… Occlusion is a loose framework for a multi-channel, freely improvised piece of LIVE ELECTRONIC MUSIC, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. A given realization will last between 10 and 30 minutes ; time is elastic. Every effort has been made to avoid divisible rhythms (although mistakes are occasionally made) ... Still, I consider it a \"kind\" of Dance Music.
These two realizations, recorded a week apart at festivals in France and The Netherlands during February 2012, capture the piece (much like those on the Generators LP) in two entirely different iterations, in states of (A) a mildly inebriated bliss & (B) an arbitrarily triggered blind rage. Both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. They sound fantastic.
Occlusions is a companion piece to Generators in that they share the same tool-set ... however, it is the FREE JAZZ yang to Generator's MINIMALIST yin. It is not recommended to those seeking meter, melody, cleanliness, or a clearly outlined organizational sense.

editions mego

New gear from the PQ corner! 12" with 1 new Quehenberger orginal (Uffuff) and a trio of near remixes from his lastest album Hazard (released as LATON 047 in 2009). Patrick Pulsinger tackles New Beat, in his unique future funk sound. A welcome return of Elin (who hasn't been on a Mego record since 1995, check MEGO 003). He slurps out a version of Hey Gert, making it into an slamming slowed down twister of a track.This leaves the pumping exccess of Altroys (Minimal Soul) Keep Talking remix.

editions mego

Just to Feel Anything, the new album by Emeralds, surpasses all expectations, just as its predecessor, Does It Look Like I'm Here, did in 2010. This expertly recorded new album sees the band deliver plenty of their distinctive aesthetic for old fans to enjoy while offering a new range of fresh, exciting ideas for newcomers.

'Before Your Eyes' begins the record with a steady build-up, which bleeds into humid layers of synthesizer pads and warm guitar. The track sets the tone perfectly for 'Adrenochrome', a fast-paced excursion into new territory for the band. The calm after the storm appears in the form of 'Through & Through', with its contemplative strokes and heart-wrenching atmospherics. 'Everything Is Inverted' is an energetic rush of monolithic guitar leads, pulsing drum machine, and driving sequences.

Still, it's on the second half of Just to Feel Anything, a triptych of tracks, where Emeralds adroitly demonstrate why they are a cut above their contemporaries. 'The Loser Keeps America Clean' kicks off the b-side by diving into the deepest fathoms of their experimental oeuvre. As the final bursts of static dissipate we are led into the opening chords of the eponymous 'Just to Feel Anything' a new zenith in Emeralds' repertoire. The album closer, 'Search For Me in the Wasteland' sees mounting layers of brightly strummed guitar chords blossom into a storm of color and expertly crafted textures-- a truly majestic end to an immense album.

With Just to Feel Anything, Emeralds shine a laser-sharp light into the future, while preserving their uniquely intelligent historical perspective. The long-awaited next chapter in the Emeralds discography is finally here, emerging as a sophisticated progression in both sound and structure.

editions mego

Remastered, expanded gatefold double LP version (briefly available as a single LP in 2001 and o/p for 10 years now). This version features new artwork by Tina Frank, based on the original 2001 Mego release. Contains "Ohne Sonne" and "47 Blues," previously only available on the Japanese CD versions, as well as a new, extended version of "Happy Audio," exclusive to this release. Endless Summer, originally released in 2001 by Mego, was a breakthrough album for Christian Fennesz -- the album which brought his name and music towards the first steps of mainstream recognition. Following on from the more experimental Hotel Paral.lel (EMEGO 016CD) and the Beach Boys-homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to become a classic of its time, topping many end-of-year polls.

editions mego

Editions Mego is happy to announce the release of 'Kanal GENDYN', a Vinyl and DVD set by Russell Haswell & Florian Hecker. This is the first full length release by the artists following their highly acclaimed albums, 'Blackest Ever Black (Electroacoustic UPIC Recordings)' (Warner Classics, 2007), and 'UPIC Warp Tracks' (Warp, 2008), in addition to their remix's of Popol Vuh, and Voice Crack.

In the late 90s, early 2000s, it became common for bands, or solo artists to perform live - often alternative - soundtracks to feature films or silent classics. Critical of obvious instrumentation and the combination with known classic film, the artists Russell Haswell & Florian Hecker chose to create a real-time soundtrack, to an unscored film, 'Kanal Video' (1992, 60 min.) by the Swiss artist duo Peter Fischli & David Weiss.

Core to Kanal GENDYN is Haswell & Hecker's ongoing research on the legacies of polymath Iannis Xenakis (1922–2001) and in particular his concept of the Dynamic Stochastic Synthesis, an abstract sound synthesis procedure that creates 'sound out of nothing'.

In an interview with Peter Hoffmann, the artists recall: "This video, which consists of an hour long 'ride' through the Zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects — struck us both as an ideal piece to be projected in a 'nightclub' or music venue with a GENDYN only performance. We found twisted relations with such an hour long 'tunnel vision'. Once with the seemingly endless amount of computer generated video projections used as visuals accompanying raves and techno parties during the 1990's — and also to the accounts of visual hallucinations induced by Mescaline as described by Heinrich Klüver in the 1920's — with the so called 'form constants' — where he mentions amongst others, 'tunnel like' patterns. The particularities of GENDYN, with its ever changing and meandering waveforms appeared to us as an ideal counterpart."

Kanal GENDYN was performed on the occasion of the event 'Musterraum 9. Dual Presentation — Peter Fischli & David Weiss — Russell Haswell & Florian Hecker' at Musterraum, Munich, 30.01.2004. Originally constructed as an experimental building, 'Musterraum' — German for sample or reference room — was a freestanding cube with a base area of 10 × 12 meters. Built as a test and reference space for the planning and construction of the adjacent Pinakothek der Moderne.

Two stereo feeds were crossed for quadraphonic (4.0) diffusion using a L&B F12 / B12 loudspeaker system. Performed concurrently to the Peter Fischli & David Weiss, 'Kanal Video' (1992, 60 min.) screened on three facing walls.

Kanal GENDYN is released as stereo vinyl LP + 4.0 DTS 24 Bit / 48 KHz DVD (audio only) set. The cover features 10 stills from the original Fischli & Weiss video, included inside is a 30 x 30 cm 170 gramm paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer Peter Hoffmann, and everything was designed by NORM, Zurich.

Its also worth noting that, with a running time of over a hour, this is one of the longest single LP releases you will come across! Cut by Rashad 'the Master' Becker at Dubplates & Mastering, Berlin, Setpember 2011

editions mego

Whereas previous works by Mika Vainio have utilised guitar Life (… It Eats You Up) is the first to use the instrument as its primary sound source. A fascinating, sometimes disturbing and deeply personal work this new 10 track set bears all the hallmarks (exacting attention to detail of tone, rhythm and texture) of Vainio's previous works with some stunning surprises, such as his cover version of The Stooges' 'Open Up and Bleed'.

Tracks such as 'Mining' hark bark to the banging beat excesses of Pan sonic, with 'Crashed' and 'And Give Us Our Daily Humiliation' and the opening 'In Silence A Scream Takes A Heart' reveal a new intensity to Vainio's work and is yet another superb additional to his brilliant catalogue.

editions mego

Hold Everything Dear is the third installment in the new Cindytalk sound which started with 2007's The Crackle Of My Soul, and then last years Up Here in The Clouds. Its the first in the trilogy to feature musicians other than Gordon Sharp namely the late Matt Kinnison, to whom the album is dedicated.

Inspired by the John Berger book of the same name, this latest release is whole new set of parameters which push the sound on the previous two works to an extreme point of abstraction, and in some places near silent passages and haunted melodic segments. And what a mysterious journey this ends up being with increased use of piano and found/field recordings giving all the tracks a blurry soundtrack appeal to the point where the definitions between the tracks and are no longer clearly defined. It harks back to the odder parts of In This World and The Wind Is Strong albums from the early 1990s. Superbly packaged with new David Coppenhall artwork in a 4-panel digipack and gatefold vinyl sleeve.

editions mego

Well, that took longer than expected. Finally the 5th KTL studio album is ready for release.
Whereas their previous album IV was recorded and made in a relative short period in a more traditional rock environment, V turns full circle, takes its time and tackles the complex working processes of the european avant garde. Rooting themselves in such legendary electronic music studios such as EMS in Stockholm and GRM in Paris, O'Malley and Rehberg have delivered a rich set of sound experiments far removed from harsh metal/noise blizzards of their early albums.

They took a step further by inviting icelandic composer Jóhann Jóhannsson to orchestrate Phill 2, resulting in a towering storm monumental classicism. Finally, 'Last Spring: A Prequel' turns the whole album on its head with abstract alien textures of the Gisèle Vienne installation of the same name., with text by Dennis Cooper spoken with devout intensity by long term Vienne collaborator Jonathan Capdevielle. With full colour artwork by Mark Fell, V is KTL's most sophisticated work to date.

editions mego

Well, that took longer than expected. Finally the 5th KTL studio album is ready for release.
Whereas their previous album IV was recorded and made in a relative short period in a more traditional rock environment, V turns full circle, takes its time and tackles the complex working processes of the european avant garde. Rooting themselves in such legendary electronic music studios such as EMS in Stockholm and GRM in Paris, O'Malley and Rehberg have delivered a rich set of sound experiments far removed from harsh metal/noise blizzards of their early albums.

They took a step further by inviting icelandic composer Jóhann Jóhannsson to orchestrate Phill 2, resulting in a towering storm monumental classicism. Finally, 'Last Spring: A Prequel' turns the whole album on its head with abstract alien textures of the Gisèle Vienne installation of the same name., with text by Dennis Cooper spoken with devout intensity by long term Vienne collaborator Jonathan Capdevielle. With full colour artwork by Mark Fell, V is KTL's most sophisticated work to date.

editions mego

A Young Persons Guide to Mark McGuire collects together some of this Emeralds members best works, previously released on a number of limited editions CDr and tape releases over the last 4 years. Although, only 24 years of age McGuire has racked up an impressive canon which most artists twice his age would have problems delivering. With his expert use of loops and layers, as well a superb ear for killer melody hooks makes AYPGTMM simply an essential collection.

editions mego

It would be too easy to simply call IIRON the COH metal album, as it goes way beyond that. True, this album of classic Pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the COH 'raison d'être'. Coming 11 years after IRON, which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recorded at Music Research Centre at York University, but also recordings made during Soviet era Russia, which refer to Pavlov's underground music activities in the early 80-ies when making or even consuming of "metal music" was forbidden.

IIRON is a powerful, well executed electronic rock record, with just a dash a humour to keep it from becoming pompous, as so much of that kind of music can be sometimes. Packaged in a 4 panel digipack for CD, and lavish gatefold for the vinyl, with stunning artwork by Stephen O'Malley.

in memoriam:
Satoshi Kon
Peter Christopherson

HAIL TO WORLD PEACE AND DEATH TO FALSE METAL

editions mego

Live In Japan Part Two is the second part of two separately-released live albums from the legendary trio Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg), featuring recordings taken from their 2009 Japanese tour.

editions mego

Live In Japan Part One is the first part of two separately-released live albums from the legendary trio Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg), featuring recordings taken from their 2009 Japanese tour.

editions mego

After the runaway success of their 'Does It Look Like I'm Here?' album Editions Mego is chuffed to release these vintage synth-guitar improvisation jams recorded straight to tape 2007-2008. Previously released as a CD by No Fun this is now the definitive vinyl edition of this material, and serves as archival insight into the development of their sound over the last years.

editions mego

'Returnal' is the 4th album from Daniel Lopatin's Oneohtrix Point Never project, after 'Betrayed In The Octagon (Deception Island, 2007), 'Zones Without People (Arbor, 2009) and 'Russian Mind' (No Fun, 2009). All 3 albums being superbly compiled on the 'Rifts' double CD set (No Fun, 2009).

It sees Lopatin fine tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of 'Nil Admiari'/'Describing Bodies'/'Stress Waves', which fires off into a noise/rhythm excess before entering a zone of relative calm building to the melancholy of the final part. This set the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin's near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date.

The atmosphere is slightly lifted as the darkened sun comes up over the ruins on 'Pelham Island Road' and 'Where Does Time Go', with the album closing with edgy broken beats and fourth world possible landscapes of 'Preyouandi', which fades into the distance with echoes of the 'Returnal' chorus, closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector -- as it was in Bach's study, and in the elephant songs of the Ituri forests.

editions mego

Thats right, they're back! After a hiatus of almost 9 years the legendary trio of Christian Fennesz, Jim O'Rourke and Peter Rehberg have returned with a new studio album. Technically the first studio album as previous releases were edits of live performances.

They spent a week in Studio GOK Sound, Tokyo to lay down some stunning electronic works. Whereas previously the emphasis was on a chaotic blend of found samples mangled through their mobile computing systems to create a humorous oddball sound, 'In Stereo' implements a more wider instrumental palette of analogue & digital synthesis, guitar, piano, bass and percussion. What they do maintain is the ability to make a near psychedelic audio blend where its impossible to determine who does what.

editions mego

Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg) first hit the scene after a surprise appearance at the Nickelsdorf Festival in 1997. Throughout 1998 and 1999 the trio toured extensively throughout Austria, Germany, Belgium, France, Italy, Switzerland and Spain, as well as shows in North America and Japan. The highlights of these trips were presented on 'The Magic Sound'. Although they were not first group to utilise mainly mobile computing devices, they were the first to bring such a set up to venues that would not normally book or even be interested in such things. This resulted in some very polarised reactions from both audience and promoters alike. In many instances the group needed to 'escape' the city they played. In Rome Jim O'Rourke was even given an acoustic guitar and more or less forced to play a short acoustic set before anyone could leave the building. Despite all of this, there was a generally positive response, with some shows going down as local legend. However its worth considering that the technology at the tine didn't offer the convenience of 'plug in and play' of current operating systems and applications. This of course led to set of recordings like no other. Not only was the rule book ripped up but the tour book as well. Each show became an improvised twisted journey through the various strands of electronic music where popular music sources (some more obvious than others) clashed with more academic tricks, but never sounding like being part of either. By 2002, the groups live output was drastically reduced due to all three members schedules moving in different directions. Only two performances were committed that year, and although the sound was more polished and one could even suggest that 'they knew what they were doing', their polarising effect was still there. One show was a sold out over enthusiastic Centre Pompidou in Paris, and the other a miserable 'count them on one hand' turnout at a jazz club in Vienna. Edited highlights of these shows made up 'The Return Of..'.

editions mego

Peter Rehberg's collaboration with the Paris based puppeteer and choreographer, Gisèle Vienne began in 2001, with the production of the DACM piece 'ShowroomDummies', followed by 'Stereotypie' in 2003.

In 2004, Vienne started to direct under her own name and began to work on pieces collaborating on text with US author, Dennis Cooper. This CD is a document of selected audio parts of all Gisèle Vienne productions made between 2004 and 2008, except for the epic 'Kindertotenlieder', whose audio material was presented on the various KTL releases in 2006 and 2007 (eMEGO 084, eMEGO 085).

The range here is vast from the upfront noise excess of the 'I Apologize' (2004) tracks to the lonely synth passages which were used in 'Une Belle Enfant Blonde' (2005), and the sad coda used for 'Jerk', which began as a radio play for Radio France Culture in 2007, before being adapted for stage in 2008. The opening 'Murder Version' is a version of the recording 'Meurtre' by Catherine Robbe-Grillet & Jonathan Capdevielle, which was released as a single sided 12" vinyl in 2005 (UBEB 001), and is to be considered as a tribute to the Alain Robbe-Grillet film 'Glissements progressifs du plaisir' (1974). Although this material was intended for consumption in a theatrical setting, it has been edited with domestic use in mind ultimately representing that the grey zone where puppetry, literature, contemporary theatre & dance, visual art, and extreme computer music meet.

editions mego

At last, Kevin Drumm's classic 2002 album sees a full vinyl release, including a bonus track. Crank it! Utilizing guitar, tapes, mics, pedals, analog synthesizer and some computer assistance, Chicago's own Kevin Drumm concocted a sonic beast with Sheer Hellish Miasma. One is taken on an intense journey of storming feedback, open audio onslaught and somewhat savaged sonics. The extreme end of anarchic electronics and possibly a hint of musical violence is present throughout much of the disc. An essential release capturing Drumm at his most ferocious and most inventive. It's an exhilarating, visceral test of endurance brimming with demonic humor and a tour of Drumm's ever-expanding sonic palette. For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and more than enough hidden detail to warrant repeated listening -- a distinct voice in the increasingly same-sounding world of abstract electronic noise. For everyone else, Drumm's journey through the noisy underworld is likely to inspire fear or, in an optimistic case, fearful admiration. This reissue comes with an additional track, "Impotent Hummer," taken from the same period -- a 13-minute drone piece that draws the listener into the forthcoming blizzard. In total? A din of arms, the fierce swell of damaged drone and the shriek of subtle, shifting sonic slaughter ... for the seasoned, a bountiful sonic feast awaits, for the meek it's intense and rewarding -- noise rarely sounds this exhilarating.

Crank it!

editions mego

Of course, Jim O'Rourke needs no introduction being well known as a performer, producer and all round top chap, as well membership of various pop and rock combos for more than two decades. 'Im Happy, and I'm Singing, and a 1, 2, 3, 4' was called by many common folk Jim's laptop record or his powerbook album. We prefer the simple term computer when referring to the instrument used for the creation of this milestone album. Equal parts - schizoid pop, cracked minimalism, concrete drama and melancholic contemplation. It strikes us as a highly personal release. Given the nature of this warm beast, it seems likely to appeal across the board - electronic nuts, indie rock kids and yes, even the good folk of the established experimental world may take pleasure in the delicate nuances of Jim's hard drive. This reissue is long overdue (the album being out of print for 5 years), and comes with a bonus disc featuring unreleased material from same period sourced from Jim's vast archive, as well as new artwork.

editions mego

Follow up to the award winning 'Live Salvage 1997->2000' CD (MEGO 012, 2000). Hot on the heels of recent collaborative releases with Florian Hecker (as HASWELL & HECKER) on Warner Classics and WARP Records, Russell Haswell (b.1970. Coventry, UK) presents the second volume of his LIVE SALVAGE archive series. Documenting improvised real-time, computer-generated audio-presentations given over the past 10 years, in different types of venues all with contrasting acoustics and audiences.

Editions Mego is proud to announce this double vinyl set.

editions mego