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Search Result for Genre EXPERIMENTAL
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LP
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BT 057LP
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$23.50
PREORDER
RELEASE DATE: 1/31/2020
LP version. Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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2LP
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IMPREC 473LP
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$36.00
PREORDER
RELEASE DATE: 1/31/2020
To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album, The Ready Made Boomerang. Recorded in a cistern, this double-LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones -- as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.
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CD
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BT 057CD
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$15.50
PREORDER
RELEASE DATE: 1/31/2020
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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SLT 005CD
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$23.00
PREORDER
RELEASE DATE: 1/24/2020
Saltern presents its fifth release, Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; Edition of 500.
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2LP
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ZEIT 015LP
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$31.00
PREORDER
RELEASE DATE: 1/17/2020
Double-LP version. Clear vinyl; six-panel, gatefold sleeve. Ending the decade of silence which followed more than ten years of remarkable, critically-acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitious effort to date, Weltformat, issued by Die Schachtel. Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part Low Tide Digitals series, released by Rune Grammofon between 2001 and 2009. Weltformat, like its predecessors, builds on decades of solo and collaborative efforts by its creators -- Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Lüdi, Taku Sugimoto, Tetuzi Akiyama, and others. Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse. Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful. Weltformat, encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking.
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CD
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ZEIT 015CD
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$18.00
PREORDER
RELEASE DATE: 1/17/2020
Ending the decade of silence which followed more than ten years of remarkable, critically-acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitious effort to date, Weltformat, issued by Die Schachtel. Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part Low Tide Digitals series, released by Rune Grammofon between 2001 and 2009. Weltformat, like its predecessors, builds on decades of solo and collaborative efforts by its creators -- Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Lüdi, Taku Sugimoto, Tetuzi Akiyama, and others. Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse. Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful. Weltformat, encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking.
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BR 117LP
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$26.50
PREORDER
RELEASE DATE: 1/17/2020
The work of Jorge Eduardo Eielson (Lima 1924 - Milán 2006) in the fields of visual and sound poetry has been conspicuously absent from the international anthologies pertaining to these disciplines. One of the reasons of this absence may be the limited circulation of this side of his broad and complex output as a poet and visual artist. In the past few years, though, this aspect of his work has become better known, and can now be seen, in its own right, as a valuable contribution to the development of experimental poetry. Jorge Eduardo Eielson called "vocal structures" or "audiopaintings" his experiments in vocal poetry, which were all based on combinatorial analysis and permutations. Of these experiments carried out over a period of five years (1972-1977), only one has remained, and its author has presented it on several public and private occasions, both in its recorded form as well as in live performances. It is the piece called Colores [Colors], which is based on the repetition of words that name colors: red, yellow, green, blue; each word has a different tonality. Colores is derived from the permutation of four word-tones, a work inspired by both serialist composition and conceptualism. Audiopaintings: Verbal Structures for Voice (1972) presents for the first time on vinyl the full version of Colores and adds a live recording of the piece performed in 1998. This album is published by Buh Records with the support of Proyecto AMIL, who have joined efforts to develop a collection dedicated to presenting fundamental Peruvian works that operate at the borders of visual arts and sound. The publication also includes a booklet with extensive liner notes by Luis Alvarado, with information on several dimensions of Eielson's relationship with sound poetry, thus becoming a reference album for scholars and collections on the art of voice and sound poetry.
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LP
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BT 056LP
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$29.00
PREORDER
RELEASE DATE: 1/17/2020
Black Truffle present Realejo, the first vinyl release from Brazilian sound artist and composer Manuel Pessoa de Lima. Having composed works for diverse contexts including cinema, contemporary dance, theater, and television, Lima's live appearances often take the form of self-reflexive lecture performances that combine electro-acoustic sound, red light, video, and spoken text, moving unpredictably from the hilarious to the distressing. Realejo consists of two side-long pieces of highly idiosyncratic electro-acoustic collage, beginning with recordings Lima made of himself playing the organ in the Schloss Solitude Chapel in Stuttgart. Exploring the peculiarities of the instrument's mechanics, Lima made hours of recordings with the organ stops half-way open, moving from haunting gliding tones to oddly tuned fair-ground melodies reminiscent of the record's namesake realejo, a hand-cranked organ traditionally found in Brazil as the musical accompaniment to the work of fortune-telling parrots. To these organ sounds, Lima added recordings of a security guard made in São Paulo: "Just before coming to Stuttgart, I started making field recordings of a security guard in São Paulo. It's something pretty common in residential areas: they sit in a chair with a whistle, and use that to signal when people arrive, leave or pass by in the street. This particular security guard, Miguel Viana, works on the same street my parents live, and where I had my childhood, and he has worked there since I was a small child. He has watched the street at night, from 8PM to 6AM, every single day, except Sundays, for over 30 years." The poignant sounds of the security guard's whistles punctuate Lima's electro-acoustic environment, which also includes raw digital synthesis, recordings of his friends' infant child, audio lifted from YouTube, and, on the LP's second side, elements taken from an earlier work, "36 English to Portuguese Lessons". Finely chiseled from dozens of hours of source material into a detail-rich, mercurial structure, Realejo is alternately jarring and seductive, introducing listeners to a young composer with a powerfully individual voice.
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3LP BOX
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DPROMBX 148LP
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$58.00
PREORDER
RELEASE DATE: 1/10/2020
Triple-LP box set in three different dayglo color vinyl LPs; includes a fold-out insert. There is no track listing -- no Side A, B, etc. This music is to be played in whichever order the listener wants to. The box and insert all have new artwork by Babs Santini. Features all new material.
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LP
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ET 903-05LP
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Edition Telemark presents the first vinyl LP since 1989 by Munich's long-running ensemble for experimental music, PHREN, formed in 1968 by Michael Kopfermann. Informed by the musical avant-garde at the time and especially the problems discussed by other improvisational groups, Kopfermann developed his own approach to improvisation and tone production and sought to find instruments and playing techniques that allowed him to realize what he had in mind. His thinking centered around the treatment of noise and the eschewal of a separation between noise and tone, as well as methods for overcoming the limitations of the pre-conceived tones of the tempered system. This ruled out quite a few instruments, and also electronic techniques available at the time were deemed to primitive for the tones he sought to produce. After initially experimenting with Turkish cymbals stimulated by cello bows, Kopfermann settled on a range of instruments that included traditional string instruments, e.g. viola and violoncello, and certain wind instruments like the flugelhorn and the helicon. All instruments were prepared, the string instruments with thicker gut strings and unusual tunings, the wind instruments with longer elbow pieces. The preparations, along with the development of new and uncommon playing techniques, allowed the players to create and improvise on previously unheard noisy tones that are not static and pre-conceived but substantially individual. Over time, the number of musicians in the ensemble expanded up to six and the activities under the PHREN moniker became morefold, most notably with the formation of the PHREN theater group led by Carmen Nagel-Berninger. Still, even during the sextet years, trios and duos of varying instruments were played, often called "analytical" because they were meant to focus individual voices against the background of the larger ensemble. From early on, PHREN published about their activities in written form and on LPs and later CDs, mostly in their own PHREN-Verlag. This new LP thus compiles recent recordings from 2010 and 2018 of the duo of Carmen Nagel-Berninger (prepared viola) and Inge Salcher (prepared flugelhorn). The duos heard here are not so much meant as analytical studies, but rather as fully valid, improvisationally generated pieces, applying the musicians' long-term experience with their music in a way that doesn't sound reduced despite the small line-up. Printed inner sleeve and extensive liner notes in German and English by Reinhard Kapp, Carmen Nagel-Berninger, and Inge Salcher, as well as a detailed discography; Edition of 300.
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3LP BOX
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ROTOR 071-73LP
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$98.00
PREORDER
RELEASE DATE: 1/10/2020
This luxurious pink Cadillac color box set, 1973-1976-1979, brings together the first three albums of Jac Berrocal -- Musiq Musik (1973), Paralleles (1976), and Catalogue (1979) -- in which countless personalities of the crossover music of the hexagon participate. Musiq Musik (1973): Berrocal's first album, recorded in 1973 with the excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria, including various instruments such as bells, muezzins, conches, shenaïs, cymbals, and gongs embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. Paralleles (1976): Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock n' Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this is a noisy piece "Bric-à-Brac" made in homage to Luigi Russolo's repertoire reorganized by bonuses and unpublished from the same period. Catalogue (1979): Jac Berrocal and his "Marquises of Disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "Micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. Deluxe, rigid box set with three metallic covers and an impressive booklet of photos and unpublished documents; 200 gram vinyl.
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LP/DVD
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ET 903-03LP
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WAVES is an ongoing research project by Dutch artists Petra Dubach and Mario van Horrik that involves so-called shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Started in 2010, the project has so far produced a number of installations and concerts, some recordings have been published previously on Edition Telemark as a double 12" in 2016 (ET 628-01LP). For a few weeks in 2016 and 2017, Dubach and van Horrik had the chance to work on WAVES in the former Church of the Holy Heart in their hometown of Eindhoven where they stretched two 50 meters long strings between columns of the building and placed a piëzo transducer on one end and a shaker on the other end. Using this setup, they developed three different systems for generating feedback, spawning numerous experiments and recordings, a selection of which is presented on this LP. Video recordings of the process are enclosed on a DVD, showing the building and the strings as well as performances by Petra Dubach where her body and movement influences the standing waves in the space and thus the sound. Edition of 200 in full-color sleeve with photos from the church and liner notes by Petra Dubach, Mario van Horrik, and Ruud Post. DVD enclosed inside the sleeve.
"All our experiments didn't have any plan as a basis; the sounds of one setup resulted in changes for the next setup. This could be: changes of drivers, adding or removing preparations, changing position of the recording device or the external driver, changing parameters of the mixing board or amps, or changing nothing at all: through the vibrations of the strings the preparations were more or less slowly transported across the length of the strings; sometimes forward, sometimes backward. We have made recordings of this process of more than one hour where the sounds constantly change under the influence of this transportation. But sometimes the movement would end in a fixed state." (from the liner notes)
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2LP
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ET 903-04LP
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Am Grabe (At the Grave) is an ongoing audio ritual executed by Stefan Fricke and Alper Maral. Since 2015, they have been visiting the graves and burial grounds of composers from various eras in order to record the sounds and noises present. Each sequence is a pure field recording, serving as a memento of a bit more than four minutes in length. After having been compiled for a series of radio programs, selections from Am Grabe here appear on audio media for the first time. This edition commemorates 36 composers -- from Bach to Beethoven, from Mahler to Eisler, from Stockhausen to Ben Patterson -- the recordings connected serially, sometimes overlapping, and compiled across four LP sides.
"Am Grabe is a work in progress, a collection of homages which shall and can never end, as long as emphatic music will exist and will constantly be invented in the world." (from the liner notes)
Stefan Fricke (b. 1966 in Unna) is a German musicologist. He founded the Pfau Verlag, specializing in books about contemporary music, in 1989, and since 2008 is editor for contemporary music and sound art at Hessischer Rundfunk (Hessian Broadcasting Corporation). He teaches as honorary professor at the University of Mainz.
Alper Maral (b. 1969 in Istanbul) is a Turkish composer whose oeuvre encompasses theatre and film music, symphonic and chamber works, electro-acoustic music, a.o. He plays in a number of ensembles such as -- for early music -- İstanbul Barok, A-415, and Bornova Trio, as well as -- for contemporary music -- Karınca Kabilesi, Control Voltage Project, and Alper Maral Multiphonics Ensemble. He is professor at the Ankara Music and Fine Arts University.
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BT 055LP
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$29.00
PREORDER
RELEASE DATE: 1/10/2020
Black Truffle release Le Piano Englouti (The Sunken Piano), the first collaboration between Brunhild Ferrari and Jim O'Rourke, offering up two side-long realizations of Ferrari's tape compositions recorded in concert at Tokyo's SuperDeluxe in 2014, revised and mixed by O'Rourke in 2019. The title piece weaves an immersive web of electronics, pre-recorded piano, and field-recorded sounds, including the raging Aegean Sea, the tranquil atmospherics of a Japanese island, and the roar of a pachinko parlor. Far from a slice of audio vérité, these geographically distant sites intermingle in an unreal space where they often become indistinguishable. Shadowed by electronics and reverberant snatches of piano, the field recordings rise up and recede like ocean waves, creating a constantly shifting texture that is nonetheless warmly inviting. Chirping birds are confused with their electronic doubles; snatches of footsteps and voices are engulfed by ambience of unclear origin. Increasingly present throughout the piece, the piano rises up one last time before being swallowed up for good by the pachinko parlor. "Tranquilles Impatiences" (Quiet Impatiences) takes as its source material the electronic sounds produced by Luc Ferrari for his 1977 Exercises d'Improvisation, seven tapes intended to be heard alongside instrumental improvisation. Brunhild Ferrari's piece layers Luc Ferrari's sounds into a dense new work that emphasizes the insistently pulsing rhythms of the source material. In this realization with O'Rourke, the piece becomes a monumental sound-object, a slowly shifting mass of skittering electronic tones, shimmering reverb, and growling bass from which field-recorded events occasionally arise. At times, the placement of these fragments of real life in a pulsing, insistent musical landscape calls up Luc Ferrari's classic Petit Symphonie; at other points, the swarming electronics bring to mind O'Rourke's Steamroom work or even the vast expanses of Roland Kayn. Deluxe gatefold sleeve with liner notes from Brunhild Ferrari. Design by Lasse Marhaug. Mixed and mastered by Jim O'Rourke. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin.
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LP
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FTR 454LP
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$23.50
PREORDER
RELEASE DATE: 1/3/2020
"Three:four Records (Switzerland) and Feeding Tube Records (USA) are pleased to announce the release of Early Abstractions, Vol. 1 by Danny Oxenberg (Supreme Dicks), Bear Galvin, and Friends (Pillow Mt. Conspiracy). Early Abstractions, Vol. 1 is the follow-up their 2016 release Late Superimpositions (three:four records), and contains recordings made in New York, Western Massachusetts, and Los Angeles -- some old, some older, some relatively new, some borrowed, some blue . . . Around the world in 90 days, it feels like, this album has taken many forms. Originally it was going to be a double album of all older music that I recorded mainly at 76 Charles Street in NY in the '90s, and since then this has evolved to include other stuff from the 2000s. So originally this was going to be titled Early Abstractions (a nod to Harry Smith) and now it is kind of still half that, and other stuff. Still I would like to thank all of the friends who have played on this and helped record it. Like Julian Koster who played the Banjo, did some vocals, and recorded the track here called 'Banjo-Coke' (I 'played' the Coke) at his Grandmother's house, I believe in Long Island. I would also like to thank Shannon Ketch and Adam Langellotti who both played on and helped to record, 'Crackers'. And also thanks to Jenna and Les and Beverly and of course Mark Hanson for playing with us over the years. And I would also like to give a big thanks I guess to Steve Shavel, who we are all missing a lot and hope he reappears, but he played the majestic lap steel slide guitar here on 'Waves', and also did the background talking vocals. Mark Hanson played drums on that track. And maybe someday we will release an album of the Blinded Sphinx music we recorded back then. Also, I would be remiss not to thank Jane F. King and Tim Wilson for playing on 'Star Spangled to Death'." --Danny Oxenberg, NYC, March 2019. Original art by Hippolyte Hentgen and design/layout by Darryl Norsen. Produced by Maxime Guitton. Edition of 300.
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GODUNK 060LP
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Whistling Arrow is the debut collaboration between critically acclaimed composer and performer Laura Cannell, This Heat/Camberwell Now founder and seasoned composer/improviser Charles Hayward, multi-disciplinary musician Andre Bosman, and prepared guitar minimalists Ex-Easter Island Head. Brought together by a shared bill on Cannell's Arts Council-funded Modern Ritual tour, the six musicians convened for a single session in Liverpool's Parr Street Studios in 2017. Recording live in the room with few preconceptions and an appreciation of each other's work, the sextet improvised on violins, recorders, drums, piano, electronics, prepared guitars, percussion, and voice. The music of Whistling Arrow represents a deeply empathic meeting of unique musical voices: evoking a musical territory of the ancient and the modern, earthen, and concrete. Laura Cannell's over bow violins wring melodic fragments and modes into groaning chordal shapes, gut-strung, and rapturous; scraping the ground and circling treetops, birdcall double-recorders chirruping in concert. The mallet-struck guitars of Ex-Easter Island Head surge and drift against clouds of overtone-rich amplified strings, excited with motors, Allen keys, and bows, emerging like sun rays through the foliage. Andre Bosman's marshland electronics permeate with humid unease -- glinting metal half-buried, clandestine cabling in wild country. Charles Hayward's expressive command of rhythm and intricate percussive color moves the music forward in swung leaps and nimble left turns, rolling resonances pushing and pulling the formal anchor of Jonathan Hering's piano into tumultuous terrain and gleaming chord shapes. With sleeve notes by writer and comedian Stewart Lee name-checking Faust, Arvo Pärt, the Velvet Underground, and Hildegard Von Bingen as sonic touchstones, the music of Whistling Arrow draws upon the decades-worth of compositional/improvisational practice of the sextet.
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PE 018LP
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The title of Magda Drozd's debut album, Songs for Plants, goes beyond the invocation of an unusual implied audience and indicates her desire to challenge conventional listening experiences. Plants have been central to the writing-process of the eleven-song LP by the musician, artist, performer, and curator. Drozd's sound palette includes synthesizers, field recordings, a violin, guitar, her own voice, and recordings of cacti, the latter of which were made using the latest recording technology that allowed Drozd to render audible the sound of the prickly pear for example. In this way, Drozd raises questions about authorship while she also shows up the absurdity of the relentless pursuit of new sonic sources in contemporary experimental music. All this leaves Drozd with a highly poetic album located somewhere between experimental electronics, ambient, off-pop, and dub techno. Tender and abrasive at times, she manages to combine the melancholic, critical, hopeful, and distanced -- as if Grouper, Jan Jelinek, The Space Lady, and Hieroglyphic Being got together to re-record Alec Empire's Low on Ice (1995).
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4CD BOX
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SNS 016CD
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A four-hour work, recorded at Jim O'Rourke's studio, Steamroom, between 2017 and 2018. Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in a constant state of flux. The finely crafted art of subterfuge. The four-CD set To Magnetize Money and Catch a Roving Eye is a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory. Composer, performer, and multi-instrumentalist Jim O'Rourke was born in Chicago in 1969. He is a veritable chameleon working at the frontiers of very diverse musical genres.
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LP
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BB 327LP
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LP version. Bureau B present a reissue of Notorische Reflexe's self-titled release, originally released in 1985 on Rebel Records. Mark Reeder on Notorische Reflexe: "I honestly can't remember the first time I saw Notorische Reflexe perform, but I imagine it was probably at some mad avant-garde experimental event in SO36 or Tempodrom, or somewhere, because those days have become a hazy, crazy mixture of drunken, drug-fueled fragments of memories that have become barricaded in the back of my mind. One thing I do remember, is that their performances were always packed with wild and experimental artistic creativity. They were always extremely entertaining to watch, mixing self-made movies and music at a time when it was not the norm . . . Yet, the Notorische Reflexe were not just a band in the traditional sense, they were a collective of artists, each with a unique talent of their own, which they pooled together to create an experimental experience with every performance. You didn't go to a Notorische Reflexe gig to listen to a collection of their greatest hits, you went to a Notorische Reflexe gig to be enlightened and always, challenged. The '80s were a time of creative liberation . . . It was as if they almost expected you to be weird and the weirder you were, the better and without doubt, Notorische Reflexe certainly fitted that bill. I loved watching them live. They were fun and funny. I sometimes got the impression they were trying to force a square peg into a round hole, like mixing disco with dirge, but that was the whole point of their unconventional presentation. They caused you to consider and query. Each performance was a one-off event never to be repeated. The movies mashed with the music, always in a bizarre setting, with piles of electronic junk as their stage scenery, which became their signature. Ok, the Notorische Reflexe might not be as well-known as Einstürzende Neubauten, Die Tödliche Doris, or Malaria!, but they were as equally important in creating what has meanwhile become known as the Berliner Geniale Dillitanten scene, because it was all the other bands like Notorische Reflexe (or my own band Die Unbekannten), who participated in this experiment, and who were an essential part of the pyramid of bands that supported the main feature and helped to create the Berliner Krankheit."
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PIANO 003LP
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$31.00
PREORDER
RELEASE DATE: 12/6/2019
Original copies. Released in 1980. Recorded by Steve Beresford and David Cunningham. Instruments used include: acoustic guitar (with microphone and battery amplifier), percussion, piano, synthesizer (toy), euphonium, trumpet, toy piano, drums, whistling, bass, cymbal, drums, ukulele, cymbal, tape (previous performance), electronics, piano (with toy piano inside), and performer (with whirled bee, whirled tube, clarinet mouthpiece, footclickers, blechtrommel, giggle stick, musicbox, bath water, nailbrush, body, tubes, reeds, balloons, cowbox, musical toothbrush, duck call, electronic bird, squeaky chops, chicken box, toy record player, plastic horn, talking telephone, astro-phaser.
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BR 127LP
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Apophenia by Ale Hop, suggests possible and reimagined South American geographies. Along with atomized field recordings and sound samples she recollected from video archives from her homeland, Peru, the composer interweaves unknown territories by mimicking mountains and oceans, but also grey skies and violent cities, with droning and shrieking textures of electric guitars mixed with spoken chatters and sizzles. The LP is accompanied by two black-and-white images from the Peruvian photographer Gihan Tubbeh that withhold the same poetic nature of the music through visual rhymes expressed on fragments of landscapes.
Ale Hop is a Berlin-based artist, researcher, and experimental instrumentalist from Peru. She composes electronic music, by blending strains of noise, pop, avant-garde, ambient, and a complex repertoire of extended techniques for electric guitar and real time sampling devices that she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres. Additionally, in her current A/V performance, Ale Hop assembles soundscapes that are related to the contradictory memories she keeps from Peru, from the violence and turbulence that she grew up, in uncertain times in Lima, through contemplative territories.
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CD
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BB 327CD
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Bureau B present a reissue of Notorische Reflexe's self-titled release, originally released in 1985 on Rebel Records. Mark Reeder on Notorische Reflexe: "I honestly can't remember the first time I saw Notorische Reflexe perform, but I imagine it was probably at some mad avant-garde experimental event in SO36 or Tempodrom, or somewhere, because those days have become a hazy, crazy mixture of drunken, drug-fueled fragments of memories that have become barricaded in the back of my mind. One thing I do remember, is that their performances were always packed with wild and experimental artistic creativity. They were always extremely entertaining to watch, mixing self-made movies and music at a time when it was not the norm . . . Yet, the Notorische Reflexe were not just a band in the traditional sense, they were a collective of artists, each with a unique talent of their own, which they pooled together to create an experimental experience with every performance. You didn't go to a Notorische Reflexe gig to listen to a collection of their greatest hits, you went to a Notorische Reflexe gig to be enlightened and always, challenged. The '80s were a time of creative liberation . . . It was as if they almost expected you to be weird and the weirder you were, the better and without doubt, Notorische Reflexe certainly fitted that bill. I loved watching them live. They were fun and funny. I sometimes got the impression they were trying to force a square peg into a round hole, like mixing disco with dirge, but that was the whole point of their unconventional presentation. They caused you to consider and query. Each performance was a one-off event never to be repeated. The movies mashed with the music, always in a bizarre setting, with piles of electronic junk as their stage scenery, which became their signature. Ok, the Notorische Reflexe might not be as well-known as Einstürzende Neubauten, Die Tödliche Doris, or Malaria!, but they were as equally important in creating what has meanwhile become known as the Berliner Geniale Dillitanten scene, because it was all the other bands like Notorische Reflexe (or my own band Die Unbekannten), who participated in this experiment, and who were an essential part of the pyramid of bands that supported the main feature and helped to create the Berliner Krankheit."
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LP
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LML 1002LP
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Lovely Music present a reissue of Robert Ashley's Automatic Writing, originally released as an LP by Lovely Music in 1979. Over the course of Robert Ashley's career his preoccupation with language and the voice took many forms. He became known in his librettos as a wonderful, funny, moving writer. But with Automatic Writing he examines language at a very "primitive" level -- the human impulse make sounds to express his inner state, whether it be regret, embarrassment, fear, or happiness -- even though there is no one else to listen. Talking to oneself.
Personnel: Voices - Robert Ashley and Mimi Johnson; Electronics and Polymoog - Robert Ashley; Words: Robert Ashley; Translation: Monsa Norberg; Silhouette: William Farley. The switching circuit was designed and built by Paul DeMarinis. Recorded, produced, and mixed by Robert Ashley at the Center for Contemporary Music, Mills College (Oakland), the American Cultural Center (Paris), and Mastertone Recording Studios (New York). This reissue was remastered and cut, from the original reel-to-reel tape, by Scott Hull, Masterdisk (New York). Manufactured at Record Technology Inc/RTI (California). 180 gram vinyl; Stoughton Old Style sleeve. Includes an insert with a transcription of the words, and the Automatic Writing notes Ashley wrote for Lovely's 1996 CD (that included "Purposeful Lady Slow Afternoon" and "She Was A Visitor").
"On Automatic Writing, Robert Ashley composes under the influence of his 'involuntary speech.' (In his liner notes, Ashley revealed that he suffered from 'a mild form of Tourette's.') The piece starts quietly, with scraps of Ashley's mild, tremulous voice arranged next to more fluid French translations and barely-there touches of Moog. After Ashley's phrases lengthen enough to encompass sense-making phrases, a bass-register groove briefly appears, vanishes, then returns. Few pieces so quiet have proven as captivating; many that intend to be equally startling can't capture Ashley's range of surprises." --Seth Colter Walls, from Pitchfork's "Fifty Best Ambient Albums of All Time"
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2CD
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SR 485CD
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A collection curated by Alan Dunn in collaboration with the International Anthony Burgess Foundation and Sub Rosa. Anthony Burgess's second wife Liana carried a cassette recorder with her at all times to capture her life with the author and their son, Andrew. This extraordinarily intimate audio archive of over 1,000 cassettes now sits with the International Anthony Burgess Foundation and artist Alan Dunn has been granted access to select excerpts from it and curate sonic conversations from others. The first disc contains the very first and last known recordings of Burgess's voice alongside domestic incidents, rehearsals, and answering machine messages, while the second disc invites 23 artists and musicians to remix the rare material into a unique Burgess portrait, far beyond A Clockwork Orange (1962). Features The Reverend Max Ripple, Vicky Clarke, Dinah Bird, Alan Dunn & Noisesurfer, Roy Claire Potter and Kieron Piercy, Mark Vernon, David Birchall, Marion Harrison, Jeff Young, Scanner, Ade Blackburn/Clinic & Paul Sullivan/Static, Foreign Investment, Tobias Hazan, Eye Suriyanon, Band Of Holy Joy (James Stephen Finn & Johny Brown), Chris Watson, and Guy-Marc Hinant & Laszlo Umbreit. Double-CD version includes 16-page booklet.
Born in Manchester in 1917, Anthony Burgess was educated at Xaverian College in that city and at Manchester University. He served in the army from 1940 to 1946 and as an education officer in Malaya and Brunei from 1954 to 1959. He published more than 50 books, including A Clockwork Orange and his masterpiece, Earthly Powers (1980), and composed around 250 musical works. He was created a Commandeur des Arts et des Lettres by President Mitterrand of France and a Commandeur de Mérite Culturel by Prince Rainier of Monaco. He died in London in 1993. His books are still read all over the world.
Alan Dunn is an artist and curator based between Liverpool and Leeds, where he is a reader in Art & Design at Leeds Beckett University. His projects have been presented at Tate Britain, ICA, Liverpool Art Prize, BBC Radio and Bluecoat. The International Anthony Burgess Foundation in Manchester is an independent educational charity which encourages public and scholarly interest in all aspects of the life and work of Anthony Burgess.
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2LP
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SR 485LP
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Double LP version. Includes insert. A collection curated by Alan Dunn in collaboration with the International Anthony Burgess Foundation and Sub Rosa. Anthony Burgess's second wife Liana carried a cassette recorder with her at all times to capture her life with the author and their son, Andrew. This extraordinarily intimate audio archive of over 1,000 cassettes now sits with the International Anthony Burgess Foundation and artist Alan Dunn has been granted access to select excerpts from it and curate sonic conversations from others. The first disc contains the very first and last known recordings of Burgess's voice alongside domestic incidents, rehearsals, and answering machine messages, while the second disc invites 23 artists and musicians to remix the rare material into a unique Burgess portrait, far beyond A Clockwork Orange (1962). Features The Reverend Max Ripple, Vicky Clarke, Dinah Bird, Alan Dunn & Noisesurfer, Roy Claire Potter and Kieron Piercy, Mark Vernon, David Birchall, Marion Harrison, Jeff Young, Scanner, Ade Blackburn/Clinic & Paul Sullivan/Static, Foreign Investment, Tobias Hazan, Eye Suriyanon, Band Of Holy Joy (James Stephen Finn & Johny Brown), Chris Watson, and Guy-Marc Hinant & Laszlo Umbreit.
Born in Manchester in 1917, Anthony Burgess was educated at Xaverian College in that city and at Manchester University. He served in the army from 1940 to 1946 and as an education officer in Malaya and Brunei from 1954 to 1959. He published more than 50 books, including A Clockwork Orange and his masterpiece, Earthly Powers (1980), and composed around 250 musical works. He was created a Commandeur des Arts et des Lettres by President Mitterrand of France and a Commandeur de Mérite Culturel by Prince Rainier of Monaco. He died in London in 1993. His books are still read all over the world.
Alan Dunn is an artist and curator based between Liverpool and Leeds, where he is a reader in Art & Design at Leeds Beckett University. His projects have been presented at Tate Britain, ICA, Liverpool Art Prize, BBC Radio and Bluecoat. The International Anthony Burgess Foundation in Manchester is an independent educational charity which encourages public and scholarly interest in all aspects of the life and work of Anthony Burgess.
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