henning christiansen “kreuzmusik fluxid behandlung • op 189” long playing record

• kreuzmusik fluxid behandlung op 189 (1)
  
  
• kreuzmusik fluxid behandlung op 189 (2)

kye press release...

henning christiansen 'kreuzmusik fluxid behandlung op 189' lp (kye 18 / penultimate press co-production) kye is proud to present in association with penultimate press the fully authorized reissue of henning christiansen's 'kreuzmusik fluxid behandlung op 189'. kreuzmusik was commissioned by the bonner kunstverein gallery, kunstfond, germany in august 1989, for inclusion in their 'taking fluxus around for a drive' happening, (also featuring performances by dieter daniels, george maciunas, allan kaprow, al hansen, joe jones and others) and originally issued on cassette in 1990 by neue bildende kunst in an edition of 100 copies. in 1967 joseph beuys and i travelled to darmstadt for a performance of hauptstrom fluxus from 1:00 -11:00pm (10 hours) on the 20th march. hauptstrom was basically a new ritual, which is how a lot of people saw it at the time, and later on too. beuys used his own body as a deeply primal human language, and i made 10 hours of ritual music using a number of tape recorders. and obviously we wanted to make a completely new space for hauptstrom. the space at franz dahlem's at 7 aha street was small and there was even less space for the rather large audience because beuys made a roughly 7cm high rampart of margarine around his own performance space; and my main motif was a knocking sound, like the sound of a heart beating, which i used to create peace in the space, separate from the other more energetic sound-music passages. when i got the invitation for 'taking fluxus around for a drive' i immediately remembered that darmstadt exhibition in 1967. it's not all that far from denmark, 150 km to bonn-darmstadt, but a timespan of 22 years. i thought of jörg immendorf's lidl-bundestag, which you could say landed in the roses outside the real bundestag. this poetic, political act impressed me at the time, because it showed that our world could basically be quite different. i decided straight away that i wanted to make kreuzmusik, and i was also sure that no other fluxus people would come up with the same idea. most of my fluxus friends go for homo ludens and that's fine, but i wanted to feel the intimacy again in a small space, i wanted to make a scandinavian ritual in fluxid behandlung. i took my stone age gramophone (which really does play stones) called my friend ernst ludwig kretzer from hamburg and arranged with him that he would operate a time delay on my tapes and voice so that i could ritualise freely. in kunstfond i didn't make a mound of margarine - of course not - instead i made one from flour (bread), in the middle of this was the stone age gramophone and hanging on the wall there were strange crosses, made out of socks and clothes hangers; as well as this there was a headless figure of christ and a toy cessna plane in a little canary cage. i began with my piece io am en vogel as a 'starter' (about 20 minutes), then i performed zum preis des fluxus, which had been my contribution to the wiesbaden fluxus 82 catalogue, then i threw green stones into a bucket of water, then to the accompaniment of the eurasienstab -fluxorum organum music i played a green cutting sheet that was hanging on my chest, then to european zen i played 3 glass bowls with red sticks, the bells and knocking für das alte russland (for old russia). then everything went dark and i lit candles while my deep groundnote played. after 5 minutes played the lights came on again and my groundnote led into the sheep composition (sheep instead of fiddles); i used my green fat-fiddle to make little twittering sounds; for me, sheep mean peace and insight. this soundworld then lead into the composition with 180 hammer blows against war monkeys. i hammered very sharply and powerfully. beuys once wrote a piece with the title: der dumme hammer tritt auf (the stupid hammer performs), that's how it should be - against the war monkeys, logical. this sequence then finally lead into peaceful bird twitterings in a piece that i call die freiheit ist um die ecke (freedom is around the corner). during this i slowly immersed the cesna plane inside the canary cage in a tub of water , after i had flown around in my own space for a while. and that was the end of the whole seance. it lasted over an hour. - henning christiansen, 1990. kreuzmusik fluxid behandlung op 189 arrives in a full color high gloss sleeve, with original score reproduction insert, mastered from the original tapes by jason lescalleet at glistening labs, in an edition of 500 copies.

marcia bassett / samara lubelski “sunday night, sunday afternoon” long playing record

• september 12th 2010 • bushwick, brooklyn -ny-
  
  
• october 17th 2010 • brighton beach, brooklyn -ny-

dan melchior “excerpts (& half-speeds)” long playing record

• untitled (1)
  
  
• untitled (2)

kye press release...

dan melchior excerpts (& half-speeds) lp (kye 16)dan melchior is known by many as a long-standing footsoldier of garage rock. throughout his 15 years of service dan has gained a reputation as being one of the few in his field willing to test the flexibility of an otherwise stagnant genre. last year's brilliant assemblage blues lp (siltbreeze) showed dan scratching at the bars of his cage, restricted by the very domain he dominates. excerpts (& half-speeds) is dan melchior's hammer in the mirror. a courageous act of self-vandalism, reducing his own sonic signature to a series of fractured sketches, riffs, and run-throughs, glued together to create something akin to another green world for the fuck off generation. excerpts (& half-speeds) arrives in a full color high gloss melchior-designed sleeve, with insert, in an edition of 450 copies.

fossils / darksmith “million year spree” long playing record

• fossils - wider knowledge of man i-iii
  
• fossils - snared on broadway
  
  
• darksmith - anything that makes a man happy
  
• darksmith - operating chair & voice / out with the evening trash

call back the giants “the rising” long playing record

• passage of arms
  
• lay in line
  
• the rising
  
• the lizard
  
• stranger worlds
  
  
• jungle hilton
  
• whirl wing
  
• the pharroh man
  
• just rises
  
• passage of arms

helm “cryptography” long playing record

• cryptography i
  
• cryptography ii
  
  
• cryptography iii
  
• cryptography iv
  
• cryptography v

kye press release...

helm cryptography lp (kye 11) 2011 helm is the ambiguous solo moniker of london-based sound architect luke younger. although, perhaps best known as one half of the pioneering avant-drone outfit birds of delay, it is in the more esoteric work of helm that luke's art takes on its most radical shape. 2010's debut lp to an end confirmed that in an age of fleeting trends and fly-by-night fancies, there were still a few old souls prepared to knuckle down and deliver the goods that people want to receive.  cryptography carries forward that noble mindset, presenting a new five-part suite of expertly rendered electro-acoustic study. using processed piano, casio mt-40, cymbal and guitar strings cryptography steers the helm sound through a melange of fringe territories: glacial drone meditations, reconfigured gamelan clusters, and howling walls of organized feedback, all coalesced in classic uk post-industrial fashion. indeed, had it been conceived of 30 years prior, it would be easy to imagine cryptography winning a seat in the united dairies, or dom america catalog, such is its commitment to homemade exploratory zeal. cryptography was recorded at highams park, london 2009, with additional recording at no recording studios, london. co-mixed, edited and mastered by john hannon at no recording, 2010. cryptography arrives in a full color sleeve, with insert, in a hand-numbered edition of 400 copies.

elklink “the rise of elklink” long playing record

• tension tec
  
• pam, linda & minor members
  
• the spoons
  
  
• utension tex
  
• paul, ron & minor members
  
• the spoons
  
• you

kye press release...

elklink 'the rise of elklink' lp (kye 09) 2011 the rise of elklink originally appeared as a cassette on the storied polyamory label in 1999. behind the ambiguous moniker lurked core shadow ring member graham lambkin, aided by adris hoyos with a cameo from fellow shadow ring bandmate tim goss. although the rise of elklink was produced in tandum with the shadow ring's lindus lp, the two projects were different in intent. song form and narration are replaced by walls of quiet, crumbling vocal concrete, meaningless stoned monologues and adjacent audio seepage, captured to 4-track in the backroom of a small cuban crèche in miami fl. this lp reissue restores all six tracks from the original cassette, and adds the elklink contribution to the colour in absence sound cd comp from the same year. lovingly remastered by jason lescalleet at glistening labs, the rise of elklink arrives in a sleeve design based on the original j-card with a deluxe insert reproducing brad sonder's classic period review, in a hand-numbered edition of 500 copies.

moniek darge “crete soundies” compact disc

• magnesia (20:03) 2006
  
• anemos (19:58) 2007
  
• east crete (20:00) 2008-2009

kye press release...

kye is pleased to announce the release of crete soundies, the major new work by moniek darge, and the follow-up to last years soundies (1980-2001) cd. crete soundies presents three new pieces - magnesia (2006), anemos (2007) and east crete (2008-2009). these works were born from two years of levka ori sound research, and an additional year in east crete in collaboration with fellow sound artist francoise vanhecke. moniek darge was born in bruges, 1952 and studied music theory and violin at the music conservatory of bruges, painting at the ghent royal academy of fine arts; art history, philosophy and anthropology at the university of ghent, belgium. she is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. since 1970 she has performed around the world and has been active on stage, first with the logos ensemble, then with logos duo (together with godfired-willem raes), and more recently with the m&m robot ensemble. she also founded logos women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. she's often invited by international artists to collaboration. in 1986 the third program of the national belgian radio broadcasted a series of programs about her concerts and performances in new york city and about some artists with whom she collaborated there. a similar program was made about her music experiences in kenya and rwanda. and later on also about japan, china, bresil, australia, new zealand etc. she herself also realised radio programs about women artists over the world. in 1997 she received the title of cultural embassador of flanders for the logos duo. moniek darge published several journalistic and literary essays, amongst which "inter media myths, auto-author" (1986), an art edition, combining poetry, drawings, scores and pictures (toronto, art metropole-catalogue no.12) and the book "lijf tegen lijf" (body against body, kritak, leuven, 1982). she's general editor of the 'logos-blad', the monthly magazine of the logos foundation, which appears already during more than 30 years and in which she also tells her international music travel experiences. many international magazines published her articles. besides her many concerts and performances all over the world and besides her activities as organiser, moniek darge is assistant professor at the "hogeschool gent" where she teaches 20th century art history, audio art and non western art studies at the fine arts department and an introductionary course in ethnomusicology at the music department. crete soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the flemish government.

moniek darge “soundies • selected work 1980-2001” compact disc

• sand (22:34) 1980
  
• stormfugle (7:19) 1981
  
• fairy tale (6:46) 1983
  
• harpje (0:32) 1995
  
• caete (6:11) 1997
  
• verbondenheid (11:48) 1999
  
• turning wheel (8:53) 2001

kye press release...

moniek darge soundies (selected work 1980-2001) (kye 05) moniek darge has been active as a composer, violinist, performer and audio artist since the early 70s. she is most widely recognized as one half of the pioneering new music group logos duo alongside her partner godfried-willem raes. the logos duo, which operates under the umbrella of the logos foundation, have been celebrated both at home in their native gent, belgium and on the international stage. they have performed their work in countries as diverse as brazil, new zealand, japan and the us. however, moniek's solo work has been harder to locate, the last published collection being sounds of sacred places (igloo records, 1987). soundies is the first in a series of releases from kye that aims to bring moniek's solo material before a wider audience. soundies contains the following work: sand (1980) - for two percussionists with tape (electronics) and one participant from the audience / stormfugle (1981) - for two performers, voice, tape (electronics and voice), slides, film, clarinet and violin / fairy tale (1983) - for vocals, violin and tape (koala sounds and dog-growling) / harpje (1995) - for harp samples and performance / caete (1997) - for soundscapes, live musical objects and duo / verbondenheid (1999) - for voices, turkish turtle and live musicians / turning wheel (2001) - for voice, live violin and soundscape. comes in an attractive 4-panel digipak graced with original art by moniek.