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  • Item:MER-761

    Here art grows on trees, Simryn Gill

    Here art grows on trees features Simryn Gill’s latest works commissioned for the Australian Pavilion at the 55th Venice Biennale. Edited by the exhibition curator, Catherine de Zegher, this limited edition monograph includes more than 100 artwork plates printed on different paper stocks that demonstrate the generative and cyclic nature in Gill’s remarkable oeuvre of quotidian beauty. The essays by leading international thinkers and writers include: Catherine de Zegher (On Line. Drawing Through the Twentieth Century, MoMA); Carol Armstrong (Scenes in a Library, MIT Press); Lilian Chee (Conserving Domesticity, ORO Editions); Ross Gibson (26 Views of a Starburst World, UWA Press); Kajri Jain (Gods in the Bazaar, DUP Books); Brian Massumi (Semblance and Event, MIT Press); and Michael Taussig (What Color is The Sacred? UCP).

  • Item:MER-744

    From Contratto Sociale to Colonna di Genk, Luciano Fabro

    Between 1990 and 2007, Italian artist Luciano Fabro (1936-2007) created sixteen publicly commissioned works. This book, along with an accompanying dvd, focuses on the life and works of this extraordinary artist, and brings homage to Fabro’s latest realization La Colonna di Genk. This intriguing work commissioned by the city of Genk (B) visibly illustrates Fabro’s way of thinking and creation process. The accompanying dvd reveals biographical elements as well as the making of and the festive inauguration of La Colonna during Labour Day on May the 1st 2008. The inauguration took place on the renewed Genk Stadsplein (B), just ten months prior to Fabro’s death. 

  • Item:MER-719

    After Empire, Herman Asselberghs & Dieter Lesage

    This book is published on the occasion of the group show ‘Blijven Kijken’, an exhibition curated by Pieter Van Bogaert at M-Museum on (dis)appearing images and the boundaries of representation. Central in the exhibition is the 2010 video After Empire by Herman Asselberghs. This video is a tentative reflection on positive forms of collective resistance against war as well as emancipatory representations concerned with it. This publication considers a possible alternative for an iconic image drawn from our collective memory: a hijacked plane hitting the second tower of the WTC in 2001, New York. The book proposes an alternative for our collective history: the 15th of February 2003. On that day 30 million citizens across the planet marched against the unilateral decision by the American government to start a pre-emptive war against Iraq under the auspices of “the war on terrorism”. 2/15 was the greatest peace demonstration since the Vietnam war and probably the biggest protest march ever to take place. The war did happen, but this world day of resistance could very well mark the beginning of the 21st century. 2/15 instead of 9/11: a key date in the writing of a history of global contestation in the struggle between two superpowers: the United States against public opinion worldwide.

    Leaf through the book here

  • Item:MER-703

    Daydream, LP


    A1. Twilight Part 1 (2:07)

    A2. Twilight Part 2 (6:44)

    A3. Citylights (6:06)

    A4. Haze (1:45)

    B1. Blazer (2:55)

    B2. Daydream (7:03)

    B3. Untitled (2:14)

    B4. Unreal City (5:36)

    Release Date: 4 March 2013

    Limited edition of 500 copies

    These last few years Rome based producer Egisto Sopor has been turning heads with a steady stream of most excellent releases. A cdr on Legowelt’s Strange Life Records, a tape on 100 % Silk, a double LP on Planet Mu and an evergrowing series of jams that are put on soundcloud or on his youtube channel. All of which offer atmospheric acid tinged techno laced with idiosyncratic touches. He has thus developed quite a cult following among lovers of lo fi electronic music who eagerly await his next grainy video, that feel like lost transmissions from an early nineties MTV broadcast. Polysick doesn’t get out much and keeps a low profile which adds to his rather enigmatic standing.

    With his new LP Daydream, Egisto has created the perfect soundtrack to a midnight trip through darkened cityscapes. Starting out like a confused jam session it slowly takes off and twists into uncanny shapes conjuring up images of a futuristic nightlife that plays out under neon lights, with a feeling of dread constantly lurking in the shadows. This is techno that tells a tale; a storyboard that comes pushing through in muffled flashes. A chase scene through deserted back alleys, executed while hunter and prey are both in a half-awake state, stuck in an infinite loop. And when the ambient synth twirls unravel and a 4/4 pulse kicks in and tears through the dreamy state of conciousness, it never signals a reassuring release of tension. You might dance to it, but not without anxiously looking over your shoulder.

    Some technical information about this release can be found here


    Tiny Mix Tapes

    In-depth-review of Daydream HERE

    Quote: "The title speaks to the intent of the album, an acid flashback to the rave era; Polysick immerses the listener in the memory of it. The experiences of the self are not singular, but multifarious, with several different components. UnlikeDigital Native, Daydream has a much less sterile quality about it. It is quite warbly, stressing the human, subjective center, making Daydream less of a commentary like Digital Native. Polysick has spoken many times about the notion of a journey or inhabiting a place. His use of spacious qualities allows him room to expand as much spatially as he does temporally (the latter speaking to his own expressive growth). The internet age, an inescapable influence on Digital Native, appears to be a priori, hypertextual for Daydream; this album is a direct result of the information age. Through the internet, one can quite literally return to a time as this album does. The contextual evidence is more in the head space than it was in the signifier of retro-futurism. Where Digital Native seemed like a meditation on its singular qualities, Daydream is the experiential whole. Speaking to this idea, Daydream seems to be consistent with Digital Native instrumentally, only angled more towards a “warehouse” orientation to, once again, evoke the origins of the sounds with the use of the 909/303." By Tiny Mix Tapes, March 2013

    Fact Magazine

    Egisto Sopor has been a firm fixture on the dance-not-dance underground for a few years now. The Rome-based producer known as Polysick first emerged in 2010 with an album for Legowelt’s Strange Life imprint. That was followed by a split EP with LA’s SFV Acid – a canny pairing, as both share a taste for woozy bedroom synth music grounded in acid house. Sopor’s remit, though, has since revealed itself to be broader, and he has a pleasing tendency to lapse into verdant, weightless synthscapes. The producer’s early career came to a head last year with an album for Planet Mu, Digital Native, that brought together many of his concerns up that point. The record didn’t make much of a splash, which is a crying shame: its brand of humid pan-global exotica – like a hypnagogic updating of John Hassell’s Fourth World concept – was singular and charming, and it was certainly one of the stronger album-length statements to come from that world.

    The comparatively slight Daydream - eight tracks totaling just over half an hour – is its follow-up, released through Belgian label AudioMER. Many of Sopor’s sonic signatures are, thankfully, intact. Those gorgeous spongy, soured synth tones make an appearance in  the seductive one-two of ‘Haze’ and ‘Blazer’. They also feature in the untitled seventh track, though there, combined with the plangent melody turning pirouettes in the foreground, they take on an icy quality reminiscent of early Autechre. Elsewhere, Sopor’s dancier tendencies are brought to the fore – indeed, it’s this side of the producer’s personality that comes to define the album. At points a familiar steamy tropicalia is invoked, particularly in the excellent ‘Twilight Part 2’, whose smudged atmospherics partly conceal an acid line that flickers out of the murk like the tail of some exotic lizard. But in all cases Daydream is darker and more forbidding than its predecessor, and tends to evoke a grander sense of space. ‘Citylights’ is gaseous, unsettled; the title track is far sunnier but carries a hint of paranoia, aided by its deadpan mnml-esque monologue.

    Much of this album explores house music in a fairly straightforward sense – measured, slow-build structures rather than the crystalline sketches Sopor has often worked with – and the execution is excellent. But a question remains – is the producer really playing to his strengths here? Closer ‘Unreal City’ gets to the crux of the issue. It’s a cityscape in the Bladerunner mold, dank, desolate but shot through with an eerie beauty. The techniques deployed are all familiar from Sopor’s past work – the animated synth doodles, the middle-distance fog of delay – but in mood it’s situated somewhere rather different. Daydream feels transitional, clearly intent on making a break with the past but not quite weighty enough to set out its stall completely. Still, Sopor is evidently moving on, and that’s to his credit. – Fact Magazine, March 2013

    Fact Magazine

    Recent interview with Polysick for FACT Magazine, where the audioMER. record is mentioned: Fact Magazine, March 2013


    Polysick follows the hyperdelic dream techno of 'Digital Native' for Planet Mu with the glinting wormhole groove refractions of 'Daydream' for Belgium's audioMER. It's a engrossing sci-fi fantasy episode of sleek 4/4 house and techno grooves immersed in vivid yet slightly surreal synthscapes. From the two part 'Twilight' there's a strange sense of unease that makes this album quite compelling, percolating through the Tin Man-like acid squirms and cyber-noir synth flutters of 'Citylights' to the red-light district stalk mode of 'Daydream', but the bets parts for us are those trippy wormholes and interzone shortcuts such as 'Haze' or the warmly evocative 'Untitled' and his vivid vision of 'Unreal City'. – Boomkat, March 2013

    Rif Raf

    Met 'Daydream', het derde album van Polysick, tekent het Gentse audioMER.-label voor een behoorlijk unieke flashback richting begin jaren negentig van de vorige eeuw – tegelijk één van de beruchste episodes uit de moderne uitgaansgeschiedenis. De 'Daydream'-lp – inclusief het monochrome hoesontwerp – van het Italiaanse Polysick is een archeologische vondst van jewelste, rechtstreeks en quasi-intact overgeflitst uit een ander elektronisch tijdperk. Geen digitale of artificieel opgepompte effecten voor Polysick, maar eerlijke, eenvoudige en analoge keyboardjams. Dat lijkt wat anachronistisch van insteek, maar de man gaat op hoogst originele en psychdedelische wijze aan de slag met vervlogen tijden, toen acid, ambient en donkere Detroit-techno de plak zwaaiden in de internationale clubcharts. Creatief-nostalgisch verantwoorde trip. (fp) – RifRaf 243, Maart 2013

    A Closer Listen

    Digital Native, Polysick‘s album on Planet Mu last year was, for me, one of 2012′s sleeper hits, a record I found myself coming back to from time to time, or being pleasantly surprised when a track bubbled up to the top on shuffle mode. So, with that album still fresh on the player, here comes Daydream with what seems like almost indecent haste – although it’s probably nine months on that, frankly, is peanuts in comparison with some more prolific friends of the site. The Rephlex-y analogue synth burbles are well to the fore here, along with the sounds that seem to echo library music of the 70s and the occasional techno beat to underpin proceedings, basically all the influences presented on his mixtapes whipped into a cohesive whole. It’s no secret that Polysick is a man with retro leanings – the cover of Digital Native was presented with the vinyl scuff marks printed on – but Daydream is no backward-looking museum piece and the tracks have enough of the ‘new’ about them to not feel like an exercise solely in nostalgia. The bangs and clatters of the opening track and the fractured arrangement of “Unreal City” are enough to attest to the contemporary nature of the album; the tracks between are more cohesive and overall the album works very well as a whole piece. Is it as good as Digital Native? Ask me again in six months. – A Closer Listen, March 2013

    Ele King (JP)

    Ele King, February 2013

    De Subjectivisten (NL)

    Ondanks releases op onder andere Planet Mu en 100% Silk is dit album op het Belgische audioMER mijn eerste kennismaking met deze producer uit Rome. En geen slechte moet ik zeggen: Polysick weet op een creatieve manier het redelijk uitgemolken genre “retro elektronica” toch een beetje spannend te maken. Met donkere ambient, analoge synths en een dikke knipoog naar de acid cultuur van de begin jaren ’90 liggen de vergelijkingen al na het tweede nummer op het puntje van de tong, maar zeker wanneer hij zonder echte beats Daydream naar sci-fi soundtrack hoogten probeert te tillen, straalt de kwaliteit ervan af. – Subjectivisten, March 2013

  • Item:MER-680

    Bloodline/Heartline, Julião Sarmento

    The artist Julião Sarmento grew up with a somewhat complicated background. This book is a testimony to his 'real' biological family and his 'other' foster family. The first part of the book; 'Bloodline', has all the photographs the artist could find of his biological family up to his birth, they show persons he often doesn't feel connected to or hardly knows.  'Heartline' has all the photographs he could find of the two people in his foster family. They are close to his heart, far from his blood. The book is signed and numbered by the artist in an edition of 250 copies. 

  • Item:MER-598

    Testbeelden, Rik De Boe

  • Test Bert shop 6

    Test Bert shop 6

  • Item:MER-497

    Asphalt and Delay, LP


    A1. Fragment D

    A2. Daughter Of The Mind

    B1. Möbius Strip

    B2. White Devil Black Heart

    B3. True Mad North

    Release Date: November 2011

    Limited edition of 350 copies

    More info about this release you can find here



    I'm always a sucker for a demonstration of how less van be more, and this New York duo deliver such a demonstration with this, only their fifth studio outing in 15 years. It's the first release in which they have not brought in any accomplices, relying instead on their highly developed instincts for collective improvisation, and their phenomenal ability to wring the most varied and surprising sonorities form their basic synthesiser and drums set-up. The result is a wild ride for the ears through spaceways both outer and inner, and quite possibly their best work yet.

    Tom Surgal and Lin Culbertson are downtown people by birth. Their locale is important to what they do, as they have internalised the NYC tradition to the point that whatever they do has both a jazz attitude and a beatnik vibe that is fully innate and thus also fully realised. So when I say that this record sounds like both Sun Ra jamming with a brigade of organ-grinder's monkeys, and the unreleased second part of Leave The City by the Coaquette faction of MEV, these are both good things.

    There is space here, as well as compressed narrative concentration. The key track is “Daughter Of The Mind”, where Culbertson's wordless vocalising floats across drifts of precussive tinkering as a buzzing synthesiser desultorily duels with occasional blurts of autoharp. Gradually the synth becomes more demanding as the percussion sharpens its forward momentum and the vocal becomes an insistent but wordless supplication to some unnamed deity.

    The breadth of texture and timbre deployed here is staggering, the sheer freedom of construction is exhilarating, and the economy of means with which it is realised radically defines the level of expertise and taste on display. Surgal is one of the under-recognised greats of free drumming, and Culbertson's daring instrumental freefalling without a parachute is without peer. In the field of free improvisation, where dilettante tinkering is distressingly common these days, White Out have planted their freak flag proudly in the midst of battle, daring all comers.

    By Bruce Russell, THE WIRE 336, February 2012

    Foxy Digitalis

    A set of loose, twitchy improvisation from this New York duo, combining constant undulating rhythms, tumbling drum fills reminiscent of Corsano or Kotche but always responsive to the improvisation, and varied counterpoint, juggling everything from Fragment D‘s taut strings and amplifier processing, to the manipulated textures of Möbius Strip.

    The pair feel very present and exposed in their performance, always in distinct roles creating a gloriously physical recording right from the start, things only getting better as the synthesizer looming in the background of the opening furious twenty minutes comes to prominence in Möbius Strip and White Devil Black Heart; all jagged cyclical patterns, abrupt flutters and pitch shift abuse. The record is marked by these unexpected and evocative figures, the wordless female vocals echoed in Daughter of the Wind or the increasingly ragged and mechanical sounds spat out by the opening track (the space constricting as the notes pull together into a dense haze); figures that vividly detach themselves from surroundings already expanding and contracting in bizarre ways. Throughout the electronic and acoustic are carefully distinguished, sometimes seemingly conflicted (True Mad North‘s abrasive riffing) and at others unified (Möbius Strip).

    Structured without compromising their relentless aggression and control, White Out have produced a refreshing and unsettling record with all the charm, physicality and unpredictability of really great improvised music. – By Chris Trowell, Foxy Digitalis


    Het New Yorkse duo White Out is al zo’n vijftien jaar actief in de vrije improvisatie scene. In deze tijdsspanne trad het tweetal voornamelijk op met muzikanten zoals Nels Cline, Carlos Giffoni, Thurston Moore (van Sonic Youth) en Jim O’Rourke. Om deze reden waren Lin Culbertson en Tom Surgal slechts te horen op uitgaven van voorgaande artiesten. Het Belgische label AudioMer brengt daar nu verandering in: ‘Asphalt and Delay’ verzamelt vijf stukken van het duo, opgenomen in hun thuisbasis, hoog boven het straatniveau in hartje Manhattan. Deze gelimiteerde vinyloplage introduceert de luisteraar in het aparte klankuniversum van White Out.

    Een breed arsenaal aan instrumenten zoals analoge synthesizers, autoharp, fluit, gongs en bellen biedt de muzikanten alle mogelijkheden om hun improvisaties uit te bouwen. Het muzikaal spectrum wordt vanaf de eerste minuut afgetast met gefriemel en getokkel. De atonale structuren van de harp geven het openingsnummer een Oosterse uitstraling. Met zachtaardige en variabele ritmes navigeert Surgal de luisteraar door de mysterieuze klanken van de harp en synths. Zijn rommelige en instinctieve percussie schept een passende omgeving voor Culbertson’s expressieve toonzetting.

    In elk improvisatie trachten de muzikanten naar een bepaalde sfeer te werken. Die is doorgaans psychedelisch van aard en trekt de luisteraar mee in een onbekende, primaire wereld. De stemuitdrukkingen van Culbertson in “Daughter of The Wind” klinken behoorlijk sjamanistisch en onverfijnd vergeleken met bijvoorbeeld Julianna Barwick’s stemgeluid. Toch mist het zijn effect niet. De hijgende, krijsende en jankende stem steekt goed af tegen het synthesizergeborrel en werkt geestverruimend.

    Op ‘Möbius Strip’ wordt de belevenis nog een pak intenser. Het gebruik van slepende klankbundels vol dissonanten doet iedere aanhoorder grondig desoriënteren. De muziek wisselt tussen voorwaarts en achterwaarts zodat de richting niet meer duidelijk is. Het album sluit uiteindelijk af met twee soortgelijke, hypnotiserende nummers waarin spacey synthpartijen worden begeleid door Sugal’s getokkel. Deze stukken worden niet afgewerkt en kennen geen definitief einde. Het zijn momentopnames die deel uitmaken van een groter, onbekend geheel. Dat is niet echt een minpunt, aangezien de muzikale wereld van White Out zich steeds instinctmatig vormt. Perfect spul voor esoterische ervaringen. — Vincent Welleman voor Kwadratuur


    Op AudioMER. verschijnt het nieuwe album van het New Yorkse duo White Out dat onder andere in de schijnwerpers kwam door samenwerkingen met Carlos Giffoni, Jim O’ Rourke en Thurston Moore. Asphalt and Delay is het eerste album dat enkel duo-improvisaties verzamelt en met succes. Gemaakt met een breed spectrum aan instrumenten, maar een blijvende focus op synths en percussie. Een boeiend album op de lijn tussen hedendaagse free improv, eai en heavy trip. Wellicht een van de betere releases in het genre dit jaar. - Ruis 73, November 2011


    White Out is reeds vijftien jaar actief en werkte in deze periode samen met prima volk zoals Thurston Moore, Carlos Giffoni, Nels Cline, William Winant en Jim O'Rourke. Dit resulteerde reeds in een zestal releases op labels als No Fun, Ecstatic Peace en ATP. AudioMER brengt met Asphalt and Delay de eerste (vinyl-only) release uit waarop White Out als duo te horen is.

    White Out bestaat uit Tom Surgal en Lin Culbertson, de eerste houdt zich bezig met (verschillende vormen van) percussie en Culbertson behelpt zich met elektronica, synthesizer, vervormde stemmen en ander fraais. Deze elementen komen op Asphalt and Delay op een explosieve manier samen en leveren een resultaat af dat meer is dan de som der delen.

    De vijf nummers op Asphalt and Delay schipperen tussen freejazz, improvisatie en psychedelica. De balans tussen deze verschillende componenten, de onvoorspelbaarheid waarmee passages in elkaar overgaan en vooral de manier waarop Surgal en Culbertson op elkaar reageren, maken van Asphalt and Delay een exploratieve luistertrip. In plaats van een uitgebreide lijst met referenties aan te voeren, is het interessanter om de uniciteit van White Out te onderstrepen. De manier waarop het duo erin slaagt om een veelheid aan uiteenlopende aspecten in een spannende synthese samen te brengen, pleit voor de aanpak van White Out. - Kindamuzik, november 2011

    Mr Bungle

    Het in Gent gevestigde label audioMER. is sinds 2008 actief op het gebied van vinyl releases, gericht op experimentele muziek met bijzonder artwork van hedendaagse visuele artiesten. Vorige maand zagen twee releases het levenslicht: Hieroglyphic Being en White Out. Dat dit nummer zeven en acht betreft in de discografie van het label, geeft aan dat het hier niet gaat om kwantiteit, maar om uitgaven die de luisteraar voor langere tijd blijven boeien. Ik neem graag de proef op de som.

    White Out bestaat reeds een jaar of vijftien, gevormd door Lin Culbertson en Tom Surgal. Hun creativiteit is in die jaren niet onopgemerkt gebleven, samenwerkingen met Thurston Moore, Jim O’Rourke en Carlos Giffoni onder andere, tot gevolg. Asphalt And Delay is eigenlijk het eerste album van het duo waarop ze zonder muzikanten van buiten opereren.

    Asphalt And Delay is een indrukwekkend samenspel tussen de percussie van Surgal en de diverse instrumenten en effecten van Culbertson, waarbij ook wordt geschermd met de tegenstellingen tussen elektronisch en akoestisch. Incidenteel duikt het gefilterde stemgeluid van Culbertson op, doch alleen wanneer dit past in het palet van free jazz en elektro-psychedelica. De vijf composities zijn uitdagend, avontuurlijk, veelal druk, op sommige momenten rustgevend, maar nergens voorspelbaar. De samensmelting van al die elementen wordt gelukkig niet tot het uiterste gedreven, zodat dit album een prachtig gesmeed geheel genoemd mag worden. Een dikke aanrader dus voor diegenen die van geïmproviseerde elektroakoestische muziek houden. – Mr Bungle

  • Item:MER-421

    Time is a Book

    Time 2009 is the ninth and last edition of Time Festival and above all, a statement by the curators Dirk Braeckman and Els Dietvorst. The result is a surprising, experimental space on paper, a sketchbook of virtual ideas and real dreams. Between November 13 and 28, Time will give away 6000 copies of TIME IS A BOOK anthology as one of numerous activities (TIME CIRCLES) inspired by the book in Ghent and abroad. The official booklaunch of TIME IS A BOOK will take place on November 13 2009 at 20:00hrs at the Bank van de Arbeid, Volderstraat 1, Ghent.

    With: Chantal Akerman, ACM & Els Dietvorst, Robert Adams, Philip Aguirre y Otegui, Herman Asselberghs, Orla Barry, John Berger, Yves Berger & Daniel Michiels, Wang Bing, Bitter / Weber, Dirk Braeckman & Peter Verhelst, Bureau d'Etudes, Boris Charmatz, Wim Cuyvers, Carl De Keyzer, Clayton Eshleman, Belu Simion Fainaru, Jasmina Fekovic, Nikolaus Gansterer, Mekhitar Garabedian, Pieter Geenen, Elias Grootaers, Jitka Hanzlova, Stefan Hertmans, Craigie Horsfield, Suchan Kinoshita, Mark Klett, Franciska Lambrechts, Marije Langelaar, Dirk Lauwaert, Lynne Cohen & Andrew Lugg, Mark Manders, Susan Meiselas, Jean-Luc Moulène, Simon Norfolk, Honoré d'O, Ben Okri, Rimini Protokoll Produktionsburo, Martha Rosler, Gerry Smith, Guy Tillum, Moniek Toebosch, Ana Torfs, Marc Trivier, Jens Ullrich, An van. Dienderen, Sarah Vanagt, Apichatpong Weerasethakul, Eliot Weinberger, Lawrence Weiner, Katarina Zdjelar, Howard Zinn


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