"'Urban Disease' is the new radical work by Billy Bao, Mattin, Taku Unami, Tim Barnes, Barry Weisblat and Margarida Garcia.

It's important to remember that before Mattin and anarchism ruined his life, Billy Bao was a bit of a troubadour who accompanied himself on acoustic guitar and warbled wild songs of protest in his native Nigerian patois. This new album, his third on vinyl, finds Billy in a transitional phase toward the end of 2006, before the gaztetxes of Bilbao burrowed into his marrow, before Mattin became the Merle to his G.G., before Billy turned into herpes sore in the mouth of global capitalism.

"Billy doesn't believe in hypnagogia," we're told, "because he always sleeps with one eye open, and when he dreams, all he sees is AIDS denialists, German shepherds, and soldiers disguised as UN peacekeepers." Before Taku Unami fucked it up, this session found Bao relaxed and in high spirits as he conducted a pickup band of itinerant improvisers through a song-by-song cover of Amon Düül's Psychedelic Underground. Margarida Garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument with the tension of string on wood and the disruptive potential of a crackle box. Barry Weisblat, meanwhile, teased out a century of drone from a Cornell lunchbox of filament and circuitry. Who better to play drums and percussion than the sainted Tim Barnes? Mattin, thumb and forefinger compulsively pinching or stroking his Hitler mustache after every take, funneled Billy's malaise through laptop, percussion, and folk instrumentation. There was even, astonishingly, a women's choir on hand, eerily filling out the atmosphere with wordless vocals and incantations. But this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of uneasy silence and scrape."

-PAN

"British free jazz phenomenon Evan Parker with electronic and tape noise artist John Wiese in a set of real-time evolving improvisations intended for maximum volume. Vinyl version of the CD released earlier this year, but slightly different containing all the final mixes and edits of the sessions with a new and more intense mastering for the maximum listening experience. C-Section finds density in scarcity - deep, glacial muck bubbles emerge beneath Parker's inhuman circular breathing, only to plunge into an incessant clatter of industrial landscape.

Evan Parker is a free sax legend, best known for his work with Keith Rowe (AMM), Anthony Braxton, Joe McPhee, Cecil Taylor, Peter Brotzmann (including on his epochal ‘Machine Gun’), Derek Bailey, and for his inspired, individualistic take on musical freedom. Being the UK's equivalent of Peter Brotzmann means that as far as free jazz saxophonists go, Evan Parker has very few equals. Hugely respected with a rich and varied back catalogue, Parker has graced the cream of the free jazz racks for the last forty years.

John Wiese is an artist and composer from Los Angeles, California. His recent works have a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. He has toured extensively throughout the world, covering the US, UK, Europe, Scandinavia, Japan, Australia, and New Zealand. He is also a founding member of the concrète grindcore band Sissy Spacek."

-PAN

"Following on from his Kassettmusik release, 'Vidöppna Sår' is an evolution in scum-brow field recordings and voice recorded to mono tape, akin to OU revue recorded on a building site. This record shows the development, as witnessed from his recent live performances of aggressive blur build up and ominous restraint, tape speed replacing effect pedals, going beyond the mere "junk noise" description closer to the original idea of musique concrete, namely altering everyday sounds onto tape into a wholly other vocabulary.

Sewer Election is Dan Johansson, based in Gothenburg, Sweden. He is most known for his extreme and nasty noise on often limited edition cassettes and obscure vinyl releases on labels such as iDEAL, Troniks, Chondritic Sound, Release the Bats!, Freak Animal, Segerhuva, Gameboy to name a few.. He is a member of the swedish collective Utmarken and lo-fi group Ättestupa. What separates him from the rest of the wall-of-noise-heads is that he is great at creating uncomfort and filth. To experience his stuff is like experiencing pure power and energy through subtle and restrained soundscapes of a world falling into pieces.."

-PAN

"Words are more often then not the point of departure for many works of Das Synthetische Mischegewebe. The track - titles here stem from ‘El Mundo Alucinante’ de Reinaldo Arenas, which itself is inspired by François-René de Chateaubriand’s ‘Mémoires d'outre-tombe’. It is about time rather than history and about being in history. Having lost the war of time, the only thing that remains to do is being, and here we go, ‘being infiniment exigent’ in it’s means of expression.

DSM began in Berlin armed with a visual education from the early 80's. They quickly became part of the international industrial cassette scene. Composing for light installations with open-reel machines, cassette recorders, microphone and guitar fuzz boxes with both loud, quiet, occasionally full blast and frequently sneaking in little sounds, all alternating within a few seconds, create an electroacoustic anti-music. With unusual concerts in the underground network as well as in high art institutions and museums (such as Centre Pompidou) and later on with performances for mixed media installation, exhibitions and conferences on cognitive science and neurologic research related topics, the group toured with changing casts since the early 80's, and participated in international festivals throughout Europe and the US.

Since 1982 they continue to produce vinyls, CD's and tapes on many international labels:
Discos Esplendor Geometrico, RRRecords, Hypnagogia, Vinyl-on-Demand, Auf Abwegen, Harsh Reality Music, Equation Records, Das Cassetten Combinat and many others.
Live and recording collaborations with musicians such as:
The New Blockaders, Ralf Wehowsky, Frans de Waard, Ios Smolders, Zeitkratzer Ensemble, Artificial Memory Trace, ERG, MSBR, Toy Bizarre, Roel Meelkop and others."

-PAN

"Brand new release from Brighton mongs Blood Stereo, duo of Dylan Nyoukis and Karen Constance. 'Your Snake Like King' picks up where last years 'The Magnetic Headache' left off, a shape shifting and strange mix of tape collage, free vocals and electro-acoustic mischief. Midnight to 3am recordings fueled by grape and smoke conjour up a blurred narrative, the meaning of which is never quite clear, like weird off camera sounds in some tripped out movie.

"Anal fins tucked in tight behind them, Blood Stereo look like a pair of ill-kempt roosters, fighting over a doughnut. The guy rooster is jibbering in some unknown tongue, turning his face inside out, while shoving the microphone slowly through a hole in his cheek. The girl rooster appears to be pecking at him, either that or she's picking at various trash they have strewn around the stage. Every time she ducks
her head there is the sound of a jet passing overhead. But when you look up at the sky there is no sign of a comtrail. After a while you think you are starting to get a handle on what they are doing, but the guy falls down and starts doing a spazz
dance so utterly convincing you begin to worry about him. Then the girls starts screaming and it seems as though something is really profoundly wrong. And it is.
But it's not like they're in any kind of trouble. They're just wrong, y'know? So savagely wrong from every angle that it's really tough to imagine there 's anything you could do to really help them. As if they'd even want in. In their masks or out, they sow confusion like wheat." - Byron Coley

-PAN

"'Kenrimono' is a type of pachinko machine for advanced players which gives certain privileges during the course of a high-risk game. This LP is entirely based on field recordings and manipulations made from sounds in pachinko parlors in Kansai area, Japan in 2007. A very intense and meditative atmosphere to be played at maximum volume.

Active since the early 90's in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound palette touching and surpassing the limits of the sound spectrum he definitely advocates for an anti-career. By 2009 ILIOS has performed more than 170 times in various venues and festivals in Asia, Europe, South and North America, pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. He has done studio and live collaborations with the likes of: Francisco Lopez, Jason Kahn, Keiichiro Shibuya, Mattin, Michael Gendreau, Norbert Möslang, Coti K, Xabier Erkizia, Julien Ottavi, Bernd Schurer, Ralph Steinbruechel, Takehiro Nishide, Tzesne, Thurston Moore amongst many others. Since 1997 he runs Antifrost, a publishing label for sound media with more than 40 works published to date."

-PAN

"Provocative Electronics', first in a series of Electronic Music recordings from Andy Ortmann, is an exploration in analog synthesizers and recording techniques (eight different synthesizers were used on this record). As in the days of Musique Concrete and the beginning years of synthesizer development Ortmann experiments with tones and his own brand of electronic tweakage.

Provocative Electronics is not an homage, but yet another document in the ongoing history of Electronic Music. Focusing on the aspects of 60's-70's era electronics, part academic (for fans of the 20th century Greek composer Xenakis, minimalist John Cage or pioneer of Musique Concrete Pierre Schaeffer, Mort Garson, Milton Babbitt, Tom Dissevelt, Ruth White, Delia Derbyshire, Lejaren Hiller, Raymond Scott, Jean Jacques Perrey and Pierre Schaeffer) and part cheesball (aka Mort Garson, Bruce Haack).
Andy Ortmann is also known for his work with the transgressive experimental group Panicsville, acid psych freaks Plastic Crimawave Sound and sole curator of the equally bizarre Nihilist Records label (USA)."

-PAN