Side A (33 RPM)
1. Dream Sequence
2. Stalactite Castle

Side B (33 RPM)
1. Rain and Shine at the Lotus Pond
2. Rejoinder

Frkwys Vol. 6 features four pieces composed and performed by artists Julianna Barwick and Ikue Mori as part of a month-long installation curated by RVNG Intl. at White Columns gallery, New York, NY.

When RVNG accepted an invitation by White Columns director Matthew Higgs to display in the all-purpose Project Space, we envisioned a venue to host a FRKWYS collaboration. The non-profit gallery’s long-standing support for experimental music dates back to the Noise Fest, a nine day event curated by Thurston Moore in June of 1981 that featured many prominent downtown New York musicians.

Keeping the institution’s regard for NYC avant music in mind, we looked to Ikue Mori, a member of No Wave anti-stars DNA and pioneer of drum machine and software improvisation, and Julianna Barwick, an artist recognized for the ethereal loop-based vocal compositions of her 2009 Florine ...

Side A (33 RPM)
1. Dream Sequence
2. Stalactite Castle

Side B (33 RPM)
1. Rain and Shine at the Lotus Pond
2. Rejoinder

Frkwys Vol. 6 features four pieces composed and performed by artists Julianna Barwick and Ikue Mori as part of a month-long installation curated by RVNG Intl. at White Columns gallery, New York, NY.

When RVNG accepted an invitation by White Columns director Matthew Higgs to display in the all-purpose Project Space, we envisioned a venue to host a FRKWYS collaboration. The non-profit gallery’s long-standing support for experimental music dates back to the Noise Fest, a nine day event curated by Thurston Moore in June of 1981 that featured many prominent downtown New York musicians.

Keeping the institution’s regard for NYC avant music in mind, we looked to Ikue Mori, a member of No Wave anti-stars DNA and pioneer of drum machine and software improvisation, and Julianna Barwick, an artist recognized for the ethereal loop-based vocal compositions of her 2009 Florine EP and 2011 The Magic Place LP, to forge the focal point on our opening night event.

For the installation, a particle-board cubicle was custom constructed and placed at the center of the Project Space. The cubicle wall separated Julianna and Ikue to their respective seated work stations, while web cams captured the musicians at work / play and became interactive projections manipulated by video artist Erik Mika, illuminating this exercise in simulated engagement.

Each of Julianna and Ikue’s improvised performances on October 29th, 2010, were cut live to vinyl via portable lathe. On the album’s June 14th release date, the set of four unique lathe cuts and an elaborate art book will be made available for offers on igetrvng.com. The book features creative direction by Will Work For Good and photographs from the two events by Aubrey Mayer and Jody Rogac.

Julianna and Ikue met a second time three weeks later at White Columns, November 16th, 2010. This time the two musicians collaborated without an audience, cubicle, web cams, or lathe, but with past experience and spirit in place, an exercise in actual engagement. The four pieces of FRKWYS Vol. 6 include two performances from the first collaboration and two performances from the latter collaboration.

Frkwys Vol. 6 is a shared release with The Sound of White Columns. The LP is available in limited edition, packaged in thick black jackets with a two-color adhesive wrap. 50 subscriber copies come in leatherette jackets. All LPs come with a 24-page black & white zine; the book features creative direction by Will Work For Good and photographs from the two events by Aubrey Mayer and Jody Rogac.

Side A (33 RPM)
1. People of the Wind Pt. 1 (12:26)
2. Internet Gospel Pt. 1 (5:59)

Side B (33 RPM)
1. People of the Wind Pt. 2 (4:55)
2. Internet Gospel Pt. 2 (8:18)
3. Twilight Pacific (7:20)

Bonus track (CD track #6): Just A Little Pollution (5:23)

The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin.

When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments.

The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation and by a basic desire for collective ...

Side A (33 RPM)
1. People of the Wind Pt. 1 (12:26)
2. Internet Gospel Pt. 1 (5:59)

Side B (33 RPM)
1. People of the Wind Pt. 2 (4:55)
2. Internet Gospel Pt. 2 (8:18)
3. Twilight Pacific (7:20)

Bonus track (CD track #6): Just A Little Pollution (5:23)

The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin.

When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments.

The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation and by a basic desire for collective energy and levity. Atlantic Sound Studio in DUMBO, Brooklyn became the meeting destination for Lopatin and Borden, alongside musicians Halo, Godin, and Ferraro.

Over two days in August 2010, the ensemble played infinitely. During tour breaks the following fall and winter, the endless hours of recordings were paired down to the selections of FRKWYS Vol. 7. The music of the album represents full session takes, edited only for time. The cosmically dense but dynamic nature of the recording reveals the diverse ingredients seasoning the spatial stew. “People of Wind” Parts 1 and 2 were amongst first takes from the two-day session. The pieces exhibit the ensemble in early harmony, allowing each other textural counterpoint play while avoiding rigidity. “Internet Gospel” Parts 1 and 2 demonstrate the players at ease and taking turns at solo accompaniments, ending in a Fourth World freak out. “Twilight Pacific” and “Just a Little Pollution” are compiled from middle points of the session – structured statements in solidarity.

The limited edition LP version of FRKWYS Vol. 7 is packaged in thick black jackets with a two-color adhesive wrap. 50 subscriber LPs come in leatherette jackets. The CD resembles a miniature version of the LP. Both LP and CD will be available July 17th, and digital download will be available July 30th at igetrvng.com and through the usual storefront suspects.

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. ...

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.

“Hymn To Pan” was recorded live on July 9, 2010 during a reading/performance by Karl Holmqvist at Badischer Kunstverein. The record features a selection of four texts from his anthology “What’s My Name” (2009).

Karl Holmqvist’s texts represent a writing method that is based on lengthy collages of quotes, song lyrics, lists, and other often pop-cultural or trivial sources. Through cut-ups or repetition, occassional rhyme and mantra-like rhythm, these minimal, geometric linguistic arrangements orbit a nucleus that is at the same time analytical and meditative, and that question the cultural hegemony of rationality and authority in any sort of authorship.

Karl Holmqvist’s work has been exhibited internationally. He took part in Frieze Projects 2010 with Ei Arakawa and was also part of Manifesta 8 in Cartagena, Spain in 2010. In 2011 his work can be seen in the group exhibition “Illuminations”, part of the 54th Venice Biennale.

This record is published as a complement to ...

“Hymn To Pan” was recorded live on July 9, 2010 during a reading/performance by Karl Holmqvist at Badischer Kunstverein. The record features a selection of four texts from his anthology “What’s My Name” (2009).

Karl Holmqvist’s texts represent a writing method that is based on lengthy collages of quotes, song lyrics, lists, and other often pop-cultural or trivial sources. Through cut-ups or repetition, occassional rhyme and mantra-like rhythm, these minimal, geometric linguistic arrangements orbit a nucleus that is at the same time analytical and meditative, and that question the cultural hegemony of rationality and authority in any sort of authorship.

Karl Holmqvist’s work has been exhibited internationally. He took part in Frieze Projects 2010 with Ei Arakawa and was also part of Manifesta 8 in Cartagena, Spain in 2010. In 2011 his work can be seen in the group exhibition “Illuminations”, part of the 54th Venice Biennale.

This record is published as a complement to the exhibition “Hymn to Pan” at Badischer Kunstverein (09.07.-05.09.2010).

Two epic tracks by two Düsseldorf residents.

Prepared pianist Hauschka aka Volker Bertelmann and Brasilian painter Rosliene Luduvico with an ad hoc recording session in preparation for their collaborative show “Unbestimmt” at Kunstverein Schwerte, Germany from Sept 01 to Oct 16, 2011 on invitation by Christian Freudenberger and Markus Karstieß.

Losely themed around the forests near the artists birthplaces in Northern Brasil and Western Germany with its gods, myths and Maerchen, we hear stories and chants over Hauschkas trademark piano experiments drenched in dark delay.

Tracklist:
Side A: Macunaíma (15:31)
Side B: Nachts der Wald braucht so ganz viel Ruhe (18:20)

All music composed, produced and recorded by Rosilene Luduvico and Volker Bertelmann at Studio Zwei, Düsseldorf. Volker Bertelmann published by Bosworth Music GmbH.
This recording is supported by Kunstverein Schwerte.
Cover concept & Artwork: Hauschka & Rosilene Luduvico
Layout: Adeline Morlon.
Lithography: ...

Two epic tracks by two Düsseldorf residents.

Prepared pianist Hauschka aka Volker Bertelmann and Brasilian painter Rosliene Luduvico with an ad hoc recording session in preparation for their collaborative show “Unbestimmt” at Kunstverein Schwerte, Germany from Sept 01 to Oct 16, 2011 on invitation by Christian Freudenberger and Markus Karstieß.

Losely themed around the forests near the artists birthplaces in Northern Brasil and Western Germany with its gods, myths and Maerchen, we hear stories and chants over Hauschkas trademark piano experiments drenched in dark delay.

Tracklist:
Side A: Macunaíma (15:31)
Side B: Nachts der Wald braucht so ganz viel Ruhe (18:20)

All music composed, produced and recorded by Rosilene Luduvico and Volker Bertelmann at Studio Zwei, Düsseldorf. Volker Bertelmann published by Bosworth Music GmbH.
This recording is supported by Kunstverein Schwerte.
Cover concept & Artwork: Hauschka & Rosilene Luduvico
Layout: Adeline Morlon.
Lithography: Henning Krause

With Fulll Firearms by Emily Wardill, Apparent Extent continues its series of film soundtracks by artists who also work in the medium of music.

Fulll Firearms features music from the film of the same title by the British artist Emily Wardill, which celebrates its German debut with an extensive solo exhibition curated by Anja Casser at Badischer Kunstverein, Karlsruhe (January–April 2012). The film is an exploration of the narrative structures of melodrama and the conflict constellations of psychodrama following the real story and popular myths around Sarah Winchesters Mystery House in San Jose, CA. Fulll Firearms is about guilt and ghosts, instability, paranoia and loss of reality. The soundtrack is heavily inspired by the 1970s thriller and horror movie soundtracks by the Italian prog rock band Goblin. And yet Wardill’s music stands on its own.

The artist-composer takes sometimes poetic, sometimes definite, roughly sketched stylistic elements from the Goblin repertoire: church ...

With Fulll Firearms by Emily Wardill, Apparent Extent continues its series of film soundtracks by artists who also work in the medium of music.

Fulll Firearms features music from the film of the same title by the British artist Emily Wardill, which celebrates its German debut with an extensive solo exhibition curated by Anja Casser at Badischer Kunstverein, Karlsruhe (January–April 2012). The film is an exploration of the narrative structures of melodrama and the conflict constellations of psychodrama following the real story and popular myths around Sarah Winchesters Mystery House in San Jose, CA. Fulll Firearms is about guilt and ghosts, instability, paranoia and loss of reality. The soundtrack is heavily inspired by the 1970s thriller and horror movie soundtracks by the Italian prog rock band Goblin. And yet Wardill’s music stands on its own.

The artist-composer takes sometimes poetic, sometimes definite, roughly sketched stylistic elements from the Goblin repertoire: church choirs, pseudo-baroque piano phrases, prog-rock keyboards, eerie suggestive sound effects, and suspense-genre dramaturgy. The music seems to complete the action and acoustic imagery of the film, but as a matter of fact only about 10 seconds of the music –directed by Emily Wardill and transcribed by composer Marc Shearer– made it to the final cut of the film. The soundtrack is to be understood literally as music for, not from, the film. The music was finished before a single scene was shot and served Wardill – along with workshops with actors and friends – as a source of inspiration for the development of characters and screenplay. The music for Fulll Firearms is a sort of sonic mood board, an original foundation for her film project.

Wardill’s cover concept reproduces Fulll Firearms as an anonymous and obscure cinematic experience, as it conveys in her experimental psychodrama: The outside gatefold sleeve and the label of the vinyl record are completely black, the tracks have no titles, the most necessary remaining information (artist, album title) can only be found in the vinyl’s groove message. But as you open the gatefold album you find yourself face to face with a glamorous cinematic 16:9 contour of singing Imelda, the delusional ghost ridden protagonist of Wardill’s film, played by French actress Catherine Schaub-Abkarian, wearing a glorious black fez, enormous oversize golden creoles and necklaces, the dark felt hat itself decorated with a brooch repeating the conture-fez-and-gold imagery.

Amidst the darkness this is opulent: and the film in the head of the listener can begin … (Olaf Karnik)

Published as part of the exhibition Emily Wardill – Fulll Firearms, Badischer Kunstverein, January – April 2012.

Music by Marc Shearer directed by Emily Wardill.
Mastered by Nicholas Bussmann.

Cover concept by Emily Wardill.
Still photo taken from “Fulll Firearms”, 2011.

Record produced by Badischer Kunstverein, Karlsruhe
with LUX, London.

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives ...

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives and moods. The 15-minute-long piece is reminiscent of Beuys’ classic/infamous performance piece, “Jaa, Jaa. Nee, Nee.” (and/or Kippenberger’s later ironic Techno versions of the same.) The very same recording of “Die Welt als Wille und Vorstellung” was used as a backing track for a guitar performance by Fette and Jendreiko during the finissage of the exhibition.

The front cover and labels present views of the exhibition. “Vulkano” is a painting by Fette from her ongoing series based on the concepts of natural disasters, accompanied by a Jendreiko installation – a classic Flying V electric guitar placed atop bones, ancient symbols for aleatoric oracles. The inner sleeve reproduces Jendreikos action text used for “Orakel Konkret” as well as a transcription of Fette’s oracular predictions.

Painter and poet Angela Fette is known for her powerful, sharp paintings, installations, and mask performances. Recently, Christian Jendreiko’s large-scale actions have been realized in a number of different cities and countries, involving the collaboration of large collectives over several hours. For “Vision Vulkano” he returns to a singular, individual form of his signature playing style.

Text by Volker Zander

Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always ...

Control Magazine acts as a vehicle for proposals and explanations of art practice between artists seeking to create a meaningful engagement with contemporary society.

Published and edited by Stephen Willats, this pioneering magazine has documented the work of many artists, both from the UK and abroad and encouraged a wide discussion of artists’ practices. It has included contributions and original pieces from an extensive range of artists over its eighteen issues. Since 1965, the magazine has published work and writing by over 150 artists, including John Latham, Roy Ascot, Anthony Benjamin, Dan Graham, Mary Kelly, Helen Chadwick, Tony Cragg, Dennis Adams, Lawrence Weiner, Anish Kapoor, Martha Rosler, Jeremy Deller, alongside collectives and collaboratives such as Gallerie in Friedrichstrasse, Artists Placement Group and early producer’s galleries such as that of Dieter Hacker. Many of the artists have made artwork specially for the magazine.

Control Magazine’s function has always been to provide a resource for artists to discuss their work and, in particular, to make connections with other disciplines such as social or computer sciences, technology etc. Its eighteen issues provide a unique record of a specific area of art practice over four decades and this non-profit making publication has had an acknowledged influence on the practice of artists.

Alongside the magazine itself, there have been events held to launch certain issues, such as Cognition Control, Midland Group Gallery, Nottingham, 1972; the Symposium Art Creating Society at MOMA, Oxford, 1989; Art and Intervention at Wilma Gold, London, 2003.

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. ...

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.

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 ...

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.

After numerous releases with the artist Jonathan Meese, „No time left“ is
finally the first solo album by the artist and musician Tim Berresheim (Cologne).
Besides last year’s 7“ on Meeuw Muzak it is also the first release that doesn’t
appear on his own New Amerika imprint, but on Eventuell – a label which is specialised in artists’ records and produced a collaboration between
Raymond Pettibon, Otomo Yoshihide and Blank last year.

„No time left“ is an impressive proof of Berresheim’s musical skills, both as
multi-instrumentalist, programmer and composer. The four tracks on this LP
are carefully constructed mixtures of wonderful guitar- and basslines,
atmospheric synth-layers, dubby electronic music and unorthodox samples.
Although very eclectical in its wide range of sounds and elements, the
recordings are characterized by a coherent mood. If you can imagine a
hybrid of Nurse with wound, early Residents and Tom Recchion, you’re
probably quite near to what can be heard on ...

After numerous releases with the artist Jonathan Meese, „No time left“ is
finally the first solo album by the artist and musician Tim Berresheim (Cologne).
Besides last year’s 7“ on Meeuw Muzak it is also the first release that doesn’t
appear on his own New Amerika imprint, but on Eventuell – a label which is specialised in artists’ records and produced a collaboration between
Raymond Pettibon, Otomo Yoshihide and Blank last year.

„No time left“ is an impressive proof of Berresheim’s musical skills, both as
multi-instrumentalist, programmer and composer. The four tracks on this LP
are carefully constructed mixtures of wonderful guitar- and basslines,
atmospheric synth-layers, dubby electronic music and unorthodox samples.
Although very eclectical in its wide range of sounds and elements, the
recordings are characterized by a coherent mood. If you can imagine a
hybrid of Nurse with wound, early Residents and Tom Recchion, you’re
probably quite near to what can be heard on this great record.

The four instrumentals correspond with four large, modified black-and-white
photographs by Tim Berresheim which are fully reproduced on four sides of
the stunning extra-large gatefold-cover in the form of a triptych. An impressive
artists’ record which comes in a limited edition of 400 copies plus an special
edition of 40 numbered and signed copies which includes an original photograph
(40 different works) on cardboard with gold stamping.

“Cranfield and Slade: 12 Sun Songs” is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album, Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrison’s “Here Comes the Sun” and The Kinks’ “Waterloo Sunset,” to the lesser-known “Sun” by singer-songwriter Margot Guryan or “Where Evil Grows” by Vancouver’s The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments.

Based in rainy Vancouver, Cranfield and Slade is made up of visual artist Kathy Slade and artist/musician Brady Cranfield, working with musicians including Larissa Loyva (Piano, Kellarissa), Johnny Payne (Victoria Victoria, The Shilos), and Chris Harris (Piano, Parks and Rec, The Secret Three, ...

“Cranfield and Slade: 12 Sun Songs” is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album, Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrison’s “Here Comes the Sun” and The Kinks’ “Waterloo Sunset,” to the lesser-known “Sun” by singer-songwriter Margot Guryan or “Where Evil Grows” by Vancouver’s The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments.

Based in rainy Vancouver, Cranfield and Slade is made up of visual artist Kathy Slade and artist/musician Brady Cranfield, working with musicians including Larissa Loyva (Piano, Kellarissa), Johnny Payne (Victoria Victoria, The Shilos), and Chris Harris (Piano, Parks and Rec, The Secret Three, Womankind); and special guests John Collins (The New Pornographers, The Evaporators) and artist Rodney Graham (The Rodney Graham Band, UJ3RK5).

The liner notes for “12 Sun Songs” were written by celebrated Canadian poet and critic Peter Culley.

Issue 13 is by visual artist, writer and curator Matthew Higgs and visual artist Martin Creed. The issue consists of a 12 inch vinyl 120 gram picture disk with Mathew Higgs on one side and Martin Creed on the other. The record contains one track by Martin Creed entitled ‘My Advice’ with words and music by Martin Creed.

MATTHEW HIGGS
work – which invariably takes the form of framed book pages, framed exhibition catalog covers and photographs of books – might productively be thought of as ‘found conceptual art’.
For more than 12 years Higgs has worked within these self-consciously defined – but almost infinite – parameters. Rooted in countless hours spent in second-hand bookshops Higgs’ re- contextualization of existing printed matter seeks to consider questions of authorship, uniqueness, labor (or lack thereof), vandalism, linguistics, typography, design (and its relationship with late-modernist abstraction), amongst other things. Often ...

Issue 13 is by visual artist, writer and curator Matthew Higgs and visual artist Martin Creed. The issue consists of a 12 inch vinyl 120 gram picture disk with Mathew Higgs on one side and Martin Creed on the other. The record contains one track by Martin Creed entitled ‘My Advice’ with words and music by Martin Creed.

MATTHEW HIGGS
work – which invariably takes the form of framed book pages, framed exhibition catalog covers and photographs of books – might productively be thought of as ‘found conceptual art’.
For more than 12 years Higgs has worked within these self-consciously defined – but almost infinite – parameters. Rooted in countless hours spent in second-hand bookshops Higgs’ re- contextualization of existing printed matter seeks to consider questions of authorship, uniqueness, labor (or lack thereof), vandalism, linguistics, typography, design (and its relationship with late-modernist abstraction), amongst other things. Often making direct reference to the condition – and reception – of art, Higgs’ ongoing project formally acknowledges the presence and role of the viewer, while simultaneously addressing the physical reality of the art object.
Matthew Higgs was born in 1964 in Wakefield, UK. He received his BA (Hons Fine Art) at Newcastle-upon-Tyne Polytechnic. He is an artist, writer, curator and educator. Recent solo exhibitions include Art in Crisis – Pictures in Peril, Murray Guy, New York (2009); Never Look Back, Glenn Horowitz Bookseller, East Hampton, New York (2009); Wilkinson Gallery, London (2008); and, together with Gedi Sibony, Beginnings, Middles, and Ends, Galerie Senn, Vienna (2009). He has held curatorial positions at the ICA, London and CCA Wattis Institute, San Francisco, and is currently director and curator of White Columns, New York.

MARTIN CREED
was born in 1968 in Wakefield, England. From the age of three he lived in Glasgow, Scotland. Between 1986 and 1990 he studied at the Slade School of Fine Art, London. After art school he lived and worked in London until 2001, when he moved to Alicudi, Italy. In 2001 he was the winner of the Turner Prize. He currently lives and works in London and Alicudi.

Side A (33 RPM)
1. Awakening Day (8:37)
2. Light Ships (11:32)

Side B (33 RPM)
1. City of Love (8:43)
2. Freeflow (7:35)

Bonus downloads:

1. Somebody Scream (35:03)
2. Astral Jam (17:21)

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the “fodder first” tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control’s evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji’s name came up early in that conversation and felt intrinsic to Waterhouse and Cho’s own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji’s 1979 album Celestial Vibration (recorded ...

Side A (33 RPM)
1. Awakening Day (8:37)
2. Light Ships (11:32)

Side B (33 RPM)
1. City of Love (8:43)
2. Freeflow (7:35)

Bonus downloads:

1. Somebody Scream (35:03)
2. Astral Jam (17:21)

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the “fodder first” tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control’s evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji’s name came up early in that conversation and felt intrinsic to Waterhouse and Cho’s own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji’s 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraaji’s zither explorations alongside Eno’s soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool.

Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraaji’s “musical friend” Arji Cakouros) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out.

Without context, it’s hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. It’s clear a cosmic force is at play, and that this playfulness is the creative mediator of the music.

Over two album sides, the listener is transported from the urban sound garden of “Awakening Day,” through the soulful yow of “Light Ships,” into the texture bliss of “City of Love,” and finally the reflective pool of “Freeflow”. The first bonus track “Somebody Scream” demonstrates Laraaji’s dexterous zither-playing over thirty-five minutes of music, while the second, “Astral Jam,” starts with a Wu-like beat (courtesy of Laraaji) and warps into a rolling snare trance.

The limited edition LP version of FRKWYS Vol. 8 is packaged in thick black jackets with a two-color adhesive wrap, both printed on post-consumer goods papers at Stumptown Printers. 50 subscriber LPs come packaged in leatherette jackets.

OMMU is pleased to present “Postcards and Rare Multiples”, an exhibition of just what the words say, postcards and rare multiples, designed and produced for and by Eric Wrenn OFFICE.

This is a practice that signals an impressive implementation of graphic design as an exercise in providing space for the wild circulation of images and information to slow down and find new configurations; configurations that let the quality of its content—be it clever, elegant or even stupid—communicate like the clouds of smoke from Magritte’s pipe. A personal business card as an American flag is a good example, where the stars and stripes are put to use as an image that expresses one’s personal contact without the need of an email.

With works produced specifically for OMMU, “Postcards and Rare Multiples” is a chance to see this noteworthy practice respond and reconfigue itself specifically for the exhibition format.

Eric Wrenn OFFICE x Comme des Garçons poster (after ...

OMMU is pleased to present “Postcards and Rare Multiples”, an exhibition of just what the words say, postcards and rare multiples, designed and produced for and by Eric Wrenn OFFICE.

This is a practice that signals an impressive implementation of graphic design as an exercise in providing space for the wild circulation of images and information to slow down and find new configurations; configurations that let the quality of its content—be it clever, elegant or even stupid—communicate like the clouds of smoke from Magritte’s pipe. A personal business card as an American flag is a good example, where the stars and stripes are put to use as an image that expresses one’s personal contact without the need of an email.

With works produced specifically for OMMU, “Postcards and Rare Multiples” is a chance to see this noteworthy practice respond and reconfigue itself specifically for the exhibition format.

Eric Wrenn OFFICE x Comme des Garçons poster (after Inoue Tsuguya)
2011
Offset print on paper
610 × 863 mm (24 × 34 in)
Edition of 250

Sports stationery
2012
Foil stamp on paper with matching envelope
127 × 177 mm (5 × 7 in)
Edition of 250

America business card
2012
Letterpress on paper
89 × 51 mm (3.5 × 2 in)
Edition of 500

Eric Wrenn sticker
2009
Silkscreen on glow-in-the-dark vinyl
216 × 70 mm (8.5 × 2.75 in)
Edition of 250

Blackberry Euro-Trip zine
2010
Laserjet print on paper
127 × 190 mm (5 × 7.5 in)
Edition of 50

Eric Wrenn OFFICE at OMMU shopping bag
2012
Silkscreen on leopard print paper bag
177 × 280 mm (8.5 × 11 in)
Edition of 200