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Mika Vainio Vandal
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AOKI Takamasa Rn-Rhythm-Variations
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Mika Vainio Time Examined
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SND Atavaism
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Alva Noto Xerrox Vol.2
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Alva Noto Xerrox Vol.2
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Pixel The drive
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ATOM TM Liedgut
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Alva Noto + Ryuichi Sakamoto with Ensemble Modern utp_
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Alva Noton Unitxt
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Ray Automne Fold
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Byetone Death of a Typographer
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pomassl - spare parts r-n catalog: 088 total time: format: CD |
01
nitro
0 : 06 02 tandem distiller 4 : 11 03 kalin tubes 4 : 46 04 murena 4 : 05 05 lovozero 4 : 09 06 blank jack 0 : 26 07 terawatt hours 4 : 41 08 l>-<r he cntriller 2 : 57 09 parasite battery v 3 : 07 10 antenna atoll 2 : 24 11 allied nippon 5 : 28 12 kaskada 4 : 13 13 valsalva maneuver 3 : 01 |
»spare parts« is the long awaited new album from the sonic laboratory of austrian based »psycho-physio« musican pomassl and the latest example of his interest in deconstructing musical structure and testing the limits of hearing. still retaining his distinctive style, but with much more mature arranged elements and carefully structured sections, compared to his earlier output. dabbling and blurring experimental and advanced pop. it is pomassl’s full-lenght debut for the german rasternoton imprint, after several collaboration contribution for the label. producing this album, pomassl has explored his arsenal of armaments with the initial use of original generators and synthesizers (polivoks, ritm-2) from soviet fabrics, manufactured in the 80‘s, beside as always he uses a combination of prototypical selfcustomized electronic instruments versus state of the art technology. whilst taking the listener in the opposite direction via abstracted pieces. pomassl is executor of the seminal »trail error« (1996) album, one of the first records to really explore very low and very high tones as well as pioneering potentials of digital errors in terms of electronic music, a record which has inspired many fellow analog and digital artists, released on the laton label which he co-founded in the early 1990 ies. beside with the »skeleton« vinyl series he released a number of cutting-edge minimal techno records, starting from 1997 on viennese sabotage / craft label. »spare parts« was pre-presented successfully live throughout the raster-noton japantour in october 2007. | |||
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Carsten Nicolai FADES release 10.07 r-n 084 Book + DVD |
1 remaining ! | ||||
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 alva noto xerrrox release 03.07 r-n 078 CD |
10-24-38 astoria 00:19 haloid xerrox copy 4 03:53 03-10-06 astoria 00:38 haloid xerrox copy 3 (paris) 11:17 03-10-06 astoria 2 00:36 haloid xerrox copy 2 (airfrance) 05:07 haloid xerrox copy 6 06:40 05-10-06 astoria 00:24 haloid xerrox copy 11 03:40 haloid xerrox copy 1 09:16 02-10-06 astoria 1 00:51 haloid xerrox copy 111 07:56 09-10-19 astoria 00:18 haloid xerrox copy 9 11:04 |
Originals
are unique, be it genetic codes or image
and sound documents. their copies are mere
means of distribution. to secure these
originals from misuse is the main issue
today. the essence and potential of the
copy mostly is disregarded. we live in
a world of constant reproduction where
only the replication counts as original,
the single object is a sheer copy of the
prefiguration, which is abstract and becomes
an icon. the uncountable number of multiplied
images confirm the original, but immediately
the copy withdraws and assesses its own
value. by the technique of copying the
copy also often contains mistakes and
abstractions, that differ from the original.
these simplifications and deformations
inherent to the copy process lead to
a gradual loss of its connection to the
original and results in a substantial
change of meaning. although there is
still a rest of the actual source, the
original message disperses in the whit
noise of reproduction. at the end the observer
cannot hardly differentiate if the origin
is part of the information transferred.
if there is still a integral material component
of the original or this can only be projected
- this question remains unanswered. what
finally remains is the process of copying
itself. it becomes a creative tool by analytically
accomplishing something new. the mutating
copy provides space for development - the
copy becomes original again. xerrox is
the new, self-contained project of alva
noto, which like his transall-series (transrapid,
transvision und transspray; raster-noton
61-63, 2002-2004) is intended to be released
in five parts during the next years. on
xerrox, alva noto works with samples from
muzak, advertising, soundtracks and entertainment
programs. these sounds we hear randomly
in everyday life and thereby they become
an always present and available public
domain. with xerrox alva noto manipulates these
recognizable melodic (micro) structures
by the process of copying. he alienates
them beyond recognition so the results
manifest their connection to the original
only suggestively. in this respect: the
original is copied to the original. alva
noto used several samples from these sources:
narita airport tokyo, in-flight program
air france, telephone wait-loop lufthansa,
hotel apollo paris, suizanso hotel yamaguchi,
seven-eleven tokyo, forma london, reaktor,
www.kkmovie.com xerrox sample transformer was designed by carsten nicolai and built by christoph brynggel. xerrox vol.1 will be the first release in a series of five. http://www.alvanoto.com |
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alva noto xerrrox release 03.07 r-n 078 sd card |
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 frank bretschneider rhythm release 06.07 r-n 082-2 LP vinyle |
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frank bretschneider rhythm release 06.07 r-n 082 CD |
A Soft Throbbing Of Time
(7:46) The Big Black And White Game (5:31) We Can Remember It For You (3:50) The Eight Day People (3:04) Other Days, Other Eyes (4:10) Construction Shack (4:11) The Moon Is A Hole In The Sky (6:54) All Summer In A Day (3:12) The October Game (2:45) |
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 signal robotron release 06.07 r-n 069 CD |
Intro
(Monsator) (1:12) Ermafa (3:32) Naplafa (5:52) Robotron (7:29) Malimo (4:41) Wismut (7:00) Rawema (3:41) Datasette (0:23) Sporett (3:10) Epirex Motor (4:18) Wismut (Version) (7:15) |
Music By - Carsten Nicolai, Frank Bretschneider, Olaf Bender Notes: Recorded at Voxxx Studio/Chemnitz, Unit/Tokyo, Palast der Republik/Berlin between 2001 and 2006 Post-Production at Villa Masimo/Rome and Raster-Studio/Chemnitz, mastered Calyx Mastering/Berlin | |||
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Signal : Robotron (2007) This new collection of works by the trio (Frank Bretschneider, Olaf Bender, Carsten Nicolai) that founded the contemporary micro-electronic label Raster-Noton is to be reckoned with. The hyper pitter-patter of Malimo is most certainly derived from some sacred mathematics. Both clinical and serenely funky, the beat never goes out of bounds, staying tightly wrapped around a wavering center. What makes their sound is an attention to strict details. And consistently blending layers of sound patterns in time, as if they were quite physically geometric somehow. "Ermafa" creates this repetitious and floating sensibility, with an adequate pulsing reductivism throughout. In many ways you can look at the music on Robotron perhaps as visual music, like animation using tonal light, in fine strands, somehow optical, meandering just left of center. "Sporett" is one of four bonus tracks that has a curiously insistent gauging signal that is super light in effect compared to the blunt title track. Recorded between 2001-06, Robotron steps in time, repeating itself with a thick calculating percussion and minimally scratchy backtracks. It cyclically loops until adding a layer of pitched, spotty bleeps that add the sense of a machine-like guise to the whole mechanism of the track. This is a common motif for the sound, textural and raw, yet one step outside the elementals of a mere mortal. TJ Norris |
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(o) acis. box frequencies. [Hz] weltecho. box raster-noton. archiv 1 empty garden |
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 senking list release 03.07 r-n 077 CD |
common business 04:00 pathogenic agent 04:26 come in 04:36 bohrer 05:35 great day 04:41 gestalt 00:36 graue musik 04:25 mist 04:47 crevasse 05:04 |
Is there beauty in the threatening? with list senking introduces 40 minutes of the darkest matter and reckons: yes. on list he varies and experiments with a - for raster-noton - frightening diversity of sounds. he reveals the pieces as sound-collages, as quotes, which seem to refer to splatter movie and film noir. following the tremendous plot of his endtime-sujet, he persistently welds together sound spaces in order to compress them later into overwhelming drone-sounds. these as such, then go to serve a fundamental purpose, as an environment for minimalistic themes and melodies, always to be driven by the ever present slow-beat of the pieces. nonetheless the syntax, the destiny of each single piece is highly varied and has the appearance of a much more mature composition, compared to his earlier works. remarkably the technical aspect does not take a leading role in senkings anti-utopia visions. it's about substantial and age-old patterns, about impulses and the inevitable. comparable to a tracking shot, the sound masses are flowing grey and drama-laden towards their final purpose - seeming to follow the ductus of the opening piece - lets gosenking aka jens massel lives and works in cologne. further projects such as fumble and kandis have been released on several labels. on raster-noton he has released as senking several albums - trial/cdr35, forge/cdr47 and tap/cdr53. | |||
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 richard chartier incidence release 10.06 r-n 075 CD |
incidence 64:00 |
after several releases by artists of the collective around raster-noton on american label line, a long-outstanding invitation was issued into the opposite direction. so last but not least the present release is an expression of long-lasting artistic ties between both labels. in the greyness heavy waves begin to glide into the one-hour work. they swell and flood a vacuum. chartier is able to intensify this maelstrom in long and graceful moves. in a majestic and subtle manner he creates a subsonic vastness, capturing the listener, disconnecting him from the irrelevant reality. the end mirrors the beginning - revealing the idea of an endless space in an endless composition. finally incidence is a sound stream seeking to transform time into a certain timelessness.richard chartier runs the label line, following the traditions of trente oiseaux by focusing on minimalist and not beat-oriented sound experiments. his compositions often test the limits of auditory perceptibility. in this way chartier concentrates on tiniest changes within seemingly static sound masses. | |||
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drum 09:25 sinus 07:31 feeds 08:35 lion 08:20 matrix 06:44 |
this CD is the highly anticipated
follow up release to the stellar debut
DISPLAY by danish artist pixel aka jon
egeskov. as a professionally trained jazz
musician with academic credentials, egeskov
furthers his journey into the realm of
minimalistic electronic music. with parts
he continues merging digital (sound) artifacts
with subsonic basslines in a rather allusive
manner. inspired by african conflict and
cross rhythms, pixel examines the potential
of simultaneous yet independent pulsating
metres. he fuses polyrhythmic and polymetrics
with the signature raster-noton sound
vocabulary and thus connects his work
to the here and now. the tracks are heavily
accentuated in regards to dynamics. they
were recorded during several studio sessions
without any overdubs (and without editing
later). pixel may have drawn inspiration
to proceed this way after witnessing live
performances by pansonic and autechre.
the songs were created intuitively and
spontaneously during the process and performing
and improvising. you can indeed hear that
everything is floating and that there
are no statics or incidental situations. the album SET YOUR CENTER BETWEEN YOUR PARTS IN ORDER TO gets it's sparks from the ups and downs of it's density... from the complex blending of basic particles to the shift in their significance. if you allow yourself to get into this dark and evolving fabric a auditory sensation of rhythmicized timer will emerge. mastered by stefan betke of pole / scape. http://www.pixelmusic.dk | |||
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 kangding ray stabil release 06.06 r-n 073 CD |
peaks 06:20 interrompu court 04:38 sub.res 06:39 visible 01:29 mai 04:30 dadaist 05:58 stabil 06:46 persan 01:59 cyan 03:40 isoline 04:45 status+light 04:16 nine 03:25 wellen 04:04 |
raster-noton has established a core group of artists, many of which were
undiscovered talents. in this tradition the new release is no exception. kangding ray aka david letellier arrives at raster-noton artist collective with his first album STABIL. born in france and based in berlin, letellier evolved as a guitarist and drummer in various bands whose influences ranged from rock and pop to jazz before moving into electronic music. STABIL is a reflection of letellier's background as it integrates guitar loops, bass lines, residual noise, acoustic instruments and digital anomalies to create a textured soundscape. as the label is looking into new directions, kangding rays' debut makes it's mark as an interesting attempt to find a balance between the flow of melodies and the ever changing structure of rhythm. http://www.kangding-ray.blogspot.com | |||
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   notations archiv 1 release 10.06 r-n 070 |
limited edition of 500 prints. optional with cd archiv 1. in cardboard box. 43,4 cm x 31,2 cm x 2,7 cm 2,1 kg |
notations archiv 1 is a project by students of klasse systemdesign at academy
of visual arts leipzig during winter semester 2005/06. the project focused
on visualization of sound. it was supervised by carsten nicolai and cyan
(prof. daniela haufe and prof. detlef fiedler). the 13 notations are related
to selected tracks from archiv 1 album released by raster-noton. katrin menne Ø. mikro makro. 1997 manja schönerstedt william basinski. shortwavemusic. 1997 simone müller signal. lines. 1998 joachim bartsch noto. time dot. 1999 pascal storz ryoji ikeda. variations for modulated 440 hz sinewaves. 1999 lydia sperber COH. silence is golden. 1999 fabian fenk senking. lift. 2000 roozbeh asmani senking. lift. 2000 jakob kirch robert lippok. open. 2001 toni schönbucher komet. band. 2001 david voss byetone. oacis. 2001 florian göthner mitchell akiyama. arterial. 2002 tobias steinert pixel. scrapple from the apple. 2003 | |||
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 alva noto transrapid release 12.04 cdr 0613 CD. 21 mn |
funkbugfx 08.29 pulse (xs version) 02:32 future 07:15 highmatrix 02:21 |
this release is the first part of the transall cycle. transall approaches
with the problematics of speed, the vision of utopia and the dissolution
of our ideas into fragments. alva noto a.k.a. carsten nicolai states: ... speed of data-flow is equivalent to the speed of our time. in an era when virtual products of our ideas are expanding, we are simultaneously positioning a calm point in which to settle ourselves. text, image, vector graphic - storage files, were translated into raw audio data as the source material from which constellations of diffused sound start to form. special emphasis is put on the rhythmic aspect of the digitalised and rasterised data. the tools of their transformation reveal themselves by the structure of the recordings. by the restricting itself to simple and transparent mechanisms, this process becomes independent from existing standards and gains autonomy.... ulf poschardt (d) was approached to accompany the cd with a sleeve note, in regard to the content of the release. the text hopefully allows the audience a wider insight into the themes behind the recordings. | |||
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 alva noto transvision release 01.05 cdr 062 CD. 21 mn |
remodel 05:33 j 05:52 postfabric 03:30 10 06:16 |
this release is the second part of the transall cycle. transall approaches with the problematics of speed, the vision of utopia and the dissolution of our ideas into fragments. | |||
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 alva noto transspray release 01.05 cdr 063 CD. 21 mn |
fuel for black quartz 01:16 r/re/repeat (+ i-sound) 00:53 bit 05:49 birr 01:48 obi one (edit xs version) 02:40 f 117.tiff 01:51 autoshape 05:39 spray 01:39 |
this release is the third part of the transall cycle. transall approaches with the problematics of speed, the vision of utopia and the dissolution of our ideas into fragments. | |||
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Ø + noto.mikro makro goem.stud stim noto.infinity w.basinski.shortwavemusic m.behrens. final ballet kim cascone.blue cube [ ] noto.telefunken robert lippok.open close open carl michael von hausswolff. ström Ø + noto. wohltemperiert cyclo noto endless loop (e, f, g, h) william basinski. the river nibo. con.duct. spc.trm alva noto. transrapid noto. sonar endless loop edition III |
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 alva noto + ryuichi sakamoto insen live release 10.06 r-n 076 dvd |
intro 04:51 berlin 05:42 noon 05:55 uoon 10:03 morning + iano 09:50 barco 06:25 nor 04:20 trioon 09:16 xerox 05:38 siisx + mur - encore 07:26 ax. Mr. L. - encore 05:05 trioon - second angle 10:11 morning + iano - second angle 10:37 uoon - second angle 10:02 conversation |
in 2005 and 2006 three major tours of insen led the
artists alva noto + ryuichi sakamoto around the world. raster-noton is
pleased to present insen live dvd as a document of this project. recordings
for the dvd took place at casa da música, porto, portugal, on
june 11th 2006 and at sonar festival 2006, barcelona, spain, on june
15th 2006. besides material from 2005 insen album the dvd contains previously
unreleased tracks such as xerox and barco. the dvd in dolby 5.1 surround
sound comes in a cardboard cover with special laser engravings, the booklet
contains 15 full colour photos and texts by rob young and michael bracewell.
the dvd is region free. it is in ntsc format, a few older dvd players
(in europe) may not be able to support this format. dvd (ntsc, region free), booklet. http://www.alvanoto.com http://www.sitesakamoto.com | |||
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 carl michael von hausswolff leech release 02.06 r-n 067 CD |
blitzableiter induktionsspule 02:27 atomium phi 20:06 swingers 09:33 dj set 12:50 |
with his works the swedish artist carl michael von hausswolff
takes interest in revealing and using accoustic, visual, social and cultural
phenomena. for the cd leech he acts as a parasite on works by olafur eliasson,
carsten höller, tommi grönlund/petteri nisunen and richard james. in the
three first pieces he sucked energy/sound out from the electric functions
of those works; sounds that normally can not be heard. on james' work he
bruises the skin surface as leeches usually do before they penetrate the
body. this is a new way of sampling; a reading of the un-readable in certain
types of art works. it might be a "l'art pour l'art"-production
but this was unavoidable as this "search for the real" continued.
leech is the second release by carl michael von hausswolff on raster-noton. | |||
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 alva noto + ryuichi sakamoto vriion release 12.02 cdr050 CD |
uoon I uoon II duoon noon trioon Imp3 trioon II |
during his first live tour in japan carsten
nicolai met ryuichi sakamoto in tokyo. a
year after it happened that he was asked
to remix material from sakamoto for the
japanese magazine Code Unfinished. "… the
material that was given to me was already
layered with digital effects. from one little
clean piano piece i made the first track.
those simple piano chords i combined with
a clear rhythm constellation. … somehow
ryuichi was very surprised and really
liked my work. weeks later he sent me another
specially for this project recorded track."
this was the beginning of an almost 2 year
process of music exchange and creation.
Vrioon is very relaxing, it opens rooms,
landscapes blur before listeners eyes. static
rhythmic pieces circle round and vary one
and the same theme that, with its impressionistic
sphere, reminds of soundtracks and ambient
compositions.
in this cooperation 2 different generations
meet and share the idea of electronic music
as an inspiration source for new musical
structures.
ruyichi sakamoto can already refer to an
enormous productive achievment. in 1978
he founded The Yellow Magic Orchestra together
with haruomi hosono and yukihiro takahashi
which later went on world tour with Kraftwerk.
since 1983 he has been working in the film
branch and has written soundtracks for Merry
Christmas, Mr. Laurence, The Last Emporer
and Little Buddha. he also worked with famous
artists such as David Bowie, David Byrne,
David Sylvian, Iggy Pop, Robert Wilson and
William Burroughs.
Carsten Nicolai can be seen as one of the most significant artist of the new electronic music generation that shows new attempts in sound composing with its radical reduced style. besides several solo releases he also worked with ultra minimalist mika vainio from pansonic and the japanese sound artist ryoji ikeda. carsten nicolai is one of the founders of the label raster-noton that was awarded the Golden Nica for digital music from Ars Electronica in 2000. |
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| mitchell
akiyama. temporary music senking. forge komet. gold senking. tap pixel. display modul. isol hervé boghossian.mouvements blir.edits |
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 COH patherns release 06.06 r-n 071 CD (e.p.) |
path.#1 06:54 path.#2 04:58 path.#3 (dynamo baby, bore me numb) 06:33 path.#4 05:26 |
the raster-post series winds up with a pop release by label regular and favorite COH aka ivan pavlov. entitled "PATHERNS", this 4 trk CDEP creates
a picture-puzzle like effect while at the same are four exercises in constructive
melancholy. COH seems to throw back to the times of pushing rhythms and propulsive
club music of the 80's & 90's (as we all know his love for the "moroder" sound),
but the past appears digitalized here..... nothing would make you think that
this is not a product of the 21st century! the PATHERNS EP presents COH's sonic speculation in humorous and almost lyrical terms. the texture varies from piece to piece, but the basic structure stays the same and creates a diabolic drive which is a force in itself. while frisky and playful in some parts, this release never loses it's depth. in this respect the listener should follow the instruction on the cover: PLAY LOUD IF YOU CAN! |
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Ryoji Ikeda Test Pattern
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Ryoji Ikeda 1000 fragments
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channel
x (1985-95) 01 testone 0 : 06 02 trans-missions 1 : 36 03 this is a recording 0 : 50 04 radiorange 0 : 28 05 what‘s wrong? 0 : 58 06 holy wood 0 : 35 07 into the tranquility 3 : 04 08 all has been changed 0 : 37 09 abstructures 2 : 54 5 zones (1994-95) 10 zone 1 7 : 47 11 zone 2 4 : 51 12 zone 3 2 : 56 13 zone 4 6 : 50 14 zone 5 8 : 45 luxus (1993) 15 luxus 1-3 16 : 18 |
1000 fragments is ryoji ikeda‘s first solo album. as early as 1995 ikeda started with this influential release his consistent work on digital sound design, having an inspiring impact on the the founders of raster-noton label. 1000 fragments was originally released in february 1995 on ikeda‘s own label cci recordings. raster-noton is proud to make this important piece of electronic music available again. we found a early review from www.full-albums.net: … „the works on this disc of japanese computer-manipulated sound composer ryoji ikeda all date from early parts of his career, the mid-80s thru the early 90s. but by no means does the early date on this material date the works themselves.the first piece, consisting of several short parts (bursts?), snaps the listener around a jumble of sound fragments from tv, nasa, radio, film, raw electronics and computer-generated tones, and so on. it‘s rather disorienting stuff...more like something you‘d expect out of the hafler trio, and actually sort of out of character with the rest of the disc. as for the rest of the disc, it‘s taken up with two long works, which I assume involve computer-generated sound but which have the lushness one more associates with analog electronics. both are longish ambient works, but instead of featuring static repetitive structures, these ‚unfold‘ in an intriguing manner, like a long, slow drive across a very sparse landscape. as opposed to the initial work here, these are definitely the ‚meat‘ of this disc, and anyone looking for some fine ambient work with perhaps a bit of an edge would do well to check this out.“… | |||
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| 0°C formula |
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 ryoji ikeda dataplex release 12.05 r-n 068 |
data.index 01:39 data.simplex 01:02 data.duplex 00:53 data.triplex 01:45 data.multiplex 01:50 data.complex 00:49 data.hypercomplex 01:20 data.googolplex 00:51 data.microhelix 03:13 data.superhelix 02:28 data.minimax 03:09 data.syntax 04:17 data.telex 01:06 data.flex 02:28 data.reflex 04:16 data.convex 01:29 data.vertex 02:06 data.vortex 05:49 data.matrix 10:01 data.adaplex 05:00 |
dataplex is the much-anticipated new release from leading japanese electronic composer ryoji ikeda. since the mid 1990s, ikeda has pioneered a radical and highly influential minimalist approach in the worlds of electronic and contemporary music. his seventh solo album and the first musical composition in the datamatics series - a new body of work across various media that uses data as both its material and its theme - dataplex presents a significant and stunning progression in ikeda's career. aside from demonstrating ikeda's unrivalled standards of technical precision, minute sound construction and engineering, the album also introduces an extraordinary and fascinating overall structure. the first eight tracks of dataplex consist mostly of high-frequency raw data. their structures are located clearly outside the cosmos of music. instead, these linear tracks seem to be source code transformed into an audible medium; a constant stream of data, they represent the basic material of the album. the following pieces become longer, increasingly complex and distinctly inter-related, before the rhythmic structure itself metamorphoses. rhythms and tones are refracted progressively, until, with track 18, data.vortex, ikeda opens up an apparently infinite acoustic space with an expansive piece that contrasts dramatically with all that precedes it. and following this caesura the album almost ends in the way it started, sinking back into the data flow. the last track (data.adaplex) contains specific waveform data that subtly reveals the tolerances involved in processing digital signals. it will cause some cd players to experience unpredictable playback errors; this will not damage equipment in any way. through meticulous attention to detail and the most minimal of gestures, ikeda succeeds in expanding and enhancing his sound design to reveal a new universe to the listener. dataplex opens up avenues of pure musical abstraction whilst simultaneously embracing complex, unique and elegant individual composition. in its entirety, dataplex remains inscrutable; a mystery whose secrets require individual investigation and discovery. its defiance of appropriate definition, description or comparison, ultimately underpins the pioneering nature of this long-awaited release. datamatics dataplex is the first musical composition in the datamatics series, a new body of works by ryoji ikeda that explores the aesthetic potentials of data by using data itself - from its transparency to its materiality, from its ultra-speed to hyper-diffusion. the project derives the hidden constants of data-ness from the vast data ocean that ranges from DNA and the everyday world to the universe and pure mathematics. | |||
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 mika vainio revitty wavetrap release 12.06 wav 006 CD |
hampaat i 03:53 hampaat ii 04:19 hampaat iii 04:42 huone 03:45 tänään 01:12 yksinäisyys, suru, katkeruus 20:46 raatelu 14:43 loppu 01:59 |
after opening wavetrap's catalogue with his solo album ydin
back in the year 1999, pan sonic's mika vainio comes back with
another offering for the label. entitled revitty ("torn"),
the record is as subtle as it is merciless, while remaining deeply
musical in vainio's own unique sense. released by wavetrap |
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| Raster-Noton Americas, a courtesy of Raster-Noton is : Eric Mattson : sales and distribution oral@videotron.ca |
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