this 5 CD box marks the complete re-release of the complete recordings. Apart from the 5 CDs with in all ca 6 hours of material, the CD box contains a 60 page booklet with essays by Teddy Hultberg and Sten Hanson, as well as historical photographs taken by Lütfi Özkök during the festivals. The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson, and was meant to serve to name a genre that was a vital art form in the no man's land between sound, poetry, and music. Text-sound compositions had influences from previous modernistic waves such as futurism, dadaism, lettrism, etc., but perhaps the most important influence was the Swedish poet and visual artist Öyvind Fahlström, who had just over a decade earlier coined the term "concrete poetry". The term concrete poetry related to Pierre Schaeffer's concrete music, and it is somewhere between concrete poetry and concrete music that text-sound compositions appear. The birth of the electronic music studio and concrete music's idea that every sound can be freed from its original context and given a new meaning when it is reworked and put together with other sounds in the electronic music studio became the catharsis for text-sound composition. The CD box contains works by the following text-sound composers and sound poets: Charles Amirkhanian, Lars-Gunnar Bodin, Svante Bodin, Henri Chopin, Bob Cobbing, François Dufrêne, Gust Gils, Jarl och Sonja Hammarberg-Åkesson, Sten Hanson, Bernard Heidsieck, C. Christer Hennix, Åke Hodell, Bengt Emil Johnsson, Sandro Key-Åberg, Bengt af Klintberg, Ilmar Laaban, Annea Lockwood & Harvey Matusow, Arrigo Lora-Totino, Ghérasim Luca, Arne Mellnäs, Franz Mon, Ladislav Novák, Diter Rot & Emmet Williams, Erik Thygesen, Paul de Vree.

In his 1919 essay “The Uncanny,” Sigmund Freud defines the term as follows: “the ‘uncanny’ is that class of the terrifying which leads back to something long known to us, once very familiar.” To this end, a feeling of uncanniness distinguishes itself from just being afraid because of its relation to what we already know, a disturbing variation of what we expect to see when we look in the mirror or the kind of horror that comes from inside the house. The uncanny valley, for instance, describes the creepiness that seeps in when we encounter an almost but not quite perfect replica of a human being (robots, computer animations, the list goes on).

Biggest Tip possible! ** English/German edition. 288 pp + 5CD plenty of incredible music, most of which have never been heard before ** From the Wolke Verlag imprint, who've already brought us incredible books like Karl Berger's "The Music Mind Experience", "FMP Free Music Production - The Living Music", Peter Brötzmann's Along the Way, and George Lewis' "Composing While Black. Afrodiasporic New Music Today", to name only a few and a great many more - comes one of the most engrossing volumes we've encountered all year: Harry Vogt  and  Martina Seeber’s “Radio Cologne Sound The Studio for Electronic Music The WDR”. Revealing the complex and fascinating history of one of the earliest and most important dedicated electronic music studios in the world, comprising three central portraits of its important directors - Herbert Eimert, Karlheinz Stockhausen, and York Höller - as well as a wealth of material, including essays, pictures, personal memories and anecdotes, in addition to texts that shed light on the intense interplay between technology, aesthetics, and those who worked in and at the studio, across its 288 pages - soundtracked by an incredible X5 CD collection gathering many of the most important works recorded by composers like Karlheinz Stockhausen, Henri Pousseur, Thomas Kessler, Franco Evangelisti’, György Ligeti, Mauricio Kagel, Iannis Xenakis, John McGuire, and Luc Ferrari (to name only a few) - one of the most important discrete histories in the development of avant-garde and experimental electronic music over the course of the second half of the 20th century.

Sepsis is the 2010 album by experimental/noise combo Sissy Spacek. All compositions are untitled. This was released by Second Layer.

Phon-O-Victo is a 2007 collaborative album between DJ/improviser Martin Tétreault and hip-hop turntablist Kid Koala, both from Canada. This was released by Les Disques Victo.

Roland Kayn (1933-2011) was a German composer who studied in Stuttgart at the “Hochschule fur Musik”, and at the “Technische Hochschule” with Max Bense. He was a pupil of of Boris Blacher at the “Hochschule fur Musik” in Berlin from 1956 to 1958 and he later worked in various music studios in Germany, Netherlands and Italy. Despite its relative obscurity in the last years of the 20th Century, Kayn’s work can be considered as one of the most emblematic in the realm of cybernetics and in the general contemporary art production related to the electronic medium.

Éliane Radigue was born in Paris, France. She studied electroacoustic music techniques at the Studio d’essai at the RTF, under the direction of Pierre Schaeffer and Pierre Henry (1957−1958). In 1967−1968 she worked again with Pierre Henry, as his assistant at the Studio Apsome. Her music, its source an Arp synthesizer and medium recording tape, attracted considerable attention for its sensitive, dappled purity. She was in residence at the electronic music studios of the University of Iowa and California Institute of the Arts in 1973.

In Kayn's Electronic Symphony series, the past and present continually encounter each other anew, each time casting new reflections on the given moment. Kayn's autonomous studio processes remove context from what he termed (markedly in the language of synthesis) the "carrier" material, for the most part music of the orchestral tradition at its most texturally oriented – even drone-like – but alternately seething and volcanic in its drama. These pieces were of great personal significance to the composer, perhaps due to the fashion in which they bridged his initial musical inspirations with the new sound world his friend and colleague Franco Evangelisti described as "something that can no longer be named music".

Reverberating recordings of sound artist Henning Christiansen riffing on the idea of “rock” music in homage to Ken Unsworth, recorded in Sydney, Australia, 1990. “Stone-song is a one-hour performance presented in 1990 at the 8th Biennale of Sydney (The Readymade Boomerang: Certain Relations in 20th Century Art) where time is being scanned and animated by matter and where the genius of Henning Christiansen (with fellow artist Bjørn Nørgaard and Ken Unsworth, to whom this performance is dedicated) establish a deep dialogue with the nature (of sound) watching the time, stone on stone, being at the same time actors and audience of its ephemeral and violent manifestations. What time is it? Is it what time? Time is it what? Released in collaboration with the Henning Christiansen Archive.”

A prismatic assembly with as many faces as the mythological beast which gives the piece its title, Sound-Hydra represents an endlessly regenerative encounter. An extended plunderphonic odyssey from a moment at which Kayn was acutely in touch with the music beginning to sprout up around his prior discoveries and innovations.

During World War II the Isle of Man was used as the primary site for the internment of "civilian enemy aliens", both male and female. Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.

Patrice Émery Lumumba was the first Prime Minister of the independent Democratic Republic of the Congo (then Republic of the Congo), but was murdered by his opponents, with the complicity of the Belgian government, the United States and the UN. Kayn first heard of these events from his friend, conductor Andrzej Markowski. He had never before written a requiem, and elected to make Lumumba his subject.

The latest première from the Kayn archives opens with the composer already several layers deep into the endless process of use-process-reuse that characterises so much of his work. Textural washes are stretched until taut into almost choral tones. Tape warble gives way to arrays of submerged granular shapes. Kayn's limitless fascination with the mutability of sound itself once again approaches its apotheosis.

The cloudy, sustained tones of ‘Spectral’ find Kayn in territory almost as weightless as that of ‘A Pan-Air Music’. In its opening minutes, dense flute-like timbres amass in an echoing plane of sound reminiscent at times of Luc Ferrari’s most disembodied audio surrealism. But this is no derivative (nor pastiche), as Kayn’s time spent amid the Staaplaat racks is soon also in evidence. As the work progresses, we find him locating, digesting – and perhaps even repurposing – the spiritual heirs of his earlier, uniquely groundbreaking work.

Denis Dufour. Born in Lyon in 1953, he took courses at the CNSM in Paris at Ivo Malec, Guy Reibel, and Pierre Schaeffer. He is the creator of numerous instrumental and electroacoustic works. He was a member of Ina-GRM until the year 2000. Creator, teacher, organizer of concerts and events, he founded and directed several instrumental ensembles: TM +, Les Temps Modernes, and in 2004 the ensemble Syntax in Perpignan. He is the main instigator of the Futura festival, and artistic director of Motus. He has been teaching acousmatic and instrumental composition for over 25 years.