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viewing 1 To 25 of 39 items
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SAUNA 068CS
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If Texturalis was a real word, it might have something to do with the density or porosity of organic compounds, In the case of Machinefabriek's Texturalis, the word fits the sounds on this album. Sounds indeed, not songs. Anyone familiar with Machinefabriek knows his interest in anything crackling, fizzling and buzzing. For Texturalis, Machinefabriek chose to work on just that; not to be bothered with creating elaborate compositions, but to focus on creating intriguing textures. This resulted in 18 two-minute vignettes. Each of these could be a glimpse of a continuous sound environment.
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SAUNA 065CS
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Alexandre Bazin's second album for Cassauna is a compelling minimal/experimental/electronic album consisting of one piece separated into several movements for the purpose of stronger narrative and aesthetic coherence. The album explores the concept of percussion and resonance through the spectrum of electronic frequencies and densities with a plunge into the sound. Percussion-Resonance makes use of a new alphabet, a simple vocabulary in order to create innovative and personal music, with a clear and emotional subject. Structured architectural sequences give way to the experimental. Different climaxes punctuate the work in order to keep grabbing the listener's attention. The record title tackles the theme of musique concrète developed by French composer Pierre Schaeffer as well a nod to Bernard Parmegiani's De Natura Sonorum. Alexandre Bazin is a member of the Groupe de Recherches Musicales better known as the GRM, for which he writes documentaries about music for Radio France. He is passionate about experimental music and more specifically the electronic music created by Bernard Parmegiani, Iannis Xenakis, Pan Sonic, Fennesz, Alva Noto, and Ryoji Ikeda.
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SAUNA 063CS
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Atsuko Hatano is a contemporary classical viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics. Cells #2 was performed entirely by Atsuko Hatano who played violin, viola, cello, and contrabass. Her inspiration for the initial violin improvisations was imagining the increase and decay in the intensity of vibrations of particles transmitting sound. After nearly four years the album was mixed and mastered with the assistance of Jim O'Rourke. When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O'Rourke, Eiko Ishibashi, Mocky, and many more.
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SAUNA 069CS
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Brian Thummler's Ghost Birds combines piano improvisations and noise to create a uniquely compelling musical duality. These seven pieces, selected by John Brien, are inspired by a lifetime of experience, art and poetry as well as Cage, Merzbow, Satie, Sun Ra. Ghost Birds takes flight with experimental simplicity. The interaction of noise and piano, a synergy that also pushes and pulls, creates profound musical dimensions available to the attentive listener. Ghost Birds was recorded in a studio and on an enclosed porch where an old, noisy out of tune upright grand piano lives. Traffic sounds seep in and plant themselves in the recording while the human soul empties into the piano. Who is Brian Thummler? To quote the poet Lu Yu, he is "the old man who does as he pleases." Handmade, letterpressed O card slip sleeve.
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SAUNA 066CS
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Tony Rolando's debut release Old Cool Echoes is the kind of tape you flip over and play again and again. His second release, an LP for Important titled Breakin' Is A Memory, will be available in early 2022. A CD titled Shared System will follow. Imagine if you wished away your surroundings and found yourself in a synthetic landscape where the simplest three-color pattern animated an entire horizon. If you could suppress your memory enough to experience the new beauty of it, but not so much that you lost the pieces of yourself that make life worth living, this could be your soundtrack. For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. On Old Cool Echoes, Tony follows mutating patterns and slow timbral gradients, allowing them to suggest composition as much as he does, occasionally exploring digital media catacombs and dabbling in the microtonal, all with minimal percussion interruption.
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SAUNA 067CS
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Every new St. Abdullah record is an attempt to present new ideas and To Live A La West is no exception. To Live A La West is simply moving, a collection of profound and spiritual tracks miraculously existing at the impossible intersection of free jazz and electro where mystery and clarity exist together. Neither complicated or complex but profound, St. Abdullah's new work is partially inspired by their love for Jon Hassell's compositions. Cassette comes in a first edition of 100.
Saint Abdullah on the release: "This album, like all of our albums, are rooted in our human stories. Personal stories, family stories. This one happens to focus on the chapter that began when we moved to Canada as kids, and left Iran for good. To live in the West doesn't necessarily mean to be Western. That is a choice. As kids, it felt a necessity to be like the western kids. To imitate their culture, choices, way of life. That's what was acceptable, even desirable -- a life lived with less tension was the motto. We were already different enough. It was never our parents who asked this of us. More the environment. There was a moment, after grade 6 graduation that our mother has on film (she has everything on film), where we're begging her to let us go to the dance that took place after the ceremonies. Our father was strictly a no, our mother was on the fence. In the end she won out, and we got to go. It was such a wild feeling, having only been in the west 3 years at that time. So maybe that's what this album is about, an imitation? But who we are imitating, I'm not sure anymore. No one directly, certainly, but a cannon perhaps. Imitate better than they can infiltrate. Faster than they take over our cultures, our lands, our youth, we take over theirs. Still reflecting..."
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SAUNA 064CS
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$11.50
PREORDER
RELEASE DATE: 10/15/2021
Atsuko Hatano is a contemporary classical viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics. Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Important Records' Cassauna label. Cells #5 required three years to complete and the work features the artist's signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. When not playing solo, Atsuko is extremely active recording, collaborating and playing live with Jim O'Rourke, Eiko Ishibashi, Mocky, and many more acts. Atsuko Hatano- violin, viola, cello, contrabass, piano (track 1), xylophone, oscillator and chorus. Guest musicians: Eiko Ishibashi - piano, marimba, vibraphone; Yuko Ikoma - accordion; Natsumi Kudo - horn, flugelhorn; Icchie - trumpet, flugelhorn, piccolo trumpet; Tatsuhisa Yamamoto - snare drum. Composed and mixed by Atsuko Hatano. Mastered by Jim O'Rourke. Cover by Saskia Griepink.
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SAUNA 060CS
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Musician and composer Sahba Sizdahkhani serves as a unique crossroad of East meets West. Influenced heavily by both 1960s spiritual free-jazz and Persian classical music, he channels the fire-energy and longing for connectivity these two stormy histories represent. At age 12, his self-proclaimed "aha moment" occurred while listening to the John Coltrane Quartet for the very first time. As the years passed, however, his ferocious love of jazz and improvisation would open pathways and pointers to his native roots of Persian classical music, and eventually, he would begin formal studies on the Iranian santur with master santur player Faraz Minooei. Sahba has completed two separate Bachelor of Arts degrees: one at Berklee College of Music, in Jazz Performance, and the other at The University of Maryland, in Art History & Archeology. He worked in Paris for several years in textile design but ultimately moved back to NYC to further pursue jazz drumming. He has composed film scores for Chelsea Winstanley (JoJo Rabbit), Whalerock Industries, maverick avant filmmaker Paul Clipson, as well as a live score performance for the Cinema 16 series in the legendary tunnel underneath the Manhattan Bridge. Additionally, Sahba has recently recorded with Michael Morley (Dead C) and currently has running musical collaborations with Derek Monypeny, Rob Magill, and Zachary James Watkins + Ross Peacock. He has shared live bills with a vastly diverse class of artists including Laraaji, C Spencer Yeh, Susan Alcorn, Henry Kaiser, Rova Saxophone Quartet, Sunwatchers, Wizard Apprentice, Talibam!, Plankton Wat, Peter Brötzmann, and Don Dietrich (Barbetomagus). He has performed at The White House, Park Avenue Armory, Kennedy Center for the Arts, Basilica Hudson's 24 Hour Drone Festival, WFMU live performance. Sahba's hazy, atmospheric solo performances with 104-string santour and drums have been described as "a dispatch from antiquity.
Ganj, which translates to "treasure" in Farsi, documents the magical first meeting between a musician and a new instrument. It is the first ever raw, unrefined recording of Sahba on solo santur as opposed to drum set. It was recorded in solitude during the Winter Solstice of 2019 without any prior training or study whatsoever on the mystical 102-stringed trapezoid dulcimer. The consequent emphasis due to lack of any technical skill, was pure sonics, overtones, resonances, and an homage to minimalist composers such as Terry Riley, La Monte Young, and early Miles Davis. Days after completing this work, Sahba rushed to seek out formal studies of the Persian Classical Radif with his current teacher, Faraz Minooei.
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SAUNA 022CS
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2021 reprint. Norelco plastic case. Vertical is Caterina Barbieri's debut album and it was composed for vocals and Buchla 200 modular synthesizer. Vertical takes a meditative approach to primary waveforms and the polyrhythm of harmonics, stretching the boundaries between drone, minimalism and techno in multichannel systems. This minimalistic focus arises from the polyrhythmic and stratigraphic potential of voltage-controlled sequencers. Synthesis, drone and immersive listening are three fundamental conditions to enhance an advanced auditory art, not based on extrinsic links but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way. Caterina Barbieri (1990) is a composer and performer of electro-acoustic music. Mostly interested in modular synthesis, three-dimensional spatialization and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms and the polyrhythm of harmonics. She received a degree in classical guitar and electro-acoustic music at the conservatory of Bologna, Italy (plus an exchange program at the Royal College of Music in Stockholm, Sweden) with a thesis about time, space and spectrum in vertical music. She's currently attending a Bachelor in Literature and she's active as an audiovisual artist, acousmatic composer and guitarist. Her work has been commissioned and performed in festivals and venues of experimental music.
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SAUNA 062CS
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Tekanan is the full-length debut of Melbourne-based Indonesian-Australian drummer and sound artist, Rama Parwata. A thorough exploration of rhythmic capabilities and percussive improvisation under ever-shifting timbral and stylistic environments, Tekanan is Parwata's examination and documentation of his vast musical influences in electro-acoustic improvisation, Indonesian Gamelan music, free jazz, electronic music, R&B, and noise music, whilst still maintaining an entirely unique non-idiomatic musical voice. Tekanan sees Parwata experimenting with not only the drum kit, but additionally implementing no-input mixing boards, musique-concréte sampling techniques, junk percussion, electric guitar, and computer music production to create a relentlessly metamorphosing soundscape that abruptly, yet seamlessly oscillates between ethereal ambiances to turbulent barrages of rhythm and noise through five unique movements. Aptly named after the Indonesian word for pressure and stress, Tekanan was composed by Parwata with the intent of it being a listening experience which would pressure the listener to have no clear indication of the direction of the music and where it will ultimately settle, leading the listener on a sinuous, yet intriguing aural journey. This title additionally applies to the pressure of the challenging nature of the music, in a performative sense, which pushed Parwata to his physical and mental limits to perform and compose.
"As cliche or banal this might sound, I tried to make a record that was purposely made to be hard to put into a box. I didn't want to make a 'drumming' record or a noise record or anything of the type, but a record that just contained 'good' music (or what I constitute as being good). Many aspects of my musical life were injected into this release: gamelan music (the first music I was exposed to), noise, hip-hop, free-improvisation, Xenakis, jazz, electronic music. Ultimately this record is a homage to those musical influences." --Rama Parwata
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SAUNA 059CS
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It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities. This album demonstrates both the Toronto-based composer's unique mastery of color and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter -- every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990s. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. Quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favor a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive sound world that resists classification.
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SAUNA 061CS
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Composed and recorded at the edge of the Sahara, Jeff Burch searches here for an unfamiliar beauty in old timbres. As a child of migration, over the course of this new work he gracefully transfigures pre-mercantilist desert folk song and deep meditations of our early cities. With the strength and shape of eternity, hushed voices and yawning flutes ascend to radiant vibrations of levantine string and tamazgha percussion; coalescing in a seductive din that traces great arcs across oceans, continents and oral histories. For bağlama, electronics, organ, percussion, string, tape, ūd, vocals and woodwind. Additional percussion; Robert Smith (Rhyton), woodwind; Ela Stiles, mastered by Christopher Griffin (Tony Conrad, Pauline Oliveros, Elaine Radigue). Artwork by Baya Mahieddine. From Asia, the Sonoran Desert and the South Pacific, Burch currently resides in New York City. He has released with Important Records and co-founded The Spring Press, on which he released his recent LP, and another in duo with the late Tres Warren (Compound Eye, Messages, Psychic Ills). "A ghostly amalgam of clangorous cymbals and bells that unfurls with a measured cadence... placing him on the altar not that far from luminaries Tony Conrad, John Cale and La Monte Young." --Decoder "... An atmosphere and sonic palette that wouldn't be out of place on an epic of vintage European psychedelia." --Avant Music News "The vestigial spirits of Tony Conrad and Alice Coltrane seem to ooze from the music's percolating pores. Gonglike reverberations punctuate an endlessly roiling cauldron of strings, electronics, and percussion..." --Textura
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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 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 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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