Perf: The Blackie Christmas Oratorio was created by Dave Gollancz, assisted by Simon Holland and Rikke Riggelson; with contributions from Bill Harpe, Wendy Harpe, Charlie Stuart, Duncan Curtis, Sally Morris and Stevie Smith. Symphonie in sea was created by Gerda Koetja and Fred de Borst. with Martin Brems and others. Contents: The Birth of a Building. Symphony in Sea.

Cover: three-color print, design: Judy Bates. 30cm, 33 RPM, Great George Community Liverpool.

Contains folding-sheet with project-description and brochure (24 x 24.5 cm), 8 p.(n. pag.), with texts. Documentation of the Great George Project (reconstruction and first cultural activities in a former church in Liverpool).

Music: The Beatles. Cover: gatefold, multi-color print, staged by Peter Blake and Jann Haworth, photographed by Michael Cooper.

Music: P. Velick, F. Shishim. Produced by Jeff Gordon. Cover: multi-color print, original cover art: Bob & Bob. 30cm, 33RPM, New York, 422-813 395-1-Y-1.

Claus Bohmler works with the media. Since they seem to function so well, he takes them apart, examines them, and then, perhaps, assembles them anew. This process doesn't create chic elements for the living rooms of the communication-theorists, the sociologists, or the simulation-apocalyptic, but rather the same sort of rudimentary raw material as found in notebooks, drawings, miniture cameras, radios, photostats, and cassettes. It's these poor media that open eyes and ears. Not bound to a cultural-bureaucratic administrative machinery, they atand their ground by presenting an opulence of idea-productions that fragmentate, ferment, combine, and experiment, because "according to Bohmler, every substance is good for thinking" (K. Gallwitz).

Especially language materializes, for to Bohmler it is not only commentary, but also a starting point, composition, confusion, and instruction at the same time. Imagine a rhinoceros as a gramophone. With the apt title Materialien zur Postmoderne in Bild und Ton, Bohmler's record for this device present a complex, compact matter. Side A composes three movements with magnetic tape. The concatenation of tapped, blown, plucked, and played sound produces a changing atomosphere and, as with any series of fragments, could go on sounding forever.

The enclosed score of this Muzak for progressive idyllists, housewives, and cardrivers - all of whom are not annoyed by sporting airplanes - was written during the recording of the white colored record; its coverdesign mixpickles Stockhausen, Rams, typewritter-esthetic, and fashion.

The other side of the record includes a speech by Bohmler about the new German design ("die kombi-nation steht Kopf!")

By acoustic revision, the sequence of the recitation is made brittle, pointed, and - again through arrangement of simple elements - the message is decomposed and multilayered.

Bohmler, who designs media-furniture, is a polygot: he speaks and write music for all. His living room lecture "Chers amis dumeubler perdu, cher auditeurs! Moble party, verehrte worldstars!" is analytical, many-voiced, and playful in language; it is a compositional essay, more witty than many a clever appeal. "Alles nur gewohnung, Fritz!" - Michael Glasmeier

Cover: two-color print of a drawing by Claus Bohmler. 30cm, 45RPM, Edition Block, Berlin, No. EB 120. White record, score included.

Contents: Rahlstedt. Nacht. Innen. Tonband-komposition in 3 Satzen.(1982). Chers amis du meubler perdu, chers auditeurs! Design beim Wort genommen.(1984)