New recordings from 2007-2010 by 85 year old French Composer Francis Dhomont. This LP is Dhomonts first appearance on vinyl since his 1982 record on INA-GRM Sous Le Regard D'un Soliel Noir. Birthdays explores High fidelity studio editing methods of concrete sound and vocal manipulation. Each record Screenprinted by hand with archival high gloss varnish. Stored in a PVC sleeve with sticker with program notes by Dhomont & Jean-Francois Denis.

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CONVERGENCE was formed in 1976 as an appendage to the Humber College Ensemble for Experimental Music. "Written" music for this ensemble was scarce and consequently improvisational sessions became more frequent. About this time, the Music Gallery had been expanding to allow many new groups the opportunity of performing. I then decided to take a core of the most interested students and give a concert at the Gallery. Our first few concerts had a somewhat haphazard and random mix of students, some of whom didn't quite get the notion of free improv. Eventually I decided on a quintet with the best of the student improvisers. I also felt that a quintet was ideal for this idiom. I never really concerned myself with what instruments they played, but rather the spirit and creativity they had toward rehearsing and performing. So CONVERGENCE'S instrumentation became trumpet, trombone, piano, and percussion (including home-made instruments and toy instruments). It remained that way until we disbanded around 1980. CONVERGENCE'S sound is a zone somewhere between The boundaries of avant-garde jazz and free-form contemporary classical music

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File under Un-Sound. Toronto artist Kevin Hainey's Hi-Fi Mic picking up ghostly atmospheres where the listener paints a picture. His source materials are smoke and breath. Edition of 50 comes in a 8x8" 4 Color Screenprint collaboration between Beniffer Editions and the Artist.

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We here at Beniffer are pleased to bring to you two projects by the ever impressive Keith Fullerton Whitman who not only runs the most thorough and tasteful distro on the internet these days but has, in his possession, the magic wand that only true electronic music wizards can lay claim to. The Hrvatski side seems to me like the wettest, wildest dreams of Alex Empire who has been institutionalized after seeing god in the pages of a Bop magazine which he systematically ate out of a blender which wouldn't turn off. There is a lot of things happening here, but at the center of it all is a relentless sort of car chase beat pattern that never let's up which is perfect if you're late for a blowjob scene in a Michael Bay movie.
The KFW piece, bereft of the onslaught of side one, nonetheless bows to the same caffeinated deity. This time around the main attraction is mysterious foreground warble, like intercepted noise off a sphinxlike anomaly, transmitting vague messages from a subterranean religion, washed out in the last ice age.

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