|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 43 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
2808 025CD
|
Bells Into Machines is the debut self-titled album for a new band of industrial and rock/metal veterans. Bells Into Machines is Paul Barker (Ministry, Puscifer, Killing Joke), Chris Connelly (Ministry, Revolting Cocks), Lee Popa (Pigface, Ministry, White Zombie), Hoss Wright (Nick Oliveri), Jud), Stephen Bier (Marilyn Manson), Brian Diemar (AM Conspiracy, Pig) and producer legend Toby Wright (Korn, Alice In Chains, Stone Sour). Imagine some of the most seasoned and experienced musicians of the international industrial music scene would meet up and work on an album together. Imagine these veterans would win one of the most established rock and metal producer of our days over to produce and co-write the album. Imagine that band was called Bells Into Machines. The opening track "Your Crime Scene - My Career" has the audacity to take a look back at the industrial scene of the last 30 years, and abolish everything on the way. If one came in contact with industrial music in the last 30 years, it is kinda guaranteed that half of your albums were made by one or multiple people involved in Bells Into Machines; this band covers a unparalleled period between 1980s Wax Trax! Records and today's top bands.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
2808 026LP
|
Double LP version; includes two bonus vinyl-only remixes. Bells Into Machines is the debut self-titled album for a new band of industrial and rock/metal veterans. Bells Into Machines is Paul Barker (Ministry, Puscifer, Killing Joke), Chris Connelly (Ministry, Revolting Cocks), Lee Popa (Pigface, Ministry, White Zombie), Hoss Wright (Nick Oliveri), Jud), Stephen Bier (Marilyn Manson), Brian Diemar (AM Conspiracy, Pig) and producer legend Toby Wright (Korn, Alice In Chains, Stone Sour). Imagine some of the most seasoned and experienced musicians of the international industrial music scene would meet up and work on an album together. Imagine these veterans would win one of the most established rock and metal producer of our days over to produce and co-write the album. Imagine that band was called Bells Into Machines. The opening track "Your Crime Scene - My Career" has the audacity to take a look back at the industrial scene of the last 30 years, and abolish everything on the way. If one came in contact with industrial music in the last 30 years, it is kinda guaranteed that half of your albums were made by one or multiple people involved in Bells Into Machines; this band covers a unparalleled period between 1980s Wax Trax! Records and today's top bands.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
AUK 129CD
|
This is the second full-length album from Tess Parks & Anton Newcombe. The self-titled album contains 9 tracks. "Right On" is the only track that has been released before on the eponymous EP released earlier in 2018. All tracks were recorded at Cobra Studios, Berlin in 2017, the majority of the songs co-written by Tess & Anton.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AUK 129LP
|
LP version on 180 gram clear vinyl. This is the second full-length album from Tess Parks & Anton Newcombe. The self-titled album contains 9 tracks. "Right On" is the only track that has been released before on the eponymous EP released earlier in 2018. All tracks were recorded at Cobra Studios, Berlin in 2017, the majority of the songs co-written by Tess & Anton.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BEC 5543615
|
Because Music presents a 20th anniversary remaster and reissue of The Three EPs, a compilation of The Beta Band's early music, dating from 1997-1998. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs that they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalog in 2017, Because Music are reissuing a series of releases, starting with The Three EPs. Two-panel digipack with 32-page stapled booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
BEC 5543705
|
Because Music presents a reissue of The Beta Band's 1999 self-titled debut. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. The Beta Band followed 1998's critically acclaimed compilation The Three E.P.'s (BEC 5543615, 5543616, 5543617, 2018). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down. However, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's The Black Hole (1979) and Bonnie Tyler's "Total Eclipse of the Heart". The band also originally intended the album to contain a bonus disc of two long-form ambient pieces, "Happiness and Colour" and "The Hut", both of which lasted over 20 minutes and represented the band's desire to "make a record of sound as a description for something like happiness, where a distinct first part gives way to a distinct second part". However, the band and label ultimately decided to remove these tracks from the original album prior to release; for this edition they have been restored as a bonus disc. Three-panel digisleeve with 24-page stapled booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
BB 303CD
|
Bureau B present a 30th anniversary reissue of Camouflage's Voices & Images, originally released in 1988. Founded in Bietigheim-Bissingen by Heiko Maile, Oliver Kreyssig, and Marcus Meyn in 1984, Camouflage recorded their first demos in a home-made studio which they set up in the cellar of one of their parents' houses. These early recordings found their way onto a local radio station via a competition which caught the attention of a small publishing company. Ultimately, this led to the band signing a deal with Metronome, a major record label. They scored a hit with their debut single "The Great Commandment", released in the autumn of 1987. Even more astonishing than the #14 spot they reached in the German singles charts was their success across the Atlantic, where a remix version peaked at #1 on the Billboard Dance Club chart. The single topped the charts in countries like Taiwan and Singapore, rightfully claiming its status as a worldwide hit, enhanced by heavy rotation for the song's video on MTV. The debut album Voices & Images followed in March, selling well over half-a-million copies worldwide and becoming a classic in the genre of synth pop. Who would have believed that this trio of school pals could create such an international sound? Moreover, the boost they gave to the genre is nothing short of remarkable. To mark the 30th anniversary of Voices & Images, the album now earns a repackaged, limited edition reissue featuring deleted remixes, rare versions, and B-sides.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CLE 022CD
|
Sékou Bah has performed on stages around the world; he was musical director for Oumou Sangaré and he was a member of Salif Keita's band for several years. Currently, Sékou is bassist with Fatoumata Diawara. On Soukabbè Mali, Sékou collaborates with some of the best musicians working today in Mali including Harouna Samaké and Antoine LeRoi. Brilliant playing, smooth vocals and a suave sound bring this album from Mali to the fore. The last two tracks are remixed for dance clubs, and the album also remembers the superb young balafonist Amadou Keita, who died in a traffic accident a few short weeks after recording on this album.
Personnel: Sékou Bah - bass, lead vocal, guitar; Yacouba Koné - lead guitar; Mamadou "Prince" Koné - percussion; Yero Dicko - rhythm guitar; Cherif Soumano - kora; Harouna Samaké - kamel ngoni, vocals; Antoine LeRoi - acoustic guitar; Will Calhoun - drums; Amadou Keita - balafon; Ami Koité - vocals; Hawa Maiga - vocals; Master Soumy - rap vocals.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CORMIX 058CD
|
On the occasion of the 19th year of Cocoon's residency on Ibiza, the location may have changed from Amnesia to Pacha, but the enthusiasm for perhaps the most enduring party on the Mediterranean island is guaranteed to continue. Actually, only the sun, sea and wind are more reliable! The celebrated live sets of Bulgaria's livewire Strahil Velchev aka KiNK have been a vital ingredient for the ecstatic nights over the years. With unprecedented regularity, the man from Sofia has been voted best live act by readers of Groove magazine for the last three years, and in 2017 he was also crowned best electronic music producer. As KiNK, together with Sven Väth, he now celebrates one of the most popular evenings of this year's season as well, and what could be more logical than to repurpose the famed Cocoon Ibiza Mix series into another live document of the event? No sooner said than done, here the Bulgarian offers a 70-minute cross-section of his skills. Well-known tracks, especially from Playground (RB 010CD/LP, 2017) meet exclusive, unreleased material in a spontaneous tour de force through the history of electronic dance music. There are distinctive nods to Chicago and Detroit, jazzy organs spiraling into string-drenched skies ("The Russian"), insatiable acid excursions ("Five") and heavy-duty discoid workouts ("Use The Rhythm", "Perth") as KiNK's irresistible nature strikes repeatedly at the heart of the dance floor. The message as always is "gute Laune!" (good vibes), if one is allowed to borrow that sacred phrase for just a moment.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
EPR 048CD
|
Mythic Sunship's sound has been described as "the ethos of free jazz in a doom setting". On Another Shape Of Psychedelic Music, recorded and mixed in the studio of Causa Sui's Jonas Munk, the band goes even further and lets saxophone burn into the mix. It's a wildfire of ideas that travel far on a smoky haze of cosmic krautrock, stoner, doom, heavy psych, modal jazz and even drifts into Afrobeat. Jonas Munk joins these live sessions on guitar on a few tracks as well, making up a screaming cacophony of three guitars, bass, drums, and saxophone. Aptly titled Another Shape Of Psychedelic Music, this is just not a record of psychedelic music; it's also an album about psychedelic music. The very fabric of psych music seems to materialize in all its shapes and sizes and then vaporize right in front of your ears as the album burns further towards the final groove. Few bands would be able to pull this off, but Mythic Sunship maintain a down-to-earth melted vibe, even at their most ferocious. Making this album good both for zoning out as well as for pure rock catharsis. Groovy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 205CD
|
In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, Amaro Freitas is pioneering the new sound of Brazilian jazz. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, the young pianist's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker, and Monk. As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call center to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert. Despite not actually owning a piano, Amaro devoted himself to studying day and night. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar, Mingus. He met and begun collaborating with bassist Jean Elton and the found drummer Hugo Medeiros. The Amaro Freitas Trio was born. "I want to show the simplicity of music, to break the stigma that the piano is for a particular social class." Following his critically acclaimed debut album Sangue Negro ("Black Blood"), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti, and Moacir Santos. "Dona Eni" is a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two. Title track "Rasif" is a serene homage to the coastal reef and its ecosystems. "Aurora" is a suite of three parts, representing the sun's journey from the light and soft of the rise. Personnel: Amaro Freitas - piano; Hugo Medeiros - drums and percussion; Jean Elton - double bass; Henrique Albino - baritone sax, flutes, and clarinet. LP version comes on 180 gram vinyl; includes download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 393LP
|
"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 1-1/3 is the first of four LPs devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the constrictive powers of Richard Nixon and his ilk. Exact details of the recordings are moot, but that's trivial. The music on this record is a joyous celebration of traditions of liberation, using approaches that range from the ridiculous to the sublime. But regardless of the humor level (which can be very high at times), the quality of the musicianship and the originality of Chadbourne's compositional theories is staggering. Today there are charts and maps that can lead anyone into and out of the conceptual jungles Eugene was exploring. In the mid '70s, when these tracks were laid down, this was all terra incognita. While still in his early '20s, the Doc was figuring all this shit out for himself. And doing so at a level that can still make your jaw drop. Today Chadbourne continues making some of the most exciting music on the planet, but these examples of his early work should serve as a challenge to many musicians who would like to imagine they're doing something new. That they're also a total gas to hear is just gravy. Delicious, hot and very juicy." --Byron Coley
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 411LP
|
"Lauri McNamara is one of the crazies who make the New England sub-underground such a richly interesting universe to inhabit. She worked off and on with the late, lamented Egg, Eggs, but her main focus has always been on solo performance, accompanying herself on ukelele. A few other people make their presence felt on her debut LP, Knobby Knoll, but let's not get bogged down in their details. 'Cause really, this is Lauri's show, no matter who else might be sitting in. Unlike the many idiots who play uke, emphasizing its child-like qualities, Lauri handles the little axe like an adult. In her hands the instrument is just a guitar with a more compressed palette. And one gets the impression that what some people would view as the limitations of the instrument are appreciated by McNamara for their inherent intimacy. Knobby Knoll is nothing if not an intimate experience. The lyrics are filled with Lauri sharing aspects of her persona, alternately affectionate and judgmental, but always melodic. Many artists who inhabit similarly idiosyncratic creative space eschew compositional beauty as a necessary element, but Ms. McNamara has a very dab hand creating hooks inside a context where they seem almost anomalous. In many ways, the songs here resemble classic 'parlor music' of the late 19th century. For a moment, it can almost make you forget we live in the age of Trump. What a gift!" --Byron Coley, 2018 Edition of 200.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GET 54096LP
|
"Motown's First Ladies of Funk finally release their vinyl debut, some 45 years after it was originally scheduled! As the '70s dawned and Motown relocated to the West Coast, the era of their honey-toned '60s girl groups came to a resounding halt. The Sisters Love were the antithesis of the traditional Motown group and came to the label from A&M, armed with a lot of funk, sass and attitude. Paired with some of Motown's finest writers and producers - Hal Davis, Gloria Jones, Pamela Sawyer, Paul Riser and Willie Hutch - they got off to a rousing start with the gritty 'Mr. Fix-It Man' and went into high gear for the UK only release 'I'm Learning To Trust My Man'. Motown had them playing arenas with The Jackson Five (probably not their smartest move!), issued the odd single and scheduled more but Sisters Love's anticipated breakthrough didn't happen. In 1980 New York DJ Danny Krivit pressed up an extended eight-minute re-edit of 'Give Me Your Love', an old B-side from a 1973 single! That song was somewhat of an underground classic but the Krivit mix brought in a whole new legion of fans amongst the rare groove crowd, both in the US and the UK. Sisters Love had long been rumored to have recorded a complete album for the Motown subsidiary MoWest. Get On Down Records combed the vaults with Motown's help and the result is the original 10 cut album, plus a bonus cut, 'Give Me Your Love.' Although Gwen Berry passed away some years ago, the other three members of the group - Jeanie Long, Lillie Fort and Vermettya Royster have all been actively involved in this release."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GZH 075CD
|
A-Sun Amissa is a project formed out of Leeds, UK in 2011 by members of Glissando and The Rustle Of The Stars. Built on the foundations of the unknown, a project that encompasses minimalist drones, modern-classical movements and avant-garde tendencies. Richard Knox (Glissando, The Rustle Of The Stars, Of Thread & Mist) and Angela Chan (Glissando, The Rustle Of The Stars, Ten, Tomorrow We Sail) began forming the initial ideas in the Autumn of 2011, moving away from the piano-led ambience of previous outputs. You Stood Up for Victory, We Stood Up for Less sees A-Sun Amissa moving in a more dense direction, the drones are heavier, the sound thicker and with the added bass-clarinet of Gareth Davis, there is a new, slightly darker jazz element to the music. The two tracks were conceived initially as two drone guitar pieces -- following that, work was done on the composition and atmosphere of the tracks, adding the bass-clarinet, viola, vocals, field recordings and piano. The finished works produce an unsettling but hypnotic listen, with melodies moving in and out of the mix throughout these two pieces. Limited edition of 175 individually numbered, hand-printed copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GB 063CD
|
São Paulo's acclaimed ten-piece instrumental collective return for their fourth album, Quebra Cabeça. Urban Afro-Brazilian grooves, empowered horn-driven melodicism, and massive dancefloor inspiration. One of South America's most exhilarating musical propositions. Almost four centuries after the first slave ships loaded their cargoes and set sail, the connection between Brazil and West Africa remains firm and deep. Africa is everywhere in Brazil, and it pulses through the music on Quebra Cabeça ("Puzzle"), Bixiga 70's second studio album for Glitterbeat, where two continents dance together across the black Atlantic. Bixiga 70 have created hybrid in their music --with each member pulling from candomblé (the African-Caribbean religion), jazz, reggae, dub -- and each influence takes on a slightly different form. On Quebra Cabeça, that sound becomes more complex. That's apparent in the shifts and turns of a piece like "Pedra De Raio" or "Levante", where the melody shifts and swerves, one section flowing naturally into the next, adding layer upon layer to create something astonishing and utterly satisfying in its power. In large part, this change has come from the band's relentless touring over the last few years. "We've been exposed to so much," flutist Cuca Ferreira notes. "So many of the people we've played with have had an impact on us, like Pat Thomas, the Ghanaian highlife singer or [Nigerian saxophonist] Orlando Julius. And then we toured and recorded with João Donato . . . We've learned from them all, they've made us think about what we can do with our music." One result is the new, shining lyricism of the melodies, with the horns pushed even more to the fore, parading around with a singer's swagger. Quebra Cabeça is a very memorable set of hummable earworms, from the title cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of "Portal". Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's home in the Bixiga neighborhood of São Paulo. Bixiga 70 has always been a reflection of the streets where they live. The band played their first show in October 2010 and released their debut album a year later. Eight years on they are still the same ten-piece collective, honing and shaping the music, evolving towards the changes found on Quebra Cabeça.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
HOD 003CD
|
Factory Floor was originally commissioned by curator Chris Bell of London's Science Museum to write a live score for Fritz Lang's 1927 silent cinematic landmark, Metropolis. Widely regarded as a pioneering work of science fiction, Metropolis depicts a dystopian future where a city's downtrodden, exploited underclass of workers secretly plot a revolt. The 150-minute brand new score was first performed at the Science Museum's IMAX on April 28th 2017, coinciding with the 90th anniversary release of Metropolis and as part of the acclaimed Robots exhibition and event series. Following the success of the London Science Museum event, Factory Floor took to the studio to record the score in its entirety. Mixed by Nik Void, except for "Heart Of Data" and "Babel" which were mixed by award-winning producer Marta Salogni. The box set includes the entire 2.5 hours of the reimagined score on four 12" records. Artwork by British artist Haroon Mirza adapted and arranged by Nik Void in collaboration with illustrator Sam Moore.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MEGA 036CD
|
Megaphone and Knock'em Dead Records present the long-awaited second album by Austin, Texas based Stop Motion Orchestra. On Lightworks, the group draws on influences ranging from Henry Cow, Magma, Haniwa-Chan, and Picchio Dal Pozzo, to traditional music from Eastern Europe and South Asia. While the musicians who appear on Lightworks have extensive resumés in Austin's progressive and experimental scenes, the collective voice that emerges across the five instrumental works transcends both scene and genre, revealing a close-knit telepathic unit at the height of their powers. The tracks deliver thunderous juxtapositions of style in the spirit of the "rock in opposition" movement: Eastern folk melodies played on sax and violin are interlaced with synthesized bass lines and layered electric and acoustic guitars; meticulous notation is balanced by a raw, DIY aesthetic that emphasizes texture, and atmosphere; ancient myths are given a new soundtrack for the 21st century.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NEOS 11707CD
|
Between 1989 and 2013, Swiss composer Andreas Pflüger composed a series of works for violin and piano that are highly divergent in style. These works are brought together in this recording and range from a virtuoso piece "... Steine ... (Stones)", which exhausts virtually all possibilities of violin playing, to the "Sonata 1993", in which the composer applies the sonata form in direct and pure tonal language, and also includes his most recent work, "Fünf Stücke (Five Pieces)" for two violins and piano. In each of them, complex musical sequences develop from motivic cells, or "nuclei" in a certain sense. Several of the works on this CD are dedicated to violinist Katharina Schamböck, who recorded them here.
Born in Basel in 1941, Andreas Pflüger made a name for himself internationally not least as a composer for the stage (with seven operas and two ballets), although he has also composed numerous works for orchestra and chamber music ensembles, as well as about 120 film scores. He has been invited as a composer and guest lecturer to many European countries, Japan, South America, and the US.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
NEOS 11712CD
|
The status Philipp Maintz has earned among composers of the younger generation is notable not least through the way the conductor Christoph Eschenbach advocates his music. In this edition, Eschenbach conducts two top orchestras: Deutsches Symphonie-Orchester Berlin and the Munich Philharmonic, in live recordings of premiere performances.
The 26-minute "tríptico vertical" for soprano and large orchestra was already recorded in Munich in 2014 -- with the excellent American soprano Marisol Montalvo (the work is dedicated to her and Eschenbach). The premiere of "hängende gärten (hanging gardens)" for large orchestra followed in Berlin in the summer of 2017. The title refers to one of the Seven Wonders of the World: the legendary Hanging Gardens of Babylon of Assyrian Queen Semiramis. "hängende gärten" for large orchestra, is performed here by: Deutsches Symphonie-Orchester Berlin; Christoph Eschenbach - conductor. "tríptico vertical", music for soprano and large orchestra on poems by Roberto Juarroz is performed here by: Marisol Montalvo - soprano; Münchner Philharmoniker; Christoph Eschenbach - conductor.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/SACD
|
|
NEOS 11732CD
|
The long-anticipated premiere of Wolfgang Rihm's Requiem-Strophen (Requiem Verses) in March of 2017 was also a special debut, that of Mariss Jansons, principal conductor of the Bavarian Radio Symphony Orchestra, conducting his orchestra for the first time at the musica viva concert series. The live recording of this concert is being released as a co-production with BR Klassik, musica viva and NEOS. Rihm extends the liturgical Requiem text with, among others, three sonnets by Michelangelo and verses by Hans Sahl. Tradition is of considerable significance to Rihm, but in the sense of assimilating it, advancing it, and developing it. In this sense, Rihm's Requiem-Strophen are a highly personal approach to the Requiem genre by one of the most influential composers of our times. Personnel: Mojca Erdmann - soprano; Anna Prohaska - soprano; Hanno Müller-Brachmann - bass baritone; Chor und Symphonieorchester des Bayerischen Rundfunks (Mariss Jansons, conductor).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/SACD
|
|
NEOS 11803CD
|
Clemens von Reusner creates acousmatic worlds in which natural and synthetic objects exist side by side. He uses different programs that make free work possible in the realm of sounds, where samples, synthesis and resynthesis work together, develop accelerate and slow each other down, always with great determination. He works with sounds that he disjects, puts back together and places in rooms out of which they flow or into which they grow. "Anamorphosis", "Definierte Lastbedingung", "KRIT"m and "Topos Concrete" are genuine eight-channel productions. Attention to compositional sense and sonic transparency is always maintained in the stereo versions, even though the ambiance of the sound movements achieved by the ambisonic procedure only opens up completely in the five-channel versions of the SACD, and especially in the eight-channel concert version. "HO", "Dry Friction", and "Sphären der Untätigkeit" are originally mixed in two channel stereo. The SACD multichannel layer therefore also features these mixes in two channel stereo.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD/SACD
|
|
NEOS 11805-07CD
|
On the tenth anniversary of Horațiu Rădulescu's death on September 25th 2018, NEOS present a comprehensive document of a wonderful artistic friendship will be released: the complete recording of Rădulescu's piano music, featuring the pianist Ortwin Stürmer. Horațiu Rădulescu, born in Bucharest on January 7th, lived in French exile from 1969 and became one of the leading exponents of spectralism; nonetheless, his music also has unmistakable roots in his home country of Romania. He was considered a sonic magician, a "philosopher of sound". One of his decisive encounters, in 1990, was with Ortwin Stürmer; it was for him that Rădulescu composed the second, third, and fourth of the Zen-inspired Lao tzu Sonatas, as well as the large-scale piano concerto "The Quest". It would have been wrong not to include the latter in this SACD box set -- with the same musicians as the premiere, the Frankfurt Radio Symphony Orchestra under the direction of Lother Zagrosek.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/SACD
|
|
NEOS 11808CD
|
Peter Ruzicka has made a tremendous impact on the world of music for decades, not only as a general director (among others, at the Salzburg Festival, Hamburg State Opera and the Munich Biennale) but also as a high demand internationally as a conductor and composer. On July 3, 2018 Peter Ruzicka celebrated his 70th birthday. This CD, the seventh featuring his music in the NEO catalog, is being released to honor this occasion. The Minguet Quartet won the 2010 ECHO Klassik Award for its complete recording of string quartets by Ruzicka (Nos. 1-6 at the time). This CD is a logical and perhaps necessary continuation of the series: In addition to String Quartet No. 7 -- which, at over 40 minutes in length is far more extensive than its predecessors -- it includes "CLOUDS 2" for string quartet and orchestra conducted by the composer. Ruzicka says that in this work he was guided by the image of music that is searching for a sound which he has never himself heard before, and which has never previously occurred in all his works.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
NEOS 11810-11CD
|
The Forum neuerMusik at Deutschlandfunk has been engaged in a cooperation with Cologne Academy of Music and Dance since 2009. At the center of focus is the formation of students called ensemble 20/21, led by Professor David Smeyers. Each year the ensemble participates at a special theme concert orientated on the issues of the festival. Frequently composition commissions were granted, often to students and graduates of the Cologne composition classes. But new works by long-established composers where also premiered at these concerts. This double-CD provides a representative selection of the world premieres since 2009 -- an impressive document of a pedagogical cooperation with the Academy which has attained great significance for Deutschland-funk. Features works composed by Niklas Seidl, Myunghoon Park, Lisa Streich, Georg Katzer, Julián Quintero Silva, Hirofumi Matsuzawa, Atli Ingólfsson, Daniel Cueto, Younghi Pagh-Paan, Samir Odeh-Tamimi, and Damian Scholl.
|
viewing 1 To 25 of 43 items
Next >>
|
|