Record Release (2xCD)


CD + AIFF 16bit + MP3 – Cdn$ 15

AIFF 24bit + 16bit + MP3 – Cdn$ 8

AIFF 16bit + MP3 – Cdn$ 5

A selection of tracks originally published by squint press as a 7-part series of 7-inches called Record Release 7-inch (squint 00W-1-7), each in an edition of 77; 22 out of the 35 original tracks appear here, 11(*) were reedited for this double cd release on Ambiances Magnétiques (AM 262). // Une compilation de pièces publié originalement par squint press sous le nom de Record Release 7-inch (squint 00W-1-7) prennant la forme de sept 7 pouces (édition de 77 pour chacun) ; 22 des 35 pièces originales sont ici, 11(*) d’entre-eux ont été reéditer pour ce cd double sortie sur Ambiances Magnétiques (AM 262). //

Scroll down for REVIEWS.

CD1 – 77 minutes

01.        Balloon (5:49)
02.        Sweeps (5:22) (*)
03.        Scurries (3:28) (*)
04.        Bit (1:00)
05.        Fallers (6:23)
06.        Plasticity (6:31) (*)
07.        Sustained Release (8:41)
08.        Burrowing (4:03)
09.        Piano Palestine (9:58)
10.        Decay (9:28) (*)
11.        Sillage Pellet (3:57) (*)
12.        Za Live Lucky (8:39) (*)

Guests: Magali Babin (6, 8), Mériol Lehmann (7).

2015 – RR7-1 (Silo City): 10, 11
2015 – RR7-2 (Avatar): 6, 7, 8, 9
2015 – RR7-3 (Kunst): 1, 2, 3, 4, 5
2018 – RR7-4 (Scratch): 12

CD2 – 77 minutes
01.        Dancers 5:48) (*)
02.        Pulsers (7:28)
03.        Vers (8:16)
04.        Shimmers (11:28) (*)
05.        Slowers (5:46)
06.        Plant (8:42)
07.        Power (10:16) (*)
08.        Harbourback (7:18)
09.        Huronia I (6:39) (*)
10.        Huronia II (4:51) (*)

Guests: Marla Hlady (9, 10), Faye Mullen (3), Jocelyn Robert (2).

2018 – RR7-5 (Huronia): 9, 10
2019 – RR7-6 (Power Plant): 6, 7, 8
2019 – RR7-7 (Fin): 1, 2, 3, 4, 5

mastering: Harris Newman
design: Fabrizio Gilardino, Jennifer Martin

AUDIO PUBLICATIONS: Avatar, Fin, Huronia, Kunstradio, Power Plant, Scratch, Silo City.

Connected pages: 21C,
Harbourfront, Imprévu, Oaxaca, Seoul, Tokyo, USA, Sillons, Sweet Gongs Vibrating.

Related projects: Record Release 12-inch (2012-2019)Record Release 0-inch (1995).


Vital Weekly, number 1280, week 15, Review by Frans de Waard.
The work of Christof Migone has found its way to these pages quite a lot over a very long period and in almost all of them, there is a conceptual edge. There is also a whole body of work that didn’t make it to these pages, such as a series of seven 7inch records that he released between 2015 and 2019. This double CD contains a selection of those records, twenty-two tracks in total, out of thirty-five to be found on the original records. A quick look at the times for some of these pieces, going way over eight minutes, which is what normally fits on a 7″ record, struck me as rather odd. These pieces, eleven in total, are re-edited for this compilation. On the website of Squint Press (Migone’s label), you can find a description for this project: “Normally, a record release celebrates the culmination of a recording project. Like a book launch, it marks the moment where a work leaves the artist’s hands and seeks an audience. Record Release is a project that reverses that process and includes the act of releasing as part of the recording process itself. Record Release involves using the raw material used to manufacture vinyl records which comes in small pellets. These lentil-sized bits of petroleum product come in this form because they are easily transportable and manipulable before they get melted and stamped with grooves of sound. This is a sound project which focuses on one of the standard physical support materials of sound and utilizes these tiny units of potential sound in a gestural manner to produce not only audio material but also images, video content and a slew of data related to the process of dissemination involved.” The blank record becomes the sound material and looking for a description of each of the seven records, you can read and see how it all worked; Migone’s website is pretty extensive in that respect. And two CDs filled with music to the maximum length is also something extensive. Migone works a lot with loops and repetitions of his sound material, which aren’t always to trace; at least, not from just playing them. His take on the whole notion of improvisation, musique concrète and electro-acoustics. While I found some of these pieces very good, or perhaps, the majority of them, I must admit that at one point I was pretty loaded with this kind of sonic information, with pieces becoming a blur; shorter pieces or one CD would have been sufficient for me, no matter how much I enjoy the music.