Kendra Steiner Editions

May 20, 2015

GIFT FIG: the duo of ALFRED 23 HARTH & CARL STONE, “STELLENBOSCH” (KSE #298), live in South Africa 9/2014

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A23H SA poster

GIFT FIG:  the duo of ALFRED 23 HARTH & CARL STONE

“Stellenbosch” (KSE #298)  CDR album

recorded live in South Africa, September 2014

Alfred 23 Harth: Reeds, Dojirak, Kaoss Pad
Carl Stone: Laptop and Voice

limited edition of 150 copies 

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

GIFT FIG STELL

The first GIFT FIG album, released by KSE in January 2012, was one of our most popular and acclaimed releases. The combination of two such pioneering and beyond-category figures as Harth and Stone provided not just telepathic improvisation and spontaneous composition that mixed and merged each other’s contributions until trying to separate out the parts became irrelevant….but also a kind of “third mind” came into being. About the 2012 Gift Fig album, Massimo Ricci wrote, A meeting between two big names whose partnership would have been nearly unthinkable just a few years ago. But there’s something that links Alfred Harth with Carl Stone besides their indubitable artistry: the influence of Asian cultures on their respective lives and crafts (one is based in South Korea, the other in Japan). These six tracks constitute a compendium of two concerts occurred in 2009 and 2010 in Frankfurt and Tokyo, but the extremely high quality of the sound and the lack of audience noise makes the CD comparable to a studio work.

The set is basically built upon Stone’s transformation (via Max/MSP) of Harth’s emissions, with subsequent additions of further pre-existing materials. The palette is obviously homogeneous: Harth also treats his “babies” (which include Eastern wind instruments like taepyeongso and dojirak) with a Kaoss pad, and uses bows on the instrument’s bell and in other parts too. Both employ samples and voice. But the description of the sources doesn’t excessively help clarifying how this uncompromising record sounds. The material, at least from what I gathered by repeated listens, appears mostly improvised. Many different scenes succeed in ever-radical spurts, without concessions to any kind of easiness or relief; a latent tension informs the bulk of the sonic settings, which in some moments approach a near-explosive configuration. Percussive aspects are frequently privileged, the mechanical features of the reeds amplified and expanded to become an out-and-out menace: imagine a giant crab walking towards you with bad intentions (“Adler_Kino 23 Gu II”). Somewhere, Harth’s pulmonary exhalations morph into powerful winds deprived of a chunk of the frequency spectrum. And I could go on.”
However, this new STELLENBOSCH album, recorded live during a tour of South Africa in September 2015, is quite different. It’s an album with more space, an album which incorporates distant shores into its landscape, but even though at its heart is intuitive multi-levelled improvisation, Stone’s background as an electronic composer and Harth’s background as improviser and collagist always inform the paintings in sound. It’s spell-binding, it raises the listener into a higher state of consciousness, it features a good amount of Harth’s virtuoso reed playing, and it takes the concept of “deep listening” one associates with 70’s works such as the duo version of the Spontaneous Music Ensemble and ups the ante to the 23rd power.  The possibilities within improvisation/spontaneous composition have grown exponentially each year since the 1970’s (which had grown incredibly since the jazz-based blowouts of the mid-late 60’s), and while this album would have appeal to someone weaned on, say, the Sam Rivers/Dave Holland duets on Improvising Artists, on another level, it makes that kind of thing, progressive in its day, sound like ragtime.
A beautiful, challenging, deep, and transcendent series of spontaneous sound-collages, recorded live, from two contemporary masters who continue to blazing down the highway toward a horizon of pure possibility.
ALFRED 23 HARTH and CARL STONE……the duo of GIFT FIG.  STELLENBOSCH (KSE #298). Two contemporary explorers in sound and aesthetics. We’re honored to release this new album, but warn you it’s limited to 150 copies. GET YOURS NOW. Ordering information can be found at the top of this release announcement.

gift fig foto

Visit Mr. Harth online at http://alfredharth.blogspot.com/

Visit Mr. Stone online at http://www.sukothai.com/

Gift Fig 2

watch a live performance of GIFT FIG here: http://isitnecessary.tumblr.com/post/50018241962/dotolimpic-2012-day-1-gift-fig-carl

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Whiie ordering this GIFT FIG–STELLENBOSCH album, why not pick up some of KSE’s other CDR albums of contemporary forward-thinking music:

KSE CDR’s OF EXPERIMENTAL MUSIC NOW AVAILABLE: 

full-sized KSE CDR’s ($8.00 each, ppd. in US—outside US $11.50)

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE COVER

NEW FOR 2015: KSE #293, MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307, STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292, DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

,,,,,,,,,,,,

This is the sixth and final release in KSE’s Spring 2015 group of albums. Thanks for your support of and enthusiasm about these works. When I listen to the recent albums by Derek Rogers and Fossils and Marcus Rubio (More Eaze) and Steve Flato, I’m honored to have played a part in bringing them to you. These would have been my favorite albums of the year no matter who released them, so for KSE to be releasing them is truly a dream come true.

We will be back in mid-to-late June with an amazing new psychedelic creation from Pittsburgh’s THE GARMENT DISTRICT (featuring Jennifer Baron), “LUMINOUS TOXIN” (KSE #296)….and then after that, a stunning new duo album from LISA CAMERON and ERNESTO DIAZ-INFANTE, “SOL ET TERRE” (KSE #299).

January 22, 2012

new ALFRED 23 HARTH / CARL STONE album, “GIFT FIG” (KSE #207), available now!

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ALFRED  HARTH  &  CARL  STONE

“GIFT   FIG”

KSE #207,       full-length CDR,     $8.00 (US) postpaid/$10 outside US postpaid

released 15 January 2012

payment via paypal to django5722(at)yahoo(dot)com…please leave a note w/ your order indicating which item you are ordering…

Carl  Stone   and   Alfred  23  Harth

The German multi-instrumentalist free-improv, free-jazz master ALFRED 23 HARTH meets American electronic music pioneer CARL STONE live in Japan and Germany on this new album from Kendra Steiner Editions, “GIFT FIG” (KSE #207). Any album from either gentleman is always 1) an event and 2) totally different from the last album and from anything anyone else is doing. That’s what happening here in a series of almost telepathic live duos. It’s fitting that the title, GIFT FIG, is a palindrome because both Harth and Stone merge into one another and it’s hard to tell where one’s work begins and the other ends. Harth and Stone both echo the other,  tease the other, finish the other’s lines, proceed along parallel paths like two teenagers drag racing on the outskirts of town and eventually heading toward each other in a game of chicken, but escaping danger in the final moment,  causing our hearts to race. Harth was one of the first of musicians emerging from the late 60’s free-jazz/free-improv scene to embrace electronics, and Stone has been at the forefront of using electronics in a live setting for decades,  improvising with the ease and flow of a Sam Rivers and the freshness and inside-out investigations of a Derek Bailey…in addition to being an important American electronic composer. Harth continues his work with extended techniques on the reed instruments, explored thoroughly in his first KSE release, Micro-Saxo-Phone. Edition III (KSE #175), and with Stone’s seemingly infinite inventory of sounds and his mirroring of Harth’s lines in chopped-and-channeled form, you may feel you are listening to a musical version of the shootout in the house of mirrors at the climax of Orson Welles’ film The Lady From Shanghai. For me, this is as significant and timeless an album as The Music Improvisation Company or Conference of the Birds.

Thanks for Mr. Harth and Mr. Stone for allowing KSE to release this exciting and totally original album. Only 133 copies, hand-assembled and hand-numbered, on a professionally replicated disc for superb sound. $8.00 postpaid anywhere—-we want this music to be heard everywhere so we keep expenses low and prices cheap.

Visit Mr. Harth online at http://alfredharth.blogspot.com/

Visit Mr. Stone online at http://www.sukothai.com/

And don’t forget to try some of KSE’s other releases of contemporary experimental music on CDR, all limited hand-numbered, hand-assembled limited editions (usually under 100 copies), and find out why Kendra Steiner Editions was listed as one of the ‘Best Labels of 2011’ at Foxy Digitalis:

full-sized CDR’s ($8.00 each, ppd.)

KSE # 214 (CDR), SABRINA SIEGEL, “Bottlecaps”

KSE #208 (CDR), ANTHONY GUERRA & BILL SHUTE, “subtraction” (limited USA re-press of CD originally issued on Black Petal Records, Australia)

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio”

KSE #199 (CDR), Brent Fariss, “Four Environments….Collapsing.”

KSE #189 (CDR), Nick Hennies, “Objects.”

KSE #175 (CDR),  Alfred 23 Harth, “Micro-Saxo-Phone, Edition  III.”

KSE #201 (CDR), Andreas Brandal, “Disturbing The Dust.”

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3″ mini-cdr’s ($5.00 each, ppd.)

note: we have released the final cdr in the 3″ format (ST 37) and will allow these to sell out and go out of print as we enter 2012; they will not be re-pressed ever, so get the ones you want NOW…

KSE #205 , ST 37, “K B D P” 

KSE #203,  R. LEE DOCKERY, “Live at the Salvage Vanguard Theater”

KSE #196 , SMOKEY EMERY, “Incident at Town Lake”

KSE #202, BOOK OF SHADOWS, “Poppets and Strings”

KSE #204, XANTHOCEPHALUS, “3 W B.”

KSE #198 ( 3-inch CDR), MATAMOROS  (R. Lee Dockery and Derek Rogers), “Five-Toned Rows”

KSE #191 (3-inch CDR), Massimo Magee & Tim Green, “Direct To Tape.”

KSE #200 (3-inch CDR), Alfred 23 Harth/Soojung Kae/Chang U Choi, “Red Canopy.”

KSE #194 (3-inch CDR), Venison Whirled, “Xibalba.”

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April 23, 2013

from Lisa Cameron, legendary figure in Texas psychedelic music, comes THE MANY MOODS OF VENISON WHIRLED (KSE #243)

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THE MANY MOODS OF VENISON WHIRLED (aka Lisa Cameron)

(KSE #243, cdr album)

$8 US postpaid/ $10 elsewhere

payment via paypal to django5722(at)yahoo(dot)com     please include note indicating what items you are ordering

(a legendary figure in the Texas psychedelic/new-music scene, Lisa Cameron has been slaying Austin audiences for years with her Venison Whirled feedback-based performances, and after her much-acclaimed VW 3″ cdr XIBALBA for KSE, we’ve answered your demand and issued an all-new full-length Venison Whirled album that captures the magic(k) and the diversity of the Venison Whirled experience)

many moods

The great figures in the history of psychedelic music and culture were always pushing the boundaries and alienating people as they sought to  find that ultimate chord where they and their music became one with the cosmos. Although Austin-based percussionist and multi-instrumentalist LISA CAMERON is well-respected in the noise and free-improv scenes, and although she’s played with everyone from Brave Combo (she was in the original late 70’s lineup) to Roky Erickson to Jandek to members of Faust and Guru Guru (and she’s opened for everyone from Psychic TV to different incarnations of Hawkwind and the bands growing out of the Hawkwind diaspora), and also been a member of seminal groups such as ST 37, Glass Eye, Three Day Stubble, etc.,  her conception of the whole noise-drone aesthetic is rooted in the extremes of the original psychedelic era, rooted in White Light White Heat (which she bought as a child in Winfield, Kansas, and which changed her life) and Happenings Ten Years Time Ago and Blue Cheer.

That’s what makes her Venison Whirled performances so different from the performances of those who come out of the academic side of the new music scene or who come to noise out of avant-metal or who come to it out of the world of electronics and sampling. Lisa’s Venison Whirled seems to exist at the dividing line of that moment when a Yardbirds or Velvets or Blue Cheer performance crosses over into blissful and out-of-control feedback–Lisa has learned to control that lightning in a bottle, to manipulate it, and to build an aesthetic around it, and that’s the core of the Venison Whirled experience. As a percussionist, she understands the essence of vibration, and as a deep spiritual thinker, she also understands the spiritual essence of holy vibration. Remember, she is a PERCUSSIONIST—yes, she also plays the guitar, but this is feedback growing out of percussion, not guitar amp feedback.

Each track here—-growing out of the root elements of fire, water, air, and earth—-is sculpted feedback and distortion that’s also packed with found sound, speech, percussion, and on the final track, the beautiful wordless vocals of Alma Lee Cameron (Lisa’s partner and also co-member of Devil Bat). You can peel these sound sculptures apart and find all kinds of organic life and rich textures and pockets of energy. Or you can just let go and float downstream on the molten lava river as Elmer Fudd announces the apocalypse…let Venison Whirled fiddle while Rome burns! It’s 100% higher-key, 100% Texas, and 100% mind-bending. And it’s a numbered, limited, DIY edition of 123 copies…..anyone who’s caught the Venison Whirled experience live in Austin knows that Lisa provides a PHYSICAL psychedelic experience from her music, and these tracks were recorded live and carefully mastered to retain the physicality and deep presence of the original performances, some of which I was lucky enough to attend in person…

THE MANY MOODS OF VENISON WHIRLED…get your copy now!

Lisa is an important part of the KSE family–she performed at all 3 of the KSE live events in 2011-2012, and when I assembled the band for the June 2012 Jandek performance in Austin, Lisa was the first person I suggested to the Representative From Corwood, and as anyone who attended that show remembers (and I was also present at the rehearsal, where Lisa provided for Jandek a foundation that the rest of the band built off of), Lisa’s playing was the sonic glue that kept the Jandek ensemble unified…She’s an amazing person and artist, and KSE is honored to have her as part of our artistic family…

lisaLisa playing with ST 37 at the KSE Psychedelic Disaster Whirl, fall 2011

lisa and maniLisa playing with Mani Neumeier (Guru Guru), 1 January 2012

venison, hyrrs

the Venison Whirled  CDR   “Hyrrs to Isis” 

venisona Venison Whirled performance at Red 7,  in Austin in 2011

KSE concert fourBill Shute and Lisa, at the Salvage Vanguard Theater, right before the KSE 6th Anniversary Concert, April 2012

venison whirledthe 3″ mini-cdr XIBALBA was released by Kendra Steiner Editions in 2011

many moods

THE MANY MOODS OF VENISON WHIRLED (KSE #243)

 CDR’s of experimental music  presently available from KSE:

$8 US / $10 elsewhere, payment via paypal to   django5722(at)yahoo(dot)com

KSE #243 (CDR), VENISON WHIRLED (aka Lisa Cameron), “The Many Moods of Venison Whirled”

KSE #254 (cdr), DJIN AQUARIAN (of Ya Ho Wha 13)/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

KSE #233 (CDR), ALFRED 23  HARTH / CARL STONE / SAMM BENNETT / KAZUHISA UCHIHASHI, “The Expats “

KSE #239, (CDR) FOSSILS, “Bells and Gulls”

KSE #251, (CDR) FORBES GRAHAM, “Return: The Journey”

KSE #247 (CDR), MARCUS RUBIO & BILL SHUTE, “Only The Imprint Of An Echo Remains”

KSE #237 (CDR),  MICHAEL BARRETT  (Belltonesuicide) & MIKE GRIFFIN (Parashi), “Birtual Seme-Alabak”

KSE #235 (CDR), BOOK OF SHADOWS, “Chimaera”

KSE #228 (CDR), UNMOOR, “Night Driver”

KSE #207 (CDR), ALFRED 23 HARTH & CARL STONE, “Gift Fig”

KSE #206  (CDR), ERNESTO DIAZ-INFANTE, “Emilio “

KSE #238 (CDR), DANIEL HIPOLITO/EVA KELLY/BILL SHUTE, “Fascination”

KSE #222 (CDR), MASSIMO MAGEE, “Sopranino Solo, “ cover art by MP Landis.

KSE #220 (CDR),  MATT KREFTING, “Sweet Days of Discipline”

KSE #226 (CDR), DEREK ROGERS, “Born Into Systems”

Thanks for your support of independent non-aligned DIY arts organizations that circumvent the established “underground” hierarchy and connect person-to-person…

December 10, 2008

“A Gift of Stars” (KSE #124) now available!

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MICHAEL JACOBSON & BILL SHUTE, A GIFT OF STARS (KSE #124)

“Look to the skies for the signs of things to come, ” they say.

And that’s what Michael Jacobson and I have done in our new collaborative chapbook, A GIFT OF STARS (KSE #124).

A Warhol-esque eight-pointed star radiates from the center of this nine-page creation onto eight different visions of image and word and symbol. Michael in Minnesota and yours truly in Texas used the “same” seamless sky, 1500 miles apart, as our inspiration, shooting arrows at the same target from differing locations and perspectives over a two-month period of work.

We hope you find the end result interesting and worthwhile.

Michael Jacobson is author of THE GIANT’S FENCE, curator of the blog
The New Post-Literate, and major figure in the asemic writing movement.

Ordering information at http://kendrasteinereditions. wordpress. com/available-kse-poetry-chapbooks/

And don’t forget the other recent KSE poetry chapbooks:

#116, MISTI RAINWATER-LITES, next exit: ten ;

#115, various artists , “KSE LAST POEMS” collection

#121, BILL SHUTE, leaf-blowers (sound library series, volume 37 ) ;

#117, ZACHARY C. BUSH / BILL SHUTE, shanti ;

#114, JIM D. DEUCHARS, allegheny rising ;

#112, MK CHAVEZ / JOHN SWEET, next exit: nine ;

#111, A. J. KAUFMANN, poznan city gospel ;

#110, CHRISTOPHER CUNNINGHAM, in gambler’s blood (sound library series, volume 36).

Kendra Steiner Editions’ next release, STILL HUMAN by LUIS CUAUHTEMOC BERRIOZABAL should be available by December 20th.

January 11, 2017

Alfred 23 Harth’s long out-of-print first KSE album MICRO-SAXO-PHONE III is now available as a digital release on Bandcamp!

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We’re honored to be releasing new works from ALFRED 23 HARTH, and in the last seven years we’ve put out TEN releases from Mr. Harth (eleven, if you count the KSE 10th Anniversary album, on which he appears). Those albums are not permanently in-print and tend to sell out in 8-10 months.

In answer to many requests to make the earlier, out-of-print KSE-A23H albums available once again, we’ve worked with Mr. Harth to start bringing them back in digital editions, supervised by the artist.

The first to be reissued digitally is the first of his KSE albums, the much-acclaimed 2010 release MICRO-SAXO-PHONE III!

LONG OUT-OF-PRINT, BUT NOW AVAILABLE AGAIN AS A DIGITAL ALBUM

ONLY $7 US at Bandcamp

ALFRED  23  HARTH

“micro-saxo-phone. edition III”

originally KSE #175

recorded at LaubhuetteStudio, Moonsum, South Korea, 2010

total running time: 74:11 (17 tracks)

a23h-newer

You can purchase the album for only SEVEN DOLLARS here:

https://alfred23harthonkse.bandcamp.com/releases

Here are my original comments on the album, from the KSE website release announcement:

  In his new album MICRO-SAXO-PHONE. EDITION III, German free-music multi-stylist ALFRED 23 HARTH  has extended the vocabulary of the solo saxophone deep into the 21st century, creating a jagged, self-reflexive, multi-layered work that will stop listeners in their tracks.

   In jazz circles, the vocabulary of the solo saxophone is often traced back to Coleman Hawkins’ mid-40s recordings “Hawk’s Variations” and “Picasso.” In the late 60’s and early 70’s musicians as diverse as Anthony Braxton, Steve Lacy, Lee Konitz, and Sonny Rollins began re-investigating the possibilities 0f solo saxophone performance, opening the door for musicians ever since. Saxophonist ALFRED 23 HARTH is a man who has been on the cutting edge of the free-music world since his emergence onto the scene in the late 1960’s Germany, and his new album “micro-saxo-phone. edition III”  provides him a vehicle to use ALL aspects of his instrument, close-miking the keys and the reed, bowing the body, as well as using his virtuoso technique in passages that run the gamut from the lyricism of a Ben Webster to the highest chirps and the lowest rumbles, from clipped bursts to melting smears. In addition, he is multi-tracking new recordings, playing against older recordings of himself from the 70’s, weaving in strains of musique concrete and strands of spoken word into sound collages, and then using a Kaoss Pad to add further layers and to slice-and-dice the rest. “micro-saxo-phone.edition III”  is a truly unique work, one recorded especially for KSE by Mr. Harth just a few months ago. (2010 comments)

And here are Alfred Harth’s comments on the album, at the time of its 2010 release:

NOTES ON KSE #175   micro_saxo_phone, edtion III (MMX)

In early 2008 I again had started a kind of work-in-progress of solo recordings, called “micro_saxo_phone” which album title refers to the fact that I am using a sax of course + microphone (contact mics etc) of course for feeding devices as the Kaoss Pad or others + using the possiblities of my laptop. Together with this equipment I could give live performances which – for several reasons – did not happen often so far, though more probable within performances with others, as in the duo “Gift Fig” together with Carl Stone e.g.

“micro_saxo_phone, edition II”, CDR Laubhuette Production M10 from 2008 http://laubhuettestudio.blogspot.com/ gave an overview about what I was trying to state within the traditional course of my former solo recording on Side A of the LP “Plan Eden” from 1986/7 where I had begun to use electronic devices & effects in combination with solo tenorsax. On “msp,eII” I used baritonsax, tenorsax, alto, sopran, bassclarinet, breath & saliva noise multiphonics and even bowed the saxes’ bodies (con arco) during blowing and doing percussion with the instrument’s keys.

On “msp,eIII” I extended the language by means of using the sounds of the key springs which create a kind of meditative Asian feel and also by texts.
I searched for finding a way to voice words during blowing (e.g. at the beginnung of “doublespeak” and tracks 14,15), or underlined words (and other stuff) that I had recorded on cassette in 1972 (when I was 23) or by dubbing an interview with Japanese art photographer Nobuyoshi Araki which I had recorded in 1998 in a kind of double voicing. The same track also contains a sample of Korean gagok which is a kind of fake classical music – from some decades ago – made in Korea. “doublespeak” is the exception – as a composition – within the solos, as is “chukyo” using some of my eguitar recordings (as well as track 3). There are also some “classical” solos (without all effects or edits): track 9,
10 (underlined alto solo from 1972) and 13.

With that title “doublespeak” I also refer to George Orwell’s term “doublethink”, which means the ability to believe contradictory ideas simultaneously. And there are more doublespeak titles here, as “surplussed”, “twonky” (software designers’ jargon inspired by a 1953 sci-fi film starring Hans Conried and Gloria Blondell about a TV that is really an alien life form) etc. Other titles refer to themes and authors that I am also dealing with these days. “chukyo” is a dedication to Chukyo University in Nagoya, Japan, where I had been invited by the above mentioned Carl Stone to lecture and had met Fomal Haut, a great artist & pioneer of computer graphics.

Alfred 23 Harth
, December MMX


Thanks to Mr. Harth for working with KSE all these years and these TEN releases.

If this digital release succeeds, then we’ll see about bringing back some of his other out-of-print KSE releases digitally. Please purchase this classic for your A23H library and help us get this digital release series in action!

January 2, 2016

KSE 2016 New Year’s Update

Filed under: Uncategorized — kendrasteinereditions @ 1:09 pm

325 releases later, Kendra Steiner Editions reaches TEN YEARS of contemporary poetry and experimental music in early 2016. It all began when I needed some copies of a new poem (Four Texas Streams) to distribute at a reading I was doing at Viva Books here in San Antonio in support of my Word Mechanics poetry book Twelve Gates To The City: The Labours of Hercules in the Lone Star State. Four Texas Streams did well, so I went on to publish others, then bring in other poets I respected and whose work I felt needed more exposure, from young and relatively unknown poets such as Stuart Crutchfield and A. J. Kaufmann to respected names such as Doug Draime and Luis Cuauhtemoc Berriozabal. Then after a few years we moved into music, with an album by Sir Plastic Crimewave and a 3″ mini-cdr by Derek Rogers. Now we move into our second decade of creation. Thanks to all of you who have supported KSE in one way or another over the years.

I hope we make it through a second ten years. The underground “market” changes from year to year, but the most important lesson I’ve learned in that respect is that YOU BUILD YOUR OWN UNIQUE AUDIENCE IF YOU ARE DOING UNIQUE WORK. And we’ve done that….and on an international level…and for ten years. It’s sad that some of the folks we’ve worked with over the years have changed the nature of their work to suit the “alternative” marketplace or to curry favor with the gatekeepers of “alternative” culture, and in every case they have cheapened or diluted their work and lost the spark which made them worthwhile in the first place….but that’s the way of the world, isn’t it? As Little Richard once observed, some people lose what they have to get what they think they want.

Also, while we are waxing philosophical about the state of the arts and culture, isn’t it kind of ironic and on a deeper level depressing and pathetic that Rolling Stone and The Village Voice and the like are now featuring a “Top 15 Noise Releases” list? Noise? That’s so five years ago. Or is it ten? Jandek and the Nihilist Spasm Band and Mahogany Brain and Fossils and Harry Partch and Sun Ra and Brian Ruryk and Wadada Leo Smith and Steve Lacy never needed labels and names-of-movements to justify their work, as if any name or label could ever encompass what they have done/are doing. I’ve lived long enough to see dozens of movements come and go in the various arts, including my own chosen field of poetry. When I was a teenager in high school back in the mid-70’s, I was carrying around LP’s by Alfred 23 Harth, Captain Beefheart, Anthony Braxton, Faust, John Cage, Kim Fowley, The Spontaneous Music Ensemble, and the like, and I still am today! My core has not changed, but my scope has enlarged and grown exponentially. I’m still as hungry as I was then (perhaps that’s the real key), and I still every month take a chance on books and music and art and film by people new to me. NOT just recommended to me. I plan to continue doing that…As long as people like Massimo Magee and Lisa Cameron and Ernesto Diaz-Infante and Alfred 23 Harth are out there doing important and under-recognized work, I’m going to be out there plugging away for them by championing and releasing their work through KSE. Life is short—-USE every day you have available to you. As Kinky Friedman once stated to justify one of his candidacies, “why the hell not!”

We had 22 music releases planned in 2015 and we managed to get 21 of them out (apologies to Lisa Cameron and Nathan Bowles—-their album will be out later in January), and we issued around 12 poetry chapbooks. That’s at least 33 releases. I don’t see that happening again—-maybe a total of 20 poetry and music releases in 2016. However, we here have the attitude that it’s creation which is important, not reception. Some labels/presses put out 3 or 4 featured releases a year and work the rest of the year supporting them, promoting them, sucking up to the “alternative” powers that be (and some of those “powers” who were our former champions seem to expect more sucking-up-to than I’m willing to provide!), etc. When you consider that someone on the level of fame of John Cage had MANY unperformed compositions when he died and that “new” compositions of his are STILL being performed and recorded today, that Gertrude Stein had 8 large volumes of high-quality unpublished works left when she died AND EVEN AFTER HER DEATH SHE HAD TO PAY FOR THEIR PUBLICATION, and that a small percentage of Andy Warhol’s 1980’s work was ever exhibited in his lifetime and that these later works are amazing in their quality and diversity and originality (and unlike you or me, these are people who had large international reputations…but it’s the WORK that survives, not the reputation)…when you consider that Melville had to privately publish his later poems (some of his greatest-ever work) and when you consider the reception of Emily Dickinson’s work in her lifetime (not to mention recent greats such as Angus MacLise or poet Leland Hickman), the message is….learn your craft to the point where it becomes as natural to you as breathing or speaking, if you compete with anyone compete with the greats in your own pantheon of greatness NOT with your contemporaries, and create create create.

WE WILL BE GONE FROM 4 JANUARY to 8 JANUARY in North Texas (orders received while we are gone will be sent out on Monday 11 January). While up there, Mary Anne and I will present Derek Rogers with the first 20 copies of the KSE 10th ANNIVERSARY COMPILATION ALBUM (pictured below), a project that he and I have been working on for six months. It will be released in the latter half of January….so save your orders until that time. It is a stunning collection of new and exclusive tracks from 10 great talents we’ve worked with in one way or another over the last ten years….and it also totally captures what KSE is about.

KSE comp_0001

We have a lot of surprises in store for 2016, but first comes the 10th Anniversary Album in mid-January. Then our first featured poetry chapbook will be a new collection from one of the greats, Luis Cuauhtemoc Berriozabal. If I could put a poetry book in the desk drawers of motel rooms the way the Gideons do with Bibles, I would put a collection of Pablo Neruda. He was a master of the use of natural and everyday particulars, and that’s what poetry is about, particulars which resonate. Luis is one of the finest post-Neruda poets, a man with deep and profound roots, sipping from the underground streams which transcend time and nationality, and it’s a pleasure to continue to present his work. Watch for this collection, which should be out in a month or two. Also, I will be moving in some new directions and exploring some new publishing platforms and performing venues with my own poetry in the next two years (stay tuned for that), and KSE may be doing a few European-based events in 2017. Hope we’re all still standing…and even if we all don’t make it, some of us will…

Our releases tend to stay available for 3-6 months. Be sure to stock up on quality experimental music and contemporary poetry for the new year now.

Here’s what’s available, including the newest releases from the last few days:

CDR ALBUMS ($8 US postpaid / $12.00 elsewhere postpaid)

KSE #327, BELLTONE SUICIDE (aka Mike Barrett), “Wave Table Erotica”

KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle

KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

KSE #310, MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #305, RAMBUTAN, “Remember Me Now”

KSE #296,  THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

KSE #298, GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

—————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #319 (poetry chapbook), BILL SHUTE, “Sculpture Garden In The Snow” Creel Pone Sound Study #11

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

———————————————————-

Remember, as bad as so much in society is, we are in the midst of a golden age in the arts, and it will take 70+ years for future anthropologists-of-culture to wade through and make sense of all the micro-press and micro-label and self-issued works which are coming out daily. We are all living through and part of this period, each of us a stone in the mosaic, a torn piece of throwaway newsprint in the larger collage—-we are all literally making history and building bridges into the future.

And let’s not ever forget that it’s the workers, the most bashed group in society in our present set-up, who make all this possible. The overnight crew at your local supermarket who stock the shelves; the agricultural workers who grow and pick those strawberries and grapes and coffee beans that start our mornings; the bus drivers who get up at 4 a.m.; the no-benefit, 30 hour-a-week  day-care workers who without knowing it are molding the future of those runny-nosed and overflowing-with-life two and three year olds who will grow up to, I hope, not screw up the world as much as my generation and the one before me have; the bartender who serves you that local-brew at the end of a long work week—-those are the heroes of everyday life. Those of you reading this on a portable device at 3 a.m. while you are working as a security guard at a building you as a citizen would not be welcome in, I’m talking to you. Those of you up with a fussy  infant or toddler at 3 a.m., trying to make their world better and their life more pleasant and their future brighter than yours was (ours was/mine is), thank you. I try to be a positive person in my daily life. I’m not going to be able to overthrow capitalism or do away with militarism or imperialism or fundamentalism or bigotry, and I’m not going to do away with that percentage of the population who are jerks and a**holes and egomaniacs, but the majority of people aren’t, and I try to view every person I meet (worker or customer) at the driver’s license office or the convenience store or the post office or the bus stop as a brother or sister, a comrade in the fight that is getting through daily life in the US circa 2016 (or anywhere…most have it worse than we do), until they prove otherwise, and unfortunately many do prove otherwise, often those who make the loudest pronouncements about how wonderful and how correct and how progressive they are. That was one of the first “dirty little secrets” of life I learned, probably while still a teenager. As Louis Armstrong and many others in many other walks of life have observed, those who talk don’t know, those who know don’t talk.

First, do no harm.

Off to North Texas….see you in a week or so….

December 29, 2015

MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude” (KSE #326, cdr album)

Filed under: Uncategorized — kendrasteinereditions @ 7:30 pm

MORE EAZE (aka Marcus M. Rubio)

“Abandoning Finitude”

KSE #326 (CDR album)

limited edition of 48 copies 

cover artwork “Fire Inside Dark Matter C” by Bob Bruno

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

MORE EAZE ABANDONING

KSE is proud to welcome back Marcus Maurice Rubio aka MORE EAZE for the third and final installment in his KSE Trilogy of 2015. With a creative energy like Marcus’s, it’s best to just stand back and let him do his thing. We’d agreed on the concept for this More Eaze trilogy before he began work on the first installment (now out of print), yet each album has been totally surprising to me as Marcus delivered the masters. As this third album works its spell on the listener, the dominant impression initially might be the wizardry on the guitar and violin strings, the virtuoso playing (no surprise that MMR is also a one-on-one music educator), which morphs from demanding minimalist passages to lyrical deconstructed songs, a few moments of which had me thinking I was listening to some big-ticket early 70’s European private pressing acid-folk LP…but get attached to that and soon after you are transported into an electronic music world of ventilator shafts and gearshifts….and let’s not forget the post hiphop interludes. Yes, there’s something for everyone here, and it all fits together into an amazing album-length collage. We at KSE are proud to have worked with Marcus to bring you this trilogy of MORE EAZE works. As we stated with his previous release, Rubio is almost like the Van Dyke Parks of the noise-experimental music world: he’s outrageously talented, has incredibly deep roots (how often do you hear Abner Jay’s name dropped in discussions of the kind of music played on WFMU or reviewed at Vital Weekly?), and is a virtuoso in his composing/arranging/manipulation of parts/whole. Very happy to have had him do this More Eaze CDR trilogy for KSE….be sure to grab this one, and the previous one ACCIDENTAL PRIZES is still available too.

KSE #326 (CDR) MORE EAZE (Marcus M. Rubio), “Abandoning Finitude”

KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

——————————————————

Marcus M. Rubio on Abandoning Finitude: “one of the main goals of more eaze is to create works that have the potential to go anywhere given some related element from the last piece. this final record in the Kendra Steiner trilogy of 2015, is structured similarly to the previous two but explores this concept even more in depth. this time the relationships between tracks are even more subtle using tempo and timbral connections just as much as harmonic relationships to create a music of infinite possibility. the theme of the creative nature of destruction is still prevalent in this work too with pieces often briefly presenting  their themes before being deconstructed and turned into the next work and then the next. overall, this album for me is about possibility and rhythm and how those two things are interconnected in subtler than we often realize.

………………………

CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

FOSSILS MODERN

 

 

 

 

 

 

 

 

NEW FOR WINTER 2015/2016, KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle

 

 

WEREWHEELS COVER

NEW FOR WINTER 2015/16, KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

MIKE AND TOM LUDDITES COVER

 

 

 

 

 

 

 

 

NEW FOR FALL 2015: KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

A23H CAMELLIA

NEW FOR FALL 2015: KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

 

massimo 2015

NEW FOR FALL 2015: KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

 

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

———————————————————————————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

INVENTING cover

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

MANIPULATING AMBIGUITY

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

satori in lake charles

 

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

………………………..

December 13, 2015

new album from FOSSILS, “MODERN ARCHITECTURE” (KSE #324)

Filed under: Uncategorized — kendrasteinereditions @ 6:48 pm

FOSSILS

“Modern Architecture”

KSE #324/MJC #442

cover art by Wyatt Doyle (visit him at www.newtexture.com)

a co-release of Kendra Steiner Editions and Middle James Co.

CDR album, edition of 48 copies (24 from KSE, 24 from MJC)

$8 US / $12.00 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

on this album, the core FOSSILS duo of Daniel Farr and David Payne are joined by T. J. Borden and Rob Michalchuk

FOSSILS MODERN

Ontario’s FOSSILS are back for their third and final KSE release of 2015, another joint effort with Middle James Co. in a VERY limited edition. These short-run editions have been selling out in a few months, so be sure to grab yours now.

From our perspective, the FOSSILS collective is an ESSENTIAL part of the new music scene, and they have been for many years. With music (sound sculpture) rooted in such outfits as AMM, The Nihilist Spasm Band, and the LAFMS, they have also through their MIDDLE JAMES CO. organization kept the lo-fi DIY flag flying. So many labels today are pursuing “art editions” which are beautiful and do sell for their self-conscious “collectability”, but are a bit too precious and pretty for our taste. I like packaging where you can’t tell if there is a printing error or not—-packaging where you could sit a coffee cup on it and the coffee-stain ring would become part of the artwork. KSE applauds their keeping the xerox/DIY/punk-industrial/anti-pretty aesthetic alive and kicking. As DIY micro-labels continue to lose sales to the pretty and the pretentious, this attitude is needed now more than ever.

As for the music, every FOSSILS album is different, but many things stay the same: the playful improvisation, the multi-textured sound sculpture, the speaker-splitting jaggedness, the humor, the “action painting in sound” aesthetic. This one (which features saxophone, percussion, cello or violin, guitar, and electronics) begins quite playfully (almost a twist of Half Japanese, though with saxophone) and then  heads for a long walk along the Canadian free-improv prairie, adapting to the weather and even morphing into almost-antisong song in a few places. It takes you into its own world for the length of an album, and then, as when leaving the darkness of a fun-house and emerging into the mundane light of day, the CD is over, you’ve crashed. But the trip was awesome!!!

In the free-improv/ lo-fi /sound-sculpture / noise world, FOSSILS are truly the only band that matters, and we at KSE are proud to partner with them once again. I listen to FOSSILS music a lot—-it’s the perfect antidote to a regulated but insane world. The intuitive absurdist SENSE in their playful and exploratory paintings in sound gives me faith in humankind. Try it—-cheaper than drugs or therapy.

48 copies only (24 from KSE and 24 from Middle James Co.), so act now. We will be keeping our collaboration with FOSSILS going in 2016, so stay tuned….but grab MODERN ARCHITECTURE now. And did we mention that there is a beautiful cover photograph from Wyatt Doyle, he of New Texture fame and whose recent photography book DOLLAR HALLOWEEN is a must-own….

We have SIX releases in this Winter group of albums: the MIKE BARRETT/TOM CREAN and the WEREWHEELS are already out (check them out below), and the MORE EAZE will be released soon but can be ordered NOW for immediate delivery. FOSSILS just came out, and that leaves LISA CAMERON and NATHAN BOWLES’s “UNDERCARRIAGE” group and finally a new creation from BELLTONE SUICIDE, which will be the last album of 2015.

The first three months of 2016 will be devoted to celebrating KSE’s 10th Anniversary via the new 10th Anniversary compilation album, 10 new and exclusive creations from 10 essential artists in the experimental music community:

KSE COMP COVER

NOTE: THE COMPILATION WILL NOT BE AVAILABLE UNTIL MID-JANUARY 2016

Until then, check out our present offerings of music and poetry…..GREAT for holiday giving!

OTHER CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $12.00 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

WEREWHEELS COVER

 

 

 

 

 

 

 

 

 

NEW FOR WINTER 2015/16, KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

 

MORE EAZE ABANDONING

NEW FOR WINTER 2015/2016, KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

 

 

MIKE AND TOM LUDDITES COVER

 

 

 

 

 

 

 

 

 

NEW FOR FALL 2015: KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

 

A23H CAMELLIA

NEW FOR FALL 2015: KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

 

 

 

massimo 2015

NEW FOR FALL 2015: KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

 

JEN

NEW FOR SUMMER 2015: KSE #308, JEN HILL, “The Shape Of It” (edition of 48 copies)

 

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

 

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

 

LISA ERNESTO COVER

 

 

 

 

 

 

 

 

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

 

 

GARMENT DISTRICT cover

 

 

 

 

 

 

 

 

 

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

 

GIFT FIG STELL

 

 

 

 

 

 

 

 

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

———————————————————————————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

INVENTING cover

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

MANIPULATING AMBIGUITY

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

satori in lake charles

 

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

 

 

November 29, 2015

WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho in Japan” (KSE #322)

Filed under: Uncategorized — kendrasteinereditions @ 3:27 pm

WEREWHEELS

featuring Sir Plastic Crimewave and Dawn Aquarius

“LIVE, RAW AND PSYCHO IN JAPAN” (KSE #322, cdr album)

recorded during their mind-bending June 2015 tour of Japan

and featuring guest gtrist Kawabata Makoto (of Acid Mothers Temple) on one track

ALL RELEASES ARE $8 each postpaid in the USA and $12.00 each postpaid elsewhere.

Send funds via paypal to django5722(at)yahoo(dot)com

Please include a note with your paypal order listing what items you are ordering and your name/mailing address

WEREWHEELS COVER

Great to have one of the contemporary masters of psychedelia back at KSE for his THIRD album with us, and it’s a monster. The power-duo of SIR PLASTIC CRIMEWAVE and DAWN AQUARIUS will nail you to the wall with the molten higher-key psycho-delic lava flow on this live collection culled from the band’s triumphant tour of Japan earlier this year. And if that’s now enough, the duo is joined by Acid Mothers Temple guitarist Kawabata Makoto on one track, and truly, this album is worthy of AMT. In fact, I met Steven “Plastic Crimewave” Krakow in person for the first time at an Austin show where Plastic Crimewave Syndicate were opening for Ya Ho Wa 13 AND Acid Mothers Temple–small world, isn’t it? This is an album that’s loud even at low volume and it should satisfy anyone who demands the deepest and heaviest of higher-key psychedelia, without being in any way revivalist, unlike the laughable neo-psych bands one sees (and hopefully does not hear) playing “psych” festivals in Austin. Do I really need to say anymore? As they said about the movie PIECES, “It’s exactly what you think it is!” This won’t be around long, so grab your copy now….ordering info is above. And while you are at it, check out our other offerings (see below) for the best in experimental music and contemporary poetry….the poetry chapbooks are perfect reading while tripping on the sounds of WEREWHEELS….

Chicago-based Werewheels consists of two dark cosmic forces: Sir Plastic Crimewave (Secret History of Chicago Music, Plastic Crimewave Syndicate/Sound, Guitarkestra, Galactic Zoo Dossier magazine, etc) and Dawn Aquarius (Herbcraft, Cursillistas, Brainshadows, Acid Ankh comics, etc). The duo opens clogged mind passages using guitars, keys, treated voices, and machines, creating a unique transcendent wall of sci-fried sounds–inspired by gnarly biker and horror film soundtracks, bad trip krautrock, and psychedelic synthpunk. Werewheels has played dream gigs with legends like the god of hellfire, Arthur Brown, legendary 70s pagan-folkers Comus (at a concert in London), Suicide mainman Martin Rev, and Acid Mother’s Temple on an extensive tour in Japan. In the windy city they have played at the Museum of Contemporary Art and at the University of Chicago (playing before a screening of “The Warriors”!) Also locally, WW has opened for a diverse array of artists like seasoned weirdos Ono and Vyto B, plus other contemporary acts like Wrekmeister Harmonies, Malachai and Curtis Harding. After an appearance on the limited 2LP UK compilation “Death, Decay and Renewal” alongside luminaries like Edgar Broughton, Mark Fry, Nick Garrie, Cherrystones, Alexander Tucker, etc, Werewheels have recorded their own full-length LP due out soon on Sunstone Records (UK), featuring guest appearances from Jon Seagroatt of Comus/Red Square, and Acid Mother’s Temple’s Kawabata Makoto.

werewheels photo

OTHER CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $12.00 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

FOSSILS MODERN

 

 

 

 

 

 

 

 

NEW FOR WINTER 2015/2016, KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle

 

MORE EAZE ABANDONING

NEW FOR WINTER 2015/2016, KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

 

 

MIKE AND TOM LUDDITES COVER

 

 

 

 

 

 

 

 

 

NEW FOR FALL 2015: KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

 

A23H CAMELLIA

NEW FOR FALL 2015: KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

 

massimo 2015

NEW FOR FALL 2015: KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

 

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

 

JEN

NEW FOR SUMMER 2015: KSE #308, JEN HILL, “The Shape Of It” (edition of 48 copies)

 

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

 

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

 

LISA ERNESTO COVER

 

 

 

 

 

 

 

 

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

 

 

GARMENT DISTRICT cover

 

 

 

 

 

 

 

 

 

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

 

GIFT FIG STELL

 

 

 

 

 

 

 

 

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

———————————————————————————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

INVENTING cover

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

MANIPULATING AMBIGUITY

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

satori in lake charles

 

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

October 11, 2015

MIKE BARRETT & TOM CREAN, “Casual Luddites” (KSE #320), new album now available!

Filed under: Uncategorized — kendrasteinereditions @ 7:10 pm

BARRETT AND CREAN NEW COVER

MIKE BARRETT  &  TOM CREAN

CASUAL LUDDITES

CDR album, KSE #320, released 12 October 2015

Mike Barrett: Electronics

Tom Crean: Guitar and Banjo

ALL RELEASES ARE $8 each postpaid in the USA and $12.00 each postpaid elsewhere.

Send funds via paypal to django5722(at)yahoo(dot)com

Please include a note with your paypal order listing what items you are ordering and your name/mailing address

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Nice to welcome back two of Western Massachusetts’s finest, TOM CREAN and MIKE BARRETT, for a new duo album which pairs Tom’s unclassifiable guitar and banjo work with Mike’s electronics. Tom appeared on KSE two years ago with WIRED LOVE (KSE #260), one of our best-received albums, and an album which STILL gets positive comments when I meet people who are familiar with the label (“You put out those KSE albums? That Tom Crean album was great….when’s he going to do another one?”). I first became familiar with Tom through his association with Anthony Braxton, and Tom represents the same kind of combination of extreme discipline and absolute freedom (and mixing/overlaying of genres) as his former teacher, along with the dry humor and the logical programmatic approach. Tom can play in any format, and he can do everything from street busking to participating in contemporary avant-garde ensembles. I asked Tom to do two new duo albums in 2015-2016, and this one is the first (stay tuned in mid-2016 for the next).

Mike Barrett is well-known and widely respected for his work under the BELLTONESUICIDE moniker, and we’ve issued two of his albums previously, one solo and one paired with Mike Griffin (aka Parashi). Mike is also a visual artist (Mike and I are going to be doing an art-and-poetry chapbook in the next year too), and he brings that painterly approach to his slash-and-burn electronic improvisations. However, Mike can also be a sensitive player, as we see in these duos with Tom Crean.

On some level, this album is an extension of the tradition of the 70s albums by Anthony Braxton and Richard Teitelbaum and by Marion Brown and Elliott Schwartz, where a free-thinking musician on a traditional instrument performs duets with an electronic musician (our two GIFT FIG albums where Alfred 23 Harth has been paired with Carl Stone are also recent work in that same tradition). It’s an exciting pairing, and with Tom having such a wide variety of techniques he brings to the table, both on guitar and banjo, and with Mike being an absolute master of the analog synth and able to use it with the creativity and precision that a John Fahey or a Steve Lacy brought to traditional instruments, these duets are a pleasure to experience. There is a Southeast Asian feel to the material, as a number of the pieces were influenced by the film Apocalypse Now, and the album also captures the tensions and explosiveness and pre-and-post-battle calm of that war….the beauty and the pain of the place and the time.

CASUAL LUDDITES is an album that gets richer with each listen. Tom and Mike have played together extensively and did a previous duo album for Gilded Throne (see below), but this one will reach a wider audience and for me has deeper roots. Don’t miss CASUAL LUDDITES, and if you live in Western MA or east of the Hudson in NY state, keep your ears and eyes open for announcement of a Tom and Mike duo album-release concert later in 2015 or in early 2016.

We still have copies of the extended reissue of the BELLTONESUICIDE “Non-Conformist Sessions” album, and as stated above, Tom will be back next year with another duo album, which we’ll keep a surprise for the present time. AND….Mike Barrett will be back with an all-new Belltone album for KSE in December of this year, WAVE TABLE EROTICA (KSE #327).

Get your copy NOW….

PS, Tom Crean recently issued a fascinating book, TOM CREAN’S GUITAR JOURNAL, documenting ten years of work in a unique creative format that’s part poetic daybook, part conceptual programmatic text. You can check it out and order it here: …       http://www.lulu.com/shop/tom-crean/tom-creans-guitar-journal/paperback/product-22106668.html

visit TOM CREAN  at    http://tomcreanguitarjournal.com/

MIKE TOM TOM

hear more from MIKE BARRETT  at  http://belltonesuicide.bandcamp.com/     and     https://soundcloud.com/belltonesuicide

MIKE TOM MIKE

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Their previous duo album for Gilded Throne

MIKE BARRETT AND TOM CREAN GIG

and while ordering CASUAL LUDDITES, why not pick up some of our other recent releases of potent experimental music on CDR albums…..all hand-assembled and homemade editions of between 48 and 125….and when they are gone, they are gone….

 KSE #318, ALFRED 23 HARTH & JOHN BELL, “CAMELLIA”

KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “INTERROGATORIES”

KSE #310, MORE EAZE (aka Marcus M. Rubio), “ACCIDENTAL PRIZES”

 

KSE #314, BELLTONE SUICIDE (Mike Barrett), “THE COMPLETE NON-CONFORMIST SESSIONS”

KSE #294, FOSSILS WITH BRIAN RURYK

KSE #305, RAMBUTAN, “Remember Me Now”

KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

KSE #296, THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

KSE #298, GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

KSE #275, ALFRED 23 HARTH, “China Collection”

ALL RELEASES ARE $8 each postpaid in the USA and $12.00 each postpaid elsewhere.

Send funds via paypal to django5722(at)yahoo(dot)com.

Please include a note with your paypal order listing what items you are ordering and your name/mailing address.

As always, thank you for your support of Kendra Steiner Editions and all independent, non-aligned arts organizations who operate under the radar of the established “underground”/”alternative” channels….

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