upcoming:
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[iso_14] acre "isolationist" cd
[iso_13] maleficia 7"
[iso_12] basshaters 7"
[iso_11] ata ebtekar 7"
[iso_10] rale lp
[iso_09] brandon nickell "and if you set this mind of mine afire, then on my bloodstream i yet will carry you" cd
available: all prices include shipping for u.s. orders; international orders, please add $12 for first item and $2 for each additional item.
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isounderscore releases are available through the following distributors, stores and mailorder:
for submissions, booking, or if you're interested in contacting one of the artists e/mail: info@isounderscore.com
to subscribe to our infrequent mailout e/mail: info@isounderscore.com with subject line "subscribe"
still single review of ata ebtekar's "ornamental" 2xlp here. excerpt:
"this music is dense and full of the kind of overtures that might skip past the ear, yet filtered through the electroacoustic process capture the difficulty of the title ("ornamental") of the album. is the process merely accentuating the original or is it the structure itself? the academy might have an answer, but for the trained ear this double album is a window into a rich music culture and heritage in tehran. graciously, there are shorter works like "Little Tales 1-4" that dip in and out of piano tones, and these briefer passages help break up the totality of the project. there is certainly something at play on this recording where the listener is asked to absorb tones and stride for an aural trajectory which both accepting and moving beyond tradition. there is a challenge at stake that does not appear to require demanding participation from the listener, but maybe instead a curious repartee asking for approval but ultimately not needing it." (steven j. knezevich)
june 13, 2009: rale will be supporting john krausbauer (tecumseh/trees) on tour at terminal this evening:
aquarius records is calling dimmer's remissions some of the best work from each artist's respective 20+ year careers:
"not to be confused with the dimmer that was born from nz's straightjacket fits, this dimmer brings together two stalwarts of the california experimental community: thomas dimuzio and joseph hammer. the former skirts the boundaries between electro-acoustic technologies and improvisational abstraction, having collaborated with the likes of chris cutler, matmos, wobbly, scott arford, illusion of safety and countless others. mr. hammer is one of the prominent members of the willfully oblique los angeles free music society, having participated in such projects as solid eye, points of friction, and steaming coils. hammer's instrument of choice is the reel-to-reel tape deck, through which he can muster an uncanny palette of sound, noise, and drone. the two have worked together off and on for a good part of the last decade, with a handful of performances throughout california and a couple of releases - remissions being their second and collecting some of the best moments from those live gigs.
"Sky Wire" builds insectoid buzzes and creepily harmonic drones out of the interplay between hammer's rough-hewn tape manipulation and dimuzio's deftly rendered swells, somewhere between machinefabriek and christoph heemann. "Sun Dog" grafts blackened noise onto an electrocutioner's hum, with hammer's start 'n' stop tapes popping into view like a detached burroughs cut-up. both "gases that emit light" and "giant eagle" continue along these same strategies with eerie clouds of drones that fold and collapse between harmonic resonance and dissonance with unsettled bursts of soft focus noise. this is really exceptional stuff, and certainly some of the best that we've encountered from either artists individually."
eric hardiman from foxy digitalis offers up a well-researched and impressive review of ata ebtekar's "ornamental" 2xlp (excerpt):
"ata ebtekar (who has previously recorded as sote) is an increasingly visible composer with feet firmly planted in the electronic and sound art music worlds. growing up in iran and then germany, he has a unique perspective on iranian/persian music. his most recent widespread exposure was through sub rosa's two-disc set "persian electronic music - yesterday and today". a stunningly effective and well-presented project, it allowed ebtekar the chance to compile historical electronic compositions from alireza mashayekhi on the first disc, and then to showcase his own music on the second. on that second disc, we were presented with a fascinatingly rich and compelling blend of abstract, electronic, musique concrete, and classical persian music. that 2007 compilation remains highly relevant today, and still deserves a wider audience. it also set the stage for this release, a gorgeous double vinyl set from the bay area isounderscore label. taking his own interest in persian music and electroacoustic techniques, it seemlessly integrates ebtekar's work with that of mashayekhi. their collaboration for over three years in tehran has resulted in a partnership that paves the way for what musical and artistic collaboration might be in the future. it's so successful that determining where ebtekar and mashayekhi have contributed becomes a pointless quest. instead, one should focus on the phenomenal sounds that emerge from these two platters. ebtekar has taken the compositions of mashayekhi, using both studio and live recordings, and used them as primary sound sources for his own electronic modifications. what results is a mysterious and unique blend of musical traditions, styles, and aesthetics that goes far beyond the simple cut and paste or layering techniques of most collaborative efforts. ebtekar is able to channel the very essence of mashayekhi by using the core dna of his musical ideas to inform his own creations. the listener is reminded of both classical and electronic music traditions, but before being pulled too far in either direction, is able to absorb the new music as something wholly other. harmonic and melodic elements, microtonal passages, silence, and digital noise all offer signposts, but this is essentially new aural territory greater than the sum of its parts. ebtekar also deftly straddles the line between digital and analog, with cellos and violins allowed equal spaces with synthetic tone clusters and mini-bursts of noise that would certainly appeal to xenakis listeners. on repeated listens, the music reveals itself to be full of life and suggestive of multiple strands of the cultural and social history of iran."
also an interview with jacob felix heule from basshaters in foxy digitalis here.
also, acre will be releasing a new full-length cd later this year called "isolationist". more details will follow.
may 28, 2009:
may 21, 2009: out now: dimmer "remissions" 2xlp. ordering & distribution information at the top of this page.
dimmer's "remissions" is the second full-length album from longtime sonic architects of interactive feedback circuits, thomas dimuzio and joseph hammer. this 2xlp effectively represents four side-long pieces from their live shows throughout california taken place between 2006 and 2007. essentially a follow-up to their 2007 album on los angeles' melon expander, "remissions" expands upon the immense recursive tape looping and resampling that is found inherent in their work but achieves a weight and time displacement that greatly overshadows their dark preceding full-lengh. all four pieces were recorded at: norcal noisefest in sacramento (2006, "sky wire"), the luggage store gallery in san francisco (2006, "sun dog"), the smell in los angeles (2006, "gases that emit light"), and artsf's noise pancakes series (2007, "giant eagle"). live sampling, processing, feedback, looping by thomas dimuzio. tape manipulation and processing by joseph hammer. design and layout by thomas dimuzio, joseph hammer and brandon nickell. limited to 500 copies on full-color sleeves with cover photography by john dalton.
basshaters are going on a late spring tour with peninsula project (oslo, norway).
2009 may 23, oakland,ca @ composers decomposed w/ peninsula project, deflag haemorrhage/haien kontra, pigs in the ground, r. jencks
2009 may 26, san diego,ca @ soda bar w/ peninsula project, & swanwelder
2009 may 27, los angeles,ca @ echo curio w/ peninsula project, compression of the chest cavity miracle, & north america
2009 may 28, tempe,az @ bike saviours w/ peninsula project, pigeon religion, higher love, & no-one
2009 may 29, tucson,az @ solar culture w/ peninsula project
2009 may 30, albuquerque,nm @ 1kind studio w/ peninsula project, alan george ledergerber, & dirty//birdies
2009 may 31, santa fe,nm
2009 june 1, denver,co @ rhinoceropolis w/ peninsula project, & carnivores
2009 june 2, salt lake city,ut @ baxters cafe w/ peninsula project
2009 june 3, boise,id
2009 june 4, eugene,or @ epic space w/ peninsula project
2009 june 5, portland,or @ the wail w/ peninsula project, & aures
2009 june 6, seattle,wa @ the josephine w/ peninsula project, & aures
2009 june 7, ashland,or @ tba w/ peninsula project
they'll also be embarking on a fall european tour, for booking contact jfheule [at] gmail [dot] com.
a late basshaters 2008 performance @ terminal on youtube here.
a more recent performance @ the pharoh's den here.
the maleficia lp gets a write-up in the may issue of paris transatlantic here. review:
"recorded in late 2007 in oakland california, this debut lp by vocalist / violist ilysea viles sunderman and electronician andy way, aka maleficia, consists of two spacious sidelong -- but not too long, 16 and 17 minutes respectively -- tracks entitled "making" and "remaking". very impressive they are too, with Sunderman's eerie heavily-reverbed vocals floating above way's distant cataclysm like an abandoned weather balloon drifting over the ruins of hiroshima on august 7th 1945. greg wilkinson's recording, beautifully mastered by thomas dimuzio at the end of last year, is spacious and subtle, highlighting the precarious balance between the fragility of the human voice and the dangerous forces lurking in the background that could, one senses, engulf it at any moment (but which, thankfully, never do). unfortunately, i suspect this will get tagged as "dark ambient" and end up buried in the racks along with hundreds of other post new weird psych drone doom outings; a shame, because while i'll go along with "dark" to a point, "ambient" it is not -- siren-like, sunderman and way know how to lure even casual listeners on to their particular island, and keep them there once they've arrived." (dan warburton)
april 4, 2009: the dimmer remissions 2xlp has been approved for pressing, we expect to have this available at the end of the month or early may.
the fine folks at textura.org offer up an impressive review of the ebtekar 2xlp here as well as the maleficia lp here.
rfk from the one true dead angel on the aemae & arastoo "ostrakon" record: here.
march 17, 2009: a review on ata ebtekar & the iranian orcehstra for new music performing works of alireza mashayekhi "ornamental" is in the april 2009 issue of the wire (with sunn O))) on the cover). also a great feature on one of our favorite artists, sudden infant:
(note: correction this is _not_ a remix record) "following 2007's sub rosa release persian electronic music: yesterday and today 1966-2006, ornamental presents ten more electronic reworkings by iranian-american sound artist ata ebtekar, aka sote, of original instrumental compositions by alireza mashayekhi, 32 years his senior, performed by mashayekhi's iranian orchestra for new music. it's a remix project in line with mashayekhi's meta-x, a hymnen-like embrace of cultural and stylistic multiplicity -- backed up on his website by a critique of philosophers including plato, hegel and adorno -- and perfectly natural for a composer steeped in iranian classical music who also studied with one of the high priests of darmstadt modernism, gottfried michael koenig. the glistening synthesis of the title track and xenakis-like swoops of pearly gates are certainly impressive, but it's the shorter little tales pieces that we catch the clearest glimpse of mashayekhi himself. one wonders, though, whether his music, with its deft mix of microtonality and rich harmony (the late works of claude vivier would be the closest western equivalent), carefully scored to showcase the subtle colours of traditional persian instruments like the tar, setar, ney, kamancheh, ghanoon, tombak and daf, wouldnt shine more brightly if it weren't half-buried under ebtekar's layers of electronic moss. the digital tarring and feathering is particularly galling with sanam gharacheh's cello in meta xy, the double album's most substantial offering. it's as if ebtekar had set out to literally create mashayekhi's 'fuzzy border that separates truth from untruth.' the fact that the dates of the original acoustic compositions are nowhere to be found on the disc -- for the record, they were written between 1993 and 2006 -- is probably significant." (dan warburton, april 2009 [soundcheck p.53 - the wire])
3.11, portland @ backspace w/ thicket, & acre
3.12, olympia @ le voyeur w/ hobby hobby, & number bear
3.13, astoria @ astoria visual arts center w/ paul hoskin
3.14, vancouver @ vinegar factory
3.16, seattle @ monstersorri house
3.17, portland @ sorority house w/ why i must be careful
3.19, hollywood @ resbox (steve allen theater) w/ soriah, dept. of real estate, & vj fader
3.20, los angeles @ the wulf w/ compression of the chest cavity miracle
3.21, riverside @ hms studios/the pharoah's den
thomas dimuzio (dimmer) is doing a quick run of dates as ice cream time in europe.
this group consists of thomas dimuzio, nick didkovsky and the arte saxophone quartett
3.05, munster,germany @ cuba 8pm
3.07, forli,italy @ area sismica 10:30pm
3.08, lugano, switzerland @ conservatori della wvizzera italiano, oggi musica
"this is not maleficia's first release -- that would be an untitled cd-r on breaking wheel that came out in 2006 and was limited to 120 copies -- but it's probably the first release of theirs that anybody outside of oakland, ca will hear, even though it's not a significantly bigger press run (400 copies). maleficia is actually the collaboration between ilysea viles sunderman (viola and vocals) and andy way (electronics), and the heavy-duty vinyl release consists of two side-long tracks, "making" and "remaking." the first track opens with reverb clanking that is gradually overtaken by droning viola, processed in such a fashion that it sounds more like wind gusting through desolate canyons. as the viola continues to drone, with trembling lines that rise and fall, the clanking electronic noise in the background becomes thicker and more elaborate, until it resembles the sound of machinery at work in the distance. the tonal color of the drones changes in gradual fashion as the noise of the background begins to creep into the foreground, challenging the drones for supremacy in the mix. the depth and texture of the noise changes as well over the duration of the piece, slowly and inexorably, until the balance has shifted from being drone-heavy to noise-heavy. the track eventually ends as it began, with nothing but the clanking noises drenched in reverb. the track on the flip side of the album is similar in intent but marginally different in execution, dwelling more on the droning viola and less on the cracked electronics. a few minutes into the track, the rumbling of the electronics becomes more prominent, sweeping through the drone and adding texture to the ethereal sound. the album's cumulative aesthetic is a mysterious and powerful one, featuring a nuanced balance between drone and noise, with more depth and emotional intensity than one might expect for something so firmly minimalist. dark and beautiful without being overly heavy or morose, the album is ultimately a monument to the mystery of ambient drone and processed sound."
rfk's take on the ebtekar/mashayekhi/iranian orcehstra for new music 2xlp:
"ebtekar's name may not be familiar, but chances are you have heard him (or heard of him, anyway) on recordings under the name sote. born in germany to iranian parents and a long-time resident of the bay area in california, ebtekar recently spent three years in iran working with composer alireza mashayekhi. this double-album is the culmination of that working arrangement, recorded in iran with mashayekhi's iranian orchestra for new music in tehran, featuring fifty minutes worth of collaborative sound in ten compositions. the sounds presented here are a startling, at times even otherworldly, juxtaposition of traditional eastern music and western avant-garde sound. the original tracks were recorded by an iranian orchestra led by mashayekhi and then rearranged, altered, and processed by ebtekar, taking the (presumably) traditional pieces into new and futuristic directions. passages of silence and heavily modified experiments in sound are the major motifs that occur again and again throughout the pieces, along with an affinity for gritty and textured noise as counterpoint elements within the compositions. the overall effect is a re-imaging of traditional eastern sound, an updating of ancient structures and melodies for a new, postmodern world ruled by noise, distortion, and electronic sound processing. the meticulous nature of the recordings and post-studio diddling is reflected in the ambitious packaging; the fifty minutes of music here have been tracked across four sides of heavy, premium-grade vinyl for maximum fidelity, then mastered with admirable clarity by thomas dimuzio. the cover art and design are excellent as well. limited to 500 copies, this should be of intense interest to those already hep to sote's previous work and those interested in the inherent possibilities of a creative collision between the worlds of postmodern electronic and classical music of the eastern world."
aquarius records on ata ebtekar & the iranian orcehstra for new music performing works of alireza mashayekhi "ornamental":
"we first heard from ata ebtekar under his pseudonym sote, with a flurry of releases for warp, then dielectric, and a sound that definitely hit the spot, a deft amalgamation of fractured jungle, old school rave music, downtempo beatscapes, and shimmery dronemusic. more recently he helped compile a double disc compilation called persian electronic music: yesterday and today (1966-2006), still to be reviewed, which collected the work of legendary iranian new music composer alireza mashayekhi on one disc, and ebtekar's more modern compositions on the other, drawing a sort of sonic timeline between persian new music past and present, which leads directly to this double lp. a long in the works 'collaboration' between ebtekar and mashayekhi. for these extended sonic explorations, ebtekar took pieces composed by mashayekhi, and performed by the iranian orchestra for new music, and then applied various techniques to the sounds, taking live recordings, studio tracks, and then processing them, rearranging them, adding effects and samples, synthesizers, adding original sounds, harmonies and melodies, for a unique sort of modern classical persian musique concrete. the original sounds are definitely present, this is most certainly not a case of the sample being rendered unrecognizable, those original sounds are as important to these pieces as anything ebtekar had to add. flurries of piano, moaning cellos, pizzicato plucks, soaring strings, subtle percussion, all surface here and there, and often, they are wreathed in fuzzy drones, or chopped into strangely percussive loops, or jumbled up into something much more chaotic, but just as often, ebtekar's machinations are much more subtle, playing along as if he were not a remixer per se, but another player in the orchestra, only armed with a computer and effects instead of a flute or violin. the sounds are varied and wondrous, from fantastical flurries of wild freaked out electronic flecked free form soft noise, to delicate tinklings and hushed moonlit drift, spacey metallic shimmers to haunting alien music box like lullabyes, eastern sounding folk fragments drifting in soft swirls of rumble and hiss, long stretches of barely there melody and wispy streaks of distant rumble. really quite mysterious and beautiful, whether you're into modern classical, electronic music, abstract dronemusic, or all of the above. especially all of the above. beautiful screened sleeves, with a printed insert, detailing the project, as well as the various performers and composers."
aquarius records also provides an excellently written review on maleficia's debut lp:
"maleficia is the bay area duo of andy way (n.f. orchest, french radio, carrion, etc.) and ilysea viles sunderman, who crafted this desolate, post-industrial smear of voice, violin, and electronics for the always impressive isounderscore label. with the titles of the two side long pieces being "making" and "remaking," maleficia offers a crucible of elemental sounds being obliterated into a charred dust and rebuilt into ashen constructions of misery and disgust. sunderman's voice is sparsely employed emitting mournful wails that are not unlike those of christina carter, but detached from a freak-folk context and applied to this blackened, post-apocalyptic miasma. the industrialized loops that way wraps around the voice and violin come across like a slow-motion maurizio bianchi on par with the downer records he did with land use or the grim power electronic phase in the early '80s. nocturnal clatter and plumes of black smoke shroud the murkier, noisier side on "making," while funereal strings ground the nightmarish "remaking." certainly for fans of amber asylum, early lustmord, and the dark ambient aspects of broken flag."
the always excellent mimaroglu music sales had this to offer up about the isounderscore releases:
ata ebtekar & the iranian orcehstra for new music performing works of alireza mashayekhi "ornamental":
"january 2009 release; striking double-lp set, covering a collaboration between venerable iranian electro-acoustic composer alireza mashayekhi & his iranian orchestra for new music and younger computer musician ata "sote" ebtekar (the two were previously paired-up on sub rosa's excellent "persian electronic music: yesterday and today 1966-2006" set)...and by striking, i'm referring both to ata's transformations of the acoustic sound-materials, and the cover's intense aperiodic geometric tessellations. echoing much of the "live electronic" work that dots the 60s / 70s compositional landscape, the raw acoustic timbres of mashayekhi's writing are rarely heard herein; ebtekar's unfettered electronic processes (including much use of classic modes such as ring modulation, along with contemporary granular & spectral reductions) render the sparse writing a constantly mutating stew of gained squawks and fizzing, gauzy drones...it's rare to hear such a project come from anything other than the academic label-system these days; even rarer that we're treated to such a deluxe double-lp edition ... highly recommended!!!"
mimaroglu on maleficia's debut lp:
"january 2009 release; trance-inducing pair of vocal / viola / electronic threnodies from ilysea viles sunderman and andy way..."
some words on aemae "maw":
"january 2007 release; second album from bay-area composer brandon nickell...right off the bat, this one hits much harder than "the helical word," embracing the sort(s) of fully-rectified wave-shapes mapped out by florian hecker (then, again, by john wiese)..."
some words on the rest of the isounderscore catalogue can be found here: mimaroglu music sales
january 17, 2009:
maleficia soundcheck @ the compound 10/25/08. andy way (left) and sound engineer jacob felix heule (right).
january 12, 2009: [iso_07] ata ebtekar & the iranian orchestra for new music performing works
of alireza mashayekhi "ornamental" 2xlp:
[iso_06] maleficia s/t lp:
january 09, 2009: kicking off 2009, the maleficia and ata ebtekar records are now finally available.
october 24, 2008: tomorrow 10/25 @ the compound in san francisco, 9pm $8:
dimmer (thomas dimzuio + joseph hammer)
ata ebtekar (sote)
aemae
maleficia
directions to the compound:
1. take the us-101 freeway south to cesar chavez east turnoff
2. go down cesar chavez heading east to third street
3. turn right at third street heading south for two miles
4. notice that street names go in alphabetical order
5. turn left on thomas heading east 8 blocks to dead end
6. turn right onto griffith dirt road
7. someone will be there to direct you through the gate
8. turn left at van dyke and park your car.
9. go into warehouse courtyard to far right door.
10. the compound @ 1070 van dyke
also dimmer and aemae kfjc live mic session at noon on saturday 10/25. live internet streaming available.
september 17, 2008: upcoming shows on the horizon:
detailed directions with more show information will be posted as the date nears.
maleficia will be opening along with tecumseh (oregon) for nadja @ the stork club in oakland ca; monday 10/6 @ 9pm $8.
address is 2330 telegraph avenue, oakland ca.
also of note, andy way of maleficia will be collaborating with joshua churchill, amy friebertshauser, and hana lee as riqis.
this will also take place at the stork club in oakland on sunday 9/28 @ 9pm $7.
last but not least, thomas dimuzio (dimmer) will be playing with white pee, noel von harmonson, and big baby tiger tears.
show will be at the argus lounge in san francisco, 3187 mission st @ valencia; saturday 9/20 9pm $8.
september 03, 2008: tom duff (the inventor of duff's device) has announced the lineup for the ninth annual semf for 2008:
ata ebtekar will be performing friday, september 5, 2008 @ 8pm -- doors @ 7pm, tickets $12-17.
rest of the festival lineup :
wed sep 3rd, 8pm: {sharkiface, sf sound group, phil niblock}
thu sep 4th, 8pm: {ray sweeten, edmund campion (w\ thomas buckner), tujiko noriko}
fri sep 5th, 8pm: {myrmyr, ata ebtekar (sote), richard teitelbaum}
sat sep 6th, 8pm: {agnes szelag, rutro & the logs, monique buzzarte}
sun sep 7th, 8pm: {barpieces, hans fjellestad, pauline oliveros & carl stone}
address:
project artaud theatre
450 florida street
san francisco ca 94110
doors open 7pm wed-sat, 6pm on sunday.
august 06, 2008: a few things:
as noted, the arastoo & aemae "ostrakon" lp is now available. copies are immediately available through aquarius records; 320 copies and not long for this world.
last but not least, dimmer will release a 2xlp in early 2009.
dimmer is the duo of longtime architects of interactive feedback circuits, joseph hammer and thomas dimuzio.
this double long player will effectively follow up to their excellent debut disc, "the shining path" recently released on the melon expander label.
july 29, 2008: out now: [iso_05] arastoo & aemae "ostrakon" lp. limited to 320 copies.
june 15, 2008: ata ebtekar will be performing at the holland festival in amsterdam at the
paradiso tomorrow 6/16 @ 10pm
address: weteringschans 6-8, amsterdam, 1017 SG.
other active participants include matmos performing a tribute to stockhausen, club moral and many others.
isounderscore will release ata ebtekar & the iranian orchestra for new music performing works of alireza mashayekhi "ornamental".
this ambitious collaboration will be released later this summer as a double lp. 500 copies.
finally, the arastoo & aemae collaboration "ostrakon" and maleficia's debut lp are imminent. full catalog information and tracklisting:
"persian electronic music: yesterday and today 1966-2006" is an incredible work from two excellent and singular artists.
the artwork and visual elements for the album is provided by arastoo darakhshan (pictured above).
keith fullerton whitman has given his highest recommendation for this work over at mimaroglu music.
maleficia are currently in the final production/mixing stages of their debut studio full-length lp.
andy way is also a prolific live collaborator; watch clips of him performing in french radio, with bruce anderson, and solo.
the arastoo & aemae collaboration lp is also wrapping up with final production/mixing.
july 25, 2007: both maleficia and arastoo/aemae records are well underway.
maleficia will be performing on monday, august 13th, 2007 with axolotl, tom carter, fursaxa, and family underground.
show will start at 8pm @ 21 grand in oakland; sliding scale.
may 22, 2007: maleficia will release a forthcoming lp on isounderscore.
maleficia is the oakland, california duo of vocalist ilysea simpson and andy way (nf orchest, french radio).
april 10, 2007: aemae performs live on kdvs 90.3fm in davis, california april 11th @ midnight. live mp3/ogg broadcast streams are here.
february 7, 2007; aemae & thomas dimuzio live collaboration available for download: aemaedimuzio20070131g3sf.mp3 (28.7 MB).
foxy digitalis reviews "maw" and the reviewer gets confused by the sound of their own car while listening to "confound me"...read here.
we've entered the murky world of mailing lists, to subscribe see the top of page under our small and modest list of distributors.
these updates will likely average 2-3 a year as a summary to incremental changes to the site and label news.
also we'd like to point out that the arastoo "three" lp is still available and limited to only 333 copies.
contact one of the distributors at the top of the page about ordering. mp3 samples from the lp are posted at the top of the page.
as a reminder the thomas dimuzio & aemae show will take place at g3 (3910 geary blvd.) in san francisco on january 31 @ 9:30pm.
this newly curated exp.folx series will feature solo sets from each artist and also a live collaboration.
july 31, 2006; adam strohm (of ordnung records) has written a review for "the helical word" and has been posted on fakejazz.
the arastoo "three" record is reviewed in the august 2006 issue of the wire this month (with smegma on the cover).
on the horizon...
aemae will be performing on october 8th, 2006 with jazkamer, carlos giffoni, and gerritt.
the show is at 426 jefferson street in oakland california. show starts at 9pm.
also, we'll have some news about upcoming releases announced very soon.
june 23, 2006; big thanks to kfjc, kdvs, and kwva (tone killers) for their early adoption of the arastoo "three" lp.
may 9, 2006; arastoo's full length lp "three" will be available on may 16th, 2006. thanks for waiting...
