10 03 2015

Nat Freedland  ‎»The Occult Explosion» 2xLP (1973, UA-LA067-G2)



Nat Freedland  ‎»The Occult Explosion» 1973
United Artists Records ‎

A1 --Nat Feedland Intro To Nat Freedland 0:33
A2 --Louise Huebner Witchcraft 6:33
A3 --Stanton T. Friedman UFO's 10:09
A4 --Barbara Birdfeather Astrology 8:52
B1 --Rosemary Brown Spiritualism 6:26
B2 --Rosemary Brown Spiritualism (Grubelei) 3:09
B3 --Black Widow (5) Satanic Inspired Rock Recording "Come To The Sabbat" 4:50
B4 --Black Widow (5) Satanic Inspired Rock Recording "Conjuration" 5:40
C1 --Allan Watts Meditation 5:18
C2 --Dr. Thelma Moss ESP Research (Parapsychology) 11:58
C3 --Indra Devi Yoga 5:43
D1 --Peter Hurkos Psychics 4:46
D2 --Craig Carpenter (2) Indian Magic 8:31
D3 --Anton LeVey* Satanism 11:26



09 03 2015

SOMA022 When "The Black Death" gatefold LP now available for preorder


PREORDER HERE: http://editionsmego.com/release/SOMA022



The Black Death

LP Austria €19 Europe €21 World €25

Composed by Lars Pedersen: programming, keyboards, harp, cello, percussion, sounds and voices

Recorded summer 1992 at Sound Sector, Oslo with engineer Bernt Kanstad
Mastered 2011 at Livingroom, Oslo by Morten Lund
Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2015

Produced by When

The Black Death is based on Svartedauen (1900) by Theodor Kittelsen (1857–1914)
All drawings by Theodor Kittelsen

Liner notes by Bjarne Riiser Gundersen and Bård Torgersen

Assistance and consultation on this edition: Kristoffer Rygg

Originally released in 1992 on CD by Tatra Productions

Coming out of the 1980’s Norwegian post-punk scene When is the solo-project of Lars Pedersen. When is like his own musical amusement park, every album differing a lot from the previous – Pedersen obviously likes to challenge himself and push for something new every time. The first albums were in a similar landscape as what he was doing with industrial art-rock band Holy Toy, and his later works have veered into everything from cartoon cut-up, psychedelic pop, prog. and even krautrock territories, but in between all this we find his fourth album from 1992 – The Black Death (and simultaneously titled as Svartedauen in Norwegian) – a decidedly darker creation.

The album is a sound-journey of the great plague entering and ravishing Norway in 1349, killing two-thirds of the Norwegian population within a few years, reducing an already small population to a bare minimum of survivors. The album was inspired by a series of grim drawings on the subject by Theodor Kittelsen. Kittelsen is one of Norway’s most renowned artists, with Svartedauen being his seminal work from the year 1900, a national treasure as instantly recognizable to most Norwegians as Munch’s The Scream. Pedersen had the balls to make a soundtrack to it.

Svartedauen is a 38 minute musique concrète sound-collage. In a highly sophisticated manner it mixes elements of manipulated traditional Norwegian folk music (such as the eerie sounding Harding fiddle), with sounds of horses whining, rats gnawing, wood grinding and people moaning. Musically it fits somewhere between Nurse With Wound’s dadaist studio experiments and Luc Ferrari's dramatic narrative environmental sound poems. But because Svartedauen tackles such a dark subject it is unlike any other musique concrète compositions I know. Pedersen masterly makes us feel the desperation of rural plague-ridden Norway – a sonic maelstrom slowly moving forward towards the inevitable apocalypse. A scary and uncomfortable, yet fascinating listen.

Fans of Norwegian black metal will recognize the Kittelsen art as the same that adorns several Burzum album covers. A little known fact is that Varg Vikernes, and most other black metal musicians during their church-burning heydays, were big fans of this particular When album. The Black Death’s release just happened to coincide with the black metal summer of 1992 and was thus embraced by a generation of young metal artists about to radically change the musical landscape of extreme metal forever. Listening to the album with that in mind it actually makes a lot of sense – Svartedauen incomparably evokes that feeling of doom and medieval dread that the black metal bands were attempting with croaked screams and distorted guitars around the same time.

So if you're looking for the missing link between Arne Nordheim and Mayhem – this is it. And finally the plague will be unleashed on the vinyl format. Pristine vinyl cut by Dubplates & Mastering and packaged in a gatefold sleeve featuring texts and interviews with and about Pedersen as well as a 12-booklet of Kittelsen's drawings for Svartedauen. The rats would be pleased.

Text by Lasse Marhaug, Oslo March 2015

09 03 2015

Vintage synth adverts







EMS 1971
ARP 1976 (w/ Joe Zawinul!)
Oberheim 1976
Moog brochure 1974

09 03 2015

Oscar Niemeyer – Siège du PCF






Oscar Niemeyer, le plus fameux architecte brésilien, ayant participé à la construction de Brasilia, a conçu en 1965 le siège du parti communiste français, place du colonel Fabien. L’auditorium est remarquable de par son plafond à l’éclairage lamellaire qui rappelle certains luminaires de Poul Henningsen. Ici aussi, les lamelles permettent d’obtenir un éclairage indirect masquant les ampoules. Le but est également d’obtenir un éclairage le plus naturel possible, notamment pour éviter la fatigue lors de très long meetings …

Oscar Niemeyer, the most famous brasilian architect, a designed in 1965 the french communist office in Paris. The ceiling of the auditorium is particulary astonishing because of the lamellas reflecting the light, like some of the lights from Poul Henningsen. An indirect light that permit to attend very very long meetings without being tired !

06 03 2015

Georg Friedrich Haas "Bluthaus" Opera in 10 Scene su testo di Händl Klaus (2010/2011)

Georg Friedrich Haas (b. 1953): Bluthaus, Opera in 10 Scene su testo di Händl Klaus (2010/2011).

Nadja Albrecht (Figlia): Sarah Wegener
Natascha Albrecht (Madre): Ruth Hartmann
Werner Albrecht (Padre): Otto Katzameier
Axel Freund (l'Agente): Daniel Gloger

Schauspielensemble des Theater Bonn
SWR-Radio-Sinfonieorchester Stuttgart diretti da Stefan Blunier.

Registrazione live della Prima mondiale, 29 Aprile 2011, Schwetzinger SWR-Festspiele.

05 03 2015

Georg Friedrich Haas "In Vain" for 24 instruments (2000)

For listening to music, melodic lines, well-tempered pitch rasters and the metric measure Akzentstufentakt are comparable, for walking a staircase, to banisters, handrails, and usual size and placement of steps. The standard staircase relieves you from thinking about your walking movements; in music, the usual proportions of pitches and tempi are not calculated for the purpose of drawing the listener’s attention to their peculiarity. The regular pulse and the twelve-tone division of the piano octave are generally something just as unexceptional as the chairs in a concert hall or the spotlights on stage.

One way of approaching Georg Friedrich Haas’s composition in vain is to start right off with the spotlights. In one of the piece’s two versions the lights are taken out of their usual unobtrusiveness—the light’s intensity is part of the score; it ranges from concert lights on rostrum and desk to full darkness. The music that must be played in the dark not only puts audience and ensemble in an unusual situation but, at the very start, is also a challenge to the composer. First of all, the parts need to be easy to learn by heart; secondly, all the music played must be controllable by ear; and thirdly, it is futile to expect an invisible conductor to perform his usual function. When the lights gradually vanish only a few minutes after in vain begins, the brisk interwoven downward lines of the beginning come to a standstill—what remains are low, lingering tones, evading one another in microtonal steps by a semitone. Even in the version without light direction (to be heard at Wien Modern) the music moves in jet blackness, seems to get its bearings anew, gropes its way.

March forward, to call it marching, to call it forward. Should I one day, and now it starts, just have remained where, instead of following an old habit of going out in order to spend day and night as far away from myself as possible, it was not far. Perhaps this is how it started.

(Samuel Beckett, The Unnamable)

“There is no tradition of microtonal music.  Far into the twentieth century all composers who compose microtonically have begun anew. Nowadays it is considered unusual to use microtones.  It is necessary to show cause why one is using tones outside of the tempered system.” (Haas, ÖMZ 6/1999). 

Often precisely this unfamiliarity is for Georg Friedrich Haas the starting point for his compositions. He does not maintain that he has invented microtonality anew (quite the contrary: he lets the experiences of the—extremely diverse, incidentally—harmonic concepts of Ivan Wyschnegradsky, Alois Hába, Giacinto Scelsi, James Tenney and Harry Partch seep into his compositions). Just as little does Haas intend to “improve” the tempered system, say for example, in the direction of the obviously beautiful pure pitch of Just intonation. The differences between what is usual and what is possible become audible in his music; the focus lies on what is trapped under listening habits. The astounding reduction of his String Quartet No. 1 – there is virtually nothing in it that corresponds to the common concept of melodies.  The rhythmics are limited to accelerations, retardations and dead stops. The pitches relate to no more than four fundamental tones, and there are but few ways of articulation. Almost inevitably the rhythmics refer the audience to sound and form—they make the shades audible.

then before I find myself at the same point and in about the same condition, I will one after another be the following (Samuel Beckett, How It Is)

Some examples of the use of microtones in in vain: at the beginning, single (high) partial tones slip almost unnoticed into the “normal” tempered intonation. The more densely the partial tones are fitted to spectra, the more the even half-tones find their counterworld in the natural partial tone sequence, with their intervals becoming ever smaller as pitch increases. Just as in hisConcerto for violin and orchestra, two harmonic source materials are facing one another—on the one hand excerpts from rows of overtones, on the other hand chords from Tritonus and from musical fourths and fifths (as can be found with Wyschnegradsky). The first are based essentially on the wind section’s playing technique—the fundamental tones are often played by the lower strings. The harp is also microtonally tuned—only the piano and vibraphone have no access to the overtone rows. At the end of the second phase of darkness the tempo acceleration is driven to such an extent that the difference between the two systems finally starts to vanish in the density of the tone series.

It is during the transition to this last dark phase that combinations of different overtone spectra emerge and with them audible friction. Horns and trombones, for example, simultaneously play the interval C-sharp-E. This minor third, however, belongs one time in the spectrum of the primary tone A, one time to the primary tone F-sharp—both from the tempered scale; this means that both minor thirds are of different sizes and can in a way be boxed into one another with respectively 1/6 and 1/12 tone “air”—and with corresponding harmonic friction. Just as Haas had used this construction method in a similar way in Nach-Ruf ... ent-gleitend ..., with microtonally staggered primary tones, the primary tones in in vain are taken from the tempered system—and thus allow nothing else to be heard but those in this hidden microtonal system. 

I had already made a good ten steps, if you can call them steps, of course  not dead straight, but in a rather sharp curve, which, without leading me back to my exact starting point, seemed suitable to let me drift past him in a razor sharp way, if I’d only stick to it. I might as well have gotten entangled with an inverse spiral, I believe, the snail lines of which instead of becoming wider, needed to become tighter and tighter, until they could not be continued, because of the kind of room I was to move in. In that moment, facing the practical impossibility of proceeding, I might very well be  forced to stop—at the risk of starting out right away in the opposite direction—or much later, getting kind of unscrewed after having got tightly stuck.

(Samuel Beckett, The Unnamable)

To repeat: for listening to music, melodic lines, well-tempered pitch rasters and the metric measure Akzentstufentakt are comparable, for walking a staircase, to banisters, handrails, and usual size and placement of steps. Even subtle deviations from  normal dimensions, or perspective distortions as are found in some stairways in the Vatican or in Odessa, give rise to irritation.  In his famous lithograph, Maurits C. Escher links the upper and lower ends of a stairway to form a sort of spiral staircase with only one turning, thus presenting an unreal microcosmos of aimlessness. (Escher’s strange illustrations seem to bear an etymological likeness to in vain; Salvatore Sciarrino points out that “Vanitas” was once a common denotation for Still Life as a painting genre.) In in vain such treacherous spirals can be found in several respects. Even within its almost imperceptible details a large part of the piece is molded by interwoven “infinitely” descending pitch rows similar to Wer, wenn ich schriee, hörte mich (not without reference to the encapsulated upward glissandi in James Tenney’s “For Anne Rising”).  At the end of the piece an extensive accelerando leads back into itself. Such spiral forms already existed in the String Quartet No. 1; a tremolo is decelerated to such a degree that the single tones attain the intervals of the original tremolo impulses. In in vain prolonged, extended processes with gradual transformations, treacherous spiral formations—as much in the organization of pitch as in the time structure—as well as “returning to a situation believed to be overcome” (Haas) become the principle of form.

...I absolutely could not explain how it could have occurred that I had followed my own tracks. Later on I understood. What I had taken to be another’s horse-trail had been my own. Without a landmark or signpost I had been making a circle; while I believed I was riding forward, I was riding backward. (Charles Sealsfield, A Scamper in the Prairie of Jacinto)

What is in vain’s relationship to the “Musique Spéctrale”? I must start by saying the following: in contemporary Parisian musical life even declared loners join together in composers’ groups; in Austria this has been unusual for many years. Critical disagreements (with the genealogical table or with colleagues) are more widespread than manifestos; in our country isms are avoided more than equidistances.

In Darmstadt (Germany) Georg Friedrich Haas learned to hold in esteem Gerard Grisey’s and Tristan Murail’s worlds of sound.  The detailed computer analysis of real sounds as source material, used by these two for instrumentation, stand in opposition to the hearing experience of the global sounds in Haas’s work: “I trust sound analysis just as little as I trust sequential tables,” he says, and refers to the fact that the translation of analytically-detected partial tones (of a trombone, for instance) into instrumentation leads to entirely different sounds anyway. The comparison with sequential tables leads to a rather important aspect of “spectralism”, as serialism is one of the major points of reference for Hugues Dufourt’s manifesto-like 1979 text Esthetics of Transparency. Spectral Music, and to a certain extent as a conflict with the genealogical table. Georg Friedrich Haas is definitely fond of figures—the implicit symbolism of numbers in in vain is far- reaching: the number of players (24 instruments in the dark plus a director in the light) is in correspondence with the microtonal interval 24:25. In spite of all its rigorous structure, Serial Music is by far less significant in Georg Friedrich Haas’s musical thinking than for example Alois Hába’s ideal form—free roaming without thematical coherence. And as a source for instrumental overtone sequences, Haas refers first of all to Franz Schubert and not to Tristan Murail. 

it snows, then rains downpour,
it snows, it rains, it snows;
then rain and rain it goes,
it rains, then snows once more

(Ror Wolf, Wetterverhältnisse)

The piece is dedicated to Sylvain Cambreling

(Bernhard Günther, 2000)

05 03 2015

Georg Friedrich Haas "Concerto Grosso No. 1" (for alphorns and orchestra) (2014)

Hornroh Modern Alphorn Quartet
ORF Radio-Symphonieorchester Wien
conductor: Peter Rundel

05 03 2015

Georg Friedrich Haas "Limited Approximations" or 6 micro-tonally tuned pianos and orchestra (2010)


Limited Approximations, for 6 micro-tonally tuned pianos and orchestra (2010)

Akiko Okabe, Pi-Hsien Chen, Christoph Grund, Florian Hoelscher, Julia Vogelsänger & Sven Thomas Kiebler, piano

SWR-Sinfonieorchester Baden-Baden und Freiburg
Sylvain Cambreling

The twelfth-tone interval is so small that it is no longer heard as an interval, but rather as the shading of a single note. A single tone played by a romantic orchestra has a wider frequency. The aural effect of a scale in twelfth-tone intervals is thus similar to a glissando. The effect of a cluster of twelfth-tones depends on the register: higher up, it is sharp, abrasive, biting, lower down it is soft, melting, rich. Of course it is also possible to build raw, dissonant chords with twelve-tone intervals -- much more differentiated (also in the degree of acuteness) than with the traditional 12 tones per octave. But it is also possible to build much more "consonant" chords than in the traditional twelve-note scale: a close approximation of the twelve-tone scale can be produced in the overtone scale, accurate up to a twelfth of a tone.

The intonation of the pianos is precisely measurable at all times -- where it would be extremely time-consuming to construct overtone chords with the orchestra alone (including overtone chords based on tonics outside the traditional twelve-tone system), the six precisely tuned pianos can produce these chords in an instant -- admittedly, only in the limited approximation of the 72 twelfth-tones per octave. The score gives the following instruction on the intonation of the overtone scale:

"The twelfth-tone tuning of the pianos provides a good approximation of the intervals of the overtone scale, but diverges from it markedly in some respects. Ideally, the instruments of the orchestra would take the example of the tuning of the piano only at the tonic and the octaves, and correct all other intervals by ear towards the "correct" tuning (particularly the fifths and augmented ninths, the major thirds and the minor sixths), with the twelfth-tone scale of the pianos merely serving as an orientation point."

limited approximations does not tell a story. As with all my compositions, there is also no formal development or traditional formal structure. Contrasting elements alternate with one another -- moments of smoothness and friction. "Pseudo-glissandi" in the pianos arrive unexpectedly at overtone chords. Apparently stable constellations of intervals begin to falter as the twelfth-tones merge.

The spectral, telescoping chords of the pianos are taken up by the orchestra, over and over again. In my early works I had to limit myself to a few basic tones, out of respect for what was practically realisable: in vain makes do with only the 12 tones of the traditionally tuned scale. Natures mortes uses only six different overtone chords, of which four are based on tones found in the traditionally tuned system. In limited approximations, thanks to the pianos, the whole world of sound is open to me. A microtonal countermovement is composed into the final third of the piece: from the fifth C'-G' to the neutral second between the E sharp raised by a twelfth-tone and the F lowered by a sixth-tone. Thus 10 different intervals arise, each of which becomes the centre of an overtone chord. This section last more than 100 bars. Or: an overtone chord, starting fortissimo, rings out, is picked up in the orchestra, swells again to a crescendo, which masks the start of a new overtone chord in the pianos, only the reverberation can be heard, it rings out, is taken up by the orchestra, swells... etc.

--Georg Friedrich Haas

05 03 2015

V/A Hans Trapp 7" inc. Stephen O'Malley / EVOL / M.E.S.H. / NHKyx / Slugbug







description from BLEEP:



Le Petit Mignon
February 2015

One of the most unique releases we have seen for sometime; forty one artists across two sides of a 7" single, each composing 15 seconds of music taking in everything from grindcore, noise, disco, ambient, acid & experimental. This beautifully packaged release is a collaboration between Le Petit Mignon and Berlin-based design and printing studio Re:Surgo. Arriving housed inside a a fold-out screen-printed two-sided sleeve and featuring an all-star line up including everyone from Sunn O))) head Stephen O'Malley, digital rave hooligans EVOL, future-facing dancefloor deconstructionist M.E.S.H. new Diagonal signee NHKyx, Slugbug & the Rvng Intl. label's Stellar OM Source as well as a whole host of artists we have not come across but have some of the best pseudonym's around. Here you will find 15 second hits from the likes of: Night Music, Charles Edward Cheese Band, Dubknowdub, Der Tapeman & William Strangeland among many others, a truly one-of-a-kind release we would urge you to grab asap as once it's gone it's gone!

◦Pressed on orange vinyl
◦Housed in a fold-out screen-printed two-sided artwork sleeve with letraset lettering designed and hand-printed by Re:Surgo
◦Limited to 320 hand-numbered copies worldwide
◦Mastered and cut by Rashad Becker at D&M, Berlin


Label copy:

Hans Trapp / Bugaboo Rcds

41 bands on an orange 7 inch.
Each band had 10 seconds to express themselves.
Curated by Guillaume Siffert, Nine Yamamoto-Masson & Christian Gfeller.
The record comes in a 2 colours silkscreen fold-out poster.
Limited to 320 ex, numbered.

Bands:  Stephen O'Malley, Lucky Dragons, Xper Xr, Erin Budd, Aids Wolf, Jean-Louis Costes, Charles Edward Cheese Band, Valentina Vuksic, Troller, Stellar Om Source, Pierre Belouin, Gtuk, Government, Alpha, Skadden, Pataphisics, Arnaud Rivière, Night Music, Adan de la Garza, Martin Ain, M oha!, Lasse Marhaug, Evol, M.E.S.H, William Strangeland, Vom Grillll, Torturing Nurse, Buke & Gass, Mr Marcaille, Ruben Patino, Antoine Chessex, NHKyx, Mick Barr, Lot Lizard, Der Tapeman, Slugbug, Dubknowdub, Hecate, The Feeling of Love, Marcel Du Swamp, Justice Yeldham & L'Ocelle Mare.

05 03 2015

Stephen O'MALLEY March 2015 biography/discography


Stephen O’Malley
March 2015

"Insofar they may expand on the O))) principles albeit perhaps a more sculptural and angular direction; the extended solid and geometric aspects of the guitar and amplifiers, sound pressure, volume and temporal structure as ambiguous and solitary form."

Stephen O’Malley (b. 1974) was born in New Hampshire, USA and raised in Seattle. He eventually spent a decade in New York and presently is based in Paris. 

As a composer and musician he has been involved in hundreds of concerts and performances around the world over since 1993. 

O’Malley is a founding member of several groups including Thorr's Hammer (1993), Burning Witch (1995), Sunn O))) (1998), Khanate (2000), KTL (2005), Nazoranai (2011), ÄÄNIPÄÄ (2011) and others. He is a frequent collaborator of many outsider musicians, artists and composers in various formations, in concert and studio settings. He was also part of the formative teams which created the Southern Lord (1998) and Ajna Offensive (1995) record labels, and has worked as the art director for the Misanthropy records label (1997-2000) and others, as well as for various NY based advertising agencies and publications (1998-2006). In 2011 he created the Ideologic Organ record label in collaboration with Peter Rehberg / Editions Mego.

Wildly prolific, O’Malley’s oeuvre is defined by its remarkable breadth and complexity and includes collaborations with a wide range of experimental musicians, including Scott Walker, Merzbow, Jim O’Rourke, Keiji Haino, Mats Gustaffson, Peter Rehberg, and Oren Ambarchi; French choreographer and theater director Gisèle Vienne; author Dennis Cooper; contemporary composers Iancu Dumitrescu, Roger Tessier, Eyvind Kang and Alvin Lucier; Israeli conductor Ilan Volkov; American sculptor Banks Violette; Italian performance artist Nico Vascellari; Luxembourg’s filmmaker artists Gast Bouschet & Nadine Hilbert; Swiss artist Emily Ding; American filmmaker Jim Jarmusch; Fashion designer Rick Owens; Belgian filmmaker Alexis Destoop; and many others. O’Malley’s multifaceted, multidisciplinary interests intersect on many levels.

Within Gisèle Vienne plays, he has created the music for Kindertotenlieder (2006), This is How You Will Disappear (2010), LAST SPRING: A Prequel (2011), The Pyre (2013) and The Ventriloquy Convention (2015) in collaboration with Peter Rehberg (with whom he founded the band KTL) and also for Eternelle Idole (2009). 

O’Malley has also worked together with film makers and visual artists in gallery and museum installation work, notably with the American sculptor, Banks Violette on several pieces between 2005-2008. 

More information about his work is available at: http://www.ideologic.org/

Audio (solo)
Solo concert @ Blæst, Trondheim, Norway 10 JAN 2015 https://soundcloud.com/stephen-omalley/live-blaest-trondheim-norway-10-jan-2015
Solo concert @ Dread Exhibition opening in Haarlem, Netherlands 6 SEP 2013: https://soundcloud.com/stephen-omalley/live-at-dread-exhibition
Solo concert @ Centre Cultural Suisse / Ban Bonn Carte Blanche, Paris 18 OCT 2013: https://soundcloud.com/stephen-omalley/stephen-omalley-live-at-centre

Paris: http://www.youtube.com/watch?v=md94O9T3OxA
Martigny: http://www.youtube.com/watch?v=Tiojz7Cp1j4
Belgium: http://www.youtube.com/watch?v=-BPu1Dxro2c
Oslo: http://www.youtube.com/watch?v=pPScmja_pKQ
Jerusalem (Israeli 70s amplifiers): http://www.youtube.com/watch?v=EMOep0dDHhU


Select discography

with Sunn O)))

The Grimmrobe Demos (demo 1998, CD 2000, 2xPLP 2003, 2xLP 2004, 3xPLP 2008)
ØØ Void (CD 2000, 2xLP 2003, CD & 2LP 2011)
Flight of the Behemoth (CD & 2xLP 2002)
White1 (CD & 2xLP 2003)
Veils It White (12" 2003)
The Libations of Samhain (live CD 2003)
Live Action Sampler (promotional mix 2xCD 2004)
Live White (live 2xCD 2004)
White2 (CD & 2xLP 2004)
Cro-Monolithic Remixes for an Iron Age (12" 2004)
Candlewolf of the Golden Chalice (12" 2005)
Black One & Solstitium Fulminate (2xCD 2005)
Black One (CD 2005, 2xLP 2006)
AngelComa (split LP 2006)
La Mort Noir dans Esch/Alzette (CD 2006)
WHITEbox (4xLP Box 2006)
Altar (collaboration with Boris, 3xLP & CD 2006)
Oracle (12" 2007)
Dømkirke (live 2xLP 2008)
Che (with Pan Sonic) (10” 2009)
(初心) Grimmrobes Live 101008 (Cassette 2009)
Monoliths & Dimensions (CD & 2xLP 2009)
Agharthi Live 09-10 (LP + 7" 2011)
The Iron Soul of Nothing (collaboration with Nurse With Wound) (2xLP 2011)
Rehearsal Demo Nov 11 2011 (LP 2012)
LA Reh 012 (LP 2014)
Terrestrials (collaboration with Ulver, CD & LP 2014)
Soused (collaboration with Scott Walker, CD & 2xLP 2014)
v/a The Beast of Attila Csihar “Decay: The Symptoms of Kali Yuga” (CD 2003)
v/a Let There Be Doom II “Hell-O)))-Ween” (demo) (CD 2004)
v/a Darkness Hath No Boundaries “It Took The Night To believe” (CD 2006)
v/a Darkness Knows No Boundaries “Etna” (as SUNN & Boris) (CD 2006)
v/a Jukebox Buddha “BP//Simple” (CD 2006)
v/a Within The Church of Thee Overlords “Orakulum (edit)” (CD 2007)
v/a VISIONARE 53 SOUND “Ultra Orthodox Caveman” (4xPictureLP & 2xCD magazine 2007)
v/a Does your cat know my dog? "Isengard (Chopped & Screwed)" (LP 2009)

with KTL

KTL (CD & LP 2006 on Aurora Borealis)
KTL 2 (CD & LP 2007 on Thrill Jockey)
KTL 3 (CD & LP 2007)
Eine eiserne Faust in einem Samthandschuh (CD 2007 on Editions Mego) - limited to 300 copies
KTL - Live in Krems (LP released in December '07 by Editions Mego)
IKKI (CD 2008 on Editions Mego)
Victor Sjöström's The Phantom Carriage: KTL Edition (DVD 2008, USA DVD 2011)
KTL IV Paris Demos (CDR 2008)
KTL 4 (CD 2009, 2x12" & 7" Japan 2009, CD Japan 2009)
KTL V (CD 2012, 2xLP 2012)
KTL V INA GRM Studies (12" 2012)
The Pyre (CD & 2xLP 2015)
KTL Live Archive (12 x cassette series 2015)

solo works

Fungal Hex (CD 2001, 2x12" picture disc 2005)
Caveman Skull 1&2 (2xMP3CD 2004)
Devolution/Evolution: Stephen O’Malley interviews Dylan Carlson (MP3 2005)
Press Conference/Panel at Roskilde Festival 010705 (MP3 2006)
Magistral (with Z'EV) (CD 2007)
Salt (CD 2008)
6°F Skyquake (with Attila Csihar) (CD 2008, Book & LP 2008)
Keep An Eye Out (12" 2009)
Petite Géante (Cassette 2009)
Cocon & Oiseau de Nuit (Cassette 2010, LP 2012)
V/A Hans Trapp (7 inch compilation 2011)
Stephen O'Malley & Atsuo - Uroborus Circuit (LP 2011)
רומיאו (Cassette 2011)
obscurantisme (2xCD & 2xLP 2012 UNRELEASED)
Songs of Decadence: A Soundtrack to the Writings of Stanisław Przybyszewski (7 inch compilation 2013)
Escalade (Cassette 2013)
Tempestarii + DISintegration (Cassette 2013)
Gruidés (LP 2015)
Eternelle Idole (2xLP 2015)

with Khanate

Khanate (CD & 12" 2001)
Live WFMU 91.1 (CD 2002)
No Joy (Remix) (12" 2003)
Things Viral (CD & 12" 2003)
Let Loose the Lambs (DVD 2004)
KHNT vs. Stockholm (CD 2004)
Live Aktion Sampler 2004 (CD 2004)
Capture & Release (CD, 12", picture disc 2005)
Dead/Live Aktions (DVD 2005)
It's Cold When Birds Fall from the Sky (CD 2005)
Clean Hands Go Foul (LP & PLP 2008, CD Japan & CD+live DVD 2009)

with Burning Witch

Demo (cassette 1996)
Rift.Canyon.Dreams (12" 1998)
Towers... (12" 1998)
Crippled Lucifer (CD 1998, cassette 1999, 2CD 2008)
Burning Witch/Goatsnake split (CD 2000)
Burning Witch/Asva split (12" picture disc 2004)
Burning Witch (4xLP + DVD boxset 2012)

with Ginnungagap

1000% Downer (CD & 12" 2004)
Return to Nothing (CD 2004, 12" 2008)
Remeindre (CD & 12" 2005)
Crashed like Wretched Moth (12" 2006)

with Lotus Eaters

Alienist on a Pale Horse (CD & 12" 2001)
Four Demonstrations (CD 2001)
Mind Control for Infants (CD 2002, 2xLP 2009)
DR-55 (7" 2002)
Wurmwulv (CD 2007, 2xLP 2011)

with Grave Temple

The Holy Down (CD 2007)
Ambient/Ruin (demo CD 2008, LP 2013)
Le Vampire de Paris (CD 2009)

with Æthenor

Deep in Ocean Sunk the Lamp of Light (CD & LP 2007)
Betimes Black Cloudmasses (CD & LP 2008)
Faking Gold & Murder (CD & LP 2009)
En Form for Blå (CD & 2xLP 2011)


Sarin – Nihilist (cassette 1996)
Thorr's Hammer – Dommedagsnatt (cassette 1996, CD 1998, CD reissue 2004, picture disc 2004, gatefold LP 2009)
Teeth of Lions Rule the Divine – Rampton (CD 2002)
Pentemple – Sunn O))) Presents (CD & LP 2008)
Brain Donor – Wasted Fuzz Excessive (CD 2009)
Spaceship – Spaceship (CD 2009)
Peeesseye – Robust Commercial Fucking Scream (Cassette 2009)
Stephen O'Malley & Steve Noble – St Francis Duo (CD & 2xLP 2012)
Ensemble Pearl – s/t (2xLP & 2xCD 2012)
Nazoranai – なぞらない (CD & 2xLP 2012)
ÄÄNIPÄÄÄ – Through A Pre-Memory (2xLP & CD 2013)
Iancu Dumitrescu, Ana-Maria Avram – Live In Israel I (CD 2013)‎
Iancu Dumitrescu, Ana-Maria Avram – Live In Israel II (CD 2013)‎
Iancu Dumitrescu, Ana-Maria Avram – Paris - London (III). Spectrum XXI Festival (CD 2013)‎
Ambarchi / O'Malley / Dunn – Shade Themes From Kairos (2xLP & 2xCD 2014)
Iancu DUMITRESCU - Ana-Maria AVRAM - Ivan VOLKOV (CD 2014)
Nazoranai – 番痛い時は一度だけそれは もう 訪れているのかな...(CD & 2xLP 2014)
Vesuvio – s/t (CD 2014, LP 2015)


photo: André Løyning February 2015


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