<?xml version="1.0" encoding="us-ascii"?>
<label id="intransitive" href="http://www.electrocd.com/fr/boutique/intransitive/">
  <name>Intransitive Recordings</name>
  <shortname>Intransitive</shortname>
  <recording id="int_013" href="http://www.electrocd.com/fr/cat/int_013/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/013_INT.gif" />
    <title>Variious</title>
    <catno>INT 013</catno>
    <year>2000</year>
    <format>
      <code>2xCD</code>
      <price>33.00 CA$</price>
      <availability></availability>
    </format>
    <description>Superbe compilation d&#8217;extr&#234;me avant-garde
    &#233;lectronique</description>
  </recording>
  <recording id="int_023" href="http://www.electrocd.com/fr/cat/int_023/">
    <artist>[va]</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/023_INT.gif" />
    <title>Twenty-three</title>
    <catno>INT 023</catno>
    <year>2004</year>
    <format>
      <code>2xCD</code>
      <price>33.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] I love compilations. Always have, ever
    since I started listening to music. A compilation is like an extension of a mix-tape, similar
    to those that I used to make in high school for my friends. It&#8217;s a way of saying
    &#8220;Here is all the music that I&#8217;m excited about right now, collected in one place for
    you&#8221;. Of course, a record label is also an extension of this enthusiasm&#8230; I&#8217;ve
    been publishing electro-acoustic music for seven years now, and my excitement about it has only
    grown. I&#8217;m always hearing new stuff, or becoming charged about some artist&#8217;s
    development or new projects. A compilation is a fine way for me to take stock of what music
    I&#8217;m listening to and step back for a moment to gather the best of it in one place. In a
    perfect world (one in which I suddenly became a millionaire overnight), I would publish 50-CD
    boxsets by everyone on this album. For now, though, Intransitive Twenty-Three should provide
    plenty for a listener to chew on, and some directions in which to continue exploring. As is
    true with all Intransitive releases, my concern is not one of refining some particular label
    aesthetic; to me, it&#8217;s much more interesting to publish whatever I find compelling, and
    to let listeners make connections between disparate artists, approaches, and sounds. My hope is
    that one cannot know precisely what to expect from the label, but that some intuitive coherence
    emerges with time. That&#8217;s not for me to worry about, though: there&#8217;s too much great
    music to be heard now! Of Intransitive&#8217;s previous 2CD compilation, Variious, the critic
    Michael Heumann wrote in Stylus Magazine that he found the album &#8220;especially interesting
    because it so effortlessly bridges that imaginary gap between &#8216;popular&#8217; and
    &#8216;serious&#8217; electronic music, in the process demonstrating that those terms mean
    absolutely nothing. When I listen to Variious, I hear music and just music, and that&#8217;s
    all I should hear when I listen to music&#8221;. Right on! I&#8217;m aware that the artists
    compiled on these CDs (and on Intransitive&#8217;s releases in general) may be coming from very
    different conceptual or compositional places, but to these ears, all of this sound makes sense
    together. Just in case, I imposed a limitation on the artists: no one was allowed to use
    anything digital in the composition of their piece. And there you have it. -Howard Stelzer,
    Intransitive Recordings.</description>
  </recording>
  <recording id="int_017" href="http://www.electrocd.com/fr/cat/int_017/">
    <artist>M Berhens</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/017_INT.gif" />
    <title>Elapsed Time</title>
    <catno>INT 017</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>3 derniers exemplaires&#160;!</description>
  </recording>
  <recording id="int_009" href="http://www.electrocd.com/fr/cat/int_009/">
    <artist>Loren Boyer</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/009_INT.gif" />
    <title>Des parasites risquent de se produire</title>
    <catno>INT 009</catno>
    <year>1999</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] A native of northern Florida, recently
    relocated to Boston, MA, guitarist Loren Boyer presents nine homemade electro-acoustic
    compositions on his first widely available recorded work. "Des Parasites..." downplays guitar
    in favor of amplified toys, tapes, bizarre atmospheres, and electronic drones. The result is an
    introspective, claustrophobic album of melancholy song-like forms, at times innocent and naive,
    or oppressive and raw. From the gritty, distant percussive opening to the majestic tape-squeal
    finale, "Des Parasites..." is a concise and intensely personal statement from a unique and
    underdocumented artist. Includes introductory essay by Davey Willams. Boyer currently performs
    both solo and with Harvey Benschoter as the electronics duo Horse Sinister. "Immediately
    impressive... Time, or maybe time pieces, could play a part in the construction of this series
    of (mostly) guitar compositions, nearly all of which have something curious ticking inside
    them. Elsewhere, subterranean drones and radio squeal add thier atmospheric weight to the
    proceedings until, finally, Boyer's pecking guitar style emerges fleetingly before being
    gobbled up in a storm of sonic flak. Great stuff." -Edwin Pouncey, The Wire. "The music is
    throbbing and ominous, subterranian and seditious. It is sleepwalking at noon with civil
    defense sirens going off all around you. In short, this music is disturbing." Glenn Engstrand,
    The Improvisor. "A perfect companion for everything but sleeping. Decidedly great." Nirav Soni,
    Ink 19</description>
  </recording>
  <recording id="int_018" href="http://www.electrocd.com/fr/cat/int_018/">
    <artist>Gal</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/018_INT.gif" />
    <title>Relisten</title>
    <catno>INT 018</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>5 derniers exemplaires&#160;! &#8212; &#171;Relisten indeed you will.&#187; (The
    Wire)</description>
  </recording>
  <recording id="int_022" href="http://www.electrocd.com/fr/cat/int_022/">
    <artist>jgrzinich, Seth Nehil</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/022_INT.gif" />
    <title>Confluence</title>
    <catno>INT 022</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <availability>&#233;puis&#233;</availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] In 1998, American composers John
    Grzinich and Seth Nehil initiated a process of recording and experimentation that would result
    in a pair of full-length CDs. The seed of the project originated in Austin, Texas with acoustic
    recordings of found objects played by large groups. By the end, it had expanded into a
    three-year, transcontinental exchange of intensive interaction, questioning and dialogue. These
    works further the artists' interest in physical materials and natural acoustics which are
    consequently composed into imbedded, altered and engaging structures. Taking form with the
    integrity of a living organism, these pieces invite the listener to find his way through the
    reticulated and stratified development of a subtly unfolding, organic sound-body. The first
    part of this project, "Stria", was published by the Erewhon label (Belgium) earlier this year.
    Intransitive is now proud to present part two, "Confluence". The exploratory focus of
    "Stria/Confluence" is the idea of resonance; the phenomenon of natural vibrations that give
    rise to intensified or stable structures within sound bodies and fields. In the production of
    these works, the composers' approach to resonance encompassed not only acoustical behavior but
    also included analogies of the phenomenon in group interaction and/or participation within the
    social context of sound generating activities. It was again applied to the studio in the use of
    massive multiplications and layerings, resulting in deeply transformed, evolutionary sound
    fields. Seemingly infinite layers of minute actions accumulate into a deep wash of sound, not
    unlike the similarly-minded Jonathan Coleclough or mnortham. Repeated listening reveals more
    and more subtle details so that the piece appears to change each time it is experienced. Seth
    Nehil's work with layered acoustic recordings has been heard on his previous releases published
    by KAON, Alluvial and 20City. Both artists, whose previous duo recordings used the band name
    Alial Straa, have collaborated extensively with mnortham and Olivia Block as part of Austin's
    Orogenetics group.</description>
  </recording>
  <recording id="int_025" href="http://www.electrocd.com/fr/cat/int_025/">
    <artist>Kapotte Muziek, Lethe</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/025_INT.gif" />
    <title>Tsurumai</title>
    <catno>INT 025</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Recorded in the industrial city of
    Nagoya, Japan, Tsurumai is an expansive album of roughly improvised electroacoustic music.
    Starting from a few small clicks, the music steadily grows outward, uneasily shifting and
    expanding&#8230; the musicians use acoustic sounds (from violin, piano, percussion), closely
    amplified objects, open circuits and computers, and anything else they could find. Rude bumps
    interrupt narcotic drones, the telltale human hands of improvisation disappear into a
    mysterious group sound, elements blur, vision fails, and time stops&#8230; Frans de Waard began
    his Kapotte Muziek (literally &#8220;broken music&#8221;) project in Nijmegen, the Netherlands,
    in 1984, and went on to found the Korm Plastics label. As the name he gave to his solo studio
    experiments, Kapotte Muziek produced tapes and LPs of harsh noise, drones, collages, and
    whatever else interested him, casting a large shadow over the 1980s international
    cassette-trading community. Eventually, as he pursued his projects Shifts (for guitar drones)
    and Freiband (computer music), Kapotte Muziek became the live improvising collaboration of de
    Waard, Roel Meelkop and Peter Duimelinks. The trio performs by amplifying objects that they
    discover at whatever space they find themselves performing. In Nagoya, Kapotte Muziek met up
    with Kuwyama Kiyoharu, aka Lethe, an omnivorous multi-instrumentalist whose work typically
    takes advantage of some acoustic peculiarity of the space in which it is recorded. He is
    one-half of Kuwyama-Kijima, a cello and violin duo whose albums have appeared on the trente
    oiseaux and Alluvial labels. He has also collaborated with Campbell Kneale (Birchville Cat
    Motel), Masayoshi Urabe, and runs the annual Lethe-Voice Festival in Nagoya. Tsurumai is
    Kapotte Muziek&#8217;s second CD for Intransitive, following The Use of Recycling in 1998.
    Lethe also appeared on the compilation Twenty-three.</description>
  </recording>
  <recording id="int_026" href="http://www.electrocd.com/fr/cat/int_026/">
    <artist>Jason Lescalleet, Nmperign</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/026_INT.gif" />
    <title>Love Me Two Times</title>
    <catno>INT 026</catno>
    <year>2006</year>
    <format>
      <code>2xCD</code>
      <price>33.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Love Me Two Times, the highly
    anticipated double-CD epic by Jason Lescalleet (tapeloops) and Nmperign (Bhob Rainey - soprano
    sax, and Greg Kelley - trumpet). The result of six years of live and studio collaboration, Love
    Me Two Times is by far the most ambitious and uncompromising statement yet by this formidable
    trio. The album begins as a more-or-less straight documentary-style recording of group
    improvisation, but don&#8217;t get too comfortable&#8230; over the course of the next two
    hours, the ground steadily shifts, the bottom drops out, and any expectations a listener may
    have had going in are thoroughly trampled. Join the group as they visit art galleries, rock
    clubs, living rooms, at least one church, and the kitchen of a famous chef, before finally
    putting a fist through an amplifier. Fans will find the usual ingredients here: crusty old
    reel-to-reel tape decks, cheap keyboards, amplified and acoustic horns&#8230; but rude tape
    splices, violent humor, and confusingly degraded fidelity push the music far from safe
    territory. The visceral drama of Love Me Two Times does not neatly spell out its intentions,
    nor does it signal exactly what it has up its sleeve. It exists in its own universe, demands
    repeat listens and to be taken on its own terms.</description>
  </recording>
  <recording id="int_031" href="http://www.electrocd.com/fr/cat/int_031/" new="yes" recent="yes">
    <artist>Lionel Marchetti, Seijiro Murayama</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/031_INT.gif" />
    <title>Hatali Atsalei (L&#8217;&#233;change des yeux)</title>
    <catno>INT 031</catno>
    <year>2008</year>
    <format>
      <code>CD</code>
      <availability>bient&#244;t</availability>
    </format>
  </recording>
  <recording id="int_024" href="http://www.electrocd.com/fr/cat/int_024/">
    <artist>Roel Meelkop</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/024_INT.gif" />
    <title>5 (Ambiences)</title>
    <catno>INT 024</catno>
    <year>2006</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] The music of 5 (Ambiences) deals with
    ways of approaching and conceptualizing ambient sound, of abstracting sounds from the world
    until they become much more than documentary observations. The music plays with some
    referential material (are they field recordings? digitally generated? does it matter?), a very
    wide dynamic range (to encourage active listening), evocative and even dramatic structures but
    also forbiddingly impersonal distance. It toys with the notion of &#8220;ambient music&#8221;
    (as new age wallpaper) by using ambiences to create deeply involving compositions which change
    as one changes one&#8217;s listening focus. This music is open to any interpretation, or no
    interpretation at all. When Roel Meelkop creates a new CD, he considers anything other than the
    music to be a distraction from the point at which a listener apprehends a sonic experience and
    generates his or her own meaning. Previous albums have not included any images, text,
    biographic information, or even titles. This sort of presentation could be misinterpreted as
    willful obscurity, but quite the opposite is intended. By the composer&#8217;s reasoning, the
    music on the CD is exactly and only what the listener hears; richness then arises from the act
    of listening. On this new disc, the artist deviates somewhat from his previous pattern. At
    Intransitive&#8217;s urging, he wrote a bit of text to describe his thoughts about composition
    and listening, if not this album in particular. This may not seem like much, but for Meelkop it
    is a major concession. For the first time, this artist who has hardly given any interviews,
    whose philosophy, while quite straightforward, has been implied but never directly described,
    has given listeners a way in to his sound world. Which says nothing of what that world
    contains&#8230;</description>
  </recording>
  <recording id="int_027" href="http://www.electrocd.com/fr/cat/int_027/">
    <artist>Brendan Murray</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/027_INT.gif" />
    <title>Wonders Never Cease</title>
    <catno>INT 027</catno>
    <year>2007</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Four years in the making, the music of
    Brendan Murray&#8217;s latest/greatest album of cinematic drone anthems, Wonders Never Cease,
    was honed during live concerts around New York and New England. Recorded in situ, each track
    was painstakingly (re)assembled and embellished back at Murray&#8217;s studio. While it cannot
    accurately be called a &#8216;live album&#8217;, the adrenaline thrill of live performance is
    palpable as soon as the opening howl charges out from the speakers. From the laminal scorch of
    the opening track, through an electric fizz storm and a breathy hymn for what sounds like
    harmonica and folding chairs (?), the eyes-wide-open bliss of Wonders Never Cease is
    exhilarating. Soulful, melodic and intimate, this is electro-acoustic music as gloriously
    life-affirming and natural as a sunrise.</description>
  </recording>
  <recording id="int_020" href="http://www.electrocd.com/fr/cat/int_020/">
    <artist>Nerve Net Noise</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/020_INT.gif" />
    <title>Meteor Circuit</title>
    <catno>INT 020</catno>
    <year>2002</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Nerve Net Noise is the synthesizer duo
    of Tsuyoshi Nakamaru and Hiroshi Kumakiri, who confused and irritated just about everyone with
    thier CD &#8220;160/240,&#8221; published by the Meme label several years ago. Each Nerve Net
    Noise album is an astoundingly thorough exploration of one aspect of what thier rough and
    barely controllable homemade synthesisers can do. Meteor Circuit explores rhythms and beats,
    but it's no minimal glitch album, and neither is NNN a "noise" band; they are after something
    much more ellusive and beautiful than mere obvious full-bore screech. With a strange new angle
    on electronic improvisation, they twisted knobs until their machines produced rhythmic pulses,
    then hit record and let the instruments decide what would happen next. The "natural"
    imperfections of the synthesizers' circuitry determined how each piece would evolve with little
    or no interaction from the artists. They then editted the works into a coherent, intense and
    (it must be said bluntly) immensely bizarre album. There isn't anyone else doing quite what
    Nerve Net Noise is doing, and no convenient genre or style that they fit into, which is why
    they are one of Intransitive's very favorite groups and why we are especially proud to present
    "Meteor Circuit" to you now. Following two albums on Kazunao Nagata's cult Zero Gravity label
    and last year's stunning "Various Amusements" CD on Hronir (and, of course, the infamous
    "160/240" on Meme), "Meteor Circuit" is the first Nerve Net Noise CD published in the US.
    Nakamura records more accessible techno-pop under the alias Tagomago. He also records using the
    alias Toki-Meki Science for Nobukazu Takemura's Childisc label. The band describes their sound
    as "electric noise music, but not academic, not mere noisy sound. We think that our music is
    not so much noise music as new kind of pop music". "No two ways about it, you're either going
    to love Meteor Circuit or think it's the most annoying con-job going in electronica. As for the
    tunes? They're surprisingly evocative. No shreds of unnecessary noise, the world of chirping
    and bleeping sounds very much like it was created with corks and bottles -- there's a
    distinctly real-world feel that's at odds with the oscillator-born nature of the enterprise. If
    you've got the tolerance and don't mind people asking you why you've got a recording of a
    car-alarm, then Nerve Net Noise's work is for you. For all the technology involved, there's an
    immensely satisfying human feel to the tunes here -- more so than in a lot of other electronic
    releases. No MIDI, no chopping, no bullshit: this is the real deal." -Splendid eZine "I simply
    can't tear myself away, listening to these tracks for hours on end, bewitched by these cheerful
    oscillations. I never feel that the sounds are grating, impersonal or oppressive. Rather, Nerve
    Net Noise make a music that invites the listener to come closer, to become immersed in its
    alluring incongruities. In his liner notes, Hiroshi Kumakiri speaks of creating new life with
    their machines; I can't attest to whether these sounds are indeed alive, but I can say that
    this music is without a doubt quite unlike anything you've ever heard before. Highly
    recommended." -Incursion "Imagine a nest of robotic birds, mechanically, repetitively chirping
    at one another, slowly building into patterns and rhythms that will drill themselves into your
    brain, causing either the euphoria of a trepanation (if you're into it) or simply the pain of
    such. But it's clear that the former is the intention. These guys aren't trying to make
    assaultive music for masochists -- they just hear things differently from most folks. (Is it
    perverse to like this stuff? 'Cause some of us here have more than one NNN cd in our
    collections...)" -Aquarius Records "A must for all analogue synth freaks." -Vital Weekly
    "(Nerve Net Noise's) music is unclassifiable analog electronica, and if anything, this CD
    pushes things deeper into the world of weird. Why? Because it seems Kumakiri Hiroshi and
    Tsuyoshi Nakamura (aka Tagomago) have decided to think of their music as an avatar of pop
    instead of sound art. With anyone else it would result in music more easy to grasp; with them
    it just makes things more impossible to describe. Meteor Circuit is one strange, unique
    experience that will probably appeal to fans of the Serge modular, the Buchla box, and the
    VCS-3." -All-Music Guide "If, in your life, you are only able to own one piece of recorded
    media, PLEASE make it the forthcoming Nerve Net Noise CD, Meteor Circuit, on the Intransitive
    label." -Greg Kelley, nmperign "Despite what an enthusiastic Greg Kelley (of nmperign) says
    about it, more than a masterpiece this record is a big shitty fraud" -BlowUp</description>
  </recording>
  <recording id="int_029" href="http://www.electrocd.com/fr/cat/int_029/" new="yes" recent="yes">
    <artist>Nerve Net Noise</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/029_INT.gif" />
    <title>Dark Garden</title>
    <catno>INT 029</catno>
    <year>2008</year>
    <format>
      <code>CD</code>
      <availability>bient&#244;t</availability>
    </format>
  </recording>
  <recording id="int_028" href="http://www.electrocd.com/fr/cat/int_028/">
    <artist>Seht, Howard Stelzer</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/028_INT.gif" />
    <title>Exactly What You Lost</title>
    <catno>INT 028</catno>
    <year>2007</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] This first album of cross-hemisphere
    hum by Seht and Howard Stelzer emerged organically via tapes shared through the post between
    New Zealand and Boston over the course of a year or so. Without any spoken agenda or external
    organizing concept from the start, the music willed itself into a darkly psychedelic,
    implacably melancholy haze. A quick scramble of caffeinated tape action kicks things off, then
    the album rapidly dissipates into a thick, black sleep of environmental debris and humid fog.
    Worn loops were played into various outdoor acoustic environments (playgrounds, front porches,
    trees, other prosaic spots), then fed back into low-tech machines for further harmonic decay.
    Shapes form in the shadows and slip away as the edges blur. After a few attempts to heave
    itself up onto its feet, Exactly What You Lost eventually huffs its last breath and dissolves
    in a cavern of industrial tics.</description>
  </recording>
  <recording id="int_030" href="http://www.electrocd.com/fr/cat/int_030/" new="yes" recent="yes">
    <artist>Howard Stelzer</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/030_INT.gif" />
    <title>Bond Inlets</title>
    <catno>INT 030</catno>
    <year>2008</year>
    <format>
      <code>CD</code>
      <availability>bient&#244;t</availability>
    </format>
  </recording>
  <recording id="int_021" href="http://www.electrocd.com/fr/cat/int_021/">
    <artist>Howard Stelzer, Jason Talbot</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/021_INT.gif" />
    <title>Songs</title>
    <catno>INT 021</catno>
    <year>2003</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>[traduction fran&#231;aise non disponible] Songs contains eight concise pieces of
    electroacoustic music created from cassette tapes and a single turntable. Since the duo&#8217;s
    inception on 1999, they have worked toward developing a unified, improvisatory sonic language
    by approaching their machines in a decidedly instrumental manner. Though the music is informed
    by both free improvisation and musique concrete, it does not fit comfortably into either
    category. Stelzer elicits percussive blurts from his cassette tapes, manually applying pressure
    to the motors and gears of the tape decks. Talbot amplifies various parts of his turntable,
    exploring the body of the machine with such objects as paper clips and balloons. Their music
    takes the form of energetic, tightly-focused pieces which may, perhaps, resemble
    songs.</description>
  </recording>
</label>
