Everybody's A Fuckin Expert cover art

EMEGO 212 / Shit and Shine

Everybody's A Fuckin Expert


The ascent of Shit and Shine sits as one of the great audio headfucks in recent years. From it's genesis out of the South London noise rock revivalist scene to a zone where rabbit costumed maniacs bled a unique form of multi-drum and electronic hysteria to the current incarnation of destroyed lysergic dance music. Shit and Shine is the epitome of second guess subversion. One with a foot in every pie it continues on a fantastic twisted path.
'Everybody's a fuckin expert' lays forth another slab of inverted tranquility where general disruption is kept in check by the subversive charm unique to the outfit. Gunfire rhythms lay waste to androgynous sonics on the opener 'Ass', deep sea disorientation allows pools of plasticine audio to rise on Rastplatz whilst Picnic Table rinses electro out of thick gelatinous cybernetics.
'Everybody's a fuckin expert' takes a smörgåsbord of sounds and styles and contorts them into a bright new hope in twisted theatre, disorientating dance and hefty hedonism. Both the faint and strong hearted allowed permanent entry to this club.

The Golden Communion cover art

EMEGO 207 / Thighpaulsandra

The Golden Communion


September 2015 will see the release of Thighpaulsandra's 7th full length album "The Golden Communion", his first since 2006's "The Lepore Extrusion". Well over a decade in the making, this is his debut for Editions Mego. It comprises 10 new songs, running well over two hours with individual pieces clocking in between 4 and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Sion Orgon, plus the odd guest/ghost from bands Thighpaulsandra has worked with in the past.

If you have heard any of Thighpaulsandra's previous albums, you will know that you'd best approach this record with no fixed set of expectations, because once again he changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized and Julian Cope's band (in each case arguably at the height of their creative prowess) and his work as producer and sound engineer for an even larger variety of customers, you'll find classical passages next to hard rock riffing, krauty experimental work-outs turning into super catchy, almost radio-friendly songs and more.
Many adjectives have been used to describe Thighpaulsandra’s work: epic, challenging, timeless, idiosyncratic, but certainly never predictable or boring.

Possibly his most rewarding album yet and a welcome and unusual entry, in the Mego catalogue, which will entertain and astonish listeners who are fond of having their mind severely altered by sound.

Ett cover art

EMEGO 190 / Klara Lewis


Recorded, sampled, edited, manipulated, mixed, produced and arranged by Klara Lewis

Klara Lewis' debut release presents an electronically charged reconstruction of organic sound matter. 10 tracks featuring a wide variety of sonic material which is subjected to Lewis' unique approach to the sonic landscape. Field recordings, small sounds, samples, ambient pot holes, repetition, and giddy disorientation are all tactics deployed by Lewis. On entering these works we take a voyage through a series of audacious audio adventures, playful musical miniatures and choppy sonic seas. There is a human warmth to much of the material as Lewis expertly crafts musical matter from the living world. ‘Ett‘ is an exemplary investigation as Lewis’ reconfigures sounds of life itself, from the delirious to the tender. A bold vision from a bright new talent.

Empty Airport cover art

EMEGO 208 / Chra

Empty Airport

Recorded and Produced by Christina Nemec in Vienna and Horner Wald, 2012-2014
Additional mixing on Abandoned House by Christian Fennesz
Guitar on Soca Valley by Christian Schachinger, Recorded at Twisted, Vienna.

Mastered and cut at Dubplates & Mastering, Berlin 2015

Artwork by Susi Klocker

»Empty Airport«, Chra’s first LP on Editions Mego may be read as a reference to Brian Eno’s ambient classic, though this time we find ourselves in a territory of transit that sounds like a dystopian swan song on civilizatoric debris - a heteropia in which the listener restores himself in a surrounding that is emptied of human remains, having left just some ghostly echoes behind.
Chra aka Comfortzone-Labelfoundress Christina Nemec has traced out a post-anthropocene area in which acoustic entries of field recordings are stratified in layers of deconstructed noisescapes. Partly interspersed with clunky technoid bass-lines, an introspective space is opened, which excavates in a discreet and subtle manner, layers of abandoned wasteland. Nemec, who is a member of various band projects like Shampoo Boy (together with Peter Rehberg and Christian Schachinger) or the female berzerker formation SV Damenkraft, has succeeded in producing a significant LP, that merges dark techno and industrial with found sounds and ambient scapes, resulting in a compositoric minimalism that is ushering us in a state of existential trance.

LP cover art

SP 040 / Container


Ren Schofield's Container took the world of underground electronic music by storm with the debut "LP" in 2011. Following massive amounts of touring and the powerful follow up LP, "LP", in 2012, the project became a must-experience staple everywhere from U.S. basement gigs to Berghain. After two fantastic E.P. recordings on Morphine and Liberation Technologies, Container returns with the first full-length album since 2012, simply titled "LP".

"LP" is the most explosive offering in the Container oeuvre, capturing the raw and unhinged essence of the live Container experience while exploring new compositional and sonic limits.

The opening "Eject" wastes no time with it's instant feedback squeal backed by a barrage of pounding, distorted percussion. The concomitant storm of misfiring FX and derailed drum patterns set the stage the for aural pandemonium that this third "LP" delivers. "Remover" and "Peripheral" are dense and intricate structural compositions ruthless in their delivery and infectious in rhythm, stretching the known limits of the projects sound into welcome new realms. Tracks like "Appliance" and "Cushion" find Schofield in his most vicious form, with floor destroying tempos and a miraculously adroit sense of arrangement. Somehow, "LP" manages to simultaneously be the most palatable and most damaged contribution yet. Patchwork polyrhythm motifs, melodic (albeit fully blasted) hook sensibilities, and ballistic synthesized sounds are melted down together and shaped into some of the most rewarding, enjoyable works yet heard on any of the "LP" offerings. The closing "Calibrate" pounds with a hypnotic churn, growing into a stasis of red-hot squelches and deranged electronic malfunction recalling some of the earliest tape works Schofield created. "LP" gives a sense of "full circle", blurring the end and the beginning into a baffling riddle that can only be admired and never solved.

Schofield has enigmatically crafted his most insane Container album to be the most architecturally dextrous and club-minded, never compromising his fundamentals while evolving the project in an utterly satisfying fashion. "LP" is the most locked-in full length recording to date, long overdue and absolutely essential.

The Black Death cover art

SOMA022 / When

The Black Death

17:21 Pt. 1

21:08 Pt. 2

Composed by Lars Pedersen: programming, keyboards, harp, cello, percussion, sounds and voices

Recorded summer 1992 at Sound Sector, Oslo with engineer Bernt Kanstad
Mastered 2011 at Livingroom, Oslo by Morten Lund
Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2015

Produced by When

The Black Death is based on Svartedauen (1900) by Theodor Kittelsen (1857–1914)
All drawings by Theodor Kittelsen

Liner notes by Bjarne Riiser Gundersen and Bård Torgersen
Assistance and consultation on this edition: Kristoffer Rygg

Originally released in 1992 on CD by Tatra Productions

Coming out of the 1980’s Norwegian post-punk scene When is the solo-project of Lars Pedersen. When is like his own musical amusement park, every album differing a lot from the previous – Pedersen obviously likes to challenge himself and push for something new every time. The first albums were in a similar landscape as what he was doing with industrial art-rock band Holy Toy, and his later works have veered into everything from cartoon cut-up, psychedelic pop, prog. and even krautrock territories, but in between all this we find his fourth album from 1992 – The Black Death (and simultaneously titled as Svartedauen in Norwegian) – a decidedly darker creation.
The album is a sound-journey of the great plague entering and ravishing Norway in 1349, killing two-thirds of the Norwegian population within a few years, reducing an already small population to a bare minimum of survivors. The album was inspired by a series of grim drawings on the subject by Theodor Kittelsen.Kittelsen is one of Norway’s most renowned artists, with Svartedauen being his seminal work from the year 1900, a national treasure as instantly recognizable to most Norwegians as Munch’s The Scream. Pedersen had the balls to make a soundtrack to it.
Svartedauen is a 38 minute musique concrète sound-collage. In a highly sophisticated manner it mixes elements of manipulated traditional Norwegian folk music (such as the eerie sounding Harding fiddle), with sounds of horses whining, rats gnawing, wood grinding and people moaning. Musically it fits somewhere between Nurse With Wound’s dadaist studio experiments and Luc Ferrari's dramatic narrative environmental sound poems. But because Svartedauen tackles such a dark subject it is unlike any other musique concrète compositions I know. Pedersen masterly makes us feel the desperation of rural plague-ridden Norway – a sonic maelstrom slowly moving forward towards the inevitable apocalypse. A scary and uncomfortable, yet fascinating listen.
Fans of Norwegian black metal will recognize the Kittelsen art as the same that adorns several Burzum album covers. A little known fact is that Varg Vikernes, and most other black metal musicians during their church-burning heydays, were big fans of this particular When album. The Black Death’s release just happened to coincide with the black metal summer of 1992 and was thus embraced by a generation of young metal artists about to radically change the musical landscape of extreme metal forever. Listening to the album with that in mind it actually makes a lot of sense – Svartedauen incomparably evokes that feeling of doom and medieval dread that the black metal bands were attempting with croaked screams and distorted guitars around the same time.
So if you're looking for the missing link between Arne Nordheim and Mayhem – this is it. And finally the plague will be unleashed on the vinyl format. Pristine vinyl cut by Rashad Becker at Dubplates & Mastering and packaged in a gatefold sleeve featuring texts and interviews with and about Pedersen as well as a 12 page booklet of Kittelsen's drawings for Svartedauen. The rats would be pleased.

Text by Lasse Marhaug, Oslo March 2015

Ideologic Organ curation and art direction by Stephen O’Malley, manufactured and distributed by Editions Mego.

GRM Works cover art

REGRM 015 / Beatriz Ferreyra

GRM Works

Demeures aquatiques, 1967 (7'30)

The flow is constantly facing the ebb. Everything lies here. I wanted to illustrate the perpetual attempt by the solid and the fluid to interpenetrate via this experimental approach through earth, sea and air: overlapping elements folding inwards, bursting as tiny particles toward soft and flat surfaces. The impression of fixity conveyed by the obsessive repetition of a sounding object dissolves and breaks through this dialogue between sound entities of a different nature, eventually shifting into a movement.
This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments -- metal sheets, glass rods, etc. -- invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds. (BF)

Un fil invisible, 2009 (17'00)
For Christine Groult

This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece. (BF)

Médisances, 1968/69 (7'00)

This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects. "Slander" is not meant to be of a descriptive nature and any interpretation of the music along those lines would be a complete misconception.
Honi soit qui mal y pense! (BF)

Les Larmes de l’inconnu, 2011 (18'27)

There are as many Qabalahs as there are Qabalists (Carlo Suares). This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of "primordial equation of the universe": the level of the archetype, that of the event and the incarnation, and the universal and cosmic level. This whole piece draws its fundamental inspiration from the schemes built by letters and numbers, added to the three levels of understanding of the universe.
I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording. (BF)

Live at MAXXI cover art

EMEGO 209 / Voices From The Lake

Live at MAXXI

All music written and produced by Donato Scaramuzzi and Giuseppe Tillieci
Except Max written by Paolo Conte

Guitar overdubs and arrangements on Max by Brando Lupi
Mastered by Giuseppe Tillieci at Enisslab Studio in Rome

Recorded at MAXXI in Rome on October 25th 2014 during the “Open Museum Open City” exhibition

Photography and cover design by Koto Hirai

After last year's releases on Spectrum Spools, Italian techno masterminds Donato Dozzy and Neel are returning as the duo Voices From The Lake with a release on the mother label Editions Mego: »Live @ MAXXI« is a marvellous organic live-set of hypnotic ambient techno, proofing the outstanding and elegant craftsmanship of their sonic sculpturing, that they both are famous for.
As was to be expected they stay true to their polyphonic topography of liquid scapes: aquatic sceneries are embedded in soaking dense atmospheres, gently gyrating us into trance. Sometimes soft echoes of sirenic voices are heard – the only remnants of human traces in these spaces that have suspended time, where smooth silky textures are being channeled into fractal structures that induce a state of transcendence. The haptic quality of their sound is adding up to a sonic matrix of metaphysic imaginary that is provoked by gentle glides and dynamic beat patterns of almost tribalistic quality.
Dunked in a bath of dark fluid, sometimes washed away at the shores of Kosmische – VFTL's tunes are not scared to seduce us into a condition of haziness, culminating in a cover of Paolo Conte’s ‚Max’ which is turned into a dazzling sample of sweet, dreamy melancholia.
With this release Voices From The Lake succeed again in strengthening their position as one of todays most refined ambient techno producers.

What You Hear (Is What You Hear) cover art

EMEGO 204 / Thomas Brinkmann

What You Hear (Is What You Hear)

Thomas Brinkmann is renowned for audio works that hover amongst forms such as techno, minimalism and ambient. Alongside such pioneering works as ‘Klick’, ‘Variations’ and last years duo with Oren Ambarchi ‘The Mortimer Trap’, ‘What You Hear (Is What You Hear)’ Brinkmann moves further to separate his art, not only from descriptive musical terms that oppress creative output, but also removing the individual or the notion of an author from the act of creation. The 11 tracks on display form a series of self perpetuating rhythms which exist more as sound structures than any kind of traditional sound forms.

Any associations, emotions and reactions are purely in the reasoning of the listener as the artist makes a strong and deliberate move away from intent. This is a strident development in the conceptual thinking of Brinkmann’s solid career, one which places the listener simultaneously inside and outside objective parameters.

Dedicated to Zbigniew Karwkowski

Fridge Trax Plus cover art

EMEGO 001 / General Magic & Pita

Fridge Trax Plus

20th year anniversary reissue of the two milestone releases that kickstarted the entire Mego / Editions Mego imprint and initial aesthetic. This deluxe reissue brings together the first MEGO release, ‘Fridge Trax’ and the full length album that followed ‘Live and final Fridge’, originally released on Source in 1995.

Made by the founders of the initial Mego label, Peter Rehberg (Pita), alongside Andreas Pieper and Ramon Bauer (General Magic) these recordings are legendary in their execution. It was these pioneering releases, along with the earlier Warp and Sahko output, that really pushed abstraction squarely into the formally safe realm of dance music. The results were amongst the most influential musical offerings of the period and the paths laid out have been traversed by many a sonic explorer to this day.

Both the EP and full length were made via the same process whereby microphones were placed in a fridge in order to harvest the unusual microscopic sound world within. The resulting hums, buzzes, flickers and icy drones were then reassembled and reconstructed to make an assortment of tracks which range from rhythmic, ambient and glacial straight on through to the downright bizarre.

Fridge Trax is landmark release, a white good rearranged as awry ambience and freak funk. One which still resides fresh and aside from the pack 20 years on.

Written, produced and performed by General Magic & Pita

Remastered and cut by CGB, at Dubplates & Mastering, Berlin December 2014

Artwork By Tina Frank

Released as ‘Fridge Trax’ 12” (Mego, MEGO 001) May 1995 and‘Live & Final Fridge’ LP / CD (Source Records, 960125) June 1996




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Communist Dub is Pan Sonic member Ilpo Väisänen’s second solo album for (Eiditons) Mego (Asuma having appeared 2001). This striking new release is a statement against technocracy and the erosion of human community.
Whilst Jamaican Dub and Ska are often cited as an influence on Väisänen's work, this album utilises Dub as strategy as opposed to genre – the precise manipulation of sound and the removal of all extraneous material to create a disorientating landscape of austere spaces. Pulled into a sucking pit of reverb and echo, the listener can choose whether to be pummelled into submission or to reflect on their situation. Väisänen's intricate rhythmic structures propel the listener from monochrome machinic matrices to head-wrecking abstraction.
The ten track titles hint at failed emancipatory projects of the last century with a nod to the present situation - “Donetsk Disciples: Bolsheviks meeting the farmers (and wiping them out)”, “Benghazi Affair: Libyan connection and arming the forces, but history is taking over. A burning man in Tunisia starts the future.” Communist Dub is a ruthless criticism of everything existing, but one ultimately tempered by hope.
John Eden


nation of versions, i-shent recommended
dedicated to victims of isms

Sintetizzatrice cover art

SP 038 / Anna Caragnano & Donato Dozzy


"Sintetizzatrice" is the first recorded document of the newly founded collaboration between Spectrum Spools veteran Donato Dozzy and female vocalist Anna Caragnano.
Though his solo work, and in his collaboration with Giuseppe Tilleci as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen in the last decade. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak. "Sintetizzatrice" is the first work on Spectrum Spools featuring Anna Caragnano, a vocalist based in Rome.
Over two stunning sides of vinyl, Dozzy works exclusively with the voice of Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph through different styles from R&B to Kosmische, through traditional Italian folk music to Fluxus styles and traditional Chamber Choir with no additional instrumentation. Just a singular, beautiful, voice. The results are simply phenomenal.
With the opening, "Introduzione", an immeasurable cosmic weight arrives and remains through the duration of the album. "Star Cloud" ascends the album with melancholy extended drones that evaporate concepts like "time" and "being", rendering basic human perceptions void all the way through the sides closing "Parallelo". The flipside opener "Parola", dances around the stereo field with dazing rhythms and melodies, while "Festa (A Mottola) is an homage to the traditional music found in the rural region where concidentally, both Dozzy's mother and Caragnano were born and raised. The albums closing pieces "Love Without Sound" and "Conclusione" hit hard in a way where words do no justice. By fearlessly entering uncharted territories, both Dozzy and Caragnano have respectively made a collaboration which is truly experimental.
"Sintetizzatrice" is a grand debut for Anna Caragnano, and a fantastic twist for those following the work of Donato Dozzy.

All music by Anna Caragnano and Donato Scaramuzzi
* written by Derbyshire / Vorhaus

Produced and mixed by Donato Scaramuzzi at Alaska Studio in Rome during 2014

Mastered by Giuseppe Tillieci at Enisslab Studio in Rome.
Transfer to tape by Pietro Micioni, Angelo Compagnoni and Massimo Zuccaroli at Village Studio in Rome.
Cut by CGB at Dubplates & Mastering in Berlin
The Oracle Paolo Micioni

Front cover painting by Angela Scaramuzzi
Cover Design by Koto Hirai

Music For Amplified Keyboard Instruments cover art

SP 036 / David Borden

Music For Amplified Keyboard Instruments

David Borden was is in the room where the pitch wheel was invented, when it happened. He was one of the first people to beta-test Bob Moog’s Modular Synthesizer systems and MiniMoog instruments. His Earthquack Records imprint inspired Mimi Johnson to begin the legendary Lovely Records label with Robert Ashley. Borden formed the first all synthesizer ensemble, Mother Mallard’s Portable Masterpiece Company, in 1969 after Bob Moog graciously lent out his prototype synthesizers and allowed them to be blown up and repaired repeatedly in the process of learning patching techniques.

If there was ever a missing link in American Minimalism, David Borden is that link. He not only composed, innovated and performed in the peak years of this imperative movement, but did so on his own terms, with a startling lack of recognition for his revelatory contributions to contemporary musical history.

David Borden, born Christmas Day 1938, in Boston, Massachusetts, is an American Minimalist composer and electronic music pioneer. Music for Amplified Keyboard Instruments is his unsung masterpiece, released in 1981 on the now defunct Red Records based in Holland. After Mother Mallard disbanded in 1978, many of Borden’s solo compositions were not performed or recorded until long after the works had been completed. Music for Amplified Keyboard Instruments was released with little fanfare upon release, and suffered from seemingly limited distribution making the album an obscure classic from its earliest days. Those not lucky enough to obtain original pressings have had to settle for compressed YouTube clips and poor vinyl-to-digital transfers, while original copies of the album today are increasingly sparse and expensive on the used market. Spectrum Spools is proud to announce that 33 years after it’s original release, and after searching the archives of Borden’s private reel-to-reel tapes and recovering the one safety master known to exist, we are able to present this reissue of Music for Amplified Keyboard Instruments.

Music for Amplified Keyboard Instruments contains four pieces each utilizing three players, and six keyboard instruments. The opening “Etsy Point, Summer 1978” begins with a mournful, ominous mood and slowly blossoms into an immense and humid labyrinth of colorful buzzing textures and howling melodies. “The Continuing Story of Counterpoint” is a 12 part cycle for synthesizers, acoustic instruments and voice that was labored upon for over 11 years. Parts nine and six, included here, are miraculous achievements in prodigious playing technique, remarkable mosaic-like structure and aural magnitude, operating in the relative terrain of Steve Reich and his “Music for 18 Musicians” or some of the “Dervish” works of Terry Riley. Borden’s compositions, however, are singular renderings of his own creative style, prying open new spaces of technique and expression that remained uninhabited by the minimalist composers of the day. The “Counterpoint” pieces here are rigidly arranged with breakneck key changes and intricate time signature manoeuvring. The resulting audio conjures kaleidoscopic patterns of beautiful melodies and compositional anatomy unparalleled in much of the American Minimalism we know. “Enfield in Winter” displays some of Borden’s more ambient leanings, with slow morphing drones and gentle pad sounds that erupt into shimmering patterns backed by a grandiose chord progression. Though this wouldn’t be the only solo release by David Borden, Music For Amplified Keyboards represents a veritable zenith in Borden's corpus - a radiant achievement in sonic elegance, experimentation, and ambitious composition technique, deeming it a work of the highest archival significance.

Borden went on to found the Digital Music Program (now known as the Electroacoustic Music Center) at Cornell and is now retired. He resides in Ithaca, New York with his wife Rebecca Godin.

Music for Amplified Keyboard Instruments was remastered with love and transparency by Giuseppe Tillieci at Enisslab, Rome. These newly remastered works are superior to the original vinyl master, giving the world a chance to hear this remarkable work in highest possible fidelity across multiple formats. Extensive liner notes and photos by Borden are included to unlock the mysteries surrounding this elusive work. Spectrum Spools in cooperation with Editions Mego is proud to provide a definitive edition of a widely influential album to those in the know, as well as for those who are always on the lookout for a special recording they’ve not yet heard.

Pacific Tubular Waves / Immersion cover art

REGRM 014 / Michel Refoldfi

Pacific Tubular Waves / Immersion

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Pacific Tubular Waves,1979 (24'25)
- Inner Tube
- Crystal Lips
- A Smooth Ride
- Pacific Motion
- The Underwater Park at Sunset

Inspired by the oceanic horizons of San Diego, this work was created one year before the start of my research on underwater sound. It does not yet evokes the substance of the depths but is focused on the kinetics of the Pacific breakers.
The first four movements frame different visions of the energy delivered by the rolling waves as a kind of auditory surfing on the crest and into the trough of the wave (movements 1-3), followed by a high speed crossing within the tubular cyclone (4). The piece ends with easing waves at dusk.
The quadraphonic concert version is designed to surround the listeners and take them through a dynamic spatialisation, a kind of "ride" with furtive sounds, impacts and a vortex creating a sonic cinema with great relief scapes.
In terms of the making, Pacific Tubular Waves, is a purely electronic music, a solo performance on the first digital Synclavier synthesizer.
The flexibility of its touch keys enabled me to intuitively program a sonic organic life quality with a concrete quality. Here the computer was used to magnify the texture and behavior of the oceanic material though never mimicking it.

Immersion, 1980 (24'43)
- Surface
- Partial Immersion
- Deep Immersion
- Total Immersion

This work dates back to my Californian period (1977-1983) when I started a number of projects attempting to musically translate my discovery of the Pacific; from the movement of its rolling waves to its depths (particularly in this piece).
Composing Immersion started with underwater recordings using a hydrophone. After recording the shifting sands and the rolling pebbles under the breakers, I came up with the idea of dipping a sonar loudspeaker underwater to diffuse my Pacific Tubular Waves piece (made the previous year) below the surface. The music was thus shuffled by the waves and unexpected filtering effects resulted from its passing through clouds of foam. Its dispersion at sea by currents would send back incredibly smooth harmonic echoes. A new submarine soundscape was thus being outlined. The recording of this natural remixing process is the guiding thread of the piece. It is interspersed with sequences composed in the studio with the Synclavier. Alternating dry/wet, for a gradual immersion through increasingly calm and dense increments.
A few months later, in 1981, in the ocean reserve of La Jolla Cove, my Sonic Waters installation invited listeners to directly experience music underwater, thanks to a powerful immersed sound system that resonated through the body. The underwater concert was born; Immersion had been its aesthetic trigger and technical prototype.

Behold cover art

EMEGO 176 / Oren Ambarchi & Jim O’Rourke


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Behold is the second collaborative release from Oren Ambarchi and Jim O'Rourke following on from the 2011 release 'Indeed'. Seamlessly blending field recordings, electronics, guitar, drums and other acoustic instruments into a subtle combination of Krautrock, minimalism and classic free flowing electronics. Side A takes the listener into the Fourth World adventures pioneered by Jon Hassell whilst the flip seems like an unlikely pairing of Krautrock aesthetics and the slow building repetitive structures of The Necks. This is sharp, focussed contemporary music, one where minimalist motifs meet maximalist tendencies. Behold is another landmark recording made by two of the most enthusiastic experimental explorers active today..

Oren Ambarchi - Guitar, Drums etc
Jim O'Rourke - Synth, Piano etc

Recorded & Mixed at Steamroom, Tokyo 2012-2013
Additional recording at SuperDeluxe, Tokyo, Jan 26, 2012 by Masahide Ando & at Chinatown, Melbourne by Joe Talia
Cut by CGB at Dubplates & Mastering, Berlin, August 2013

Photography by Shunichiro Okada
Design by Stephen O'Malley