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OUT February 2014

KONTAKT DER JÜNGLINGE «Makrophonie 1« CD (DS109)

The first album by Kontakt der Jünglinge since the release of their CD n (DS63) on Die Stadt back in 2003, »Makrophonie 1« is also their very first studio album. It's the result of various scores which were developed before and during miscellaneous live performances. These worked out structures were then taken to the studio, where they were concentrated and received their final finish. »Makrophonie 1« can be described as KDJ music in highly-concentrated form.
The album was recorded at Audiplex Studios, Hamburg in 2013 and produced by Okko Bekker.
Limited edition of 500 copies in Digipack cover.

Track listing:

1. 'Makrophonie 1' 37:39

Kontakt der Jünglinge is a cross-generational collaboration between sound artists Thomas Köner and his friend and mentor, Asmus Tietchens. The project is an homage to Stockhausen, playing on the titles of two of his most famous pieces, »Gesang der Jünglinge« (1955—56), once described as »the first masterpiece of electronic music« and »Kontakte« (1958—60), one of Stockhausen's paradigmatic early works.
Kontakt der Jünglinge 1 (DS34) was released on Die Stadt in 2001 and features the duo's first performance, which took place in the »Lagerhaus« Bremen / Germany in December 1999, followed by three more albums feat. the live performances 0 (DS39), -1 (DS48), n (DS63) and the box set Frühruin (DS69), also incl. a 3" CD feat. a solo track by each artist, between 2001—2004. The performances of Kontakt der Jünglinge can be described as »always intuitive personal explorations of sonic material resulting in unexpected and exciting modern music«.
Asmus Tietchens (1947) has had a significant influence on the development of German electronic music, as well as on industrial, noise, and experimental music, though he explicitly eschews well-defined genres. He is extremely prolific, recording under the monikers Hematic Sunsets and Club of Rome among others, as well as under his own name. His extensive catalogue has brought him some of the most important German awards in the field of tonal art (including the Karl-Sczuka-Preis für Akustische Kunst award which he won in both 2003 and 2006). Born in Hamburg, Tietchens began experimenting with tape loops as a teen in the mid 60s. When he started using synthesizers in the early 70s, his music showed affinities with musique concréte, serialism, minimalism, and krautrock. His work has strong ties to Karlheinz Stockhausen's early electronic pieces in that they are »intuitive and personal explorations of the studio as an instrument, of a specific musical notion, or collaboration«. He has taught acoustics in Hamburg since 1989. Die Stadt rereleases all his early albums between 1980—1991, which were previously only available on Vinyl, on CD. This series includes a total of 17 albums, all of them feat. unreleased studio tracks from the same era, plus the original artwork and liner notes by the artist.
Thomas Köner (1965) is a successful sound and video artist whose primary interest is the exploration of »sound colour« and combining visual and auditory experiences. Köner studied electronic music at the CEM studio in Arnhem in the late 80s, after which he studied at the Dortmund Conservatorium. His first album, Nunatak Gongamur was released on Dutch label Barooni in 1990, followed by Teimo and Permafrost in 92 and 93 respectively. Both albums were rereleased on Mille Plateaux in 1997, and all three were again released in 2010 as a compilation on UK-based label Type records. His first album for Die Stadt »Unerforschtes Gebiet« was first released as a Picture LP (DS43) in 2002, and shortly afterwards in 2003 also in an extended version on CD (DS56). Köner worked at Ruhr Sound Studios in Dortmund in the early 90s. He has won many prestigious international awards such as the Golden Nica, Prix Ars Electronica, Linz, Transmediale.05 Award, Berlin and Tiger Club Award at the International Film Festival Rotterdam. He is also active in the techno world as one half of Porter Ricks, a duo with producer Andy Mellweg.

PRICE: 14,00 €

OUT February 2014


A Three track EP released in conjunction with a live performance on the 29th April 2012 on the MS STUBNITZ in Bremen. Initial copies were given away for free to ticket holders on the night of the concert.
Exclusive tracks by all artists.

Track listing:

1. DITTERICH VON EULER-DONNERSPERG 'Die Schnarrmaus des kleinen Fritz' 5:37
3. THOMAS KÖNER 'Le Bateau Ivre' 3:48

Limited edition of 500 numbered copies in full color slipcase cover.

PRICE: 10,00 €

OUT August 2011

AUTECHRE & THE HAFLER TRIO »ah3eo & ha3oe« (ae3o3) 2DVD (DS93/SS2)

The next installment of the enthralling collaboration 'twixt h3o and those likely lads Autechre is ready to see the light of day on Die Stadt and Simply Superior. This should make the previous two glow again with renewed ardour, and provide a couple of answers, but many, many more questions.

This release will come in a special format: double DVD (5.1 Audio Version), each disc featuring 2 hours of material. Due to the special nature of the format this title will come in a limited edition of 1000 copies.

PRICE: 28,50 €

OUT April 2011

FOVEA HEX »Here Is Where We Used To Sing« CD (JRDS004A)

Die Stadt and Janet records are happy to announce on release of the new Fovea Hex album. Fovea Hex are one of the mostintriguing phenomena in contemporary music. Despite the seemingly wilful nonchalance that has kept them under the radar so far (only 3 ep releases in 5 years, a mere fistful of appearances in France, Spain, Italy and Ireland, and their preference for elliptical, minimal design) the group have nevertheless developed an enviable cult status both in Europe and the United States, have performed at the personal invitation of David Lynch in the gardens of the Cartier Foundation in Paris and have attracted the free and willing participation of a genre and generation hopping rollcall of A-list luminaries including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, and Steven Wilson, as well as a who's who of the electronic avant-garde including Roger Doyle, the Hafler Trio, Colin Potter and Michael Begg.
Clodagh Simonds, the group's reclusive leader (if they can be called a group, and indeed, if she can be called a leader) has recently emerged to announce the eagerlyanticipated first full-length album from Fovea Hex, Here Is Where We Used To Sing, which was released on CD and digital formats on April 18th 2011.
The album comrises 8 beautifully crafted songs and 3 short instrumentals that build on the fusion of formal composition, cutting edge ambient sound art, incomparable song writing skill, and Simonds's emotionally rich and evocative vocals ("A voice that one could happily drown in for hours" remarked Pitchfork) that made their ep trilogy, Neither Speak Nor Remain Silent, so extraordinary. These "songs that don't go where you think" are immediately seductive, inhabiting a curiously elusive, many-layered otherworld. They manage to sound both powerful and delicate, sophisticated and elemental, resonating with an understated emotional intensity so rare these days that it comes slightly as a shock. The balancing act is fragile, and nothing is quite what it seems, yet the group themselves are unlikely to explain their methods or reasons. That task falls to fans and friends such as Matmos's Drew Daniels: "The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song spells. Their intimacy and raw emotional power feel centuries old, but the experimental sound design can be shockingly modern. There is an intense focus to this music צ no clutter, no cliches צ which is both ravishing and rare".
Simonds has gathered about her a now familiar troupe of collaborators for this album. A core ensemble of Simonds (vocals, keyboards, harmonium, psaltery, lyre, kalimba), Laura Sheeran (vocals, saw), Cora Venus Lunny (violin, viola), Michael Begg (electronics, keyboards) and Colin Potter (electronics) are variously joined, replaced, augmented and superimposed by visitations from Brian Eno, Julia Kent (of Antony and the Johnsons), John Contreras, Kate Ellis, members of Italy's Larsen, and, in keeping with the mystery that seems to veil the heart of the enterprise, further "friends who would prefer to remain nameless." True to their oblique nature, they even manage to credit an abstract contribution to the 10,000 year project; The Long Now Foundation ( "Three Beams", a limited edition bonus disk of 3 extended remixes allows full and free rein to the palette of ambient / experimental electronica at Fovea Hex's disposal. Works by Colin Potter, Michael Begg and William Basinski perfectly counterpoint the highly crafted songs on the album with generously proportioned and sonically mesmerizing soundscapes.
One has to wonder how Simonds really feels now that the appearance of this singular album seems likely to tear apart forever the fabric of anonymity in which this extraordinary ensemble has until now been concealed.

A limited edition of 400 copies will include a bonus cd, Three Beams, featuring remixes of three of the tracks by William Basinski, Colin Potter and Michael Begg. This edition is available exclusively from Janet Records (IRE), Die Stadt (DE), Integrated Circuit (UK) and Omnempathy (UK).

Track listing:

1. »Far From Here« 4:01 mp3 sample
2. »Play Another« 4:23
3. »Falling Things (Where Does a Girl Begin)« 5:15
4. »Every Evening« 4:01
5. »Brisance, My Baby« 2:06
6. »A Hymn to Sulphur« 6:05
7. »Love for the Uncertain« 2:21
8. »Jewelled Eyes« 1:59
9. »The Diamonds« 3:27 mp3 sample
10. »Celandine« 1:43
11. »Still Unseen« 4:09

Total playing time: 39:05 min.

Bonus CD:

1. »Fall Calling« 8:58
2. »Cup of Joy« 13:19 mp3 sample
3. »Glaze« 9:09 mp3 sample

PRICE: Standard Edition = 12,00 € / Special Edition = 15,00 €

OUT November 2010

ASMUS TIETCHENS »Marches Funèbres« CD (DS112/aatp32)

13th part in the ongoing re-release series of all early Tietchens albums between 1980—1991.

Tracks 1 & 2 originally released on Marches Funebres LP (Multimood, 1989). Released as a joint release by German labels Die Stadt and aufabwegen. The CD comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.

Track listing:

1. »Linea 5« 20'15 mp3 sample
2. »Grünschattiger Nachmittag« 19'09 mp3 sample


3. »Grünschattiger Nachmittag 1979« 8'55

Asmus Tietchens »Marches Funèbres« 1989

Liner notes by Asmus Titechens:

The central piece on MARCHES FUNEBRES is »Grünschattiger Nachmittag«. Work on the composition began as early as 1979. A rough sketch of these first steps utilizing analogue rhythm machine and Minimoog is included as the bonus track on this disc. It became obvious that »Grünschattiger Nachmittag« was impossible to realize on the Fairlight CMI. It took nine years for the equipment at Audiplex Studios to match the technical standards needed for the recording of the orchestral version of the piece as it was originally intended. Aided by my teacher and mentor Okko Bekker and equipped with numerous samplers and a sophisticated music software the piece was finally realized in 1988 after several weeks' hard work. The mockers would have it that I tried to have Django dancing the Bolero. Maybe they were half right. As you know, I am not not a friend of soft entertaining sounds but if it has to be kitsch then do it full-on. Hence even today I am standing in a »greenish afternoon shade«, if you know what I mean.
»Linea 5« was placed on the original LP to balance out »Grünschattiger Nachmittag«. I was hoping to create something equally austere as »Linea 1–4«. But, »Linea 5« got out of hand. Carried away by delays and echochambers I lost myself in erratic mountains of sound (complete with sceneries of St. Elmo's Fire and alpenglow) until I was wholly exhausted. For my better I was saved by some good St. Bernhards wearing their bootles of brandy around their necks. Who knows where this journey of belated psychedelia would have ended without them. This time, the mockers' questions remained unanswered. MARCHES FUNEBRES was the second time I tried my hand at something vaguely symphonic; a slippery ground for me. It was preceeded by the »Faircomp«-series and followed by the collaborative LP »E« with Okko Bekker. Then this chapter was closed. »Cobbler, stay at your last!« as they say. Still, for such an LP as MARCHES FUNEBRES to come out shows how the scope of what was possible had broadened by 1989. From now on, at the gate to the decade of the 1990ies, there shone an alternative to the quickly fading legacy of industrial at the horizon. Computers became affordable, CD began replacing vinyl, new ideas generated a musical diversity hitherto unheard of. In 1989 the new beginning was near.

Asmus Tietchens 2010

PRICE: 15,50 €

OUT December 2008

ORGANUM / Z'EV »Temporal« CD (DS111)

Their Third collaborational work following »Tinnitus VU« mini CD on Touch and the full length »Tocsin« album on Die Stadt (DS77).
Z'EV started out with reworking basic sound material from the Organum archive back in 2006, which resulted in a collaborative mixing of the material until early 2008. The finishing touches were then left to David Jackman between March and June 2008.
The overall tone on »Temporal« owes more to the 'classic' Organum sound than to Organum latest works, the trilogy: »Sanctus« (Robot Records), »Amen'« and »Omega« (both Die Stadt). The album makes for a multi-layered and intense listening experience. First edition of 600 copies in digisleeve.

Track listing:

1. »Glory Sorrow« 12'15 mp3 sample
2. »Eagle« 12'07
3. »Thunder« 23'04 mp3 sample

Total playing time: 47:29 min.

PRICE: 15,50 €

OUT December 2008

ASMUS TIETCHENS »Abfleischung« CD (DS108)

12th part in the ongoing re-release series of all early Tietchens albums between 1980—1991. ABFLEISCHUNG is based on material recorded by Tietchens as early as 1967—1970. These recyclings made in 1989 became the 20 short tracks on this album which was originally released in edition of 500 copies on Hamster Records in 1989. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.

Asmus Tietchens ABFLEISCHUNG (Hamster Records HAM25) 1989

Festive music for the 3. Symposium of AKTIONSGEMEINSCHAFT PÄDOGAPHIE ALS POST-NATALE GEBURTENKONTROLLE, Bad Bramstedt, 3.7.1977

Track listing:

1. »Mineral 4« 2'05 mp3 sample
2. »Drahtmensch 1« 1'22
3. »Modal 4« 2'05
4. »Drahtmensch 3« 1'14
5. »Ultima Terra« 4'24 mp3 sample
6. »Modal 3« 1'43
7. »Ein fleißiges Insekt 3« 1'04
8. »Mineral 3« 1'33
9. »Modal 2« 2'24
10. »Ein fleßiges Insekt 5« 1'04
11. »Fago« 2'30
12. »Modal 5« 2'19
13. »Ein fleißiges Insekt 2« 1'04
14. »Mineral 2« 4'05
15. »Ein fleißiges Insekt 4« 1'04
16. »Mineral 1« 4'59
17. »Drahtmensch 4« 1'39
18. »Modal 1« 0'48
19. »Krytophonie 2« 2'45
20. »Gesichter von gestern« 0'54


21. Kryptophonie 1 4'37
22. Zweite Sekunde 2'36

Total playing time: 49:18 min.

Asmus Tietchens ABFLEISCHUNG (Hamster Records HAM 25) 1989

The short sketch-like tracks that appeared on ABFLEISCHUNG were my first attempt to recycle old pieces of mine. This basic material originated from recordings made between 1967—1970. As this period, 20 years ago, was already history for me, it seemed reasonable to me to go back to the "old" music and observe it under new aspects in order to create something completely new. Right from the start I refused to use the term "Remix" for this project, as "Remix" actually means to newly mix the separate components (tracks) of a multi-track recording, and that's something I didn't do. The term "Recycling" far better describes my way of working: not just a single track, but the whole piece, is treated by a process which in its extremity will change the track so radically it can't be recognized no more. Furthermore I used different methods of treating the basic material, which resulted in series of different recyclings ("Mineral 1—4", "Modal 1—5" ect.). While working on these recyclings I intentionally took care that the length of all tracks stayed fairly brief, as it was not so important for me to create new pieces but rather to show the individual methods of my working. VORGEHENSWEISEN.
I also wanted to avoid redundancy, as several pieces sounded too much the same in my view. Furthermore my concentration on this short form forced me to reconsider my approach to the length of pieces and the sonic events which constitute them. All this resulted in consequences which for me still last until today, but it was still a long way until the discovery of the general pause (silence).
ABFLEISCHUNG is the second part of a four part series that was supposed to be released in its entirety on Terry Burrows Hamster Records label. The first part was the album WATCHING THE BURNING BRIDE (Asmus Tietchens + Terry Burrows, HAM15, 1988); this album will also be re-released in the series on Die Stadt. Following ABFLEISCHUNG there was THE WHISPERING SCALE (Terry Burrows, HAM26, 1990). Economical circumstances (once again !) prevented the release of the Fourth and final part BURNING THE WATCHING BRIDE. This second collaboration album was only released by the German label Disaster Area in 1998 (Terry Burrows + Asmus Tietchens, DA001, 1998). The graphic design and typography on all four album covers were done by Terry Burrows.

Asmus Tietchens, 2008

Editorial notes:

The original tapes were already transferred to DAT back in 1997 for a reissue project that never saw the light of day. The DAT was re-mastered for this CD release. The bonus tracks were taken from the analogue master tapes

PRICE: 15,50 €

OUT April 2008


A special NADJA CD also feat. one solo track by both members Aidan Baker & Leah Buckareff. Released in conjunction with a live performance on 20. April 2008 in Bremen.
Limited edition of 500 numbered copies in full color sleeve.

Track listing:

1. Aidan Baker »Carrizozo« 10'31 mp3 sample
2. Leah Buckareff »Socorro« 10'42 mp3 sample
3. Nadja »Jornada del Muerto« 17'22 mp3 sample

Total playing time: 38:35 min.

PRICE: 12,00 €

OUT April 2008

ANDREW LILES & FOVEA HEX »Gone Every Evening« 7 inch (DS106)

Die Stadt is honored to inform you that a limited edition 7" vinyl single »Gone Every Evening« was released today April 1, (and no, we're not having you on...) 2008. The record features two collaborative pieces by ANDREW LILES & FOVEA HEX, with Fabrizio Palumbo as special guest. Featuring Andrew Liles, Clodagh Simonds, Laura Sheeran, Fabrizio Palumbo and Michael Begg, these two strange songs will find the way swiftly to your very core, quite by themselves, to simultaneously delight and only faintly unsettle you. Needless to say that everyone who enjoyed the »neither speak nor remain silent« trilogy by Fovea Hex will also love this.
It comes packaged in an attractive gatefold cover with printed inner sleeve designed by Andrew Liles in an edition of 500 copies.

Track listing:

1. »Every Evening« 4'04

2. »Gone« 4'04

Total playing time: 8:08 min.

PRICE: 12,00 €

OUT April 2008

ASMUS TIETCHENS »Aus Freude am Elend« CD (DS105)

11th part in the ongoing re-release series of all early Tietchens albums between 1980—1991. AUS FREUDE AM ELEND is based on the human voice as a primary sound source and was originally released in edition of 500 copies on Dom America in 1988. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies.

Track listing:

1. »Den Stiftsherren« 4'59 mp3 sample
2. »Negus« 5'25
3. »Rosenkranz« 8'44 mp3 sample
4. »In memorian P.F.« 1'41
5. »Niederlage« 3'20
6. »Paranoide Reflexe« 5'01
7. »Nachbarschaft und Zeugung« 3'17
8. »Weiter nicht« 7'28


9. »Doch noch weiter« 4'35
10. »Der verstümmelte Musikreferent 2« (für Juregn Drews-Goethe) 5'34

Total playing time: 50:04 min.

(Dom America Dom US LP 02) 1988
Following my research of piano and water sounds (DS102, DS88) it didn't come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80's, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track (with the exception of »In memoriam P.F.«) was based on voices of people who I naturally didn't ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. You'll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: Rarely before this album and only once after it (on Stupor Mundi) did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the »Ritual« was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. AUS FREUDE AM ELEND too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported — even partly inspired — by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PC's opened new doorways. Half of the material on AUS FREUDE AM ELEND was already created with these digital tools.
I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Did Carlson used to be a fan of Dom which was founded by Christoph Heemann and Achim Flaam. Did he simply liked the release politics of this label. And what became of Dom America ? Actually I don't know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However AUS FREUDE AM ELEND had vanished shortly after its release. I only used 'stolen' voices twice again (»Stupor Mundi«, 1990 and »Das Fest ist zu Ende. Aus«, 1993) after this album by the way.

Asmus Tietchens

Editorial notes:
All the tracks were copied from the original tapes which I found to be still in very good condition. The final track »Weiter nicht« on Side-B of the LP ended with a lock groove. It's presented here in its original length and therefore stops abruptly. The bonus track »Doch noch weiter« was recorded almost one year after the release of the LP.

PRICE: 15,50 €

OUT December 2007

ORGANUM »Omega« CD (DS101)

The third and final part of the Organum trilogy that started with »Sanctus« (Robot Records RR-35) and »Amen« (Die Stadt DS95): »Omega« (While the Stars be not Darkened). First edition of 600 copies in digipack sleeve.

Track listing:

1. »Omega 1« 15'12 mp3 sample
2. »Omega 2« 15'12
3. »Omega 3« 15'13 mp3 sample

Total playing time: 45:37 min.

PRICE: 15,50 €

OUT November 2007

ROGER DOYLE »The Ninth Set« CD (DS103)

Irish composer Roger Doyle's first release on Die Stadt is his prize-winning work The Ninth Set, a 67 minute masterpiece in 5 parts. He was awarded the Magisterium Prize at this years's Bourges International Electro-acoustic Music Competition in France for parts 4 and 5. The award, which is one of the most important prizes in the world for electronic music, is open to composers having at least 25 years of professional experience in the field, and its objective is 'the promotion and diffusion of works that might become milestones in the history of electroacoustic music'.
Previous works of Doyle include a 5-CD set Babel which took ten years to compose, where each track corresponds to a room or place within an imagined tower city; and the 3 hour Passades, music made from software that freezes sounds like a freeze-frame in DVD. He's also known for his project OPERATING THEATRE which released the classic »Rapid Eye Movements« album — consisting of 4 works composed between 1968 1980 — on Steven Stapleton's (Nurse With Wound) own United Dairies label in 1980. Furthermore he guested on Fovea Hex's »neither speak nor remain silent« EP number 2 »Huge«, alongside among others Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter. More at
The CD comes in a color digipack in a first edition of 600 copies.

Track listing:

1. »Part 1« 15'22 mp3 sample
2. »Part 2« 14'35
3. »Part 3« 16'17 mp3 sample
4. »Part 4« 14'28
5. »Part 5« 5'45

Total playing time: 66:29 min.

PRICE: 15,50 €

OUT November 2007


A compilation of live recordings specially released for a Die Stadt label night feat. All artists, at ARGOS in Brussels on 18. October 2007. The John Duncan recording was made at The Compound , San Francisco on 21 July 2007. Kontakt der Junglinge (Asmus Tietchens & Thomas Koner) 'Montreal Solution 1' is an excerpt from their live performance at Mutek Festival, Montreal on 28 May, 2003. The final track on this CD is by C.M. Von Hausswolff and was recorded at 'Easy To Swallow', All Tomorrows Parties, SEOne Club, London, cursted by Russel Haswell, on 2 June 2005. Released in a limited edition of 500 numbered copies.

Track listing:

1. JOHN DUNCAN »Live at the Compound« 24'25
2. KONTAKT DER JUNGLINGE »Montreal Solution 1« 18'45 mp3 sample
3. C.M. VON HAUSSWOLFF »Circulating Over Square Waters (Framed Nature)« 15'15 mp3 sample

Total playing time: 58'25

PRICE: 12,00 €

OUT June 2007


The first collaboration by these two renowned sound artists. FABRICATION saw its beginning during the production of RE-POST-REFABRICATED, a project in which artists were selected by Richard Chartier to rework/create new works from his 1998 CD POSTFABRICATED for its reissue in 2003. As it was intended as an open project, Asmus Tietchens continued to explore the source materials and suggested further formal collaboration. This evolved into the collaborative work FABRICTAION. The CD comes in a full colour 4-panel digisleeve with artwork and designed by Chartier. The first 500 copies incl. a bonus CD feat. the complete material created by Tietchens from POSTFABRICATED entitled »POST-FABRICATION«.

Track listing:

1. »Fabrication« 51'24 mp3 sample

Total playing time: 51:24 min.

Bonus CD:
1. »Pre-Fabrication 1« 5'28 mp3 sample
2. »Pre-Fabrication 2« 2'57
3. »Pre-Fabrication 3« 6'18
4. »Pre-Fabrication 4« 4'28
5. »Pre-Fabrication 5« 2'50
6. »Pre-Fabrication 6« 3'30
7. »Pre-Fabrication 7« 5'00
8. »Pre-Fabrication 8« 3'42
9. »Pre-Fabrication 9« 5'10
10. »Pre-Fabrication 10« 4'21
11. »Pre-Fabrication 11« 2'17

Total playing time: 46:01 min.

PRICE: Standard Edition = 15,50 € / 18,00 € (2CD EDITION)

OUT June 2007


10th part in the ongoing re-release series of all early Tietchens albums between 1980—1991. »Notturno« was originally released by spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full colour artwork and poster booklet also feat. the original front and back cover.

Track listing:

1. »Dritte Studie fur Klavier« 6'19 mp3 sample
2. »Vierte Studie fur Klavier« 5'47
3. »Studie fur Henry« 6'05
4. »Halbe Tanzmusik« 2'14
5. »Drei Beisetzungen in Wien« 4'44 mp3 sample
6. »Die Kramer im Tempel« 3'20
7. »Funfte Studie fur Klavier« 4'28
8. »Zweite Studie fur Klavier« 7'46

Bonus tracks:
9. »Siebte Studie fur Klavier« 4'31
10. »Ein leben geht zu Ende« 9'12

Total playing time: 54:26 min.

Asmus Tietchens NOTTURNO (Discos Esplendor Geometrico EG 011) 1987
(Barooni BAR 007) 1992

By the time »Studie fur Klavier« (FORMEN LETZTER HAUSMUSIK, DS84) was released it actually wasn't my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didn't make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Off course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only I could make use of a grand piano in 1986, I also had the technical equipment at hand which didn't leave nothing to be desired. I wasn't quite precise calling these pieces »Studien fur Klavier (Piano)« by the way, as I was actually using a Flugel (Grand Piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (Electric Gastr Beater, Wire Brush, Coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this I wasn't even afraid of the using some good old avantgarde tricks by the way. But I won't tell.
The fact that NOTTURNO was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact NOTTURNO is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result NOTTURNO can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isn't. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didn't exclusively belonged to the circle of serious composers anymore. Off course I wasn't the first or only non-academic composer who produced music, which couldn't be categorized easily then, and maybe even still not until today. As a result the exchange of these new aesthetic strategies with other musicians and listeners in the mid 80's, further encouraged the musicians to produce such music, and as a result labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground.

Editorial notes:
All tracks have been remastered from the original tapes as I still found them in perfect condition. I decided to do this because the remastering for the first CD version back in 1992, can't be compared to nowaday standards. Both bonus tracks already appeared on the first re-release on CD (BAR 007), but have been added to the end for this new edition.

PRICE: 15,50 €

OUT June-July 2007

FOVEA HEX »Allure« CD EP (DS89/JR003)

Third and final part of the »Neither Speak Nor Remain Silent« series by Fovea Hex feat. Clodagh Simonds, Colin Potter, Laura Sheeran, Cora Venus Lunny, Robert Fripp, Percy Jones, Donal Lunny, John Contreras, Michael Begg, Steven Wilson (Bass Communion/Porcupine Tree).
The first 500 copies (Special Edition) will also include another bonus CD »An Answer« feat. About 60 (!) minutes of material reworked and remixed by Andrew McKenzie of The Hafler Trio. This version will only be available from both Die Stadt and Janet Records directly !

Track listing:

1. »Allure« 10'53 mp3 sample
2. »Long Distance« 7'43
3. »Neither Speak Nor Remain Silent« 6'47 mp3 sample

Playing time: 25:23 min.

PRICE: Standard Edition = 13,00 € / Special Edition = 17,00 €

OUT June 2007

FOVEA HEX »Allure« BOX + CD (DS89C/JR003C)

A special box to hold all three parts of the series. Embossed cover. The box can be purchased together with »Allure« or as a complete set incl. »Bloom«, »Huge« and »Allure«. We offer a special price for the box to people who already ordered »Bloom« and »Huge« from Die Stadt in the past. Here's a list of the individual prices:

Box + Standard Edition »ALLURE« = 18,00 €
Box + Standard Edition »ALLURE« = 14,00 € (for customer's who already bought »BLOOM« + »HUGE« from Die Stadt mail order)

Box + Special Edition »ALLURE« = 22,00 € (OUT 4 JULY OR SOME DAYS LATER!)
Box + Special edition »ALLURE« = 18,00 € (for customer's who already bought »BLOOM« and »HUGE« from Die Stadt mail order)
Complete Box (»BLOOM« & »HUGE« & »ALLURE«) Standard Edition = 30,00 €
Complete Box (»BLOOM« & »HUGE« & »ALLURE«) Special Edition = 55,00 € (OUT 4 JULY OR SOME DAYS LATER!)


OUT March 2007

JOHN WATERMANN »Calcutta Gas Chamber« PIC LP (DS97)

Re-release of the long out-of-print album by the late John Watermann (19.2.1935—2.4.2002).
The idea for this project came about after a visit to Calcutta in 1990, and through the nightmarish experiences during that short visit. The concept of aurally conveying the horror of a gas chamber was realised through field recordings in an abandoned electrical power station in Brisbane in 1992. The sounds are grating and harsh, a mixture of field recordings and electronic manipulations. One can rarely pinpoint a location or action but the images the sounds conjure up are of all sorts of nefarious activites related to death by machinery. The sleeve notes take you into the horror that is the Calcutta Gas Chamber. John Watermann started the re-design for this re-issue (originally released in 1993 on US label ND), but tragically passed away in 2002 before its realisation. A beautifully composed and produced album, completely remastered and feat. new artwork. This special picture LP is limited to 444 numbered copies. A CD version of »Calcutta Gas Chamber« was released by Cold Spring in late 2006.To find out more about the life and works of John Watermann please go to the LINKS section.

Track listing:

1. »First Shudder Project: An Intellectual Challenge To Convert Victims Into Heart-Shaped Soap« 8'04
2. »Second Shudder Project: Fitting The Gas Hose« 3'42
3. »Third Shudder Project: A Vague Demonstration Of Trembling« 8'04
4. »Fourth Shudder Project: The Black Milk Clasp (Clubbing, Tearing, Wrenching, Cutting, Spurting, Boiling, Processing)« 7'50

5. »Fifth Shudder Project: Breasts Of The Naked Wall« 4'31
6. »Sixth Shudder Project: The Shredding Of Human Tissue« 13'39
7. »Seventh Shudder Project: Power House Freeze«' 4'40
8. »Eighth Shudder Project: Walking The Giant Corpse (Most Of The Actors Already In Quick Lime)« 6'41

Total playing time: 57:11 min.

PRICE: 20,00 €
Copies of the CD version are also available from Die Stadt mail order for 15,00 €

OUT March 2007


»Torch Songs« is a collaboration between Jonathan Coleclough and Andrew Liles. They met in October 2004 when they both performed at Intergration 3 in Preston, UK. Liles subsequently reworked the recording of Coleclough's solo performance from that evening. He went on to add, subtract, multiply and divide further live recordings supplied by Coleclough, and the eventual result was this double LP. »Torch Songs« is packaged in a gatefold sleeve featuring »I dreamt I was a river«, a poem composed and painted by Geoff Sawers during a performance with Coleclough in Geneva in March 2005. The sound of Geoff's brush painting this lettering can be heard on side B of »Torch Songs«. There is a special edition of »Torch Songs« (250 copies) which includes an additional CD of Coleclough's solo performance at Intergration 3, the basis for some of the music on »Torch Songs«. The album comes in a full colour gatefold sleeve with full colour inner sleeves in a limited edition of 500 copies. 180gr. Vinyl.

Track listing:

1. »Torch Song 1« 9'07
2. »Torch Song 2« 5'26

3. »Torch Song 3« 6'20
4. »Torch Song 4« 7'16

5. »Torch Song 5« 9'08
6. »Torch Song 6« 10'26

7. »Torch Song 7« 7'00
8. »Torch Song 8« 14'23

Total playing time: 69:06 min.

PRICE: 20,00 € (Standard Edition) / 26,00 € (Special Edition 2LP + Bonus CD)

OUT December 2006

ASMUS TIETCHENS »Zwingburgen des Hedonismus / Mysterien des Hafens« CD (DS96)

Part 9 of the ongoing re-release series of all early Tietchens albums from 1980—1991 on CD. This combines two seperate releases from 1987 (»Zwingburgen des Hedonismus«) and 1988 (»Mysterien des Hafens« on »FACE TO FACE, VOL. 1«). »Zwingburgen des Hedonismus« was originally released as a one-sided LP on swedish label Multimood and features a singles 21 min. long track composed on a Fairlight CMI. »Mysterien des Hafens« was part of a split LP (the other side feat. DIE FORM) originally released on french label Odd Size and feat. recordings made by Tietchens using under-water microphones. The Bonus track »Faircomp 1K« on this CD is a different version of the first track and previously unreleased.
First edition of 600 copies in jewel case with full cover artwork and poster booklet also feat. the original album covers.

Track listing:

1. »Zwingburgen des Hedonismus« 21'07 mp3 sample
2. »Faircomp 1K« (Bonus track) 16'55 mp3 sample
3. »Bubendey Notturno/Ritual auf der Halde« (Mysterien des Hafens) 18'39

Total playing time: 56:41 min.

Up until today I only undertook the effort to compose music with the help of a special composing programme twice. One of these two resulting pieces is »Studie uber B-A-C-H« (originally titled »Faircomp 1C«) which appeared on FORMEN LETZTER HAUSMUSIK in 1984. The matrix which was developed for the music computer Fairlight CMI, could be altered in structure, length and also instrumentation according to the needs of the composer. The first version (»Faircomp 1A«) was recorded in 1982, the last one (»Faircomp 1N«) in 1986. ZWINGBURGEN DES HEDONISMUS (originally titled »Faircomp 1J«) is still the soundwise richest of all these versions despite its overall meagreness. The second version included here (the bonus track »Faircomp 1K«) already borders on the edge of mannerism with its instrumental and dynamical one-dimensionality. Actually the whole Faircomp series was — to use the words of Max Bense — a »precise pleasure«, which basically consisted of transforming kybernetic possibilities into something audible. Nevertheless ZWINGBURGEN DES HEDONISMUS (originally »Faircomp 1J«) saw a release as a one-sided LP in the end because of the braveness of the swedish label Multimood and also because of the fact that the work displayed a relative richness. I also wrote the matrix for a »Faircomp 2« series, but it was never fed into the Fairlight CMI. This computer was abandoned and replaced by the DX 7 and up-to-date samplers and computers in 1987. It seems that time has passed the »Faircomp 2« by. But who knows...?

Both tracks were already recorded in 1986 and are outtakes from the GEBOREN, UM ZU DIENEN album on EG. They didn't make it onto this album though,because I felt that they differed from the other tracks not only in content, but also musically. I therefore put them aside as an option for a possible second LP on the EG label, but in the end that was not the case. The label »Odd Size« made an enquiry if I'd like to contribute one side to the split LP »Face to Face, Vol.1«, and I immediately offered them MYSTERIEN DES HAFENS, because the two tracks — blended into each other — made much more sense in this isolated format. They refer to two specific places in the harbour of Hamburg. Both places have been transformed beyond recognition during the last 20 years though. Only a few photos that I took and the music are still wittness of what has already become history. Sic transit gloria mundi — and not without some regret. Stylistically MYSTERIEN was close to Industrial Music although it was released kinda late for that. But back then we didn't waste a thought, that the glorious years could already be over, also because the taking over by the enemy couldn't be forseen by anyone then. So empty bunkers and dumps still remained the favourite playgrounds of post-nuclear campfire rituals. But these fires would be dead soon.

Asmus Tietchens, 2006

Editorial notes:
Unfortunately it wasn't possible for me to take ZWINGBURGEN DES HEDONISMUS and »Faircomp 1K« directly from the Fairlight CMI, as it is now only to be found in a museum for instruments in the south of Germany. Furthermore the original floppy discs are lost. ZWINGBURGEN was therefore taken from the first CD re-release which appeared in 1994. »Faircomp 1K« was taken from an analogue tape copy. »Bubendey Notturno« and »Ritual auf der Halde« were newly blended into each other for this edition.

PRICE: 15,50 €

OUT November 2006

Z'EV / DAVID LINTON »Untitled« CD (DS98)

Released in conjunction with a concert on the 11. November 2006 at the »Lagerhaus« Bremen the CD feat. exclusive tracks by Industrial Music legend Z'EV and New York based percussionist and multi media artist DAVID LINTON who has worked with among others Lee Ranaldo, Glenn Branca, Rhys Chatham, Diamanda Galas, Christian Marclay and Elliot Sharp. Each artist is featured with a solo track plus a remix of the other artist.
Z'EV:     David Linton:

Track listing:

1. Z'EV »Soliloquy #1« 11'11 mp3 sample
2. Z'EV (LINTON) »Not Nil« 19'58
3. DAVID LINTON »Emerald Portal Excerpt — Part 1« 22'27
4. DAVID LINTON (Z'EV) »7/11elective-RE:mix_Z'EV« 7'00 mp3 sample

Total playing time: 60:36 min.

PRICE: 13,00 €

OUT November 2006

ORGANUM »Amen« CD (DS95)

The second installment of a short series begun with the »Sanctus« album issued by Robot Records (RR-35) in January of 2006. »Amen«, »Unto the Aeon of Aeons«, is a work of two parts using: grand piano, Hammond organ, tower bell, gong and voices.
The CD is pressed in a first edition of 600 copies in digipack.

Track listing:

1. »Amen 1« 20'04 mp3 sample
2. »Amen 2« 20'04 mp3 sample

Playing time: 40:08 min.

PRICE: 15,50 €

OUT November 2006

Z'EV »Production and Decay of spacial Relations vs. Reproduction and Decay of Spatial Relations« 2CD (IN LP COVER!) (DS91)

Celebrating the 25th anniversary of the very first Z'EV studio album which originally came out on Backlash in 1981, DIE STADT is proud to announce the re-release of »Production and Decay of spacial Relations« for the first time on CD. It features the original seven tracks from the vinyl plus six »recodings« entitled »Reproduction and Decay of spatial Relations« made by Z'EV in May/June 2005.
Back in the day Z'EV used to bring boxes over from Holland when he would come back to New York City which he would sell to Bleeker Bob (a famous Record Shop situated in the East Village of NY) who told him: »this is the best industrial record ever and I sell it to every japanese buyer who comes into the store«.
The CD is housed in a reproduction of the original LP (!) cover and comes with a special handmade insert. First edition of 500 copies.

Track listing:

1. »VUUR UUR 1« 4'31 mp3 sample
2. »OP ZOOM 1« 3'44
3. »OP ZOOM 2« 3'59
4. »VUUR UUR 2« 4'48
5. »ZUID/ZUID OOST« 4'12
6. »VERS LICHT« 4'48
7. »OOK UIT« 7'43
8. »Recoding of Track 1+4« 5'19
9. »Recoding of Track 2« 4'32
10. »Recoding of Track 3« 5'56
11. »Recoding of Track 5« 5'03
12. »Recoding of Track 6« 7'21
13. »Recoding of Track 7« 8'02 mp3 sample

Total playing time: 79:57 min.

The first edition of 500 copies also includes a bonus CD with never before released archive material all recorded in 1982 entitled »That was the year that was what it was«. It features the following tracks:
1. Z'EV »The sound of the light of metal for Jackson Mac Low« (18'11)
Cassette recording by Lynn Holst of a »wild-style« Z'EV performance in Martinson Hall at the Public Theater NCY 6 Dec 1982 (as part of the language / noise series produced by Ms. Holst. »I was invited to perform and choose 2 others, choosing poet Jacson Mac Low and text/sound artist Peter van Riper)«
2. UNS »Past todays« (18'38)
Cassette Recording by Merle Steir Live in Martinson Hall at the Public Theater NYC 24 may 1982. Vocals: The Sha'ul Z'EV persona. Sound by UNS: 2 VU matic turntables with 3 tone arms - modified for controlled skipping - each turntable held 2 records: »aside + beside« 12" by TO; Will Jackson + S. Weisser (2 copies) + »Wipe Out« 7" by Z'EV (2 copies) (Performance came after a group reading organized by Barbara Ess by a variety of artists of excerpts from the article by Paul Crutzen and J. Birks entitled »Nuclear Winter« that appeared in Ambio)
3. Z'EV »Element/L« (10'28)
From a cassette master. Source: Rough mixes recorded on cassette from the »Wipe Out« sessions recorded at Sorcerer Sound NYC June 1982. Rendering: July 1982 at Studio Od, Eindhoven. Tools: Sony TCD5M cassette deck, Revox 2 track. Overdubbing with splicing tape over erase head, splicing tape and block , single edged razorblades.
NOTE: At this time in history, cassette was THE ubiquitous storage medium, and while perhaps in this digital age some may feel the quality of the recordings seem to leave something to be desired, the performances here documented still deserve to be heard.
Total playing time: 47:16 min.

PRICE: 18,00 €

back cover
OUT September 2006


OUTPOSTS is a new album by Brendan Walls and his first release as a solo artist since his 2002 »cassiafistula« CD (Idea Records).

Brendan has been active in the Australian music scene for over 10 years and has also worked with Oren Ambarchi, Greg Turkington, Mirror, Daisuke Suzuki and others.
In it's two parts that cover an LP side each OUTPOSTS creates a dream like motion from distant drones of vaguely defined shape towards totally disembodied sound. The question of what is creating the sounds the listener is perceiving becomes more and more oblivious in the course of listening.

OUTPOSTS is also the first release on the DOM Bartwuchs label since the 1994 TNB/ORGANUM »wreck« LP and is now being pressed in an edition of 300 copies.

Track listing:

A-Side: 1. »Outposts - Part 1« 20'12
B-Side: 2. »Outposts - Part 2« 18'50

Total playing time: 39:02 min.

PRICE: 16,00 €

   OUT May 2006

C.M. VON HAUSSWOLFF »Operations Of Spirit Communication« LP (DS31)

Small repress of the classic album from 2000 which is partly based on (and also dedicated to) the work of Friedrich Jurgenson who recorded the »voices of the dead«. Gatefold cover. Clear vinyl. 300 copies.
The first 100 copies include the 7 inch »Operation Of Spirit Communication« (DS31A) in a matt finish cover (the standard cover has a shiny finish) only available through mail order.

Track listing:

A-Side: 1. »Operations Of Spirit Communication — Part 1« 24'20
B-Side: 2. »Operations Of Spirit Communication — Part 2« 22'43

Total Playing Time: 47:03 min.

PRICE: 14,00 € (Standard Edition LP) / 17,00 € (Special Edition LP+7")

   OUT May 2006

C.M. VON HAUSSWOLFF »Operation Of Spirit Communication« 7 inch (DS31A)

Two unreleased tracks recorded in 2006. This 7 inch is meant as a companion release to the repress of DS31. It comes in a full colour sleeve reproducing the original artwork of the LP. 500 copies on clear vinyl.

Track listing:

A-Side: 1. »12 Sine Missing One« 4'00
B-Side: 2. »1 Sine Missing Twelve» 4'20

Total playing time: 8:20 min.

PRICE: 7,50 €

OUT May 2006

ASMUS TIETCHENS »Geboren, um zu Dienen« CD (DS92)

8th part in the ongoing re-release series of all early Tietchens albums between 1980—1991. Described by Tietchens himself as his »Industrial« album, »Geboren, um zu Dienen« was originally released on the spanish ESPLENDOR GEOMETRICO label in 1986. The CD version incl. three unreleased bonus tracks from the same period and comes with a full colour fold-out booklet incl. liner notes by Tietchens himself.

Track listing:

1. »Mein Erstes Erlebnis« 1'29
2. »Zu viele dicke Kinder« 7'31 mp3 sample
3. »Merle« 2'26
4. »Medienlandschaft 6« 2'07
5. »Langer Anlauf« 6'36
6. »Gliim« 6'51
7. »Heroischer Reflex« 3'07 mp3 sample
8. »Zweites Maschinentraining« 9'43
9. »Deutsches Kinderlied« 1'18

Bonus tracks:

10. »Startlandung« 6'15
11. »Unter Tage« 6'26
12. »Marathon« 4'46

Total playing time: 58:35 min.

ASMUS TIETCHENS »Geboren, um zu Dienen« (Discos Esplendor Geometrico EG 003) 1986
If I'd ever recorded an »Industrial« solo album, it must be »GEBOREN, UM ZU DIENEN«. Although I obviously wasn't one of the inventors of »Industrial Music«, I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative — a tank war between NATO and the Warsaw Pact — sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms? This particular background has to be seen as the main influence on GEBOREN, UM ZU DIENEN. I believe that many of my colleagues also recording »Industrial« albums felt the same at that time. IF there would have been a »Bang« it — without doubt — would have been global.
Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. GEBOREN, UM ZU DIENEN was an experiment in itself which first fruits I set free immediately. As if I'd to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of »Industrial«.
The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish »Esplendor Geometrico« label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80's, also albums by the »Industrial« group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident »Nevertheless«.
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral (»A Call for abortion«), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the »Stiftung Warentest«. Go on Germany!

Asmus Tietchens, 2006

Editorial notes:
The original masters of all the pieces incl. the bonus tracks are in perfect condition and were used 1:1 for the transfer onto CD. Only the fade-out at the end of »Mein erstes Erlebnis« was slightly corrected.

PRICE: 15,50 €

   OUT May 2006

AIDAN BAKER »Oneiromancer« CD

Aidan Baker is a musician & writer currently based in Toronto, Canada. Classically trained in flute, he is self-taught on guitar, drums & various other instruments. He has released numerous CDs on independent labels from around the world. He is author of two books of poetry, two poetry chapbooks, & has published poetry, fiction, & criticism in various international & scholary journals.
As a solo artist, Baker explores the deconstructive sonic possibilities of the electric guitar as a primary sound source, creating music that ranges from experimental to post-rock to contemporary classical. He performs the experimental collective ARC & the ambient/doom metal project Nadja. He has also composed work for the The Penderecki String Quartet & The Uxbridge Chamber Choir. This is his first album for Die Stadt, using electric/bass guitars, drum machines, tapeloops, vocals. The CD comes in a full colour four-panel digisleeve with artwork by Aidan Baker.
The first 300 copies include a bonus CD featuring a live performance recorded in April 2005 Toronto, Canada, using electric guitar sounds only. Edition of 600 copies.

Track listing:

CD 1 — »Oneiromancer«:
1. »Wake Up« 14'32 mp3 sample
2. »Death Too Wrapped In Dream« 10'38 mp3 sample
3. »Do You Remember Me (From Your Dreams)« 10'22
4. »Dreams Of Broken Glass« 5'00
5. »Betes Noires« 17'00

Total playing time: 57:32 min.

CD 2 — »Live«:
1. »one« 8'15
2. »two« 6'44
3. »three« 8'16
4. »four« 13'17
5. »five« 15'04

Total playing time: 51:36 min.

PRICE: 15,50 € (Standard Edition) / 18,00 € (Special Edition incl. Bonus CD)

   OUT May 2006

FOVEA HEX »Huge« CD EP (DS86/JR002)

Following the critical acclaim which has greeted ep 1 »Bloom«, Die Stadt and Janet Records are proud to announce that »Huge« ep 2 in the NEITHER SPEAK NOR REMAIN SILENT limited edition series by FOVEA HEX is out. FOVEA HEX continues to shape-shift and to evade & confound those who bray »what exactly IS it?«, and »where does it BELONG exactly?«, and »who exactly belongs to IT?«. If you must bang on the table like that, you won't hear a thing. If this music can be described as »up-to-the-moment«, then perhaps we could use an up-to-the-moment term like »collective«. But eschewing all Fashion Accessory stalls, it lives as many miles away from the shock'n'awe factory beloved of the avantgarde, as it does from the souvenir-strewn temple of the new nostalgics. All in all, FOVEA HEX is something more akin to a labrynthine ensemble of associates, some recent, some ancient, some close to the core, some distant, some very heard-of and some never-heard-of, all of whom showed willing and able, at some point in time (and for reasons best known to themselves) to slither in and help prepare and perform these songs and quasi-songs written — or at least started-off — by CLODAGH SIMONDS. »Songs that don't go where you think. With voices to match...« somebody said recently. At the end of the day, that's about all that CAN be said with any kind of certainty. If you need a better idea of what this means, visit the Janet Records website now, where you'll find some treats we prepaired earlier — three mixes (by Andrew McKenzie) of near-moment excerpts from the songs from ep 1 »Bloom« and three (by Colin Potter and Clodagh Simonds) from new songs from ep 2 »Huge«. Players on »Huge«: Clodagh Simonds, Colin Potter, Roger Doyle, Cora Venus Lunny, Brian Eno, Laura Sheeran, Percy Jones, Carter Burwell, Lydia Sasse, Hugh O'Neill, Sarah McQuaid.
The CD comes in a full colour embossed cover. Edition of 2000 copies. The first 300 copies include a bonus CD »The Discussion«, featuring 22 minutes of material from »Huge« reworked and remixed by Andrew McKenzie (The Hafler Trio), only available from Die Stadt mail order.

Track listing:

1. »Huge« 7'01 mp3 sample
2. »A Song For Magda« 4'30 mp3 sample
3. »While You're Away« 7'49

Total playing time: 19:20 min.

PRICE: 13,00 € (Standard Edition) / 17,00 € (Special Edition incl. Bonus CD)