New limited one-sided LP from this modern composer presents an elegy to Fluxus by encoding the names of various key players (including John Lennon. LaMonte Young, Yoshi Wada, Yasunao Tone, Yoko Ono, Dick Higgins, Joe Jones, Philip Corner, Takehisa Kosugi, Toshi Ichiyanagi, Henry Flynt, Joseph Beuys, Henning Christiansen et al) in the form of International Morse dots and dashes which were 'performed' on a keyboard with a voice-pattern setting going through a loop unit and a mixer and straight to cassette. Front cover reproduces the original score. Edition limited to 345 copies.

Vinyl edition of this amazing collection of future/primitive string jams from minimalist/art activist Henry Flynt. A collection of sawing stomps, modal hillbilly jams, reverb soaked country dunts and chugging American primitive from one of the key underground thinkers of the modern age.

Vinyl edition of this amazing collection of future/primitive string jams from minimalist/art activist Henry Flynt. A collection of sawing stomps, modal hillbilly jams, reverb soaked country dunts and chugging American primitive from one of the key underground thinkers of the modern age.

Archival discovery of some straight-to-boombox recordings from 1983 featuring avantist, art-theorist and rip-it-up guitar minimalist Henry Flynt alongside long-time collaborator/drummer C.C. Hennix mainlining two primitive repeat-o stoner blues-boogie freakouts at home in Woodstock. The feel is looser and more spacious than the material he cut with Walter De Maria under the banner of The Insurrectionists but there’s still plenty of crank and it’s easy to extrapolate Lou Reed’s original ‘ostrich guitar’ style from the classic chord-soloing form captured here, lending further weight to Flynt’s claim to having mentored Reed’s break-out style. Either way, it’s another intriguing chapter in the uncovering of Flynt’s secret history.

Archival discovery of some straight-to-boombox recordings from 1983 featuring avantist, art-theorist and rip-it-up guitar minimalist Henry Flynt alongside long-time collaborator/drummer C.C. Hennix mainlining two primitive repeat-o stoner blues-boogie freakouts at home in Woodstock. The feel is looser and more spacious than the material he cut with Walter De Maria under the banner of The Insurrectionists but there’s still plenty of crank and it’s easy to extrapolate Lou Reed’s original ‘ostrich guitar’ style from the classic chord-soloing form captured here, lending further weight to Flynt’s claim to having mentored Reed’s break-out style. Either way, it’s another intriguing chapter in the uncovering of Flynt’s secret history.