This is the new, remastered version of classic material recorded back in 80s,
next to postindustrial aesthetics priority in electronic music. Rigorous and
austere, ascetic but dynamic, this music rearranges everyday being into
mindchallenging imagination, reserving the leading parts for the habitual
processes and domestic objects.
From the deep underground of Spanish industrial music, it comes to be rediscovered after 15 years.
Release date is 10 December 2005. Limited edition of 500 copies in jewelcase.
Price is 13 US$/10 Euro.
To order directly from us, please write to
Miguel Angel Ruiz, from Madrid, is one of the main reference names of the Spanish experimental
electronic music during the 80s, together with artists such as Esplendor Geométrico, Macromassa,
Francisco López, Avant Dernières Pensées, Comando Bruno, Diseño Corbusier, etc.
Times, by the way, that should be recovered for all the good stuff that was recorded during those
years by the artists mentioned before and by many others. And times when, without any minimal
recording infrastructure as regards labels, record companies and distribution, only saved by the
arousal of small companies such as Discos Esplendor Geométrico or Línea Alternativa,
many of the artists resorted to the autoedition using cassettes and creating labels such as I.E.P.,
Necronomicón, Proceso Uvegraf, Auxilio De Cientos, Clonaciones Petunio.
This was precisely the case of Miguel A. Ruiz, who created in 1986 his own tape label
called Toracic Tapes. Since then, through this and other domestic, European and American labels,
he has published an extensive catalogue of recordings using different monikers depending
on each project: Orfeón Gagarin (the most famous), Ventral Metaphor, Funeral Souvenir, besides
the many works edited under his own name or as Exhaustor in the late 90s.
M.A. Ruiz started to work on first pieces at his home studio in 1982, focused on the abstract and
pseudocosmic electronic music with his new Korg MS-20. In 1986 he inaugurates the catalogue
of Toracic Tapes with the legendary first cassette of Orfeón Gagarin, an eclectic combination that
goes from environmental sounds to industrial noise, including cut-up exercises and some ethnic
contrast. From there, Miguel A. Ruiz's production is non-stop, he realised between 1986 and 1992
more than a dozen cassette recordings either signing as Orfeon Gagarin or with his real name.
Works such as "KEDR" (1987), "Batan Bruits" (1987), "La Noche del Anhídrido" (1987),
"El Niсo Carburador" (1989), "Biscuit Circuit" (1991) or "Vasarely" (1991) are considered today
worthy of worship by the Spanish electronic experimentation panorama.
In 1991 a tape sent to Asmus Tietchens finally gave birth to his first magnificent LP "Encuentros
en la Tercera Edad", published by Hamburger Musikgesellschaft. Already in 1994 appears
Orfeón Gagarin's compilation CD "Contestación Capilar" and two years later with the name
Exhaustor, he presents a new sonorous facet orientated towards the most rhythmic and ruthless
techno, whose presentation was "Coaxial" CD.
Miguel A. Ruiz has also collaborated actively with Luis Mesa (three tapes between 1986 and 1989
under the name Técnica Material), with Siegmar Fricke (Efficient Refineries, with several works
published from 1995 to 2003), Francisco López, Dieter Mauson, etc. Next to Héctor Hernández
he published in 1989 the tape "Han llegado los robots", born as a hypothetic soundtrack and whose
source of reference is the book by Rolf Strehl "Die Roboter sind unter uns" from the end of the 50s.
This album was remastered and re-released on CD in 2005 by Miguel's own new label Batan Bruits.
All this material was composed, recorded and mixed by Miguel Angel Ruiz in Madrid
around 1989-1990. All unreleased, except tracks (1, 6, 9, 11),
which originally were released on "Encuentros en la Tercera Edad" LP (1991).
Mostly short tracks, creating
the real sense of alienated memories, lost in time and space. Sometimes scary,
sometimes strangely comfortable, but never boring landscapes of the someone's
past life, these pieces are nothing to do with industrial aesthetics, it
contains no social message at all. A lots of old analogue synths for your
listening pleasure, if you are hungry for the nostalgic tones not melodies.
And watch out for the following re-releases of Orfeon Gagarin archives on
Miguel's own label, Batan Bruits.