Martin Küchen: amplified saxophones, zither, pepperoni-box and preparations. David Stackenäs: guitars, low-budget electronics. Recorded sept 27, 2006 at SAMI, Stockholm by Göran Stegborn. Mixed by Niklas Billström jan 10, 2007. Mastered by Sören von Malmborg sept 13, 2007. Supported by the Swedish National Council for Cultural Affairs. Limited edition of 300 handmade copies.

'Alejandra Salinas and Aeron Bergman began making sound in the mid 1990s in New York City where they were among the first labels to take advantage of affordable cd-r technology to distraibute non-commercial works. They soon became known by their early use of folk and acoustic electronic sounds. Educated in the fine arts, by 2000 they were invited by art institutions to make large scale installations that included sound as an essential element. In 2002 they won an Award of Distinction in Digital Sound at the Prix Ars Electronica for their installation Revisionland.For this new Kning Disk release, they have reworked the sound of two previous installations: one older: Campanas (2001) at Ex-Teresa Arte Actual, Mexico City; and one more recent: Billowy Mass (2005) at Taipei Fine Art Museum, Taiwan. Campanas works with the language of bells as communication and as carriers of legend and ritual. Billowy Mass is composed from fragments recorded in Taiwan during the typhoon season. It is inspired by Chinese traditional landscape painting which diffuses water, clouds, mountains and undefined space relationships.Billowy Mass is very mature work, soft, yet intriguing. Alejandra and Aeron have released sound works in the past on labels such us Orthlorng Musork, Tomlab, Bottrop Boy, En-Of, Fat Cat, Softl Musik and their own Lucky Kitchen imprint. They have shown installations in art centers in Europe, Asia and America.'

Live 25th July 2005 Hagateatern, Göteborg, Sweden. Limited edition of 265. 'Born 1953 in Saxony in the former GDR SBJ grew up in North- Thuringia at the Southside of the most Northern Mountains in Germany. -The self-- taught person in artwork, acoustic guitar playing, composing was co- founder of Wacholder (one of the leading folk- groups in the German East). In 1978.- first participations in drawing exhibitions. (my surrealistic period...). In 1979 SBJ started solo-performances on 6 &12 string guitars and became one of the innovators and protagonists of the guitar- scene in East- Germany. -In 1981 father of the 1st All- style Guitar Festival of the GDR in Potsdam (before that there were only guitar festivals for classical guitar) -3 years later direction of an All- style Guitar Festival in Berlin. -Exhibition series: I wanted to be a landscape -After being initiator and organizer of various projects and festivals, besides holding lectures on acoustic guitar history (with hard collected informations)and besides his concerts and exhibitions, he directed the Berlin Guitar- Centre (1986- 91), was 2nd chairman of ProFolk, the german association for folk- & worldmusic.-In artwork concentration in painting and long series of ink drawings. (see the gallery pages). His visionary music on steelstring guitar is related with that of the late Robbie Basho ,-what he calls Folk-Western Raga,with influences of the old Takoma-school (John Fahey, Leo Kottke,Peter Lang)as well as influences of Vina & Sarod playing techniques, and goes up to very unusual soundexperiments and playing techniques on the acoustic solo guitar, exploring possibilities of the instrument. In 1996 he worked for the Fantasy's Robbie Basho -edition Guitar Soli. -He now works as a painter, guitarist , composer and free author and lives in Berlin and Thuringia in Germany. Till today there are 9 solo albums on Blue Moment Arts, Strange Attractors, and Sublingual Records. Since several years he's creating larger series of ink drawings, mostly landscapes series it is in a very similar way always an excursion into the inside of the outside like in my music.'

'From mouth cavity to laptop, a double CD to follow the Swedish sound art LARM book with the same title. 24 tracks that span 60 years, including both unreleased tracks and new material from women who work with sound. The booklet contains information about the tracks and their background. With Lisaz Dillan, Kristine Scholz-Mats Persson, Eva Sjuve, Sonja Akesson, Hanna Hartman, Anna Carin Hedberg-Ebba Moi, Annika Ström, Hertta Lussu Äss, Tanja Stasia Schlander, Thuridur Jonsdottir, Lisa Jeannin, Ruth Bakke, Christina Eriksson, Fia Backström, Kukkiva Poliisi, Lise-Lotte Norelius, Else Marie Pade, Lotta Melin-Maja Ratkje, Solvej Dufourt Andersen, Astrid Lomholt, Ovro, KOEFF, Ann Lislegaard.'

'Artist and composer Dan Fröberg travels freely between and above borders and distinctions. Music, visual art, performance, video, literature; the worlds in where Fröberg inhabits and lives, and also invites his audiences to, are many and multi-facetted, but always utterly carefully composed with both an open awareness and a concentrated playfulness. Things and sounds are not always what they seem. Stellar Burnout is no exception. Composed and recorded in Göteborg in 2005, Stellar Burnout is no less than an audio- and visual cosmology, in where the music, in close connection to the text and visuals in the cd-booklet (as always, all done by Fröberg); provides us with a logic of its own. Heavenly bodies in their spheres, galaxies, stars, black holes, cosmic remembrances, confusion and configurations; the visions are painted with powerful, and sometimes even chaotically psychedelic brushes. A random quote from the cd-booklet: 'when the motion from the space is sufficiently oblique to counteract the excess of its velocity, the two bodies move on together, and the planet appears to be directly under our feet.' The elementary laws of physics seem to be put out of order in Stellar Burnout; time lapses occur, unexpected elements passes by, and, every now and then, emergency landings on our own brightly glowing planet. Field recordings from unknown places, glass instruments, guitars, drums, and the extraordinary vocals of Chinese artist Zhang Qiongfei; the listener most often finds her- or himself immersed in various inner (and outer) spaces, bouncing freely between microcosmos and macrocosmos.'

'Some islands stand on their own. Others group or scatter themselves in archipelagoes; some in the open sea. Archipelagoes are often volcanic. Double- bass is, at times, also a volcanic body, yet, one with an unobtrusive, relentless and massive quality. Possibly , at times, a body deep enough to contain memories of several lifetimes and invisible maps of human stories, Scattered melodies, sounds born along mid-ocean ridges or sub- liminal hot-spots. The Swiss double-bassist Nina de Heney is now releasing her first solo album on Kning Disk. This solo- recording is about being alone, yet not alone. Recorded at Epidemin by Johannes Lundberg, February 12th and 13th 2007. Limited edition of 300 copies.'

'The first release by Kning Disk is a 12 vinyl, consisting of two legendary works (one previously unreleased) by Swedish text-sound pioneer Ake Hodell; Igevr (1965) and General Bussig (1963), coupled with a specially composed piece by the north American pop-experimental musician David Grubbs; Yellow Sky (2004). The cover is created by Swedish artist Elis E. Eriksson.' Limited edition to 327 copies.

Giuseppe Ielasi and Nicola ratti: guitars, percussion, turntables, electronics. Recorded and mixed in april-may, 2006. Collages by Michel Doneda.

Sven-Ake Johansson (drums) & Michael Renkel (guitar). Studio recording in 2006 in Berlin. Limited edition to 500.

'A sequence of overlaid breath tones and burrs possessing an odd quasi-regularity that gives intimations of circuitry and backwards tape. Brilliant duo from Sweden.' Limited edition of 300 handmade copies.

'Malcolm's latest release Some Other Time on Swedish label Kning Disk is an exquisite CD and DVD box set. Each disc features different compositions and improvisations that document Malcolm's work with solo simultaneously played multiple guitar performance (SSPMGP for short). Some Other Time continues Malcolm's journey with three guitars and a suitcase as he revisits and reworks material from previous releases including Homesick for Nowhere, Hung, Swimming in it and Leather and Lacy. The DVD was shot early in 2008 and produced and edited by Christchurch film maker John Christoffels. Through the use of close ups and various angles we see what may not be seen in a live audience situation. The accompanying CD is a beautiful recording of a live concert in Goteborg (Sweden) in 2006. Making this box set the perfect companion for one another as it presents a comprehensive overview of Malcolm's work with simultaneously played multiple guitar performance thus far. The DVD reveals Malcolm in the pursuit of certain sounds as he contorts and balances. Sounds are directly related to movements almost like involuntary dance. It is not so much music for moving as moving for music. DVD : Camera: Jenny Ward, Thomas Reveley, Margaret Collier, John Chrisstoffels. Filmed early 2008. Produced, directed and edited by John Chrisstoffels. CD : Recorded live at Kulturhuset Underjorden in Göteborg Sweden on August 12 2006. All pieces are solo simultaneously played multiple guitar performances. Engineered, mixed & mastered by Rune Johansson. Design by Mattias Nilsson.'

Free improvised music by Christian Munthe (acoustic guitar) & Roger Turner (percussion). Live recordings by Keith Talent, March 2006, at Ugglan, Stockholm (1, 11-14), Lilla cafét, Malmö (8&9), afk, Göteborg (2-7, 10). Limited edition of 300 handmade copies.

Seven pieces, seven possibilities to discover the work from these two swedish composers. 'argh!' tape collage, 1965 (Rabe), 'bolos' for trombones quartet 1962 (Bark & Rabe), 'bar' electroacoustic music 1968 (Bark), 'joe's harp' for Chamber Choir, 1970 (Rabe), 'ach chamberlin' tape collage, 1965 (Bark), 'to the barbender' tape collage, 1982 (Rabe), 'memoria in memoriam' for ensemble, 1975 (Bark).

Maja S. K. Ratkje : microphone and theremin. Lotta Melin : theremin. Recorded, produced and mixed by M. Ratkje, spring 2006. Design and artwork by Mattias Nilsson. 'Improvised duets and solos, all just with theremin and a crappy microphone.'

'Music by Rozenhall. Recorded at EMS, Stockholm. Cover artwork by Rozenhall. Graphic design by Mattias Nilsson. Special thanks to Dan Fröberg. Thanks also to Tolufim, Mattias Nilsson, Lars �kerlund, EMS, Fylkingen. Subsidized by The Swedish National Council for Cultural Affairs. Play loud!'

'Public Loudspeakers - Information and Disinformation by Henrik Rylander is a photographed and printed document of a power and control system, as common as the CCTV cameras and with a long history of war propaganda, here for the first time revealed and exposed in an art context. Public loudspeakers in streets, squares, stadiums, arenas, department stores and in connection to public transportation, in the three largest swedish cities; Stockholm, Göteborg and Malmö, has been photographed by Rylander during the fall of 2006. The main concept of the work is to illuminate both the fact of how these loudspeakers has in history been an important tool of power through propaganda, and the possible future of an even more Orwellish scenario: The use of public loudspeakers in addition to the CCTV cameras as means of government power and control. With the book comes also an audio CD titled: Information & Disinformation for Public Loudspeakers. The sound source of the CD is the data from the .tif files of the photographs in the book, processed with various computer software. The result is 58 minutes of drone music filled with information and disinformation.'

David Stackens: 5 Levin acoustic guitars & fans. Recorded 22 aug 2005 at Galleri ETC, Stockholm by Niklas Billström. Mixed and mastered by Billström in may 2006. Produced by Stackens and Kning Disk. 'Beautiful and translucent drone paintings for 6 acoustic guitars with fans by David Stackens; our boldest Swedish explorer of one of our favourite stringed instruments, the guitar.'

BACK IN STOCK! 'Blood Spirits & Drums Are Singing is The Skull Defekts first record recorded in a professional studio. It is also their first one for the avant rock sound, previous releases included heavy sound experimenting, doom variations and electronic noise stuff. It is all about the rhythm. The circle, repetition. The sound. The noise. Sweat. Funk. Sex. The Skull Defekts sound is a beast going for your brain, feet and the place in between. Beware. The Skull Defekts was formed by Henrik Rylander and Joachim Nordwall in early 2005 when Nordwall's band Kid Commando decided to end their eight-year carreer as knights of the sweatiest avant rock existing. Rylander had been experimenting with feedback for a few years after the death of the infamous Swedish garage rock outfit Union Carbide Productions where he was the pulse, rhythm and founding member. Quickly they teamed up with legend Jean-Louis Huhta who's been a key character in the Swedish underground music scene since the mid 80's, and the quartet was complete when Daniel Fagerström joined after Eric Olofsson left the band after the recording of Blood Spirits & Drums Are Singing. Inspired by bands like Section 25, Lungfish, PiL, 23 Skiddoo, Arthur Russel, Cabaret Voltaire, A Certain Ratio, Brain Bombs, dub, noise, funk, and tribal ritual drumming - The Skull Defekts are kings of their own sound. And my god. The sound.' Limited edition of 500 copies.

'Come Crimson Rays represents the third and final part to a trilogy of solo tam tam recordings. The first two, Vibra #1 (w.m.o.-r) and Vibra #2 (Longboxrecordings), dealt with the high (#1) and mid (#2) tones of the tam tam's spectrum. This third recording concentrates exclusively on the bass region. Giant, pulsing bass swells and long, sumptuous decays mark this final instalment of historic releases.'

This is a co-release with Ideal Recordings. 'Since Wolf Eyes formation during the end of the 90s up until today, their musical output has grown into an impressive oeuvre and gained them successes granted only a few bands. Their style places them somewhere in the border area between experimental music, freeform, noise and harsh industrial. Black Wing Over The Sand is one long session that from the very first beginning lays bare the roots of Wolf Eyes: here is an evident presence of the industrial music of the early 1980s with bands such as Throbbing Gristle, Maurizio Bianchi (MB) and Gary Mundy's cassette label Broken Flag. Instead of the harsh dissonances and compact walls of noise Wolf Eyes are well known for, the wholly instrumental piece moves slowly forward over a basis of silence. In that way Black Wing Over The Sand belongs to one of the band's more accessible pieces of music, and is an excellent introduction to the dark cosmos of Wolf Eyes. With oscillating movements, Wolf Eyes conjure up short bursts of noise with screaming high pitched tones where a rhythmic deep and slow bass soon sets in, disappears, returns, increases pace, disappears and returns again. Electric guitar, echo effects and sweeping sounds creates powerfully nerved effects over the slow rhythm. Black Wing Over The Sand is yet another proof of how Wolf Eyes, simultaneously looking backwards and distinctly lets themselves be influenced by the hidden musical undercurrents that lies most close to their heart, with little means and creative craftsmanship succeeds in creating something altogether new, exciting and always unexpected.'