Windy & Carl - Songs For The Broken Hearted [2008]

songs for the broken hearted

Cover Imagethis is an album about love. everyone has known love, and everyone has known loss. love is not just about warm fuzzy feelings, although that would be the part people say they like the best. and in any span of time, love changes and means different things to different people.

i never thought this would be an album. we started these recordings the same weekend i started I Hate People. it was a dark time, and when the tapes were taken off the reels i really thought that was the end of them. they were just going to sit and rot away somewhere.

but between christmas and new year of 2007, carl pulled them out and decided to finish them. he became obsessed with them somehow, i suppose in much the same way i had become obbsessed with finishing my own album earlier in the year. he worked every night for weeks, and as i wandered around the house i heard those songs everytime they played. and some of them made me cry, everytime. they sounded sad to me, because they were started in such a sad time. carl kept talking about wanting to have a new record out for 2008, and i told him only if it was named Songs For The Broken Hearted. he said fine, he just wanted it done.

so in early 2008 he gave me a cdr with what he felt were finished tracks, and asked me to write words for them. i had no ideas, i just kept crying when they were on. it really did not seem important to me to get them done because they only reminded me of things..........and then, one night, i started writing. i wrote words for 4 or 5 songs that night, and started singing the next evening. and we did rough mixes that i listened to for a week or so, and then i pulled out my journals, the gang of them that i had been filling since the fall of 2007, and i picked a few pieces that seemed like they would go with the music. i rerecorded some of the tracks with the new words, and resang some vocals i thought could be better. and the songs went from being all sad to being a reflection of how love works. how we are affected - by ourselves and others. how love makes you swoon and lonliness makes you cry. how when you love someone in this world you love them no matter where they are, and the connections you feel to and with them. love can make you blind, both when things are good and when they are not, and how do you react to being blind? what choices do you make and how do they change the world around you............

source

Songs For The Broken Hearted [2008]

Undercurrent

Pelt - Ayahuasca / Dauphin Elegies [2001/2008]

vhf#62 Pelt Ayahuasca dbl CD

A sprawling follow-up to 1999’s critical and commercially successful release Empty Bell Ringing In The Sky, Ayahuasca represents the most comprehensive survey of Pelt activities to date. Recorded over a period of more than two years at various live and studio sessions, the double CD shows the heavily-bearded trio broadcasting from some lesser-known and newly-discovered corners of the drone-omniverse. Most striking about the record is the inclusion of several traditional tunes, arranged for the group’s eclectic instrumentation. While the band has been performing some acoustic material for several years and let some sneak out on the limited edition For Michael Hannas CDR, Ayahuasca is the first release to fully explore this part of their repertoire. "The Cuckoo" and ‘Deep Sunny South" are traditional Appalachian numbers, played and sung with considerable skill and feeling. The sawing bowed acoustic guitar on "The Cuckoo" and the rolling banjo and Tibetan bowl accompaniment on "Deep Sunny South" draw a direct line between raw/folk music traditions and the deep, visceral drone music that Pelt have specialized in over the past several years. Combining the two styles neatly, "A Raga Called John" features Jack Rose’s very, very fine country-blues/Fahey-influenced fingerstyle guitar over a shifting backdrop of hurdy-gurdy and concertina, before giving way to tanpuras overrun by fretless banjo. Of course, on top of all of this easily comprehensible music there’s plenty of ear-cleansing ecstatic drone, from the two long flotation-inducing trios for bowed electrics and Esraj to the wall-shaking electric hurdy-gurdy mania of "Bear Head Apparition." Truly a record for our times, such as they are. 10 Tracks, 134 Minutes.

Download : (Part1) (Part2)

vhf#112 Pelt Dauphin Elegies CD

First new studio recordings from Pelt in 3 years finds them picking up where 2005’s Untitled CD left off – delivering massive slabs of heavy, all-acoustic drone action. “Waning Crescent” is an ominous workout for three large gongs, rich with overtones and subsonic rumble. “Fire Signs Along the Field” offers a slightly jarring quartet of spare string noise, with Nathan Bowles (Black Twigs, Spiral Joy Band) sitting in on double bass. “Cast Out to Deep Waters” is an immense 30 minute epic that fits into the archetypical classics in the Pelt canon, in the vein of “Empty Bell Ringing in the Sky” and Untitled’s “I.” The all too brief “Crown of Comets” closes the CD with the chiming, overlapping ring of bells recorded in Virginia’s Falls Ridge caves. In card folio.

Download

http://www.vhfrecords.com/

Pelt (1 of 1) at Terrastock 7

Merzbow - Dolphin Sonar [2008]

Author, activist, painter and sound artist Masami Akita had been at the foreground of experimental music for over 25 years. Inspired by psycedelic rock, free jazz, early electronic composition as well the physical arts, especial Kurt Schwitters'
Merzbau, Masami Akita has created a musical language all his own.

Dolphin Sonar is Merzbow's full length protest album against the annual brutal slaughtering of some 2,500 dolphins in Taiji, Wakayama Prefecture Japan. This is an angry album full of beats, blasts and broken glass. Clattering smashes are pursued by by pulsing analog whirls like the heart of a dolphin being chased through the bloodied waters of Taiji. Filtered blasts of pummel and sound slaughter. Another Merzbow classic with the finest cover art money can buy by Jenny Akita. Liner notes from Captain Paul Watson.

Dolpin Sonar shirts are available here

Dolphin Sonar [2008]

Merzbow, ULU London 19.04.08

Cyann & Ben - Spring / Happy Like An Autum Tree / Sweet Beliefs [2003 / 2004 / 2006]

..> CYANN & BEN release their first album for Ever Records on September 11th. SWEET BELIEFS is an epic and yet intimate album that gives the space rock template a Gallic makeover by adding a much needed romantic grandeur. CYANN & BENs Paris is not the one you see in Amelie its dirty, dark and stressful as much as beautiful and SWEET BELIEFS, with its multi-layered and ambitious sweep, sounds as unsettling as it is irresistible. "a slow motion hurricane ripping apart your temporal lobe" Magnet /// "...a rare strain of "epic" music, where bravado does not exceed the composition, but remains at all times within it. Cyann & Ben are masters of this subtlety." Pitchfork /// "Chaude et froide a la fois, [la musique de Cyann et Ben] est sublime parce que fiévreuse, effrayante parce que toujours sur la sellette, lumineuse et sombre, tendue et limpide ... " Les Inrockuptibles /// "...toujours intelligente mais pas hautaine, évidente et unique en même temps. " Rock Sound /// "douce rêverie éveillée, cotonneuse et poignante. " Magic /// "un ailleurs elegiaque et mysterieux" Teknikart ///

myspace

Sweet Beliefs (2006) (part1/part2)

Happy Like An Autum Tree (2004)

Spring (2003)

Cyann & Ben - Sparks of Love

Set Fire To Flames - Telegraphs In Negative / Mouths trapped In Static [2003]

Following the critical success of set fire to flames’ 2001 album, ‘sings reign rebuilder’, the 13-piece Montreal-based collective return with an eagerly anticipated follow-up. Forming a double album, ‘telegraphs in negative / mouths trapped in static’ is a haunted, intense and highly diverse collection of material. Continuously shifting off at tangents, its slow sprawl creeps from heartbreaking guitar melodies to sparse string compositions; concrete flickerings and modified machine-crunch to tranced-out kraut-ish rhythm-pieces; cyclical minimalism to awe-filled drone-spaces; free-flowing improvised skitter and spark to raw location / life recordings. Beautifully played and composed, and far more than merely a follow-up, ‘telegraphs…’ sees set fire to flames pushing beyond the gains made on that previous effort and forging an increasingly autonomous space for the group.

Once again, the album was founded in a situation of self-imposed isolation, with the band operating both individually and communally in states of little or no sleep, in varying levels of intoxication, and in physical confinement. Where the previous album was recorded within the band’s home, a creaking, rickety, semi-collapsing 19th century building (whose atmosphere seeps deeply, palpably throughout the release), the recordings for ‘telegraphs…’ again took place within the confines and strongly influential character of a specifically chosen environment. Having located a huge, cathedral-like barn at an old, abandoned farm in rural Ontario, the band rented and hauled a mammoth twenty-four track machine and a cube truck full of gear out to this desolate site and set up to record. Audible throughout the album are the building’s creaking doors and timber frames, the clanking of chains, birdsong outside, the shuffle of feet and the movement of bodies. The recording process is honestly rooted in the recording location itself – accepting and openly admitting the sounds of life around, rather than eliminating this element and disappearing entirely into the abstract ‘perfection’ of the mixing desk.

This foregrounding of architecture and willingly experimental approach to recording is a wholly integral part of the band’s mode of existence, and leaks heavily back through their music. To some members, settling on the barn as a single location was actually a compromise. Originally they had intended to rent a couple of generators, build a mobile recording studio inside a van, and then drive from Montreal to the Pacific Ocean – along the way looking for interesting pieces of abandoned/isolated architecture (derelict drive-in movie palaces / barns / silos / factories / gas stations / etc.) within which to record – attempting to draw out their ghosts / histories; allowing the different sonic characteristics of each space to dictate what or how they played. This idea of leaving things to chance, of journeying cross country in a cramped van as a magnet for strange occurrences was eventually rejected and discarded as a blueprint for disaster. In compromise, they eventually settled on a single location – the collapsing barn – and in July 2002 spent five days playing, improvising, and recording there. Some additional recordings occurred back at 15 Ontario (the aforementioned house that played host to the recordings on ‘sings…’), before the following month was spent mixing down the twelve hours of sound they’d accrued. Finally, this material was obsessively pored over, hacked apart, reduced and rebuilt via computer in the same isolated shack on Vancouver island in which ‘sings reign rebuilder’ was eventually compiled.

Whilst most of these recordings were born of extended periods of group improvisations, some were the results of calculated compositions, and others the product of roughly drawn charts. Again, the alchemical attempt to reach into different states, to communicate together and zone into some kind of collective magic through intensely-focussed continual playing was sought.

Beyond a previously-stated interest in the duration-experiments of 1960s New York experimentalists like Tony Conrad and La Monte Young, set fire to flames reach back to past ancestors like Harry Partch (the self-built or modified instruments; the autodidactic, wandering spirit), Harry Smith (the importance of documenting/archiving a time and place), the minimalists, Gyorgi Ligeti, and to a present conceptual connection with groups like AMM, Jackie O Motherfucker, or the Boxhead Ensemble. ‘telegraphs…’ utilisies a wide range of instruments – guitars, electric bass, double bass, strings, horns, glockenspiel, marimba, bass clarinet, drums and other percussion, saw, cymbalon, hurdy gurdy, music boxes, audio fishing tapes, modified electronics, and contact microphones.

Whilst the product of an equally intense and gruellingly-focused recording process, the results of ‘telegraphs…’ are undeniably sparser and more tempered than before, allotting far more space and time for the music to work its magic, evolving slowly and revealing itself over time as a beautiful, richly varied and stunningly played series of pieces. There is a deeper studio sorcery at work here, and more tape manipulation / composition this time around. Drifting between a beautifully radiant, elevated drone-shimmer and a totally tactile, dirt-grained grounding in location, the album is perhaps even scarier / more abrasive than its predecessor, and confirms set fire to flames as one of the most adventurous, skilled and ambitiously creative groups of their generation.

Release date: April 08, 2003

Label: Alien8 Recordings

Set Fire to Flames es un grupo de post-rock compuesto por trece musicos de Montreal, Canada.

Los dos discos que han sacado fueron grabados «tras haber dormido poco o nada, en variables estados de intoxicación, y en confinamiento físico», siendo el resultado una musica misteriosa. Su segundo album fue grabado en un granero en el Ontario rural; los sonidos de los crujidos de las puertas y otros ruidos de fondo se oyen en las canciones.

Muchas de sus canciones son minimalistas, llenas de ruidos de ambiente y otros muchos efectos sonoros no musicales, yuxtapuestos o combinados con musica instrumental.

El grupo es frecuentemente considerado un proyecto paralelo a Godspeed You! Black Emperor, y ambas bandas tienen en común varios miembros.

lastfm.es/music/Set+Fire+to+Flames

Telegraphs In Negative / Mouths trapped In Static [2003]
(part1/part2)

Godspeed You Black Emperor - The Dead Flag Blues

Roy Montgomery

You will have to raise the unit of the matter with the colouring landscapes that Roy Montgomery's music offers you, he guards carefully the directions in order that then you cross with knowledge of the astral territory in which if you decide to unload these links you will have the pleasure of experimenting, out of the designed times, the contemplative attitudes in liabilities were forging a planet in which you will be able to take food and then to cultivate for the next visit, it shows always thank you in the shape of commentary, inside " In the Freezer of your Conscience ", because of this form if one of these links dies, I will have time myself of turning it to rising, now he enjoys.

Deberás plantear la unidad de la materia con los paisajes coloridos que te ofrece la música de RoyMontgomery, guarda con cuidado las direcciones para que luego recorras con conocimiento del territorio astral en el que si decides descargar estos eslabones tendrás el agrado de experimentar, fuera de los tiempos diseñados, las actitudes contemplativas en pasivo te forjaran un planeta en el cual podrás tomar alimentos y luego cultivar para la próxima visita, muestra siempre un gracias en forma de comentario, dentro de "En el Congelador de tu Conciencia", porque de esa forma si uno de estos eslabones muere, yo me daré el tiempo de volverlo a subir, ahora disfruta.

Silver Wheel of Prayer [2001]

The Allegory of Hearing [2000]

And Now The Rain Sounds Like Life Is Falling Down Throught It [1998]

E.N.D. [1998]

Busca en el interior del alma, con brotes vivos que bañan de análisis prolongado la etérea anti-realidad sumergida en los torniquetes, escaleras mecánicas al cielo, y la luz que guiara con guitarra psychedelic el baile tras la noche bohemia y celosa, alegría viaja en su carruaje,
señor, usted debería visitar este link de youtube
(http://www.youtube.com/watch?v=DXaOHVC9V8Q)...

1-Speed Bike - Droopy Butt Begone! / Someone Told me Life Gets Easier In Your 50's [2000-2005]

1-Speed Bike is the DJ and mobile soundsystem alter-ego of Aidan Girt, drummer for Montreal-based bands Exhaust and Godspeed You! Black Emperor. Making his first appearance remixing tracks on an ancient 12-bit AKAI sampler for Exhaust’s debut record, 1-Speed Bike went on to build a large sample bank sourced from his own live drumming and made a full-length album (with full 16-bit resolution) for Constellation in 2000. He has also moshed things up at numerous street actions and benefits over the years, and has gone on to release a series of records on Broklyn Beats. Aidan was a member of the Montreal Anarchist Bookstore collective and lived in Amsterdam for a while before settling into a cabin in the woods outside Montreal, where he continues to speed things up and slow things down at his home studio.

cstrecords

Someone Told me Life Gets Easier In Your 50's [2005]

Droopy Butt Begone! [2000]

1-Speed Bike - Easy E White House Dinner Menu Problem

My Country of Illusion - American Dreamlife [2005]

My Country of Illusion is a project of Barnmaster Scud and Doctor Tiki.
The two have collaborated for over ten years playing experimental psychedelic "jambient" sounds at various strange and obscure locations in New Mexico and galaxies far, far away. My Country of Illusion's name derives from Disney's Mexican release of Alice in Wonderland, "Alicia en el pais de ilusion." The name reflects the illusory nature of reality experienced by the artists, and also is a commentary on the dream world in which the sounds and samples from their music emanate.

The music of My Country of Illusion is based on guitar improvisation but is deconstructed and reconstructed through an intuitive process of sampling and sequencing. Many of the cuts on American Dream Life are live recordings, while others are looped and reassembled dispatches from the harmonic underworld and Goodwill record bins. Voices and thoughts stream in and out of the music as if one were floating through an electronic bardo, drifting through the grid like phantasms. This is the afterlife of the American Dream, the world of the pop undead, mixed
jambient soundbites from the collective sonic mind.

BIO:

Doctor Tiki
AKA
Cryptomaga
Antonio López

The curious path that has brought López to the current sonic offerings can be traced back to his days early in the 1980s during LA's punk underground. In high school he co-founded the LA punk fanzine, Ink Disease, and continued to write about music for national magazines.
López is a self-trained musician who's floated in the alternative music scene for over 20 years. While in college López fronted a post-punk group, Beef Church, which gigged around the Bay Area until they disbanded in 1989. For over ten years López focused on a career in journalism and media, but continued to play and record music, collaborating under the name El Tiki. In addition to playing music, he currently works with digital video and teaches media literacy and video production to Native American high schoolers. He also makes films.

Official selections in the Free Radio HDTS; High Desert Test Sites 4 at High Desert Test Sites, Joshua Tree, CA; and Strange Animals at L.A.C.E., Los Angeles, CA. 2004:
“Radio Alchemist”
“AM Clock Radio Jam”
"Temple"

BARNMASTER SCUD AKA
Scud Mandrill Scott Randolph

Scud has been an experimental musician for more than 20 years living first in San Francisco then in New Mexico. He has also contributed Scudtoon drawings and cover art for the xines BraveEar & Bananafish, as well as the album covers for Vomit Launch.

Discography:
The Whitefronts - Roast Belief 1985 Bogden Records
The Whitefronts - Burl Slab 1986 Bogden Records
The Whitefronts - Mamo WaVes 1987 Bogden/Pitch a Tent
Emerson Lake and Cheesedoodle 1987 Bananafish/Tedium House
(w/Seymour Glass, Barbara Manning & Greg Freeman)
Freight Brain - Act Natural 1991 Dr I
Lords of Howling - Seeing the Elephant 1997 Discobolus
Dang Head - Nounsville 1999 Discobolus
Art of Flying - Galdlit (fossil fish) 2001 Cochon Records

myspace

American Dreamlife [2005]

My Country of Illusion- OBE

Kawabata Makoto - Infinite Love [2002]

Your ears(hearing) estan destined to feel a sharp to tremble with eardrum and rock stairs working, for the sanctuary of the community of the soul that his wisdom opens in the master, creator of seconds free of fertilization in the progressive old man of mantras psicoassets, that they discover new paths where to look at the horizon, with his cigar of marijuana.

Tus oídos estan destinados a sentir una aguda cosquilla, temblar de tímpano y escalera de roca esculpida, al santuario de la comunidad del alma que desplega su sabiduria en el maestro, creador de segundos expancivos libres de fecundación en el viejo progresivo de mantras psico-activos, que descubren nuevos senderos donde mirar el horizonte, con su cigarro de marihuana.

Kawabata Makoto

guitarist, performer on numerous traditional instruments, composer, improviser, mixing engineer, producer, leader of the Acid Mothers Temple, speed guru.

"Music, for me, is neither something that I create, nor a form of self-expression. All kinds of sounds exist everywhere around us, and my performances solely consist of picking up these sounds, like a radio tuner, and playing them so that people can hear them. However, maybe because my reception is somewhat off, I am unable to perfectly reproduce these sounds. That is why I spend my days rehearsing.
Where do these sounds come from? Who is sending them out? That is not something for me to know, and neither is there any way that I could find out. I simply believe that they come from the 'cosmos'. (Maybe other people would call God the source). Since I was a small child I have been prone to hearing ringing sounds in my ears and other sound phantasms. At the time, I believed that these were messages aimed directly at me from a UFO, and so I would gaze up at the sky. But once I started playing music myself, I came to feel that these noises were a kind of pure sound. And I promised myself that one day I would be able to play those sounds myself. It is only recently that I have begun to feel that I have been able to come close to reproducing these sounds in my solo guitar work, and in my INUI project.
However, in June of 1999, I finally discovered my own 'cosmos' and I experienced an instant of total union with it!! That 'cosmos' is still tiny in size - although any cosmos can, by its very nature, be infinitely huge or infinitely small. The energy and vibrations contained within that it far exceeded my imagination in scope and beauty. I can only describe the miraculous instant when my 'cosmos' accepted my consciousness as MAGIC."
(Kawabata Makoto. July 8th 2000)

Infinite Love [2002] (part1/part2)

Kawabata Makoto@Corsica Studios 27.04.08

Pocahaunted x 4

2/24/08

Start it off. So- it’s been a while, but we’re still the same ol’ G’s. Some stuff that has recently gone down: got kicked out of a party for being too mellow, priceline purchase from JFK to BOREbank, Sopranos for ever, Little Mermaid back bends, Halloween hall of fame with Thurst, “flossy flossy”, 21 years of age, and other pricelessnesses. On the real- we just finished our Woodsist LP for Jeremy Earl. Also done with the DUB (album). Also finished the Weird Forest album, and our side for the Bored Fortress 7” club. Busy at work on an Excite Bike tape and more t-shirts for your hot bodies. Trying to go to the East Coast and Europe, at the same time. Trying. Current favs and inspirations; live pukers sets, paul m. contos, ugly boots, fur coats, pigs in a blanket, jamba juice has a juicer, hi (high), billy joel in orange county.

myspace
notnotfun.com/pocahaunted

Warpaint / Made by Mermaids
[Pocahaunted / Orphan Fairytale] Split 2008

Peyote Road [2008]

Beast That You Are [2008]

Mirror Mics [2008]

Pocahaunted - 2008-02-09, Eleanor Harwood Gallery

Lee Ranaldo — Maelstrom From Drift [2008]

Meeting of organic parameters, they give live in the effects retro there being fed on noises details capable of capturing in hands the sonority of a damned poetry, as these Lee Ranaldo to worked for the band Sonic Youth, and projects with Jim O'rourke, now in the plate of this year 2008 it demonstrates with ambient in circular movements similar to the marine surge, the wind from his fourth point of item, directs the cuts across instrumental metaphors, oneiric, is a moment for your sharp stylistic concentration, decorates with surpluses and entities walls that block your way, freestyle without side, alone effects, the loneliness of these silent minutes can evoke the energy before prepared in educated ears, to feeling this music, enjoy!.

Encuentro de parámetros orgánicos, dan viva en los efectos retro alimentándose de ruidos detalles capaces de capturar en manos la sonoridad de una poesía maldita, al igual que esos Lee Ranaldo a trabajado para la banda Sonic Youth, y proyectos con Jim O'rourke, ahora en la placa de este año 2008 se manifiesta con una formula atmósferica en movimientos circulares semejantes al oleaje marino, el viento desde su cuarto punto de partida, dirige los cortes a través de metáforas instrumentales, onírico, es un momento para tu concentración aguda estilística, decora con sobras y entes paredes que impidan tu paso, estilo libre sin efectos secundarios, solo, la soledad de esos minutos silenciosos puede evocar la energía antes preparada en oídos cultos, a sentir esta música, disfruten!.

TLR 048: lee ranaldo — maelstrom from drift CD

released may 28, 2008 as an installment in the oscillation III series. sold only as a part of the set.

collected from works created between 1994 and 2007, maelstrom from drift sees lee ranaldo demonstrate the power of the electric guitar when used in various disparate settings.

myspace
Three Lobed Recordings

Maelstrom From Drift [2008]

'Notebook'

Hototogisu - Under The Rose [2008]

"First ever vinyl release on their own Heavy Blossom imprint from the Hototogisu duo of Matthew Bower (Skullflower) and Marcia Bassett (Double Leopards/Zaimph/GHQ). Edition of 600 copies with silkscreened rear and paste-on photographic fronts. Two epic, lengthy studio tracks recorded at Jason Meagher of The No-Neck Blues Band’s Black Dirt Studios, “Malignant Coronation” and “Origami Skulls”. One side features the heaviest guitar-duelling bombast to come out of Bower’s paws since that mind-blowing Flower/Bower Sunroof track on the Mouthus/Double Leopards three-way on Music Fellowship, with martial percussion and the sound of pure voltage stapling the entire thing to the ceiling. Over on the flip it’s another non-stop vertical ascent, with fully-imploded guitar noise riddled with flickers of choral song. Highly recommended."

Hacia la distancia comprender los polos opuestos del oscuro sumbido que traciende desde el rincon de venas expulsando sangre en lateralidades contruidas fuera de la estructura normal de sonidos, utilizan frecuencias ruidosas, y media sobriedad destinada al molesto toque agudo dentro del cerebro, de base dilatada en la profundidades de la propia tumba, piso de barro carmesi.

Enlaces:
* Realises
* Volcanic Tongue

Descarga :

* Under The Rose [2008]


Marcia Bassett

M o g w a i

myspace


The Hawk Is Howling [2008]











Batcat EP [2008]












Mogwai - BatCat (official)

Third Troll

Hummingbird Mountain


III [2005]











Pharmacognosy [2001]











Phlebotomy [2001]












++++++++++

Thurston Moore, Wally Shoup, & Toshi Makihara Trio

myspace


Hurricane Floyd [1999]












"Frozen Gtr"

Zga x 2

ZGA was started by Nick Soudnick and Valery Dudkin (1965 - 2004) in Riga in March 1984. Later the group was joined in by Alexander Zhilin (1959 - 1994), Michael Yudenich, Vadim Petrenko, Emily and Eva Molchanova.

In 1989 Chris Cutler and Recommended Records released ZGA's first LP (Point East PE-02). Thus revealing the group to the world.

At the end of 1991 on the suggestion of "Pushkinskaya-10" Art Centre Zga moved to S.-Petersburg.

After Alexander Zhilin's death the group stopped being permanent. Nick Sudnick has been inviting various musicians for his different projects. Since 2000 ZGA permanent musicians are Ekaterina Fedorova (drums), Ramil Shamsudinov (trombon) and Valeria Kildeeva (violin).


In middle of the 90s Nick's artistic focus shifted from piezo-electric pickups, original sound sources inveted by himself, towards much wider range of sounds.

Since 1999 Nick actively collaborates with Engineering Theatre AKHE and makes soundtracks for their performances.

Sudnick has several side projects. He participates in Vetrophonia, his mutual project with Alexander Lebedev-Frontov (Linija Mass, Stalnoy Pakt). He has collaborated with various painters and artists. He also played in Sergey Kuryokhin's Pop Mechanics. In 2005 LongArms Records released Delikatessen - the joined project of Nick Soudnick and Vjacheslav Gaivoronskij. Nick's latest project FIGS gathered together Ekaterina Fedorova (Iva Nova, ZGA), Alexei Ivanov (Union of Commercial Avant-guarde, Nado Podumat) and Markus Godwyn (The Noise of Time)

:: www.zga.nonmuseum.ru ::
LINK IN COMENT!!!

5 : (riga) [1989]















Zgamoniums [1991]















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