 2018, Boston USA
Christian Wolff (1934) studied piano with Grete Sultan and, briefly, composition with John Cage. Mostly he is self-taught as a composer. He has also been active as an improviser, with, among others, Takehisa Kosugi, Christian Marclay, Ikue Mori, Eddie Prevost, Keith Rowe, and Steve Lacy. He was part of the so-called New York School (with Cage, Feldman, David Tudor and Earle Brown), and close to Frederic Rzewski and Cornelius Cardew. He was long active with Merce Cunningham and his dance company. His music currently some 270 items, is published by C. F. Peters and much of it is recorded on over 70 CDs.
He has taught at Harvard, in Classics (Greek and Latin), and at Dartmouth, in the Classics, Comparative Literature and Music departments.
Ordinary Affects is an experimental music ensemble of composers and performers. Formed in 2016 in Boston, the group includes James P. Falzone (vibraphone, piano), Morgan Evans-Weiler (violin), Laura Cetilia (cello), Luke Martin (guitar), Jordan Dykstra (viola), Francesca Caruso (violin), and Luke Damrosch (recording engineer). In addition to each performer’s own compositional work, they have toured, recorded, and/or performed with composers including Christian Wolff, Jurg Frey, Eva-Maria Houben, Michael Pisaro-Liu, Magnus Granberg, Ryoko Akama, and others. The group has had music released on Wandelweiser, Elsewhere, rhizome.s, Editions Verde, Suppedaneum, ftarri/meena, and others.
Cellist and electronic musician Laura Cetilia is a performer, composer, educator, and presenter. As a daughter of mixed heritage (second generation Mexican-American), she is at home with in-betweeness, moving through genres and practices as she did with cultures and languages growing up on the Eastside of Los Angeles. As a composer, her music has been described as “unorthodox loveliness” by the Boston Globe and “alternately penetrating and atmospheric” in Sequenza 21. She plays cello with her duo Mem1 (alongside Mark Cetilia), Ordinary Affects, Ghost Ensemble, and Suna No Onna. She is currently pursing a DMA in Music Composition at Cornell University and is a proud mother of an 8-year old who loves to draw. http://laura.cetilia.org
J.P.A. Falzone is a musician and composer currently pursuing his doctoral studies at SUNY Buffalo.
Morgan Evans-Weiler is an interdisciplinary artist and musician currently residing in Philadelphia, PA. www.morganevansweiler.com
Luke Martin is an experimental composer, performer, and writer living in Minneapolis, MN. He plays guitar and no-input mixing board, often with people in and around the Wandelweiser Group. Luke’s work is mainly oriented toward thinking the relation between music and truth, with a special focus on theorizing silence as such. He also runs, with Aaron Foster Breilyn, the Co-Incidence Festival. www.lukecmartin.com
Christian Wolff & Ordinary Affects, concert for this publication (photos courtesy Danny Gromfin). November 2018, Boston USA .
Christian Wolff & Ordinary Affects ~ Line Exercise (Excerpt)Christian Wolff & Ordinary Affects ~ For Ordinary Affects (Excerpt)
Art description Original drawings by Christian Wolff. Crayon, gouache and pencil on paper. White gatefold sleeve with title vignet on front. Inside is a transparent folded paper containing the drawing.
LP (180 Gram) Original Artwork by Sien Sonck Numbered & signed edition of 25 ex. d’or065 Date of Publication: 28 November 2022
A
Casimir Graf
Plongée In Glacis
Keutelattaque
Scharrebier
Astrale Caravan
B
Geirnoaert
MIWA
Schnitzel
Trailer Park
Recorded in Stekene, Belgium, September 2019
David Colohan: Moog Mother 32 & Eminent T260. Jan D’hooghe: DIRC music synthesizer Bart De Paepe: Korg MS-20
David Colohan (1975) lives in the Irish midlands. His main project is the psych-folk collective United Bible Studies though he is just as happy recording solo or collaborating with like-minded souls.
Jan D’hooghe (1971) studied jazz at the Antwerp Jazz Studio and played in numerous alternative bands since the early nineties. Nowadays the focus is on painting and experimental music.
Bart De Paepe (1980) has released several albums of psychedelic soggy murkiness on various labels, most recently Macula Kuru on Feeding Tube.
Fort Bedmar ~ Klinge Klang (Side A) (excerpt)Fort Bedmar ~ Klinge Klang (Side B) (excerpt)
Artwork description: acrylic paint on cardboard LP cover by Sien Sonck. Backside: calligraphy by Bart de Paepe and Jan D’hooghe.
LP (180 Gram) Original Artwork by Olivier Bringer Numbered & signed edition of 25 ex. d’or064 Date of Publication: 28 November 2022
Olivier Bringer is an autodidact visual artist / poet / musician from France born 20 November 1951.
“I hate drawing less than poetry but all the same there is something about art that makes me nauseous…”. (Les Chuchoteurs, les éditions artderien, artbook published in 2021). Olivier Bringer is an outsider artist from France, who’s themes include the horror, the fall or the faillure. The universe of Olivier Bringer is reminiscent of Edgar Allen Poe, Alfred Jarry, Marquis de Sade, Antonin Artaud…
Barbiturik (April 11, 2020) and Le Crétin En Moi (The Moron In Me) (March 6, 2020) are two intense pieces from the private universe of Olivier Bringer, involving the voice of the author and crude acoustic sounds with incidentally rudimentary organ and microphone feedback.
Olivier Bringer ~ Le Crétin En Moi (excerpt)Olivier Bringer ~ Barbiturik (excerpt)
Description Artwork: 25 unique paintings by Olivier Bringer. Ink, paint on printed media. Black gatefold cover with original signature on front and artwork between transparent sheet of paper.
