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viewing 1 To 17 of 17 items
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CD
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POGUS 21069
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"Pogus is very honored to be able to reissue this recording of works by the late Jerry Hunt (1943-1993), originally released on What Next. Having long been fascinated by Hunt's work, it is great to be able to have these last works of his available on CD once again. To quote 'Blue' Gene Tyranny: 'Among the pioneers, Jerry Hunt was the rarest, most marginal explorer of a remote terrain. As his musical activities moved from the electronic sound pieces of the 1970s into the legendary performances of the 1980s, Hunt brought along with him a curiously rich and viable ecosystem of pieces, structuring principles, performing gestures, and theatrical personae.' The sounds on this recording, created in 1993, are completely different from the ones that constitute normal or academic electronic music. The three sections of this electronic work constitute the composer's last pieces. He regarded the recorded version of this work as a 'document for rehearing.' The overall sound is the densest and most intricate in this one of a kind artist's body of work. The three sections consist of 'interlocking audio and video optical discs which provide the fundamental image, sound and program control strings... action code pattern structures... for a group of transactional mimetic gesture exercises... inflection calls evoking... melody streams' with simultaneous tracks of acoustic percussion. The sonic result is an entrancing, overwhelming, evocative shamanic performance of brilliantly designed electronic timbres.' Please note: This release comes folded into quarters, ending up as a 5 ½" x 5 ½" brochure style booklet (liner notes inside), with the CD in a paper sleeve, all inserted into re-sealable plastic sleeves. There is no jewel case, tray card, etc."
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3CD
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POGUS 21071
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"A 3 CD set of works by electronic music composer/performer Lou Cohen. This release is a fantastic overview of his works since around 2003, with over three hours of music. Most of these pieces were composed by means of algorithmic and stochastic processes, with emphasis on granular synthesis. Lou Cohen uses Csound as his primary tool for realizing compositions. Csound is a well-known, open-source, programmable music synthesizer. Its antecedents (called 'MUSIC,' 'MUSIC II,' 'MUSIC III,' etc.) were developed by Max Mathews at ATT Bell Labs starting in the 1950s. Cohen's compositions from 1960 to 1990 were written for a range of instrumental ensembles, and generally algorithmically employed 12-tone and serial techniques. A few of these pieces used open score and chance processes as well. Starting around 1990, Cohen switched to composing using computer-generated sounds and software-computed structures. The programmable synthesizer Csound has been the primary tool for this work along with software of his own design."
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CD+DVD
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POGUS 21070
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"A first for Pogus. This fantastic new two disc set by Brian Chase, drummer for the Yeah Yeah Yeahs, contains both a CD of the music and a DVD of the music with videos by New York video artists Ursula Scherrer and Erik Z. This recording is exactly what it says it is -- drums and drones -- based on just intonation tuning theory, a tuning system modeled after a naturally occurring acoustic phenomenon known as overtones, the subsidiary tones which exist in an ordered series from an established primary tone. Stemming from this single primary tone an infinite amount of overtones can be derived. As Chase explains, 'Drums and percussion has seen some but not much exploration in just intonation, yet they are inherently designed to represent it as such: a drum head is tuned to a single pitch, one frequency, and resonates with rich harmonic detail. From there the overtone series can be uncovered and expressed. The Drums and Drones project deals directly with approaching drums and percussion from the standpoint of just intonation.'"
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2CD
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POGUS 21065
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"This new Pogus 2CD compilation, curated by Luis Alvarado (writer, journalist, sound poet), presents some of the most important pieces of the Peruvian musical vanguard of the 1960s and '70s, offering a representative sample of works and composers from this important period in Peruvian music. This release also includes a 24-page booklet -- in both Spanish and English -- with an essay giving an overview of the works, the composers, and a brief musical and social history of Peru during this time. Thirteen works by thirteen different composers -- five tape pieces and eight instrumental works -- give an excellent introduction to some fascinating composers who are known outside of Peru in varying degrees, if at all. These composers explored serial, electronic, electroacoustic, and aleatoric music during a time of tension between politics and the avant-garde in academic music in Latin America. The 1960s and 1970s were particularly difficult years for Latin American social movements, and a time when the concepts of vanguard, revolution, and universalism enter into complex interactions. These works and their composers ask not how much experimentation occurred, but what the use of these techniques represent and to what extent did these musicians and their music engage critically with modernity? Our hope is that the listener will find some or all of these composers and their works of interest, and will further explore the music made by these fine composers as it hopefully becomes more available over time."
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2CD
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POGUS 21062
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"The new 2CD magnum opus by If, Bwana (Al Margolis) has been almost three years in the making. It is the first time he has composed works (usually with prerecorded sounds) specifically for another ensemble. 'Gilmore's Girls,' 'Ringing (Ano)the(r) Bell,' and 'Diapason,' maybe were specifically written for Trio Scordatura. 'Cicada 4AA' was the first piece of If, Bwana's they played (though not written for them in particular). 'E (and sometimes why)' and 'All for Alf(run)' were both composed after the initial recordings and used materials from those sessions. 'The Tempest,' Fuggit,' used some of Trio Scordatura's sounds and combined them with an absolutely awesome, over-the-top performance/reading of a section of Shakespeare's The Tempest by Michael Peters (of Poemrocket). We hope that answers the burning question why If, Bwana with/and/by Trio Scordatura? There may not be a better way to describe their involvement with this recording -- they played with If, Bwana and they played If, Bwana and they were played with and by If, Bwana."
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CD
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POGUS 21064
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"I was going to write about how this is an absolutely beautiful and disturbing record, but I think quoting from the liner notes of James Pritchett really does sum it up. Frances White invites us to take a walk through her Resonant Landscape. Where are we going? We are walking through the woods, marshes, and streams of New Jersey. She points out the birds and frogs that make their home there, the water that flows through it and the wind that shakes the trees. But then we turn and there is that other sound world, the one in which these woodland sounds are transformed, or in which we find sounds altogether new: spectral birds singing to us through a sparkly haze; distant colored winds, like the breath of giants; the air around us, alive, charged with long, low drones and sudden electric crashes. There is something magical about this other world, and (like most magic) there is something disturbing here as well. We move between the two worlds almost at random, bumping into one sound after another. We find ourselves rising off the path and floating, then falling abruptly into silence, reappearing in a marsh full of geese and blackbirds. This is more than a sonic postcard from Princeton: it is a journey into the inner world of Frances White. We could call it an electroacoustic dream drawn from her memories of hikes in the woods."
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CD
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POGUS 21063
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"Active in electronic composition since 1971, Noah Creshevsky delights in presenting extreme and unpredictable juxtapositions in which the integration of electronic and acoustic sources and processes creates virtual 'superperformers' by using the sounds of traditional instruments pushed past human capacities. Creshevsky uses the term Hyperrealism to describe his electroacoustic language constructed from found sounds, handled in ways that are exaggerated or intense. Creshevsky's first full length CD on Pogus (and hopefully not his last) works his sampling wizardry on performances by Sherman Friedland (clarinet); Lisa Barnard Kelley and Tomomi Adachi (voices); piano improvisations by Stuart Isacoff; Gary Heidt (voice and guitar); Rich Gross (lap steel/banjo); Orin Buck (bass); Juho Laitinen (cello). As always his music needs to be heard to be believed. A truly singular voice."
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2CD
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POGUS 21054
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"The important contribution of the KIVA project to the artistic field can be defined as an emancipation of the classical performer from the role of interpreter of written music to one that's involved being fully an actor of artistic creation through the direct production of sounds on instruments and related objects. This has been often characterized in the musical world as 'improvisation.' But the group would not adhere to the overtones associated with this word, implying spontaneous behavior or social interactions without specified aesthetical content. For KIVA, the refusal to use any notation on paper was the occasion to access the complex and chaotic nature of sound objects. Through an everyday work in progress, the group was able to elaborate an original language constituted directly from working on sound matter. KIVA described itself as an experimental group dedicated to notationless music, mixed media, extended instrumental techniques. The group KIVA has always refused to publish its work through recordings. Every working session of KIVA was recorded on audio format, but this only constituted a tool for the reflection of its members. The real artistic object was always considered to be the contextual circumstances of a given performance, the reenactment, always different, of the working out of already elaborated sound materials. In this sense no particular instant can be regarded as constituting a work object of the KIVA experience. But the context today has changed, since two of the main important members have died (Keith Humble and John Silber), the other protagonists are getting old, and so are the few who have been fortunate to listen to KIVA's performances. The publication of a CD of selected performances of KIVA today makes sense, in that it documents an important historical moment and provides the artistic community with sonic references of this ephemeral type of work."
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2CD
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POGUS 21053
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"César Bolaños is one of the leading artists of the Latin American avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part of an astonishing generation of Peruvian composers: Edgar Valcárcel, Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National Conservatory in Lima, and following classes with the Belgian composer Andrés Sas (who after leaving Europe settles in Peru), he would join the group 'Renovación' (together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them Bolaños began a series of presentations and edited a music magazine. He had already composed brief pieces for piano and music for a chamber orchestra. At that time Bolaños is interested in the work of Stravinsky, Bartók and Schoenberg. But he's still far from the sound radicalism that he would reach in the future. In 1957 he traveled to New York City to study composition at the Manhattan School of Music and electronics at RCA. He met the Argentine composer Alberto Ginastera, who offered him a scholarship to study at the Latin-American Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival in 1963, Bolaños became involved in the design and development of the electronic music laboratory of the CLAEM. There he composed his first electronic piece and the first work generated in the above laboratory: 'Intensity and Height' (1964), inspired by a poem of César Vallejo. Bolaños also composed 'Interpolations' (1966) for electric guitar and magnetic tape, 'Spaces I' (1966), 'II' (1967), 'III' (1968) for magnetic tape, the experimental audio-visual cantata 'Alpha-Omega' (1967), instrumental and mixed pieces like 'Flexum' (1969), 'I-10-AIFG/Rbt-1' (1968), and, with a commission from Radio Bremen (Germany), 'Nacahuasu' (1970), inspired by the Che Guevara diaries. Bolaños also experimented with computers, and composed two pieces with the mathematician Mauricio Milchberg. 'Sialoecibi' (1970): ESEPCO I (computer sound-expressive structure)* for piano and a recitator-mime-actor (a work that satirizes the organization language initials from the 1950's) and 'Song without words', ESEPCO II (1970) 'Homage to the unpronounced words' for piano (2 performers) and tape. For the composition of these pieces Bolaños and Milchberg introduce into the computer parameters to have the machine generate a composition from the information obtained by the composer's production. These recordings bring together for the first time a definitive edition of his work on CD."
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CD
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POGUS 21052
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"Equus is a collaborative work of musique concrète recorded in 2001-02 on a commission from the INA GRM. It is truly a delight for Pogus to add this title to our catalog. As Capparos notes: 'Equus guides us through human memory and history. It may sound a bit strange that sound & music would appear as a 'vehicle,' or as we had cast a lead into a labyrinth. This brings us to the question of whether we are alive or not; traveling the path throughout these soundings would drive us down and up our consciousness and our listening, not to mention that we are dead or alive.' Olivier Capparos is an instrumental and electro-acoustic composer whose work encompasses philosophy and literature as well as music. Many of his compositions are focused on voice and its interpretation through loudspeakers. Capparos was composer in residence at the INA GRM in Paris (2001), the Studio National des Arts Contemporains du Fresnoy (20023), and at the Argos Center in Bruxelles (2004). He has composed and conducted works for chamber orchestra, voice (soprano), violin, and piano, and has co-produced many other recordings and radio broadcasts with Lionel Marchetti throughout their long association. Lionel Marchetti was born in France in 1967. His interest in music resides in the qualities of sound. He started to experiment by himself and later discovered the rich French corpus of musique concrète through Xavier Garcia. He is one of a handful of artists who in the mid-to-late 1990s took electro-acoustic music out of academic studios and into the free improvisation ring. A scholar who worked at the CFMI (Lyon) and INA GRM studios and published a book on acousmatic composer Michel Chion, Marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared CDs, motors and radios. He often refers to his instruments as an electro-acoustic contraption." Total playing time: 33 minutes.
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CD
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POGUS 21051
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"Shadow Machine is the first CD by Tom Hamilton and Bruce Eisenbeil, who began playing music together in 2007. Coherence without predictability, speed without tempo, direction without a roadmap -- an unlikely foray into the world of out-jazz and free improvisation. It's a duo that thwarts expectations of its specific instrumentation. The artists hybridize the language of electronic sound through Eisenbeil's guitar and Hamilton's virtual analog synthesizer, and the live-in-the-studio tracks insure that the performances impart maximum physicality and spontaneity. Their aim is to generate new forms, new ways of listening, new definitions of music. Equal rights for all sounds is one goal, and since each musician is a maximalist, a dizzying array of sounds and techniques are employed to sustain a visceral experience. Contrasting sonic elements are played one against another, simultaneously and successively. Modern jazz and improvised music have just now begun to really embrace the language and sounds of electronics; these two artists are positioned on the forefront of a trend that aims to subvert orthodoxy and challenge old assumptions."
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CD
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POGUS 21047
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"The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal 'style,' Gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, 'Maledetto,' for seven speaking voices, from 1967-1968, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-1983. Both are intricate and powerful works, both take their inspiration from 'non-musical' materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different. 'Maledetto' is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. It is one of the earliest of Gaburo's works where his concern for holistic thinking and art-making comes to the fore. Speaking voices also figure in 'Antiphony VIII,' but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. This work was created at least 15 years after 'Maledetto,' and the boisterous energy of the Sexual Revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various anti-nuclear movements of the 1980s."
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CD
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POGUS 21046
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"The new Al Margolis/If, Bwana CD is comprised of 'Issue,' for electronics and multi-tracked voice, and 'An Innocent, Abroad,' a 40 plus minute work for electronics, vocals, and flutes. 'An Innocent, Abroad' can be best described as a Sonic Oratorio: an assemblage, a construction of an event that never happened or will happen. A live installation for radio, perhaps. There is no 'meaning' to the text. All parts were drawn or are inter-related to the original vocal track, recorded by Lisa Barnard, which is no longer present. The text/voice part has been multi-tracked and now represents five 'separate entities.' The electronic parts have been extracted and processed from the original vocal track. The five flute parts were performed by Jane Rigler and Jacqueline Martelle, and were improvised by them. They recorded to the separate voice tracks. None of the performers heard the entire piece that they worked on."
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CD
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POGUS 21041
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Artists include: Helene Prevost, Steven Heimbecker, Louis Dufort, Tomas Phillips, Chantal Dumas, a_dontigny, Francisco Lopez, Mathieu Levesque. "Montreal Sound Matter / Montréal Matières Sonore brings together eight Canadian and international sound artists. The project began with a workshop on environmental sound collecting by Francisco López and led to the development of a collective sound project including an album, a sound installation, and a concert. This is the recording. The artists create an immersive sound installation made up of fragments of Montreal, which propose a reflection and a questioning on the city. Far from being a postcard, these sound portraits suggest an abstract view of Montreal made up of fragments modeled or transformed to the liking of the artists. Through these places turned non-places and thus more or less unrecognizable, the pieces present an interesting variety of aesthetics, constructions and creative processes." -- Esther Bourdages
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CD
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POGUS 21038
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"New Al Margolis release features Margolis' compositions for tapes, electronics, voice, drones. Rex Xhu Ping (pronounced 'rex-shoe-ping') features Margolis (tapes, electronics, clarinet, and sundries), Laura Biagi (vocals), Dan Andreana (speaker, tapes), Detta Andreana (tapes, bowed cymbals), and Orchestre de Fou."
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2CD
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POGUS 21036
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"The pieces on this CD are all based on the ideas in Larry Polansky's four voice canons, a series of pieces he began in 1975. These canons are usually 'mensuration canons,' which means that the tempi of successive voices is proportional to their start times, so that the voices end together. They also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. A set of Polansky's canons was produced on Cold Blue Records as four voice canons. Polansky described these ideas in Four Voice Canon #13 ('DIY Canon'), a kind of open-source meta-canon score. He distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. Composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." -- Simon Wickham-Smith, curator. Features: Kyoko Kobayashi, Bruno Ruviaro, Mike Swinchoski, Mike Winter, Ross Craig, Giuliano Lombardo, Simon Wickham-Smith, Steven M. Miller, Masaki Kubo, Drew Krause, George Zelenz, Stefan Tomic, Bo Bell, Philip Corner.
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2CD
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POGUS 21029
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Mike Silverton (text, voice); Tom Hamilton (sounds, assemblage); Al Margolis (sounds). "A truly surrealistic pillow of a text/sound work, Analogue Smoque combinates poet and La Folia honcho Mike Silverton's epic poe(m) (with Mike recitating) and the sounds (both electronic and not) of Tom Hamilton and Al Margolis. Sounds combine and contrast, highlight and ignore, as Silverton's opus unfolds in all its glory."
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