Several decades ago, I was a deejay at WMFO. The radio station’s format is freeform, and we were encouraged to interpret what freeform meant on each show and play a diverse selection of music. That was the perfect environment for a curious listener such as myself.
Because of our freeform format, the music sent our way was incredibly diverse. One compilation album that caught the attention of many deejays at WMFO: The Myths Collection Part Two. For me, initially, the appeal of the album was the tracks from William S. Burroughs and Jon Hassell. Still, I came to treasure a piece performed by Claude Debussy and captured on a wax cylinder and the field recordings of Belgium, Turkey, India, Tibet and, Nepal.
The intimate, dreamlike quality of the album caused me to purchase every release in the series. The albums were dedicated to the likes of Gilles Deleuze and Ilya Prigogine and included work from COIL, Harold Budd, and Genesis P-Orridge. Who the hell was releasing these fantastic albums?
Sub Rosa, was founded in ’84 in Belgium, blazing trails in experimental soundscapes. They're the mad scientists of music, pushing the boundaries and throwing conventional norms out the window.
Their catalog? It's a wild ride through the musical wilderness. They've got everything from electronic experiments to industrial chaos, ambient soundscapes, contemporary classical masterpieces, and avant-garde jazz that'll blow your mind. But what really makes Sub Rosa stand out is their love for the rebels—the artists who dare to challenge the very essence of what music should be.
And they don't stop at just albums, oh no. Sub Rosa goes all out with multimedia projects that'll make your brain do somersaults. They're all about musicians teaming up with visual wizards and sound art installations that'll mess with your head in the best way possible. These guys don't just make music; they create intellectually stimulating masterpieces.
And their following? Let’s just say it’s a tribe of fearless adventurers and collectors who appreciate life’s finer, weirder things. Sub Rosa’s got ’em hooked on their complex and thought-provoking works, and rightfully so.
But that's not the end of the story. Over the years, Sub Rosa has been a launchpad for groundbreaking artists, thrusting them onto the global stage. They've cemented their legacy as pioneers in the world of experimental and avant-garde music, introducing the world to the sonic revolutionaries.
Now, let's dive into Myths Foundation, a treasure trove of four LPs and three EPs that marked their artistic inception. Starting a record label was the furthest thing from their minds back then. These folks were all about crafting intricate and mysterious creations tha
The journey was no cakewalk, my friend. Broke students, they were trying to keep the artistic flames burning while drowning in academia. So, they took it slow and steady, releasing one record per year. It might’ve seemed impractical, but through a series of life-changing encounters, they stitched together these sonic marvels.
These early records? They weren’t just music but mysterious artifacts waiting to be unraveled. With each release, Myths Foundation delved deeper into the abyss of creative exploration. Against all odds, these records marked the beginning of an epic adventure, setting the stage for a remarkable journey that defied expectations.
See you next week.
- William S. Burroughs “Burroughs called the law”
- Cheb Mami “Maniche Aadouk”
- Genesis P-Orridge & The Angels Of Light “Supermale”
- Hula “Torn Silk”
- Paul Lemos & Joe Papa “Under Heaven”
- COIL “Another Brown World”
- Jon Hassell “Map Of Dusk”
- Harold Budd “Strange Thunder”
- Martyn Bates & Peter Becker “Sun-Like-Gold (Part I)”
- Steven Brown “Gone With The Winds”
- SPK “Romanz In Moll”
- Current 93 “Some Morning When The Moon Was Blood”
- Camberwell Now “For Those in Peril on the Sea”
- Claude Debussy “d’un cahier d’esquisses”
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