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Alga Marghen Downbeat | Electronica | Leftfield 15 Items

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Intersystems - Free Psychedelic Poster Inside
Intersystems
Free Psychedelic Poster Inside
LP | 1968 | EU | Reissue (Alga Marghen)
21,99 €*
Release:1968 / EU – Reissue
Genre:Electronic / Dance
Drawing on huge array of different sources, Intersystems occupied a difficult-to-reach critical nook between the many tropes that had established to frame the various artistic trends of 1960's.Announcing itself with a quivering beam of fluorescent sound, the beginning of Intersystems' "Free Psychedelic Poster Inside" feels as though it's slowly piercing right through your frontal lobe. As suggestive of hypnosis as it is of a sonic lobotomy, it makes a foreboding complement to Blake Parker's poetry, this time a dark glimpse into mundane domesticity and the suburbs. One can't help but sense that they're being brainwashed: the slow metamorphosis of sound is juxtaposed against Parker's even-tempered yet electronically-tampered-with speech.There are occasional hints at the twitchy energy of "Peachy", but everything is braced by a spine of lean, cool tones, making "Free Psychedelic Poster Inside" a far more stark outing than either of its predecessors. Yet the sense of impending danger and general volatility found in the rest of the catalogue is still present if not amplified because of this more severe approach. In contrast to "Peachy", the shapes the music cuts are smooth rather than jagged, but one is never sure just when Parker's strangely uninflected voice will emerge from the blinding aggregates of pure colour. While these clusters of glowing sustain assert an aggressive mesmerism, they serve as a primer for the ears, ominously readying them for virtually anything to happen.When something does, there's often a sense mild alarm on the listener's part even when said change comes in the form of a reprieve from the relentless swarms of high frequency cascades of synthetic giggles, sliding slow elastic melodies, vigorous strobing modulations and bubbling passages of electronic fizz.Musician and insatiable collector Julian Cope, on his exhaustive online chronicle of all things rare and psychedelic, "Head Heritage" calls Intersystems third LP "one of the densest, most oblique collections of sound ever". While it's hard not to feel smothered by its slow concentrated seep, there's also a vague air of contemplation that permeates its gradual unfolding.This edition of "Free Psychedelic Poster Inside" LP presents the original (double) title-tracks. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi.Edition limited to 300 copies with original LP graphics as well as a new insert .
Intersystems - Peachy
Intersystems
Peachy
LP | 1967 | EU | Reissue (Alga Marghen)
21,99 €*
Release:1967 / EU – Reissue
Genre:Electronic / Dance
The sound work of Intersystems cannibalized stray bits of McLuhanism, psychedelia, Cagean experimentalism, and even the modernist gestural strains of nascent electronic music, yet it was all couched within a very particular DIY ethos."Peachy" (early 1968) pushes the meticulousness of "Number One Intersystems" even further and, as such, represents a more balanced amalgam of Intersystems' various disparate stylistic and emotional elements. The truncated opening cut "Experienced Not Watched" is deceptive, beginning with lush, tuneful organ swells that almost border on the ecclesiastical and washed-out metallic pulsations. Yet this world is suddenly sealed off, as the track comes to an abrupt end. What follows is thinner and more gestural, imbued with both poise and awkward buoyancy, owing more to musique concrète than anything on "Number One Intersystems". Each sound is framed within ample negative space, inviting listeners to savour each moment, yet its dynamism, and boisterousness, mischievous character steer it well away from being too precious. This impression is reinforced by the decidedly rugged and opaque timbre of much of the sonic activity one of the (not so many elements) retained from "Number One Intersystems". This is not to undercut the newfound lustre of higher spectra, which seems haunted by brilliant flickers of auditory light."Peachy"'s balance can also be attributed to its consistent flow. The album may superficially be divided into discrete tracks yet the pieces follow one another seamlessly, conveying a single arc, with many continuities and recurring motives. Many of these motives are just mere pithy jolts or shudders of white noise that dart in and out of the aural scenery. Even strains of the aforementioned organ prelude resurface at the beginning of "So They Took The Guns" and on the final cut of record albeit in drastically altered forms. In the former case, it matches the gestural profile of the opening cut it's suddenly lopped off, shifting decisively back toward a slice of Parker's grim narrative, planted squarely in the foreground amidst various percolating abstract chatter.Just as the musical textures have a more unified logic, Parker's texts are also more integrated into the total picture, both aurally and thematically. The most discernible fragments unfold like a series of variations on the same twisted fable. The sardonic storybook tone with which he speaks the prose is eerily congruent with this fact. Despite its sharp veerings into death and violence, the abrupt leaps have a more absurd timbre, than one of abjection and morbidity. And the sudden shifts, of course, are complemented well by the restless intensity of Mills-Cockell's contributions.Parker's voice is subject to a wider spectrum of electronic treatments than before. They're also situated in various places, both spatially and within the mix. Sometimes it's a hushed smear of voice within Mills-Cockell's nimble collages, at other points a vaguely smutty phrase might sneak into the foreground, only to be smothered by a swarm of other peculiar sounds. Where his text is most legible, the electronics punctuate his sentences and follow their contours in playful counterpoint.This edition of "Peachy" LP includes the correct tracks separations, timings and titles. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi.Edition limited to 300 copies.
Charlemagne Palestine - Sound I
Charlemagne Palestine
Sound I
LP | EU | Original (Alga Marghen)
22,99 €*
Release:EU – Original
Genre:Electronic / Dance
As the title well underlines, "Sound 1" electronic sonority is a starting point in Charlemagne Palestine researches for the Golden Sonority. Previously unpublished, this radical and foundamental work has now been released on LP record in collaboration with the New Media Dept of Centre Pompidou (National Museum of Modern Art) in Paris for the first "oeuvres sonores" event, December 15th, 2008. Charlemagne Palesitne started to dream of an expressive continuous evermoving everchanging sound form; an enormous sonorous 3-dimensional sculptural canvas in mid-air, using electronically produced sounds. At first he began experiments with simple sine tone generators emitting the purest sound waves without any overtones. Then, gradually, with access to moog and arps, he constructed sounds using the sine - sawtooth - square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Palestine experimented in this way from 1964 till 74 in NYC and then, in California, finally he assembled his own drone machine of 16 ultra stable oscillators designed by Serge Tcherepnin and 4 band pass filters designed by Donald Buchla. He would build up a sound, oscillator by oscillator, then add ever so slightly to the oscillator imput, tiny increments of white noise that would gradually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees. Charlemagne played them very very loud, making all the room and objects in it resonate while outside all was quiet and sleeping. He worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, mixing adding and then lying on the mattress and listening and fine tuning. Finally, at a certain point, after several nights, the sonority seemed ready to record. He'd put on the tape, prepare the tape machine with the proper level as not to overload it and record the texture. This 1-sided LP was issued in an edition limited to 500 copies, and about 350 of those copies were offered to the audience partecipating to the first "OEuvres sonores" event at Centre Pompidou."
Walter Marchetti - Natura Morta
Eduardo Kac Porn Art Movement - Porneia
Eduardo Kac Porn Art Movement
Porneia
LP | 2016 | EU | Original (Alga Marghen)
25,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. His use of stigmatizing words in these Porn-poems transformed them from denigratory to empowering, through political critique and defiance.The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic Poems from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flatal flow as material. Flatographic poems have visual scores-one of which can be seen on the cover-for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body.Edition limited to 270 copies, also including an LP-size 40-page full-color book with full documentation on the Porn Art Movement.
Junko & Thomas Tilly - Wild Protest
Junko & Thomas Tilly
Wild Protest
LP | 2016 | EU | Original (Alga Marghen)
21,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
In July 2015, at Vent des Forets, Junko made a series of cries performances in the woods, wild burst into the Meuse forest howling known from the Japanese noise scene. Out of words and meaning, pure expression of the body, its shrill cries full of freedom and revolt moot. The sound of his voice rending sounds of the surrounding nature is recorded by Thomas Tilly distilling this first sound material to compose a piece revealing an exceptional audio experience. Each year, Pascal Yonet, director of the Art Center Vent des Forets invites between 6 and 8 artists to confront with a natural forest environment and to create a unique work, more or less ephemeral. The project is born from the desire to bring together two sound artists, a brutiste performer and a field recorder on a territory that still resounds with cries of two world wars. Long time tracking in the forest and around allowed Junko and Thomas to find the most relevant and surprising places for its outlets. Registration cries Thomas could capture the immediate or distant sound environment which then forms the basis of its original composition. Each cry is geo-localized, the tracklist gives the GPS coordinates of each.
Walter Marchetti - Concerto Per La Mano Sinistra In Un Solo Movimento
Walter Marchetti
Concerto Per La Mano Sinistra In Un Solo Movimento
LP | 2016 | EU | Original (Alga Marghen)
21,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
The "Concerto for the left hand in one movement", for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015.Performed by Reinier van Houdt, piano.Composed in 1994, the "Concerto for the left hand" belongs to an ongoing series of works written between 1994 and 1997: "Con vista sui suoni", "Eight or Nine Movements for String Quartet" and "La perdita del tempo" which develop from a preceding composition titled "Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam". In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded "concrète" sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: "The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto". From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn't manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music's 'existence' (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: "a magic made free from the lie of being truth".Limited to 300 copies. LP in full color sleeve and printed inner sleeve with photos and liner notes.
Intersystems - Number One
Intersystems
Number One
LP | 1967 | EU | Reissue (Alga Marghen)
21,99 €*
Release:1967 / EU – Reissue
Genre:Electronic / Dance
LSD and other hallucinogens were very popular sources of inspiration in the late 1960's. While Intersystems work was also fixated on inebriated euphoria and perceptual distortion, their sonic barrages also evoked the heightened awareness, intermittent psychosis, intellectual overstimulation and giddy nihilism of an acid expedition."Orange Juice and Velvet Underwear" may indeed be the most typically capital-p Psychedelic cut of Intersystems entire catalog. Its saturated crypto-Indian drone and bent acoustic guitar notes, the most audibly 'psych' elements, are upstaged by Parker's lurid-sounding declamations and Mills-Cockell's fierce industrial clatter. From there, it all spirals further into a vortex of frayed cacophony and chilling sober-yet-surreal orations.The sixteen-minute "Blackout Mix" is a perfect demonstration of just how tenuous their relationship was to even the furthest-out reaches of psychedelia in spite of their own pronounced use of related terminology. All curdled puddles of synth noise and caustic electronic howls, Parker's fragmentary deadpan bark both penetrates, and is enveloped by, the sticky sonic tapestry. He unfurls a series of disparate images, more-than-flirting with the mundane horror enumerated later (and more explicitly) by the likes of Throbbing Gristle."Vox 3/13/67" is "Number One Intersystems"'s second longest and arguably most varied piece. John's contributions span dimly elegiac textures, evoking distant chimes and striated choral voices, over to his most brusque and intemperate interjections. Parker, whose appearances are as jarring as they are intermittent, delivers his writing as staunchly as ever, yet hacks certain words into syllabic mincemeat that spills violently and incoherently into the middles of sentences. It's by no means less anxious than other pieces on the album, but its tension is achieved through an eerily pronounced sense of breath and movement rather more aggressive means, foreshadowing the approach found on the latter two albums. Where elsewhere "Number One Intersystems" seems to forecast post-punk excursions into avant-noise antagonism, here there's more indication of Mills-Cockell's training and more canonical influences in its careful phrase-shaping.Featured throughout the album was a homespun instrument devised by John, dubbed "The Coffin", which was also employed live in their Presentations. Mills-Cockell recalls: "It was a 6 foot long box line with purple satin, housing a long plank strung with many parallel lengths of piano wire held in place with tuning pegs which were adjustable with a wrench we kept on board for the purpose. There were contact mikes which were switchable, just like on a Telecaster except that the switches could permit not only selection of different harmonic spectra when the instrument sounded, but of a variety of loudspeakers in various locations in (a) performance space. The switches were invisible, covered by the fabric lining the interior of the box".This edition of "Number One Intersystems" LP presents the correct Side A / Side B sequence as well as the original tracks sub-section divisions. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi.Edition of 300 copies presented in the original Allied Records sleeve.
Intersystems - Intersystems
Intersystems
Intersystems
3LP | 2015 | EU | Original (Alga Marghen)
89,99 €* 99,99 € -10%
Release:2015 / EU – Original
Genre:Electronic / Dance
3LP Box including 132-page book, 24-page Comic Power. One-time pressing limited to an edition of 500 copies only!First historical edition!
Charlmagne Palestine - Bells Studies
Charlmagne Palestine
Bells Studies
LP | 2015 | EU | Original (Alga Marghen)
18,99 €*
Release:2015 / EU – Original
Genre:Electronic / Dance
High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, for seven years Charlemagne Palestine's HellsBells became the sonic mainstay of NYC 53rd and 5th. This LP collects some of the most relevant recordings from those early days.Side A presents "Bells Studies", the complete reel-tape that gives the title to the whole LP, an intense pulsating work built in five movements starting with slow hypnotic large sonorities and accelerating into more dense and maximal explosions.Side B collects some shorter Studies: "Bells", the two parts of "Confiscated Bell Tape" and an excerpt from "Dumb Bell Tape". each track recorded by the composer in one single take around 1965 and never heard again for the last 50 years!In 1963 while attending the highschool of music and art in NYC, 15 years old Charlemagne Palestine was asked if he'd be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art everyday of the week at 5pm to 5:30pm. Charlemagne decided that he loved these voluptuous Taylor bells that clanged all over 53rd Street and 5th Avenue... everyday from 1963 to 1970 when he left NYC to study and teach at CAL Arts.Charlemagne soon became known as the "Quasimodo" of Midtown NYC, and his dissonant and ""klanggdedangggebannggg"" style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!Published in an edition of 350 copies only with original photos from the recording sessions.
Eliane Radigue - Feedback Works 1969-1970
Eliane Radigue
Feedback Works 1969-1970
LP | EU | Original (Alga Marghen)
26,99 €*
Release:EU – Original
Genre:Electronic / Dance
alga marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht", the celestial voices of "Usral", "Stress Osaka" massive chant... or the works of the feedback period finally revealed! It is amazing that she could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for him at the Studio d'Essai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance who invited her to learn the techniques of Musique Concrète. Created 10 years after her Studio d'Essai experience, the Feedback works of Eliane Radigue immediately take a new direction from the explorations of Musique Concrète. Her adventure is intuitively going towards flux, towards contemplative stasis - a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art... as if she meditated for 10 years before striking the first blow, with an impressive precision! This is the context in which Eliane composed "Omnht" in 1970 for the architectonic spaces of the visual artist Tania Mouraud titled "One More Night", presented at the Gallery of the Rive Gauche in Paris; "Usral" (the title comes from a phonetic compression of ultrasounds slowed-down, in French "ultra-sons ralentis"), one of the first works by Eliane Radigue to be given in public as sound environment for a sculpture by Marc Halpern in the Salon des Artistes Décorateurs at the Grand Palais of Paris in 1969; "Stress-Osaka", conceived when the artist was invited to create a sonic environment for the International Fair in Osaka in 1970. There is no doubt that Eliane Radigue vocabulary is based on observing and entering into dialog with the fundamental behaviour of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer she naturally continued the same music. A continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time this approach favors an intense sensuality in the listening. Edition of 300 copies also including a 16-page LP-size booklet with original photos, scores and liner notes.
Charlemagne Palestine - Two Electronic Sonorities
Mosconi / Klok / Bonora - Archi
Eliane Radigue - Opus 17
Eliane Radigue
Opus 17
2LP | EU | Original (Alga Marghen)
41,99 €*
Release:EU – Original
Genre:Electronic / Dance
Alga Marghen very proudly presents "Opus 17", a major turning-point in the sonic oeuvre of Eliane Radigue. Finished in 1970 it was the last work composed with feedback materials. From that experimental period "Opus 17" preserves the plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. Its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. Her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her Endless Musics (cf. "Feedback Works 1969-70" LP issued on alga marghen) and here reinserted in the five scenes making up "Opus 17".In 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. "Opus 17" has the quality of showing off the sum of the achieved techniques and methods. Eliane Radigue's music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. This dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in "Opus 17"."Opus 17" was created at the artistic center of Verderonne on May 23, 1970, for the Fête en blanc (i.e. White Festival) organized by the visual artists Antoni Miralda, Joan Rabascall, Dorothée Selz and Jaume Xifra.
Walter Marchetti - La Caccia (Da Arpocrate Seduto Sul Loto)
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