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Alga Marghen Vinyl, CD & Tape 13 Items

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L.A.F.M.S. - 35 S. Raymond Street
L.A.F.M.S.
35 S. Raymond Street
LP | 2018 | DE | Original (Alga Marghen)
25,99 €*
Release:2018 / DE – Original
Genre:Rock / Indie
The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building.
David Behrman - Music With Memory
Smegma - Abacus Incognito
Smegma
Abacus Incognito
LP | 2018 | DE | Original (Alga Marghen)
22,99 €*
Release:2018 / DE – Original
Genre:Organic Grooves
New primitive-suburban-folk music from Temple City and Pasadena, CA, circa 1973-4. This new edition is culled from the original unissued Smegma tape vaults of Ju Suk Reet Meate and represents the most pure expression of the insular sound-world that was spontaneously discovered as a group. Unlike last years' "Look'n For Ya" no song forms are ever used, instead fearless group improvisational vocals take you on a strange shape-shifting journey thru operatic show tunes, spirit visions and visits to a delirium motel room. The only exception is the title track "Abacus Incognito" that features poetry by Dennis Duck (also, Human Hands, Dream Syndicate, LAFMS...) with accompaniment by the family stereo console record player/Radio unit and utilizing conventional instruments creating a strangely unique non-jamming sound. Except for the first track, all sounds were recorded casually in various band-members parents' houses while they were away. they would have been horrified! The final track is possibly one of the strangest concepts ever recorded, inspired by both the Lord Dunsany story "The Three Infernal Jokes" and the most popular record of 100 years ago "The O.K. Laughing Record" we have - The Smegma "Laughing to Death Record".
Jacques Thollot - More Intra Musique
Jacques Thollot
More Intra Musique
LP | 2018 | EU | Original (Alga Marghen)
26,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Produced in collaboration with the legendary Jac Berrocal's label d'Avantage, "More Intra Musique" is the second LP in Alga Marghen's series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen.
Luc Ferrari - Atelier De Liberation De La Musique
Luc Ferrari
Atelier De Liberation De La Musique
LP | 2018 | EU | Original (Alga Marghen)
29,99 €*
Release:2018 / EU – Original
Genre:Electronic / Dance
Alga Marghen proudly presents Luc Ferrari's Atelier De Liberation De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalogue.
Smegma - Look'n For Ya
Ju Suk Reet Meate - Solo 1975-1980
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.
Intersystems - Free Psychedelic Poster Inside
Intersystems
Free Psychedelic Poster Inside
LP | 1968 | EU | Reissue (Alga Marghen)
19,79 €* 21,99 € -10%
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 .
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 - Vice-versa, Etc…
Eliane Radigue
Vice-versa, Etc…
LP | EU | Original (Alga Marghen)
21,99 €*
Release:EU – Original
Genre:Electronic / Dance
alga marghen very proudly presents a remastered version of "Vice-Versa, Etc..." LP originally included in the first 400 copies of the now sold out Eliane Radigue "Feedback Works" 2LP. "Vice-Versa, Etc..." was originally a small handmade box, signed and numbered, realized as art multiple on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum... This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. 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. This edition limited to 300 copies includes an insert with liner notes.
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.
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.
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