|
|
|
|
viewing 1 To 25 of 56 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
BT 054LP
|
$29.00
PREORDER
RELEASE DATE: 11/8/2019
Black Truffle invite you to an evening of drunken revelry in the Batcave! After a chance meeting at a local supermarket in Poughkeepsie, New York, Joe McPhee and Graham Lambkin have performed together as a duo extensively in recent years, in addition to their joint work excavating some of the wildest tapes from McPhee's archive for Lambkin's now defunct Kye label. Live in the Batcave documents an evening the two friends spent together in the company of Joe's brother Charlie and Lambkin's son Oliver in November 2017 at Charlie's house in Poughkeepsie. The LP captures seven increasingly drunken snapshots of the four shooting the breeze, playing flutes and whistles, drumming on anything at hand, and playing records. Edited together in Lambkin's distinctive style of lo-fi domestic tape collage, the multiple simultaneous cassette recordings of the shenanigans abruptly cut in and out and fall out of sync, creating disorientating, woozy echoes. Mics are bumped, stories are told, drinks are poured, text messages arrive, and AACM-esque flute jams are interrupted by violent bursts of laughter and wet-mouthed sound poetry. All the while, classic soul records play, initially in the background, but coming increasingly to the fore until the record culminates in a strangely moving free-associative singalong. Live in the Batcave is a truly unique document that exists somewhere between free jazz, audio verité, performance art, and everyday life. File next to your copy of Das Kümmerling Trio. Gatefold sleeve with extensive photographic documentation and liner notes from Joe McPhee. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
"Our music was born from the sounds of jazz, funk, soul, noise -- sounds with no other reason so exist, except because they did, sounds which occurred like putting one step in front of the other to see if the way was clear to take the next step. The plan was, there is no plan, just start at the beginning, end at the end and party like it's 1999" --Joe McPhee.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 051LP
|
Black Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, "American primitive" stylings, and classic minimalism, Reidy's recent releases have utilized an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and -- most strikingly -- heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrete. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy's heavily auto-tuned voice quickly takes center stage. Surrounded by explosions of electric guitar and synthesized arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy's physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and "racing streams" present in Reidy's lyrics also serves to characterize the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups -- each flows seamlessly into the next, often recurring throughout the record's duration, which lingers over interstitial moments between these episodes. Artwork by Suze Whaites; LP design by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 050LP
|
Double LP version. Full title: In the past only geniuses were capable of staging the perfect crime (also known as a revolution) Today anybody can accomplish their aims with the push of the button. For its 50th release, Black Truffle presents the ninth album from one of the label's core ensembles, the power trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Drawn from a November 2015 performance at Tokyo's now-defunct SuperDeluxe, the record's opening piece drops us immediately into the maelstrom, abruptly cutting into an extended episode of Ambarchi's pummeling drums, O'Rourke's fuzzed-out six-string bass, and Haino's roaring guitar and electronics. Eventually settling into a hypnotic bass and drum groove over which Haino unleashes some almost Ray Russell-eque skittering atonal screech, these opening 13 minutes act as a potent reminder of the trio's power. Alongside showcasing the steady development of a unique language for the guitar-bass-drums power trio, the group's succession of releases over the last decade has demonstrated a constant experimentation with new instruments, which continues here with O'Rourke use of Hammond organ (played at the same time as his roaming, sometimes knotty basslines). On the album's second piece, the organ plays a key role, furnishing a harmonically rich shimmer over O'Rourke's angular six-string bass chords, Haino's distant, chirping electronics and Ambarchi's crisp cymbal work; arriving somewhere halfway between Albert Marcoeur and Terje Rypdal, this piece is undoubtedly a highlight in the trio's catalog so far. The second and third sides are slow-burning, multi-part epics that range from spacious reflection to furious tumult. Where the trio's previous double-LP set -- This Dazzling, Genuine "Difference" Now Where Shall It Go? (BT 030LP, 2017) -- was primarily instrumental in focus, here you find Haino's voice taking the spotlight on the expansive third side, intoning, wailing. and exhorting in Japanese and English over a backdrop that moves from hushed bass and organ atmospherics to rolling toms and cymbal crashes before arriving at an ecstatic finale of searing guitar, tumbling drums and reverb-saturated bass. The fourth side returns to the hypnotic grooves of the opening piece, fixing on a relentless riff and riding it into oblivion under Haino's roaming psychedelic soloing and jagged chordal slashes. Cover image by Traianos Pakioufakis; Live action pics by Ujin Matsuo. Mastered and cut by Rashad Becker at Dubplates & Mastering. LP design by Lasse Marhaug; gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 050CD
|
Full title: In the past only geniuses were capable of staging the perfect crime (also known as a revolution) Today anybody can accomplish their aims with the push of the button. For its 50th release, Black Truffle presents the ninth album from one of the label's core ensembles, the power trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Drawn from a November 2015 performance at Tokyo's now-defunct SuperDeluxe, the record's opening piece drops us immediately into the maelstrom, abruptly cutting into an extended episode of Ambarchi's pummeling drums, O'Rourke's fuzzed-out six-string bass, and Haino's roaring guitar and electronics. Eventually settling into a hypnotic bass and drum groove over which Haino unleashes some almost Ray Russell-eque skittering atonal screech, these opening 13 minutes act as a potent reminder of the trio's power. Alongside showcasing the steady development of a unique language for the guitar-bass-drums power trio, the group's succession of releases over the last decade has demonstrated a constant experimentation with new instruments, which continues here with O'Rourke use of Hammond organ (played at the same time as his roaming, sometimes knotty basslines). On the album's second piece, the organ plays a key role, furnishing a harmonically rich shimmer over O'Rourke's angular six-string bass chords, Haino's distant, chirping electronics and Ambarchi's crisp cymbal work; arriving somewhere halfway between Albert Marcoeur and Terje Rypdal, this piece is undoubtedly a highlight in the trio's catalog so far. The second and third sides are slow-burning, multi-part epics that range from spacious reflection to furious tumult. Where the trio's previous double-LP set -- This Dazzling, Genuine "Difference" Now Where Shall It Go? (BT 030LP, 2017) -- was primarily instrumental in focus, here you find Haino's voice taking the spotlight on the expansive third side, intoning, wailing. and exhorting in Japanese and English over a backdrop that moves from hushed bass and organ atmospherics to rolling toms and cymbal crashes before arriving at an ecstatic finale of searing guitar, tumbling drums and reverb-saturated bass. The fourth side returns to the hypnotic grooves of the opening piece, fixing on a relentless riff and riding it into oblivion under Haino's roaming psychedelic soloing and jagged chordal slashes. Cover image by Traianos Pakioufakis; Live action pics by Ujin Matsuo. Mastered and cut by Rashad Becker at Dubplates & Mastering. LP design by Lasse Marhaug; gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 053CD
|
Black Truffle present Reservoir 1: Preservation, a gorgeous piece by American composer/percussionist Sarah Hennies. Sarah's work explores a variety of musical, sociopolitical, and psychological issues including queer and trans identity, love, intimacy, psychoacoustics, and percussion. The Reservoirs are a series of three one-hour pieces based on the relationship between the conscious and unconscious human mind. Jung and Freud described the unconscious mind as a reservoir, a repository for memories that we don't readily need access to, yet are kept forever somewhere in our minds. Specifically, Freud believed that one function of the unconscious mind is to store traumatic memories, filed away so that we don't have to confront them every day. The conscious mind has no direct access to the unconscious, yet the unconscious is a constant yet mysterious presence in our lives. Reservoir 1: Preservation is scored for piano and three percussionists, performed by Phillip Bush and Meridian, the long-running experiment in percussion, improvisation, and interpersonal relationships that includes Tim Feeney, Sarah Hennies, and Greg Stuart. In Preservation the piano functions as a constant, pervasive, but almost subliminal murmur amid the percussion playing that cycles through a variety of timbral and gestural areas, including gentle droning, frenetic scraping, and bricks violently dropped into metal buckets. The percussion group never interacts with or responds to the piano, while the piano subtly absorbs aspects of the trio. Preservation was recorded, mixed, and mastered by Jeff Francis at the University of South Carolina and performed by Meridian: Tim Feeney, Sarah Hennies, Greg Stuart (percussion), and Phillip Bush (piano). CD digipak with design by Lasse Marhaug; Cover photo from Abby Grace Drake's photo series, Shopping Carts of Southside Ithaca.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 049LP
|
Black Truffle announce the release of this genuine head-scratcher, the first collaboration between DJ/mixtape-compiler Kayo Makino and underground legend Tori Kudo. Originally created to be played between acts at the launch of Eiko Ishibashi's acclaimed The Dreams My Bones Dream (2018) and then reworked and refined for LP release, the two side-long pieces are sonic environments constructed by Makino for Kudo's piano to inhabit, or, as the LP's credits suggest, a "cinéma pour l'oreille" in which Kudo's piano plays the starring role. Beginning with a soothing field recording of crickets dramatically punctuated by smashing glass, the first side finds Kudo playing his way repeatedly through one of Satie's 1897 Pièces froides. Best known to many listeners for his role as leader of the ecstatically shambolic rock unit Maher Shalal Hash Baz, Kudo's performance of Satie's whimsical yet haunting melody is alternately halting and fluid, delighting in the hesitations of unstudied technique and the subtle variations between repeated attempts. While the combination of Kudo's piano and the background of crickets initially suggests a documentary approach to recording -- as if the you are simply hearing incidental sounds creeping through an open window -- things take an unexpected turn a few minutes in when Kudo's piano is suddenly doubled. Layering two separate attempts at the same piece of top of each other, Makino's unorthodox mixing blurs Satie's original into a fog of stumbling echoes that becomes increasingly dreamlike as the chirping crickets are overtaken by pattering rain, German dialogue and traffic sounds. The second side begins in a similarly inscrutable vein, with snatches of birds and film music providing a gentle backdrop for Kudo's improvisational variations on a chord progression that, as his performance builds over its twenty-minute duration, somehow begins to suggest the sadly swaggering grandeur of Mick Taylor-era Rolling Stones. Makino accompanies and eventually overwhelms Kudo's piano with a bizarre layer of digitally processed voice and drums, stretched out into a disorienting haze before suddenly retreating to leave Kudo's piano accompanied only by a barking dog. Seemingly unrelated to anything else being produced in the world of contemporary music, this is a striking collaboration between two unique musical personalities that bridges the mundane and the surreal, opening up a dream-space both haunted and hospitable. Cover design by Lasse Marhaug. Mastered by Jim O'Rourke at Steamroom, Japan. Vinyl cut by Rashed Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 048LP
|
Black Truffle present the first ever vinyl reissue of David Rosenboom's legendary Brainwave Music, originally released on A.R.C. Records in 1975. This is an expanded double-LP edition with over 40 minutes of additional contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley, and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long "Portable Gold and Philosophers' Stones", four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analyzed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In "Chilean Drought", three different variations of a text about a drought in Chile, read by a different voice in a different style, are associated with the beta, alpha, and theta brainwave bands. Alongside an insistent piano accompaniment, three constantly shifting vocal recordings are controlled by the relative preponderance of each of the brainwave bands in the soloist. "Piano Etude I (Alpha)", the earliest piece included here, is based on research into the link between alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands, two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average alpha amplitude increases. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom's "On Being Invisible", in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to "Portable Gold and Philosophers' Stones" but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the "performer's active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge." Includes archival images and new notes from the composer. Gatefold sleeve design by Lasse Marhaug. Mastered by David Rosenboom from the original analog tape masters. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 047LP
|
Black Truffle announce the release of Australian composer-performer James Rushford's The Body's Night. Known to many through his collaborative works with Oren Ambarchi, crys cole, Kassel Jaeger, Klaus Lang, Joe Talia, and many others, this LP is Rushford's first solo release in a decade and the very first he has composed, performed, and recorded entirely alone. Primarily recorded in Los Angeles in 2017, The Body's Night is a single electro-acoustic suite stretching over thirty minutes, utilizing field recordings, flutes, ocarina, microphones, organ, percussion, piano, tape, analog synthesizers, viola, and voice. True to its title, the record immediately ushers into a nocturnal, intimate, claustrophobic space where the hyper-amplified rustle of clothing and vocal mumbles are shadowed by uneasy synth tones, fluttering white noise and distant filigrees of ultra-high-pitched tones at the edges of aural perception. While the influence of contemporary composers such as Klaus Lang and Jakob Ullmann (both of whose music Rushford has performed extensively) makes itself felt in the music's attention to the liminal space between sounds, Rushford also draws on the bedroom synth explorations of '80s acts like Déficit Des Années Antérieures (DDAA) and the harmonies and production values of black metal, drawing a common thread between these influences in terms of their shared interest in atmosphere and deliberate retreat from perspicuity. Relief from this claustrophobic atmosphere comes through the episodic structure of the piece, where like an already dark shot fading to black, each sequence retreats from your ears before you can properly grasp it. Rushford uses classical electro-acoustic techniques and plays elegantly on the fundamental ambiguity of the acousmatic situation in which you can never be sure of the source of the sound you are hearing. But rather than a tribute to the masterworks of musique concrete, this is defiantly idiosyncratic and personal music. Meticulous in production values and exploratory in timbre, tonality and form, The Body's Night is a key work from one of the most singular young composers at work today. Stunning artwork by O.B. De Alessi. Design by Lasse Marhaug. Mastered and cut at 45rpm for maximum fidelity by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 046LP
|
Patience Soup presents the entirety of a live performance from the trio of Oren Ambarchi, Jim O'Rourke, and Japanese underground legend Phew that took place at the Kitakyushu Performing Arts Center on November 4th, 2015. Known to many listeners outside Japan primarily for her early collaborations with members of Can, Phew has been undergoing something of a creative renaissance in the last few years, prolifically recording and releasing a body of work that strips away the band arrangements present on most of her past releases to focus solely on her raw DIY electronics and possessed vocal stylings. Forming a perfect companion to 2017's well-received Voice Hardcore, a series of pieces composed of only her processed voice that saw Phew push her work into the most abstract terrain yet, Patience Soup finds the trio inhabiting an uneasy landscape of moans, howls, and smeared electronic sonorities. Presented in atmosphere-enhancing room fidelity, the set begins in crunching textural abstraction and Phew's vocal asides, set against a backdrop of Ambarchi's shimmering Leslie-cabinet guitar tones and O'Rourke's synthetic slivers. A testament to the risk-taking prowess of these three master improvisers, the performance moves organically from ecstatic crescendos powered by Phew's processed wails to moments of near-silence in which a translucent veil of lingering electronic tones is gently punctuated by O'Rourke's chiming piano chords. Constantly shifting, both harmonically and dynamically, Patience Soup is suffused throughout with a haunted energy and shows these three established figures continuing to venture out into uncharted territory. Presented in a deluxe sleeve with stunning images by Traianos Pakioufakis and an inner sleeve with live pics from Mike Kubeck. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 041LP
|
Black Truffle announces the release of Songs Without Throats, a collection of recordings from Paul DeMarinis. A key figure in the history of electronic music since the 1970s and collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. All tracks have been selected in collaboration with the artist, focusing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds, recorded during the late '70s up until 1995. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a mind-blowing, revelatory look into DeMarinis's alternately accessible and uncompromising production. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura of Anne Klingensmith with letters spat out by a Speak n' Spell to the accompaniment of the randomized melodic patterns of DeMarinis's homebuilt electronic instrument "The Pygmy Gamelan", the record then dispenses with the live human voice in favor of its recorded and synthetic doubles. One can follow DeMarinis's restless probing of the possibilities of technology, from the hacked Speak n' Spell (which gives us the austere "Et Tu, Klaatu" (1979), another duet with Klingensmith, on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital samples manipulated with home computer technology in the early 1990s (including a remarkable collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant - glides into a rich tapestry of samples reflective of the dictator's musical life). In between is a rich sampling of DeMarinis's signature work with speech melodies -- usually unnoticed melodic inflections that lie within speech patterns -- which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of sources, which range from the hilarious to the menacing, combining elements as seemingly unlikely as Beethoven's piano sonatas and the sounds of '80s synth-pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterizes his work with vocal synthesis, this is "a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic". Deluxe gatefold sleeve with archival images and liners by DeMarinis; design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 042LP
|
Black Truffle present the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theater. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterized by subtly surreal humor and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which you lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors -- Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -- Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer; Design by Stephen O'Malley; Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 045CD
|
The recently composed "Ricochet Lady" (2016) is the only work for solo acoustic glockenspiel by the American experimental composer Alvin Lucier. Following in the manner of his pieces "I Am Sitting In A Room" and "Vespers", "Ricochet Lady" embodies Lucier's approach toward sound's individual function and mobility within space. This CD defines this approach through four realizations recorded in four dissimilar spaces, ranging from the standard to extraordinary: a university rehearsal hall with walls of drywall and glass, a chapel made of oak and stone, an empty forge and foundry warehouse for steel railway wheels, and a 36-meter tall dilapidated cement grain elevator. Never one to shy away from convention, Lucier intensifies each performance by instructing that the glockenspiel be placed against a wall or other reflective surface where the soloist systematically traverses the entire range of the instrument in rapid, repetitive patterns, actively disseminating the glockenspiel's sustain, clicks, and interferences throughout the space. In doing so, the glockenspiel maps the unique acoustical characters of each space as each space helps to compose the piece. Created in close collaboration with Trevor Saint, a rare (if not the only) specialist of experimental music for glockenspiel, Lucier has further enhanced the sophistication of this re-imagined instrument while maintaining his devotion to letting spaces speak. Presented in a stunning digipak with liner notes by Alvin Lucier and Trevor Saint. Design by Lasse Marhaug. Mixed and mastered by Matt Sargent at Bard College, Annandale-on-Hudson, New York. (For an optimal listening experience it is recommended that these recordings be played at high volume).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BT 044CD
|
So You ... (Hermes, Orpheus, Eurydice) is a major new work by legendary experimental composer Alvin Lucier. It is an hour-long epic that tracks the familiar Orpheus myth from a less familiar perspective: that of Eurydice as imagined by poet H.D. (Hilda Doolittle); a Eurydice who rails at Orpheus for his hubris in attempting to rescue her. So You ... (Hermes, Orpheus, Eurydice) was originally commissioned by Documenta 14 and first performed as part of Documenta in Athens in 2017. Two key, and formerly distinct, aspects of Lucier's practice come together in this piece: the exploration of interference patterns in closely tuned intervals, and the exploration of resonant chambers. From speakers mounted inside amphorae a constantly turning braid of beating sine waves trace the descent into the depths of hell, and then the doomed attempt to climb back into life. Singer Jessika Kenney and long-time Lucier collaborators Anthony Burr and Charles Curtis embody the three title characters in deeply focused performances that assert themselves against the process of the sweep, or become enfolded in it. The electronics were mixed in real time by programmer and equipment designer Tom Erbe. This record has all of the mind-bending acoustic effects expected from a Lucier piece, but also features a strong sense of narrative drama and flashes of raw emotion that are unexpected and deeply affecting. Design by Lasse Marhaug. Mastered by Doug Henderson at micro-moose, Berlin. Presented in a deluxe digipak with a booklet featuring the original poem and extensive notes by Lucier, Burr and Cathy Gere.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 040LP
|
Black Truffle present the first reissue of a true underground masterpiece, Massimo Toniutti's Il Museo Selvatico ("The Wild Museum"), originally self-released on LP in 1991. Like his better-known brother Giancarlo -- whose classic 1985 Broken Flag LP La Mutazione was reissued by Black Truffle in 2015 (BT 014LP) -- Massimo Toniutti was active in the vibrant underground industrial/noise scene of the 1980s, contributing to releases on legendary labels such as Broken Flag and RRR and self-releasing a series of cassettes between 1984 and 1988. Existing in a private world apart from the noise and dark industrial tropes of many of his contemporaries, Toniutti's Il Museo Selvatico is an entirely singular work of domestic electro-acoustic exploration. Made up primarily of what Toniutti calls "small and rare noises" or sonic "knick-knacks" recorded between 1987 and 1990, the five pieces that make up the original LP usher us into a crepuscular space populated by mysterious traces of everyday life. Toniutti weaves a loose net of distant clanks, dull thuds, metallic resonance, and skittering percussive sounds, allowing the sounds to breathe against a backdrop of near-silent atmosphere. Although the haunted ambience recalls the work of contemporaries like Organum, Toniutti generally steers clear of long tones and drones, preferring to arrange brief, sometimes staccato sonic objects into patters of repeating figures and isolated events whose overall compositional shape remains somehow ungraspable. Although glimpses of recognizable location recordings and instrumental sounds can occasionally be made out, for most of the record the sources of the sounds you hear remain teasingly mysterious, an abstracted memory of everyday actions and atmospheres. I Museo Selvatico is accompanied here by an additional LP of material recorded at the same time, composed especially for this reissue into two side-long suites that inhabit the same haunted space as the original LP while occasionally making use of more maximal compositional strategies. Essential listening for fans of Organum, Nurse With Wound, Christoph Heemann, and the tradition of outsider musique concrete. Comes as a double-LP in a lavish gatefold with printed inner sleeves featuring archival images and notes. Remastered and cut at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4LP BOX/CD/Book
|
|
BT 043LP
|
Black Truffle together with Bernhard Rietbrock and ZHDK present Illuminated By the Moon, a stunning box set celebrating Alvin Lucier's 85th birthday celebrations which took place in Zurich, 2013. Alvin Lucier is one of most important figures in more than a half century of avant-garde and experimental sound practice; he has no equivalent. He is among America's most important composers, a towering pillar of intellect, creativity, and beauty realized through sound. His singular body of work is focused around acoustic phenomena and auditory perception includes, among others, the groundbreaking Bird And Person Dyning, 1980's Music On a Long Thin Wire (LCD 1011CD), and 1981's I Am Sitting In a Room (LCD 1013CD), each quietly shifting the understanding of what music could be with deceptively discrete gestures, laying their mark on history and the expectations of nearly everything to come, while radically expanding the field. It is such a life, defined by such striking accomplishment, which Illuminated By the Moon, celebrates across four LPs, a CD, and book. Recorded in October of 2016 at the Alvin Lucier 85th Birthday Festival at the Zurich University of the Arts, the box gathers a remarkable range of performances of works from Lucier's life in music, from the iconic to the lesser known. It begins with wonderful stagings of "I Am Sitting In a Room" and "Music for Solo Performer" performed by the composer, before presenting the work "Charles Curtis" performed by the cellist for whom it was composed, and "Double Rainbow", a recent work, performed by the incredible Joan La Barbara. Over the course of the set's many discs, one encounters a range of works performed by Oren Ambarchi, Stephen O'Malley, Charles Curtis, and Gary Schmalzl, with further contributions by many others involved in Lucier's life and work. The collection, by offering an expanse of material otherwise unavailable in the composer's discography, opens a rare window into the breadth and range of territory which he has approached, as well as into the unique humor which has quietly bubbled through his entire career. It is a singular recording event, the likes of which are unlikely to be repeated. A worthy tribute to one of the last century's most important composers. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin. 180 gram vinyl. Includes CD and 12x12", 120-page book with unseen images and various essays; Includes download code; Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 039LP
|
Black Truffle present the release of Ichida, the first release from the duo of two important, yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O'Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O'Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo's Super Deluxe in March 2013, the set begins as a duet for Ishibashi's flute and Gray's upright bass. Calmly melodic yet harmonically inventive, with shades of "spiritual jazz", the pair's acoustic ruminations are gradually joined by Ishibashi's lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray's bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of '70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O'Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible. Cover pics by Jim O'Rourke. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 035LP
|
Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams. The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground. From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two-word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronized vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell. Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements. Sleeve design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 038LP
|
Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT 020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe. Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Comes on neon orange vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 037LP
|
Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O'Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalog, the creaking electronic morass of Manhunter (2013). Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia's expertise as percussionist, studio engineer, and performer on analog electronic instruments (primarily modular synth and Revox tape machine). Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favor of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy's epic concrète love letter to Tokyo, Gaku-No-Michi (2010), Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analog synth zaps and tape manipulated percussion that reflects Talia's deep engagement with the relentless yet constantly shifting dynamics of free jazz. Stunning photographs by Joe Talia; Album design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 036LP
|
Black Truffle make Oren Ambarchi's Grapes From The Estate available once more on vinyl. Originally released on CD on Touch in 2004 (TO 061CD) and reissued on Southern Lord as a limited double-LP in 2006 during Ambarchi's tenure as a member of Sunn O))), Grapes From The Estate was a landmark release for Ambarchi, seeing him expand his sonic palette beyond the clipped, bass-heavy electric guitar tones he was known for at that point. Incorporating subtle layers of strings, keyboards, percussion over a bedrock of his signature guitar tones, in retrospect this album can be seen as the beginning of a broadening and evolution in Ambarchi's work that would lead to his acclaimed, densely layered epics for Editions Mego, Quixotism (EMEGO 202CD/LP, 2014) and Hubris (EMEGO 227CD/LP, 2016). Beginning with the shuddering pure tones of opener "Corkscrew", which looks back to previous guitar-only releases such as Suspension (TO 033.18CD, 2001), the album's next two pieces show a progressive broadening of the instrumental palette and a corresponding move away from textural abstraction and sustained tones towards more traditional notions of musicality. This reached its high point on the album's third piece, the fifteen-minute long "Remedios The Beauty", where guitars, both acoustic and electric, strings, piano, and bells build from a murmur to an interlocking web of repeating melodic patterns over gently swinging brushed snare and cymbals. The epic closer, "Stars Aligned, Webs Spun", returns you to a space populated only by the electric guitar, but unlike everything Ambarchi had produced up until this point in his career, the piece has a liquid, psychedelic edge that looks forward to the shimmering harmonics of his more recent work. As Brendan Walls wrote at the time of the original release, this is "another outpouring of personal, intimate and enduring music from Oren Ambarchi". Original artwork and design by Jon Wozencroft. Redesigned by Stephen O'Malley. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 034LP
|
Black Truffle present a reissue of a landmark UK release, Max Eastley, Steve Beresford, Paul Burwell, and David Toop's Whirled Music, originally released on Quartz in 1980. Remastered and cut at 45RPM by Rashad Becker at Dubplates & Mastering Berlin. Includes a 24-page booklet with archival materials and notes from David Toop, alongside contemporary reviews, flyers, notes on the instruments and performance documentation; Gatefold sleeve.
"[Whirled Music is] one of the key documents of the inventive and energetic scene around the London Musicians Collective in the late 1970s and early 1980s. Originally released on Toop's own Quartz label in 1980, the LP features a remarkable series of performances made entirely with whirled and swung instruments and objects. Part of the second generations of British free improvising musicians, the prolific scene centered around the performers heard here chafed at the limitations present within the music and ideology of improvising legends such as Derek Bailey, Evan Parker, Tony Oxley, and John Stevens. Where the first generations of British free improvisers often demonstrated a rigorous commitment to non-idiomatic free improvisation and instrumental virtuosity, musicians like Beresford reconnected with the dada antics of figures like Han Bennink and surrendered to joyful musical promiscuity, gleefully disrupting expectations around 'serious' improvised music through quotations (of anything from Beethoven to reggae) and deliberate amateurism. . . . Beginning in 1979, Whirled Music was the title given to a series of performances in which a variety of instruments and objects, both home-made and store bought, traditional and invented, would be whirled to produce sound. In addition to variations on traditional instruments such as the bullroarer, Whirled Music also made use of whirled whistles, hand drums, radios, and microphones. Due to the danger this represented for both performers and audiences, the performers wore protective masks and were separated from the audience by a net. . . . Presented in glorious cassette-recorded room fidelity, the LP's first side features a single extended live performance in which percussive chattering, resonant gong-like tones, mysterious wind tones, and swells of delirious noise join together to create a sonic landscape as reminiscent of an environmental recording (wind in the trees, the squawking of birds) as of an ethnographic recording of the music of an unknown civilization. Although purely acoustic, the music has an unstable, dispersed quality reminiscent of the pioneering live electronics of the Sonic Art Union or even early Voice Crack. The LP's second side presents a series of shorter excerpts, including some beautifully sparse outdoor recordings where the sounds of the whirled instruments blend indistinguishably into the backdrop of environmental sounds." --Francis Plagne
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 033LP
|
Limited repress. Black Truffle present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s and is perhaps best known for his 1970 piece I Am Sitting In a Room (LCD 1013CD). He has written a remarkable catalog of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, often using pure electronic tones produced by oscillators in combination with single instruments. Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In "Criss-Cross", Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece exemplifyies Lucier's desire not to "compose" in the conventional sense, but rather to eliminate everything that "distracts from the acoustical unfolding of the idea". In this immaculately controlled performance of "Criss-Cross" by Oren Ambarchi and Stephen O'Malley, for whom the piece was written in 2013, a seemingly simple idea creates a rich array of sonic effects -- not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps. In the comparatively lush "Hanover", Lucier draws inspiration from the photograph on the cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed), and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that is simultaneously both unperturbably calm and constantly in motion. LP design by Stephen O'Malley; Includes inner sleeve with a portrait of Alvin Lucier by Kris Serafin. "Criss-Cross" recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. "Hanover" recorded in Zurich and mixed by Alvin Lucier. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BT 030LP
|
Black Truffle presents the eighth full-length release from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analog electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where their previous releases featured extended vocal workouts from Haino, his vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O'Rourke or Ambarchi taking the lead role as often as Haino does. The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi's busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O'Rourke's FX-saturated strings rise and fall, momentarily converging for passages of near stasis before wandering through areas of gently sour discord; O'Rourke's use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino's guitar. On the second side, O'Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern. Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback. The third side is the most abstract; Continuing Haino's explorations of new instruments, the side opens with a long passage of toy piano. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O'Rourke, for the first time in this group, performs on the EMS Synthi. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax. Beginning with a sequence of "fourth world" drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax. Cover image by Traianos Pakioufakis; Live action pics by Mike Kubeck. LP design by Stephen O'Malley; Gatefold sleeve. Mastered and cut by Rashad Becker at Dubplates & Mastering.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 031LP
|
Black Truffle present the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well-known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory. Opening with "Delta", which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding "The Immense Room", where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt. A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work. Cover image and John Duncan portrait by Traianos Pakioufakis. LP design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BT 032EP
|
What happens when Oren Ambarchi is backed up by the world's greatest monster riff legends from his beloved homeland? Find out in the second volume of this infamous series where endless riffing and ecstatic shredding is the order of the day. Bonus intro track features some band from New York. Yah Boobay! Deluxe sleeve with photography by Crys Cole and Theresia Pfaender. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
|
viewing 1 To 25 of 56 items
Next >>
|
|