Catalogue

TO:50 – Biosphere “Substrata 2”

2nd April 2001 » Permalink: TO:50 – Biosphere “Substrata 2”

DCD – 55:20/53:32

Biosphere’s 2nd CD for Touch after Cirque [Touch # TO:46, 2000] is a double CD
in digipac designed by Jon Wozencroft.

CDOne – Substrata
Originally released in 1997 on All Saints Records, this remastered version of Substrata contains 11 tracks with a total length of 55:20. “…by many (the undersigned included) considered to be the finest ambient album of the 1990s” [Motion/State 51], and “Three years after its release, BIOSPHERE’s ‘Substrata’ is already being recognised as one of the all time greats of deep electronica.” [Top Magazine]

CDTwo – Man with a Movie Camera
contains 9 tracks, total length 53:32. The first 7 tracks consist of the soundtrack
to “Man with a Movie Camera” [Vertov, 1926, USSR], originally commissioned for the Tromsø International Film Festival in 1996, released here for the first time. The last 2 tracks, Endurium and The End of the Cyclone, were originally released on the limited edition Japanese version of Substrata in 1997 – they have never before been released outside Japan.

Track list:

CDOne – Substrata
1. As The Sun Kissed The Horizon
2. Poa Alpina
3. Chukhung
4. The Things I Tell You
5. Times When I Know You’ll Be Sad
6. Hyperborea
7. Kobresia
8. Antennaria
9. Uva-Ursi
10. Sphere of No-Form
11. Silene

CDTwo – A Man with a Movie Camera
1. Prologue
2. The Silent Orchestra
3. City Wakes Up
4. Freeze-Frames
5. Manicure
6. The Club
7. Ballerina

Bonus tracks:
8. The Eye of the Cyclone
9. Endurium

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TO:49 – Phill Niblock “Touch Works, for Hurdy Gurdy and Voice”

2nd April 2001 » Permalink: TO:49 – Phill Niblock “Touch Works, for Hurdy Gurdy and Voice”

CD – 3 tracks

Track list:

1. Hurdy Hurry
2. A Y U, AKA “As Yet Untitled”
3. A Y U, Live

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TO:48 – Rafael Toral “Violence of Discovery and Calm of Acceptance”

2nd April 2001 » Permalink: TO:48 – Rafael Toral “Violence of Discovery and Calm of Acceptance”

CD – 10 tracks

Track list:

1. Desirée
2. Measurement Of Noise
3. Quiet Mind
4. Maersk Line
5. Liberté
6. Optical Flow
7. Energy Nourish
8. Hay Que Trabajo Me Cuesta Quererte Como Te Quiero
9. We Are Getting Closer
10. Mixed States Uncoded

Considered by the Chicago Reader to be “one of the most gifted and innovative guitarists of the decade”, Rafael Toral has been developing in the last 15 years a unique sound world, having been as influenced by Alvin Lucier and Brian Eno as by Sonic Youth and My Bloody Valentine. Using the guitar as part of a complex electronic instrument, Toral has collaborated with Jim O’Rourke, John Zorn, Sonic Youth, Rhys Chatham and Phill Niblock and played in many European countries and in several states in the US. He’s also a member of MIMEO, the electronic orchestra featuring Keith Rowe, Christian Fennesz, Peter Rehberg, Kaffe Matthews and many others.VDCA is a collection of ten small pieces crafted by Toral with extreme precision and care through the last seven years. Using guitars and analogue technology, it can be described as Toral’s best work, embodying all the directions he explored in his previous critically acclaimed records, “Sound Mind Sound Body” [Moikai, USA], “Wave Field” [dexter’s cigar/drag city, USA] and “Aeriola Frequency” [Perdition Plastics, USA] but taking them into new dimensions.

LEE RANALDO: I think the most interesting thing about Raphael is that he lives out on the end of the world, which is about how isolated Portugal is, even for the rest of Europe, and that he has managed to forge some sort of interest and trajectory for himself in the esoteric realm of “new” music. He’s a young man forging ideas out of what he has heard and read about, and has a good set of ears and knows what he’s listening to. (He’s) rather scientific in his approach…

JIM O’ROURKE: Rafael is a really good guy with a good ear, I think, and a sense of timing and density that is a luxury to find. He is a swell, honest person too.
This is his first album for Touch. The highly evocative intricate and subtle guitar drones are captured in the beautiful photography of Heitor Alvelos, a Portuguese artist, and in the artwork of Jon Wozencroft.

The background noise on track 10 is a recording of silence during a Space Shuttle mission real time webcast. All other sounds were released by electric guitars. The album was recorded between 1993 and 2000 and mastered at Noise Precision, Lisbon.

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TO:45 – Rehberg & Bauer “passt”

2nd April 2001 » Permalink: TO:45 – Rehberg & Bauer “passt”

CD – 13 tracks

Track list:

1. Finga (0:33)
2. Finga (2:43)
3. Finga (3:25)
4. Sunday (1:01)
5. Sunday (4:40)
6. Nixnull (3:04)
7. Revolver (4:33)
8. Revolver (1:32)
9. Revolver (3:14)
10. Revolver (2:21)
11. Revolver (3:17)
12. Revolver (2:02)
13. Revolver (0:45)

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Tone 13 – Hazard | Fennesz | Biosphere “Light “

2nd April 2001 » Permalink: Tone 13 – Hazard | Fennesz | Biosphere “Light “

Light is a 4 track tour CD to accompany the forthcoming Touch tour of the UK during May 2001. Celebrating their 20th anniversary this year the label presents a series of dates combining some of their leading audio/visual artists. The six dates take in Bristol (17th), Brighton (18th), London (21st), Glasgow (24th), Newcastle (26th) and Salisbury (28th) – bringing together Biosphere with John Easterby, Fennesz with Jon Wozencroft and Hazard with Heitor Alvelos.

Track list:

1. Hazard Meteosat (5:52)
2. Fennesz C-Street (5:00)
3. Biosphere When I Leave (Finely Tuned Version) (6:48)
4. Biosphere Algae & Fungi (Candelaria Version) (5:44)

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TO:40 – Fennesz “plus forty seven degrees 56′ 37″ minus sixteen degrees 51′ 08″”

18th June 2000 » Permalink: TO:40 – Fennesz “plus forty seven degrees 56′ 37″ minus sixteen degrees 51′ 08″”

CD – 8 tracks
2nd edition in jewel case.

Track list:

1. 010
2. 011
3. 012
4. 013
5. 014
6. 015
7. 016
8. 017

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TO:44 – Ryoji Ikeda “Matrix”

2nd April 2000 » Permalink: TO:44 – Ryoji Ikeda “Matrix”

Double CD in gatefold wallet
2001 edition with postcards

Track list:

Matrix [For Rooms] (1999-2000)
1-01 0 0 0 0 0 0 0 0 0 1 (12:00)
1-02 0 0 0 0 0 0 0 0 1 0 (5:30)
1-03 0 0 0 0 0 0 0 1 0 0 (4:30)
1-04 0 0 0 0 0 0 1 0 0 0 (5:30)
1-05 0 0 0 0 0 1 0 0 0 0 (4:30)
1-06 0 0 0 0 1 0 0 0 0 0 (5:30)
1-07 0 0 0 1 0 0 0 0 0 0 (4:30)
1-08 0 0 1 0 0 0 0 0 0 0 (5:30)
1-09 0 1 0 0 0 0 0 0 0 0 (4:30)
1-10 1 0 0 0 0 0 0 0 0 0 (7:57)

.Matrix (1999-2000)
2-01 1 1 1 1 1 1 1 1 1 0 (3:02)
2-02 1 1 1 1 1 1 1 1 0 1 (2:24)
2-03 1 1 1 1 1 1 1 0 1 1 (1:00)
2-04 1 1 1 1 1 1 0 1 1 1 (1:27)
2-05 1 1 1 1 1 0 1 1 1 1 (3:34)
2-06 1 1 1 1 0 1 1 1 1 1 (2:42)
2-07 1 1 1 0 1 1 1 1 1 1 (4:55)
2-08 1 1 0 1 1 1 1 1 1 1 (5:22)
2-09 1 0 1 1 1 1 1 1 1 1 (0:59)
2-10 0 1 1 1 1 1 1 1 1 1 (5:32)

Matrix is the final element in a trilogy of CDs that began with +/- in 1996. When it was first released, +/- came like a bolt out of the white. Nobody had used digital recording processes to produce sound as pure, as intense and as exhilarating. Since releasing 0°C in 1998, Ryoji Ikeda has progressively refined and enhanced the distinctive sonic fields and microsounds that have strongly influenced post-digital composition, resisting the transitory cycle suggested by the term ‘Glitches’, creating compositions that probe deeply: our relationships to time and space, sound and light. Much of the time since 1998 has been spent touring with the Japanese performance group, Dumb Type, whose landmark show [OR] is shortly to be followed by a new presentation for which Ikeda has composed the sound, Memorandum. In January 2000, Ryoji Ikeda toured the UK with Zoviet*France. A closer connection to the 20 new recordings that make up Matrix can be found on the recent Touch 00 sampler, Matrix for an Anechoic Room, which came out in Spring 2000. That’s the only forewarning of what awaits you on putting the first CD into your player. The layers of sound that make up Matrix [for rooms] transform both the listener and the listening environment into another dimension. The dimensions change as you move about the space, or simply turn your head around the sound like surveying the angles of a building. Matrix has much in common with the work of La Monte Young, Tony Conrad, Alvin Lucier…, but poised closer to the imminent and auto-interactive virtual world we are promised, Ryoji Ikeda’s new work pushes the parameters of the drone to ask timely questions concerning our relationship to own perception, and to our existing living spaces.

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TO:43 – Mika Vainio “Kajo”

2nd April 2000 » Permalink: TO:43 – Mika Vainio “Kajo”

CD – 9 tracks

Track list:

1. Kytkentä / Connection
2. Osittain / Partly
3. Kolmas Píírí / Third Area
4. Leslie
5. Lähetys / Transmission
6. Aleksandrovsk
7. Aaltomuoto / Waveform
8. Unessa / In Sleep
9. Takaísin / Returning

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TO:41 – Richard H. Kirk “Darkness at Noon”

2nd April 2000 » Permalink: TO:41 – Richard H. Kirk “Darkness at Noon”

CD – 1 track – 38:00

Track list:

1. Darkness At Noon (38:00)

TO:3.3 – Panni Bharti “Silent Tongues”

2nd April 2000 » Permalink: TO:3.3 – Panni Bharti “Silent Tongues”

Track list:

To be added…

Tone 12 – Richard H. Kirk “Loopstatic”

2nd April 2000 » Permalink: Tone 12 – Richard H. Kirk “Loopstatic”

CD – 8 tracks

Track list:

1 Devil In Your Name (8:22)
2 All In Vain (7:54)
3 With False Identity (9:43)
4 Chemicals And Easter Bunnies (6:40)
5 Do You Transmit? (6:19)
6 One Zero (8:18)
7 Get Our Heads Straight (6:35)
8 Monday Morning (6:55)

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Tone 11 – John Duncan “Tap Internal”

2nd April 2000 » Permalink: Tone 11 – John Duncan “Tap Internal”

CD – 1 track – 46:47

Track listing:

1. Tap Internal

Painter/experimental musician John Duncan is renowned for his use of shortwave radio. Getting his start hosting radio programs (including one such show titled Close Radio), Duncan began his musical journey in 1980, as he likened the sounds of a shortwave radio to what one may hear while dreaming, and began to merge this uncharted sound with music (another popular technique of Duncan’s is recording his voice on tape reading text backwards, then inverting the tape to achieve peculiar effects on his voice).One of his earliest recordings, the 1984 cassette Pleasure Escape, includes a piece titled “Blind Date,” which features Duncan talking about a dead body and a vasectomy operation. Further releases followed, such as music for a series of Japanese porno films, titled The John See Soundtracks, plus Riot, Incoming, The Crackling, Tap Internal, Palace of Mind, and NAV, among others. [Greg Prato, All Music Guide]

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T33.17 – Ken Ikeda “Tzuki [Moon]”

2nd April 2000 » Permalink: T33.17 – Ken Ikeda “Tzuki [Moon]”

CD – 12 tracks

Track list:

1. Manifest Destiny
2. Evolution
3. Yawarakai Hada
4. Tzuki [Moon]
5. In Between Frames
6. Infinitely Gray
7. Borderland
8. 444
9. Looking For the Moon
10. Hydantol
11. Flicker
12. Motion Pictures

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T33.16 – Oren Ambarchi “Insulation”

2nd April 2000 » Permalink: T33.16 – Oren Ambarchi “Insulation”

CD – 11 tracks

Track list:

1. Préambule (0:16)
2. Murmur (3:47)
3. Snork (14:26)
4. Lungs (3:47)
5. Simon (2:42)
6. Strategem (5:01)
7. Study N°1 (3:20)
8. Study N°3 (4:37)
9. Concurrents (2:54)
10. La Notte (4:06)
11. L’Eclisse (5:52)

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T_ZERO_0 – Touch Sampler 00

2nd April 2000 » Permalink: T_ZERO_0 – Touch Sampler 00

CD – 21 tracks

Track list:

1. Ryoji Ikeda Matrix (For An Anechoic Room) (6:02)
2. Daniel Menche Down (5:42)
3. Chris Watson Friday The 13th (2:25)
4. AER As You Wander Round (2:28)
5. Thomas Brinkmann Olga A1 (6:26)
6. Unknown Artist Relationship Volume (0:31)
7. Locust Wrong (4:42)
Vocals – Holli Ashton
8. Unknown Artist Naming A Flower (0:12)
9. Chris Watson A Celebration (2:17)
10. Scala Breaking Point (6:54)
11. Philip Jeck As My Shadow Passes … (9:37)
12. People Like Us / Jet Black Hair People, The / Wobbly KZSU 14 Sept 99 (3:35)
13. Unknown Artist In Brief (0:28)
14. Hazard Flood Gate (5:39)
15. Unknown Artist Mach .853 (Moscow Air Traffic Control Over Turukhansk, Siberia, October 1990) (1:04)
16. Richard H. Kirk Entering Valhalla Without A Laptop (But With An Umbrella, A Sewing Machine And An Operating Table – Dig It) (5:22)
17. Chris Watson A Blessing (1:00)
18. AER Bread Upon The Water (3:38)
19. Biosphere Sun-Baked (3:43)
20. Tobias Frere-Jones F-Hz (#190736, 1996) (1:15)
21. Mika Vainio Ilmaantuva (Airing/Appearancing) (6:38)

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TO:CDR3 – Fennesz “Live at Revolver/Melbourne”

2nd April 2000 » Permalink: TO:CDR3 – Fennesz “Live at Revolver/Melbourne”

CD – 1 track

Track list:

1. Live at Revolver

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TO:CDR2 – S.E.T.I. “Live at Gen Weyngaert, Brussels”

2nd April 2000 » Permalink: TO:CDR2 – S.E.T.I. “Live at Gen Weyngaert, Brussels”

Track list:

1. Live at Gen Weyngaert, Brussels

TO:CDR1 – Philip Jeck “Live at ICC, Tokyo”

2nd April 2000 » Permalink: TO:CDR1 – Philip Jeck “Live at ICC, Tokyo”

CDR
1 track – 34:31

Track list:

1. Live at ICC

TO:39 – Rehberg & Bauer “Ballt”

2nd April 1999 » Permalink: TO:39 – Rehberg & Bauer “Ballt”

CD – 10 tracks

Track list:

1. Oh (2:15)
2. Toll (4:03)
3. Heng (4:54)
4. Pah Drei (2:18)
5. Hey (4:50)
6. Recol (5:43)
7. Troik (7:58)
8. Pah Eins (3:08)
9. Nah (7:44)
10. Pah Zwei (4:02)

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Tone 7.2 – New Order “Video 5-8-6”

2nd April 1999 » Permalink: Tone 7.2 – New Order “Video 5-8-6”

Track list:

1. Video 5-8-6 (22:25)

“Video 5 8 6”, originally entitled “Prime 5 8 6”, is an electronic instrumental piece written and produced in 1982 by the British group New Order. In December 1982, the track was initially released in two sections in Touch’s first cassette magazine, Feature Mist. Touch re-released the entire track as a CD single in 1997.

Composed primarily by Bernard Sumner and Stephen Morris, “Prime 5 8 6″/”Video 5 8 6” was an early version of “5 8 6” (from Power, Corruption & Lies) which contained rhythm elements that would later surface on “Ultraviolence” and the 1983 hit “Blue Monday”. After Factory Records’ Tony Wilson asked New Order for twenty minutes of “pap”, it was first played in public during the opening of The Haçienda on May 21, 1982.

On release it reached #81 on the main British singles chart and #19 on the British indie chart. Bassist Peter Hook has said the key to the title “5 8 6” can be found in another of the group’s songs, “Ecstacy”; 5, 8 then 6 is the song’s bar structure.