JACQUES BRODIER – XHOS DE VILLEMAHU – PP21
Royaume / Aimant + Aimant – is second in the three part re-issue series focussing on the works of Etant Donnes based around field recording
Royaume (originally a CD on Touch, 1991) is made up of 4 tracks and is a kind of purifying travel through the four elements which symbolically refers to the light evoked by the colour green, an allegory of the grail and of the light- carrier angel. As to the poems, they tend to amount to their essentials, as is the case in Matin which is both Taoist and surrealistic.
Aimant + Aimant – (originally as a split 10”/CD on Danceteria,1992) presents itself as a magical alchemical mantra based upon the force of love, the force of life. Two pole like two bodies like two hearts like two magnets.
Run horse run
Sting bee sting
Fly fish fly
Burn miracle burn
How beautiful your eyes are when they look into the void »
Two pole like two bodies like two hearts like two magnets.
The wind, the sea, the breath, the fire.
Nothing more than nothing.
Everything is in everything.
Like true buffoons from ultra – world , Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art : to create one’s own ritual and , being one’s own referent, to become a vibrating point in the cosmos and be a receptacle for natural energy, like those bright patches or that black point recurring in their magical music, real poems-paintings and irremediably aiming , like an insect caught between the circle and the cross, in the heat of the sun in an attempt to merge with the Whole. – Stephane Duval
Two pole like two bodies like two hearts like two magnets.
The wind, the sea, the breath, the fire.
Nothing more than nothing.
Everything is in everything.
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg outfit Korea Undok Group. With more hiss than a valley of snakes the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely.
180 gram vinyl on beautiful reverse board sleeve with passport style booklet all designed by KUG.
This is a package that befits this unique scene of one, or many.
Penultimate Press is proud to present the debut vinyl release from Derek Baron.
From Chicago, IL, now residing in Queens, NY Baron’s work muses on the interior and exterior via explorations of history, memory, listening, domestic ambience and the collective understanding of sound as amorphous matter. Crooked Dances presents a series of Erik Satie’s piano works as played in a flatshare with various interruptions by those who also contribute to the electricity, water and internet bills.
Limited to 300 copies Crooked Dances comes in a high gloss sleeve designed by Maja Larson with bland photographs supplied by Baron.
Crooked Dances is a melancholic, playful journey rooted firmly in the real.
Requiem of Art Fluxorum organum II Opus 50. was first issued in 1973 by Edition Schellmann alongside ‘Schottische Symphonie’ with Joseph Beuys. With full co-operation with the Henning Christiansen estate Penultimate Press is proud to present the authoritative version of one of the late Henning Christiansen’s greatest works.
In the summer of 1969 we made a collective film “The Search” on the heath in Jutland, Denmark. Henning Christiansen made on site field recordings for the individual scenes with Peter Sakse as sound master. The music was first time used during the performance at the festival Strategy: Gets Art exhibition organised by Richard Demarco at Edinburgh College of Art, on August 21,1970 with Joseph Beuys and Henning Christiansen. Henning Christiansen sampled the field recording into the organ music from “Eurasienstab”. He gave this composition subsequently the title Requiem of Art fluxorum organum II Opus 50. That means a requiem over the role of art in the 1960s. – Ursula Reuter Christiansen Møn, Denmark 10.20.2016
Requiem of Art fluxorum organum II Opus 50 comes in an edition of 700 copies on 180 gram vinyl house in a handsome spot-varnish sleeve along with the entire score as a high-gloss 4 page booklet.
Matthew P. Hopkins second full length release for Penultimate Press presents a curious and compelling listen which harnesses his deeply personal and paranoid vision into the ultimate beauty/horror object.
Over the last decade Hopkins has distinguished himself as master of multiple musical forms including bent song, freeform concrete, improvised electronics and techno. Under his own name he has produced a most singular take on abstracted voice, feedback, field recordings and found sounds.
With Blue-Lit Half Breath Hopkins furthers his domestic enquiry into subconscious sounds with a series of vignettes that hover from hissing clunk, atmospheric creep to improvised piano refrains. Amongst all this the voice of Hopkins appears throughout as a shadowy narrator delightfully disturbing the sonic play.
Blue-Lit Half Breath is a late night oil burning masterpiece which resides within a zone orbiting it’s own logic.
Księżye- Rabbit Eclipse (PP19) LP/CD
Deluxe 180 gram vinyl version on reverse board card with printed inner sleeve.
Rabbit Eclipse is the second full-length recording from the legendary Księżyc following on from their self titled debut from 1996.
The Moon never went away.
The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material.
Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band.
With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia.
Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits.
Astor – Lina in Nida (PP18) LP
Mark Harwood‘s third album under his Astor moniker slips away from the obtuse atmospheres and concrete field recordings of Alcor and Inland (released on Graham Lambkin‘s Kye label in 2012 and 2013 respectively). Lina in Nida sits more in a melodic electronic framework covering a wide range of sonic and emotional states.
“The East” initiates proceedings as a proposed anthem for Britain during a potential invasion by ISIS. Things soon move into the uncomfortably claustrophobic “The Landowners,” where an oblique narrative by Estonian artist Kris Lemsalu spirals into a blurred fantasy of musical roads, nocturnal wanderings, and entrapment under floorboards. The B-side relocates itself further out as “They Cling to Each Other” hovers over uncharted ketamine lows while “The Sleepwalkers” lurches around a spider-like environment. “Amusement” tackles a cosmic music, but one that hurtles itself far beyond the outer regions of the cosmos, while “5:00am” contains within the greatest sound known to mankind. As a further shift from reason, Lina in Nida is a thrilling expose of intense atmospheres, emotional states, and ecstatic physics.
Recorded in a bedroom in Clapton, East London, throughout 2014 and ’15.
Small Cruel Party – Stain On Pure Glass/The Waking Of Leafy Pools (PP17) LP (sold out)
Originally released as a box set by Harbinger Sound in 2002 in an edition of 300 copies.
The Penultimate Press version is an exquisite hand made art edition in an extremely limited edition of 25 copies. 5 to artist and collaborators, 20 available to general public. Individual handmade art sleeves made by long time friend and fan John Hubbard.
William Ransone’s notes:
Stain on Pure Glass was commissioned by the 1993 AVE Festival at Arnhem, The Netherlands. I had been invited to present a sound installation at the festival that year (The dreaming of the earth continued into daylight”) they also wanted a piece to play on a radio show during the festival, and Stain on Pure Glass was created for that purpose. A 7 min excerpt of this piece was included on the compilation CD “Tape a break” released on the occasion of the fesival by AVE and Rund um den Watzmann. This is the complete version.
The Waking Of Leafy Pools presented here was recorded at Extrapool in Nijmegen during an evening also featuring Chop Shop and Kapotte Muziek (Frans, Peter, and probably also Roel Melkop). It was performed live without any pre-recorded material and recorded directly to a 2-track DAT machine (remember those?). This was a piece I did a lot back then, but this version was always one of my big favorites : first european tour, hanging out with Mr. CHOP and lots of other great folk, and a strange aleatory disfunctionment that created an unexpected and delightful change in the piece at one point… We were put up at Extrapool and slept in their little crow’s nest (the building is several storeys high, 4 or 5?, and the last storey is simply big enough for a mattress on the floor, and not enough room to stand up. I recall a sort of three-sided bay window that made up a lot of the wall surface so one was kind of projected out into the town below — it left a lasting powerful impression on us both, and we still talk of it with real fondness and nostalgia).
Mr. Balford (your legs are so swollen)
Small Cruel Party’s work is focused on the inherent mysterious and beautiful quality of sound itself, with the emphasis on noninstrumental sound sources, the source itself not being readily apparent. Work generally involves manipulation of physical objects in acoustic space and a great deal of concentrated activity. Even in pieces involving dense sound at high volume the resultant effect is one of intense calm.
Etant Donnes – Aurore (PP13) LP
Through them, it is the volume of each word that becom
es an ‘objectsculpture.’ The word, the voice, the volume take shape with each other, unveilin
g a theatre that theatre usually ignores. In the power of voices and semantics, as well as in the severe body/mind combination, inseparable from each other, I find in Aurore a song of the bodies, indispensable to any sound values – Henri Chopin.
Penultimate Press presents the first release in a three-part series based around the four field-recording-based works made between 1990 and 1994 by the legendary French act Étant Donnés (brothers Eric and Marc Hurtado, born 1959 and 1962 respectively in Rabat, Morocco). Aurore opens the triptych and is made from ambient sounds collected like dew from nature. The gathered sounds were then used as a sound texture for the poems strewn among the field resulting in a single entity of arresting sound and text. Aurore is focused around an alchemical fire/water battle, this water which does not wet the hands. Aurore shares some convulsive movements that establish a link with Étant Donnés’s earlier works, for instance that exuding scream, worthy of the one Artaud uttered in his legendary 1947 radio program Pour en finir avec le jugement de Dieu. Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art: to create one’s own ritual and, being one’s own referent, to become a vibrating point in the cosmos and be receptacle for natural energy, in the heat of the sun in an attempt to merge with the Whole. Aurore comes remastered and repackaged in a high-gloss sleeve with fully printed high-gloss inner sleeve, in a limited edition of 500 copies. It remains an extreme and beautiful sonic journey sitting outside of time.
Listening to Aurore, our two actors’ record, undoubtedly owing to the influence of the Mediterranean cradle, single umbilical cord of two great religions, the influence of both Latin and Arab worlds — Gaelic short and long sounds can sometimes be perceived — since their dictions are such a synthesis of several origins. Any true sound poetry is shattering, the really oral one is there in space, with the plus of the media machines, of the voices that slip through them, overwhelming them with the splendor of the bodies. – Henri Chopin
Hour House – Chiltern (PP16) LP
Conceived whilst wandering through the iron bark forests and gold fields of country Victoria the official debut by Melbourne’s Hour House gifts a musical blueprint marinated in mystery, beauty, sound and song. Hour House is the Melbourne based duo of Mark Leacy and Sam Kenna, formerly of the Newcastle based outfit Castings. Penultimate Press is proud to release their official debut LP Chiltern. Comprised of individual tracks folded into two side long suites Chiltern is an unique excursion through foreign encounters, warm surrounds and disorientating comfort. Field recordings, electronics, samples, guitars, voice and atmospherics all contribute to form a bewitching whole.
Many questions are raised: Is this a soundtrack to a mental experience or an altered take on a familiar reality? Is section 3 based around the sound of a basketball court? Does section 4 comprise a song? Where do the original soviet science fiction soundtracks fit into all this? Is this sound or music? Simultaneously ambiguous and accessible Chiltern is a ride unlike another and resides as the consciousness tickling release of 2015.
Księżyc – Księżyc (PP8) LP
The original defining statement by Polish outfit Księżyc (Moon).
Księżyc was a project from Poland, active in the 1990s. Members included Agata Harz (vocals), Catherine Smoluk (vocals, piano), Robert Niziński (wind instruments, keyboards), Lechosław Pole (accordion, keyboards), Remigiusz Mazur Hanaj (lyrics, tapes). The spirit of the moon captures early and late medieval music with a sound, rooted in the Slavic tradition combined with elements of minimalism and vocal experiments of the 20th Century. The alchemy of these constituent parts results in a breathtaking original music, both delicate and sinister. The surreal fairy tale inspired lyrics (written by Remigiusz MazurHanaj) add to the inherent beauty, sadness and madness within.
Originally released on 10 “vinyl records on Obuh this has been remastered by Peter Nykiel at Nykiel
Audio and cut a 12 “allowing for vastly improved sound quality. An elegant reworking of the artwork introduces lyrics including Angielski translations for the first time. ‘Moon’ comes in a beautiful gatefold with printed inner sleeve.
PP12 Graham Lambkin – Came to Call Mine Book
“C05” presents an 18-minute composition, which draws from the texts and themes of Came to Call Mine, presenting a strange lattice of fragmented narration and juvenile musical vision.
Came to Call Mine is an extensive full-color art book by visionary musician, artist, and writer Graham Lambkin. Playing out like a children’s book for adults, Came to Call Mine features 50 hand-drawn illustrations coupled with simplistic corresponding texts. Lambkin’s mischievous combination of figurative and abstract elements lends Came to Call Mine a jarring, dreamlike quality, confusing the eye by placing innocent childlike totems against a darker adult undercurrent.
Came to Call Mine is released as a deluxe softcover book designed by
Maja Larsson, with lithograph printing on Munken pure rough, lynx, and polar paper stock in an edition of 400 copies.
Ora Clementi is the pen name of Canadian sound artist and improvisor crys cole and Australian performer and composer James Rushford. crys has previously collaborated with Keith Rowe and Oren Ambarchi (Bocian records) whilst James worked alongside Joe Talia on the highly acclaimed ‘Manhunter’ LP (Kye).
Penultimate Press is proud to unveil this duo’s new hermetic world of sound, song and speech. Employing farfisa, contact mics, percussion, viola, recordings of James’ pet chickens, ocarinas, piano and miscellaneous junk ‘Cover you will softer me’ slides from the sublime to the startling where individual elements delicately fold and fall amongst an unnerving tableaux of failed lip readings, haunted hiss, piano motifs and glistening debris.
Kye and Penultimate Press are very proud to present a collaborative release from Moniek Darge (Belgium) and Graham Lambkin (UK).
“I have always been interested in sounds in general. When reading and teaching about the futurists, I fully agreed that the sound of engines and machines could be as interesting as the sound produced by musical instruments. But not only industrial sounds fascinate me – I also find the sounds of nature very inspiring.
What I love to do is make soundscapes, and I try to give an impression of a certain space. I am fascinated by a lot of so-called sacred places in the world, in etnic cultures, but also in our own cities. I try to recall the atmosphere of such a place, the quietness, the subtile sounds, or simply what’s happening. I started with places in Ghent, where I live, and little by little – I have always loved to travel – I began to think – hé, it would be nice to do the same thing at different places on earth. So I started to go to different countries with the purpose of making soundscapes. With our Logos Duo, ever since 1980, I was already travelling around the world to give concerts, and thus I already collected sounds from all continents.
Lately I’ve been traveling to India and recording the sounds typical in certain regions. You will hear sounds of traffic, of religious ceremonies, of commercial music, mixed with merchant’s voices and nature sounds. I asked my friend Graham Lambkin to join me in the creation of these Indian soundscapes. We had previously performed Tamil Nadu and an early version of Indian Weather Trap together in concert at Issue Project Room, NYC, 2011 alongside our friend Françoise Vanhecke. I further invited Graham to make his own Indian soundscape in his own style, using materials gathered online, to bring our CD to a close.
So just sit back quietly and enjoy. Let’s all travel together on the wings of sound.” – Moniek Darge
Indian Soundies arrives in a deluxe full-color 6 panel digipack, in a limited edition of 400 copies.
PP9 Matthew P. Hopkins – Vent LP (Sold Out)
Matthew P. Hopkins has established himself as a formidable presence in the experimental circuit courtesy of a diverse range of projects including Naked on the Vague’s debased rock, Half High’s blurred dreams and Four Doors’ take on techno.
This is Hopkins’ second solo effort, originally issued as a micro edition self released CDR. ‘Vent’ proposes a Frankenstein assemblage of the awry ambience heard on the recently acclaimed ‘Nocturnes’ LP merged with a more extreme take on the ketamine indie crossover of his earlier outfit, Vincent Over The Sink. Side A features four transcendental propositions bathing in perverse transitions, inhuman vocals and a singular audio perspective where spacious room recordings weave amongst crude studies in direct input. Side B extends the dichotomy of grit and beauty into more spacious planes as the hovering grace of the side long ‘Wobbly Study’ is interrupted by melodies at the point where melody is visited by sound. ‘Vent’ is a unique exhumation of sonics and song, the ambient and the uncanny.
PP7 Poul Gernes – Untitled LP (Sold Out)
Penultimate Press is proud to release a unique vinyl of the only known recordings by Danish artist Poul Gernes.
Poul Gernes only ever recorded just under 20 minutes of music. His entire musical production is therefore on this LP. The recording was done on a Tandberg Recorder at Poul Gernes’ house in the south of Sweden in 1969. He is playing an old harmonium salvaged from a local primary school. The result is an informal quasi-drone work, which, along with the ambient sounds and domestic interference, comes across as a snapshot of the recording itself, a sonic Polaroid.
Poul Gernes (1925-1996) was one of the central figures in Danish art life during the latter half of the twentieth century. His experimental art holds a firm place on an international level and as one of the founders of the legendary Den Eksperimenterende Kunstskole (The Experimenting Art School) he has exerted considerable influence on a whole generation of artists who make up the Danish post war avant garde. His wide-ranging body of work is still a source of inspiration for younger generations of artists in Denmark and abroad. This recording was initiated by John Hunov who was the chairman of ‘Ung Dansk Kunst’ (Young Danish Art) an association for the presentation and publication of many Danish artists of the period. A series of cassettes were commissioned as a supply on demand service prompting Poul Gernes to instigate a musical work. The recording was done during a prolific period of creativity and lingers in the current spirit of endless possibilities. The combination of an old harmonium and a tape recorder manifests a yet untried option: why not compose music as well? A child’s voice, his daughter Ulrikka, is heard making small remarks and pointing out when the needle enters the red. This audial domestic background is too included as an incidental yet natural part of the work as Poul Gernes saw no limit between art and life.
Poul Gernes’ major musical inspirations at the time were J.S. Bach, Terry Riley and Gregorian chant. An alleged encounter with John Cage and close collaborations with, for instance, composer and Fluxus artist Henning Christiansen are likely to have encouraged the musical endeavour. During the 1960s Poul Gernes also made a large number of happenings and performances, together with Per Kirkeby and Joseph Beuys.
Originally issued in a miniscule edition on cassette in 1969 this was re-issued in 1998 as a very limited edition CDR via John Nixon’s Document Records, Australia. This is the first vinyl issue of these recordings.
‘Poul Gernes’ comes as limited edition one sided lp of 400 copies. A beautiful etching of a Gernes painting appears on the b-side and all is packaged in a full colour sleeve retaining the nature of the recording itself. Also included is an insert with a list of Poul’s hypothetical track titles.
PP6 Dennis Johnson – November 4CD Box Set (Sold Out)
First recording of Dennis Johnson’s 5-hour minimalist masterpiece, November.
Until recently, one of the most substantial and signiﬁcant pieces of the minimalist repertoire was virtually unknown. Written in 1959 by Dennis Johnson, November was purportedly six hours long as originally conceived. La Monte Young, who knew Johnson while at UCLA in the late 50s, credited the piece for inspiring The Well-Tuned Piano. November anticipated many trends in minimalist music in addition to its prodigious duration: diatonic tonality, additive processes, and repetition of small motives. It is beautiful, slow-paced, and introspective, and was nearly lost entirely. Irritable Hedgehog and Penultimate Press are proud to announce the ﬁrst ever release of this historically signiﬁcant and thoroughly engaging work.
Kyle Gann rescued November from obscurity, reconstructing the piece from the only existing materials: a hiss-ridden, 112-minute cassette recording played by Dennis Johnson himself (which Gann received from La Monte Young) and a rough score he received from Johnson. The score, such as it is, consists of several pages of short musical ideas, meant to be improvised upon as desired by the performer. Flexible instructions are also given for the order of the material to be performed.
Pianist R. Andrew Lee has established himself in recent years as one of the foremost interpreters of the
minimalist piano repertoire and has boldly embraced the challenge of this monumental work. Utilizing
Gann’s reconstructed score, he has recorded a sublime interpretation which ﬁnally documents one of the most important lost works in the 20th century canon.At once highly listenable, melancholic, warm and unique, Dennis Johnson’s November is a work of immense historical signiﬁcance that will appeal to those with a taste for 20th century repertoire, minimalism, exploratory piano works, and substantial and haunting works of art.’November’ comes in a deluxe box with 4 cd’s in individual slipcases and a 20 page booklet featuring reproductions the original score (and Johnson’s later annotations) along with an essay on the work by noted critic Kyle Gann and anecdotal essays by Andy Lee, David McIntire and Mark Harwood. All orders come with a download code to allow for continual playback.
PP5 Jacques Brodier – Filtre De Réalité LP
The ‘Filter of Reality’ is a machine imagined and built by Jacques Brodier – Le Havre, France.
Penultimate Press is proud to publish the first ever collection of recordings by this unique French artist, researcher, writer and inventor.”Between 3 and 30 MHz, radio waves have the property to travel around the Earth by bouncing on the ionosphere, which acts as an imperfect mirror, wave-agitated under the flux of sun’s particles. The machine explores this boundless electromagnetic ocean, where all radio broadcasts of Terran civilization mingle their voices with noise and strange signals from other places of the universe. That is how, during its odyssey through short waves, the Filter of Reality receives a wide range of this semantic noise and transposes it, so that it becomes audible for human ears.The noise captured by the antenna feeds into the Filter of Reality bearing the traces of multitudes of languages and of the events encountered. One can hear swimmers riding on huge waves, the voices of distant lands, a crowd of Babel or the archipelago of terrestrial civilisation tearing away from chaos into a reality carved out in the strange dimension of meaning.The Filter of Reality captures and distributes the ceaseless rustling of those spaces on a network of vibrating strings. This is made possible thanks to an optical modulator “played” with light and shade (also invented by Jacques Brodier). What results is a complex musical soundtrack, where the signals weave their own harmonics and rhythms.” – Jacques Brodier
The artefacts captured and compiled for this release are at once unique, ambitious, foreign and beautiful. This is not just a record. Along with the artwork and essays this is significant snapshot of one man’s endless years of research and restless experimentation. It is safe to say this is a release is quite unlike any other.
Jacques Brodier ‘Filtre De Réalité’ comes in a limited edition lp of 400 copies mastered by Jason Lescalleet at Glistening Labs and adorned with 2 stunning full colour reproductions of Jacques Brodier’s paintings and a lavish fold out 4 page insert featuring further images and two essays by Brodier, one in French and one English.
THE NIGHT OF EXTERNAL TOADS
…By chance, that night, the spies from distant planets had disappeared. Chance: it was me. A real howling prairie, with vegetation like furious tentacles, clay inhabitants with red, staring, astonished eyes: this was what I had planned. For their party.
…. Yes, what luck!… Gone, they were, the spies from distant planets… Humans too often forget to fear toads with translucent skin and little red eyes… Indeed: I’ve often spoken of it, but I can never repeat it too often; toads are the worst of all spies. They are without pity. They are silent. They look at the world and hawk with satisfaction: their masters from distant planets will give them ample compensation on their return.
…So, the spies from distant planets had disappeared. Anyhow, for a long time, no one paid the least attention to the comings and goings of the red-eyed toads. As for me, I watched them run like madmen after the mysterious music that swarmed about my prairie made of labyrinths of dust: then the toads ripped out their tongues on the weeds, sounding their death throes from the depths of their ruts – ancient ruts, what’s more, dug by the chariots of men at the moment of their defeat, at the moment of the the fall of the mountains, at the moment of the fall of the seas, at the moment of their own fall, when their own faces became strange to them and made them die of fear.
… In short: such was the sight that delighted the Grim Reaper, a thin and patient spider, who drew succor from the last cry of the dying beasts, keeping watch over their tears of grief in order to drink them, digging his great paws into closing eyes, savouring the death rattle more than all else. Because that’s his way of life. The toads know it, and run about in groups. What could be more natural, amongst spies?
…Yes… The toads had disappeared on the prairie, that night: but it was just a brief respite. No one can be ignorant of their tenacity, their cruelty. When, beneath their helmets bristling with spikes, they look at humans, they adopt a neutral gaze, a defeated countenance, mouth agape: and the humans throw stones at them. Naturally, the toad doesn’t even try to resist, and man rejoices when he sees the ground strewn with bloody entrails, all the while observing how the toads’ eyes have really sprung out of their sockets.
But, precisely: no one ever finds the eyes of the dead spy. Only the eyes were living: the body was simply a shell, and the eyes have returned to outer planets… “We must answer, we must answer…” Such are the orders that the toads’ eyes sing over two notes, always the same, in the cold of space, when they return to distant planets…
Translation of the text ‘LA NUIT DES CRAPAUDS EXTERIEURS’ as found in the insert. Translated by Clodagh Kinsella.
PP4 Henning Christiansen – Kreuzmusik Fluxid Behandlung Op 189 LP (Sold Out)
Penultimate Press is proud to present in association with Kye the fully authorized reissue of Henning Christiansen’s ‘Kreuzmusik FLUXID BEHANDLUNG OP 189’. Kreuzmusik was commissioned by the Bonner Kunstverein Gallery, Kunstfond, Germany in August 1989, for inclusion in their ‘Taking Fluxus Around for a Drive’ happening, (also featuring performances by Dieter Daniels, George Maciunas, Allan Kaprow, Al Hansen, Joe Jones and others) and originally issued on cassette in 1990 by Neue Bildende Kunst in an edition of 100 copies.”In 1967 Joseph Beuys and I travelled to Darmstadt for a performance of HAUPTSTROM FLUXUS from 1:00 -11:00pm (10 hours) on the 20th March. HAUPTSTROM was basically a new ritual, which is how a lot of people saw it at the time, and later on too. Beuys used his own body as a deeply primal human language, and I made 10 hours of ritual music using a number of tape recorders. And obviously we wanted to make a completely new space for HAUPTSTROM. The space at Franz Dahlem’s at 7 AHA street was small and there was even less space for the rather large audience because Beuys made a roughly 7cm high rampart of margarine around his own performance space; and my main motif was a knocking sound, like the sound of a heart beating, which I used to create peace in the space, separate from the other more energetic sound-music passages. When I got the invitation for ‘Taking Fluxus Around for a Drive’ I immediately remembered that Darmstadt exhibition in 1967. It’s not all that far from Denmark, 150 km to Bonn-Darmstadt, but a timespan of 22 years. I thought of Jörg Immendorf’s LIDL-Bundestag, which you could say landed in the roses outside the real Bundestag. This poetic, political act impressed me at the time, because it showed that our world could basically be quite different. I decided straight away that I wanted to make Kreuzmusik, and I was also sure that no other Fluxus people would come up with the same idea. Most of my Fluxus friends go for Homo Ludens and that’s fine, but I wanted to feel the intimacy again in a small space, I wanted to make a Scandinavian ritual in FLUXID BEHANDLUNG. I took my Stone Age Gramophone (which really does play stones) called my friend Ernst Ludwig Kretzer from Hamburg and arranged with him that he would operate a time delay on my tapes and voice so that I could ritualise freely.In Kunstfond I didn’t make a mound of margarine – of course not – instead I made one from flour (bread), in the middle of this was the Stone Age Gramophone and hanging on the wall there were strange crosses, made out of socks and clothes hangers; as well as this there was a headless figure of Christ and a toy Cessna plane in a little canary cage.I began with my piece Io Am En Vogel as a ‘starter’ (about 20 minutes), then I performed Zum Preis des Fluxus, which had been my contribution to the Wiesbaden Fluxus 82 catalogue, then I threw green stones into a bucket of water, then to the accompaniment of the EURASIENSTAB -fluxorum organum music I played a green cutting sheet that was hanging on my chest, then to EUROPEAN ZEN I played 3 glass bowls with red sticks, the bells and knocking für Das alte Russland (for Old Russia). Then everything went dark and I lit candles while my deep GROUNDNOTE played. After 5 minutes played the lights came on again and my GROUNDNOTE led into the sheep composition (sheep instead of fiddles); I used my green fat-fiddle to make little twittering sounds; for me, sheep mean peace and insight. This soundworld then lead into the composition with 180 hammer blows against war monkeys. I hammered very sharply and powerfully. Beuys once wrote a piece with the title: Der dumme Hammer tritt auf (The Stupid Hammer Performs), that’s how it should be – against the war monkeys, logical. This sequence then finally lead into peaceful bird twitterings in a piece that I call Die Freiheit ist um die Ecke (Freedom is Around the Corner). During this I slowly immersed the Cesna plane inside the canary cage in a tub of water , after I had flown around in my own space for a while. And that was the end of the whole seance. It lasted over an hour.” Henning Christiansen, 1990.Kreuzmusik FLUXID BEHANDLUNG Op 189 arrives in a full color high gloss sleeve, with original score reproduction insert, mastered from the original tapes by Jason Lescalleet at Glistening Labs, in an edition of 500 copies.
Full colour hardcover book with factory pressed cd (unpublished audio works from 2004, 20 mins running time)
A limited edition of 500 copies. The first 100 signed by the artist.
Graham Lambkin’s oeuvre has long explored the cracks which burnish the underside of contemporary music, poetry and visual art. His work teases the fragile threads connecting the psychotic, the absurd and the mundane; often bringing them to the point of near ruination.. Throughout his 20 year canon of published work, Lambkin has continuously played with the themes of horror in the everyday, whilst mocking the comical violence inherent in us all. Millows brings together two previously unpublished works, both dating from 2004.
A series of 450 photographic combinations documenting a solitary drunken non-event and an audio work which plays out as an open-ended late night spy thriller, with all the key dialog removed.
PP2 Graham Lambkin – Dripping Junk Book/CDr (Sold Out)
The 100 drawings gathered in Dripping Junk were made over a period of five days during a trip to Miami FL.
Lambkin’s eye and pen guide us through a confusion of local observation. We find ourselves transported to the opulent sands of South Beach, the strip malls of Dade County, and the many tourists spots one would expect to engage. Yet Lambkin allows us to view these sites through his own distorted lens. This is not the Miami of common expectation. Lambkin throws us headfirst in to a hallucinogenic netherworld where logic and common sense cower in the shade of the palms. A world where fantasy and reality mix effortlessly and are drank as the cocktail of choice.
A world where the skunk ape is king.
PP1 Graham Lambkin – Dumb Answer To Miracles Book/CDr (Sold Out)
250 copies. The first 100 hardcover, signed, numbered with cd attached.
The remaining 150 hardcover, numbered with cd.
‘Dumb Answer to Miracles’ was the first official publication of writings by Graham Lambkin. Previously 20 copies of a signed private edition entitled ‘Tomb of Speed’ were circulated amongst friends, collegues and mail order customers. This collection gathered all the ‘Tomb of Speed’ writings, a handful of Lambkin’s lyrics he wrote for the band Shadow Ring and many unpublished works.
These writings entertain as much as they baffle, happily wandering the glorious pastures of open bewilderment. The ordinary dons the fantastic, the uncanny flirts with the comical and a private world is open to those with an explorative constitution. What response can one gain from such writings? It’s this uncomfortable familiarity or comforting unease that haunts the entire oeuvre of Graham Lambkin. The beautiful odd. The eldritch normality. The leek in milk sauce.