Tresor: True Stories is the first printed excavation of Tresor’s legendary history.
Digging deeply into its rich archives, the venerable institution has unearthed countless treasures from its over three-decade old history. Over 400 never before seen photographs, flyers, faxes and other illustrate a story that intersects with the most important social and musical trend in the modern history of Berlin.
The story is told with the voices of those that were there – over 40 protagonists share their first-hand reminiscences of the ‘big bang’ that launched techno into the world. Through the story of Tresor, the book charts the heady days of 80s West Berlin through to the explosion of new energy that midwifed in the new social reality of reunified Germany. This is a unique and essential printed monument to the institution that changed electronic music forever, and the city that allowed it to exist.
Double LP compilation featuring Italian dancefloor music from the end of the Afro/Cosmic scene to the beginning of the Italian Rave era, between 1987 and 1994.
Stunning bit of research by Andrea Dallera (Dualismo Sound) and Gabriele Casiraghi who’ve been meticulously digging Italian bins. After endless sifting through this crucial time in Italian dance floor music, we are presented with their final distillation of this transitory period between 80’s afro cosmic and Italo’s peak into early 90’s rave and Italo house era. In their words: “The whole concept was born as we started to find records that were into a kind of hybrid zone that was clearly pre-announcing some of the huge musical changes brought by the 90’s. The sound at play can be understood as looking closely to Belgian New Beat, Uk’s Acid House and German early Techno but still connected with some dynamics of the ‘80s sounds: lashing snares and catchy melodic phrases joined by filthy acid bass lines, highly compressed kicks and ‘World music’ samples are just some of the most recurring elements.” Hands down mandatory for any dance floor oriented record collection.
Discrepant: inconsistent; conflicting; at variance [from Latin discrepāns, from discrepāre to differ in sound, from dis-1 + crepāre to be noisy]
Discrepant is a record label, founded in London in 2011. Our aim is to deconstruct, distort and re-assemble the lore of (un)popular music around the world.
*Perdu LP by Piezo After releases on Idle Hands, Version, Wisdom Teeth and his own Ansia label, Piezo lands on Hundebiss Records for his first full length. Perdu is all about stark contrasts: raw & dirty sub–frequency pulsating beats VS crystal–clear digital sounds and atmospheres. Piezo’s non-synthetic approach to sound design conveys a sense of ‘realness’ of the displacement, a dust blow cut by razor blade FM synths, pervaded by a sense of restless hypnosis.
*Kamil Manqus كَامِل مَنْقوص by Muqata’a ‘Kamil Manqus’ means “whole imperfect” or “perfect imperfect” in Arabic, referencing Muqata’a’s way of working that incorporates mistakes into the fabric of his work. The concept for the album’s construction is Simya’, an ancient Arabic science of combining numbers and alphabets to communicate with the unseen.
INFO is pleased to announce Voices Fill My Head, Kristin Oppenheim’s second double LP release on the label documenting her early sound works from the 1990s. Recorded between 1993 and 1999 in her Brooklyn studio, Voices Fill My Head features eight pieces composed solely of the artist’s voice. For listeners who were fond of Night Run, Oppenheim’s first release on the label, this record reveals yet another important chapter in Oppenheim’s oeuvre.
Since the early 1990s, Oppenheim has produced vocal compositions for gallery and museum settings, making compositions not as music, but as repetitious sound installations designed to drift back and forth across wide stereo fields. Oppenheim’s installations saturate space, touching on fragmented memories that blur the lines between reality and abstraction.
Kristin Oppenheim is an American artist who lives and works in Brooklyn, New York. She is best known for installation art based in writing, performance, film, and sound. She is represented by greengrassi in London and 303 Gallery in New York.
Since the early 1990s, Oppenheim’s work has been exhibited internationally. Her work has been featured in numerous group exhibitions including the 45th and 46th Venice Biennale, the Whitney Museum of American Art, and the Centre Georges Pompidou in Paris. Among others, She has had solo exhibitions at MAMCO Musée d’Art Modern et Contemporain, Geneva; at Secession, Vienna; KIASMA, Museum of Contemporary Art, Helsinki; at FRAC Pays de la Loire, Carquefou; at the San Francisco Museum of Modern Art; the Oboro, Montréal; the Jewish Museum, New York; and at the Villa Arson, Nice.
Her work has also been seen in exhibitions including “X”, at FRAC Des Pays de la Loire, Carquefou (2021); “Sound Museum” at D MUSEUM, Seoul (2020); “H(a)unting images. Anatomy of a shot” at Fundación la Caixa, Barcelona (2017); “Never Ending Stories” at MAMCO Musée d’Art Modern et Contemporain, Geneva (2014); “The International Biennial of Contemporary Art of Cartagena de Indias”, (2014); “Where Did You Sleep Last Night”, ‘Nuit Blanche’, in Paris (2013); “NYC 1993: Experimental, Jet, Set Trash and No Star” at New Museum, New York (2013); “Women Artists from the Centre Pompidou” at Seattle Art Museum, (2012); “Volume” at MACBA Museu d’Art Contemporani de Barcelona (2011); “Silence. Listen to the Show” at Sandretto Foundation, Turin (2007); “Don’t Call it Performance” at Museo Nacional Centro de Arte Reina Sofia, Madrid (2003); “Voices” at Witte de With, Rotterdam (1998); “Young and Restless” at Museum of Modern Art, New York (1997); “29’ – 0 / East” at New York Kunstahalle (1996); “Threshold” at Fundacao de Serralves, Porto (1995); “Murs du son” at Villa Arson, Nice (1995); and “Encounters with Diversity” at PS1 MOMA, New York (1992).
Kristin Oppenheim’s work is included in public collections of the Art Foundation Mallorca Collection, CCA-Andratx in Mallorca; the Centre Georges Pompidou, Paris; the FNAC Centre National des Arts Plastiques, Paris; the FRAC Des Pays de la Loire, Carquefou; MACBA Museu d’Art Contemporani de Barcelona; MAMCO Museum d’art Moderne et Contemporain, Geneva; the Museum of Modern Art, New York; San Francisco Museum of Modern Art; and the Whitney Museum of American Art, in New York.
INFO is a label and interdisciplinary platform highlighting unique applications of sound in the field of contemporary art.
High gloss jackets with resin stickers on the front. Each copy comes with two double-sided paper inserts featuring drawings by Alex Bienstock & Johanna Owen.
Limited to 30 copies.
Alex Bienstock aka ‘Doctor-of-fine-artz’ aka ‘Dummy-data-in-the-omni-cringe’ is a ‘Post-Artist’ Get with the program & read the manifesto ‘We, the post-artists’ if you want to understand.. or in this case overstand – www.alexbienstock.com/files/we-the-post-artists.pdf – An answer to your disenchantments in creative pursuits? Remember that your day job is art. Here’s something to unravel – As a post artist – forget about ‘pedigree, money, laborious ambition, or skill – the only things that matter are ideas, attitude, seduction, compulsive will and unfettered energy’
‘I would say that I work from a mentally amoral place, people can think of it what they want. Sometimes it’s just a feeling and I just need to make something so I can look at it. I try not to judge what I am doing. I want to embarrass myself more, and entertain myself. Occasionally I think I am doing something smart, but to me nothing is smart. Sometimes what I’m saying is like a thank you and a middle finger at the same time. Sometimes I am confusing a message’ – Alex Bienstock
These two cuts emerge as dense atmospheric dirges. A syndicate of sound & stream-of-consciousness spoken word deliveries caught in the flow-state, probing and riding the sensor ’Poetic logic in chaos’ A seepage of information, jumbled buzz words, thoughts & statements, humor & doom. Processings from the overload, floating in the concentrated sonic space of elucidated pathos. A vivid monologue in fleet, where nothing lands on concrete. It doesn’t matter what it ‘means’, as long as we can get between things.
After a call for collaboration at the tail end of 2020, these vocals were screen captured by YS from one of Bienstock’s now Zucc’d instagram profiles. This release is a diverging path from his project ESCBAS, in which Bienstock forms many groups with different concepts and people. “This is done even if collaborators used shared material differently for their own purposes, or sees the project as something completely different. The philosophical purpose of doing this is to create and support an anarchic anything-goes mentality. The result is an etheric and intimate collective, with works remaining highly personal and singular. Works that are post-genre at it’s core and meta-schizophrenic in it’s post-ironic awareness” These recordings eventually became – ‘Free’ & ‘Apples’ – Available digitally and on a limited edition run of 7inch Records. A sound of the times – Bless
Published in 2007 as a catalogue for the solo exhibition of the same name by Ina Wudtke at Studio Voltaire London, edited by Dieter Lesage. 4-colour print with 56 illustrations. Limited, signed editions available. Supported by the Berlin Senate Scholarship to London.
Sarah Parsons condenses video stills and fragments from the songs’ lyrics into a 208-page booklet. A visual exploration in search of this material’s manifold nuances & defining essence.
Klara Ravat’s room scent questions how we perceive the space around us. To be applied while listening to the music, the scent triggers different sensations as ‘Tales of Another Felt Sense of Self’ evolves, finally leaving an afterglow when the work ends & ambient noise reclaims the room.
Booklet designed by Sarah Parsons, Room Scent developed by Klara Ravat.
Includes unlimited streaming of Tales Of Another Felt Sense Of Self via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
In a city where advertising plays the leading role, how long can a style resonate? Dentsu2060 is an intricate work, a true to life representation of the city in its drifting vanity. By weaving seamlessly field recordings and melodic light points, Tasho composes an unexpected reflection to the upcoming 2020 Tokyo Olympic ceremony or the illuminated soundtrack of a trendy drama. His 9 compositions channel the voice of his city, offering a new, spectacular world view – overexposed under the artificial lights.
