Browse by Label: POGUS

Artist:	LINDBLAD, RUNE
Title:	Death Of The Moon
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21011

Electronic and concrete music from 1953 to 1960 by this Swedish composer, reissuing material previously available on LP via the Pogus and Radium labels. "Rune Lindblad was born in Gothenburg, Sweden in 1923. He began composing music in 1953. This was a time when composers in Germany and France were feuding over the merits of electronic music made by pure wave oscillators versus musique concrete, which used the tape recorder as its main instrument. Rune Lindblad did not see these genres as mutually exclusive. In fact he extended his work to incorporate other mediums along with his approach to music. Deeply involved with woodcuts and painting, Lindblad was already experiment with using damaged 16mm film in his 'Optica 1' as early as 1959."

Artist:	OLIVEROS, PAULINE
Title:	Alien Bog/Beautiful Soop
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21012

1997 release, restocked. Features 2 long tracks (63 total minutes) of early, emotionally stunning electronic music from Ms. Oliveros. "Her revolutionary work in the use of tape delay and heterodyne techniques, coupled with experimental use of combination tones and supersonic frequencies, presaged techniques now being explored digitally," and there's never been better evidence of it than the brain-eclipsing "Alien Bog" -- a masterpiece of electronic tone squelch. Only an excerpt of this has been previously issued, while "Beautiful Soop" is released for the first time. "During her first year at The Tape Music Center at Mills College in Oakland, CA, Pauline Oliveros completed 'Beautiful Soop' (1966) and 'Alien Bog' (1967) utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and her tape delay system. 'I was deeply impressed by the sounds from the frog pond outside the studio window at Mills. I loved the accompaniment as I worked on my pieces. Though I never recorded the frogs, I was of course deeply influenced by their music."

Artist:	LINDBLAD, RUNE
Title:	Objekt 2
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21014

Second stellar CD of stark, mesmerizing & historical electronic and concrète. "Volume 2 of the music of Rune Lindblad (1923-1991). This CD consists of the remainder of the long out of print Radium double LP. These works cover the years 1962-1988. Lindblad, a Swede, began composing in 1953. Ignored by the musical establishment of Stockholm, Rune went his own merry way, composing over 200 works of electronic music. Limited in the early years to often primitive equipment, he carved out his own musical niche. The sounds were often raw, occasionally scary."

Artist:	VA
Title:	Travels of the Spider: Electroacoustic Music From Argentina
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21015

"Compilation of, well, electroacoustic music from Argentina spanning the last decade or so (1988-1998) containing several fascinating extensions of recent computer-aided-composition/processing technology by an otherwise unheralded crew of composers working within the tresses of the global computer-music 'scene'. Pieces by Daniel Schachter, Ricardo Dal Farra, Martin Alejandro Fumarola, Alejandro Iglesias Rojas, and Teodoro Cromberg, all forge impressive new avenues of 'sound research' through an inescapably mutant collection of timbres/waveforms/sonic events. It's understandable why this was brought into the world by the same folks that unearthed those prime Pauline Oliveros & Rune Lindblad tape masterpieces right when we needed them the most. Stunning." -- Hrvatski.

Artist:	OSTROWSKI, MATTHEW
Title:	Vertebra
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21016

"A former member of Krackhouse, denizen of NYC's downtown scene (particularly PS 122 and A Mica Bunker etc.) and crack (no, not head) ARP synthesizer player, Ostrowski has spent the last few years in Holland -- studying elektronik music at Utrecht and working as a freelance composer. This is his first solo CD. But let him speak: 'My music runs without stopping, and at a vertiginous speed. The architecture is simultaneity....Not to perceive noise as music but music as noise....This is a recording of a live performance: one member of a set of possible solutions. Vertebra is a computer program, an environmental construction, a scaffold, in which the activity of making sense and it's suspensions are not merely illustrated, but actually taking place.'"

Artist:	RUTMAN, ROBERT
Title:	1939
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21017

Reissue of the original Pogus LP by the Steel Cello sculptor/performer, with an additional 20 minute track. "CD reissue of previous a Pogus vinyl offering by this now-known sculptor/artist whose 'Steel Cello' sound-installations are clearly some of the most ear-pleasing examples of the genre. Contains the original 4 LP tracks ('Tabla and Buzz Chime,' 'Steel Cello and Bow Chime,' 'Chant, Bow Chime, and Horn,' and 'Three Bow Chimes,' recorded in Winchester MA during March of 1989 & aided by Carsten Tiedermann and Danny Orlansky) as well as a 20-minute contemporary track ('Song of the Steel Cello', recorded live in Berlin). Fans of the Bertoia/Panhuysen/Fullman school of Teutonic site-specific instrumentation should already know this stuff cold. If not, said Steel Cello's Martian overtones/massive low-end challenge cleanse the soul in ways users of St. John's Wort/Astral Travelling could never attain. Seminally drift-worthy." -- Hrvatski.

Artist:	GABURO, KENNETH
Title:	Tape Play
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21020

"Over his career, Kenneth Gaburo (1926-1993) produced a lot of electronic music. However, works for tape alone are fairly rare in his output. Over about a thirty-year period, ten works for solo tape were produced. Of the ten tape pieces, five were created in the mid-1960s at the University of Illinois, one was created in 1974-5 in his home studio in La Jolla, and four were made in the studio at the University of Iowa, Iowa City, which he directed during the 1980s and early 1990s. Not surprisingly for a composer whose stated aim was to blur the distinctions between language and music, six of the ten pieces feature an overt use of the voice, while two of the 'purely electronic' pieces use timbres that are so vocal in character that one is constantly thrown back onto a consideration of Kenneth's main obsession, the voice. Only two of the pieces, both from the Illinois period, seem to not deal with the voice in any way." -- Warren Burt. One track is in collaboration with Henri Chopin.

Artist:	ROSENBOOM, DAVID
Title:	Invisible Gold
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21022

"David Rosenboom (b. 1947), who has been widely acclaimed as a pioneer in American experimental music since the 1960's. He is a composer, performer, conductor, interdisciplinary artist, author, and educator having explored ideas in his work about the spontaneous evolution of forms, languages for improvisation, new techniques for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multi-media, compositional algorithms, and the structure of the brain and nervous system. These two works, Portable Gold and Philosophers? Stones (1972) and On Being Invisible (1976-77), are classics of live electronic music involving extended musical interface with the human nervous system."

Artist:	OLIVEROS, PAULINE
Title:	No Mo
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21023

2001 release, restocked. "In the summer of 1966 I worked in the classical Electronic Music Studio at the University of Toronto for six weeks. The system I used to create 'No Mo' and 'Something Else' consisted of Layfette tone generators, noise source and tape delay. In the Fall of 1966 I was the newly appointed director of the Mills Tape Music Center formerly the San Francisco Tape Music Center and now the Center for Contemporary Music at Mills College. 'Bog Road' was created at the Mills Tape Music Center in the Summer of 1967 with the Buchla Series 100 Box. The studio overlooked a pond where frogs were singing a chorus that inspired a series of Bog pieces".-- Oliveros

Artist:	REYNOLDS, ROGER
Title:	All Known All White
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21025

"Pogus is delighted to be reissuing these 3 long out of print works. From the liner notes: ...the serpent-snapping eye (1978) was composed for trumpet, percussion, piano and 4-channel tape. The work is twenty minutes long, divided into three roughly equal sections. In the first, the primary aim of the performers is to match, submit to and intensify the taped sounds. The second, in which the synthesized sounds are sparse, introduces a felling of independence as the performers respond, reflecting on models provided by the tape. In the final section, the live performers complement and elaborate upon -- they attempt to augment -- the synthesized sound. Ping and Traces, were composed to complement one another. Ping represents a continuing interest in theater and intermedia running through Reynolds' compositions since The Emperor of Ice Cream (1961-62). In live performance the three strands of events occur simultaneously but are not synchronized. As a recorded performance, Ping is a self-sustained composition of instrumental improvisation over taped and electronic music. Traces was written for the composer-pianist Yuji Takahashi. Scored for solo piano, with flute, cello, ring modulator, signal generator, and 6 independent channels of taped sound, this work is concerned not only with events but their residues (traces)."

Artist:	DUNN, DAVID
Title:	Four Electroacoustic Compositions
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21026

"'...with zitterings of flight released,' (in memoriam Kenneth Gaburo) was composed over an intense and continuous five-day period (including nights). While working on the piece I had in mind various images and metaphors for the drama of the spirit's separation from the body as described by a variety of shamanic and spiritual traditions. It is a memorial for my teacher Kenneth Gaburo. Simu760342102625lation 1: (Sonic Mirror) was an attempt to model a utopian project yet to be built. The original concept was conceived as a stationary cybernetic sound sculpture capable of processing acoustic data within an outdoor environment. Eventually the sculpture might function as an autonomous system structurally coupled to its surrounding environment in a manner that might allow for 'learning' between components. This initial modeling was generated from a soundscape recording of the Cuyamaca Mountains of California. Wildflowers is a bit of nostalgia for the 20th century composer's search for the unique sonic and expressive attributes of electronic technology, an ideal mostly out of fashion. I wanted to compose a reclamation of the sounds of circuitry as material substance, those 'sci-fi' clichés and glissandi now banished to the video game parlors. Ennoia 2 is a computer-generated composition that explores the time-domain synthesis algorithms created by Arun Chandra's Wigout program. These algorithms generate continuously changing waveforms with unique structural behaviors over time. The resulting sounds have continuously changing interdependent parameters that are controlled by very few variables."

Artist:	ANTUNES, JORGE
Title:	Savage Songs - Works from 1961-1970
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21027

Early Brazilian electronic music, featuring works composed 1961-1970. Electroacoustic, sine waves, tape pieces, pure electronic music, etc. A well done compilation with extensive notes; there have been some Brazilian LPs and 3" CDs floating around in the past, but this conveniently puts everything in one place. "Jorge Antunes (b. 1942, Rio de Janeiro) studied violin, composition and conducting at the University of Rio de Janeiro, as well as studying physics at the same institution. He further studied composition with Alberto Ginastera and Luis de Pablo. From 1970-71 he attended the University of Utrecht (Gotfried M. Koenig). From 1972-73 he worked with Groupe de Recherches Musicales in Paris. In 1962 he began his research in electronic music thus becoming a pioneer in the development of this field in Brazil. He is the director of the Electronic Music Laboratory and the conductor of Orquestra da Universidade de Brasilia."

Artist:	BURT, WARREN
Title:	Harmonic Colour Fields
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21028

"Harmonic Colour Fields is a set of five computer pieces which explore static microtonal harmonic fields. This means that once a piece begins, harmonically, it's going to stay pretty much the same for it's entire duration. The pieces are descended from the 1970s 'drone' pieces of such composers as La Monte Young, Charlemagne Palestine, Hal Budd, and myself, but they make greater use of slow harmonic progressions to make more varied musical surfaces. I wanted to make pieces where the quality of the harmony was the primary focus, and so used very simple rhythms, plain electronic timbres, and a minimum of melodic structuring. In fact, in these pieces, any sense of melody is simply the result of how the harmonic material is articulated. That is, change in harmony, and not construction of melody was my aim in making these pieces. The title refers to the 'colour field' minimalist painters of the 60s and 70s. I thought of these pieces as analogous to those paintings, in that the explore the varieties and shades of one particular harmonic musical colour."

Artist:	ANDERSON, BETH
Title:	Peachy Keen-O
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21030

"This CD has pieces with an auctioneer, a Kentucky farm with birds & clover, a jazz dancer, a quivering, vibrating, sexually tinged piece full of women saying supplication, a saint dying in flames, a drum piece about frustration, mother/daughter miscommunication, a pipe organ, and punk rap with overtones of yoga. Many of Anderson's compositions from 1973-1979 use words or parts of words to make either all or part of the music. Sometimes the music is derived from the words. Some of it is considered to be part of the genre known as text-sound. Beth Anderson (b. January 3, 1950, Lexington, Kentucky) is a composer of avant-garde works that have been performed all around the world and that have brought her much acclaim. Over the years, Ms. Anderson has studied with Robert Ashley, Larry Austin, John Cage, and Terry Riley, among others. She is a pioneer in the field of text-sound music, which uses words and phonemes to make a kind of vocal-percussive music."

Artist:	TRIOS
Title:	Trios
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21031

Tom Erbe: (recording, editing, processing); Chris Mann: (voice, texts); Larry Polansky: (fretted and fretless electric guitars); Douglas Repetto: (computer, electronics, recording); Christian Wolff: (piano, bass, percussion, melodica). "Trios is a collaboration between five musicians, over time, and over space. It combines instrumental and electronic improvisation with non-real-time computer processing and editing. Chris Mann, Douglas Repetto, and Larry Polansky recorded several hours of live improvised material in one session. Months later Repetto, Polansky, and Christian Wolff recorded some more. The recordings were then sent off to Tom Erbe, who culled interesting sections from both sessions and then processed, edited, and mixed them to form the six tracks on the CD. Or: organized sound. (Re)assembled improvisation."

Artist:	REYNOLDS, ROGER
Title:	Process and Passion
Label:	POGUS
Format:	2CD
Price:	$13.00
Catalog #:	POGUS 21032

"A special 2 CDs for the price of 1 deal -- with CD 1 (stereo) music encoded for CD 2 (binaural - headphone only listening), the listener gets their own personal surround sound-for-the-head version -- the same music -- but different. This is a recording that explores the 'extra'-ordinary potential of the CD not only as a carrier of traditionally recorded instrumental sound (CD 1), but also offering a different view through binaural encoding of the same materials spatialized (CD 2). First you are presented with two solo compositions -- Kokoro and Focus a beam, emptied of thinking, outward... -- and the duo Process and Passion, in an acoustic recording, albeit with each instrument deliberately confined to one side of the stereo field. Then all three pieces are presented with extravagant sound processing, using spatialization concepts and binaural encoding, revealing unsuspected depths and energies within the sound of each of the pieces' ideas and unfolding."

Artist:	JOHNSON, TOM
Title:	Kientzy Plays Johnson
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21033

Daniel Kientzy, saxophones; Meta Duo; Tom Johnson, narrator. In 'Kientzy Loops', the accompanying loop is a mix of six alto saxophones played in continuous blowing, while the principal lines are played on alto saxophone, except for the third section, played on baritone. The present multi-track saxophone version is probably as rich and energetic as any of the large ensemble versions. The melody is played by three overdubbed sopranino saxophones in unison, the bass line is played by three baritones, and the drone is played by three altos. In each of the four Infinite Melodies the music follows a logical sequence requiring each subsequent phrase to become longer and longer, reaching out toward infinity. Since the four melodies are independent pieces, it is not necessary that they be played in the written sequence. In this case the interpreter ordered his four interpretations according to their contrast and durations, so that the CD ends with 'Infinite Melody No. 1'. Here the music contains longer and longer silences, finally ending with a silence so long that it seems to dissolve into infinite silence as the CD player stops turning."

Artist:	BROWN, CHRIS
Title:	Talking Drum
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21034

"Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99. This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space "grows" its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets."

Artist:	BAND & DAVID LEE MYERS, ELLEN
Title:	Two Ships
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21035

"Performances by Ellen Band and David Lee Myers blend sonic environments and specialized electronic circuitry. Myers generates his signature 'Feedback Music' using custom-built devices that 'sing their own songs'. The resulting sounds represent nothing other than the free circulation of electrons within, prompting one observer to describe them as arising 'from the ether'. Band carefully builds swirling layers of sonorous, textural, tone/noise clusters by mixing and processing lengthy samples from her field recordings of real-world sounds. Though their individual working styles are very different, their combined effort yields lush sonic densities that continually pulse and morph while complementing and contrasting each other's sonic expression. "

Artist:	VA
Title:	DIY Canons
Label:	POGUS
Format:	2CD
Price:	$19.00
Catalog #:	POGUS 21036

"The pieces on this CD are all based on the ideas in Larry Polansky's four voice canons, a series of pieces he began in 1975. These canons are usually 'mensuration canons,' which means that the tempi of successive voices is proportional to their start times, so that the voices end together. They also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. A set of Polansky's canons was produced on Cold Blue Records as four voice canons. Polansky described these ideas in Four Voice Canon #13 ('DIY Canon'), a kind of open-source meta-canon score. He distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. Composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." -- Simon Wickham-Smith, curator. Features: Kyoko Kobayashi, Bruno Ruviaro, Mike Swinchoski, Mike Winter, Ross Craig, Giuliano Lombardo, Simon Wickham-Smith, Steven M. Miller, Masaki Kubo, Drew Krause, George Zelenz, Stefan Tomic, Bo Bell, Philip Corner.

Artist:	OTTE, HANS
Title:	orient:occident / minimum:maximum
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21037

minimum:maximum (1973): texts / sounds / pictures. An environment (simultaneous concert in Stockholm and Bremen) for two organists: Karl-Erik Welin and Gerd Zacher, keyboard instruments. orient:occident (1977): for two woodwind-players and tape: Ingo Goritzki, oboe; Hans-Wilhelm Goetzke, clarinet. "Perhaps best known for his piano work 'Book of Sounds' these two works by German composer Hans Otte were composed in the 1970s. In that decade his aesthetic creed became increasingly clear: 'the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. The composer understands the dialogue with sounds as the discovery of their nature.' (Ute Schalz-Laurenze). While Hans Otte was an enthusiastic, one might say visionary promoter of fellow composers, such as John Cage and David Tudor, whose impacts had registered to the general public long after their force reached the surface, he nevertheless remained deeply committed to his own music. Otte's writings, simple lines that say: 'words are just something added on'; 'all great things laugh'; 'when something is reminiscent of nothing'; and, 'it's really something -- that voice that was once in the mouth,' all direct us to his music, because: 'everything always happens: Now.' It is Otte's music that betrays his particularity of thought to what (is everything), how (it happens), and when (is now). Words are just something added on. Collectively, these aphorisms reflect an aesthetic that dispenses with words which may address themselves to an understanding of the world. Here, however, the world to be understood is indescribable. What is everything? When is now? How does it happen? The message is that words tell, music is. Listen. The titles of these works: orient:occident and minimum:maximum, suggest a relationship between seemingly disparate things to remind us of Otte's adage: 'It is the gardener who owns the garden.'"

Artist:	CRAWLING WITH TARTS
Title:	Ochre Land, Blue Blue Skies/Grand Surface Noise Opera Nr. 7
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21039

"Long overdue, long promised release. This may be the last Tarts track (and opera) and one of the first solo composed Gendreau recordings. Or I could be making that all up. Anyway, wonderful music and sounds -- it is a Crawling With Tarts opera and OLBBS is a killer. A musician since age 6, Gendreau went along to work with several group organizations, culminating in Crawling With Tarts (1983-1998), and using this group as a medium (along with the various uses made of it by co-founder Suzanne Dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis. These final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in Gendreau's studio using a decrepit lathe. More recently, in composition and performance, Gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician-primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions."

Artist:	COURTIS, ANLA
Title:	Tape Works
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21040

"Anla Courtis continues to produce music and was even quite prolific during his time in Reynols. It goes without saying that Courtis learned a thing or two from his experience in Reynols; and there's a fundamental constant to all of his work: the cassette. One of Reynols' most infamous albums Blank Tapes was pieced together from the endemic hiss from, you guessed it, blank tapes. Far from being an empty album of silences, Blank Tapes is extraordinarily dynamic, amplifying the magnetic energy of the tape hiss into undulating fluctuations that mirror the somatic patterns of the human body. Reynols' tapes have a heart beat, blood pumping through their veins, and oxygen rushing through their lungs. This crudely built anthropomorphism continues in Courtis' work today, as the cassette and the tape deck remain primary tools in his compositional sensibility."

Artist:	VA
Title:	Montreal Sound Matter/Montréal Matiéres Sonore
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21041

Artists include: Helene Prevost, Steven Heimbecker, Louis Dufort, Tomas Phillips, Chantal Dumas, a_dontigny, Francisco Lopez, Mathieu Levesque. "Montreal Sound Matter / Montréal Matières Sonore brings together eight Canadian and international sound artists. The project began with a workshop on environmental sound collecting by Francisco López and led to the development of a collective sound project including an album, a sound installation, and a concert. This is the recording. The artists create an immersive sound installation made up of fragments of Montreal, which propose a reflection and a questioning on the city. Far from being a postcard, these sound portraits suggest an abstract view of Montreal made up of fragments modeled or transformed to the liking of the artists. Through these places turned non-places and thus more or less unrecognizable, the pieces present an interesting variety of aesthetics, constructions and creative processes." -- Esther Bourdages

Artist:	DIDKOVSKY, NICK
Title:	Tube Mouth Bow String
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21042

Subtitled: Music for electric guitar, string quartet, computer, and live electronics. "These pieces are about the details of musical evolution that emerge from rule-based compositional systems. Using electric guitar, string quartet, electronics, and computer software, we explored territories held together by systems of agreements, forms specified in software, real-time musical choices, and notation.Two of the compositions here, 'She Closes Her Sister With Heavy Bones' and 'What Sheep Herd,' are process pieces whose scores fit very economically on one page. Each score specifies melodic material and a short set of rules. The music precipitates from the interaction between the score's specifications and the decisions that the musicians make during performance. By contrast, Tube Mouth Bow String is a thoroughly-composed piece which notates foot pedal movements, vocal behavior, and bowed string performance, overflowing very uneconomically onto many pages which we pasted onto large poster boards and set before each player. Closing the CD, 'Just a Voice That Bothered Him' sounds like it could have been composed systematically but evades rules instead, being composed intuitively by ear. The piece emerged in opposition to one vividly frustrating weekend of fruitless systematic composition, and for that, gets the last word."

Artist:	VOUDOURIS, DIMITRI
Title:	NPFAI.1/Palmos/NPFAI.3/Praxis
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21043

Not familiar with Voudouris before, but this is one of the most sonically pleasing electro-acoustic albums we've heard in recent days... "South African composer Dimitri Voudouris (b.1961 Athens, Greece) began composing in the '90s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical and theoretical compositional approach in research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes. His socio-cultural interests have led him to research the survival of music in the 21st century and the impact that media and technology have on the composer. 'NPFAI.1' (New Possibilities for African Instrument) is an electro-acoustic composition for kundi and m'bira with computer-assisted processing. Kalimba or m'bira is a finger piano made of wood and metal strips used in ceremonial music. In 'Palmos,' Voudoris chose three Western instruments -- the Hammond organ, oboe, and the bandoneon -- whose overtone and harmonic capabilities allowed for interlocking moments to take place, a phenomenon that is ever present in African traditional music. 'NPFAI. 3,' third in a series of electro-acoustic studies, is for African marimba and computer-assisted processing. 'Praxis' is a four-channel tape piece using a recording of an Christian Orthodox Greek male choir and computer-assisted processing. 566 sound compartments were created that ranged from 10 to 40 seconds in time duration."

Artist:	WERDER, FELIX
Title:	The Tempest -- Electronic Music
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21044

Reissue of mostly early-70s electronics works. "Felix Werder was born in Berlin in 1922. Possessed of an omnivorous musical curiosity, over the course of his career, he has explored many of the issues of concern in contemporary music, from serialism and aleatoric techniques, through opera, improvisation, graphic notation and electronics, always through the lens of his intense expressionist aesthetic. Werder was introduced to the use of electronics in the late 1960s by his friend Bruce Clarke, whose Jingle Workshop was the first commercial electronic music studio in Australia. He shortly thereafter acquired an EMS VCS3 analog synthesizer, and incorporated electronics into his performances. His group gave some of the earliest live electronic performances in Australia, two of which, 'Banker' and 'Oscussion,' are recorded on this CD. In 1974, he worked with the EMS Synthi 100, a large digitally-controlled analog synthesizer in the studio at the University of Melbourne, where he produced his electronic masterpiece, 'The Tempest' -- After Giorgione's 'Tempesta.' By the late 1970s, however, he had largely stopped working with electronics, as he devoted himself more and more to composing chamber works for his ensemble (and others) to perform. In the early '90s, with my urging and assistance, he made one foray into the world of computer music, with the contrapuntal fantasy 'V/Line.' He has not returned to the medium since then. His electronic work, then, forms a small but unique part of his output." --Warren Burt

Artist:	LOCKWOOD, ANNEA
Title:	Thousand Year Dreaming/Floating World
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21045

"'Thousand Year Dreaming' (1990) was commissioned by Essential Music and was written with the musicians on this recording, their particular strengths and inclinations, very much in mind. It grew out of an improvisatory piece, 'Nautilus,' which Art Baron, Scott Robinson and Lockwood realized in 1989. They found that the sound of conch shell trumpets, didjeridu and frame drums really flowered in the resonant spaces they were using for the piece. Lockwood started imagining the sonorities possible with four didjeridu's, gongs, conches and trombones and frame drums, all shaped by the penetrating and sensuous edge of oboes and clarinets. floating world (1999) is an immersion in place and transience. The composer invited friends who work with environmental sounds themselves, and who have a strong sense of place, to make recordings for her in places of personal, spiritual significance to them, so it is a collaborative work. From their field recordings (edited but not processed), and other sounds Lockwood wove the slowly shifting texture forming floating world." Performers on Thousand Year Dreaming: Art Baron (conch shell, trombone, didjeridu), Libby Van Cleve (oboe, English horn), Jon Gibson (didjeridu), Annea Lockwood (voice), J.D. Parran (clarinet, contrabass clarinet), Michael Pugliese (tam-tam, clapping sticks), N. Scott Robinson (conch shell, frame drums, pod rattle, tam-tam), John Snyder (didjeridu, waterphone), Charles Wood (tam-tam, stones), Peter Zummo (trombone, didjeridu).

Artist:	MARGOLIS/IF, BWANA, AL
Title:	An Innocent, Abroad
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21046

"The new Al Margolis/If, Bwana CD is comprised of 'Issue,' for electronics and multi-tracked voice, and 'An Innocent, Abroad,' a 40 plus minute work for electronics, vocals, and flutes. 'An Innocent, Abroad' can be best described as a Sonic Oratorio: an assemblage, a construction of an event that never happened or will happen. A live installation for radio, perhaps. There is no 'meaning' to the text. All parts were drawn or are inter-related to the original vocal track, recorded by Lisa Barnard, which is no longer present. The text/voice part has been multi-tracked and now represents five 'separate entities.' The electronic parts have been extracted and processed from the original vocal track. The five flute parts were performed by Jane Rigler and Jacqueline Martelle, and were improvised by them. They recorded to the separate voice tracks. None of the performers heard the entire piece that they worked on."

Artist:	GABURO, KENNETH
Title:	Lingua II: Maledetto/Antiphony VIII
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21047

"The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal 'style,' Gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, 'Maledetto,' for seven speaking voices, from 1967-1968, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-1983. Both are intricate and powerful works, both take their inspiration from 'non-musical' materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different. 'Maledetto' is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. It is one of the earliest of Gaburo's works where his concern for holistic thinking and art-making comes to the fore. Speaking voices also figure in 'Antiphony VIII,' but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. This work was created at least 15 years after 'Maledetto,' and the boisterous energy of the Sexual Revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various anti-nuclear movements of the 1980s."

Artist:	WICKHAM-SMITH, SIMON
Title:	Love & Lamentation
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21048

"The Sandokai ('The Harmony of Difference and Equality') is a prayer written by the eighth century Japanese Zen teacher Sekito Kisen. The basis for this piece was a tape given to Wickham-Smith by a nun of a recital at her monastery. He wanted to create of this sample a prayer without borders, a follow-up to an earlier work, 'Ave Regina Caelorum' (2000, released on Extreme Bukake), in which he used the Latin plainsong of a prayer to the Virgin Mary in much the same way. The organ sample at the end is from a piece by Erik Satie, whose spirituality was equally strange and eclectic. All the samples have been stretched and pitch-shifted beyond (immediate) recognition; to the ears they have melded into something that seems at once both ethereal and solid. 'The Kin-kindness of Beforehand' grew out of his 'Multiple Tongues' project, a series of pieces in which Wickham-Smith exposed the spoken word in many different languages to a series of digital manipulations. 'The Kin-kindness of Beforehand' is divided up into several distinct sections, each of which took on a particular persona during its creation. For the composer, this was the most complex of all the 'Multiple Tongues' works, because he wanted to use specific strings of words and the quality of writer Rachel Becker's voice somehow to comment on each another. Love & Lamentation started life as a setting for voice and electronics of part of the biblical Book of Lamentation, but it quickly became clear to that the literal setting of words was not going to convey the melancholic intimacy that needed to be expressed. As a teenager Wickham-Smith had heard Alain Gheerbrant's wonderful ethnomusicological recordings of a blind Turkish troubador and had fallen hopelessly in love with his voice and exquisite playing of the saz. About the same time, through his friend Richard Youngs, he had discovered also the ex tempore psalm singing of the Scottish Isle of Lewis. Fifteen years later, he decided that these two could be made somehow to work together to show the love and lamentation which he felt they both held in their deeper recesses, and which he wanted to present in this new piece. The result is a strange melée of feelings, repetitions and textures."

Artist:	CRESHEVSKY/IF, BWANA, NOAH
Title:	Favorite Encores
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21049

"A split CD of works by Noah Creshevsky (4 tracks) and If, Bwana (3 tracks). While on the face of it this may seem a somewhat odd pairing, the pieces recorded here comment on and highlight each other. And an aural adventure is indeed in the offing. Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky has taught at Juilliard, Princeton University, and Brooklyn College. He was director of the Center For Computer Music (1994-2000) and is currently Professor Emeritus at Brooklyn College of the City University of New York. His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music that are edited but rarely subjected to electronic processing. The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities. Creshevsky's most recent hyperrealist compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. Moments suggest musical environments of indeterminate ethnicity --simultaneously Western and non-Western, ancient and modern, familiar and unfamiliar. Hyperrealism is an electroacoustic musical language constructed from sounds that are recognizable parts of our shared environment ('realism'), handled in ways that are exaggerated or excessive ('hyper'). Al Margolis has been working under the musical pseudonym If, Bwana since New Year's Day 1984."

Artist:	VA
Title:	Source Records 1-6 Music Of The Avant Garde, 1968-1971
Label:	POGUS
Format:	3CD
Price:	$39.00
Catalog #:	POGUS 21050

The digital reissue of the Source LPs on 3 CDs: CD1: Source Records 1 And 2 featuring Robert Ashley - "The Wolfman" (1964); David Behrman - "Wave Train" (1966); Larry Austin - "Accidents" (1967); Allan Bryant - "Pitch Out" (1967). CD2: Source Records 3 and 4, featuring Alvin Lucier - "I Am Sitting In A Room" (1970); Arthur Woodbury - "Velox" (1970); Mark Riener - "Phlegethon" (1970); Larry Austin - "Caritas" (1971); Stanley Lunetta - "Moosack Machine" (1971). CD3: Source Records 5 And 6, featuring Lowell Cross - "Video II (B)/(C)/(L)" (1965); Arrigo Lora-Totino - "English Phonemes" (1971); Alvin Curran - "Magic Carpet" (1971); Annea Lockwood - "Tiger Balm" (1971). "Pogus is extremely proud to reissue the recordings included in the seminal new music journal, Source: Music Of The Avant Garde, Vols. 1-6, Issues 1-11, Source Records 1-6, 1967-1973. The original six ten-inch LP Source Records contained some of the most important experimental music of the nineteen-sixties to mid nineteen-seventies -- and they have now been reissued as a 3 CD set. Source ended publication in 1973, having published, since 1967, contemporary musical materials, scores, articles, interviews, photo essays and recordings over seven years, with up to 2000 subscribers to the semiannual journal: the subscribers avidly anticipated receiving two new and critically acclaimed issues each year during that period. Most of the original tape masters for the records, after over forty years, have vanished or have seriously deteriorated; hence, we have carefully transferred, noise-reduced, and crackle-removed all the actual LP record tracks to the digital medium, then mastered to the compact disc format for this reissue: the result is an authentic recreation of the original LP, characteristic sound." Includes 20-page booklet.

Artist:	HAMILTON/BRUCE EISENBEIL, TOM
Title:	Shadow Machine
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21051

"Shadow Machine is the first CD by Tom Hamilton and Bruce Eisenbeil, who began playing music together in 2007. Coherence without predictability, speed without tempo, direction without a roadmap -- an unlikely foray into the world of out-jazz and free improvisation. It's a duo that thwarts expectations of its specific instrumentation. The artists hybridize the language of electronic sound through Eisenbeil's guitar and Hamilton's virtual analog synthesizer, and the live-in-the-studio tracks insure that the performances impart maximum physicality and spontaneity. Their aim is to generate new forms, new ways of listening, new definitions of music. Equal rights for all sounds is one goal, and since each musician is a maximalist, a dizzying array of sounds and techniques are employed to sustain a visceral experience. Contrasting sonic elements are played one against another, simultaneously and successively. Modern jazz and improvised music have just now begun to really embrace the language and sounds of electronics; these two artists are positioned on the forefront of a trend that aims to subvert orthodoxy and challenge old assumptions."

Artist:	CAPPAROS & LIONEL MARCHETTI, OLIVER
Title:	Equus (Grand Véhicule)
Label:	POGUS
Format:	CD
Price:	$11.00
Catalog #:	POGUS 21052

"Equus is a collaborative work of musique concrète recorded in 2001-02 on a commission from the INA GRM. It is truly a delight for Pogus to add this title to our catalog. As Capparos notes: 'Equus guides us through human memory and history. It may sound a bit strange that sound & music would appear as a 'vehicle,' or as we had cast a lead into a labyrinth. This brings us to the question of whether we are alive or not; traveling the path throughout these soundings would drive us down and up our consciousness and our listening, not to mention that we are dead or alive.' Olivier Capparos is an instrumental and electro-acoustic composer whose work encompasses philosophy and literature as well as music. Many of his compositions are focused on voice and its interpretation through loudspeakers. Capparos was composer in residence at the INA GRM in Paris (2001), the Studio National des Arts Contemporains du Fresnoy (20023), and at the Argos Center in Bruxelles (2004). He has composed and conducted works for chamber orchestra, voice (soprano), violin, and piano, and has co-produced many other recordings and radio broadcasts with Lionel Marchetti throughout their long association. Lionel Marchetti was born in France in 1967. His interest in music resides in the qualities of sound. He started to experiment by himself and later discovered the rich French corpus of musique concrète through Xavier Garcia. He is one of a handful of artists who in the mid-to-late 1990s took electro-acoustic music out of academic studios and into the free improvisation ring. A scholar who worked at the CFMI (Lyon) and INA GRM studios and published a book on acousmatic composer Michel Chion, Marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared CDs, motors and radios. He often refers to his instruments as an electro-acoustic contraption." Total playing time: 33 minutes.

Artist:	BOLANOS, CESAR
Title:	Peruvian Electroacoustic And Experimental Music (1964-1970)
Label:	POGUS
Format:	2CD
Price:	$21.00
Catalog #:	POGUS 21053

"César Bolaños is one of the leading artists of the Latin American avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part of an astonishing generation of Peruvian composers: Edgar Valcárcel, Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National Conservatory in Lima, and following classes with the Belgian composer Andrés Sas (who after leaving Europe settles in Peru), he would join the group 'Renovación' (together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them Bolaños began a series of presentations and edited a music magazine. He had already composed brief pieces for piano and music for a chamber orchestra. At that time Bolaños is interested in the work of Stravinsky, Bartók and Schoenberg. But he's still far from the sound radicalism that he would reach in the future. In 1957 he traveled to New York City to study composition at the Manhattan School of Music and electronics at RCA. He met the Argentine composer Alberto Ginastera, who offered him a scholarship to study at the Latin-American Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival in 1963, Bolaños became involved in the design and development of the electronic music laboratory of the CLAEM. There he composed his first electronic piece and the first work generated in the above laboratory: 'Intensity and Height' (1964), inspired by a poem of César Vallejo. Bolaños also composed 'Interpolations' (1966) for electric guitar and magnetic tape, 'Spaces I' (1966), 'II' (1967), 'III' (1968) for magnetic tape, the experimental audio-visual cantata 'Alpha-Omega' (1967), instrumental and mixed pieces like 'Flexum' (1969), 'I-10-AIFG/Rbt-1' (1968), and, with a commission from Radio Bremen (Germany), 'Nacahuasu' (1970), inspired by the Che Guevara diaries. Bolaños also experimented with computers, and composed two pieces with the mathematician Mauricio Milchberg. 'Sialoecibi' (1970): ESEPCO I (computer sound-expressive structure)* for piano and a recitator-mime-actor (a work that satirizes the organization language initials from the 1950's) and 'Song without words', ESEPCO II (1970) 'Homage to the unpronounced words' for piano (2 performers) and tape. For the composition of these pieces Bolaños and Milchberg introduce into the computer parameters to have the machine generate a composition from the information obtained by the composer's production. These recordings bring together for the first time a definitive edition of his work on CD."

Artist:	KIVA
Title:	Kiva
Label:	POGUS
Format:	2CD
Price:	$21.00
Catalog #:	POGUS 21054

"The important contribution of the KIVA project to the artistic field can be defined as an emancipation of the classical performer from the role of interpreter of written music to one that's involved being fully an actor of artistic creation through the direct production of sounds on instruments and related objects. This has been often characterized in the musical world as 'improvisation.' But the group would not adhere to the overtones associated with this word, implying spontaneous behavior or social interactions without specified aesthetical content. For KIVA, the refusal to use any notation on paper was the occasion to access the complex and chaotic nature of sound objects. Through an everyday work in progress, the group was able to elaborate an original language constituted directly from working on sound matter. KIVA described itself as an experimental group dedicated to notationless music, mixed media, extended instrumental techniques. The group KIVA has always refused to publish its work through recordings. Every working session of KIVA was recorded on audio format, but this only constituted a tool for the reflection of its members. The real artistic object was always considered to be the contextual circumstances of a given performance, the reenactment, always different, of the working out of already elaborated sound materials. In this sense no particular instant can be regarded as constituting a work object of the KIVA experience. But the context today has changed, since two of the main important members have died (Keith Humble and John Silber), the other protagonists are getting old, and so are the few who have been fortunate to listen to KIVA's performances. The publication of a CD of selected performances of KIVA today makes sense, in that it documents an important historical moment and provides the artistic community with sonic references of this ephemeral type of work."

Artist:	MONTGOMERY, GEN KEN
Title:	Birds + Machines (1980-89)
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21055

"Gen Ken Montgomery's sound worlds are full of activity. Not in the sense of sinuous melodies and chord progressions that try to set flea-hopping records. The sounds conjure up images and atmospheres of workshops where people busy themselves with assembling and repairing a variety of contraptions. Places where humans and tools intermingle, where technology (both hi and lo) appears as a trusted and respected companion. It is as much accepted as an integral part of the human sphere as a dog or a cat might be - and it sounds equally homely. That is not to say that all sounds you'll hear in his music are commonplace, mundane. Many of them are immediately recognizable. Many of them can be traced to their source, even through dense veils of modification. Some derive clearly from instruments, some from birds. But many are absolutely singular, there's no telling what produced them. And to tell you the truth (my truth): it doesn't really matter. Regardless what sounds or sources form the components of this music (everyday or extraordinary objects; musical instruments or electronic tools; his own voice or environmental recordings), what is important is the mind that processes them and welds them together into the independent entities that we call songs. It is evidently an open mind that enjoys toying with sounds. His music sounds as if he works with what he finds. Obviously he has prepared materials to be used. But the way he puts everything together makes the impression of someone following his judgment of the situation on the spot. These are not guided tours, mapped out beforehand. These songs are explorations. Trips into an unknown. They aren't, however, excursions done in seclusion. Everywhere he goes Ken Montgomery creates a buzz. He creates a sphere of sound around him that feels humane, sociable. A warm cloud of sonic strangeness. But a loud cloud, too, mind you."

Artist:	VOUDOURIS, DIMITRI
Title:	ΑΛΘ=Φ / UVIVI / 1:ΘΨ4 / ΟΝΤΑ
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21056

"Pogus is very pleased to release its second recording by composer Dimitri Voudouris, a South African composer of Greek birth. As Massimo Ricci wrote in his Touching Extremes review of the first Pogus release:
'Voudouris is interested in the 'research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes'. Don't let the composer's difficult description fool you into thinking about some kind of cerebral pretentiousness, though, as this album contains instead four magnificent examples of his approach, music that's always challenging and, in many of its expressions, of extraordinary beauty.'
This description applies just as well as to this new recording. ΑΛΘ=Φ (for text to speech synthesis with computer assisted processing for 24 speaker interactive robotic ensemble) is a comparative study of pathways in communication between Man and Machine and is composed using fragments of processed speech synthesis; UVIVI is a computer music piece that is Voudouris's fourth work that was composed for contemporary dance theatre. UVIVI originates from Zulu -- meaning 'daybreak'. This computer music composition focuses on linearity and infinite memory in the kinetic flow of vehicular traffic. Four languages were chosen to represent the composition of 1:ΘΨ4 (singing synthesis for four artificial female voices) namely Greek, Spanish, Portuguese and Italian. ONTA (for voice and electronics) is a project that discusses the daily tensions encountered and focuses on the energy building up, exploding, or imploding from these tensions in the city, be it organically or inorganically created; this promotes musical creativity integrated into everyday life, of familiar places and natural behaviours."

Artist:	LUCIER, ALVIN
Title:	Almost New York
Label:	POGUS
Format:	2CD
Price:	$19.00
Catalog #:	POGUS 21057

"Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier. Lucier writes about the genesis of the works on this release: 'Since the early 1980s I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echolocation, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment -- hand held pulse wave oscillators ("Vespers"), differential amplifiers ("Music for Solo Performer"), horseshoe magnets ("Music on a Long Thin Wire"). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means. One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In "Twonings" two different tuning systems collide and in "Coda Variations" slight variations in pitch are heard chronologically.'
Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward - some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music."

Artist:	CORNER, PHILIP
Title:	Pieces From The Past
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21058

Subtitled: By Philip Corner for The Violin Of Malcolm Goldstein. It has been a while in the works, but finally Pogus can proudly announce the release of this wonderful disc. Five works spanning 30 plus years by experimental composer Philip Corner, interpreted by his friend and fellow composer and utterly amazing violinist Malcolm Goldstein. These works consist of early pieces with notes though not notated in the traditional, linear way, as well as later pieces with graphic and/or verbal notation as with the gamelan series. And the graphically notated scores themselves are quite lovely. As noted above, four of the works are from live performances and they are must hears (as of course is the fifth recording 'The Gold Stone' taken from the out of print Sounding the New Violin by Goldstein. The interpretation/performances are intense and magical and should be savored. The long friendship and working relationship of these two are probably best summed up by Goldstein: 'I have had the pleasure & honor of playing Philip's music since the early 1960s. Always his music opened up new dimensions for me; compositional structures that incorporated a variety of improvisation frameworks, with sonic materials that focused the performer within the full spectrum of sound-texture qualities, that invited the musician to participate in the realization of the music and revealed unique realms of music making/thinking.' Amen to that."

Artist:	VA
Title:	Quartet for the End of Space
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21059

"This recording consists of eight electro-acoustic compositions and two pieces by each of the four composers. Pauline Oliveros: 'Mercury Retrograde, 'Cyber Talk.' Francisco Lopez: 'untitled #270,' 'untitled #273.' Doug Van Nort: 'Outer; Inner.' Jonas Braasch: 'Web Doppelganger,' 'Snow Drifts.' The works span a vast sonic terrain, challenging listener and performer alike through a seamless blend of deep listening and absolute noise, moving between ever-fluid improvisation and carefully controlled sound manipulation. The quartet convened for two improvisational sessions between February and May of 2010, with Lopez sitting in on a Triple Point (Oliveros/Van Nort/Braasch) recording session and bringing his finely crafted sonic objects-as-instruments, further spanning the electro-acoustic divide that has become Triple Point's calling. The four later re-formed for their debut concert at the Deep Listening Institute in Kingston, NY in September of 2010. These sessions have since become raw material for the individual artists to construct new visions of this shared sonic body through extensive and thorough evolution of the recordings--personal reflections culled from a collective tapestry."

Artist:	WOOLEY, NATE
Title:	The Almond
Label:	POGUS
Format:	CD
Price:	$13.00
Catalog #:	POGUS 21061

"The Almond started as a short study for trumpet for the British website Compost and Height. Wooley, a rising young composer known mostly for his radical recontextualization of the trumpet in improvisation and jazz music, was, at the time, feeling constricted by the sound based language he had been using up to that point in both his live solo playing and his earlier solo records. His goal was to make a true solo trumpet record, using only the trumpet as it was intended to be played with no extended techniques. This challenge spawned a 20-minute piece that, at the surface level, was a quick, arcing narrative made up glacially shifting textures of pure pitched sound. The process behind the piece was much more complex, however, as each pitch heard in the piece was made up of anywhere from three to ten different recordings of the trumpet recorded in different mutes, tunings, with different microphones, and in different rooms. The result was each note of the piece, now expanded to 70 minutes in its final version, takes on a synthesized aspect, sometimes sounding like a voice, others like an organ, but always maintaining some timbral tie to the trumpet. With the exception of one very low pedal tone, all the pitches are played on a regular embouchure, again a far cry from Wooley's usual work."

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Artist:	HAMILTON/MIKE SILVERTON/AL MARGOLIS, TOM
Title:	Analogue Smoque
Label:	POGUS
Format:	2CD
Price:	$19.00
Catalog #:	POGUS 21029