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SAUNA 057CS
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Three introspective compositions full of contemplative, emotional ambiguity and time stopping focus. Side B contains the full program backwards. ELEH's Home Age series was composed and recorded over a period of five years and it reflects a search for color, form, connection, and growth. Recorded 2015-2019. Mixed March-May 2020. Cassette edition of 100.
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SAUNA 052CS
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NYZ on the recording: "The Buchla 100 experimental session begins with a documentary recording of the noise generators. Something I find endlessly fascinating is listening to different noise sources, so I always feel compelled to record them. The remaining tracks are sequenced by my MANIAC Cellular Automata sequencer. First up are three little sequenced ditties that also incorporate the ARP 2600 modular interconnected to the Buchla 100. After this is an ultra-minimal setup using MANIAC and the mind-numbingly rare Waveform Synthesizer Model 132 module. As far as I'm aware this is the only one of these modules that Buchla ever built! A truly unique module where you have 32 pots that setup the output waveform, and an FM input as well. The last two tracks are a Cellular Automata / FM crossmod oscillator stereo setup, lots of crunchy high pitched stuff with some deep bass notes thrown in too :]" Recorded at Center for Contemporary Music, Mills College, Oakland, CA, USA on April 5th, 2015. Mixed and arranged at Noyzelab, NSW, Australia between July 2015 & February 2016.
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SAUNA 055CS
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Alexandre Bazin is a member of the Groupe de Recherches Musicales, better known as the GRM, for which he writes documentaries about music for the radio. Due to his background as a classical and jazz pianist, Alexandre Bazin is also passionate about instrumental music by the likes of Steve Reich, Erik Satie, Brian Eno. This album attempts to synthesize these two worlds that are so dear to the composer, either in symbiosis or in opposition to one another with simple and loose melodies as its main theme. The use of analog synthesizers and acoustic sounds are at the heart of the composer's creative process. "Oceans" was written for marimba, piano, and Buchla Music Easel, in four movements around the theme of the ocean. Simple and loose melodies, played on piano and Buchla. They rotate around the marimba which evokes breathing and the rhythm of the swell. Suspended melodies reminiscent of generative music although in this case they are an improvisation around a simple motif. The piece was performed by Alexandre Bazin on piano, Buchla Music Easel and marimba, as well as Gabriel Benlolo on marimba, a member of the Radio France Philharmonic Orchestra. "The Deserter": Not escaping a situation to flee but to be physically freed from it. The response manifests itself through the breath, heartbeat and the act of running. Beyond a moral necessity, it becomes a physical necessity that cannot be contained. Your natural defenses provoke this sudden urge. Your body cannot be contained through inaction. Our bodies in action escape all control, in order to free ourselves from the time that is limited to us. A piece for percussion, electric organ, and Buchla Music Easel. "Dream-Land": A piece that borrows its titles from Edgar Allan Poe's poem. In the spirit of the GRM's acousmatic works, such as "L'Enfer" by Bernard Parmegiani or "Suite pour Edgar Poe" by Guy Reibel. Alexandre Bazin, a member of the GRM, wrote music inspired by this mysterious, perhaps imaginary land, at the edge of the human spirit, where a lonesome traveler walks among the shadows, advancing through harsh and hostile nature.
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SAUNA 054CS
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"Her new work Flood has extraordinary depth and dimension." --Kevin Press, Badd Press
"Her music is all-immersive, it is all around you and especially when played a bit louder offers a whole sonic depth that you wouldn't notice otherwise. This is the field where field recordings, drone and musique concrete meet up. This is a very fine follow-up to her debut." --Vital Weekly
"An innovative sound that oscillates like the bridge between robots and future tech. And just as the cover depicts, this is a look to the skies, beyond the distant clouds, to other galactic bodies. Yes, this is space age music for a new generation. Breathtaking." --TJ Norris, Toneshift
"Jana Irmert has created a metaphoric world of billowing harmonic clouds, gently crackling sounds and abstracted field recordings. All three parts of the album are marked by perpetual subtle shifts, memory turning into an imperfect compass: You can walk through the music in all directions without ever passing the same point twice. Inside this world of concrete sounds and pure abstractions, of organic timbres and alien noises, all sense of perspective is lost: What is far can seem close, tiny sounds suddenly appear enormous. In a sense, Flood is about the desire for change, a sensation that fills us both with anticipation and anxiety. That is why this album is more than just a sonic novel, and why there is more than one story to it -- just enter the flood and allow the current to carry you far, far away." --Tobias Fischer
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SAUNA 053CS
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$9.50
PREORDER
RELEASE DATE: 8/14/2020
Bodies beyond the notion of control... The trance and possession of evil spirits fading into the darkness... What's there, under the burst of the glaring sunlight? Rupture was inspired by the southern Italian folktale of Tarantism, originated in the Puglia and Salento regions. Tarantism is said to be an epidemic provoked by the bite of the tarantula, the small poisonous spider active in the summertime. The bite causes catalepsy, perspiration, palpitations, epilepsy, and leads those bit to believe they are undergoing an extreme spiritual possession. Its victims were mostly women, more likely to be bit during harvest. As is often the case with ritual and superstition, the symptoms began to take religious significance, inspiring a strain of folk music tradition in the region developed as an antidote. According to popular legend, listening to the sound of particular music instruments (such as violin, accordion or tambourine) and being exposed to certain colors (such as green, yellow, and red, waved as scarves in the healing ritual) provoked an outburst of rage that made the afflicted woman (known as a tarantata) dance feverishly until she collapsed in bed and coalesced. The legend and practice were widespread until the 18th century, subsequently slowly fading out of public consciousness. Aki Onda was inspired by the phenomenon and began to listen to the traditional folk music of the region. These folk pieces are quoted into the tracks, mostly in indirect ways but occasionally directly sampled. The tracks were initially composed as the soundtrack for a dance piece, SU-EN Butoh Company's RAPTURE, premiered at Dansens Hus in Stockholm. Onda selected the images of the Japanese photographer Daisuke Yokota for the album cover. His eerie and uncanny images, evoking the strong detachment from reality, helped Onda to develop his original inspiration. The tracks were recorded with musicians Tatsuya Nakatani (percussion, gongs, bells), Gareth Davis (bass clarinet), and Clifton Hyde (mandolin). Mastered by Michael Fossenkemper.
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SAUNA 051CS
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Arrival Vibrate is Larsen's 17th album, an alchemical suite tribute to the late Z'EV based on his poem by the same title hereby transcribed by Larsen's members into a score following the "Rhythmajick" kabbalistic musical theories by their friend Z'EV. The album documents the first live performance ever of this piece recorded at the band's March 13th, 2018 benefit concert for Médecins Sans Frontières International at The National Museum Of Cinema in Torino, Italy, and features two different versions of "Arrival Vibrate", one faithful to the show mixed by Larsen's sound engineer Paul Beauchamp and one revised and enriched by Larsen and Z'EV's mutual friend, musician/performer/visual artist John Duncan (of Los Angeles Free Music Society fame). About his (re)mix John Duncan says: "The contribution I wanted to make was to enhance moments that seemed to call for more complexity, more presence and most of all more of a congratulatory celebration of Z'EV's achievements, with the applause that was always so difficult for him to accept, as well as to be effectively invisible; like you hear the same music you heard before, but it's like hearing it for the first time."
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SAUNA 047CS
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Floating Frequencies/Intuitive Synthesis Volume I was originally released in 2006. This 2019 cassette edition was remastered by Eleh.
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SAUNA 048CS
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Floating Frequencies/Intuitive Synthesis Volume II was originally released in 2007. 2019 tape remaster. Eleh's Floating Frequencies/Intuitive Synthesis Volume II requires dedicated and careful listening. "Black Mountain 1933" is a detailed account of the emerging frequencies resulting from the carefully crafted meeting of seven sine waves. "Pulsing Study Of 7 Sine Waves Part One & Two" focus on deep bass pulses being slowly modulated by frequencies well below the level of human hearing.
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SAUNA 049CS
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Floating Frequencies/Intuitive Synthesis Volume III was originally released in 2008. This 2019 cassette edition was remastered by Eleh. Pure tone, pure sound, pure analog. Dedicated to Pauline Oliveros.
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SAUNA 050CS
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Floating Frequencies/Intuitive Synthesis IV contains two new pieces from Eleh, each over 40 minutes long.
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SAUNA 042CS
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Wagga Ham Shack is an extensive, ambient recording of The Wired Lab's Global Communications Club installation held at the Wagga Wagga Fusion Multicultural Festival in Oct 2015. Incredible analog/digital shortwave radio Ham signals mix with David Burraston's synthesizer performance to create an incredibly useful ambient environment. David Burraston is an award-winning artist/scientist working in the areas of technology and electronic music since the late 1970s. His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, sound synthesis, and electronic music. He performs, lectures, conducts workshops, and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity. In 2014, he independently published the legendary SYROBONKERS!, the most technical and in-depth interview ever given by Aphex Twin.
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SAUNA 046CS
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Drift is a free fall album consisting of three compositions invoking a sense of hovering expansion. Deeply spacious yet tightly compacted sound movements create holding patterns that slowly shift and evolve. Cycles fall in-and-out of sync while atmospheres envelop time, appearing on the periphery before being subsumed back into space. The compositions utilize modified alto saxophone with spring reverb attachment, synthesizers, percussion, field recordings and electronic processing. The saxophone is played with an acoustic spring reverberation preparation to produce multiple feedback tones, pitch beating, and metallic distortion. Using sampling and pitch shifting techniques, the instrument and its presence of breath act as the glue that binds the pieces.
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SAUNA 038CS
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Tape recorders, 78 rpm records, cymbals, floor tom, environmental recordings, contact microphones, hydrophones, magnetic sensors/cartridge, metasomatose, DSPm, etc. Additional sounds and photography by Simon Christoph Krenn. Dialoge____Gideon's Disease was produced, mixed, and mastered by Matthias Urban. 2015.
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SAUNA 032CS
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Cutups are a series of works by Roberto Carlos Lange (Helado Negro), created by processing audio recordings of orphaned sounds found on his hard drive. Roberto on Cutups: "There's an idea of sound composting that happens on my hard drives, I have so many recordings of improvisations, performances and general noodling that it all comes together over time becoming some sort of nutrient for other work. All these pieces are from 2010-2016, they have a similarity in aesthetic and process." Roberto Carlos Lange was the recipient of the Joyce Award in 2015. Cover art by Kristi Sword. Sword is a visual artist that uses material from her daily work and transforms them with long-time staking process to produce forms alien to where it originated.
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SAUNA 040CS
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Koen Holtkamp presents Gong Solo on Cassauna. Holtkamp on the release: "These pieces are the first part of a series devoted to exploring the gong, so I decided to begin with a very simple approach. 'Mallet' is literally the first recording I made with the gong on the day I acquired it, so it represents my initial reaction to the instrument. It's the same basic tempo struck with a single mallet but varying intensity and position of the mallet on the gong to get a wider range of dynamics and sound. 'Sine' uses a single low frequency sine wave, tuned to a resonant frequency of the gong. Other than fading out the sine wave coming from the speaker behind the gong at the very end, I didn't make any changes during the recording, so the minute fluctuations that happen during the piece are purely from the gong interacting with the bass tone." "Mallet" was recorded in 2015 and "Sine" was recorded in 2016.
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SAUNA 036CS
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Longitudes is a live recording of the Overtone Ensemble performing live at the Liquid Architecture Festival. Edition of 100. Tim Catlin formed the Overtone Ensemble in 2012 in order to perform works using his self-made "Vibrissa" instruments. Each instrument consists of twelve vertically mounted aluminum rods that are longitudinally stroked by hand to produce ethereal "singing" tones. The long sustaining nature of the rods sound and microtonal tunings allow players a sonic palette of complex textures and harmonic complexity. Other instruments used include massed hand-bells, quarter-tone bells, e-bowed acoustic guitars, re-tuned glockenspiels, wineglasses and long wire instruments. The ensemble's compositions utilize acoustic phenomena arising from microtonal tuning such as phasing, combination tones and sympathetic vibrations, as well the effects of room resonance. All sounds are acoustic in origin without effects or sound processing. The results are works of shimmering intensity and pulsating beauty. Recorded by Byron Scullin.
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SAUNA 030CS
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Søren Kjærgaard and Theresa Wong met along the sonic trade routes between Copenhagen and California, beginning their musical dialogue in 2011. Layered Events reflects a set of pieces constructed entirely of improvisations recorded upon improvisations in the studio; two players poised to each other and to themselves, traversing the breadth of their synchronistic encounters.
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SAUNA 029CS
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Tabulatura (2008) is an indeterminate composition for 16 prerecorded guitar parts and computer with custom software. It is conceived as a system to generate different electroacoustic patterns. This cassette documents seven pieces recorded live during four sessions at the 18th-century Palazzo Castagna in Città Sant'Angelo, Italy, between May and June 2015. The album was recorded on two-track, directly on hard drive, without DSP and overdubs. Emiliano Romanelli (b. 1979) is an Italian musician with a background in visual art. His works include sound installation, live performance, and composition; they are based on generative systems and the perceptual relationships between sound, light, and space. His work is published by Terziruolo (IT). He is a co-founder of the multimedia duo Tu m' (1998-2011). Their compositions have been released by labels including LINE (US), Headz (Japan), and Dekorder (Germany), and their audio-visual works have been exhibited in various museums and galleries including the Castle of Rivoli (Turin), the Arnolfini (Bristol), and the Oboro (Montréal).
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SAUNA 031CS
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The cassette showcases two contrasting explorations of the microtonal tuba. "Rubble Master" explores noise production, with the lips and tongue acting as noise generators that are filtered using half-valve techniques. "Underground Music" uses live electronics to simulate the movement of two related tunings moving in opposite directions, like trains through the abandoned underground station in which the piece was premiered. Program repeats on both sides.
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SAUNA 027CS
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Adam Basanta is a Montréal-based sound artist and experimental music composer. His sound installations investigate intersections between sound reproduction, consumer technologies, and the activity of listening. To create A Room Listening to Itself, the artist produced sound exclusively through amplification techniques that make audible the physical relationships between microphones and reclaimed speaker cones within a gallery's surrounding acoustic environment. In this work, eight iconic SM58 microphones and eight reclaimed speaker cones are dispersed throughout the gallery space, arranged in a manner that produces complex computer-controlled feedback and recursive amplification networks. Using these acoustic phenomena, the gallery space is turned into a giant resonator that amplifies acoustic space as a product of spatial relationships. Custom-built software algorithms constantly recalibrate the room to ever-changing acoustic situations, aiming for a sonic equilibrium that remains out of reach. The result is an ever-changing spatial composition encompassing ambient passages, resonant chords, and rhythmic activities -- created solely using feedback -- through which gallery visitors can navigate. Finally, a mention should be made that the album was recorded live at the Center for Contemporary Arts, Santa Fe, NM, in August 2015.
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SAUNA 028CS
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Multi-instrumentalist Steven R. Smith and veteran experimentalist Dirk Serries team up for a collaborative album that is as familiar as it is different from their individual sonic endeavors. Made with electric guitars, Fender Rhodes, organs, and various types of bowed instruments, this album is about organic evolution. Each "mantra" is constructed from the directness of each instrument, meticulously layered against each other, creating the drone. Four long-form mantras; four harmonic themes that excel in their own beautiful organic progress over time.
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SAUNA 025CS
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Céleste Boursier-Mougenot produces music in surprising and unexpected ways through large- scale acoustic environments. Boursier-Mougenot's immersive sonic installation, From Here to Ear, introduces a flock of 70 brightly plumed zebra finches to a gallery-turned-aviary to live among iconic Gibson Les Paul and Thunderbird bass guitars. By turns ambient and melodic, a constantly changing soundscape emerges as the finches explore their environment, eating, nesting, and perching on the amplified instruments. Previously on view from January 18, 2014, through April 13, 2014, at the Peabody Essex Museum (PEM), Salem, Massachusetts. Recorded by Tom Eaton and John Brien on May 23, 2014, at the PEM.
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SAUNA 026CS
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Ultra-minimal digital modular chaotics setup recorded direct to two-track. David Burraston (aka Dave Noyze aka Bryen Telko) is an artist/scientist involved in technology and electronic music/art since the late 1970s. Self-taught in the areas of music composition/technology, generative art, chaos, and complex systems, he is recognized as a leading practitioner/theorist in the field of generative music, producing both peer-reviewed publications and musical compositions. Burraston is a peer-reviewer for Leonardo Journal, Leonardo Music Journal, Computer Music Journal, and is on the editorial board of Leonardo Transactions. His PhD thesis developed and applied fundamental new concepts, arising out of generative music practice, to a key problem in complex systems. Burraston has been running his own independent analog/digital research music studio, Noyzelab, since 1981. He has performed music/video sets and created sound art installations around the world at a wide variety of events (e.g. Liquid Architecture, Electrofringe, Big Day Out, Floating Land Festival, Wired Open Day). He designs and builds his own synthesizer modules based on his theories of chaos and complex systems science. He has been featured in many music/art publications (from The Wire to RealTime Arts). He continues to release his own particular brand of field recordings, generative music, and noise experiments on a number of labels such as MIT Press, Alku, Cataclyst, Meds, Engraved Glass, Lo Editions, Taiga, Tochnit Aleph, Sevcom Edition, Beta Bodega Coalition, Creativity & Cognition Studios, and his own Noyzelab imprint. He has worked with many diverse collaborators and artists such as Aphex Twin, MIT Media Lab, William Barton, Alan Lamb, Chris Watson, Russell Haswell, Robin Fox, Chris Mann, Dave Phillips, and the Australian Broadcasting Corporation. He is also part of the team that designs and builds Long Wire installations at The WIRED Lab.
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SAUNA 024CS
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Alberto Boccardi's minimalist orchestral piece, titled Fingers, is an electro-acoustic journey that has been innerved by the contribution of multiple instrumentalists. The result is a contrast between repetitive elements and hypnotic loops with electronic and acoustic layers moving to the surface before disappearing into the variable and floating element known as time. The material was recorded between Kazakhstan, Italy and Iceland, over a period of 8 months: from the field recording materials of the Kazakh winter to the feeble piano notes of the Greenhouse studio in Reykjavik.
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SAUNA 023CS
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Thomas Barrière's Primaire is nourished by various ethnical inspirations: Baluchistan, the Mediterranean, and Namibia, bent into a contemporary shape of experimentation and progressive rock. For this project, Thomas uses a double-neck guitar (six and twelve strings) with two outputs independently connected each to a tube amp. Each channel has its own volume and distortion and a switch on a guitar allows several combinations and musical effects; stereo, resonance, and ping-pong-effect. Barrière uses several objects: bows, EBows, radio-cassette Walkman, coin, chopstick, chime, prepared shoes, Moroccan oboe. There aren't any loops or overdubs.
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