sedcd042 | Released in 2006 | 500 copies | $10 ANTIGUOS DOLMENES DEL PALEOLITICO

ANTIGUOS DoLMENES DEL PALEOLiTICO-(“Ancient Palaeolithic Dolmens”) is a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. It was created in early 2004 and is the first full-length solo CD from Argentinian composer Alan Courtis, a founding member of the group Reynols. Courtis currently lives in Buenos Aires, and has toured extensively in USA, Europe, Japan & Latin America collaborating with artists such as: Pauline Oliveros, Damo Suzuki, Toshimaru Nakamura, Makoto Kawabata, K.K. Null, Rick Bishop, Thomas Dimuzio, Jason Kahn, Solid Eye, Birchville Cat Motel and Lasse Marhaug.

Technical equipment employed: Phonic 1002? Mixing Desk, Art SGX LT Effects Processor, Digitech RP6 Effects Processor, DOD FX55B Supradistortion, Tascam 424, PC (Wavelab). No microphones, instruments or inputs of any kind were employed in this project. Recorded and mixed at 8(8)8 Studios, Buenos Aires, Argentina. January-March 2004

Alan Courtis (a.k.a. Anla Courtis, Courtis, etc.) was born in Buenos Aires, Argentina on february 22nd, 1972. He studied classical guitar, piano, theory and composition. He holds a degree in Communication Science from the University of Buenos Aires, where he currently runs an annual music workshop. He played electric guitar in diverse bands and in 1993 he co-founded the group Reynols. With this group he has released more than one hundred CDs and vinyls worldwide in labels like Trente Oiseaux, Digital Narcis, Drone Records, Locust, Sedimental, Beta-Lactam Ring Records, Celebrated Psi Phenomenon, RRR, Audiobot Records, Roaratorio, JDK, Reverse, Matching Head, American Tapes, The Last Visible Dog, Carbon Records, etc., including conceptual projects like “10.000 Chickens Symphony”, “Whistling Kettle Quartet”, “Blank Tapes”, “Fire Music”, and two records in collaboration with the acclaimed american composer Pauline Oliveros. He has many solo releases in labels likeTonschacht (Germany), Antifrost (Greece), RRR (USA), Riot Season (UK), Pink Skulls/Jewelled Antler (USA), C/Psi/P (New Zealand), Matching Head (UK), 267 Latajjaa (Finland), Ultra (Russia), Audiobot Records (Belgium), Komkol Autoprod (Norway), Monopolka (Russia), and has toured extensively in Europe, USA, Japan & South America.  He has also also collaborated live and in studio with artists such as: Pauline Oliveros, The Nihilist Spasm Band, Lee Ranaldo, Damo Suzuki's Network, Makoto Kawabata (Acid Mothers Temple), KK Null, Rick Bishop (Sun City Girls), Toshimaru Nakamura, Lasse Marhaug, Yoshimi P-Wee(Boredoms), John Oswald, Solid Eye (L.A.F.M.S.), Masonna, Axel Dörner, Zbigniew Karkowski, Thomas Dimuzio, Rudolf Er.Er. (R&G), Kouhei Matsunaga, Ashtray Navigations, MSBR, The Moglass, Seiichi Yamamoto (Boredoms), Yoshida Tatsuya (Ruins), Tabata (Zeni Geva), Culver, Tetuzi Akiyama, Stilluppsteypa, Paul Dutton, Francisco López, Jazzkammer, Tom Carter (Charalambides), Decaer Pinga, Birchville Cat Motel, Dave Knott, Masami Kawaguchi (Miminokoto), Dan Warburton, Bill Horist, Jason Kahn, Aaron Moore (Volcano The Bear), Glenn Donaldson (Jewelled Antler), Kei, Kazuya Ishigami, Sunao Inami,  Illios, French Doctors, Goverment Alpha, Armpit, Manabu Yuasa, Higashi Hiroshi, Ichiraku Yoshimitsu, Nishide Takehiro, Alan Licht, Tore H. Boe, Damion Romero, Mitchell Brown, Leticia Castaneda, Joseph Hammer, Albert Ortega, Nick Castro, The Skaters, Andrey Kirtichenko &  Michael Snow. He also has appeared in articles & reviews in publications like: The Wire (UK), Bananafish (USA),The Sound Projector (UK), Signal to Noise (USA), Musicworks (Canada),  Perfect Sound Forever (USA), Muckraker (USA), StudioVoice (Japan), the Broken Face (Sweden), The Chicago Reader (USA), Nashville Scene (USA), Hospital Brut (France),  DDD (UK), Eld Rich palmer Zine (Poland), Columbus Alive (USA), Houston´s Other, Carola Magazine (Italy), Speeder (UK), Denshi Zatsuon (Japan) etc

some press clips:

'The record comprises four pieces, each roughly 12 minutes long. The action in “Part I” and “Part IIII” is quite minimal; volume and pitch shift, swell and subside, pure electronic timbres elongate and stutter in near proximity. Fortunately, Courtis understands that when your music doesn’t do a lot, what it does had better be engaging. This stuff fits the bill; the dominant tones seem to glow and flicker like neon lights, and when something new quietly insinuates itself, the effect is startling and mysterious.-Bill Meyer from Dusted