In 2013, when Daniel O'Sullivan was invited to curate the sixth installment of Ravenna, Italy's Transmissions festival, his first request was for Charlemagne Palestine, the shamanic world-maker, sacred toy emissary, and one-time student of Pandit Pran Nath associated with the New York '60s minimalist scene and known primarily for extended performances with Bösendorfer piano, cathedral organs, and falsetto voice. After Transmissions O'Sullivan invited Palestine to play a two-night residency at London's Cafe OTO, the second night of which was a collaboration with Grumbling Fur, the duo of O'Sullivan and Alexander Tucker. The performance at OTO was a ritualistic union of crystalware, processed strings, live tape manipulations, Indian harmonium, shimmering piano clusters, bleating cattle, a Japanese orgy, disembodied vocal harmony, and rousing choruses often led by sing-a-ma-jigs (singing Fisher-Price toys affectionately referred to as "the singing assholes"). A continuous flow of overtones and plainchant sieved through mutant simulations of processed pulses, orbiting strings, and heliotropic vocal mantras. Following 2013's Glynnaestra and 2014's Preternaturals, both of which The Wire listed in its top avant rock albums of their respective years, this is the first incarnation of the Grumbling Fur alter-ego Time Machine Orchestra, an alias put together to explore extended drone works, improvisation, and automatic composition. Recorded at Cafe OTO and Fur Island and assembled by Grumbling Fur. LP pressed in an edition of 500 copies.
Experimental Indonesian duo Senyawa, fresh from burning down Berlin's CTM Festival (again), summon the Javan spirits with Rabih Beaini at the controls on Menjadi. Steeped in improvisational practice and known for their visceral live performances, the pair's sound combines Javanese folk and ritual music with metal and psychedelic influences. Rully Shabara's extended vocal techniques arc from guttural droning to frenetic chants and upper-register ululations, while Wukir Suryadi supplies dynamic instrumentation using the bambuwukir, an amplified bamboo zither of his own invention. Menjadi (meaning "to become") follows REDOSE 003EP (2015), containing "Di Kala Sudah" reworked by Buchla synth master Charles Cohen, and is the first in a series of Morphine releases produced by Rabih Beaini and scheduled for 2015, with artwork by Nathalie du Pasquier, curated and designed by Tankboys.
Packaged with 3D cover art; includes Anaglyphic 3D glasses. "Pacific Tubular Waves" (1979): Electronic music for Synclavier digital synthesizer. "The first four movements frame different visions of the energy delivered by the rolling waves as a kind of auditory surfing on the crest and into the trough of the wave (movements 1-3), followed by a high speed crossing within the tubular cyclone (4). The piece ends with easing waves at dusk... In terms of the making, 'Pacific Tubular Waves' is a purely electronic music, a solo performance on the first digital Synclavier synthesizer. The flexibility of its touch keys enabled me to intuitively program a sonic organic life quality with a concrete quality. Here the computer was used to magnify the texture and behavior of the oceanic material though never mimicking it." "Immersion" (1980): Electroacoustic music for Synclavier synthesizer and underwater recordings. "Composing 'Immersion' started with underwater recordings using a hydrophone. After recording the shifting sands and the rolling pebbles under the breakers, I came up with the idea of dipping a sonar loudspeaker underwater to diffuse my 'Pacific Tubular Waves' piece (made the previous year) below the surface. The music was thus shuffled by the waves and unexpected filtering effects resulted from its passing through clouds of foam. Its dispersion at sea by currents would send back incredibly smooth harmonic echoes... The recording of this natural remixing process is the guiding thread of the piece. It is interspersed with sequences composed in the studio with the Synclavier. Alternating dry/wet, for a gradual immersion through increasingly calm and dense increments... Three-dimensional Visible Images through the glasses attached hereto. Analogous to stereo, the anaglyph graphic process consists of two left and right points view of the same object... The feeling of space is expanding proportionally to the distance of observation, from 80 cm to several meters" --Michel Redolfi. A singular figure of the electroacoustic landscape, Redolfi debuted in 1980 with Pacific Tubular Waves/Immersion on INA-GRM. Recollection GRM presents the first reissue of this record. Digital transfer by Diego Losa. Cut by Rashad Becker at Dubplates & Mastering, Berlin, July 2014. Original 3D artwork and inner sleeve wave photo by Michel Redolfi. All other photos and portrait by Donna Cline. Sleeve and new Anaglyph 3D design by Stephen O'Malley. Anaglyphic 3D supervision by Guy Ventouillac. Coordination GRM: Christian Zanési and François Bonnet. Executive Production: Peter Rehberg.
Communications (2014 Remaster)
This is the third release on the six-volume Surgeon reissue label SRX. Originally released on Downwards Records in 1996, Communications marked the first mini-album and a more fully-fleshed out concept release for Surgeon. So raw it will skin your knees. It still has the power to corrupt the youth of today.
LST is the solo project of Australian artist Tarquin Manek. Recorded in 2013, Th Duo is a lo-sci-fi composition that is both uninhibited and hypnotizing. The origin of each sound never betrays itself and Manek's arrangement hints at nothing familiar. Th Duo sits on the mantle as a dusty relic from the future. Pieces like "Lego Swept Terrains" and "Lemon Suck Teeth" conjure images of vast junkyards one moment and extraterrestrial frequencies the next. The mind roams free but is inevitably led by the music. Th Duo was recorded using mobile phones and micro cassettes, which is partly the reason for its peculiar aesthetic. The question of process, however, might be more prominent if the record weren't so immediately enchanting. Such brave artistic methods will not surprise those familiar with Manek's long list of solo and collaborative projects. He is a member of the eccentric Canberran non-pop-music trio Bum Creek, who are notorious provocateurs in Melbourne's music and arts scene. Manek has also composed solo work under the alias Static Cleaner Lost Reward for Melbourne's Altered States Tapes.
Quarter Turns Over a Living Line
2015 repress; gatefold double LP version. Moving away from the sample-based strategies that characterized their early work, Joe Andrews and Tom Halstead have looked increasingly to live instrumentation for their first full-length work, mounting intensive recording sessions for percussion, guitar, and strings before painstakingly piecing the album together at their home studio. The gothic and industrial signifiers in their music remain, but more submerged and oblique than ever -- no less pronounced as influences than jungle's rhythmic dynamism and doom metal's oppressive weight or aspects of techno, modern composition, and dub.
2015 repress; 2007 release. Favorite Recordings presents French producer Onra's Chinoiseries project. He started it in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn't come back to France without bringing back some wax. After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records. He almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib, and started making beats with material that he wasn't quite used to. Here are the results of his discoveries and experimentation.
French Disco Boogie Sounds 1975-1984: Selected by Charles Maurice
After the 2014 release of Brazilian Disco Boogie Sounds (FVR 098CD/LP), French label Favorite Recordings follows up with focus a on its native language. With assistance from a close connoisseur friend, DJ and collector Charles Maurice presents a fine selection of tracks that, in his estimation, best represent the amazing energy of a specific French movement from 1975 to 1984. With ten rare titles, he paints a perfect picture of what one could find in French record stores at that time. On one hand, tracks by Over Drive, Marché Noir, Didier Makaga, and France Lise were produced by underground artists and labels from the French Caribbean and African community and filled with a raw, tropical spirit. On the other hand, tracks by Beckie Bell, Kelly, Le Club, and Bernard Guyvan were released by major labels such as Trema, Carrere, Disques Vogue, and Pathé Marconi, thanks to confirmed independent producers working not only in France, but also in Canada and the US. Today, Favorite Recordings and Charles Maurice are very proud to shed some light on these gems, and offer them a new life on your turntable. Also includes tracks by Contessa and Toulouse.
150-gram vinyl LP in a Stoughton Jacket, housed in a custom People Records poly bag, includes 24" x 24" poster. "Maceo Parker was one of the most revered and loved members of James Brown's famed J.B.'s band from the late '60s to the mid-1970s. Alongside his instantly-recognizable alto saxophone solos, he occasionally performed as comedian before James Brown shows, in addition to playing MC. He was a true renaissance man. And while other members of The Godfather of Soul's inner circle -- most notably trombonist Fred Wesley -- had solo albums at the advent of Brown's People Records, Maceo had to wait his turn for a couple years. By the time 1974 rolled around, this talented musician and personality could not be denied, and he burst onto the scene as a group leader with one of the most impressive albums in the People catalog: the simply titled, but deeply felt, Us. Maceo's group (occasionally called The Macks) and Fred Wesley's J.B.'s were essentially the same unit -- including guitarists Jimmy Nolen and Hearlon 'Cheese' Martin, drummer John 'Jabo' Starks, saxophonist St. Clair Pinckney and of course Fred Wesley on trombone. Unsurprisingly, the material here is never-endingly funky. But as shown in the song selection (presumably by Parker, with heavy-handy assistance from the Godfather himself), there are as many ballads and soul groovers as there are straight-up funk workouts. Cases in point include the mellow, Gamble & Huff-penned 'Drowning in the Sea of Love' (with organ, most likely played by James Brown, slithering in the background) and the syrupy 'Show and Tell.' The album's closer is also on the slower side, going very deep and striking a chord, as Maceo and Brown talk about conditions in the Black American landscape of the day over the course of ten-plus minutes. And there is, of course, plenty of diesel funk here as well: singles like 'Soul Power 74' and 'Parrty' are downright nasty grooves, known well by James Brown fans old and new. 'Soul Power 74' additionally features very early proto-sampling, with a baby's cry as well as Martin Luther King Jr.'s famous 'I Have Been to the Mountain Top' speech. And Maceo's take on the J.B.'s classic 'Doing It to Death' is a unique version, more muted and of course featuring Maceo's gorgeous horn front and center. Appearing at the apex of both James Brown's and People Records' power, Us is a treasured jewel in the J.B. catalog, and rightfully so."
This document of a performance at The Gaslight Cafe, NYC, on September 6, 1961, is historic in many ways; it is one of the first known live recordings of the great Robert Zimmerman and, more importantly, the first known live recording to feature original songs ("Man On the Street," "Talkin' Bear Mountain Picnic Massacre Blues," and "Song to Woody"). Known among collectors as the First Gaslight Tape, the sound quality on these recordings is fantastic, and the set holds up as one of the best early Dylan live recordings in both sound quality and performance. Essential!
Pressed on 180-gram vinyl. Two remixes of "Cherry Red" from Barnt's 2014 debut album, Magazine 13. (MAGAZINE 013CD/LP). Tale of Us asked Magazine for the stems of the track, intending to craft a version for their sets, and Recondite happened to pass by the studio while they were working on it; together they deliver a driving and vital interpretation of Barnt's melodic masterpiece. Jens-Uwe Beyer prolongs the already massive breakdown toward the end of the track; his remix has been a highlight of Barnt's DJ sets. Crato's cover art is a bold remix in itself, reworking the original cover.
The Last Hurrah!! is the project of HP Gundersen: guitarist, composer, arranger, producer and mentor for a vast number of musicians and singers from the vibrant music scene of Bergen, Norway. Here he teams up with the sublime LA roots singer Maesa Pullman. "The Weight of the Moon" is a subtle blend of Americana and classic English pop music. "Is It Me?" is an equally irresistible ballad and both are pop music as it was meant to be: addictive. The core band is made up of some of Bergen's finest, including drummer Larry Mullins (Iggy Pop, Swans).
2015 repress. Kenny Larkin productions under the Dark Comedy moniker. All tracks were released on Larkin's Art of Dance label in Detroit, in editions of only a handful of copies. "Clavia's North" and "Plankton" were released in 1997 on a sampler for his 7:Nites album, which never actually materialized. "Without Sound" (also known as "Without") was released in different versions. The original mix featured here is probably the best mix; it was only released on the highly limited Art of Dance Sampler 12". Fourth in a series of six back-catalog remastered reissue 12"s highlighting the best of Larkin's prolific career.
LP version. Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit and percussion wizard Holger Mertin (Drums and More). Liebezeit, born May 26, 1938, in Dresden, Germany, and best known as a founding member of Can, has been called "one of the few drummers to convincingly meld the funky and the cerebral." In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is renowned for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine." Mertin, born in 1977, is a multipercussionist and specialist in rhythmic traditions. He is involved in diverse transdisciplinary projects. Mertin's playing is characterized by his spontaneous, melodious, and rhythmic style that is equally reflected in his individual instrumentarium. Mertin has collaborated with internationally renowned musicians and artists including Milan Sladek, Eberhard Kranemann (Kraftwerk), Martin Sasse (Sting, Martin Sasse Trio), Hayden Chisholm, Paul Shigihara (WDR Big Band Köln), Roland Peil (Die Fantastischen Vier), and Ali Haurand (European Jazz Ensemble). Like a zen master of the minimal, repetitive beat, Liebezeit -- famous for his hypnotic precision -- creates with only few sound colors the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse -- the groove of a better world. On the basis of that musical matrix, sound magician Joseph Suchy has produced a jaw-dropping album that defies any categorization. Even if other instruments like violin, guitar, brass, and electronics sometimes seem to take the lead, the compelling pulse is always in the center of this swinging music. Liebezeit, Mertin, and Suchy have created a timeless masterpiece that, despite its complexity, always stays melodic and danceable. That's how modernity sounds (and swings)! Jaki Liebezeit plays: world drum kit, hand cymbals, dholak, tambourine, bongos, and one-string percussion instrument. Holger Mertin plays: hang, hand cymbals, gongs, Modulationsscheiben, cymbals, tube sticks, frame drum, snare drums, melodic and metal percussion, helix bowl, tambourine, spoons, singing bowls, kalimba, marimbula, waterphone, K.G. sound sculpture, and overtone drum.
"Bassist/composer Charles Mingus is one of the most radical figures in American music. Throughout the '50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie, and more. In the '60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus's magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialog of trumpets, trombone, and tuba; swooping reeds; and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, 'Psychotic Reactions and Carburetor Dung,' Lester Bangs praises, 'the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you'll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. They're events you remember all your life, like your first real orgasm.' This long out-of-print vinyl release has been carefully remastered from the original master tapes."
"On the cover: Roscoe Mitchell (50 years after the foundation of the Association for the Advancement of Creative Musicians, the Art Ensemble of Chicago founder is still forging ahead); Harry Bertoia (The late US sculptor, designer and sound artist returns in spirit via an exhaustive box set of his recorded works); Legowelt (Prolific Dutch electronic musician and gear head Danny Wolfers is pining for the cyberpunk future); Invisible Jukebox: RP Boo (The footwork pioneer battles The Wire's mystery record selection); Global Ear: United Arab Emirates; Inner Sleeve: Mutamassik; Unofficial Channels: Psykick Dancehall zine, Bites, Brood Ma, Family Elan, and more...."
Argentine electroacoustic composer Beatriz Ferreyra describes each of the pieces included on GRM Works: Demeures aquatiques (1967): "This electroacoustic piece, articulated into two clearly distinct parts, draws its sound source from the classical and unorthodox instruments -- metal sheets, glass rods, etc. -- invented by the Baschet brothers. I wanted to show the contrast between the rhythmic repetition of a sounding object, which gives out a feeling of fixity, an electroacoustic flavour and the continuous re-creation of the same sensation through similar yet not identical sounds." Un fil invisible (2009) For Christine Groult: "This piece was inspired by the various stages of Medieval Alchemy. The alchemical process is one of transformation, whose actual subject is the alchemist himself. Here, the process is inextricably tangled with the transformation of sounds and the very structure of the piece." Médisances (1968/69): "This electroacoustic piece for 4 channels was produced by manipulating such items as orchestral instruments, a mouth bow, breath and some unexpected technical defects." Les Larmes de l'inconnu (2011): "This is the first part of a work inspired by the Qabalists Carlos Suares (consciousness-energy), Rivka Cremici (charm of the mystic energy) and Shinta Zenke (dazzling Hebrew calligraphy) to whom I dedicate this music. Through its letters-numbers, the Qabalah expresses three different levels of 'primordial equation of the universe': the level of the archetype, that of the event and the incarnation, and the universal and cosmic level... I would like to thank the wonderful flutist Hernan Gomez for his kindness and his musicality during the recording." "The music of Beatriz Ferreyra bears a magnetic force, which generates a truly recognisable style that could be defined as a unique sense and intuition for sound. Whether in her early works ('Médisances,' 'Demeures aquatiques') or in the more recent ones featured here, one can easily perceive a freedom-loving musical personality. A pioneer alongside Pierre Schaeffer, in the '50s and '60s, she worked on the development of the famous Solfège de l'Objet Sonore (Music Theory of the Sounding Object) before freeing herself from the institution to focus on creating a challenging and independent music." --Christian Zanési and François Bonnet, Paris, 2015. Digital transfer by Jonathan Fitoussi; layout by Stephen O'Malley; photos by Laszlo Ruszka (1983/87) © Ina, Bernard Perrine (1969); translations by Valérie Vivancos. Coordination GRM: Christian Zanési & François Bonnet. Executive production: Peter Rehberg. Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2014.
LP pressed on 180-gram vinyl. Following Underdog Records' 2014 reissues of brilliant and underrated Montenegrin-French multi-instrumentalist and composer Janko Nilovic's '70s albums Pop Impressions (UR 651LP) and Super America (UR 641LP), the label now presents a remastered reissue of Nilovic's 1975 album Soul Impressions. Nilovic was certainly one of the great studio talents of 1970s Europe, but his prolific output was mostly released on library music labels and largely not available for sale. His compositional wizardry encompassed the styles of jazz, funk, Latin, psychedelic, easy listening, classical, and pop; these genre-blending arrangements have since become a rich source of samples for contemporary hip-hop artists, including Jay-Z, Dafuniks, and Guts.
The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music. Frusciante writes, "I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the ten years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer- and sample-based music, emulating as best as I could what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony... Programmers, particularly ones fluent on machines from the early '80s and/or tracker programs from the '90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz, or classical. The hands' relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct... In 2007 I started to learn how to program all the instruments we associate with acid house music and some other hardware. For about seven months I didn't record anything. Then I started recording, playing ten or so synced machines through a small mixer into a CD burner. This was all experimental acid house, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was... so excited by the method of using numbers much in the same way I'd used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody, and sound. In summary, acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one-man band." Double LP includes download code.
2015 remastered version of Alga Marghen's 2010 reissue of the Sonnabend Gallery's 1974 limited edition double LP. Presented in digipak sleeve with full-color 12-page booklet including two essays, originals score, and visual materials relating to the composition. Alga Marghen presents the fifth installment of its Golden Research Charlemagne Palestine archive series: Four Manifestations On Six Elements, one of Palestine's most well-known works. In 1973 the Sonnabend Gallery in New York commissioned Palestine to make Four Manifestations On Six Elements. "Two Perfect Fifths, a Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre -- sound color -- through exploration of the inert chemical activity in the overtone series of tone fundamentals. This genre of Palestine's work is akin to a kind of sound alchemy, blending elements over and over again in search of the Golden Sound: the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, in the Rhythm 3 Against 2, for Piano" (1973), Palestine uses the resonant Bösendorfer piano to create a more lively and complex variation of tones, intervals, overtones, and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different, as Palestine reinterprets these simple elements and listens within them for variations of amplitude, mixture, and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually, by adding the sustain pedal, the external rhythmic pattern begins to internalize, becoming an inert part of the whole timbral fabric -- a piece expressing the struggle for dominance between rhythm and timbre. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel, and Monet. "Three Perfect Fifths, a Major Second Apart, Reinforced Twice" (1973) is the complexification and continuation of track one. A pure and sonorous phenomenon.
A Quarterly Journal of Post-Rock Cultural Pluralism. In this issue: Todd Abramson, Steve Albini, Alan Bishop, Bree, Rej T. Broth, Joe Carducci, Benoit Chaput, Sharon Cheslow, Byron Coley, Karen Constance, Nigel Cross, Chris D, Georganne Deen, Lili Dwight, Erika Elizabeth, Ray Farrell, Andrea Feldman, Eddie Flowers, Tom Givan, Tom Greenwood, Mats Gustafsson, Lisa Marie Jarlborn, Ira Kaplan, Maria Kozic, Matt Krefting, Tom Lax, Ted Lee, Heather Leigh, Donna Lethal, Owen Maercks, Marc Masters, Hisham Mayet, Phil McMullen, Richard Meltzer, Thurston Moore, Dylan Nyoukis, Gary Panter, Brigid Pearson, Charles Plymell, Tony Rettman, Joanne Robertson, Bruce Russell, Suzy Rust, Savage Pencil, John Sinclair, Chris Stigliano, Brian Turner, Tesco Vee, Naomi Yang. 80 pages, black & white 8.5" x 11".
Alga Marghen presents a 2015 remastered CD edition of its 2003 CD The Wolfman, a collection of pieces that introduce the listener to the most extreme experimental side of American composer Robert Ashley. Presented in digipak with 12-page booklet including liner notes written by the composer and the complete score of "The Wolfman," first issued in Source magazine. The program starts with "The Fox" (1957), Ashley's first electronic work, which displays his nascent electronic music theater style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single live pass. "The Wolfman" was composed in early 1964 and first performed at Charlotte Moorman's 1964 second Annual Avant Garde Festival of New York. The piece immediately won a considerable reputation as a threat to the listener's health. For the occasion, instigated by Morton Feldman, Ashley composed a piece of tape music, "The Wolfman Tape," to be played along with the vocal performance of "The Wolfman." The tape composition, played out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), filled in the ongoing performance sound and transformed the performance into an elaborate version of drone under the influence of electronics. For the performance of "The Wolfman" recorded here, produced at the University of California, Davis, Ashley used a 1960 tape composition titled "The 4th of July." That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. "The Wolfman Tape" (1964) is, as described above, a tape composition made for a short performance of "The Wolfman." It uses tape-speed manipulation and mixes of many layers of found sounds, both from AM radio and from recordings made using different kinds of microphones. "The Bottleman" was composed in 1960 as music for an experimental film by George Manupelli. The 40-minute version presented here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit hum (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other found sounds played back at various tape speeds.
On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries. Track 11 only available on CD version.
"Collector and Americana yay-sayer Jim Linderman is an archivist of the obscure. His collections tell vast stories in sotto voce, allowing curios and objects shadowed by mainstream culture and ideology to converse and be heard. What we hear is an enormous American sub-culture speaking in forbidden, marginalized languages: stuff discovered boxed in the attic out of embarrassment or zealotry, smutty ash trays crowing next to religious pamphlets, each claiming a part of the complex, sometimes contradictory, always conflicted American imagination, a chaos of memories that will one day vanish. In The Birth of Rock and Roll, Linderman's arranged a storyboard of sorts that dramatizes the spirit, if not the chronology of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll -- i.e., young white men in Memphis, poodle skirts, Alan Freed, Bill Haley's Brylcreem, etc. Instead they document, and celebrate, the pure but indefinable essence of rocking. Ordinary, nameless men, women, and children, some white, some black, are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there is an urge to make acoustic or electric music -- whether to help at a rent party, busk in front of a crowd, or testify in the name of Jesus -- there's an uncredited photographer there to snap an image" --Joe Bonomo. "I wanted them all to be anonymous, but several were identified, and the Carter Family was included because it is such a lovely snapshot [and it has never been published before now]. I like to think rock and roll emerged from a large collective of unknown folk 'down there' rather than from some stars 'up there'" --Jim Linderman. Includes an introduction by Jim Linderman and an interview with Jim Linderman by Joe Bonomo. Jim Linderman is a writer, art historian, collector, and publisher. He maintains a network of websites on art, photography, and culture. Joe Bonomo is an essayist and music writer. His books include Sweat: The Story of The Fleshtones, America's Garage Band; Jerry Lee Lewis: Lost and Found; and Conversations With Greil Marcus. Book designer: Martin Venezky. 160 pages; 12 x 9.75 inches; 134 images reproduced in full color.
Berlin-based composer and pianist Nils Frahm celebrates the first annual Piano Day (March 29, 2015, the 88th day of the year) with the release of Solo. The group behind Piano Day, made up of Frahm and his closest friends, plans to support various exciting, piano-related projects; the first of these is the building of the world's tallest piano, the Klavins 450. As the life-long dream of David Klavins, it will exceed the current record-holder, the Klavins M370. Located in Tübingen, Germany, the M370 weighs 1.8 tons, stands 12.14 feet tall, and boasts strings up to about 10 feet in length. It was on this piano, in one sitting, that Frahm recorded the eight improvised piano motifs that form Solo. Once recorded, Frahm began to think of ways to release the album as a gift to his fans, and came up with Piano Day. Solo was made available as a free download on Piano Day 2015, as a way of easing Frahm's fans into sharing their money for the Klavins 450 project. All direct donations and a portion of all record sales will go to the Klavins 450 project until the target has been hit. In his liner notes for the album, Frahm writes, "David got to work in 1985 and finished his instrument two years later. Back then I was five years old, with no idea of how much I would fall in love with it. When I finally met David Klavins and his enormous piano 27 years later, in the very beginning of 2014, I arrived with empty hands. I didn't know what music, what songs I was about to record in the next three days... The eight pieces featured on this album were selected out of hours of improvising, happy hours... The joy of playing and listening to the sound of the instrument made me play slower and slower, softer and softer, as if almost every new note was destroying the immense beauty and sustain of the previous note. I was preparing the instrument with parts of my felt collection, carefully tuning mic positions with the help of my dear friend and recording gear wizard Matthias Hahn, and simply playing whatever came to my mind. In conversations about this I am still struggling for words in order to praise David's instrument. Words simply don't do it justice, so listen for yourself. With lots of love, Nils Frahm."
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