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Search Result for Genre EXPERIMENTAL
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CD
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GG 326CD
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$19.00
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RELEASE DATE: 4/10/2020
"Jac Berrocal is a 1946-born musician, poet and film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock 'n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the '70s and '80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lol Coxhill and James Chance. Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings -- wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète. Ice exposure is the sequel and companion piece to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed -- in the sense of rawer, more volatile, more vulnerable -- than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways."
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REGRM 023LP
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$23.00
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RELEASE DATE: 4/3/2020
"Violostries" (1963/64): Premiered and recorded in April 1965 at the Royan Festival -- France, by Devy Erlih (violin) and Bernard Parmegiani (sound projection). "Violostries" represents the intersection of several musical research directions, presented as two simultaneous dialogues: composer/performer and instrument/orchestra. After a short introduction tutti very spatialized: "1. Pulsion/Miroirs": multiplied by itself, the violin is projected into the four corners of the sound space. "2. Jeu de cellules": concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds. "3. Végétal": slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.
"Capture éphémère" (1967, 1988 version): "This work was composed in four tracks in 1967 for quadraphonic diffusion. Remixed in stereo in 1988. Premiered at the Studio 105 of the Maison de la Radio, Paris, May 1967. Sounds -- noises that circulate as time unfolds -- continue to exist despite our recording them. Breaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear. Someday, a desert, a sound, then never again... Somewhere, in my head and body something still resonates... resonance, what could be more ephemeral."
"La Roue Ferris" (1971): Premiered at the Festival des chantiers navals, Menton, on August 26, 1971. Sound projection: Bernard Parmegiani. "La Roue Ferris" (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving the listener with an illusion of duration.
Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2019. Translations: Valérie Vivancos; Layout: Stephen O'Malley; Photos: Lasklo Ruszka © INA; Coordination GRM: François Bonnet, Jules Négrier; Executive Production: Peter Rehberg.
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CD
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CSR 273CD
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$15.50
PREORDER
RELEASE DATE: 3/27/2020
Minóy (1951-2010), a major figure in DIY noise music, produced some of the most remarkably engrossing, beautiful, and imaginative work-of-art albums released on cassette in the 1980s. Created in 1986, In Search Of Tarkovsky is dedicated to the late Russian director, Andrei Tarkovsky (Solaris (1973), Stalker (1979), Andrei Rublev (1966), etc.) A unique world of musical expression, with dense audio abstractions where the origin of any particular sound isn't quite discernible. A form of labyrinthian, droning collage electronics, otherworldly and dreamlike, at times nightmarish, at times sad, but always bold and deeply affecting. Composed after the director's death, it contains many trademarks of Minóy's style: manipulation of shortwave radio, use of spring reverb to get those strangely echoing, claustrophobic environments, and then the howling vocals, piling-up and distorting. Minóy plainly mourns the director's death but in such a unique way there is nothing to compare it to. Two long-form, elaborate pieces (just under one hour), essential to Minóy's aesthetic of "cinema of the ear". This is the first Minóy material ever to be reissued. Unavailable since the original cassette release, these tracks have been remastered from the original archive files and are presented for the first time on CD. Matte-laminate digipak.
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REGRM 024LP
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$23.00
PREORDER
RELEASE DATE: 3/27/2020
"Fractals" (1981): Composed at the GMVL from December 1979 to September 1981, this work was commissioned by Fnac. Fractals are mathematical oddities that, when crossing our path, turn the smallest island into an immensity to be explored. "Fractals" is a series of short studies, all based on the same sound source. Seeking in the sound and its very logic a proposal upon which a construction is elaborated, each Fractal remains open and is a mere fragment of itself. "Fractals", music pieces sculpted in four dimensions, are vast microcosms that can only be inhabited by the mind. Each "Fractal" can be approached from several angles, far, near, etc. Some can be listened to at different speeds, forwards or backwards. "Fractals": amorphous and endless music pieces whose center is everywhere and circumference nowhere.
"Brain Fever" (2017): Wherever you may be in the forest of South India, the Brain Fever bird, together with the Seven Sisters, literally gets into your head. Whether it be early morning, daytime, or nighttime, amidst the stridulations of insects, its song utterly reflects Indian life: sonorous, noisy, insistent, dense, overcrowded, mobile, swarming, frantic, overheated, deprived of rest and sleep. "Brain Fever" echoes sonic images caught in the Aurovillian forest, near Pondicherry, and rich fragments of improvisations made in Lyon on analog sound synthesis or feedback devices, the kind Fort used to do in the first GMVL studios. "Brain Fever" is dedicated to Sofia Jannok, a musician and sàmi singer.
Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2019. Translations: Valérie Vivancos. Layout: Stephen O'Malley. Photos: Daniel Lepoutre, Francesco Giorni, Christian Ganet. Mécanisme d'un paysage urbain, by Paul Klee. Coordination GRM: François Bonnet, Jules Négrier. Executive Production: Peter Rehberg.
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CD
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CORE 011CD
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$14.50
PREORDER
RELEASE DATE: 3/27/2020
"Transversal Time was composed by Rhodri Davies in 2017. For its starting point it assigns different time systems -- Standard Time, Decimal Time, and Hex Time -- to individual musicians. As a composition it encompasses many of those sensations and perceptions of time that are embodied by music. Improvising musicians develop acute sensitivities to body clock, breath, pulses and the silent transformations of time-between-time. So, a musician's heightened, fluid time becomes enfolded in this narrative situated within the house of clocks, all of them 'telling' different times. Also buried under the surface of the piece is François Jullien's book, In Praise of Blandness (1991), an exploration of the ancient Chinese value system based on simplicity, extreme subtlety, and the paradox of sounds that deepen in the mind of the listener if they are not fully sounded, better still left silent so that they retain something secret and virtual within. 'In short,' writes Jullien, 'they remain heavy with promise.'" --David Toop
Personnel: Rhodri Davies - pedal harp, electric harp; Ryoko Akama - electronics; Sarah Hughes - zither; Sofia Jernberg - vocals; Pia Palme - contrabass recorder; Adam Parkinson - programming; Lucy Railton - cello; Pat Thomas - piano, electronics; Dafne Vicente-Sandoval - bassoon. Co-commissioned by Huddersfield Contemporary Music Festival, Chapter, and Counterflows and supported by PRS Foundation's Beyond Borders. Live performance recorded on the April 13th, 2018 at Chapter, Cardiff by Simon Reynell. Mastered by Simon Reynell.
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2LP
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IMPREC 457LP
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$32.00
PREORDER
RELEASE DATE: 3/27/2020
Tod Dockstader's Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist's work. 15 years in the making, the Aerial series is sourced from his life-long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere. Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music. Artwork by John Brien. Audiophile quality double-LP; edition of 500.
Dockstader on the Aerial project (September 14, 2003): "I've written before of my interest in shortwave radio, in the notes to the Quatermass CD (SR 233CD). Also, in the notes to the Omniphony CD (which has my first 'Aerial' mix, 'Past Prelude,' in it), I mentioned 'The Aerial Etudes,' which was my working title for what became the three CDs you have. And, at the end of an interview with Chris Cutler (which can be found in the 'Unofficial TD Website'), the piece I mentioned I was starting to work on at the time became Aerial). When I was very young, people got most of their entertainment from radio. They called it 'playing the radio,' as if it were a musical instrument. That's what I've tried to do in this piece. About this time, a few people encouraged me to look into using a computer for this work. I'd never used one, but I saw it would allow me to keep my mixes digital -- no more transfer losses. So, at the end of 2001, I got a computer and an editing program for it, and spent what seemed a long time learning it. I began selecting mixes and loading them into the computer in late March, 2002. Out of the 580, I selected 90 'best' mixes -- eventually reduced to 59, the ones on the CDs. Finally, in assembling the CDs, I followed David Myers' suggestion to allow each piece to flow into the next -- making a continuous journey to the end."
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12"
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LOL 006EP
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Lolina is back and cutting it up. "Looping and manipulating voices into strange, lumbering beatbox fugues, Inga Copeland undercuts expectation at every turn." --Pitchfork (7.0)
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CY 980LP
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$28.50
PREORDER
RELEASE DATE: 3/20/2020
Song Cycle present the first reissue of Wounds by David Toop and Paul Burwell. Originally released in 1980 on Toop's Quartz! label, the album is representative of a seminal moment within the British music scene evolved around the London Musicians Collective in the late 1970s and early 1980s. Founded in 1976 by a group of improvising musicians and sound artists including Evan Parker, Peter Cusack, Lol Coxhill, Sylvia Hallet, Max Eastley, the LMC contributed to shape a new generation of free improvisers with broader interests ranging from the music of John Stevens, Evan Parker, and Cornelius Cardew, to non-western music experiences. David Toop and Paul Burwell came to know each other precisely in these crucial moments, to start a long-lasting collaboration on two separate but intertwined projects a trio with the artist and poet Bob Cobbing, and an improvisation duo. As result of the latter, the nine tracks included in Wounds are edited from a single performance at the LMC, date 30.6.1979. Recorded by Max Eastley and Russ Wood, these shows saw the employment of different musical instruments as well an odd number of found objects placed in front of the artists, on the floor, ready to be picked up and played. Electric guitar, flute, cassette, water, rubbish, explosives, six strings harp, bamboo fiddle, whistle were only a few of the wider arrange of instruments at the disposal of the two. The result is an ambivalent album, suspended between the unfolding of the time of performance, and the circularity of the ritual. And if the collage of texts appearing on the artwork demonstrates a certain disapproval and skepticism toward the progress of society, Wounds seems also suggesting a possible cure. The improvised music, the use of non-canonical instruments, the presence of pre-recorded sounds coming, seems indeed to be an open invitation to the listeners to abandon the old conventions and to search for a new system of relationships.
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LP
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HVALREKI 017LP
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$31.00
PREORDER
RELEASE DATE: 3/20/2020
Lyra Pramuk's debut Fountain explores a post-human, non-binary understanding of life. Lyra Pramuk fuses classical training, pop sensibilities, performance practices and contemporary club culture in what may best be described as futurist folk music. While the American operatically-trained vocalist and electronic musician is perhaps previously best known for her work with musical collaborators such as Holly Herndon and Colin Self, her debut album, Fountain, will be released via Iceland's Bedroom Community label. Created entirely from her own voice, although often shaped and structured by electronics, Fountain is an emotional, sensual, and devotional journey. The title is derived from her family name, Pramuk, which translates from Czech as "well spring" or "fountain". Often wordless, these songs evoke a new wholeness sustained by the ritual force of drowning, immersion, cleansing, and bathing -- also referred to in the album artwork by acclaimed visual artist Donna Huanca. Fountain plays with the perception of music, rhythms, speech, body, and the relation between technology and humanity, exploring a post-human, non-binary understanding of life and the fragile ecosystems it depends on. The work documents a healing that is still in process, and a full circle-moment that reunited Lyra with her sound engineer twin brother, Ben, for the final mix, which they completed in tandem. As a vocal activist and member of the queer community, Fountain's creation also coincided with a personal rejuvenation for its author. Its completion culminated in the live premiere of the album material at Unsound Festival in Krakow in 2019, where she performed through a multi-channel array designed by Ben Frost, opening for Sunn O))) and Roly Porter. A closer collaboration with Frost on a soundtrack for a new film project will be announced later in 2020. Her performance at Berghain in January for CTM Festival in her hometown of Berlin promises an even more confident and joyous realization of the album's song cycle. Lyra moved to Berlin in 2013 as a DAAD postgraduate study scholarship recipient, following her degree at the Eastman School of Music in New York. Since then, she has also been awarded residencies at Elektronmusikstudion EMS Stockholm, Open Port Club Residency in Tokyo and Sapporo, and Future Music Lab of the Atlantic Music Festival in Maine. Her interests also encompass writing, poetry, and fashion, where she is sometimes called upon as a model.
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SOMA 033LP
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$23.00
PREORDER
RELEASE DATE: 3/20/2020
"In what distant deeps or skies Burnt the fire of thine eyes On what wings dare he aspire? What the hand dare seize the fire?" --W. Blake
Stephen O'Malley on the release (Paris, January 2020):"My first encounter with Karen Jebane (aka Golem Mecanique) was in the context of Echoés above the village of Le Saix in Haut-Ales, in 2016. This tremendous location runs along a deep river canyon with a long cliff on one side and a small mountainside slope on the other. Importantly, and uniquely, some mad acoustician geniuses have built massive concrete amplified horns into the hillside to project sound against the cliff, activating the landscape's natural resonance and delay patterns. The Echoés organizers exploit this system once per year, in a type of private weekend. People arrive for a few evenings of music and enjoy the summer and loosen their minds a bit. I was to be performing later in the night (under the stars, one of my most memorable and moving experiences with music ever), but Karen began her performance directly at sunset, the color saturating the sky and shadows growing deep purple and reds. Instantly and for the next hour I felt like I had descending into the Neolithic/Mythological age. And into the pre-renaissance mindset of time where linearity was absent, cyclic experience unnecessary... just when it was/is. Karen's deep and evocative chanting voice reflected and called forth in multitude amongst the landscape. Bone-chilling, or, perhaps, penetrating down through the bone. A thick and immaterial drone wove itself into the air. Voices began emerging from the cliff's face, the stones itself were singing, seemingly liberated from their geological time space. I understood more about why archetypal memory forms of seers, divinatory, witches and sorceresses exist in our cultural long storylines, our shared sociopsychological neurological rationalization constructs. Those necessary systems of attempting to interpret and communicate the world. It was an incredible moment within the blur between the night and the day. Although Karen's main instrument are her voice, and her mind, she also performs on organ, and also together with the Mediterranean folk music impressionada Marion Cousin on this deeply moving album. Karen also utilizes a very special French instrument known as the BAB, a kind of mechanized vielle (hurdy-gurdy)... one of the more incredible inventions of the La Nòvia group's legendary instrument builder Léo Maurel. Basically, the instrument sounds like an arcane goth/spirit interpreting Phill Niblock's string pieces, in monochrome on the very edge of the invention of color grain. Marvelous." Recorded and mixed by Borja Flames on 2019 New Year's Eve. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin July 2019.
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CD
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RER TH4
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"Three fascinating contemporary classical compositions from Henry Cow alumnus Tim Hodgkinson for flute, oboe, clarinet, trumpet, horn, trombone, violins, violas, cello, bass, piano, percussion, virtual strings, accordion, Siberian frame drums, gongs, viola, electronics, bowed cymbals, lap steel guitar, Yamaha DX21 and bass clarinet -- an iconoclastic hybrid of materials, real, virtual, imaginary and observed that flatter and puzzle the ear, drawing from many disciplines and taking a phenomenological approach to sound. More rock than academe, Tim Hodgkinson studied social anthropology at Cambridge, and co-founded Henry Cow in 1968. He has a long involvement in improvisation, and came back to anthropology in the 1990s to research music and shamanism in Siberia. Hodgkinson works regularly with the Romanian Composer Iancu Dumitrescu's Hyperion Ensemble and his compositions have been performed by numerous ensembles in many European contemporary music festivals. His composition Fragor appeared in the Martin Scorsese film Shutter Island. As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism and the aesthetic problems of the impact of new technology on contemporary music. His book, Music And The Myth Of Wholeness was published by MIT press in January 2016."
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2CD
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TA 160CD
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$25.50
PREORDER
RELEASE DATE: 3/13/2020
Ich Und Sie -- ein Roman aus dreibuchstabigen Wörtern (Me and Her -- a novel of three-letter-words) was a work Andrea Tippel started in 1993 and finished in 2009. As the title suggests it consists entirely of three-letter-words. Two CDs in full-color, six-panel DVD-sized digipak; illustrated with pages of the manuscripts of Ich Und Sie, a biographical text, chronology of the work in English by Marc Schulz, and the text "The Speaking Art of Andrea Tippel" by Dorothy Iannone, written in 2019 especially for this publication. Edition of 250.
Andrea Tippel was born 1945 in Hirsau/Black Forest, and grew up as the middle of three sisters in Bremen. Her parents were the architects Maria Alexandra Mahlberg and Klaus Tippel. In 1969, she was a state-certified actress (Max-Reinhardt-Seminar in Vienna and Berlin), then studied philosophy and psychology in Berlin, Hamburg, and Munich. In 1971, Tippel moved to Berlin and started to create drawings, objects, composites, texts, and books, as well as a few oil paintings. In 1974 she had her first exhibition with Tomas Schmit, started to produce artist books in 1980, and editions for various galleries from 1987. She maintained close friendships with Suzanne Baumann, Henriette van Egten, Ludwig Gosewitz, Dorothy Iannone, Dieter Roth, Tomas Schmit, Jan Voss, and Emmett Williams. Tippel was appointed as a professor at the Hochschule für Bildende Künste Hamburg in 1997, and co-founded the Dieter Roth Academy (DRA) in 2000. She passed away in 2012 in Berlin.
"... Here is a tale, a brilliant tale, one cannot deny, which, even as it astounds us through her perseverance, drives us crazy with a foreboding that this may well be an endless tale. And perhaps this purely personal response to the Speaking Art of Andrea Tippel may well have amused its creator who often found meanings which, understandably or not, had eluded others ... " --Dorothy Iannone, "The Speaking Art of Andrea Tippel" (excerpt)
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TA 158CD
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$18.00
PREORDER
RELEASE DATE: 3/13/2020
First release of the conceptual and performative pieces by Christina Kubisch, composed and realized between 1974 and 1984 during Christina Kubisch's years in Italy. Six-panel, DVD-sized digipak, illustrated with archival photos of Kubisch with extensive program-notes in English. Edition of 300. "Liquid Piece" (1975) for flute, contact microphone and 100 glasses of water (10:00): Personnel: Christina Kubisch - flute and voice. Fabrizio Plessi - water gargling and voice. Recorded live by Phill Niblock at Experimental Intermedia Foundation, New York, 1976. "Identikit" (1974) for five piano players at one grand piano, five cassette tapes and headphones (12:59): Recorded live at festival Pro Musica Nova, Radio Bremen, 1976. "Circles 1" (1984) for voice and tape delay (5:34): Personnel: Christina Kubisch - flute. Realized at Studio RDS, Milan Costante. "Variabile" (1981): sedici percorsi per un paesaggio sonoro (19:12): Personnel: Christina Kubisch - flute, field recordings, custom made electronics, radio signals and electromagnetic objects. "Kleine Liebe Violet" (1983) (9:42): Personnel: Christina Kubisch - voice, flute, slide whistle, conch, objects. Arturo Morfino - voice, drums, guitar, objects. Realized at Studio RAI, Naples.
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POTOMAK 171841
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$22.00
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RELEASE DATE: 3/13/2020
Rudolph Moser (also known as Rudolf Moser), the "instrument maker and composer, musician and sound artist has provided many great projects with sound design and music" but is known best as the "drummer" of the Einstürzende Neubauten, is now releasing his second official solo album called Metronia on the band's own Potomak label. In 17 tracks, Moser opens the doors to the private collection of his research and work. The music changes in its multifaceted nature from minimalistic motifs, wide sound plateaus to tribal percussion pieces, to the "total wall" and islands of intimate moments and songs. Whether with marble plate, plastic pipes, sheet metal, steel springs, prepared car tires, rotor core of an aircraft turbine, large stone saw blade, timpani, or the reverberation of a steel ball weighing 20 kilos in an empty underground car park... Rudolph Moser knows how to extract a unique, magical sound from every seemingly non-musical object. This gives his music an absolutely personal and independent signature. Every time you listen, you discover new impulses and new levels. The album becomes an imaginary soundtrack and an individual sound cosmos. For some titles, Moser leaves the instrumental level for the first time and adds his vocals to the music. "Heaven" and "Euphobia" show that Moser can also write songs that give the album another color. Particularly surprising in this context is the piece "Cause You", a kind of duet in which Toni Kater suddenly appears and hits the soul with her wonderful and fine singing.
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ALE 011LP
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$23.00
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RELEASE DATE: 3/13/2020
Jennifer Lucy Allan's Arc Light Editions releases Here, the debut album by little known electronic and tape music composer Ruth Anderson (1928-2019) who died just before she was able to see her first solo release out in the world. Here reinserts Ruth Anderson as a trailblazer in the history of electronic music in the USA. Here gathers microtonal electronics, drone, and meditative long-form works and a mischievous plunderphonic collage into an album that is playful, meditative, and bold in its minimalist approach to sound. In an article written by her partner, the composer Annea Lockwood, Ruth describes her music "evolved from an understanding of sound as energy which affects one's state of being. [These are] pieces intended to further wholeness of self and unity with others." "Pregnant Dream" is a collaboration with poet May Swenson. "Points" is constructed from pure sine waves, a veil of microtonal sound intended as a healing piece that generates quiet energy. "So What" hovers in electroacoustic space, and crescendos in oscillations and phasing. The playful proto-plunderphonics of "SUM (State of the Union Message)" is constructed from sounds sampled from TV commercials, made one January while Anderson was waiting for a studio to become free, offers tongue-in-cheek resistance to politics and communication as pertinent today as then. Her intention with "SUM" became "to say as little, and by omission, as much as the President (Nixon) would in his address." The restful and meditative "I Come Out Of Your Sleep", constructed from the speech vowels in Louise Bogan's poem "Little Lobelia", is a deeply calming and mindful piece. Anderson intended the shape of the vowels to become breathy melodic arcs and tones, which becomes the core of a stylized meditation. Sleeve notes by Louise Gray. Mastered by Giuseppe Ielasi.
Anderson was born in Montana in 1928, and originally trained as a flautist and composer studying with Darius Milhaud and Nadia Boulanger in Paris. She was the first woman to be admitted to Princeton University Graduate School in the early 1960s. She also worked as an orchestrator for NBC-TV and the Lincoln Center Theater production of Annie Get Your Gun with Ethel Merman (1966). After joining the faculty of Hunter College, CUNY, in 1966, she created the Hunter College Electronic Music Studio, one of the first electronic music studios in the USA to be founded and directed by a woman. She was engaged in studies of psychoacoustics, Zen Buddhism, and was a committed teacher. She retired from Hunter College in 1989. Ruth Anderson died on November 29th, 2019, aged 91, just after approving test pressings for Here.
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R 067LP
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"Ionisation is the first LP by Italian poet Adriano Spatola. Born in Yugoslavia in 1941, by the age of 23 he became a major force in the Italian avant-garde. 'Towards Total Poetry,' Spatola's critical study on the state of modern poetry, spells out his position: 'to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins.' Graphic poetry (cut-up zeroglyphs), volatile and beautiful prose (particularly his books The Porthole and Majakovskiiiiiiij), and of course sound poetry, represented here for the first time. Spatola was the editor of many underground publications: Baobab (a legendary audio-cassette magazine), Tam Tam, and Edition Geiger. Each of his pursuits spread the margins of the format, all done with a relentless, piercing curatorial eye. Spatola has dark, drunken wit in spades. In his sound poems, an even more saturated persona is conjured. A desperate humor sneers through this LP, a humor that has surrendered to the severe joke of life long ago -- lashing out on syllables and ingrown word games. Particularly, his classic 'Aviation/Aviateur' (akin to his 'Seduction/Seducteur', 'Violacion/Violateur' etc.) Read by lesser performers, these pieces would falter and float by in the trough, though Spatola's bull-like confidence tears through. 'Poker Foundation' features the poet hysterically singing 'the play of the words' over a classical radio piece, mocking and squawking against the string swells. Steve Lacy plays scissors, knife, and saxophone on 'Hommage à Eric Satie,' a piece originally recorded for the luxurious Cramps LP boxset Futura. Collaborators Gian Paolo Roffi and Paul Vangelisti are also featured across the collection. The LP concludes with the titular work 'Ionisation,' recorded just days before his premature death in 1988. Feeling his sinking health, his belly in the quicksand, he prefaces the piece, 'a funeral march for my body.' He proceeds to scrape and pound the microphone on his chest, face, and clothing . . . I was born the day after Adriano died, which has some poetic meaning to me, naturally. I am indebted to him, his sickly sweet manner. The opportunity to publish these largely unknown sound works is an honor which brings a warmth to my torso. Much appreciation goes to Giovanni Fontana (poet and dear friend of Adriano), who helped produce this edition with me." --Sean McCann, January 2020 Includes CD and 20-page color booklet with essays by Giovanni Fontana and Adriano Spatola; edition of 250.
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LP
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FOB 063LP
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$26.50
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RELEASE DATE: 3/6/2020
Tibor Szemző returns with a new album, based on the music for his film about historic figure Alexander Csoma. Tibor Szemző is a Hungarian composer, performer, media artist. Recently his album Snapshots From The Island (1987) gained renewed interest. Over the years, Tibor Szemzo continued composing classical/electronic works. His pieces often include spoken texts, film, and other media. He creates installations and composes music for his own and others' films. Csoma, his new album, is based on the music for this film about Alexander Csoma. Alexander set up to research the origin of the Hungarians 200 years ago. During his student years, before he enrolled in college, he and two fellow students vowed to go to Central Asia to discover the origins of their nation. In the first thirty-five years of his life, he spent his humble pilgrimage in Asia traveling and studying with Buddhist priests in Tibet in isolation, and devoted the remaining eleven years of his life to publishing some of the material he had collected in India. Now on the 200th anniversary, Szemző's cinematic opera wishes to pay tribute to Alexandar Csoma. Over the course of two vinyl sides classical and acoustic instruments are mixed with angelic voices, spoken word in German, Hungarian, and English. Sounding like vintage Tibor Szemzo compositions, vividly performed by the Gordian Knot Company and the Voces Aequales Ensemble.
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LP
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N 073LP
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$23.00
PREORDER
RELEASE DATE: 3/6/2020
Zayaendo is a Tokyo-based brass band, colorful, unique and adventurous; one won't find any of the typical brass band cliches here, nor a unit of free improvisors. They have nothing less than invented their own genre -- Zayaendo Music! Zayaendo was formed in 2016 by Saya (Tenniscoats, Spirit Fest) and Satomi Endo (Biobiopatata) after Saya was inspired by a performance of the acoustic instrumental band Hochzeitskapelle, who she saw in Munich. The band also includes Tomoaki Saito, Masaharu Seki (sekifu), Takashi Ueno (Tenniscoats), Kiyokazu Onozaki (Andersens, 2B) and other musicians who play with other bands or as solo artists. Zayaendo consists of somewhere between ten and twenty musicians (depending on who is available to play at that time) and forms an orchestra that plays each other's compositions as well as covers of timeless experimental masterpieces. Since the band play acoustic instruments, their performance venues vary from the street to the forest. In 2018, the band played at the Alien Disko Festival #3 with their beloved Hochzeitskapelle, where together they took part in a parade through the streets of Munich to celebrate and ring in the festival. In 2019, their first album Zayaendo Music was released on the Majikick label, and now is reissued on vinyl, by Alien Transistor. Personnel: Satomi Endo - soprano sax; Ryoko Kajiwara - flute; Ken Manabe - tenor sax; Masaharu Seki - euphonium; Kiriko Kasamatsu - trombone; Yutaka Hirose - tuba; Takashi Ueno - banjo; Tomoaki Saito - mandolin; Mitsuru Tanaka - percussion; Shintaro Kiyonari - percussion; Haruhiko Seki - percussion; Saya - percussion. Edition of 320 with silkscreened artwork, includes download.
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2CD
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R 065CD
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"The Crying Space holds music and sounds to spawn tears. This double-CD is comprised of two sound pieces by the Fluxus artist Eric Andersen (b. Denmark, 1940). The first CD, Le Chemin Des Larmes, is a sound collage made for French radio broadcast in 1990. Fragile narrations in French and English by the artist and other voice actors, played over a streaming assemblage of tragic classical music. The sound crying, that of a professional Karelian mourner, is infused periodically. The texts describe the social and scientific nature of tears, in the context of Andersen's worldwide 'Crying Space' installations, which the artist describes in detail: 'The first Crying Spaces were made in Holland, England and Scandinavia in 1959/60. They were made quite simple by drawing a circle on the ground and to step inside to Cry. Crying is the only means of human communication that cannot be decoded and interpreted with certainty. You can observe a person Crying but can never determine why without additional information. It could be sadness, joy, pain, exhaustion, pleasure, relief or a particle of dust in the eye. However, if you analyze the hormones and crystals in each tear, you can with scientific certainty declare the specific reason for that particular Crying session. After innumerable Crying Spaces all over the world I had an offer to work with the famous marble from the notorious town of Guilietta and Romeo, Verona, Italy. The Verona Rosso. The editor Francesco Conz from Verona offered to publish an edition in Verona Rosso. Here, I found the opportunity to materialize the old Greek saying that the most fragile and ephemeral part of the human body, The Tears, eventually will change and shape the most solid parts of the world. The Crying Stone saw the light of the Day. Unfortunately not in an edition of seven billions (one for each inhabitant of Earth) but in a number of 19. For each stone a most elegant wooden box in mahogany was made. In this way you could travel with your Crying Stone and have it handy for all occasions.' The second CD, The Crying Place, is the soundtrack to installations at Emily Harvey Foundation in 1990 and Galerie J & J Donguy in 1991. Scarce cassette editions were made for these exhibitions. This is a 30-minute complete recording of a professional mourner as they cry and holler in sympathetic pain. The crying becomes songlike, as the weeping modulates and ebbs." --Sean McCann, January 2020 Gatefold packaging with insert of program notes; edition of 200.
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2LP
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ELPALMAS 002LP
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Angel Rada, pioneer of experimental electronic music in Venezuela, has always been a restless mind, an experimentalist with his feet firmly planted on the ground of the art, his particular mix of sound design, cultural avant-garde attitude, and spiritual inquiry led him to explore an impressively rich sound universe throughout his more than 20 productions (one of the most extensive in his country) making him the cult musician he is today. El Palmas Music, an independent record label in Barcelona, pays tribute to this visionary Venezuelan musician with Tropical Cosmic Sounds From Space, a double-LP compilation with 15 carefully selected tracks from Angel Rada's extraordinary first period, coveted by experimental and cult electronics collectors around the globe. The main focus of the compilation is between 1980 to 1989, the time when Rada released cosmic-tropical experimental jewels such as Upadesa (1983), Viveka (1984), Continuvm (1986), Armagedon & the Third Wave Revolution (1987), and Impressiones Etnosonicas (1988). Rada embraced psychedelia in his youth, his rock band named The Gas Light gave him the opportunity to experiment with electronic instruments, electric organs, and the autoharp. This impulse led him to get his career to the next level. While he was taking music studies in Germany, gets in direct contact with cosmic music and iconic artists such as Klaus Schulze. Back in Venezuela, at the beginning of the eighties, he establishes the foundation of his work and begin to be known as a reference, subverting the industry rules, not only from the point of view of sound and production but also because of his self-management. Although his direct influences: psychedelia, krautrock, and experimental electronic, were a starting point for his work during his studies in Germany between 1973 and 1978, Rada not only mastered the art of analog synthesizers, creating totally new sounds, but put his efforts on the search for an original sound landscape, rooted in its native homeland as in spiritual matters. His music was tagged in his time by his German colleagues as "Latin Cosmic Psikraut", a futuristic vision of the Caribbean Sea ahead of its time, full of innovative textures and amorphous envelopes with an almost narcotic effect. Unexpectedly, while rehearsing, one day in 1999, a natural tragedy would take his studio away, and all those valuable instruments that had accompanied him throughout his life were forever gone. Includes insert with notes and download with seven bonus tracks.
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LP
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SOD 123LP
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"Beside Myself is the second full-length release from Canadian sound artist crys cole. Known to many through her extensive collaborative practice with artists such as Oren Ambarchi, Leif Elggren, and James Rushford, in her solo work cole uses contact microphones, voice, simple electronics, and field recordings to create sonic environments that linger uneasily at the threshold of perception. Demonstrating how cole's work has developed and deepened since the relative austerity of her first solo LP Sand/Layna (BT 017LP, 2015), Beside Myself offers two lushly immersive side-long pieces that explore ideas of compositional drift. 'The Nonsuch' is inspired by the aural hallucinations experienced in the hypnagogic state during the onset of sleep. Opening with scratching contact mic textures and unintelligible vocal murmurs, the piece threads together live and studio performances with field recordings of urban environments to create a texture that is at once seemingly consistent and marked by constant transitions. Individual elements rise up from the background thrum only to disappear just as we become conscious of them; heterogenous sounds and spaces succeed one another with the unassailable logic of dreams. 'In Praise of Blandness (Chapter IX)' also focuses on drift and transition, but in a much more single-minded way. Over a rich, slowly-evolving organ drone, cole reads a passage from the French sinologist François Julien's book In Praise of Blandness (1991) exploring the concept of 'blandness' in the Taoist aesthetics of sound. Beginning crisp and clear, cole's voice becomes gradually less distinct over the course of the piece, the spoken words blurred by resonant frequencies à la Lucier's I Am Sitting in a Room until we are left with only the rhythm of incomprehensible speech. The text that cole reads acts a perfect description of her aesthetic project: 'We hear it still, but just barely, and as it diminishes it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening then, to its extinction, to its return to that great undifferentiated matrix'." --Francis Plagne (November, 2019) Includes download code; edition of 300.
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2LP
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SV 174LP
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$29.00
PREORDER
RELEASE DATE: 2/28/2020
"Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman's large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself. Along with her 1985 debut album -- appropriately titled The Long String Instrument -- Fullman's only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland. Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans. Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman's pioneering and timeless work."
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2LP
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SV 173LP
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$29.00
PREORDER
RELEASE DATE: 2/28/2020
"Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. As a versatile reed player, he has performed with everyone from Steve Reich and Philip Glass to Terry Riley and La Monte Young. In the 1970s, Gibson would emerge as a minimalist composer in his own right and release two exceptional albums, Visitations and Two Solo Pieces, on Glass' Chatham Square imprint. Songs & Melodies brings together recordings from 1973 to 1977 (mostly previously unreleased), featuring prominent figures in New York's scene including Arthur Russell, Barbara Benary and Julius Eastman. This double LP collection showcases the breadth of Gibson's expressive range -- from introspective piano meditations to cerebral ensemble works -- and the subtlety of his radical compositional techniques. The front cover artwork, a hand-drawn diagram by Gibson, originally appeared in the program for a March 1974 concert at Washington Square Church in Greenwich Village. While this concert was not the first to feature the composer exclusively, it would be a pivotal event in Gibson's early career as a composer. Superior Viaduct is honored to present this long overdue archival release that not only documents Gibson's important work, but also a crucial period in NYC musical history."
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3CD
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ACME 351CD
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$23.00
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RELEASE DATE: 2/21/2020
"A 3CD set of classical Avant-Garde music that influenced The Beatles, Syd Barrett and Pink Floyd, David Bowie, Nick Drake and more."
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3CD
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SR 478CD
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Wall of Sound is a music of sonic sensations. It is a physical and sensual approach to the phenomenon of thick sound worlds. Sound waves become physical objects, four-dimensional sonic sculptures to be experienced, bodily and mentally. Ulrich Krieger's Wall Of Sound is a series of CDs about music that invites the listener to indulge themselves in sound. It doesn't guide an audience through a narrative, like a song, but offers the listener slow changing and developing soundscapes, acoustic sculptures, to immerse themselves in. How listeners move in and through these sounds is up to them: meditative drifting along, focusing on certain small details of sounds, letting themselves be taken away by emerging psycho-acoustic phenomena or going back and forth between listening attitudes. Wall Of Sound features compositions by: James Tenney, John Cage, Alvin Lucier, Phill Niblock, Philip Glass, Steve Reich, Terry Riley, Lee Ranaldo, Boris Hegenbart, Zbigniew Karkowski, Ulrich Krieger, John Duncan. 3CD set comes in a digipack; includes 16-page booklet.
Ulrich Krieger is well known as a saxophone player in contemporary composed and free improvised music as well as a composer of chamber music and electronic music. His recent focus lies in the experimental fields and fringes of contemporary pop culture: somewhere in the limbo between noise and heavy metal, ambient and silence. He also arranged works by Merzbow, Throbbing Gristle, Deicide, Terry Riley, Henry Cowell, and others for chamber ensemble. He collaborates with: Lou Reed, LaMonte Young, Phill Niblock, Text of Light, Lee Ranaldo, John Duncan, Zbigniew Karkowski, Thomas Köner, DJ Olive, Christian Marclay, Kasper T Toeplitz, Antoine Beuger, Radu Malfatti, Mario Bertoncini, Michiko Hirayama, Miriam Marbe, Hans-Joachim Hespos, Ensemble Modern, Berliner Philharmoniker, Soldier String Quartet, zeitkratzer, just to name a few. Krieger has received prizes, grants and residencies from: Kunststiftung Baden-Württemberg, Villa Aurora Los Angeles, Deutsches Studienzentrum Venedig e.V., Akademie der Künste Berlin, "Meet-the-Composer" Forum New York, DAAD, Darmstädter Ferienkurse für Neue Musik, and many others. Since 2007 he lives in Southern California, where he is associate professor for the composition faculty at the California Institute of the Arts in Los Angeles.
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