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Search Result for Genre EXPERIMENTAL
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LP
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CREP 080LP
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$21.00
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RELEASE DATE: 11/27/2020
Gritty, Odd & Good is a new weird, pseudo-music compilation curated by avant-garde experimental composer and audio artist Francisco López. As far as creation itself is concerned, big cities do not manifest anymore as the catalytic cultural centers they used to be. Their iconic status as hip locations seem more symbolic than real. The combined mighty forces of neocapitalist gentrification and telecommunication/information decentralization might have generated a substantially different landscape of geographical cultural distribution. And so unlikely places are also sources of physically-isolated, but culturally-interconnected, new creation. This is just but one more example of the larger phenomenon of techno-cultural atomization (not to be confused with the more restricted so-called "democratization") that allows millions of people to create and share, pre- and post-internet. The amateur is the new potential master; and that is decided by the crowd in the circus and the stadium, not at the academy. With all of this comes the potential for new aesthetics, or at least the open-ended evolution of the previous ones -- far better than the current confusion between ethics and aesthetics -- from the uninformed and the unknown. Atomization of this kind also brings for some the desire and the right to anonymity. And so it is for the unknown obscure artists of this compilation of weird experimental music -- "gritty, odd & good", with drones, glitches, cut-ups and more -- who won't reveal anything beyond their unlikely locations: San Marino, French Guiana, Philippines, Lesotho, Oman, Faroe Islands, Tuvalu, Liechtenstein, Kyrgyzstan. An innovative compilation presenting a world of unusual experimental de-constructed and recombined music casting a strong and exciting light into the unusual corners of our world. Dive in. Compiled and mastered by Francisco López. Vinyl mastered by Rashad Becker. Features Giuseppe Moretti, Daryana Jean, James Ocampo, Thabiso Makhetha, Rashid Al Balushi, Lív Jacobsen, Eteroa Apinelu, Zzodiakk, and Alima Akmatova.
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CD
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KR 080CD
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$15.00
PREORDER
RELEASE DATE: 11/20/2020
First-ever official reissue of the Ecuadorian composer Mesías Maiguashca's stunning electroacoustic composition Oeldorf 8 on vinyl and CD. Mesías Maiguashca (b. December 24th, 1938 in Quito/Ecuador) is a composer of neue musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958-65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966-67 where he studied with Karlheinz Stockhausen. From 1968 to 1972, Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined Stockhausen's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the Oeldorf Group of composers and performers. The Oeldorf Group, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians' collective active during the 1970s. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the Oeldorf Group (Peter Eötvös, Joachim Krist, Mesías Maiguashca, and Gaby Schumacher) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3. One of these commissioned compositions was Oeldorf 8: a retrospective portrait of the Oeldorf Group consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later. Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48-minute composition is a thing of wonder; from the outset, Maiguashca's spoken introduction of the players and concept gets slowly eroded by errant, pointillist electronic sound -- which then lets loose for ten minutes before a swarm of slowly rising held tones comes to the fore. On the second side, the acoustic sounds are annihilated by a rising pulse-wave drone, an almost Roland Kayn-esque climax of raw oscillator gristle. Remastered by Kassian Troyer at Dubplates & Mastering, Berlin. LP version comes on 180 gram vinyl; gatefold sleeve; includes download code.
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2LP
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ABST 011LP
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$37.50
PREORDER
RELEASE DATE: 11/20/2020
Repress forthcoming, expected Nov/2020. Abstrakce Recods present a reissue of Nurse With Wound's Rock 'n Roll Station, originally released in 1994. First time on vinyl since 2006 and first time with its original track listing. Limited one-off pressing with letter press cover and bonus track. Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of "Colder Still" from 1992's Thunder Perfect Mind (SPHERES 020LP). As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England's Hidden Reverse (2003): "What I sometimes did in the studio was to 'over-use' effects and processors to totally mutate a piece into something completely different" while Stapleton observed how it was almost as though telepathic messages were sent over to Colin. [We'd] started an album [together at IC Studio] that was never finished. He [then] sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together." Potter would quickly become a key player in Nurse With Wound's productions, a position he continues to fulfil to this day. He was first credited as a member on 1992's Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock 'n Roll Station from the following year to still be his favorite. Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds. Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. The album's title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the '60s British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock 'n Roll Station's closing track, "Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)", sets in sound.
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LP
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KR 080LP
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$20.00
PREORDER
RELEASE DATE: 11/20/2020
LP version. 180 gram vinyl; gatefold sleeve; includes download code. First-ever official reissue of the Ecuadorian composer Mesías Maiguashca's stunning electroacoustic composition Oeldorf 8 on vinyl and CD. Mesías Maiguashca (b. December 24th, 1938 in Quito/Ecuador) is a composer of neue musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958-65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966-67 where he studied with Karlheinz Stockhausen. From 1968 to 1972, Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined Stockhausen's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the Oeldorf Group of composers and performers. The Oeldorf Group, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians' collective active during the 1970s. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the Oeldorf Group (Peter Eötvös, Joachim Krist, Mesías Maiguashca, and Gaby Schumacher) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3. One of these commissioned compositions was Oeldorf 8: a retrospective portrait of the Oeldorf Group consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later. Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48-minute composition is a thing of wonder; from the outset, Maiguashca's spoken introduction of the players and concept gets slowly eroded by errant, pointillist electronic sound -- which then lets loose for ten minutes before a swarm of slowly rising held tones comes to the fore. On the second side, the acoustic sounds are annihilated by a rising pulse-wave drone, an almost Roland Kayn-esque climax of raw oscillator gristle. Remastered by Kassian Troyer at Dubplates & Mastering, Berlin.
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LP
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TROST 199LP
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$22.00
PREORDER
RELEASE DATE: 11/6/2020
LP version. Viennese improvisation guitar/drums duo ALSO return with a superb live recording. Katharina Ernst and Martin Siewert have been working together for more than five years now and continue to enjoy their compelling dynamics. This set is full of fire and thunder but also drawn by some striking and fragile moments through a variety of effects and some delicate lap steel play -- true two masters in working on the axis of refracting and reflecting, and throwing it back again. Personnel: Katharina Ernst - drums, toys; Martin Siewert - guitars, electronics. Recorded live by Ronald Pfisterer at the New Adits festival in Celovec, 2018. Produced by Katharina Ernst/Martin Siewert. Mixed and mastered by Martin Siewert. Cover artwork by Michael Breyer.
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CD
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TROST 203CD
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$17.00
PREORDER
RELEASE DATE: 11/6/2020
Founded 1995 in London by Austrian trumpeter and band leader Franz Hautzinger as an ensemble for experimental music, the project developed over the years into a mixed style fusion band. Various musicians like Fennesz, Tony Buck, Otomo Yoshihide, Burkhard Stangl, Oren Ambarchi, Martin Siewert, and others were part of this long-time and often changing project. Strongly influenced by the electronic music genres of the 1990s, the band developed its specific "Regenorchester Sound" -- vigorously pulsating, continuously evolving sound structures with electric guitar power and strong brass melodies based on pushing rhythms. Relics was recorded live at the Klangspuren Schwaz Festival in 2019. Personnel: Franz Hautzinger - quarter tone trumpet; Christian Fennesz - guitar, laptop; Otomo Yoshihide - guitar, turntables, el. devices; Luc Ex - bass; Tony Buck - drums, percussion. Mixed by Martin Siewert/Franz Hautzinger. Mastered by Martin Siewert. Artwork by Lasse Marhaug. Liner notes by Reinhard Kager, translated by Mark Fisher.
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2LP
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SOMA 039LP
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$31.00
PREORDER
RELEASE DATE: 11/6/2020
"To be heard with ears half bent, or with one side facing what Maryanne Amacher calls 'the third ear'. The great reverence in which the Tanpura is held by Indian classical music, its transcendental but occulted place in the tradition alongside its normal function as a drone, made a strong impression on the composer such that it has taken decades to formulate even a simple Tanpura Study. The fundamentals, the Om, as well as the overtones, the music of the spheres -- all these have their valid rights, but in Tanpura Study they are embedded in a series of gestures, what I call signatures, on the melodic level. In 'Tanpura & Harpsichord', there is an encounter of overtones with chords braided into pun-notes, what Gerard Grisey calls 'degrees of transposition'. Taken together, this amounts to a non-spectralism in which, contrary to first impressions, there are no fundamental frequencies, even in the bass. Ajaeng Ajaeng: with respect to European string instruments, the technique col legno affords the direct encounter of wood and string, opening the way to a more tactile conception of the sustained sound, while bringing the materiality of the bow and its practices into question. In violin, viola, cello bows, Pernambuco wood offers an ideal example of extraction, colonialism, deforestation. With the Ajaeng, a Korean musical instrument, the situation is more complex. The dialectic of court to folk music, always political, always incendiary, may be heard here in the encounter of forsythia and silk, of Dae Ajaeng to So Ajaeng, and on a broader level of Dang Ak (Tang Dynasty music) to Hyang Ak (native Korean music) and their representations. Alternating music and sound, overtone arrays mingled with noise, marked by the bow change, in flamelike patterns which flicker, emerge, and fade again. A slow-down structure, also formalized in Time Medicine, seems to produce a long decrescendo, with the technique of the players drawing out the flicker patterns in a kind of game. The point here is not to produce a drone but to delve into the question of life in sound. This apparent emergence of life is due to the apparatus, what Marx calls a 'social hieroglyphic', which brings forsythia and silk together in technique, cultivated by practices which are themselves sustained by the real relations of student to teacher to student..." --Eyvind Kang, April 2020
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CD
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TROST 199CD
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$17.00
PREORDER
RELEASE DATE: 11/6/2020
Viennese improvisation guitar/drums duo ALSO return with a superb live recording. Katharina Ernst and Martin Siewert have been working together for more than five years now and continue to enjoy their compelling dynamics. This set is full of fire and thunder but also drawn by some striking and fragile moments through a variety of effects and some delicate lap steel play -- true two masters in working on the axis of refracting and reflecting, and throwing it back again. Personnel: Katharina Ernst - drums, toys; Martin Siewert - guitars, electronics. Recorded live by Ronald Pfisterer at the New Adits festival in Celovec, 2018. Produced by Katharina Ernst/Martin Siewert. Mixed and mastered by Martin Siewert. Cover artwork by Michael Breyer.
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LP
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TROST 203LP
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$22.00
PREORDER
RELEASE DATE: 11/6/2020
LP version. Founded 1995 in London by Austrian trumpeter and band leader Franz Hautzinger as an ensemble for experimental music, the project developed over the years into a mixed style fusion band. Various musicians like Fennesz, Tony Buck, Otomo Yoshihide, Burkhard Stangl, Oren Ambarchi, Martin Siewert, and others were part of this long-time and often changing project. Strongly influenced by the electronic music genres of the 1990s, the band developed its specific "Regenorchester Sound" -- vigorously pulsating, continuously evolving sound structures with electric guitar power and strong brass melodies based on pushing rhythms. Relics was recorded live at the Klangspuren Schwaz Festival in 2019. Personnel: Franz Hautzinger - quarter tone trumpet; Christian Fennesz - guitar, laptop; Otomo Yoshihide - guitar, turntables, el. devices; Luc Ex - bass; Tony Buck - drums, percussion. Mixed by Martin Siewert/Franz Hautzinger. Mastered by Martin Siewert. Artwork by Lasse Marhaug. Liner notes by Reinhard Kager, translated by Mark Fisher.
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CD
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EG 001CD
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$18.00
PREORDER
RELEASE DATE: 10/30/2020
An unearthed treasure from the '70s Italian avant garde archives! A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a one-off Italian-American all-star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi. Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document! Additional booklet contains extensive liner notes and photos.
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LP
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EG 001LP
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$22.00
PREORDER
RELEASE DATE: 10/30/2020
LP version. An unearthed treasure from the '70s Italian avant garde archives! A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a one-off Italian-American all-star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi. Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document! Additional booklet contains extensive liner notes and photos.
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LP
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EMEGO 290LP
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$23.00
PREORDER
RELEASE DATE: 10/30/2020
After two years since her debut full-length release, Grand River presents her second album Blink A Few Times To Clear Your Eyes on Editions Mego. The eight track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her double-LP Pineapple, released on Spazio Disponibile in 2018. Blink A Few Times To Clear Your Eyes expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives. The album opens with the track "Side Lengths", a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée's own modified voice in the closing track, "All There Now". Recorded primarily at her home base in Berlin, Grand River's music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language. Mastered by Giuseppe Tillieci at Enisslab Studio, Rome. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Original artwork by Nathan Melaragno. Typography by Marco Ciceri.
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2LP
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SHELTER 124LP
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$29.00
PREORDER
RELEASE DATE: 10/30/2020
Since 2017, Deathstar has been a project about the microphone -- in Marina Rosenfeld's hands, a void, a mirror, an unruly instrument of transformation and mediation. This music is heard in traces, through thickly amplified silences punctuated by momentary eruptions of noise or a voice at the threshold of intelligibility. The sculpture at the center of the action -- a plexiglas orb housing a seven-microphone array originally installed as part of an exhibition the artist mounted at Portikus, in Frankfurt Germany -- performs a recursive operation, listening to and recirculating sounds continuously morphed by feedback and reflection. This machine music repeats itself in seemingly endless versions, abstractly and in an evolving relationship to the grammars of reproduction and performance, presence, absence, and accumulation. Later, recorded traces of this installation rendered as musical notation produce a series of events -- concerts that explore the outcomes of the acts of amplifying, writing, and listening. The four sides of the album Deathstar follow four such events: first, the installation of the Deathstar in exhibition space; then, a piano performance, also within the Deathstar's machinic environment, of a recording of the installation that Rosenfeld notated on paper; then, her re-notation of these recorded traces in the form of a concerto for piano and chamber orchestra, all aggressively amplified through a wall of guitar amps; and finally, the orchestration's reduction to something like chamber music, with acoustic instruments tasked with the representation of an ever more attenuated body of traces. Throughout, the extraordinary virtuoso pianist Marino Formenti and ensembles MusikFabrik (Cologne) and Yarn/Wire (New York) extract a dazzling variety of sounds from their readings of the work's written and acoustic forms. Deathstar is a complex and monumental work from a composer who has long explored the limits of form as an artist and as a listener.
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LP
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SR 497LP
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$15.50
PREORDER
RELEASE DATE: 10/23/2020
LP version. Brussels-based string quintet BOW celebrates musical freedom. Juggling between their own written music and pure improvisation, the ensemble has worked since its creation on a personal and modern approach, digging into their instruments' capabilities and blending a large scope of influences. Its debut eponym album, due to be released on Sub Rosa, gathers five instantly-composed pieces that were recorded live by Christine Verschorren in the Echo Collective studio in Brussels. During the day, BOW repeated musical concepts, textures, and interactive games. Then, during the night, with the machine already well-oiled and the musicians free of all expectations, the ensemble embarked out into the unknown, discovering with wonder unexplored sonic territories, delivering a deep and profound music woven with five strands of yarn. Over the years, BOW has collaborated with artists such as jazz singer Melanie De Biaso, composer Laurent Plumhans, VJ Dirty Monitor, Théâtre de l'Ancre, and most recently with the gypsy guitarist Myrddin De Cauter as well as Aidan Baker. A first EP was released in 2019 on Icarus Records, a live radio session duplicated on limited cassette edition. BOW is an ensemble made up of the musicians Margaret Hermant (Echo Collective) and Benoit Leseure on violin, Jean-François Durdu on viola, Marine Horbaczewski on cello, and Cyrille de Haes (Otto Lindholm) on double bass.
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LP
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RM 4119LP
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$23.00
PREORDER
RELEASE DATE: 10/23/2020
From Akio Suzuki: "In May 1984 I appeared at a German festival called Pro Musica Nova, organized by Radio Bremen. I then travelled to Berlin by car with Rolf Langebertels, the owner of Galerie Giannozzo who had driven to Bremen to hear me perform. I still remember very vividly the experience of passing through the checkpoint to enter West Berlin, a city that floated like an island in the middle of the still socialist GDR. I had previously visited Berlin in 1982 to perform at Kunstlerhaus Bethanien at an event that Rolf had organized. This time too Rolf had organized a concert for me at the Technische Universitat. Playing off the title of the piece ('Study Time') I had performed at Pro Musica Nova, I titled the piece for this concert 'Zeitstudie'. I owe Rolf a great deal of gratitude, as it was him who encouraged me by releasing my very first cassette tape, Zeitstudie von Akio Suzuki. In recent years it has become difficult for me to carry heavy instruments around with me, and I have started to do simpler performances with objects assembled on site . . . On Zeitstudie von A.S. I used an ANALAPOS, the echo instrument I invented in 1970, and the Suzuki-type glass harmonica that I created in 1975. The ANALAPOS resembles the tin-can telephone that children used to play with: two metal cans, open at one end and connected by a coil spring. You play it by stretching out the spring horizontally and then projecting your voice into the open end of one of the cylinders. The second piece features a variation, where I would suspend several ANALAPOS vertically and play them like a percussion instrument. The Suzuki-type glass harmonica is in a simpler form than the pre-existing glass harmonica, and consists of five long glass tubes of varying diameters suspended horizontally in a metal frame. As well as rubbing the tubes with wet hands, I developed my own style of playing it using sticks. Once when I was practicing with it in the Netherlands, outside the window I was surprised to hear a bird imitating my sounds. However, later I discovered that the bird always sang that way, and as a token of my regret for having ever doubted it, I borrowed the bird's Dutch name, De Koolmees, and I still use it for my instrument..."
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SR 497CD
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$15.50
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RELEASE DATE: 10/23/2020
Brussels-based string quintet BOW celebrates musical freedom. Juggling between their own written music and pure improvisation, the ensemble has worked since its creation on a personal and modern approach, digging into their instruments' capabilities and blending a large scope of influences. Its debut eponym album, due to be released on Sub Rosa, gathers five instantly-composed pieces that were recorded live by Christine Verschorren in the Echo Collective studio in Brussels. During the day, BOW repeated musical concepts, textures, and interactive games. Then, during the night, with the machine already well-oiled and the musicians free of all expectations, the ensemble embarked out into the unknown, discovering with wonder unexplored sonic territories, delivering a deep and profound music woven with five strands of yarn. Over the years, BOW has collaborated with artists such as jazz singer Melanie De Biaso, composer Laurent Plumhans, VJ Dirty Monitor, Théâtre de l'Ancre, and most recently with the gypsy guitarist Myrddin De Cauter as well as Aidan Baker. A first EP was released in 2019 on Icarus Records, a live radio session duplicated on limited cassette edition. BOW is an ensemble made up of the musicians Margaret Hermant (Echo Collective) and Benoit Leseure on violin, Jean-François Durdu on viola, Marine Horbaczewski on cello, and Cyrille de Haes (Otto Lindholm) on double bass.
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ZKR 027CD
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$15.50
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RELEASE DATE: 10/23/2020
KRAFFT for orchestra was composed in 2016 as a commission of the French State, and was premiered in Paris and Marseille, France. The composition has a similar kind of metric structure as String Quartet No.3: all instruments play in rhythmic unison throughout. KRAFFT is an ironic-onomatopoetic wrong spelling of the German term "Kraft", meaning "power" or "force". The listener should feel exposed to a sonic undertow. The notion of huge power and force is often connected to the existence of clandestine and unknown rules controlling the world around us; something is happening, but we do not know exactly what, when or how. KRAFFT enforces textural listening as Richard Wood described it "an unwinding strip of 'texture': just listen to that; not to its various strands as such, not to one single strand, but to it as a whole, an unwinding ribbon, varying as it goes in width, in colour, in depth, in thickness, in weight, in character, but always a unity." KRAFFT is composed with the help of the computer program TTM (Textural Transformation Machine), developed by the Friedl to sculpture multiple random processes. It has been programmed by Sukandar Kartadinata.
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JPR 042LP
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$26.00
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RELEASE DATE: 10/23/2020
"Ken Kesey's ultra rare 1966 studio recording of the Acid Test with The Grateful Dead. Legendary documentation of the 1965-66 Bay Area Acid Test scene from 14 hours of the actual trip (recorded in a studio). Lots of amazing mind games and word play with Ken Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Originally released in March 1966." Originally released in 1966. Color vinyl.
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SOUNDSIST 001LP
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$34.00
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RELEASE DATE: 10/16/2020
"Don't go out there, you might get shot" was the warning from Donna Maya relatives when she visited Detroit in 2018. That makes her even more curious to explore the city. Disturbed by, as well as fascinated from the dystopian state of Detroit she recorded many places that made (industrial) history, including the Ford factory, the world's tallest, now abandoned central station and the once magnificent Michigan Theater, that was brutally converted into a parking garage. Donna Maya transformed the sound recordings into artificial sound sculptures combined with electronic beats. Every track is dedicated to one of those places and makes it musically alive. With her theremin Donna Maya guides the listener deeply inside. The result of Donna Maya's six-week stay in Detroit is her album Lost Spaces -> Detroit. Lost Spaces -> Detroit is about how to handle crises, how individuals get along with it and the relationship of society to its culture. Donna Maya understands Detroit as a perfect example for what capitalism does when people give up cultural values. With Lost Spaces -> Detroit Donna Maya draws a musical picture of how she experienced Detroit that shows that not only a city got lost, but a living space for everyone: Pure urban experimental electronics with theremin. 180 gram vinyl.
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LP
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BF 011LP
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$27.50
PREORDER
RELEASE DATE: 10/16/2020
Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works (2018) and Selections from 100 Models of Hegikan Roku, named the #1 archival release of 2019 by The Wire (BF 007LP, 2019), in addition to a two-volume collection of Hennix's writing titled Poësy Matters and Other Matters. Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, electronics) and Hans Isgren (bowed gong), Hennix's realization of Karlheinz Stockhausen's "Unbegrenzt" (German for "unlimited") from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen's conception of "intuitive music," a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young's event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer's Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen's 1969 recording, Hennix's alternative realization of the "Unbegrenzt" score's instructions to "play a sound with the certainty that you have an infinite amount of time and space" is based on her concept of "Infinitary Compositions", the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young, and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen's compositional method of "moment-forming" to heart, her version's dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen's score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind. Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.
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BT 069LP
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$27.50
PREORDER
RELEASE DATE: 10/16/2020
Black Truffle present Meith, a new composition in two parts from prolific composer/theorist François Bonnet. Usually operating under his Kassel Jaeger moniker, Bonnet is a major figure in contemporary electronics and electro-acoustic music, collaborating with artists such as Lucy Railton, Jim O'Rourke, and Stephen O'Malley, and releasing his work on labels including Editions Mego, Senufo, and Shelter Press. Always meticulously detailed yet immediately affecting, Bonnet's work situates itself at a very personal intersection between the traditions of academic electronic and electroacoustic music, and a more shadowy, underground group of approaches to experimental sound: kosmische musik, the tape murk of the 1980s underground, the haunted ambience of Christoph Heemann & Co. Meith immediately welcomes you into its densely layered sound world of electronic tones, positive organ, and unidentifiable field-recorded textures. Almost static yet constantly in flux, it deliberately opens itself up to repeated and varied listening: from a distance, its many voices cohere into a monolithic plane of sound, while closer inspection reveals myriad details and momentary events. Like a drop of ink spreading through water, harmonic material present in one voice gradually fans out into the whole arrangement, creating fleeting moments of unity amid the constantly shifting waves of tone and texture. Far from the austerity of some contemporary electro-acoustic music, Meith affects the listener as overwhelming organic; its individual layers are unstable and at times near-chaotic, imbued with life. Though it can appear almost formless, the piece undergoes major shifts throughout its duration, from the austere dissonance of the opening moments to the surging harmonies that appear midway through the second side before the piece gradually dissolves into a spectral glimmer.
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R 079LP
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$24.00
PREORDER
RELEASE DATE: 10/16/2020
New Philip Corner LP on Recital. Voice recordings from a small performance in Italy, early in 2020 -- Homages to/from George Maciunas (1931-1978). Corner's piano meditative playthroughs of Couperin's The Mysterious Barricades (1717), from 1989 and 1992. These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic. Manic exaltation, distorted harmony things. Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window. Booklet features passionate writings on the Couperin piece and its meaning by Corner. Philip wrote a new reflection for this LP edition, "The Mesure of the Mystery". This album is built from the finest ingredients: beautiful piano with stomach-clenching voice stretches. Edition of 250; 12-page pamphlet of scores and an essay by Corner.
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PI 238LP
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$20.00
PREORDER
RELEASE DATE: 10/16/2020
The different seeds that have been planted throughout the life of Croatian Amor come to bloom on All In The Same Breath, affirming an equilibrium that's all its own. Spiraling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's ten tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album Love Means Taking Action (ALT 028CD/PI 180LP, 2016), Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²TM have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album Isa (PI 220LP, 2019) with its treated vocalizations and cascading rhythmic mechanics. All In The Same Breath, arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem. Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. All In The Same Breath is perhaps more than anything an invitation to be open to wonder.
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DPROM 153LP
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$26.50
PREORDER
RELEASE DATE: 10/16/2020
Long awaited vinyl reissue of Nurse With Wound's classic third album, Merzbild Schwet, originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full color insert. Blue vinyl version.
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LP
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DPROM 152LP
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$26.50
PREORDER
RELEASE DATE: 10/16/2020
Long awaited vinyl reissue of Nurse With Wound's classic second album, To The Quiet Men From A Tiny Girl, originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and also has a replica of the Steven Stapleton designed insert. Yellow vinyl version.
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