catalogue
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'hardliner' is the new work
by phirnis (germany),
a two track mini album to
be released by
the catalogue of wonders.
a short film will accompany
the release. keep in tune >
feedbackloop label
~
we like
cerus media
& ceven knowles
a lot >
~
OUT NOW
VINYL ONLY 7"
1undread - haters paradise
bipolarbeats - dirty davey
LIMITED EDITION OF 250
~
~
limited edition
of 250 double sided
7" vinyl
1undread - haters paradise
bipolarbeats - dirty davey
~
FREE
DAVID SPHERE
complete album:
ADVERTISE HERE:
dear monsieurs et mes dames, senhores e senhoras, ladies and gentlemen,
what happens when you have a portuguese sous chef with literary pretentions, a vinyl junkie porno actor turned kitchen porter cum d.j. from norway, a moroccan kitchen assistant obsessed with the trajectory and sounds of flies and, finally, an aged greek/american philosophy professor perambulating through the kitchen and corridors of the american university in richmond upon thames? many things could happen, but what resulted of this chance meeting was the creation of ‘the monday evenings of music and words’ in gyorgi telemann’s quarters (the prof.), what follows was that benjamim silva-pereira (the chef) recommended stockhausen to don pi (the k.p.) and ephebeus el-ahamar (you guessed, the kitchen assistant) the master musicians of jojouka to the professor that influenced them all to read james joyce and listen to john cage, or was to read john cage or listen to james joyce?!
thus, from a 25 year old idea, the catalogue of wonders, the monday evenings; turned into a larger discussion circle and ‘salon’ of people without academic studies (apart from the prof.) and interesting things started to happen. collage books and paintings and drawings and sound mixes and experiments sprung from litter and old tapes and battered laptops. they created the ‘odd recordings corporation’ that died a natural death, after some 120 handmade cd’s (remixes, live performances, sampladelica, etc, etc.)
gyorgi and don have gone to other divertimentos, but other came close to make things based on the d.i.y. punk attitude, and the good old ideas of the ready made, of what is available, on burrowed/borrowed equipment and crashing computers... they created their own world, the catalogue of wonders. apart from the barbara cartlandish title (that continues with the first semi-official release of the ‘fables against gravity’ compilation...) and, no, we do not like cataloguing, we like to create new abstractions, we do not live in a pinky fluffly romantic world. we live and work around richmond upon thames, hanwell, rhodes island, in são paulo, los angeles, skopjie, kiev, porto, berkeley, istambul. that’s true.
that is the wonder of the internet. no budget whatsoever, no manifesto (actually yes, there is a manifesto-anti-manifesto being re-written everyday), no special rules. anti-fascist, anti-corporations, yes, we are (almost all of us, but there are deviants...) and anti-religion. the word was being spread over on soundcloud and suddenly we thought of making a few pennies to form a non profit organisation, and that is on the way too, and to start a website (catalogueofwonders.eu) not yet in the net with all this conglomerate of kinds of arts and ideas, dada dede caca titi.
so, we are selling these homemade cd-r’s in an edition of 50. and we are sending you one of the copies too! we would like, very much, if you could listen to our compilation that is made out of original compositions by unknown worldwide artists that, altruistically donate their time and effort and inspiration for us to proceed with the catalogue of wonders and their nice mad ideas. a word of yours in your publication would be superb (even if you trash us and the ‘fables’.)
thank you, all the best > yours, sincerely > thy cataloguists >
1 august 2010 > on emusic > furious angel wrote:
a rare treat, a surprising eclectic world of moods, scents, experiments and lyrical/musical pieces of art! that is surprising indeed. a rarety nowadays in the musical business, even for the indy labels. from the accoustic guitar theme that opens the album to the 'naff' dance remix by eerohz of the pristine theme by heinali (a hommage to robert moog) from ukraine, passing through electro-goth of the brazilian tentaculo, immersing on the cut-up psychotropic of ireland's 'bubble in the bong', one can listen to gems of ambient (synopsis decay), noise/electronica by c.cu & limnul and pearls from macedonia and u.s.a. on experimental and improvisation great tunes. there is a fragment of a cello piece (track 2) and onyrical german electro noise by phirnis. that all these genres cohabit perfeclty like a cinematic experience makes 'fables against gravity' an odd miracle of pure delight and surprise. spread the word, and the word is...
> composer and pianist matteo marchisano-adamo said of the 'fables...' >
i listened to the album several times , and find the collection extremely beautiful - at times so delicate and at other times orgasmic like a john zorn musical collage. the collection works so well together as a suite... i think you guys did an incredible job putting it together. congratulations. really.
cata1 > fables against gravity > released 19 july 2010 > track list > bios >
1. protyv > lonely mariachi > written & produced by © 2010 protyv > portugal >
2. pieter hurst > erezioni (miniature no. 14, from ‘nude maschile’, opus 14, 1986) > composed and performed by pieter hurst > demo recorded by simon brown at the naked lizard lounge, london, 22nd february 1999 > 1950 (germany) ∞ 2007 (portugal)> © 1999 catalogue of wonders > germany >
3. hey exit > you could see through it for miles > written & produced by © 2010 brendan landis: prepared guitar, contact mics (licensed under a creative commons attribution share alike license) > brendan landis is an improviser and composer living in berkeley, california > his work with hey exit explores alternate methods of playing the guitar using extended technique, preparation, and alternative amplification methods > he prefers to keep modulation effects to a minimum > he studied guitar and computer music at berklee college of music, and is presently studying koto under a sawai school teacher > hey exit mostly involves mostly improvised music. it is an attempt at contributing to and building on the tradition started in the 60's and 70's by people like keith rowe, derek bailey, cecil taylor. (how successful it will be in this endeavor remains to be seen!) > it has been said often enough that this area of music that defies description and definition. it has taken on a lot of names - free jazz, free improv, electroacoustic improvisation - but none have yet managed to encompass all the players working in this tradition. if we listen to the music of fred frith, sachiko matsubara, yellow swans, zbigniew karkowski, kazue sawai, paul metzger, phil minton, thurston moore, we see radical differences in almost every aspect of their approach to putting music in the world, from conception to production to distribution. but! there are at least a few commonalities between artists working in this field that we can point to: an emphasis on improvisation, an interest in texure- and timbre-oriented material (often to the exclusion of tonal or rhythmic material), a tendency to eschew idiomatic reference (or to use it briefly in a self-conscious way). these are a few commonalities we see in this music; there are probably more > if it can be said that these artists are participating in the same tradition at all (and i would like to think they are on some level), perhaps their differences can be attributed to the relative youth of the tradition (it is about fifty years old, give or take). maybe because of this, and definitely because of their lack of stylistic concerns, each player is forced to develop a personal language on their instrument, divorced to some degree from whatever tradition they may have grown up with. that is a big part of what attracts me to this music, and developing a personal language is, for now, a big part of what hey exit is about > heyexit.com > hey@heyexit.com
> u.s.a. >
4. b.atl > legorobot in my room > written & produced by © 2010 aleksander baldazarski: is just a guy from skopje. influenced by: city, sun, numbers, future, technology, computers, nature, weather, mountains, industrial zones, bikes, architecture, art sound, art installations, visualizations, disco, machines working, old machines, movies, old technology, robot life, photography, rap, graffiti, old school.. listening to electronic sounds since 98 -99. studying architecture, and getting the knack of it, i realized architecture is music, or at least they are related. arts. (arch & musik) i sound like impromptu grand machinations of buildings and landscapes filled with towering madness and mind skyscrapers. all this stuff affect on me and i started music producing in summer 2009. it is maybe a way to express myself, or to express something. recording ever since > macedonia >
5. synopsis decay > memorised skies (1st and 2nd movement) > written and produced by © 2010 marcello dirks for synopsis decay > mcello@xs4all.nl > http://soundcloud.com/synopsis-decay > synopsisdecay.eu > netherlands > synopsis decay is the ambient and contemporary project of 44 yrs old, dutch musician marcello dirks. marcello has been making music solo for the most part of his life but has also been playing in –mainly gothic, bands in the late 1980’s and the first half of 1990. born and bred in rotterdam, marcello now lives in nijmegen.
after falling in love with the electric guitar and music in general at the age of ten, the tone was set for a life of discovery and wonder. later, in the early 1980’s and getting introduced to artists such as brian eno, harold budd, john hassle, steve reich, phillip glass, white noise, this heat, einstürzende neubauten, holger czuckay, tuxedomoon and the residents really opened up a whole new world and in them were the foundations for synopsis decay, the pavement was laid down to walk on.
being extremely shy and insecure in those days, marcello started buying recording equipment and instruments to compensate for the lack of band members and consequently, became a self taught multi-instrumentalist. the very first recordings (which have been lost for the most part) where basically synth-tributes to the residents and tuxedomoon and later evolved into an eclectic mix of all sorts if genres. every moment not recording, was spend experimenting with any instrument and piece of effects’ equipment he could lay his hands on. though most of those experiments, where done with synthesizers and guitar, marcello also used woodwinds, voice and percussion. especially on the early days of midi, it delivered some nice, unexpected results of which only three (live/rehearsal room) recordings survived. these recording – na1, na2 and na3, where the first made using a strict template and created from a clear concept and is what synopsis decay is all about.
where a project like the ‘songs for the deceased’ for instance, was born from the need to deal with the subject of loss, and had its particular timbre evolve from there ,the ‘memorized skies’ piece (five movements all together) was conceived through the combination of algorhytms and computer-generated notes (movements 1 & 2 are part of the catalogue of wonders’ first release ‘fables against gravity’ cata1). once these outlines where set, the process of human intervention began and the piece was written around those generated and pre-calculated notes using a strict setup of (virtual) instruments.
while working on the piece, an image of 1980’s rotterdam sprung to mind. it was an era of discovery and wonder, frequenting all sorts of exciting (mostly squatted) places like hal4, de bunker, exit and so on, to satisfy the thirst for new, unusual, undiscovered sounds and acts. tuxedomoon in particular became an act marcello followed almost religiously. therefore, this piece is a tribute both to the city of rotterdam in that period and tuxedomoon.
6. heinali > ave moog > written, produced and performed by ©2009 by oleg shpudeiko > dedicated to robert moog > minimalist composer, music producer from kiev > started his first experiments with music in 2003 > never took music lessons, self-taught, his sound evolved with time and became eclectic under the constantly changing influences of different music > since 2009 he is composing for films, art performances and installations > heinali@ya.ru > ukraine >
7. tentaculo > in praise of indecision (deny reality) > composed, performed & produced by © tentaculo, february 2010 in são paulo >tentaculo is the one man project of brazilian based sonic conspirator elias cheika jr. formerly a guitarrist and initially composing electronic music influenced by the soundtracks of italian horror movies of the 60's and 70's, as well as the sounds of electronic pioneers kraftwerk, as the time passed, a multitude of eclectic influences were incorporated to the "tentaculo sound". retrofuturistic with a love for experimentation, tentaculo approaches the act of digital composition with a analogue d.i.y. spirit, not afraid to sound lo-fi, cheap, harsh, weird or in just having some fun at the expense of other people's ears. absolute obsolete and loving it. old school/no school, audio schizophrenic, he refuses to be categorized, his work residing in a grey area where electronic, rock, collage, found sounds, noise, horror movie soundtracks, ambient and industrial feed on each other peacefully (or not), always mutating and evolving. punk idm? electronic heavy metal? industrial world music? pop noise? none of the above. this is the soundtrack to your sickness. musick for the masses hole. down with the hierarchy of sound >http://soundcloud.com/tentaculosound > http://www.myspace.com/tentaculospace > http://www.lastfm.com.br/music/tentaculo > brazil >
8. phirnis > who is this who is coming? > written & produced by ©2010 kai ginkel > recorded in 2006, additional mixing and editing in 2010 > recording this particular kind of electronic music serves as an outlet for exploring some of the topics i feel most passionate (or even downright obsessive) about. some of the inspirational sources i personally deem most important include brian wilson, aquatic life, religious imagery, african culture, whimsical pop music, all-out noise, prehistoric times, mythology, and vintage synthesizer music. lately i've been incorporating real-time sound manipulation into my own music making, increasingly exploring methods such as granular synthesis and general improvisation > mail@phirnis.de > http://www.phirnis.de/ > germany >
9. limnul > a brithdate grace for miss claire > written & produced by ©2010 limnul in belfast > http://soundcloud.com/limnul > m.deren23@rocketmail.com > ireland >
10. bipolarbeats > the bubble in the bong > written & produced by by © 2010 bipolarbeats > this is my alter ego who produces music at wako studios west london this music is inspired by a deep love of techno and electro and days lost on the dancefloor. long live the noisemakers of the world! > republic of ireland >
11. ainst > rave wave > written & produced by ©2010 andrej nizamoff > child prodigy, born in 1983 in a small provincial town of the former soviet union, descendent from a family of artists > went to school at 5 years of age and first live piano concert at 7 > he lives now in naberezhnye chelny, a place he cannot stand at all > created ‘the fantasts’ in 2004 and in the final stage the band created the virtual character miki > he left the band and now he just do what he can > attention: group "the fantasts" is an intergalactic ultra-luxury mega conglomeration of musicians, producers, djs, free artists, punks, and people whose mind we are saving. the first rule groups: never mention the group "the fantasts". the second rule group: nowhere and never mention the group "the fantasts"! the third and most important rule group: all audio tracks added to the group "the fantasts" will automatically become the property of the group "the fantasts" and part of her repertoire! all tracks are added to the group can be used by the most unusual and fantastic way, including for commercial purposes. each band member has the right to use all the tracks the group at its discretion, including for commercial purposes! let the force be with you! >korichneshtannik@gmail.com > russia >
12. c.cu > the hospital ship > written & produced by ©2010 c.cu in belfast > http://c-cu.bandcamp.com > ireland >
13. damjan cvetkov-dimitrov > welcome exactly > written & produced by ©2010 damjan cvetkov-dimitrov in skopje > damjan cvetkov-dimitrov has been producing what he wants to listen to and afterwards not listening to it, for over a certain insignificant amount of time that certainly rhymes with some word or other > his music wants to explicitly show uncomfortably marginal sounds immensely overemphasized and aggravated through a series of forceful and sometimes exhausting questioning and brainwashing procedural surprises > his rhythm often leaks through audible patterns and almost completely incoherent ontological festivals and eyebrows > his other less known projects are @defaultusername and audiot > being landlocked into oblivion, he uses unorthodox ways to send pigeon messages through the walls of his country, and that is how this song got liberated > www.faultyweb.blogspot.com > a disturbing charade of epilepsy inducers, and a taste of a not-yet published album at the end of all that faultiness > damjancd@gmail.com > damjancd.deviantart.com/gallery/ > birth certificate number: 198623 554 135432 > macedonia >
14. b2 > untuned piece (interlude #6) > written & produced by © 2010 jonathan cotterell & karl wolf (b2 editions musicales, paris, 2010): prepared acoustic guitar, amplified saw percussion, distorted car spring modulation oscillator > recorded live in the studio (atelier de musique electronique, paris, xii arrondissement) on the 12th december 2009 by augustin pierre leblanc > free love couple composing for the theatre and experimentalists > france >
compilation mastered by noitu (s. puckovski) at noitu's lab - skopje, macedonia noitu7@gmail.com > graphic design by vassily blossfeldt based on the composers/artists artwork > this compilation © 2010 catalogue of wonders llp® > the copyright of each track belongs uniquely to their composers and producers and are licensed to catalogue of wonders llc® by special arrangement >
catalogue of wonders can be found on facebook.com group and fan page + catalogueofwonders.blogspot.com >
special thanks to the composers and performers and all involved in the project > blessed are the noisemakers and the arts on the verge of an attack of genius > avanti marinaio > a very special thank you to suna aktas, john dwyer, hugo oliveira, john o’gorman and bilginar sadulova > this album is dedicated to the memory of gyorgi telemann & pieter hurst >
further/additional information, contacts, photos & all > catalogueofwonders@ymail.com >
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