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OUT February 2014
KONTAKT DER JÜNGLINGE «Makrophonie 1« CD (DS109)
The first album by Kontakt der Jünglinge since the release of their CD n (DS63) on Die Stadt back in 2003, »Makrophonie 1« is also their very first studio album. It's the result of various scores which were developed before and during miscellaneous live performances. These worked out structures were then taken to the studio, where they were concentrated and received their final finish. »Makrophonie 1« can be described as KDJ music in highly-concentrated form.
The album was recorded at Audiplex Studios, Hamburg in 2013 and produced by Okko Bekker.
Limited edition of 500 copies in Digipack cover.
1. 'Makrophonie 1' 37:39
Kontakt der Jünglinge is a cross-generational collaboration between sound artists Thomas Köner and his friend and mentor, Asmus Tietchens.
The project is an homage to Stockhausen, playing on the titles of two of his most famous pieces, »Gesang der Jünglinge« (195556), once described as »the first masterpiece of electronic music« and »Kontakte« (195860), one of Stockhausen's paradigmatic early works.
Kontakt der Jünglinge 1 (DS34) was released on Die Stadt in 2001 and features the duo's first performance, which took place in the »Lagerhaus« Bremen / Germany in December 1999, followed by three more albums feat. the live performances 0 (DS39), -1 (DS48), n (DS63) and the box set Frühruin (DS69), also incl. a 3" CD feat. a solo track by each artist, between 20012004. The performances of Kontakt der Jünglinge can be described as »always intuitive personal explorations of sonic material resulting in unexpected and exciting modern music«.
Asmus Tietchens (1947) has had a significant influence on the development of German electronic music, as well as on industrial, noise, and experimental music,
though he explicitly eschews well-defined genres. He is extremely prolific, recording under the monikers Hematic Sunsets and Club of Rome among others, as well as under his own name.
His extensive catalogue has brought him some of the most important German awards in the field of tonal art (including the Karl-Sczuka-Preis für Akustische Kunst
award which he won in both 2003 and 2006). Born in Hamburg, Tietchens began experimenting with tape loops as a teen in the mid 60s.
When he started using synthesizers in the early 70s, his music showed affinities with musique concréte, serialism, minimalism, and krautrock. His work has strong ties to Karlheinz Stockhausen's early electronic pieces in that they are »intuitive and personal explorations of the studio as an instrument, of a specific musical notion, or collaboration«. He has taught acoustics in Hamburg since 1989. Die Stadt rereleases all his early albums between 19801991, which were previously only available on Vinyl, on CD. This series includes a total of 17 albums, all of them feat. unreleased studio tracks from the same era, plus the original artwork and liner notes by the artist.
Thomas Köner (1965) is a successful sound and video artist whose primary interest is the exploration of »sound colour« and combining visual and auditory experiences. Köner studied electronic music at the CEM studio in Arnhem in the late 80s, after which he studied at the Dortmund Conservatorium. His first album, Nunatak Gongamur was released on Dutch label Barooni in 1990, followed by Teimo and Permafrost in 92 and 93 respectively. Both albums were rereleased on Mille Plateaux in 1997, and all three were again released in 2010 as a compilation on UK-based label Type records. His first album for Die Stadt »Unerforschtes Gebiet« was first released as a Picture LP (DS43) in 2002, and shortly afterwards in 2003 also in an extended version on CD (DS56). Köner worked at Ruhr Sound Studios in Dortmund in the early 90s. He has won many prestigious international awards such as the Golden Nica, Prix Ars Electronica, Linz, Transmediale.05 Award, Berlin and Tiger Club Award at the International Film Festival Rotterdam. He is also active in the techno world as one half of Porter Ricks, a duo with producer Andy Mellweg.
PRICE: 14,00 €
OUT February 2014
THOMAS KÖNER / ASMUS TIETCHENS / DITTERICH VON EULER-DONNERSPERG »Untitled« Maxi CD (DS113)
A Three track EP released in conjunction with a live performance on the 29th April 2012 on the MS STUBNITZ in Bremen. Initial copies were given away for free to ticket holders on the night of the concert.
Exclusive tracks by all artists.
1. DITTERICH VON EULER-DONNERSPERG 'Die Schnarrmaus des kleinen Fritz' 5:37
2. ASMUS TIETCHENS 'L10RA' 11:03
3. THOMAS KÖNER 'Le Bateau Ivre' 3:48
Limited edition of 500 numbered copies in full color slipcase cover.
PRICE: 10,00 €
OUT August 2011
AUTECHRE & THE HAFLER TRIO »ah3eo & ha3oe« (ae3o3) 2DVD (DS93/SS2)
The next installment of the enthralling collaboration 'twixt h3o and those likely lads Autechre is ready to see the light of day on Die Stadt and Simply Superior. This should make the previous two glow again with renewed ardour, and provide a couple of answers, but many, many more questions.
This release will come in a special format: double DVD (5.1 Audio Version), each disc featuring 2 hours of material. Due to the special nature of the format this title will come in a limited edition of 1000 copies.
PRICE: 28,50 €
OUT April 2011
FOVEA HEX »Here Is Where We Used To Sing« CD (JRDS004A)
Die Stadt and Janet records are happy to announce on release of the new Fovea Hex album.
Fovea Hex are one of the mostintriguing phenomena in contemporary music.
Despite the seemingly wilful nonchalance that has kept them under the radar
so far (only 3 ep releases in 5 years, a mere fistful of appearances in
France, Spain, Italy and Ireland, and their preference for elliptical,
minimal design) the group have nevertheless developed an enviable cult
status both in Europe and the United States, have performed at the personal
invitation of David Lynch in the gardens of the Cartier Foundation in Paris
and have attracted the free and willing participation of a genre and
generation hopping rollcall of A-list luminaries including Brian Eno, Robert
Fripp, Carter Burwell, Donal Lunny, and Steven Wilson, as well as a who's
who of the electronic avant-garde including Roger Doyle, the Hafler Trio,
Colin Potter and Michael Begg.
Clodagh Simonds, the group's reclusive leader (if they can be called a
group, and indeed, if she can be called a leader) has recently emerged to
announce the eagerlyanticipated first full-length album from Fovea Hex,
Here Is Where We Used To Sing, which was released on CD and digital
formats on April 18th 2011.
The album comrises 8 beautifully crafted songs and 3 short instrumentals
that build on the fusion of formal composition, cutting edge ambient sound
art, incomparable song writing skill, and Simonds's emotionally rich and
evocative vocals ("A voice that one could happily drown in for hours"
remarked Pitchfork) that made their ep trilogy, Neither Speak Nor Remain
Silent, so extraordinary. These "songs that don't go where you think" are
immediately seductive, inhabiting a curiously elusive, many-layered
otherworld. They manage to sound both powerful and delicate, sophisticated
and elemental, resonating with an understated emotional intensity so rare
these days that it comes slightly as a shock. The balancing act is fragile,
and nothing is quite what it seems, yet the group themselves are unlikely to
explain their methods or reasons. That task falls to fans and friends such
as Matmos's Drew Daniels: "The starlit nocturnes of Fovea Hex bind
electronics, drones and voices into song spells. Their intimacy and raw
emotional power feel centuries old, but the experimental sound design can be
shockingly modern. There is an intense focus to this music צ no clutter, no
cliches צ which is both ravishing and rare".
Simonds has gathered about her a now familiar troupe of collaborators for
this album. A core ensemble of Simonds (vocals, keyboards, harmonium,
psaltery, lyre, kalimba), Laura Sheeran (vocals, saw), Cora Venus Lunny
(violin, viola), Michael Begg (electronics, keyboards) and Colin Potter
(electronics) are variously joined, replaced, augmented and superimposed by
visitations from Brian Eno, Julia Kent (of Antony and the Johnsons), John
Contreras, Kate Ellis, members of Italy's Larsen, and, in keeping with the
mystery that seems to veil the heart of the enterprise, further "friends who
would prefer to remain nameless." True to their oblique nature, they even
manage to credit an abstract contribution to the 10,000 year project; The
Long Now Foundation (http://longnow.org/) "Three Beams", a limited edition
bonus disk of 3 extended remixes allows full and free rein to the palette of
ambient / experimental electronica at Fovea Hex's disposal. Works by Colin
Potter, Michael Begg and William Basinski perfectly counterpoint the highly
crafted songs on the album with generously proportioned and sonically
One has to wonder how Simonds really feels now that the appearance of this
singular album seems likely to tear apart forever the fabric of anonymity in
which this extraordinary ensemble has until now been concealed.
A limited edition of 400 copies will include a bonus cd, Three Beams, featuring remixes of three of the tracks by William Basinski, Colin Potter and Michael Begg. This edition is available exclusively from Janet Records (IRE), Die Stadt (DE), Integrated Circuit (UK) and Omnempathy (UK).
1. »Far From Here« 4:01 mp3 sample
2. »Play Another« 4:23
3. »Falling Things (Where Does a Girl Begin)« 5:15
4. »Every Evening« 4:01
5. »Brisance, My Baby« 2:06
6. »A Hymn to Sulphur« 6:05
7. »Love for the Uncertain« 2:21
8. »Jewelled Eyes« 1:59
9. »The Diamonds« 3:27 mp3 sample
10. »Celandine« 1:43
11. »Still Unseen« 4:09
Total playing time: 39:05 min.
1. »Fall Calling« 8:58
2. »Cup of Joy« 13:19 mp3 sample
3. »Glaze« 9:09 mp3 sample
PRICE: Standard Edition = 12,00 € / Special Edition = 15,00 €
OUT November 2010
ASMUS TIETCHENS »Marches Funèbres« CD (DS112/aatp32)
13th part in the ongoing re-release series of all early Tietchens albums
Tracks 1 & 2 originally released on Marches Funebres LP (Multimood, 1989).
Released as a joint release by German labels Die Stadt and aufabwegen.
The CD comes in a jewel case with full color artwork and poster booklet also
feat. the original front and back cover. First edition of 600 copies.
1. »Linea 5« 20'15 mp3 sample
2. »Grünschattiger Nachmittag« 19'09 mp3 sample
3. »Grünschattiger Nachmittag 1979« 8'55
Asmus Tietchens »Marches Funèbres« 1989
Liner notes by Asmus Titechens:
The central piece on MARCHES FUNEBRES is »Grünschattiger Nachmittag«. Work
on the composition began as early as 1979. A rough sketch of these first
steps utilizing analogue rhythm machine and Minimoog is included as the
bonus track on this disc. It became obvious that »Grünschattiger
Nachmittag« was impossible to realize on the Fairlight CMI. It took nine
years for the equipment at Audiplex Studios to match the technical standards
needed for the recording of the orchestral version of the piece as it was
originally intended. Aided by my teacher and mentor Okko Bekker and equipped
with numerous samplers and a sophisticated music software the piece was
finally realized in 1988 after several weeks' hard work. The mockers would
have it that I tried to have Django dancing the Bolero. Maybe they were half
right. As you know, I am not not a friend of soft entertaining sounds but if
it has to be kitsch then do it full-on. Hence even today I am standing in a
»greenish afternoon shade«, if you know what I mean.
»Linea 5« was placed on the original LP to balance out »Grünschattiger
Nachmittag«. I was hoping to create something equally austere as »Linea
14«. But, »Linea 5« got out of hand. Carried away by delays and
echochambers I lost myself in erratic mountains of sound (complete with
sceneries of St. Elmo's Fire and alpenglow) until I was wholly exhausted.
For my better I was saved by some good St. Bernhards wearing their bootles
of brandy around their necks. Who knows where this journey of belated
psychedelia would have ended without them. This time, the mockers' questions
remained unanswered. MARCHES FUNEBRES was the second time I tried my hand at
something vaguely symphonic; a slippery ground for me. It was preceeded by
the »Faircomp«-series and followed by the collaborative LP »E« with Okko
Bekker. Then this chapter was closed. »Cobbler, stay at your last!« as they
say. Still, for such an LP as MARCHES FUNEBRES to come out shows how the
scope of what was possible had broadened by 1989. From now on, at the gate
to the decade of the 1990ies, there shone an alternative to the quickly
fading legacy of industrial at the horizon. Computers became affordable, CD
began replacing vinyl, new ideas generated a musical diversity hitherto
unheard of. In 1989 the new beginning was near.
Asmus Tietchens 2010
PRICE: 15,50 €
OUT December 2008
ORGANUM / Z'EV »Temporal« CD (DS111)
Their Third collaborational work following »Tinnitus VU« mini CD on Touch
and the full length »Tocsin« album on Die Stadt (DS77).
Z'EV started out with reworking basic sound material from the Organum
archive back in 2006, which resulted in a collaborative mixing of the
material until early 2008. The finishing touches were then left to David
Jackman between March and June 2008.
The overall tone on »Temporal« owes more to the 'classic' Organum sound than
to Organum latest works, the trilogy: »Sanctus« (Robot Records), »Amen'« and
»Omega« (both Die Stadt). The album makes for a multi-layered and intense
listening experience. First edition of 600 copies in digisleeve.
1. »Glory Sorrow« 12'15 mp3 sample
2. »Eagle« 12'07
3. »Thunder« 23'04 mp3 sample
Total playing time: 47:29 min.
PRICE: 15,50 €|
OUT December 2008
ASMUS TIETCHENS »Abfleischung« CD (DS108)
12th part in the ongoing re-release series of all early Tietchens albums
between 19801991. ABFLEISCHUNG is based on material recorded by Tietchens
as early as 19671970. These recyclings made in 1989 became the 20 short
tracks on this album which was originally released in edition of 500 copies
on Hamster Records in 1989. The CD includes two previously unreleased tracks
and comes in a jewel case with full color artwork and poster booklet also
feat. the original front and back cover. First edition of 600 copies.
Asmus Tietchens ABFLEISCHUNG (Hamster Records HAM25) 1989
Festive music for the 3. Symposium of AKTIONSGEMEINSCHAFT PÄDOGAPHIE ALS
POST-NATALE GEBURTENKONTROLLE, Bad Bramstedt, 3.7.1977
1. »Mineral 4« 2'05 mp3 sample
2. »Drahtmensch 1« 1'22
3. »Modal 4« 2'05
4. »Drahtmensch 3« 1'14
5. »Ultima Terra« 4'24 mp3 sample
6. »Modal 3« 1'43
7. »Ein fleißiges Insekt 3« 1'04
8. »Mineral 3« 1'33
9. »Modal 2« 2'24
10. »Ein fleßiges Insekt 5« 1'04
11. »Fago« 2'30
12. »Modal 5« 2'19
13. »Ein fleißiges Insekt 2« 1'04
14. »Mineral 2« 4'05
15. »Ein fleißiges Insekt 4« 1'04
16. »Mineral 1« 4'59
17. »Drahtmensch 4« 1'39
18. »Modal 1« 0'48
19. »Krytophonie 2« 2'45
20. »Gesichter von gestern« 0'54
21. Kryptophonie 1 4'37
22. Zweite Sekunde 2'36
Total playing time: 49:18 min.
Asmus Tietchens ABFLEISCHUNG (Hamster Records HAM 25) 1989
The short sketch-like tracks that appeared on ABFLEISCHUNG were my first
attempt to recycle old pieces of mine. This basic material originated from
recordings made between 19671970. As this period, 20 years ago, was already
history for me, it seemed reasonable to me to go back to the "old" music and
observe it under new aspects in order to create something completely new.
Right from the start I refused to use the term "Remix" for this project, as
"Remix" actually means to newly mix the separate components (tracks) of a
multi-track recording, and that's something I didn't do. The term
"Recycling" far better describes my way of working: not just a single track,
but the whole piece, is treated by a process which in its extremity will
change the track so radically it can't be recognized no more. Furthermore I
used different methods of treating the basic material, which resulted in
series of different recyclings ("Mineral 14", "Modal 15" ect.). While
working on these recyclings I intentionally took care that the length of all
tracks stayed fairly brief, as it was not so important for me to create new
pieces but rather to show the individual methods of my working.
I also wanted to avoid redundancy, as several pieces sounded too much the
same in my view. Furthermore my concentration on this short form forced me
to reconsider my approach to the length of pieces and the sonic events which
constitute them. All this resulted in consequences which for me still last
until today, but it was still a long way until the discovery of the general
ABFLEISCHUNG is the second part of a four part series that was supposed to
be released in its entirety on Terry Burrows Hamster Records label. The
first part was the album WATCHING THE BURNING BRIDE (Asmus Tietchens + Terry
Burrows, HAM15, 1988); this album will also be re-released in the series on
Die Stadt. Following ABFLEISCHUNG there was THE WHISPERING SCALE (Terry
Burrows, HAM26, 1990). Economical circumstances (once again !) prevented the
release of the Fourth and final part BURNING THE WATCHING BRIDE. This second
collaboration album was only released by the German label Disaster Area in
1998 (Terry Burrows + Asmus Tietchens, DA001, 1998). The graphic design and
typography on all four album covers were done by Terry Burrows.
Asmus Tietchens, 2008
The original tapes were already transferred to DAT back in 1997 for a
reissue project that never saw the light of day. The DAT was re-mastered for
this CD release. The bonus tracks were taken from the analogue master tapes
PRICE: 15,50 €
OUT April 2008
NADJA / AIDAN BAKER / LEAH BUCKAREFF »Trinity« CD (DS107)
A special NADJA CD also feat. one solo track by both members Aidan Baker &
Leah Buckareff. Released in conjunction with a live performance on 20. April
2008 in Bremen.
Limited edition of 500 numbered copies in full color sleeve.
1. Aidan Baker »Carrizozo« 10'31 mp3 sample
2. Leah Buckareff »Socorro« 10'42 mp3 sample
3. Nadja »Jornada del Muerto« 17'22 mp3 sample
Total playing time: 38:35 min.
PRICE: 12,00 €
OUT April 2008
ANDREW LILES & FOVEA HEX »Gone Every Evening« 7 inch (DS106)
Die Stadt is honored to inform you that a limited edition 7" vinyl single
»Gone Every Evening« was released today April 1, (and no, we're not having
you on...) 2008. The record features two collaborative pieces by ANDREW
LILES & FOVEA HEX, with Fabrizio Palumbo as special guest. Featuring Andrew
Liles, Clodagh Simonds, Laura Sheeran, Fabrizio Palumbo and Michael Begg,
these two strange songs will find the way swiftly to your very core, quite
by themselves, to simultaneously delight and only faintly unsettle you.
Needless to say that everyone who enjoyed the »neither speak nor remain
silent« trilogy by Fovea Hex will also love this.
It comes packaged in an attractive gatefold cover with printed inner sleeve
designed by Andrew Liles in an edition of 500 copies.
1. »Every Evening« 4'04
2. »Gone« 4'04
Total playing time: 8:08 min.
PRICE: 12,00 €
OUT April 2008
ASMUS TIETCHENS »Aus Freude am Elend« CD (DS105)
11th part in the ongoing re-release series of all early Tietchens albums
between 19801991. AUS FREUDE AM ELEND is based on the human voice as a
primary sound source and was originally released in edition of 500 copies on
Dom America in 1988. The CD includes two previously unreleased tracks and
comes in a jewel case with full color artwork and poster booklet also feat.
the original front and back cover. First edition of 600 copies.
1. »Den Stiftsherren« 4'59 mp3 sample
2. »Negus« 5'25
3. »Rosenkranz« 8'44 mp3 sample
4. »In memorian P.F.« 1'41
5. »Niederlage« 3'20
6. »Paranoide Reflexe« 5'01
7. »Nachbarschaft und Zeugung« 3'17
8. »Weiter nicht« 7'28
9. »Doch noch weiter« 4'35
10. »Der verstümmelte Musikreferent 2« (für Juregn Drews-Goethe) 5'34
Total playing time: 50:04 min.
Asmus Tietchens AUS FREUDE AM ELEND
(Dom America Dom US LP 02) 1988
Following my research of piano and water sounds (DS102, DS88) it didn't come
as a surprise that my next project was about the human voice as a sound
source. The great masters of Plunderphonics already showed the way in the
early 80's, when they plundered the gigantic junk-shops packed full of
already recorded material, which was stolen by them to use it for their own
aesthetic targets. This album only consists of such stolen goods. Each track
(with the exception of »In memoriam P.F.«) was based on voices of people who
I naturally didn't ask their permission to use these recordings in the first
place. So you can hear the voices of ecstatic religious people as well as
other people making love. You'll also hear someone singing to Annette and
Peggy out of the trash bin of a publishing company. Even the screams of
furious teachers came in handy while I made loops from them. Especially
loops: Rarely before this album and only once after it (on Stupor Mundi) did
I made use of the structural means of loops to such an extent. I was
fascinated by the rhythmical and harmonic permanence, in the same way as
many of my musical colleagues at the time. The aspect of the »Ritual« was a
self-evident common formulation in difficult music during the 80s, so loops
and tape voices, monotonous rhythms and LoFi became obvious means to shape
the music. AUS FREUDE AM ELEND too was strongly spiced with these
ingredients and therefore can be seen as a prototype album of this specific
view of music during the time. This tendency was supported even partly
inspired by a new generation of sound machines, which also made it
possible for new aesthetic goals to appear at the horizon. The 90s were near
at hand and sound art music would develop drastically in many ways in the
years to follow. Samplers, digital editing, hard-disc recording and the
first PC's opened new doorways. Half of the material on AUS FREUDE AM ELEND
was already created with these digital tools.
I never quite understood how the labels Dom America (run by Jon Carlson) and
Dom here in Germany were connected. Did Carlson used to be a fan of Dom
which was founded by Christoph Heemann and Achim Flaam. Did he simply liked
the release politics of this label. And what became of Dom America ?
Actually I don't know. I guess it was one of the small enthusiastic
independent labels which released a handful of titles and which disappeared
after being active for a couple of years during the 80s. However AUS FREUDE
AM ELEND had vanished shortly after its release. I only used 'stolen' voices
twice again (»Stupor Mundi«, 1990 and »Das Fest ist zu Ende. Aus«, 1993)
after this album by the way.
All the tracks were copied from the original tapes which I found to be still
in very good condition. The final track »Weiter nicht« on Side-B of the LP
ended with a lock groove. It's presented here in its original length and
therefore stops abruptly. The bonus track »Doch noch weiter« was recorded
almost one year after the release of the LP.
PRICE: 15,50 €
OUT December 2007
ORGANUM »Omega« CD (DS101)
The third and final part of the Organum trilogy that started with »Sanctus«
(Robot Records RR-35) and »Amen« (Die Stadt DS95): »Omega« (While the Stars
be not Darkened). First edition of 600 copies in digipack sleeve.
1. »Omega 1« 15'12 mp3 sample
2. »Omega 2« 15'12
3. »Omega 3« 15'13 mp3 sample
Total playing time: 45:37 min.
PRICE: 15,50 €
OUT November 2007
ROGER DOYLE »The Ninth Set« CD (DS103)
Irish composer Roger Doyle's first release on Die Stadt is his prize-winning
work The Ninth Set, a 67 minute masterpiece in 5 parts. He was awarded the
Magisterium Prize at this years's Bourges International Electro-acoustic
Music Competition in France for parts 4 and 5. The award, which is one of
the most important prizes in the world for electronic music, is open to
composers having at least 25 years of professional experience in the field,
and its objective is 'the promotion and diffusion of works that might become
milestones in the history of electroacoustic music'.
Previous works of Doyle include a 5-CD set Babel which took ten years to
compose, where each track corresponds to a room or place within an imagined
tower city; and the 3 hour Passades, music made from software that freezes
sounds like a freeze-frame in DVD. He's also known for his project OPERATING
THEATRE which released the classic »Rapid Eye Movements« album consisting
of 4 works composed between 1968 1980 on Steven Stapleton's (Nurse With
Wound) own United Dairies label in 1980. Furthermore he guested on Fovea
Hex's »neither speak nor remain silent« EP number 2 »Huge«, alongside among
others Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter. More at http://www.rogerdoyle.com
The CD comes in a color digipack in a first edition of 600 copies.
1. »Part 1« 15'22 mp3 sample
2. »Part 2« 14'35
3. »Part 3« 16'17 mp3 sample
4. »Part 4« 14'28
5. »Part 5« 5'45
Total playing time: 66:29 min.
PRICE: 15,50 €
OUT November 2007
JOHN DUNCAN / KONTAKT DER JÜNGLINGE / C.M. VON HAUSSWOLFF »Untitled« CD (DS104)
A compilation of live recordings specially released for a Die Stadt label
night feat. All artists, at ARGOS in Brussels on 18. October 2007.
The John Duncan recording was made at The Compound , San Francisco on 21
July 2007. Kontakt der Junglinge (Asmus Tietchens & Thomas Koner) 'Montreal
Solution 1' is an excerpt from their live performance at Mutek Festival,
Montreal on 28 May, 2003. The final track on this CD is by C.M. Von
Hausswolff and was recorded at 'Easy To Swallow', All Tomorrows Parties,
SEOne Club, London, cursted by Russel Haswell, on 2 June 2005.
Released in a limited edition of 500 numbered copies.
1. JOHN DUNCAN »Live at the Compound« 24'25
2. KONTAKT DER JUNGLINGE »Montreal Solution 1« 18'45 mp3 sample
3. C.M. VON HAUSSWOLFF »Circulating Over Square Waters (Framed Nature)« 15'15 mp3 sample
Total playing time: 58'25
PRICE: 12,00 €
OUT June 2007
ASMUS TIETCHENS & RICHARD CHARTIER »Fabrication« CD (DS99)
The first collaboration by these two renowned sound artists.
FABRICATION saw its beginning during the production of RE-POST-REFABRICATED,
a project in which artists were selected by Richard Chartier to
rework/create new works from his 1998 CD POSTFABRICATED for its reissue in
2003. As it was intended as an open project, Asmus Tietchens continued to
explore the source materials and suggested further formal collaboration.
This evolved into the collaborative work FABRICTAION.
The CD comes in a full colour 4-panel digisleeve with artwork and designed
by Chartier. The first 500 copies incl. a bonus CD feat. the complete
material created by Tietchens from POSTFABRICATED entitled
CD 1 - FABRICATION:
1. »Fabrication« 51'24 mp3 sample
Total playing time: 51:24 min.
CD 2 - PRE-FABRICATION:
1. »Pre-Fabrication 1« 5'28 mp3 sample
2. »Pre-Fabrication 2« 2'57
3. »Pre-Fabrication 3« 6'18
4. »Pre-Fabrication 4« 4'28
5. »Pre-Fabrication 5« 2'50
6. »Pre-Fabrication 6« 3'30
7. »Pre-Fabrication 7« 5'00
8. »Pre-Fabrication 8« 3'42
9. »Pre-Fabrication 9« 5'10
10. »Pre-Fabrication 10« 4'21
11. »Pre-Fabrication 11« 2'17
Total playing time: 46:01 min.
PRICE: Standard Edition = 15,50 € / 18,00 € (2CD EDITION)
OUT June 2007
ASMUS TIETCHENS »Notturno« CD (DS102)
10th part in the ongoing re-release series of all early Tietchens albums
between 19801991. »Notturno« was originally released by spanish label
Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992.
Remastered version in a first edition of 600 copies in jewel case with full
colour artwork and poster booklet also feat. the original front and back
1. »Dritte Studie fur Klavier« 6'19 mp3 sample
2. »Vierte Studie fur Klavier« 5'47
3. »Studie fur Henry« 6'05
4. »Halbe Tanzmusik« 2'14
5. »Drei Beisetzungen in Wien« 4'44 mp3 sample
6. »Die Kramer im Tempel« 3'20
7. »Funfte Studie fur Klavier« 4'28
8. »Zweite Studie fur Klavier« 7'46
9. »Siebte Studie fur Klavier« 4'31
10. »Ein leben geht zu Ende« 9'12
Total playing time: 54:26 min.
Asmus Tietchens NOTTURNO (Discos Esplendor Geometrico EG 011) 1987
(Barooni BAR 007) 1992
By the time »Studie fur Klavier« (FORMEN LETZTER HAUSMUSIK, DS84) was
released it actually wasn't my first attempt to use the piano as a sound
source. Various pre-studies came before this, but all which either were not
characterized as such in their title or simply didn't make it onto record.
I was intrigued by the great range of sounds it offers in general, but also
by the multiple possibilities to produce sounds inside of the piano. Off
course I was fully aware that these techniques had already been used by
other composers like Henry Cowell and John Cage in the past. Not only I
could make use of a grand piano in 1986, I also had the technical equipment
at hand which didn't leave nothing to be desired. I wasn't quite precise
calling these pieces »Studien fur Klavier (Piano)« by the way, as I was
actually using a Flugel (Grand Piano). I began preparing the strings in an
almost old fashioned way, also producing sounds with unusual aids (Electric
Gastr Beater, Wire Brush, Coins and others). Then in another step, with the
help of the studio, I carefully started working on the recorded sounds.
While doing this I wasn't even afraid of the using some good old avantgarde
tricks by the way. But I won't tell.
The fact that NOTTURNO was released by an industrial label, shows how much
the interest in unusual electro-acoustic music had grown at the time. In
fact NOTTURNO is nothing less than an industrial album. To my own delight
and to the delight of the listeners as well, I used techniques which were
introduced in the field of new music since several years already. As a
result NOTTURNO can be seen as a cross between musical styles. On one hand
it sounds academic, but in fact it isn't. But the question whether this was
U (popular) or E (serious) was obsolete anyway, as electro-acoustic
experiments didn't exclusively belonged to the circle of serious composers
anymore. Off course I wasn't the first or only non-academic composer who
produced music, which couldn't be categorized easily then, and maybe even
still not until today. As a result the exchange of these new aesthetic
strategies with other musicians and listeners in the mid 80's, further
encouraged the musicians to produce such music, and as a result labels such
as Discos Esplendor Geometrico could be sure to sell a small edition of 500
copies in a fairly short time. The ears had opened up for this
genre-crossing music and the heads were ready to accept. We had succeeded
breaking new ground.
All tracks have been remastered from the original tapes as I still found
them in perfect condition. I decided to do this because the remastering for
the first CD version back in 1992, can't be compared to nowaday standards.
Both bonus tracks already appeared on the first re-release on CD (BAR 007),
but have been added to the end for this new edition.
PRICE: 15,50 €
OUT June-July 2007
FOVEA HEX »Allure« CD EP (DS89/JR003)
Third and final part of the »Neither Speak Nor Remain Silent« series by
Fovea Hex feat. Clodagh Simonds, Colin Potter, Laura Sheeran, Cora Venus
Lunny, Robert Fripp, Percy Jones, Donal Lunny, John Contreras, Michael Begg,
Steven Wilson (Bass Communion/Porcupine Tree).
The first 500 copies (Special Edition) will also include another bonus CD »An Answer« feat.
About 60 (!) minutes of material reworked and remixed by Andrew McKenzie of
The Hafler Trio. This version will only be available from both Die Stadt and
Janet Records directly !
1. »Allure« 10'53 mp3 sample
2. »Long Distance« 7'43
3. »Neither Speak Nor Remain Silent« 6'47 mp3 sample
Playing time: 25:23 min.
PRICE: Standard Edition = 13,00 € / Special Edition = 17,00 €
OUT June 2007
FOVEA HEX »Allure« BOX + CD (DS89C/JR003C)
A special box to hold all three parts of the series. Embossed cover.
The box can be purchased together with »Allure« or as a complete set incl.
»Bloom«, »Huge« and »Allure«. We offer a special price for the box to people
who already ordered »Bloom« and »Huge« from Die Stadt in the past. Here's a
list of the individual prices:
Box + Standard Edition »ALLURE« = 18,00 €
Box + Standard Edition »ALLURE« = 14,00 € (for customer's who already
bought »BLOOM« + »HUGE« from Die Stadt mail order)
Box + Special Edition »ALLURE« = 22,00 € (OUT 4 JULY OR SOME DAYS LATER!)
Box + Special edition »ALLURE« = 18,00 € (for customer's who already bought »BLOOM« and »HUGE« from Die Stadt mail order)
Complete Box (»BLOOM« & »HUGE« & »ALLURE«) Standard Edition = 30,00 €
Complete Box (»BLOOM« & »HUGE« & »ALLURE«) Special Edition = 55,00 € (OUT 4 JULY OR SOME DAYS LATER!)
PLEASE NOTE: IF YOU'VE ALREADY ORDERED »BLOOM« AND »HUGE« DIRECTLY FROM DIE
STADT YOU ARE ENTITLED TO GET A DISCOUNT WHEN ORDERING »ALLURE« + BOX (BOTH
STANDARD AND SPECIAL EDITION). PLEASE ASK.
OUT March 2007
JOHN WATERMANN »Calcutta Gas Chamber« PIC LP (DS97)
Re-release of the long out-of-print album by the late John Watermann (19.2.19352.4.2002).
The idea for this project came about after a visit to Calcutta in 1990, and through the nightmarish experiences during that short visit. The concept of aurally conveying the horror of a gas chamber was realised through field recordings in an abandoned electrical power station in Brisbane in 1992. The sounds are grating and harsh, a mixture of field recordings and electronic manipulations. One can rarely pinpoint a location or action but the images the sounds conjure up are of all sorts of nefarious activites related to death by machinery. The sleeve notes take you into the horror that is the Calcutta Gas Chamber. John Watermann started the re-design for this re-issue (originally released in 1993 on US label ND), but tragically passed away in 2002 before its realisation. A beautifully composed and produced album, completely remastered and feat. new artwork. This special picture LP is limited to 444 numbered copies. A CD version of »Calcutta Gas Chamber« was released by Cold Spring in late 2006.To find out more about the life and works of John Watermann please go to the LINKS section.
1. »First Shudder Project: An Intellectual Challenge To Convert Victims Into Heart-Shaped Soap« 8'04
2. »Second Shudder Project: Fitting The Gas Hose« 3'42
3. »Third Shudder Project: A Vague Demonstration Of Trembling« 8'04
4. »Fourth Shudder Project: The Black Milk Clasp (Clubbing, Tearing, Wrenching, Cutting, Spurting, Boiling, Processing)« 7'50
5. »Fifth Shudder Project: Breasts Of The Naked Wall« 4'31
6. »Sixth Shudder Project: The Shredding Of Human Tissue« 13'39
7. »Seventh Shudder Project: Power House Freeze«' 4'40
8. »Eighth Shudder Project: Walking The Giant Corpse (Most Of The Actors Already In Quick Lime)« 6'41
Total playing time: 57:11 min.
PRICE: 20,00 €|
Copies of the CD version are also available from Die Stadt mail order for 15,00 €
OUT March 2007
JONATHAN COLECLOUGH & ANDREW LILES »Torch Songs« 2LP (DS93)
»Torch Songs« is a collaboration between Jonathan Coleclough and Andrew
Liles. They met in October 2004 when they both performed at Intergration 3 in Preston, UK. Liles subsequently reworked the recording of Coleclough's
solo performance from that evening. He went on to add, subtract, multiply
and divide further live recordings supplied by Coleclough, and the eventual
result was this double LP. »Torch Songs« is packaged in a gatefold sleeve featuring »I dreamt I was a river«, a poem composed and painted by Geoff Sawers during a performance with Coleclough in Geneva in March 2005. The sound of Geoff's brush painting this lettering can be heard on side B of »Torch Songs«. There is a special edition of »Torch Songs« (250 copies) which includes an additional CD of Coleclough's solo performance at Intergration 3, the basis for some of the music on »Torch Songs«. The album comes in a full colour gatefold sleeve with full colour inner sleeves in a limited edition of 500 copies. 180gr. Vinyl.
1. »Torch Song 1« 9'07
2. »Torch Song 2« 5'26
3. »Torch Song 3« 6'20
4. »Torch Song 4« 7'16
5. »Torch Song 5« 9'08
6. »Torch Song 6« 10'26
7. »Torch Song 7« 7'00
8. »Torch Song 8« 14'23
Total playing time: 69:06 min.
PRICE: 20,00 € (Standard Edition) / 26,00 € (Special Edition 2LP + Bonus CD)
OUT December 2006
ASMUS TIETCHENS »Zwingburgen des Hedonismus / Mysterien des
Hafens« CD (DS96)
Part 9 of the ongoing re-release series of all early Tietchens albums from
19801991 on CD. This combines two seperate releases from 1987
(»Zwingburgen des Hedonismus«) and 1988 (»Mysterien des Hafens« on »FACE TO
FACE, VOL. 1«). »Zwingburgen des Hedonismus« was originally released as a
one-sided LP on swedish label Multimood and features a singles 21 min. long
track composed on a Fairlight CMI. »Mysterien des Hafens« was part of a
split LP (the other side feat. DIE FORM) originally released on french label
Odd Size and feat. recordings made by Tietchens using under-water
microphones. The Bonus track »Faircomp 1K« on this CD is a different version
of the first track and previously unreleased.
First edition of 600 copies in jewel case with full cover artwork and poster
booklet also feat. the original album covers.
1. »Zwingburgen des Hedonismus« 21'07 mp3 sample
2. »Faircomp 1K« (Bonus track) 16'55 mp3 sample
3. »Bubendey Notturno/Ritual auf der Halde« (Mysterien des Hafens) 18'39
Total playing time: 56:41 min.
Up until today I only undertook the effort to compose music with the help of
a special composing programme twice. One of these two resulting pieces is
»Studie uber B-A-C-H« (originally titled »Faircomp 1C«) which appeared on
FORMEN LETZTER HAUSMUSIK in 1984. The matrix which was developed for the
music computer Fairlight CMI, could be altered in structure, length and also
instrumentation according to the needs of the composer. The first version
(»Faircomp 1A«) was recorded in 1982, the last one (»Faircomp 1N«) in 1986.
ZWINGBURGEN DES HEDONISMUS (originally titled »Faircomp 1J«) is still the
soundwise richest of all these versions despite its overall meagreness. The
second version included here (the bonus track »Faircomp 1K«) already borders
on the edge of mannerism with its instrumental and dynamical
one-dimensionality. Actually the whole Faircomp series was to use the
words of Max Bense a »precise pleasure«, which basically consisted of
transforming kybernetic possibilities into something audible. Nevertheless
ZWINGBURGEN DES HEDONISMUS (originally »Faircomp 1J«) saw a release as a
one-sided LP in the end because of the braveness of the swedish label
Multimood and also because of the fact that the work displayed a relative
richness. I also wrote the matrix for a »Faircomp 2« series, but it was
never fed into the Fairlight CMI. This computer was abandoned and replaced
by the DX 7 and up-to-date samplers and computers in 1987. It seems that
time has passed the »Faircomp 2« by. But who knows...?
ASMUS TIETCHENS »MYSTERIEN DES HAFENS« (Odd Size OS04) 1988
Both tracks were already recorded in 1986 and are outtakes from the GEBOREN,
UM ZU DIENEN album on EG. They didn't make it onto this album though,because
I felt that they differed from the other tracks not only in content, but
also musically. I therefore put them aside as an option for a possible
second LP on the EG label, but in the end that was not the case. The label
»Odd Size« made an enquiry if I'd like to contribute one side to the split
LP »Face to Face, Vol.1«, and I immediately offered them MYSTERIEN DES
HAFENS, because the two tracks blended into each other made much more
sense in this isolated format. They refer to two specific places in the
harbour of Hamburg. Both places have been transformed beyond recognition
during the last 20 years though. Only a few photos that I took and the music
are still wittness of what has already become history. Sic transit gloria
mundi and not without some regret. Stylistically MYSTERIEN was close to
Industrial Music although it was released kinda late for that. But back then
we didn't waste a thought, that the glorious years could already be over,
also because the taking over by the enemy couldn't be forseen by anyone
then. So empty bunkers and dumps still remained the favourite playgrounds of
post-nuclear campfire rituals. But these fires would be dead soon.
Asmus Tietchens, 2006
Unfortunately it wasn't possible for me to take ZWINGBURGEN DES HEDONISMUS
and »Faircomp 1K« directly from the Fairlight CMI, as it is now only to be
found in a museum for instruments in the south of Germany. Furthermore the
original floppy discs are lost. ZWINGBURGEN was therefore taken from the
first CD re-release which appeared in 1994. »Faircomp 1K« was taken from an
analogue tape copy. »Bubendey Notturno« and »Ritual auf der Halde« were
newly blended into each other for this edition.
PRICE: 15,50 €
OUT November 2006
Z'EV / DAVID LINTON »Untitled« CD (DS98)
Released in conjunction with a concert on the 11. November 2006 at the
»Lagerhaus« Bremen the CD feat. exclusive tracks by Industrial Music legend
Z'EV and New York based percussionist and multi media artist DAVID LINTON
who has worked with among others Lee Ranaldo, Glenn Branca, Rhys Chatham,
Diamanda Galas, Christian Marclay and Elliot Sharp.
Each artist is featured with a solo track plus a remix of the other artist.
Z'EV: www.rhythmajik.de David Linton: www.unitygain.org
1. Z'EV »Soliloquy #1« 11'11 mp3 sample
2. Z'EV (LINTON) »Not Nil« 19'58
3. DAVID LINTON »Emerald Portal Excerpt Part 1« 22'27
4. DAVID LINTON (Z'EV) »7/11elective-RE:mix_Z'EV« 7'00 mp3 sample
Total playing time: 60:36 min.
PRICE: 13,00 € |
OUT November 2006
ORGANUM »Amen« CD (DS95)
The second installment of a short series begun with the »Sanctus« album
issued by Robot Records (RR-35) in January of 2006. »Amen«, »Unto the Aeon
of Aeons«, is a work of two parts using: grand piano, Hammond organ, tower
bell, gong and voices.
The CD is pressed in a first edition of 600 copies in digipack.
1. »Amen 1« 20'04 mp3 sample
2. »Amen 2« 20'04 mp3 sample
Playing time: 40:08 min.
PRICE: 15,50 € |
OUT November 2006
Z'EV »Production and Decay of spacial Relations vs. Reproduction and
Decay of Spatial Relations« 2CD (IN LP COVER!) (DS91)
Celebrating the 25th anniversary of the very first Z'EV studio album which
originally came out on Backlash in 1981, DIE STADT is proud to announce the
re-release of »Production and Decay of spacial Relations« for the first time
on CD. It features the original seven tracks from the vinyl plus six
»recodings« entitled »Reproduction and Decay of spatial Relations« made by
Z'EV in May/June 2005.
Back in the day Z'EV used to bring boxes over from Holland when he would
come back to New York City which he would sell to Bleeker Bob (a famous
Record Shop situated in the East Village of NY) who told him: »this is the
best industrial record ever and I sell it to every japanese buyer who comes
into the store«.
The CD is housed in a reproduction of the original LP (!) cover and comes
with a special handmade insert. First edition of 500 copies.
1. »VUUR UUR 1« 4'31 mp3 sample
2. »OP ZOOM 1« 3'44
3. »OP ZOOM 2« 3'59
4. »VUUR UUR 2« 4'48
5. »ZUID/ZUID OOST« 4'12
6. »VERS LICHT« 4'48
7. »OOK UIT« 7'43
8. »Recoding of Track 1+4« 5'19
9. »Recoding of Track 2« 4'32
10. »Recoding of Track 3« 5'56
11. »Recoding of Track 5« 5'03
12. »Recoding of Track 6« 7'21
13. »Recoding of Track 7« 8'02 mp3 sample
Total playing time: 79:57 min.
The first edition of 500 copies also includes a bonus CD with never before
released archive material all recorded in 1982 entitled »That was the year
that was what it was«. It features the following tracks:
1. Z'EV »The sound of the light of metal for Jackson Mac Low« (18'11)
Cassette recording by Lynn Holst of a »wild-style« Z'EV performance in
Martinson Hall at the Public Theater NCY 6 Dec 1982 (as part of the
language / noise series produced by Ms. Holst. »I was invited to perform and
choose 2 others, choosing poet Jacson Mac Low and text/sound artist Peter
2. UNS »Past todays« (18'38)
Cassette Recording by Merle Steir Live in Martinson Hall at the Public
Theater NYC 24 may 1982. Vocals: The Sha'ul Z'EV persona. Sound by UNS: 2 VU
matic turntables with 3 tone arms - modified for controlled skipping - each
turntable held 2 records: »aside + beside« 12" by TO; Will Jackson + S.
Weisser (2 copies) + »Wipe Out« 7" by Z'EV (2 copies) (Performance came
after a group reading organized by Barbara Ess by a variety of artists of
excerpts from the article by Paul Crutzen and J. Birks entitled »Nuclear
Winter« that appeared in Ambio)
3. Z'EV »Element/L« (10'28)
From a cassette master. Source: Rough mixes recorded on cassette from the
»Wipe Out« sessions recorded at Sorcerer Sound NYC June 1982. Rendering:
July 1982 at Studio Od, Eindhoven. Tools: Sony TCD5M cassette deck, Revox 2
track. Overdubbing with splicing tape over erase head, splicing tape and
block , single edged razorblades.
NOTE: At this time in history, cassette was THE ubiquitous storage medium,
and while perhaps in this digital age some may feel the quality of the
recordings seem to leave something to be desired, the performances here
documented still deserve to be heard.
Total playing time: 47:16 min.
PRICE: 18,00 € |
OUT September 2006
BRENDAN WALLS »Outposts« LP (DOM BW07)
OUTPOSTS is a new album by Brendan Walls and his first release as a solo
artist since his 2002 »cassiafistula« CD (Idea Records).
Brendan has been active in the Australian music scene for over 10 years and
has also worked with Oren Ambarchi, Greg Turkington, Mirror, Daisuke Suzuki
In it's two parts that cover an LP side each OUTPOSTS creates a dream like
motion from distant drones of vaguely defined shape towards totally
disembodied sound. The question of what is creating the sounds the
listener is perceiving becomes more and more oblivious in the course of
OUTPOSTS is also the first release on the DOM Bartwuchs label since the 1994
TNB/ORGANUM »wreck« LP and is now being pressed in an edition of 300 copies.
A-Side: 1. »Outposts - Part 1« 20'12
B-Side: 2. »Outposts - Part 2« 18'50
Total playing time: 39:02 min.
PRICE: 16,00 € |
OUT May 2006
C.M. VON HAUSSWOLFF »Operations Of Spirit Communication« LP (DS31)
Small repress of the classic album from 2000 which is partly based on (and
also dedicated to) the work of Friedrich Jurgenson who recorded the »voices
of the dead«. Gatefold cover. Clear vinyl. 300 copies.
The first 100 copies include the 7 inch »Operation Of Spirit Communication«
(DS31A) in a matt finish cover (the standard cover has a shiny finish) only
available through mail order.
A-Side: 1. »Operations Of Spirit Communication Part 1« 24'20
B-Side: 2. »Operations Of Spirit Communication Part 2« 22'43
Total Playing Time: 47:03 min.
PRICE: 14,00 € (Standard Edition LP) / 17,00 € (Special Edition LP+7")|
OUT May 2006
C.M. VON HAUSSWOLFF »Operation Of Spirit Communication« 7 inch (DS31A)
Two unreleased tracks recorded in 2006. This 7 inch is meant as a companion
release to the repress of DS31. It comes in a full colour sleeve
reproducing the original artwork of the LP. 500 copies on clear vinyl.
A-Side: 1. »12 Sine Missing One« 4'00
B-Side: 2. »1 Sine Missing Twelve» 4'20
Total playing time: 8:20 min.
PRICE: 7,50 € |
OUT May 2006
ASMUS TIETCHENS »Geboren, um zu Dienen« CD (DS92)
8th part in the ongoing re-release series of all early Tietchens albums
between 19801991. Described by Tietchens himself as his »Industrial«
album, »Geboren, um zu Dienen« was originally released on the spanish
ESPLENDOR GEOMETRICO label in 1986. The CD version incl. three unreleased
bonus tracks from the same period and comes with a full colour fold-out
booklet incl. liner notes by Tietchens himself.
1. »Mein Erstes Erlebnis« 1'29
2. »Zu viele dicke Kinder« 7'31 mp3 sample
3. »Merle« 2'26
4. »Medienlandschaft 6« 2'07
5. »Langer Anlauf« 6'36
6. »Gliim« 6'51
7. »Heroischer Reflex« 3'07 mp3 sample
8. »Zweites Maschinentraining« 9'43
9. »Deutsches Kinderlied« 1'18
10. »Startlandung« 6'15
11. »Unter Tage« 6'26
12. »Marathon« 4'46
Total playing time: 58:35 min.
ASMUS TIETCHENS »Geboren, um zu Dienen« (Discos Esplendor Geometrico EG 003) 1986
If I'd ever recorded an »Industrial« solo album, it must be »GEBOREN, UM ZU
DIENEN«. Although I obviously wasn't one of the inventors of »Industrial
Music«, I clearly felt an affinity to it. So I tried to learn my lessons
well adding my own musical aspects to the general apocalyptic noises of this
genre. My main concern was to dive deep into the canonical topics of fear,
hysteria, claustrophobia, machine and threat. The end was imminent as
hundreds of Pershings and SS20 all pointed in the direction of the march up
area called West Germany, the seals of the read buttons were already broken.
Even the conventional alternative a tank war between NATO and the Warsaw
Pact sounded like utter apocalypse. Would we really have welcomed our
brothers from the east with open arms? This particular background has to be
seen as the main influence on GEBOREN, UM ZU DIENEN. I believe that many of
my colleagues also recording »Industrial« albums felt the same at that time.
IF there would have been a »Bang« it without doubt would have been
Fear, emptiness and the futility of the aesthetical, were not alien to me,
but until then I moved inside a carefully tested zone which was defined by a
spectrum of experimental forms. GEBOREN, UM ZU DIENEN was an experiment in
itself which first fruits I set free immediately. As if I'd to work under a
deadline I recorded the tracks hastily, not wasting much thoughts about
dynamics, duration, precision and construction. In the same way I resolutely
did rough mixes of the seperate tracks of the pieces: what sounded dirty
stayed dirty. Essentially the raw and the unsculptured were a part of the
dogma of »Industrial«.
The original nine tracks plus five more (three which appear as Bonustracks
on this CD) all developed in a very short period of time. The album was
released on the spanish »Esplendor Geometrico« label, run by Andres Noarbe,
in the same year. Originally a tape only label EG released a series of
radical albums during the mid 80's, also albums by the »Industrial« group of
the same name, many which are much sought after items today. Of course only
500 copies of the album were pressed, which still meant a considerable
financial risk given the small circle of potentionally interested listeners.
But the enthusiasm and dedication of everyone involved lead to a
Looking back at these years it has to be noted that I established a daring
attitude then, which luckily developed positively and stayed with me until
today. The fact that a german attorneys general confiscated a small number
of the LP in 1990 deeming the cover as being immoral (»A Call for
abortion«), was registered with satisfaction. A case like this corresponds
with the mark of quality granted by the »Stiftung Warentest«.
Go on Germany!
Asmus Tietchens, 2006
The original masters of all the pieces incl. the bonus tracks are in perfect
condition and were used 1:1 for the transfer onto CD. Only the fade-out at
the end of »Mein erstes Erlebnis« was slightly corrected.
PRICE: 15,50 € |
OUT May 2006
AIDAN BAKER »Oneiromancer« CD
Aidan Baker is a musician & writer currently based in Toronto, Canada.
Classically trained in flute, he is self-taught on guitar, drums & various
other instruments. He has released numerous CDs on independent labels from
around the world. He is author of two books of poetry, two poetry chapbooks,
& has published poetry, fiction, & criticism in various international &
As a solo artist, Baker explores the deconstructive sonic possibilities of
the electric guitar as a primary sound source, creating music that ranges
from experimental to post-rock to contemporary classical. He performs the
experimental collective ARC & the ambient/doom metal project Nadja. He has
also composed work for the The Penderecki String Quartet & The Uxbridge
Chamber Choir. This is his first album for Die Stadt, using electric/bass
guitars, drum machines, tapeloops, vocals. The CD comes in a full colour
four-panel digisleeve with artwork by Aidan Baker.
The first 300 copies include a bonus CD featuring a live performance
recorded in April 2005 Toronto, Canada, using electric guitar sounds only.
Edition of 600 copies.
CD 1 »Oneiromancer«:
1. »Wake Up« 14'32 mp3 sample
2. »Death Too Wrapped In Dream« 10'38 mp3 sample
3. »Do You Remember Me (From Your Dreams)« 10'22
4. »Dreams Of Broken Glass« 5'00
5. »Betes Noires« 17'00
Total playing time: 57:32 min.
CD 2 »Live«:
1. »one« 8'15
2. »two« 6'44
3. »three« 8'16
4. »four« 13'17
5. »five« 15'04
Total playing time: 51:36 min.
PRICE: 15,50 € (Standard Edition) / 18,00 € (Special Edition incl. Bonus CD)
OUT May 2006
FOVEA HEX »Huge« CD EP (DS86/JR002)
Following the critical acclaim which has greeted ep 1 »Bloom«, Die Stadt and
Janet Records are proud to announce that »Huge« ep 2 in the NEITHER SPEAK
NOR REMAIN SILENT limited edition series by FOVEA HEX is out. FOVEA HEX
continues to shape-shift and to evade & confound those who bray »what
exactly IS it?«, and »where does it BELONG exactly?«, and »who exactly
belongs to IT?«. If you must bang on the table like that, you won't hear a
thing. If this music can be described as »up-to-the-moment«, then perhaps we
could use an up-to-the-moment term like »collective«. But eschewing all
Fashion Accessory stalls, it lives as many miles away from the shock'n'awe
factory beloved of the avantgarde, as it does from the souvenir-strewn
temple of the new nostalgics. All in all, FOVEA HEX is something more akin
to a labrynthine ensemble of associates, some recent, some ancient, some
close to the core, some distant, some very heard-of and some never-heard-of,
all of whom showed willing and able, at some point in time (and for reasons
best known to themselves) to slither in and help prepare and perform these
songs and quasi-songs written or at least started-off by CLODAGH
SIMONDS. »Songs that don't go where you think. With voices to match...«
somebody said recently. At the end of the day, that's about all that CAN be
said with any kind of certainty. If you need a better idea of what this
means, visit the Janet Records website now, where you'll find some treats we
prepaired earlier three mixes (by Andrew McKenzie) of near-moment excerpts
from the songs from ep 1 »Bloom« and three (by Colin Potter and Clodagh
Simonds) from new songs from ep 2 »Huge«. Players on »Huge«: Clodagh
Simonds, Colin Potter, Roger Doyle, Cora Venus Lunny, Brian Eno, Laura
Sheeran, Percy Jones, Carter Burwell, Lydia Sasse, Hugh O'Neill, Sarah
The CD comes in a full colour embossed cover. Edition of 2000 copies.
The first 300 copies include a bonus CD »The Discussion«, featuring 22
minutes of material from »Huge« reworked and remixed by Andrew McKenzie (The
Hafler Trio), only available from Die Stadt mail order.
1. »Huge« 7'01 mp3 sample
2. »A Song For Magda« 4'30 mp3 sample
3. »While You're Away« 7'49
Total playing time: 19:20 min.
PRICE: 13,00 € (Standard Edition) / 17,00 € (Special Edition incl. Bonus CD)|