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R 049LP
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The Still Life is Karla Borecky's long-awaited second album following 2011's Still In Your Pocket. In between her work with Idea Fire Company, Karla has been slowly building a new repertoire of solo pieces. She threads together simple, whirling piano numbers. Lines of blue sadness, red memories, and green dreams, stitched with charm and care, The Still Life is an approachable album in the best way possible. Whatever your hobby may be, The Still Life will set the mood. This album also features two solo-piano versions of Idea Fire Company bangers: "The Life of the Party" from Music From The Impossible Salon (KYE 010LP, 2011) and "The Island of Taste," from The Island of Taste (2008). Borecky's music carries such a layered emotional identity while balancing a lack of pretension. A fine tightrope to dance on, but she does it gracefully. Please do enjoy. Edition of 300, comes with color bookmark with illustrations by Borecky.
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R 050CD
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Saccharine Scores is an album/art book documenting Sean McCann's recent chamber compositions. Ranging from the 10-person ensemble performance of "Portraits of Friars" at Fylkingen, Stockholm in February 2018, to his first quartet piece "Victorian Wind", performed in Toronto in 2014. McCann's scores leak pastoral and bizarre passages, dancing in the banal beauty of sound poetry. The performances feature guest musicians Sarah Davachi, Zachary Paul, Geneva Skeen, Celia Eydeland, Maxwell August Croy, and more. The book holds in-depth scores, program notes, and photography by McCann, a lovely complement to finger through while you lay down to listen to the disc. The notes for "Pistons" follow here: "I assembled this piece while wanting to make my life of leisure and gluttony in London somehow artistic. I was in London for a week or ten days in October 2017 for a business trip. I love London. I love doing two things at a time or more. So it worked out. I find I have a hard time enjoying anything unless I am multitasking. For example, right now as I type this description I am also drinking old coffee with ice-cubes in it, exporting a master from Pro-Tools downstairs, and watching Friday the 13th: A New Beginning (1985) on the television set. So in this British multitasking, I decided to work on a piece of music while indulging in food and drink roaming around London. I was also reading Baudelaire's Les Fleurs Du Mal (1857) during these outings (talk about sentimental). Some elements of those poems crept their way, drawn out of order, into Celia's singing text. As with all my compositions to this point, they are left open to interpretation: no real meaning, just flickers of settings and emotions. The taste of everything below (the score) spawned thoughts of colors and elements and people and emotions, though with the text I decided to keep it simply about the food and the beverages. The romantic music and singing is the rendering of the emotions I felt, while my banal reading was the actual act of consumption. I recorded the text while lying down in my childhood bedroom in Goleta, California, half asleep just trying to get it over with. It was a fitting situation for the piece: forced beauty." Edition of 200, signed and numbered with 132-page 6″ x 9″ book.
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R 051CD
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Poetry & Music is a tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004). Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018. Jackson's beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson's voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation. Only a small amount of Jackson's sound poetry is currently available, making this collection a delight to swallow and digest. Co-produced with Charlie Morrow, Recital re-presents this history to the ears of both young and old. Edition of 250 with 8-page insert with scores and introduction by Charlie Morrow.
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R 044LP
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Simple Affections: "I corralled a dream LP that I would want to listen to. Too smelly, too sweet." Album features contributions from: Peter Friel, Jackson Graham, Mark Harwood, Graham Lambkin, Lia Mazzari, Sean McCann, Madalyn Merkey, Michael Pollard, Eric Schmid, Zach Schwartz, Tom James Scott, Patrick Shiroishi, Christina Stanley, Matthew Sullivan, Dennis Tyfus, and Will Gottsegen. One time pressing. Includes six 5x7″ postcards in printed envelope, program notes insert by Sean McCann, Scented with Oyster Grove Eau de Recital perfume.
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2LP
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R 008LP
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Recital present a deluxe edition of Ian William Craig's landmark debut album A Turn Of Breath, originally released in 2014. The first Recital album to get exceptional notoriety, here it is in its final form, with an additional LP of unpublished material. Here is the original description Sean McCann wrote four years ago for it's original release: "Recital here presents the premiere LP by vocalist Ian William Craig (b. 1980, Edmonton). Ian, a trained opera singer, delivers an elegant balance between theatrical and ambient sentiments. A Turn Of Breath combines the essence of a choral LP from Angel Records or Deutsche Grammophon with the spontaneity of experimental home-recording. This collection holds twelve works for voice and ¼" tape, recorded from 2011-2013. Voice appears as the sun's light through a vast storm; still obscured by tape malfunctions and manipulations. A system of reel-to-reels is employed, which yields a lovely sort of morphing repetition. Each iteration crumbles as more harmony is placed on top, residual tones spilling off the sides into nothingness. Craig's innate ability to sing beautiful, sorrowful melodies carries each track. The pieces on A Turn Of Breath vary from grand choral meditations to quiet interludes, and even a few impressionistic 'songs' accompanied by faint acoustic guitar. An overarching warmth resonates through each side, making this a very pleasant listen. A suitable compliment to a pot of coffee in the morning or a glass of armagnac in the evening."
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R 048CD
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Here, Asha Sheshadri and Christian Mirande record together as Open Corner. Vocal accounts of mundane suburbia and human despondency by Asha, under a woven forest of pops and cracks and creaks courtesy of Christian. In a way the texts are reminiscent of Robert Ashley's "Au Pair" pieces -- from the second Atalanta CD (LCD 3303CD) -- overrun by the swamp of a broken dishwasher and a leaking wine fridge. Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice... First edition of 200.
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R 045CD
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Recital present the newest record by Canadian composer Sarah Davachi. This CD version includes an extended/complete version of "Hours In The Evening". Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.
Sean McCann: "I find it hard to separate 'At Hand' from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship -- frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul."
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R 047CD
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Recital label head Sean McCann on the release: "I have been a fan of Derek Baron's music for only a small amount of time. But I appreciate how he and his cohorts blend technical talent and technical knowledge with abstract ideas and abstract approaches. Cop Tears is made up of Derek Baron, Cameron Kapoor, and Andrew Wilhite. This album is a four-track recording of the group playing one of my favorite John Cage pieces, Thirteen Harmonies. It was originally published in a tiny edition of 40 CDrs by Derek's own Reading Group label. I thought it was beautiful enough to see the light of day again. I even got the John Cage Trust to sign off on the release! As regal as bored as humble as confused."
Here is what the group wrote on the album: "Thirteen Harmonies is a selection from John Cage's 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage's Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an 'apartment house' among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the 'multiplicity of centers' of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty four-track on bled-through tape in Cameron's apartment house in Queens, New York."
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R 046LP
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The Ivytree, as some may know, is the project of San Franciscan musician Glenn Donaldson. In the early 2000s Glenn was a founder of the Jewelled Antler Collective, forming such projects as The Blithe Sons, Thuja, and The Skygreen Leopards, among many others. The range of projects he is associated with all beautifully web together. Between 2001 and 2005 Donaldson published a handful of discs under the names The Ivytree and The Birdtree. These boiled down and tanned the patient, outdoor ambiences of the long-form instrumental recordings. These were slow and pastoral and pensive songs, carried by Glenn's haunting voice. Glenn recorded outside with field-recorders and mini-discs: in forests, headlands, and tunnels of the Bay area. Recital label head Sean McCann on the recordings: "I grew up listening to his recordings -- throughout high school and college in Goleta, CA. They spark many memories: driving around beach parking lots, dragging boomboxes into creeks, camping in the mountain valleys etc. I remember once driving five hours up to San Francisco with a group of friends to try and get into a Giant Skyflower Band concert (another Donaldson project). It was at a bar and we were under 21 -- so we couldn't get in, even after trying to bribe the doorman. As you can tell, very special places in my mind and memory. My fondness for The Ivytree never dissipated, and I always dreamed of hearing more material from that time, as I know how prolific the Jewelled Antler association can be. On a whim in 2017 I reached out to Glenn and asked him if he wanted to publish a 'best-of' The Ivytree as a limited LP. This idea blossomed and provoked Glenn to dig through his vast mini-disc archive, where he unearthed some forgotten jewels. The recordings were trickling in to my email -- one by one, each better than the last. Ranging from the Robert Wyatt-esque piano ballad 'Evil Is Circular' to the gentle melancholy of 'All The White Plumes' that could belong on Richard Youngs' Sapphie (1998). 'Unburdened Light' carries on the warm breeze and innocence of the early 2000s CDr culture. So our project then turned into publishing a new album of unreleased Ivytree recordings. A full circle youthful wish now ripens in my adulthood. I am honored to have stirred up the bees-nest to deliver you these tragically honeyed songs." Unreleased recordings: 2001-2004. Includes eight-page 9x9″ booklet of Glenn's collages. Edition of 300.
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R 045LP
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Recital present the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics. Includes three 9"x9"photo-prints by Davachi; Includes CD; First edition of 600.
Sean McCann: "I find it hard to separate 'At Hand' from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship -- frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul."
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R 041LP
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Recital present the first vinyl LP by composer/event-maker Charlie Morrow. Toot! Too culls performance recordings from 1970 to 2014. It focuses on his "Wave Music" series, which are compositions based around swarms of like-instruments; i.e. sixty clarinets, conch choruses, and army of drums and bugle horns, etc. The 1978 piece, "100 Musicians With Lights", was performed at dusk in Central Park. One hundred players (brass, reeds, percussion) congregate and march in spiral formations, playing their instrument with penlights attached to them. The piece dissipates and ends as each player marches through the park to their respective homes. The sound is fascinating; a tape recording made by an audience member swirling and dancing through the performance. Charlie is an organizer: one of instruments, with the pieces that landed on this LP and dozens more; one of events, through decades of public solstice celebrations across the world; one of publications, including New Wilderness Audiographics and EAR Magazine; and, one of friendships as Charlie has kindly introduced me to many fascinating players in this quirky game of ours. He views networking as an art form, always connecting friends with other friends, building a larger web for everyone to dance throughout. Label owner Sean McCann on the release: "In working on this LP over the past years, Charlie Morrow and I have become close. It has been a joy to have him in my life. At the age of 73, he is determined and creative and as positive as ever. Each time we speak, new projects arise -- like a mysterious soup boiling up fresh aromas. One of my favorite memories with Charlie was us staying up 'til the wee small hours of the morning drinking a bottle of sweet potato shochu, me listening to him tell funny and poignant remembrances. I am happy to share these lovely recordings, just a pinky toe in his artistic footprint, but wow, such a gorgeous toe!" Includes 20-page, 8.5x11" color booklet with scores, writings, and photographs; Includes download coupon; Edition of 500.
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R 042LP
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The fourth LP in Recital's Loren Connors editions/reissue series. Pretty As Ever is a beautiful collection of Loren's guitar ballads, dedicated to his wife Suzanne. It includes the "Pretty As Ever" and "Trinity" suites, from the out-of-print album Sails (2005), alongside the complete Little Match Girl (2000). This album falls in line with the other LPs Recital has published, Airs (2015), Lullaby (2016), Evangeline (2017)... as hopeful and careful as a heartbeat. This LP includes "Woman of Sorrows", a 6″x9″ 12-page art-booklet of illustrations by Loren, unpublished until now. It also includes with Loren's rendering of "The Little Match Girl", a tragic tale written by Hans Christian Anderson. Remastered for vinyl by Sean McCann. Edition of 500.
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R 039CD
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Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods. The album is presented on Sean McCann's Los Angeles based label, Recital. Michael Vincent Waller is an American composer based in New York City. His music has been described as lyrical and introspective, drawing inspiration from impressionism, post-minimalism, and world music. The work situates these familiar elements within decidedly unconventional and individual frameworks. Waller's practice has been cultivated through private study with La Monte Young, Bunita Marcus, and with Elizabeth Hoffman as an undergrad at New York University. He has since collaborated with a number of noted soloists and ensembles including S.E.M. Ensemble, Ensemble Dedalus, String Noise, and members of the FLUX Quartet. In 2015, Phill Niblock's XI Records launched Waller's acclaimed two-disc recorded debut, The South Shore (XI 136CD), which compiles a number of solo and chamber works spanning 2011-2014. Pianist R. Andrew Lee is renowned for his performances of minimalist work. He has released 12 albums, predominantly long-form piano recordings, on his label Irritable Hedgehog -- including November (2013) by Dennis Johnson, which was selected by Time Out New York as the best classical recording of 2013. Cellist Seth Parker Woods has established a diverse career that straddles the worlds of classical, contemporary, electronics, and performance art. He worked with artists ranging from Heinz Holliger, G.F. Haas, and Klaus Lang to Peter Gabriel, Sting, and Aldo Tambellini. Recital is a label started by Los Angeles-based composer, experimental musician, and audio engineer, Sean McCann. The label is dedicated to modern classical and experimental music. Established in 2011, Recital has released work by Annea Lockwood, Loren Connors, Daniel Schmidt, Ian William Craig, and Sean McCann. The CD edition includes photography by Phill Niblock and liner notes by "Blue" Gene Tyranny.
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LP + BOOK
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R 035LP
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Eric as Alain. Philosophical trimmings as unabashed art. Satire isn't mean, it's about being funny. Get in on the joke. Eric as Homer Simpson. Includes 88-page artist's book; Softbound: 8.5″ x 11″. Edition of 170.
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R 038LP
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This Floating World is the newest solo work by Roger Eno since 2008. This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. Recital label head Sean McCann on Roger Eno: "I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale. I first fell in love with Roger's music through his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo - Atmospheres & Soundtracks (1983), and recorded a theme for the Dune soundtrack (1984). String pads and veils of reverb pour through those processed tracks. I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers... Hobbs, White, Bryars, Skempton, etc. This Floating World feels like a hybrid of these two styles, a melding of both his ambient and 'prelude'-esque compositions. Warm and feathered furniture music. In our communication Roger has been a real charmer, ending every email with 'Roger and out.' A curious fellow, with a knack for tracing the understated beauties of this world." Includes brief stories written by Roger in a 12-page booklet, alongside his photography. Edition of 500.
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R 037CD
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Joan Of Arc is a project conceived by Eric Schmid and Sean McCann, running in line with St. Francis and St. Paul. This series of CD and pamphlets, writings bounded together with unbounded audio elements. Schmid and McCann roped in professional vocalist Christina Stanley to sing the last piece, which is a tip to Ulises Carrión's "Hamlet, For Two Voices", pulled from Friedrich Schiller's Maid Of Orleans (1801). Matthew Sullivan dusted off his pain tongs and sent over some sounds to re-actualize the past in fine fashion. This album is a conversation with/examination of the past. An epic poem, The Story of Joan of Arc (1796), by Tim Weidmann is included, which is impressively deep and detailed and beautiful -- along with a philosophical lead by young writer Jack Kahn, softly read by Mattea Landry as the first track of the disc. CD housed in a 50-page pamphlet; Edition of 200.
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R 031LP
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A collection of recordings by the Italian sound and concrete poet Arrigo Lora-Totino (1928-2016). His place in the history and development of poetical intermedia is undisputed. Out Of Page holds fourteen voice-based tape works made from the years 1968 to 2000. While there is some use of cut-up tape manipulation, the artistry truly lies in his performance of the sound plays. Multi-tracking is utilized and Arrigo's nebulous voice paintings splat and click and glide. His bold expression is inspiring to me: it leads by example in encouraging the pulling of oneself further into their art. Sean McCann on the record: "I was staying at a hotel in San Francisco when I awoke in a sunfilled room to an email from Giovanni Fontana telling me that Arrigo had passed away. I was saddened by the departure of such a creative man, yet proud to be working with and perpetuating his legacy." Includes 16-page pamphlet with score excerpts, artwork, and program notes written by Totino, and an essay written by Giovanni Fontana; Restored and mastered by Sean McCann; Edition of 310.
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R 028LP
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Security Besides Love is the first vinyl album from Philadelphia artist Gabi Losoncy. This album is an account of the artist's life. The first side voyeuristically and objectively documents Gabi's external experiences and habitats; in this instance, a conversation heard while riding public transportation. The second side of this record turns back in on the artist herself with an associative monologue, in which an understanding of her own artwork is examined. It is fair and honest and walks through the whole house leaving windows open. There is a small piece of film which separates, seemingly, Gabi's daily life and her artwork. It is quite inspiring. Understanding this can instill the same mysterious allure into your own trials and leisures. Losoncy is a part of Good Area with Allen Mozek. Comes with artist's bumper sticker; Edition of 300.
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R 033LP
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Recital present a reissue of Dick Higgins's Poems And Metapoems, originally released on cassette by New Wilderness Audiographics in 1982. Label head Sean McCann on the reissue: "Since the beginning of Recital, I have been trying to publish the work of Dick Higgins. He is a chief figure in my artistic world, a hero of mine. And now, with the assistance of Charlie Morrow, it has finally happened. The first vinyl album ever published of Higgins! Many know Dick Higgins as the father of intermedia, a key player in the birth of fluxus, and the owner/operator of the fabulous Something Else Press. His own poetry is what stirred me. Namely, his book Foew & Ombwhnw (1969), which contains one of my favorite of his works, 'Moments in the Lives of Great Women,' along with other lovely poems (some included on this LP). This recording is of Dick himself reading his own poetry. Poems And Metapoems begins with a voice/tape manipulation piece from 1962, while the rest of the collection employs only language manipulation. Alike a cantor, each word is delivered perfectly with strong warmth. His ability to relay pattern-based poems into sonics is impressive. This album was recorded in 1982, and contains the reading of poems written between 1958-1980. Originally published as a cassette tape by New Wilderness Audiographics, which is nearly impossible to find now. The audio has been remastered and cleaned up for this edition. Dick lived large and was a busybody. All the faucets were running within him, handles broken off. Always pulling to mesh painfulness with playfulness, heart-warmth with heartbreak, comedy with tragedy etc. It is this plurality that Higgins encourages us to spark and flourish." Includes a 16-page pamphlet of notes and poetry by Higgins and an essay on both Higgins and New Wilderness Audiographics by Charlie Morrow; Edition of 470.
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R 022LP
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2016 release. Music For Public Ensemble is the first full-length album by Sean McCann since 2013's Music For Private Ensemble (R 005LP). Three years in the making, Public Ensemble employs the talents of many Recital allies; a mélange of voices and instruments: violin, viola, cello, contrabass, piano, bass clarinet, tenor saxophone, flute, trumpet, trombone, clarinet, pedal-steel, koto, electronic keyboards (organ, Farfisa, harpsichord), percussion, other sounds, tape, and a lamp. Many of the pieces include recited text; reflections stemming from McCann's book Pacifics (R 014BK, 2016). The narrative is meaningless or meaningful. Produced and arranged by McCann in Los Angeles, California. Personnel: Ben Baker Billington, Andrew Chalk, Kayla Cohen, Ian William Craig, Maxwell August Croy, Sarah Davachi, Hank Doyle, Matthew Erickson, Scott Foust, Rob Frye, Celia Hollander, Seth Kasselman, Graham Lambkin, Gabi Losoncy, Rob Magill, Sean McCann, Erica McLachlin, Dave McPeters, Nour Mobarak, Allen Mozek, Tom James Scott, Zachary Paul Schwartz, Troy Schafer, Cameron Stallones, Nick Storring, Matthew Sullivan, Lillian Paige Walton, and the Rose-Paste Chorale, featuring: Kayla Cohen, Maxwell August Croy, Morgan Fox, Spencer Grady, Ursula Grady, Benjamin Lovell, Greg Manata, Erica McLachlin, Crystal Myslajek, Matthew Sage, Paula Schanes, Zachary Paul Schwartz, and Alex Twomey. Includes a 12-page pamphlet with texts, program notes, and artwork; Includes download coupon; Edition of 500.
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R 029LP
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Recital present the first-time vinyl issue of Loren Connors's Evangeline, originally released as a limited CD in 1998. Evangeline finds Connors working in a narrative structure. This album trails the story of Evangeline, the heroine of an epic-poem written in 1847. Loren's guitar tone follows the weary landscapes and mournful souls of the characters. Thematically, Evangeline falls in line with the other romantic Connors LPs Recital has published, Airs (2015) and Lullaby (2016), though with a defining arc in direction. Parallel guitar preludes begin this collection, leading to distant ballads in spheres of reverb. Suzanne Langille softly singing on the first track sets this album as a child's fable. As longing, clouded in dreams of loss and devotion. Includes an 8.5"x11" insert: a story written by Suzanne Langille based on the epic poem, Evangeline; Includes restored audio and new artwork by Loren Connors; Remastered for vinyl by Sean McCann; Edition of 500.
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R 030CD
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In celebration of five years of Recital, the label presents Cellar Volume 2. 20 unreleased tracks from friends and family of the label. Features: Roger Eno, Adriano Spatola & Gian Paolo Roffi, Barbara Bent & The Berkeley Gamelan, Andrew Chalk & Daisuke Suzuki, Peter Friel, Karla Borecky, Ian William Craig¸ Giovanni Fontana, Alex Twomey, Loren Connors, Charlie Morrow, Graham Lambkin, Michael Vincent Waller, Nour Mobarak, Isolde Touch, Sarah Davachi, and Idea Fire Company. Glass-mastered; Housed in a six-panel wallet with a four-page booklet; Edition of 500.
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LP
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R 020LP
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"Epigenetic Poetry is an anthology documenting the sound works by the Italian sound poet Giovanni Fontana (b. 1946). These pieces, dating from 1968 to 2014, are scarcely available; culled from cassette magazines and art-book compendiums, along with two unreleased recordings. Fontana has been a pioneer of Italian visual poetry, sound poetry, and experimental theater since the mid-1960s. Together with peer Adriano Spatola, Giovanni worked on the publication Tam Tam (founded in 1972). He also rode in the same wagon as Arrigo Lora-Totino, splicing, pasting, and folding the compass of Italy's intermedia. In one light, Fontana's voice erects a brutal and guttural effigy of man, primitive and hermetic. Yet, stepping to the side, one can see the thin strands of support bolstering such combustibles. As chested-strings of a piano, Fontana strikes firmly across the resonating spread of discovery and acceptance. In addition to voice; jaw-harp, guitar, whistle, piano, and harpsichord are featured in these recordings, though the musical elements are secondary to the voice. Mouth, throat and even nose ('Poema a naso' features a microphone inserted in the nostril) take the stage-light. The interconnection between Giovanni's visual and audio artwork is significant. Words twist and dissolve; blotted with ink, soaring across an empty score. This album acts as a frame for these 14 pieces, which can be seen as they are heard, spilling from speakers as letters meeting paper." -- Sean McCann. June 2016. Edition of 315. Includes 16-page 9"x9" pamphlet with three critical essays, score excerpts, artwork, and program notes written by Fontana. Includes download code.
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CD
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R 012CD
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2015 release. A CD reissue of the long unavailable international sound poetry compilation LP, Voooxing Poooêtre. Originally released in 1982, this collection was assembled by Italian sound poet Enzo Minarelli (who has also curated releases on Slowscan and Baobab, in addition to operating the 3Vitre imprint). Comprised of voice works from the 1970s to the early 1980s the collection spans a wide geography; Eastern Europe, France, Italy, Spain, and America. Including text-sound staple Bernard Heidsieck, Dada artist Klaus Groh, Italian artists Agostino Contò and Adriano Spatola (Edizioni Geiger), along with more unknown sound recordings from artists Giovanni Bignone and Grupo Texto Poetico, in addition to works by Minarelli himself. An appealing showcase of some less-prolific sound poets. The recordings have been retransferred from the original 2 inch tape, yet an inherent "home-recording" quality is prevalent in most pieces, which in a sense adds character and becomes part of the art itself. "When you listen to these sound poems, you will notice that they don't look so old as they appear. Many of the pieces anthologized were made in mid-seventies, at the beginning of the eighties, and yet, despite almost four decades, they still explode their power of communication. Why? This is one of the great intuitions caught by sound poets, when one works into this apparently untouchable but really concrete, physical material of orality, vocality, or vocorality to use a neologism of mine, without being limited by the monopoly of meaning so typical of the written language, it keeps himself inside a safe area, an ever-green mix of words and sounds, of phonetics and linguistics, of notes and noises which make it similar to the Dorian Gray of sound poetry!? Re-editing Voooxing Poooêtre, means to re-affirm the validity of the vocorality as a practice of research, that sort of freedom which allows the polypoets to experiment, to move even more and more forward the border of the vanguard." -- Enzo Minarelli, 2015. Edition of 500. Housed in a six-panel wallet, including a 24-page booklet reproducing the photos, scores, and writings from the original LP. Comes with a new foreword written by Enzo Minarelli in 2015. Also includes the works of: Rod Summers, Giovanni Fontana, Richard Kostelanetz, Vladan Radovanovic, Peter R. Meyer, Tibor Papp, Santo S.A. and Jean Jacques Lebel.
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CD/DVD/BOOK
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R 016CD
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Romanzi Nelle I is a stunning new work by Italian sound poet and artist Enzo Minarelli (b.1951). Romanzi Nelle I takes inspiration from the sacred work of Abraham Abulafia (1240-1291), the Jewish mystic and father of linguistic permutation. This edition fully documents the piece, containing audio, video, and literary content. It is rare to get to examine a composition so closely, and I have found to it be an important exercise. Enzo's years of work as a performer and curator come to shine here, and the rainbow of human range is examined - the transposition of meditation, massaging the depth of euphorias, and flipping the coin to paint the curls of despair. A fascinating experience delivered to those who are interested in sound and concrete poetry. Excerpts from book: The Prototype of Permutation: "It is not his life [Abulafia], however challenging it may have been, to have attracted me, but his very original theory of permutational study applied to nouns. If we consider permutation as a creative act, immediately it comes to mind the poetry of Brion Gysin who in 1960 does exploit it in operational terms, although it must be added that his way of permutation was the direct result of programming a computer made by an English student, Ian Sommerville, escaped from Oxford University to take refuge at the Beat Hotel in Paris, where he met Gysin. The same observation must be made for the experience called Tape Mark I (1961) and Tape Mark II (1963), by Nanni Balestrini, where the hardware makes the linguistic choice, or Tag-Surfusion (1996), by Jacques Donguy. They are, in essence, the same kind of texts, acutely called by Max Bense, 'stochastic', as the machine decides for the author. Abulafia, on the other hand, draws his series of permutation, studying the language from its inside, it is the prototype of permutation, the first motionless motor, and without tricks or deceptions, he sets up manually, only with the help of pen and paper, the whole universe of permutation, organizing a constant, linguistic change through a relentless swirl of terminology. Not necessarily, he begins from codified words, but often he takes fragments, syllables, groups of arbitrary monemes that he himself develops and twists exponentially, applying mathematical rules. The declared aim of his exercises is the divine ecstasy." The Primitive Simplicity Of Vocorality: "Romanzi Nelle I is an untranslatable title because it consists of the Italian anagram of my name and surname, in perfect Abulafia style, in its non-sense it means a lot. If it is possible to pursue the writing of the book of the books as Mallarmé was dreaming, moreover I believe I can point at the sound of the sounds, the word of the words, that is the primitive simplicity of vocorality, the big bang of the linguistic explosion, the first sonic imprint. For word, it is not to be understood the comprehensible term, but the arbitrary union of nouns after an eruption, the clinamen, the random fall of syllabic fragments because 'we have to let the letters the chance of continuing to be read [heard], despite the existence of the words' according to a great insight of Rabbi Yosef Razin." Edition of 200. Includes: Hardbound, 71 page, full color book - CD of the 2015 rendition of Minarelli's "Romanzi Nelle I" - DVD holding the original 2013 performance.
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