Sub Rosa // Belgium’s finest…

We are always very happy when stock from Sub Rosa arrives at the shop. Actually we are extremely happy. The new bunch of records that came the other day are….hmmm….almost unmissable. Take a good look below.


Electronic Explorations from his Studio + the BBC Radiophonic Workshop 1958-1967

During the 1950s and 1960s, Roberto Gerhard gathered a significant magnetic tape collection in his home studio, creating a major repository of early electronic sound recordings of his own works. The pieces on this record present a complex set of challenges for audio restoration, givin’ at the end a complete understanding of his compositional process and allowing the spirit and vitality of his electronicwork to speak clearly to the listener.
The versions of the pieces you will hear on this record represent an attempt to present Gerhard’s musical thoughts as free as possible from distracting technical deficiencies that obscure the musical content of the tapes. To this end a number of processes have been employed to reduce tape hiss and broadband noise, clicks,
crackle, mains hum, tape splices and low frequency thuds, ranging from automated algorithms to a more painstaking manual cleanup of the audio spectrum.
Every process of musical audio restoration must seek a compromise between the removal of elements that are problematic to the modern listener, and the preservation of the vital sonic and musical characteristics of the recordings


The SalMar Construction

The SalMar Construction is an amazing large music synthesis engine conceived and constructed in the early 1970′s by a composer for use by a composer. These unreleased recordings were made at IRCAM in Paris in 1983. It illustrates the power that an electronic composition can achieve when the composer arrives at a true synergy with his synthesizer.
This LP represents a significant performance by Salvatore MartiranoThis LP represents a significant performance (1927-1995) on his unique instrument, the SalMar Construction. Under development from the late 1960s, the SalMar is believed to be the first interactive ‘composing machine’ with digital logic circuits at its heart. The performance took place in the spring of 1983 at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. It illustrates the power that an electronic composition can achieve when the composer arrives at a true synergy with his synthesizer.When you listen to this recorded performance of Sal Martirano playing his ‘Construction,’ you experience such mastery. The instrument under his command does his bidding, and what you hear are compositions, not jams.


DIGITAL DANCE: Total Erasement

Life and death of a belgian cult band Digital Dance comin’ directly from the Brussels’ punk scene.

Prior to forming Digital Dance in Brussels, in the summer of 1978, Jerry WX (voicen guitar) and Stephan Barbery (guitar) were closely involved in the local punk scene. Jerry WX played with Chainsaw, the very first Brussels punk band in 1976, and a year later with X-Pulsion. Stephan Barbery played with Thrills from 1977 to 1978. During this period X-Pulsion, Thrills and a third band called Streets played many gigs together, often swapping instruments and members. (see our recent Punk in Brussels 1977-1979 compilation).
Despite their difficult reputation and lack of commercial success, Digital Dance built up a cult following, having even support of John Peel in UK.
Between 1979 and 1981, Digital Dance released 3 singles and did several notable live concerts, as opening act for Magazine or Siouxsee and the Banshees. The various members subsequently played in groups as diverse as Fad Gadget, Marine, The Revenge, Kid Montana, Noh Mask, The Names, Snowy Red, The Weathermen….
Digital Dance did their last live show in 1981, there was no definite end of the band but they don’t play together between 1982 and 1998.  Sadly, Jerry died in 2000.
Last, but not least, the punk years in Brussels generated many fanzines. Digital Dance also published the Digital Magazine. This vinyl includes the very last and unreleased issue of the Digital Magazine


Re-Works (blue vinyl)

Following their magnificient debut album (SR381 available as CD and 2LP gatefold), Oiseaux-Tempête brought together a brilliant list of friends/remixers.

The trio was created in Paris in 2012 by the musically versatile pair Frédéric D. Oberland (guitar) and Stéphane Pigneul (bass) (members of FareWell Poetry and Le Réveil des Tropiques) and percussionist Ben Mc Connell (drummer for bands such as Beach House, Rain Machine, Au Revoir Simone, Marissa Nadler and Winter Family).
The band’s creative process is intertwined with that of Stéphane C., French photographer/filmmaker, currently documenting the existential conflicts brought on by the political and economical turmoil in Greece. In light of this encounter, this project quickly became a whole: musical, visual, political. The initiating impetus is urgency.
Originally conceived as a musical and visual, poetic and militant voyage, this first album retraces, in a sonic odyssey, the qualms and queries of a sickly and dysfunctional Western society. Reason first reared its head in Greece, and now it is the seat of a modern maelstrom, unfurling a new set of questions.
Alternating moments of inexorable tension and luminous respite, the Oiseaux-Tempête’s debut album LP takes flight and slowly unfolds in an implacable ascension, the rich photographic contributions fleshing out the poetic narrative.
Oiseaux-Tempête’s first release, carrying us beyond the stoner, free rock and experimental labels. How can music voice the violence and confusion that fuels discontent and protest? Oiseaux-Tempête offers an answer to this question

 …and lastly this one (very few copies unfortunately)

William S. Burroughs

Break through in grey room

Cut-up, lectures, incantations, soundworks recorded by the American writer himself in hotel rooms in Paris, London & New York, early ’60s.

Officially re-released – one of our absolute classics, back in print at last. Extraodinary cut-up voices recorded during the mid-60′s in hotel rooms in New York, Paris, London… It’s impossible not to recognise the writer’s voice – the sonority of this voice – a sonority also present in the silence of every text he wrote. An explosion of styles -a blasting of borders – the silence after a gunshot – the overtaking of the fetishized word – from the exploded painting to the cut tape. This record starts with a piece of more than 13 minutes, recorded around 1965 with Ian Sommerville somewhere in New York and London - K-9 was in combat with the alien mind-screens, including various monologues, radio short waves and music…
Tapes, cut and cut and cut up to the limit of sense – emerged new structures of communication… and senses. Words gain power when loosing the boundaries of semantics. Also includes Joujouka music recorded by WS Burrough