Thursday, May 17, 2012
With Giorgio Moroder she created some of the most ground breaking proto techo music that came out of the 70s. New Order even sampled the beat for 'Blue Monday' off the track 'Our Love' .
Donna Summer is mainly not associated with electronic music history but she should be. The album 'Bad Girls' in particular, the last 3 tracks are some of the catchiest electronic dance music productions that Moroder was ever part of. 'Sunset People' especially is one of the catchiest songs i have ever heard.
Please enjoy ths Donna Summer selection of very ahead of it's time electronic disco music from the late 70s
Sunday, February 19, 2012
Not Breathing - Dude Ranch
"new not breathing ep w/ three tracks by dave wright & karl white - with meat beat manifesto remix of 'current' - enjoy"
Not Breathing - The Desert Masters
A change in direction for Not Breathing, coming off of Christy Cores we have more distorted drones and less beats this time around. The black metal influence is strong here. Highly recommended
Seacrypt - A Momentary Rift
new synth pop album featuring members of Nommo Ogo, female and male vocals with a nice mixture of analog drum machines, modular and fm synthesis
Thursday, January 19, 2012
new digital only compilation featuring live recordings by Brian Albers and exclusive tracks from Wisp, Xanopticon, Kush Arora, Thee Source Ov Fawnation, Fluorescent Grey, Exillon, Identity Theft, RMS, Terminal 11, Brian E, Scuzi & William S. Braintree
please specify if you donate $15 or more which size
The Cremation of Care festival took place on September 23rd and September 24th of 2011 at RecordLabelRecord's very own underground venue, Zool in Oakland, California. It featured hour long performances by every artist featured on this compilation as well as DJ sets by DJ Brindlespork (wobbly) DJ John Yoo and DJ Paul Wolfowitz.
Sunday, January 8, 2012
One of the artists that i wanted to get on 'Electric Carpets', Pselodux, has released a new album
About a year ago he had a logo created for his project
I knew it looked familiar and that from his forum postings he was into Sega Genesis music. At first i thought 'Shadow of The Beast' maybe, but it turned out it was based off the software company Psygnosis
'Emergence' pays homage to artists like Harmonia and Vangelis but infused with a highly skilled prog rock and IDM sensibility.
Intricate high tempo jammy drums make occasional appearances. Think of IDM in the Team Doyobi sense. A lot of 80's throwback and chiptune music i hear is almost too rooted in it's origins. The modern twist people usually throw on it is a hyper compressed punchy production. Here on Pselodux's Emergence he doesn't just pay homage to or mimicking these genres of the past but builds on them, taking them into new territories. Some of it reminds me (i say reminds me lightly, this is not wonky) of Rustie or Hudson Mowhake but with the bombastic instant payoff held off in favor of a more satisfying build up. If you would prefer a taxidermic recreation of 80's soundtrack music, this album is not for you, but if you're in the mood for something more playful and personal go to his bandcamp page . Stream the entire release below
Saturday, January 7, 2012
Fluorescent Grey – Please Do Not Buy This Recording
Label:Not On Label – none
Released: 05 May 1996
Genre: Electronic, Non-Music
Style: Abstract, Noise, Experimental
The very first florescent grey recording (it was spelled florescent until 1998). Recorded in the garage of the house i grew up in using a karaoke stereo system, a bunch of turntables and 80's/90's children's musical toys. This has never been heard outside of a handful of people and after listening to it you will understand why. Check out Side 2 as well.
Side 2 'PLEASE DO NOT BUY THIS RECORDING' cassette 1996 by Fluorescent Grey
Side 1 "PLEASE DO NOT BUY THIS RECORDING" cassette 1996 by Fluorescent Grey
Thursday, January 5, 2012
Occupy Oakland Tear Gassing 11-2-11 (Field Recording) by Fluorescent Grey
Splice Today wrote this interesting article about it here
Inauspicious at first, the audio linked above—a recording taken during an Occupy Oakland tear-gassing on November 2, 2011—betrays little of what is to come in its opening seconds, and seems somewhat reminiscent of my experience all those years back. Voices ring out conversationally and confrontationally; there’s a communal crackle in the air; police scanners squawk, feeding a sort of fractal noise-rock ambiance into the mix; a reporter files a television piece about the occupation, or maybe someone listens to a television piece a reporter filed about the occupation; a robotic voice instructs the assembled to vacate the area immediately in a bored, less-than-urgent monotone that’s lost in the vortex of competing sonics. “They ain’t got no weapons, man,” a youth shouts. Little does he know. Then, a minute in, the going gets slightly hairier. The loudspeaker warning drones on. Muttered conversations bleed into the battering of drums and ragged chants rising almost inchoate from the guts of the protest. Then the tear gasses erupt, and the mood shifts ever so slightly, and the palpable buzz and crackle of a massed, anticipatory crowd gives way to a gradually escalating hysteria.
This is hard to listen to, for several reasons. First: it just doesn’t seem as uncomfortable as a recording of peaceful protestors being tear-gassed should sound; there’s a washed-out, tinny tone to the chanting, as if the recording we being made from a distance, and this has the effect of making the listener feel removed, emotionally, from the Constitution-stomping nature of the police action and subsequently leading the listener to feel bad for feeling that way.
Second: people are suffering on this recording, but so many of their voices are so faint, see, including the woman yelling because her friend is having an asthma attack because of the gas, all of which feels like a too-neat metaphor for why the Occupy movement has to exist at all.
Third: people start swearing, which is disconcerting in social situations.
Fourth: did you notice that expressions of suffering are outnumbered by impassioned collective sloganeering? The humanity of that, and the knowledge that all of these people probably joined hands and shut their eyes tight and sunk their minds into chain-linked declarations of unity and equality in the face of gallons of noxious chemical gas, gives one great pause, and underlines the point that all of us should really be out there with them, that contributing books and money and unquantifiable online support isn’t really enough.
Fifth: given the intractability of our financial and political institutions, I fear that this may be our future—one that makes street corner dust-ups over beer-soaked 20s look like chump change.
Thursday, December 8, 2011
Free download if you type 0.00 for the amount
unreleased/outtakes from 2002-2007 from the Lying on the Floor Mingling with God in a Tijuana Motel Room & Gaseous Opal Orbs sessions. Parts 1-4
Fibrous Emerald Tendrils 1
1. Nanotamper 2004
2. Swampmulch 2003
3. Fauxlarynx 2005
4. Stoneridge with Self-Made Robot 2005
5. I Am A Photograph Of My Own Driveway with Kossak 2003
Fibrous Emerald Tendrils 2
1. Rainbow Jamboree with Brian English & Mike Crowley 2004
2. Elephant Seals 2005
3. Spread Laser 2004
4. Who Said Fruity Loops Was Only For Pussies? 2003
5. Artificial Sun 2006
6. Chaykin, Knight 2004
7. Iridescent Worms 2003
8. Vectrex Pop 2006
Fibrous Emerald Tendrils 3
1.Luke Vibert Has Diphtheria 2006
2.Netherrealm Step 2007
3.Technology (Reaktormix) vocals by N4SA 2005
4.Ghost of Max Roach 2004
5.Luke Vibert Has Leprosy 2006
7.Max/MSP Is For Re-Inventing The Wheel with POWMOD 2003
8.From The Edges Of My Visual Perception Frame I Feel The Entities Trying To Grab Me 2007
10.Zebes Dub 2006
11.Devine Envy 2004
12.Turquoise Tile Grinder 2003
Fibrous Emerald Tendrils 4 (COMING SOON)
Friday, November 25, 2011
Thursday, November 3, 2011
Media Roots Radio - Interview with Trevor Paglen, Experimental Geographer, Artist & Author by Media Roots Media Roots Radio – Interview with Former Senator Mike Gravel by Media Roots Media Roots Radio – Occupy Wall Street, Divide & Conquer, Medical Marijuana by Media Roots Media Roots Radio - White House Hypocrisy & Spin, Democrats' Wars, Fake Terror by Media Roots
Wednesday, November 2, 2011
Tuesday, November 1, 2011
Kossak - You Forgot To Kick It CD RLR23
the upcoming CD on RecordLabelRecords is the debut album by Lucas Patzek aka Kossak. Longtime
RecordLabelRecords partner and collaborator finally comes from behind the curtain to showcase his skills as a sound designer and strange electronic music beat producer.
early ordering is available now for CD/digital versions of Kossak's debut work.
|EastBayExpress cover on Underground Venues in Oakland|
RecordLabelRecords, Zool, Katabatik, and Lana Vornina all made the cover story of the Eastbay Express
from the article...
" .........When the legendary Bay Area experimental band Negativland decided to unveil its new project, NegativWobblyland, to its fans in August, it didn't try to book a show at an established club like Slim's or Bottom of the Hill in San Francisco. Instead, it decided to play at "Zool," a space that doesn't advertise, have a cabaret license, or is known to the general population. Located in an industrial section of West Oakland, the live-work warehouse occasionally hosts live music and only advertises its shows via word of mouth, Facebook, an e-mail list, and judiciously distributed fliers.
"It was lower pressure for us," explained Negativland's Mark Hosler, reasoning that the new band is an all-improvised instrumental project using homemade electronic noise-makers. "They're very silly sounding," he said of the devices. "It was hilarious and fun."
"It kinda reminded me of warehouse shows we used to do in the early-Eighties — set up in an art gallery or basement with no stage. But now you have social networking."
Zool is one of at least seventeen underground warehouses and houses in Oakland right now that host live music..."
Check out the rest of it here
digital/CD purchasing & full previews of the new Dalglish CD in semi low quality are available here
"It is a tremendously complex album that many will abandon after the first try (the start, with “25.6.2010”, cosmic and sweet, doesn’t sound like it - but the electro-acoustic interpretation of Mark Fell’s idiom on “8.4.2006” does, whilst the volcanic ambient of “5.8.2001” spits out glitches as if they were burning stones). However, if you keep trying, it grows on you. In a braver world, or maybe on Mars, this would be an instant classic. Here, on the third rock from the sun, we settle for “experimental record of the year”
- Javier Blánquez of Playgroundmag
"listeners are left to piece the picture together, with only Douglas’s sonic collages as guide. As things stands, these are quite powerful triggers, from claustrophobic environments (3.9.2004, 30.12.2007, 7.3.2008) and fragmented textures (5.8.2001, 7.3.2009) to more austere (13.6.2003, 10.7.2005, 7.3.2009) and almost peaceful sequences (25.6.2010, 8.4.2006, 6.8.2002). Despite the intensely mechanical aspect of the music, their is something very organic about these tracks. In that, Benacah… is often reminiscent of Autechre, especially in how Douglas manages to generated strong emotions from such deeply electronic approach, a feat made even more striking by the overall sombre aspect of the record."
- The Milk Factory
"Anyone who has fond memories of IDM’s heyday will get something out of this oil-spraying, machine-massaging look at what the appliances in your house do after dark. Beats get broken up into binary code, synths hits your speakers like sheets of static, and unexplained flying samples maintain a suffocating sense of dread. If someone ever figures out how to translate Philip K. Dick’s fiery prose for the screen again, this’d make a suitable soundtrack"
"This sombre, endlessly fascinating album is already set to become one of the year's cult favourites, having already earned a glowing full-page review from The Wire to sit alongside nuff props from the deep end of the electronic underground. We've been struggling to categorise it, which is praise in itself, but it's safe to say that it will appeal to fans of deepest avant-techno and hauntology alike, and of course those like us who've been dreaming of a fusion of the two. It evokes nothing so pungently as a stroll down a desolate beach with nothing but the black dog of depression for company, but at the same time there's such beauty and complexity to behold that it is, in the end, a totally life-affirming experience.. e. Dalgish puts percussion sounds to textural rather than a time-keeping use; just as you think you've identified a beat pattern it dismantles itself before your very ears and is subsumed back into the foggy, forbidding ambience from whence it came. It really is a mind-blowing trip, suggesting MR James' Whistle And I'll Come To You if soundtracked by T++, SND, Pole and Rhythm & Sound. Albums like this really don't come around very often, the kind that really mess with your sense of time, space and being. Honestly, this is one of the most intellectually engaging AND emotionally resonant works of electronic auterism we've encountered in recent times, and it comes with our highest recommendation."
Full song downloads
Dalglish - 7.3.2009 (from Benacah Drann Deachd RecordLabelRecords26) by Fluorescent Grey Dalglish - 3.9.2004 (from Benacah Drann Deachd, RecordLabelRecords 26) by Fluorescent Grey
Sunday, September 4, 2011
In time he started experimenting with exotic instruments and tried weaving them into a traditional orchestra aesthetic. Two years before Delia Derbeishire made the legendary "synthesizer" (which really was tape splice cutups, not synthesizer) theme for Dr. Who, Goldsmith had incorporated a Hammond Novachord into his theme song for Voyage to the Bottom of the Sea (the last song in this mix).
In the 70s Goldsmith was already beginning to toy with synthesizers, but he didn't make a fully synthesized score until the film Logan's Run. His use of strange instruments and synthesizers make brief appearances on some of his earlier scores such as Star Trek the Motion Picture, but when his collaborations with Joe Dante peaked (Goldsmith became Dante's right hand man akin to Spielberg's use of John Williams), electronic elements were incorporated into almost every score he made from 1981-87. The results were profound: the samples from Gremlins, Explorers, Psycho II, Poltergeist, Outland in this mix exhibit a mystical hybrid of classical symphony and synthesizer music that has never been replicated since.
We went Goldsmithing for electronic music and this is what we found, so kick back and enjoy a relaxing journey of nostalgic childhood treats from none other than Jerry Goldsmith.
Monday, August 22, 2011
RecordLabelRecords is proud to announce the long awaited debut LP by dsp/visual artist Mike Dunkley, Corpus Clock. People have recently started to exclaim 'idm is back!'... maybe it had something to do with the arrival of Phonecia's Demissions, but all we can say is the rumors are true.
Corpus Clock is a fully fledged intricate glitch fest intertwined with muddled beauty, granulated ambiance and unashamedly idm in it's origins. This is not merely an exercise in trickery, it is full of wonder and hallucinations. Reminiscent of a short lived psychedelic era of electronic music. Murky glimpses of Coil and Sun Electric can be heard. Passages call to mind a strange hybrid of Quaristice and Simon Posferd's more restrained work. All the tracks have 2 minute previews in 128kbps quality. The digital version will be available 1 month from now. Vinyl is limited to 250 numbered copies featuring full color artwork by Mike Dunkley. Click Here to preview or order now
Monday, July 18, 2011
[SF] House of Meats Record Release Party William S. Braintree, Fluorescent Grey, Kcinsu
Saturday, July 23rd 9pm-2am.
The Li Po Lounge
916 Grant Street
San Francisco, CA
9pm - Doors open
10pm - Kcinsu
11pm - Fluorescent Grey
12am - William S. Braintree
Doors 8:00, show 8:30 pm
Buy a festival pass for $36 Co-curated by Sarah Bernat, Eilish Cullen, Terrance Graven, and Honey McMoney
Design by Bert Bergen + Grant LaValley
Friday, July 22, 2011
DJ Tristes Tropiques
DJs Nihar/Riegler of Warm Leatherette
Saturday, July 23, 2011
Lana V--Granny Z
DJ Mick Nasty
DJ Myles Cooper
Division of Labor playfully examines experimental music, sound, performance, and DJ culture, bringing together distinctive artists and uniting diverse audiences from within The Lab’s innovative creative community and beyond. For the past 16 years, the Lab has occupied the Redstone Building—a landmark encapsulating a specific history of union organization and labor strikes. Division of Labor is inspired by the Redstone building's rich history and coincides with our annual juried exhibition, A floorless room without walls. The gallery ceiling serves as both site and subject of A floorless room without walls.
come join us with the Edomites, Bouche Mandela, Candle Labra, DJ Paul Wolfowitz at Zool (751 3rd st, Oakland, CA) on Saturday July 30th 9:30 PM - ???am, $6 at the door
Friday, July 8, 2011
Monday, June 27, 2011
Sunday, May 15, 2011
Friday, May 6, 2011
abby and i break down the mindlessness of american citizens and how easily they fall prey to propaganda and claims of bogeymen's death with absolutely no evidence
Wednesday, March 16, 2011
artist: Fluorescent Grey
catalogue no.: ACP077
release date: 15.03.11
1. Dacca Thermotensile Loony Smut Syst
2. Baba Rube Drone Lions
3. Ice Age Fire Loving Zool; Troy
4. Ramadan Greek Winter Trek (aka Coricidin)
5. Chicken Hypnotism
6. Abc Condom Motorist = Trunks Tony
7. Juanita Ciardelli
8. Basal Metabolic Rate Niggle Vishnu; Intr. Slur
9 . Cinema Isn't Soul Sorn
10. Gomez Childs Shult
11. Gunner McRagburn
12. Dead Pink Sphere Pussy Envy
13. Leaf-Laden Amber Hued GUI
14. Abaca Cede, Love to Lie......... Iris Truly
15. Johnny Rocket-Ball
16. Endless Saccharic Acid Deed... Every Show Oozy
17. Calcium Cyclamate: Eighteen Helix Horn Worms
18. Arcjet Penhorn
19. Applebaum Watersnake
20. PPink Sun, Venial Gypsies
21. Where From Tape Deck Ked
22. Would You Say I Have A Plethora Of Piñatas?
23. Rick Santorum Smokes Salvia Divinorum
25. Québécoise Italo
26. Pierce Molten Dog Rose
download release in Wave, Flac or Mp3 format here
27. The Acroplane Guide to Electronic Music Mix
In early 2010, what would eventually become Antique Electronic Synthesizer Greats was simply a concept for a live set. Fluorescent Grey, aka Robbie Martin, cut almost a thousand tiny samples and loops from works dating from 1955 to 1984, limiting his sources to strictly electronic and/or synthesized recordings. His rules allowed for non-synthesized compositions (e.g., Delia Derbyshire's tape cutting based tones) as well as synthesizer audio of any kind, including the Hammond Novachord. And far from simply a stolen sample collage, or meta-mash-up project, Robbie wanted to allow the mix he composed to preserve and highlight the eras' best sounds in a comprehensive backdrop. Some of those painstakingly found and excised snippets may be all but indiscernible to most, while some tease with their familiarity (Depeche Mode bass drum? YMO hi hat?), and some are nakedly in homage (synth lines from Vangelis, Giorgio Moroder). All are as playful as the puzzling track names, one of the most obvious of which are pieces that re-imagine the sound of John Carpenter's best synth-centric movie scores. From the uneasy sounds of horror to the sweet spot of vintage synth-pop and industrial, to the brief satisfyingly bizarre vocal cameos by Alan Vega and a Spanish industrial/noise outfit, it runs the gamut of its chosen time period exhaustively.
One might wonder, why stop at 1984? or 1983 (the original cutoff)? In all honesty, the cut off year was first altered to make one Zoviet France record eligible. But why is it so important to draw the line in the early 80's when many classic and important electronic albums came out between 1984-1990, Skinny Puppy's Bites or DJ Pierre's Acid Tracks. The answer is simple, until 1984 most music that was 'electronic' relied primarily on synthesizers. Around mid-1983 romplers/samplers become par the course. The techniques sent waves through the electronic music production circles and arguably diluted the powerful earlier sound of acts like Tangerine Dream and Kraftwerk (ie electric cafe). Maybe most notably, the Klaus Schulze album 'Dig it' that proclaims the death of a analog on it's opening track. Additionally the rules were not set yet, before rave culture took hold there was a more playful less specific purpose to it all. Lending itself automatically to a more varied feel.
Given the uncannily nostalgic or modern moods evoked, it can be all too easy to forget that the entire mix is comprised solely of an endlessly rotating roster of up to 15 isolated loops, all at least a quarter of a century old, some twice that age. On some songs, you could imagine a DJ dialing into the sounds of AFX or Mr. Oizo, an amusing stunt for some of the source material sounds unmistakably dated in a way that has yet to be retrofetishized. Proto-electronica futurism captured in Chris Carter's sequences or Morton Subotnick's Autechre-like FM synth splatters, works that indisputably sound futuristic in their own right. Dated or not, the novelty factor of an overwhelmingly corny synth brass sample is sometimes too good to resist, making it nigh impossible to prevent that old fashioned sound from antiquing the whole mix.
This pastiche is offered up in both a mix and an individually tracked album for maximum utility. Use the cover art and the hidden messages contained herein as a resource for your own Antique Electronic Music search. Please feel free to identity the samples sources on the comments for Mixcloud on the comments section for this page.
"Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener."
- Raymond Scott, 1949
Sunday, March 13, 2011
Friday, February 4, 2011
In this episode Abby and Robbie talk about the Egyptian Revolution: US puppet dictators, coverage in this country compared to coverage during Iran's "green revolution", the causes of unrest and the tactics being used by Mubarak to try to stifle the revolution. Special guest Laurie Kircher comes on to weigh in on the subject during the broadcast.
The above timeline is interactive. Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player. If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display.
Wednesday, January 5, 2011
This is a special episode of Media Roots Radio about the events of 9/11 & Anthrax. In this edition, Abby and Robbie Martin continue the discussion from the previous 9/11 episode, and break apart the official government and corporate media narrative of both attacks by discussing the foreknowledge, government complicity, and gross inconsistencies regarding every aspect of the events.
Please check out Part 1 of our 9/11 discussion which dovetails into the Anthrax attacks from Part 2
The above timeline is interactive.
Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player. If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display.
This radio show airs on shortwave radio Sundays at 6pm central time, following the Alex Jones show. The frequency is 9.350 MHz.
For more information go to www.MediaRoots.org
Wednesday, December 22, 2010
This is a special 2 hour 20 minute episode of Media Roots Radio about the events of 9/11. In this edition, Abby and Robbie Martin aka Fluorescent Grey introduce how their political awakenings were prompted by 9/11, and break apart the official government and corporate media narrative of the 9/11 attacks by discussing the foreknowledge, government complicity, and gross inconsistencies regarding every aspect of the events. The show then delves into the aftermath: the psychological manipulation of the American psyche and the significance that this event continues to have in our nation and world.
The above timeline is interactive. Scroll through it to find out more about the show's music and to resources mentioned during the broadcast. To see a larger version of the timeline with clickable resources go to the soundcloud link below the player.
If you would like to directly download the podcast click the down arrow icon on the right of the soundcloud display. To hide the comments to enable easier rewind and fast forward, click on the icon on the very bottom right.
This radio show airs on shortwave radio Sundays at 6pm central time, following the Alex Jones show. The frequency is 9.350 MHz.
Listen to last week's episode about the TSA, Israel, Palestine, and features an exclusive interview with aid flotilla survivor Dr. Paul Larudee, or another broadcast about Psyschedelic Drugs, the CIA, LSD, DMT, the DEA, Lucid Dreaming and Consiousness.
Sunday, December 19, 2010
Download or Stream Mix HERE
Symbiosis 73 - Sutekh - Tracklisting
Madlib "Afritonic Pt.1" Medicine Show #3: Beat Konducta in Africa (Madlib Invazion/Stones Throw) 2010
Matthew Herbert "Alex Duwe" One Club (Accidental) 2010
Atom(‚Ñ¢) "Im Rausch Der Gegenwart I" Liedgut (Raster-Noton) 2009
Feadz "Liisborg Error" People Numbers Money Business (Ed Banger) 2009
Fluorescent Grey "Tubal Cain" Katabatik Kollektion Fall 2010 (Katabatik - compilation) 2010
http://www.katabatik.org/ (full compilation downloadable for free)
Plastikman "Hypokondriak" Artifakts BC (M_nus) 1998
Utu "Synchronia" N428 (Plus8) 1993
Xhin "Blade Moth (tool)" Plexis/Blade Moth (Meerestief) 2010
The Bug "Skeng (Autechre Remix)" Ninja Tune XX: Volume 2 (Ninja Tune - compilation) 2010
LV & Untold "Beacon" (Hemlock) 2010
Ramadanman "Bass Drums" Future Bass (Soul Jazz Records - compilation) 2010
James Blake "Sparing the Horse" (Hemlock) 2010
2562 "Who Are You Fooling?" Unbalance (Tectonic) 2009
Mark Fell "Ideation (6)" Ten Types of Elsewhere (LINE) 2004
Bruce Haack "Noon Day Sun" Farad: The Electric Voice (Stones Throw) 1979/2010
IBM 7090 Computer "The Second Law (Max Mathews)" Music from Mathematics (Decca) 1962
David Tudor performs "Proiezioni Sonore (1955-56) by Franco Evangelisti" Piano Avant-Garde Recordings 1956-60 (Hat Hut)
Find out more about Sutekh at Context.fm
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