Reflection Press

About

In the liminal zones of Stuttgart, Reflection Press emerged in 1968 as an exploratory haven for the avant-garde. Over its fifteen-year journey, it became a sculptural entity, intertwining sound, text, and visual art into a process-driven narrative. Cassettes were their chosen vessel, with fourteen releases echoing across the underground, each a fragment of the era's interdisciplinary pulse. Albrecht/d, a fixture of the label, crafted tapes like "Amsterdam Op De Dam" and "Endless Music," which resonated with the gritty textures of the time. Reflection Press wasn't merely a label; it was a confluence of ideas, a place where Throbbing Gristle's industrial clangor met Joseph Beuys' performative whispers. The 1976 LP "Performance At The ICA London" encapsulated such radical intersections. The catalog's literary dimension, exemplified by the "Reflection Press Tape-Overview 1980," served as a manifesto of the experimental scene. It documented live performances and offered a tactile narrative of sound's evolution. Collaborations were the press's lifeblood, as seen in the convergence of Throbbing Gristle with Albrecht D. on releases like "Live At 10, Martello St, Hackney, London." The 1983 tape "Den Satz Von Herr Neuenford Widerholen" exemplifies this ethos, a fractal piece featuring luminaries like Nam June Paik and Wolf Vostell. Reflection Press's singular LP, a rare sculptural artifact amidst its cassette-heavy oeuvre, stands as a testament to the label's commitment to process over product. This was not music for the mainstream but a historical document, capturing the raw and unfiltered vibrations of an era.