add to cart
add to wantlist
email a friend
 
PRICE:
$28.00
PREORDER
Ships When IN STOCK.
ARTIST
TITLE
Early Works
FORMAT
LP

LABEL
CATALOG #
NMN 168LP NMN 168LP
GENRE
RELEASE DATE
12/12/2025

Alga Marghen presents two previously unpublished seminal works by Bill Fontana, "Suite For Toy Tape Recorder" from 1968, and "Wave Spiral" from the early '70s. These recordings come directly from the archives of Philip Corner who also curated this LP edition and contributed the liner notes. 1968: In the basement Music Room of the New School For Social Research, Philip Corner was teaching "Analysis of New Music," a class he inherited from Malcolm Goldstein and before him Richard Maxfield and of course all the way back to the famous founder John Cage, present in the spirit of living history. The "Suite For Toy Tape Recorder" was a series of little reels of 1 7/8" tapes, unique experiments by means of "working-with" and so "transcend" by "making use-of" those little cheap tape-recorders. A sensitive ear that listened to hum and hiss and all the other characteristic distortions; and recorded these materials via a kind of physical phonogène of musique-concrete perspective, his thumb's friction as the reel was running fast-forward in order to create tape loops in contrapuntual collision. Side B presents "Wave Spiral, for 5 Rin Gongs," a 21-minute blissful piece recorded in the early-'70s and first presented in Australia in 1977. This work shows how Bill Fontana's research evolved toward working with the distinct physical dimension of different frequencies. An exploration of how sound becomes simultaneously its own material and the force acting upon it. The piece unfolds as an investigation of how frequency itself becomes sculptural. Across its 21-minute duration, the rin gongs generate sustained waves that spiral outward and inward simultaneously, their overtones interacting with the listening space that Fontana would describe as a "definition of motion interacting with a particular acoustic environment." The spiral manifests itself here not through cycles within cycles of tape loop manipulations like on Side A, but through the acoustic behavior of metallic resonance in space. This sound is rendered as tangible phenomenon, frequency made visible through its physical impact on the listening environment. These recordings have remained unheard for decades, only existing in Philip Corner's archive. Their publication allows the world to trace the development of an artist discovering that to work with sound was to investigate its physical dimensions, to understand that frequency and space are inseparable, that sound sculpure begins not with installation but with the fundamental recognition that all sounds exist as waves interacting with architecture itself. Edition of 232.