V-O-D venture an unprecedented and comprehensive survey of Larry Wendt’s pioneering text-sound compositions with the mesmerising Recordings 1975-1979. A partner to the two volumes of Henri Chopin’s work also released this week, the Larry Wendt collection zooms in on a tighter period of work which evidently parallels Chopin’s work, yet focusses on more electronic, computer-based process, with some jaw-dropping results that clearly pre-echo the way a lot of electro, techno and rave styles would later use rhythmically-edited vocals.
“Larry Wendt (b. 1946, Napa California) began creating artistic text-sound compositions in San Jose, California in the mid 70’s and was a proponent of the use of "low-tech" and "repurposed" electronics.
He was also among the early designers and users of “hand-built,” microprocessor-based, sound manipulation equipment to use in the production of his recorded work as well as in his on-stage performances.
Active in the audio cassette culture of that time, many of his works were released and distributed on limited edition cassettes which included (from 1975-1989). Allen Strange’s Ocean Records / Composers Cassettes series (US); La Mamelle Audiozine (US), Edition Elytras Baobab series (IT); Jean-Michel Place / Shandar Poésie Sonore Internationale (FR); Richard Truhlars’ Underwhich Editions (CA); Rod Summers’ VEC Audio (NL); Jan Van Thoorns’‚ Slowscan (NL); the Gertraud Scholz Verlag (GER); Tellus (US); and Musicworks (CA). John Giorno's Giorno Poetry Systems, Big Ego (US) being one of the few vinyl anthologies upon which his work appears.
Wendt also had his own hand-made cassette production label, Frog Hollow, which he also used to distribute his works.
Since the Mid 70’s his audio works, have been presented widely in various countries in Europe and the United States, Canada, and Australia. These venues included radio programs, international festivals and colloquia for experimental poetry and music, concert halls, museums, gallery, theater lobbies, and bar performance spaces, and other places which allowed for sound installations, tape presentations, lectures, and his live performances of text-sound compositions.
Wendt is also the author of several articles dedicated to the history and present state of international sound poetry and is also the editor of a CD anthology of international sound poetry entitled, "Vocal Neighborhoods: A Walk through the Post-Sound Poetry Landscape" for Leonardo Music Journal (Volume 3. MIT Press: Cambridge, MA, 1993).
Wendt has collaborated on audio works with other artists including Stephen Ruppenthal, Henri Chopin, Bob Cobbing, Clive Fencott, Dominic and Susan Alleluia, and Ernest Robson.
He has also been the initiator and organizer of sound poetry performances and lectures by other artists. Beginning in 1977 as co-organizer (along with Stephen Ruppenthal and Dominic Alleluia) of the “First West Coast International Sound Poetry Festival” held in San Francisco (and which included performances by upcoming Industrial-Legends like Stefan Weisser (Z’ev) and Boyd Rice (Non) participating as sound-poetry-artists) and over the decades also concerts and lectures on sound poetry in the San Jose area which included, Henri Chopin, Bob Cobbing, Clive Fencott, John Giorno, Sten Hanson, Enzo Minarelli, Nicholas Zurbrugg, and others.
Driving, tweaky, deep techno minimalism from Russian producer Roma Zuckerman, joining Nina Kraviz’ Trip label as it really begins to pick up some momentum after a haul of twisted pelters and dancers from Biogen, Bjarki and co in recent times.
That Present Terminal gives Trip a nice variation of shade intended to enhance and prompt late night dancefloor behaviours between the rolling, gravelly heft and piquant hook of So What (I Feel Dirty) and the brooding mix of fractured electronics and furtive bass on Years, thru to the sub-heavy death and MDMA-ready chord washes of Your Ego, which all leads up to what sounds like Stanislav Tolkachev at the event horizon of a K-hole on Robologia (Voice Rign Edit).
Bedouin Records’ Bastikaya Tapes kicks off a 10” series a pair of bashy 8-bit dancehall and jungle blasts by Sully.
Up top he ploughs out the ruddy metallic gyration of Untitled 01 on an earth-shuddering bass sparked up with manic bleeps. Imagine Zomby on a 3-day rum bender and you’re in sniffing distance.
Down below Stripes On A Tiger Donb’t Wash Away plunges headfirst into mutant hardcore junglism thru a wormhole of modular synths, sawn-off breaks and ravenous mentasms.
However you might try to find the words for it, Total Control's caustic charm is stunning and oblique. A sensible account of the band typically focuses on its parts—the associated groups, the touring configurations, etc.—as if finding ways by which Total Control is divisible gleans critical information for breaking through their cryptic sheen.
"With tonic, wry twists, and forever employing aphoristic brevity for the comic/cosmic dynamite that it is best reserved for, the band seems to indulge this with each new release, or tour, or whatever's put on the counter. The bands European tour tape from 2015 was a sure reminder of this. Their new 12", 'Laughing At The System,' is a succinct statement, but it feels like the sharpest thing they've ever assembled. Written and recorded over the past couple of years in various lounge rooms, bedrooms, and rehearsal studios, across Melbourne, regional Victoria, and Western Australia, Al Montfort, Daniel Stewart, James Vinciguerra, Mikey Young, and Zephyr Pavey are—for the record—all accounted for in the process. 'Laughing At The System' is bookended by a title track in two parts. The scattered mania of the opener is an unsettling beginning, with cascading madhouse-riffs somehow finding a ricocheting unison.
The closing part has the familiar head-charge of Total Control's most gnashing moments, with the guitars balancing the equation between running-too-fast and drinking-too-fast in one queasy commitment. With a brilliantly acerbic wit, we're implored to gather that there's some equivalences here. And it's this kind of impulse that's kept up throughout the 12". Drizzled with Vinciguerra's fraught fills, which have the rare quality of being unmistakably his in both electronic and acoustic form, this punctuation comes in and out of focus between elegiac moments and breezy experimentation, the latter including the elated instrumental 'Cathie and Marg.' Throughout, Stewart scripts a tumultuous wake for a flatlining reality, forever nudging the listener to second-guess themselves about the sincerity and intent. Far from cynical, but earnestly neurotic, the potency of the atmosphere that Total Control has mustered across 'Laughing At The System' registers as a deeply commanding, though bleak, psychedelicism for the future."
A previously unreleased live club performance from the brilliant multi-instrumentalist whose mixing of Jazz and Eastern music was a great influence on some of Jazz’s finest, including John Coltrane and Pharaoh Sanders. Back in vogue and massively influential on the current new wave of Jazz coming out of LA and London.
"Most of the repertoire played comes from Lateef’s seminal works for Savoy and Prestige such as ‘Jazz Moods’ and ‘Eastern Sounds’. Lateef plays flute on ‘The Dreamer’ and ‘Last Night Blues’ (it was the last night of the run). He plays the shenai - a kind of oboe - on ‘Blues For The Orient’, the xun - a Chinese flute - on ‘Song Of Delilah’ and tenor saxophone on ‘Yusef’s Mood’.
Recorded by Les Tomkins at the request of Ronnie Scott, the musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way."
Light Sounds Dark lasso another obscure bag of treats from the underground’s psychedelic humus on The Acceptable Presence Pt. 2, following the 1st set’s YouTube-playlist-come-LP suite with a bounty of bewts sourced from feck-knows-where. If the last one scattered your marbles, this will get you no closer to finding them, trust us.
With their genre agnostic ear goggles on again, the cryptic cats behind LSD keep listeners on their toes, their arse, and eventually face down looking upon the world from above with 20 selections pulled from every odd corner of the late 20th century’s musical imagination, patching together an arcane sort of neural network of connections between far flung and whacked out vibes.
What the set possibly lacks in fidelity, it makes up for in its selections and sequencing, resulting a mind-flossing dérive from Norbert Stolz’ hallucinatory Genetic Plans thru to the ambient UFO of Moxon’s Master, taking in the esoteric industrial collage of Laurent Pernice, druggy krautrock from Nexda, the warped NDW nerve jangle of Sueño Sueño, pre-echoes of AI dream from Konstructivits, and a slompy psychedelic belter by Van Kaye & Ignit among them.
Local Action chuck a real curveball with TAM’s turn as Erskine Lynas, a new alias for the Aberdonian artist who’s previously applied his hand to freaky mutations of grime and fluoro electronics.
Lynas’ debut album, Lease Of Youth ‘fesses up to a proper passion for ‘80s synth pop - Tears for Fears, The Blue Nile, OMD and Magnetic Fields - in ten shockingly sharp and bittersweet arrangements that arguably sound like the work of a much older, experienced listener and artist.
But it’s not pastiche, nor a prosaic genre exercise. To the contrary, he’s putting a keenly off-kilter spin on sounds he clearly loves, with results that lie the better side of Hot Chip, and the less melodramatic aspects of Autre Ne Veut, with the adroit, melodic retro-futurist touch of Martial Cantarel, and a gaelic, folksy, electronic appeal comparable to Cocteau Twins or Samoyed.
We advise checking for highlights in the lucent lead single, Craigier Caught Sleeping, in the lilting, low-key funk of Run.Away / There’s No Face In Strings, and the icy minimal wave élan of Madrigal Morning.
An accomplished album, full of strange surprises.
Mushi & Lakansyel’s Koté Ou? is a properly obscure and delectable jazz-fusion album stacked with lush synths, hailing from Haiti 1983!
After issuing Claude Rodap’s Frigate Orchestra side from he same region, France’s Granit Records have the honour of presenting this genuine wonder to the wider world for the first time, set to floor anyone with a soft spot for flutes, synths and wide-eyed chimeras of new age, ambient and jazz from the early ‘80s.
Seriously, you’ll need to pinch yourself a few times throughout this album, especially if you’ve got a soft spot for Gigi Masin, Lewis, or enjoy holidaying in the Caribbean at christmas.
After collaborating with Aidan Baker and Lawrence English already in 2017, Thor Harris (Swans, The Angels of Light) meets Peggy Ghorbani and Sarah Gautier for a fluffy, polyrhythmic, minimalist distraction from the end times.
“"You can make your life a whole lot simpler and less draining if you choose to be good to others. Kindness sets the tone for civil interaction when you lead by example. Kindness is your most efficient tool for changing the world."
Governor Thor Harris played Marimba , flute, vibraphone , voice, organ , duduk, tubular bells, gongs ,etc Peggy Ghorbani played marimba, xylophone, & inspired us all to go on living.
Sarah "Goat" Gautier played marimba, vibraphone, organ, voice, etc. She is currently the hardest working man in show biz.
Jeremy Barnes made this whole goddam thing happen i.e. produced it. He also played vibraphone, auto harp, engineered, mellotron, organ and arranged strings on 90meters. Heather Trost played violin, viola, voice & string arrangements.
Jordan Geiger played marimba, synth, vibraphone and engineered. John Dieterich played prepared guitar, bass & percussion. Michael Gira sang on 90meters, Standing Rock and Grassfire. Jen Gira sang on Standing Rock. Stine Janvin Motland sang on Swimming with Stine, Dead Man's Hand, and Falling. Soriah sang on Standing Rock, 90meters, & Grassfire.
Crystal Fullbright sang on Tucson (to be released later) Daryl didn't do shit on this. Not one goddam thing. Blair Bovberg played theremin Craig Ross recorded Stine and makes anxiety inducing drones in our live shows. Elizabeth Warren played viola and violin. Aisha Burns played violin. Adam Torres played guitar. Daily Toliver played bass and Wurlitzer. Jacob Green played oboe. Jhno Eichenseer played duduk on Standing Rock and Resist. Jeff Luna played bass and engineered. Conor Walker engineered and so much more. Dave Boyl engineered sessions at Church house Studio in Austin. Design by Louis Schalk and Jeremy Barnes at Plinth Design. Photos by Conor Walker, Thom Washburn, Tamir Kalifa, Gretchen Phillips & Sippertu. Recorded and mixed by John Dieterich and Jeremy Barnes at Sonido Del Norte in Albuquerque.”
Entr’acte grip Icelandic electronic maverick Sigtryggur Berg Sigmarsson - bandmate of Jóhann Jóhansson in Evil Madness, and ov BJNilsen as Stilluppsteypa - for a total wormholer called Sun of Late Afternoon, which is the first we’ve heard from him since the excellent Avantgardegasse side for Ultra Eczema in 2015. Was originally a tape on Hanson Records, now available on digital format for 1st time.
On this outing he spends half of the first piece, The Ultimate Sunday Afternoon luring us into a steeply pitched whorl of metallic harmonics and process location noise that points to his studies under The Hafler Trio, before switching to what sounds like the croaking breaths of dying man who sees himself projected into the ceiling of a large shopping centre, which turns out to be some kind of sonic purgatory.
A Late-Night Programme follows in equally surreal style, morphing from plaintive, etheric glossolalia and ambient pads like some lost Lewis joint, to conduct a bewildering trip thru spectral electronic timbres, aleatoric location recordings, and the kind of grotty oddness that used to be found on James Ferraro albums, to an elegiac synth finale. It’s the kind of music that puts your faith back in electronic music as a window onto the strangest, other worlds.
Steven Hitchell rekindles his Phase90 alias with an absorbing reshuffle of its debut album, 'Infinitati' including unreleased and remastered material.
This is arguably some of the strongest material from any of his myriad pseudonyms, mostly thanks to an sort of frayed, agitated approach to his rhythms, preferring knotty, sparking shuffles and delicate dub bounce rather than his patented heavy trodders.
The atmospheres too are dealt with a nimble hand, full of organically diffused melody and dusty chain reactions occurring around the sound-sphere with dreamy, elusive quality.
If you've ever needed a place to dip your toes in Deepchord/Echospace's oceans of sound, this is it.
Amazing collection of Disco Music released in the 80s (1980-84) on the Nigerian label Duomo Music Ltd. and reissued here for the first time.
"The late 70s, the thrust of mainstream music had changed from the indigenous highlife to a more international funky disco sound. Keyboards and drum machines were the key components of the new sound, and this shift in style saw Bunny Mack, Chris Okotie, Christy Essien and Jide Obi replace Osita Osadebe and the Oriental Brothers on the charts. It was in this effervescent climate that Duomo Sounds Ltd was established by Mr Humphrey Aniakor, a business man with no prior investment in the industry.
It was simply the in-thing for a young monied businessman at the time. The name suggested European sophistication, modernity and a little abstraction. D U O M O Sounds, the kids loved it. The first release was Bassey Black’s “Someone to love” (DSL 001) which sold over a 100,000 copies, a big hit at the time. The success of the album attracted several artists the most influential of which was Mike Umoh. He aimed for the pop market with accessible, funky arrangements, however his affinity for funk and disco has made him a reference for collectors worldwide. His LP entitled, “Honey, Honey” (DSL 002) was the label’s second release and his most successful album and he also produced the labels 19th release, Bindiga’s, “No More Starvation” (DSL 019), an afro-boogie funk masterpiece. The album in its original format is very sought after by collectors and djs and changes hands for huge sums. Its been described by many as cosmic funk at its finest. Christy Ogbah´s disco soul/highlife records on Duomo are also very highly sought after. This new Livingstone Studio release presents the best of Duomo Sounds Ltd. for the first time.”
Wah Wah Wino’s Morgan Buckley and Ben Donoghue make free-styling noise as Little Movies with their debut accomplishment; a playfully imaginative and crudely daubed “live score to a silent 1920’s Lawn Mower Man.”
Sounding out somewhere between Jeff Keen’s sound-art blatz, COUM Transmissions live swelters, and a wretched bowel, it delivers the sound of two rogues pissing about on modular gear in raw, uncut form, all recorded in one session and faithfully brought to life in the master by an engineer endearingly known as The Bastard.
Attempting to properly describe their hot mess of electricity is pointless, but if the idea of two mates squeezing the strangest sounds from a modular kit just to piss off their old guitar teacher sounds like fun to you, this one’s a freaky peach.
Earlier this year we were honoured to offer a first ever vinyl edition of Akira Rabelais’ ‘Spellwauerynsherde', arguably one of the 21st century’s most enigmatic and haunting albums, presaging contemporary obsessions with processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music from Kara-Lis Coverdale to Visionist or John T. Gast as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others. The edition sold out straight away, so here’s another chance for you top pick up a copy - this time pressed up on gold wax.
Spellwauerynsherde was originally issued on CD via David Sylvian’s Samadhisound in 2004 and comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais’ self-built Argeïphontes Lyre software. The result is an album we’ve returned to repeatedly since its release and we've felt it's always been crying out for a vinyl issue.
Rabelais has done the piece proud for this edition with a sensitive new edit allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical - both temporal, spatial and timbral - nature of the record’s ethereal vestibules and elusive, illusory sonic spectres.
In remodelling these ancient works of art he performs a sort of hypermodern animism on ostensibly dead musical material - dead as in hardly anyone knows or plays them in the modern age - imbuing them with a contemporary relevance through the process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now nearly a millennia old - so old you can’t even call it classical music!
For us at the least, Spellwauerynsherde has pretty much set a benchmark for experiments with ancient composition and computer music. From the breathtakingly curdled timbral dynamics and sepulchral space of 1382 Wyclif Gen. II. 7 And Spiride In To The Face Of Hym An Entre Of Breth Of Lijf through to its windswept inversion which concludes the LP with 1671 Milton Samson 1122 Add Thy Spear, A Weavers Beam, And Seven-Times-Folded Shield, each immersion in this vinyl is akin to floating thru the mists of time and sends shivers down our spine just even thinking or writing about it, never mind listening.
It really is one of the most magickal, perplexing and strangely life-giving records that you’ll likely ever hear, as well as one of the most beautiful albums we’ve come across since we opened our doors back in 1998.
Glass mastered CD housed in 4-panel, letter-pressed Somerset cotton covers with 20 x Polaroid style prints by Nieves Mingueza printed on luxury 250gsm card, hand-numbered 35mm photo slides, and patchouli scent. All packaged inside sealed matt-black darkroom negative envelopes
Funereal levels of adult contemporary melancholy for fans of Bohren Und Der Club of Gore, Svarte Greiner, Julien Neto…
“The Epiphanies sees Bill Seaman in fine fettle, driving along phosphorescent-lit roads marked by the heavy dew of mystery and slow-to-develop intrigue. Delayed secrets are now only coming to light. The setting sun is the glorious backdrop as The Epiphanies coasts along a deserted road, its dark road-trip music glinting like the lightless, metallic chrome of the car’s body. A pack of coyotes come out to play, and further down the road some lusty, post-jazz musings at a local bar hint at dark dislocations. Nothing is right – the neon sign is too bright and things are a little off-kilter. Reality slips slowly away, like water through the fingers, drained as if from the last bottle of whiskey, until it can’t be grasped at any longer.
The sick, cloying perfume of cigarette smoke hangs in the air like a tired apparition. The lingering, too-wide smile of a cute bartender with a string of strange tattoos along her back and an old episode of Tiny Toon Adventures (circa 1990) rather than the latest game from the NHL graces the television’s pulpit, adding to the subtle sense of dislocation, and the music only gets darker, its dying light duelling with the fading sunset. The headlights are a lonely splash of colour at two in the morning, and as the music enters the long hours a velvet-smooth carpet of asphalt spreads out before the listener, the unfolding ambient textures helping to shape a smooth, virgin-pure road.
Dark wet trees and swaying branches are illuminated as the car drives through an eerie, sleeping town, with nothing but a slumping, somnambulant piano strolling up and down the dark, leaf-strewn sidewalk. Distant notes seem to croon into the space, somehow filtering in through the dead radio that needed replacing months ago, luring you into its monochromatic musical world.
You are the first visitor. You are also the last. There isn’t any other traffic…”
Relive the surreal existential anxiety and black humour of Yorgos Lanthimos’ The Lobster - an award-winning flick about folk who get turned into the animal of their choice if they don’t find love by a certain age...
...with the director’s self-picked soundtrack selection including tunes from Nick Cave & The Bad Seeds, Kylie Minogue, alongside orchestral renditions of Beethoven, Stravinsky, and Shostakovich.
Marcel Dettmann, Radioactiveman and The Exaltics rework Second Storey’s Lucid Locations album cuts in their own image for Houndstooth.
Berghain’s konstruktivist poster guy Dettmann impresses with a swanging, strobing re-roll of No Such Location, shotting rave stabs from the hip on a big swollen bass in the Positive mix, and then clenching down to the tighter electro-funk of his Negative mix.
Radioactive man, ever ready for an electro revival, does his tweaky thing with Moesha Moved To Margate, and The Exaltics yokes Ajunlei 8 to a virulent, pneumatic Drexciyan throb.
Steve Goodman and Toby Heys’ sonic research cell AUDINT disclose their 3rd and final tape to Reel Torque in a special edition package. The material on this one sounds something like Rainforest Spiritual Enslavement meets Apocalypse Now. Listener discretion advised...
Following the magnetic burial loops of Chilean performance artist Magdalena Parker (1964-72) and the funerary rites/financial forecasting experiments of Vietnamese bio-acoustician Nguyễn Văn Phong (1958-79), this final tape documents rogue agent Marshall Spector adapting and deploying Parker and Văn Phong’s techniques in the field with evidently petrifying results during the US military’s 1966-68 Urban Funk campaign. As AUDINT explain...
“The material on this cassette was selected by AUDINT from the archives of former member Marshall Spector. After a chance meeting with founder of the First Earth Battalion Jim Channon in a Berkley coffee shop in 1965, Spector co-opted the bio-acoustic techniques of AUDINT’s Nguyễn Văn Phong and the tape experiments of the research unit’s Magdalena Parker. Having left AUDINT for the promise of a position backed by the resources of US government in Vietnam, Spector played a crucial role in training the 6th PSYOP Batallon and special units of the US Navy; his most telling contribution happening during the formulation of the infamous audio harassment tactics of the Urban Funk Campaign.
Opting to chase a recurrent, bombastic dream of holding a rock concert in the jungle, Spector betrays his former AUDINT colleagues, and yet illicitly keeps them updated on his experiments by posting back extracts from his ‘sonic assault’ research. The tape contains material recorded between 1966-68 on high fidelity recording equipment, that at the time, was only available to the US military. Side A, features his low frequency experiments on animals carried out around the Mekong Delta. Side B, features excerpts from the ‘Wandering Soul’ tapes and recordings of their deployment into the jungle canopy from helicopter-mounted loudspeakers often referred to as ‘Curdlers’ or ‘People Repellers’.
These ‘Wandering Soul’ or ‘Ghost’ tapes were composed of montages of local music and folklore, tapping into Buddhist belief systems regarding the afterlife, cries and wails emanating from the souls of dead comrades who had failed to find the peace of a proper burial, spliced with Western music and sound effects. In practice, the deployment of these tapes rather than inducing surrender, proved provocative for the Vietcong, drawing unfriendly fire. The death cards in the boxset are copies of the designs that Spector would come up with for troops on and under the ground. Given that the ‘Wandering Soul’ recordings also penetrated the earth itself, with reports that VC hiding out in the labyrinthine underground tunnels could still hear it, the cards became the visual aspect of the US military’s cultural warfare, which was literally the sound and vision of hell on earth"
A long-awaited collection of Jon Wozencroft’s photography, accompanied by a 33-track CD of exclusive music from Mika Vainio, Wire, CM von Hausswolff, Chris Watson, Jana Winderen, Claire M Singer, Hildur Gudnadottir, Philip Jeck, Simon Scott, ELEH, Russell Haswell, Heitor Alvelos, Johann Johannsson, Mark Van Hoen, Fennesz, Sohrab, Jim O'Rourke, BJ Nilsen, Peter Rehberg, Oren Ambarchi and more. After more than 35 years defining the intersection of sound, art and design in the modern avant-garde, Movements elegantly maintains Touch’s impeccable reputation.
“In a 24/7 world there is no greater challenge than “to be in command of one’s own time”. Is it true that the ability to download anything, at any moment, constitutes freedom? Has the ‘value’ of music, art and design been stripped bare? “I Google, therefore I am”...
Touch MOVEMENTS has been compiled over the course of 3 years. It is a response to many requests for Touch to publish a fuller account of Jon Wozencroft’s photography for the cover art of the project. The book follows the music, which was compiled step-by-step, like a jigsaw – there was not an “open call” to the artists, rather a sequential development which gives the CD a special narrative quality. And since our last Touch 30 compilation in 2012, the accuracy of the music has grown and rises to the challenge of what sound can do to transform perceptions about the immediate emotion of musical work and its more difficult, longer term evolution.
Following Touch Folio 001 in 2015, this series is a dedication to finding new ways of audiovisual publishing, somewhere between the twin peaks of a jewel-cased CD and a lavish box-set. The two elements of sound and the visual work in parallel to create the idea of an “Ear-book”, whose interdependency reveals itself over time, and allows the richest of listening and viewing experiences. The music and the photography is fully annotated, alongside a rarely-seen manifesto by the Surrealist film-maker Jan Švankmajer which celebrates the spirit of the creative act.”