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Jean SCHWARZ

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Jean SCHWARZ
“Unreleased & Rarities (1972-2002)”

Transversales is very glad to announce the release of « Unreleased & Rareties » spanning 1972-2002, revelatory collection of short and secret music by electronic music pioneer Jean SCHWARZ. He served as an engineer at the CNRS in the Ethnomusicology Department of the Musée de l'Homme in Paris and was a member of the Groupe de Recherches Musicales (G.R.M) from 1969 to 1999. This compilation allows us to discover some of unreleased rarities from Jean Schwars’s personal archives and unpublished recordings which were composed for the dance, screen or the performing arts. Remastered high-resolution audio transferred directly from the original master tapes.
27,00€
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Jean SCHWARZ
“The sea maid’s music” (1990)

“The Sea Maid’s Music” (1990). Élise Caron: voice. Daniel Terruggi: syter.
15,00€
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Jean SCHWARZ
“Quatre saisons” (1982-83)

Composed in 1982-83, for voice, electronics, natural and instrumental sounds treated by a computer. Text based on Goethe’s poem “The four seasons”. Baritone: Jorge Chaminé.
15,00€
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2 CD

Jean SCHWARZ
“Year of the Horse and other electroacoustic works 1974-1986”

Born (1939) in Lille, France, Jean Schwarz studied music in Paris and at Versailles Conservatory. He divided his activities between jazz drumming, composition, and the study of non-European music. In 1969, he joined the GRM (Groupe de Recherches Musicales) contributing his unique vision to musique concrète. In the same year, he also worked as an engineer and researcher at the Centre National de Recherche Scientifique in the ethnomusicology department of the Musée de l’Homme in Paris. In 1977, Schwarz created courses for electroacoustic music at Gennevilliers Conservatory. He founded Celia Records in 1980 releasing a vast catalogue of his own works as well as many collaborations. As a composer, Schwarz favors electronic sounds – the raw material from which he creates large architectural forms and powerful, vigorous sonic structures. Schwarz also takes inspiration from non-European and indigenous musical forms. In his works involving live instruments, he often combines a prerecorded tape with brilliant improvisations by jazz musicians. His compositions include works for concert performance (some purely acousmatic, others employing live instruments), for cinema (music for Jean-Luc Godard, Serge Moati, Michel Deville, Gérard Follin, Michel Léviant, Gérard Blain, Charles Belmont, Mosco, Marlène Ionesco, and Alain Resnais), dance (for the choreographers Carolyn Carlson, Dominique and Françoise Dupuy, Larrio Ekson, Serge Campardon), and equestrian theatre for the French horse trainer Bartabas. This 2CD collection contains selections from six compositions focusing on Schwarz's theatre and multimedia work. Year of the Horse (1978), Still Waters (1986), and Undici Onde (1978) contain pieces for choreographer and dancer Carolyn Carlson. With performances premiering at l’Opera de Paris, Teatre de Ville (Paris), and La Fenice in Venice, these scores give an in-depth insight into Schwarz and Carlson’s collaborative process. Some scenes incorporate rhythmic or cyclical elements, field recordings, electronics, and others detail purely acoustic resonance. Each musical section relates closely with Carlson's expansive visual poetry. Schwarz’s collaborations in theater continued with L'Enfance De Vladimir Kobalt (1979) for set designer and playwright Petrika Ionecso as well as Maison Rouge (1980) for director Pierre Sala. Both works evoke a wonderfully filmic structure, while integrating key themes across each scenic palette. The earliest work in the set is Fotoband (1974), a 21-minute composition to specifically accompany a 76-meter visual installation piece by German artist Ekkehart Raumstrausch. During the exhibition, loudspeakers were placed every 15 yards to allow the music to be heard while moving horizontally along the painting. All compositions were originally issued as small edition LP’s on Schwarz’s own Celia Records, except Undici Onde and Fotoband which are previously unpublished and available here for the first time. This 2 CD set has fully remastered audio, including a 12-page booklet of photos, visuals, and detailed notes by the composer. Year of the Horse and other electroacoustic works 1974-1986 (re)collects nearly two-and-a-half hours of highly evocative surroundings from one of the early visionaries of electroacoustic composition.
23,50€
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Tony CONRAD
“Untitled (Solo for the Building of a Museum)”

This recording (2002) captures the two instruments central to Conrad's practice at the time: his self-built Long String Instrument and his amplified violin. He performed hidden behind a large sheet, and the nature of what unfolded behind it was never disclosed to the audience. Mudam Recorded at the construction site of the future Mudam - Musée d'Art Moderne Grand-Duc Jean, Luxembourg, designed by I. M. Pei - during the Museum Night of October 12, 2002, by invitation of Marie-Claude Beaud. The concert was co-organized by Transhistorics, a coproduction by Sub Rosa and Philippe Franck's Transcultures. Conrad also performed several times in Europe alongside Charlemagne Palestine in the following years, including the October 2005 concert An Aural Symbiotic Mystery. Short Bio Tony Conrad (1940-2016) was an American musician, experimental filmmaker, and composer, active across media since the early 1960s. A pioneer of drone music, he was a central figure in the New York scene of the 1960s and performed as part of the Theatre of Eternal Music. He became known as a filmmaker for his 1966 film The Flicker. Over the following decades he performed and collaborated with a wide range of artists. Interview The recording is accompanied by an extended interview conducted by Philippe Franck, published here as a tribute to him. - Doesn't this relate to intensity - the kind of theatrical intensity largely absent from computer music performance? - When I started performing again with the violin in the 1980s, some people described what I was doing as "expressionism." I was surprised at first - in my own arrogance I thought: this is mine, I invented it. But I took the criticism seriously, and it led me to ask what actually distinguishes expressionism from other forms of expression. - Perhaps we should simply speak of expression, rather than 'Expressionism'? - Exactly. In performance, I like to work at what I'd call the zero degree of sound - harmonic structure itself. I can be entirely satisfied with a pure open fifth: dance, meditation, heroism, all of it is contained within a fifth, provided I can find my way into that sonic space. Once, a student who admired La Monte Young told me I was playing out of tune. I remember thinking thinking: I'm playing music, not notes. I'm making music that speaks to people.  
13,50€
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David TOUB
“Gendarme de la Libertad”

David Toub is a unique voice in American minimalism, a genre that has produced quite a few composers over the past 80 years. Our first contact dates back about fifteen years, and from the very beginning, David struck me as a committed composer, dedicated to building a coherent body of work. But he is also an engaged individual, deeply concerned with the challenges of our time and genuinely generous. In other words, a mensch—a rare kind of person. His music, in some ways, reflects today’s anxieties and uncertainties: repetitive, obsessive, often dark, and questioning. This is the second album of his music that I have recorded, and this time, David has incorporated the human voice to feature a speech given by Che Guevara in 1964. The speech addresses the contradiction between a state's founding principles and its actions. How can a nation advocate for freedom year-round while deliberately acting against minorities, particularly those historically oppressed? The piece does not provide an answer—this question remains just as relevant today, 60 years later. (Stephane Ginsburg) David Toub (b. 1961, Newark, NJ) is largely self-taught, with the only formal composition education consisting of attending music school (Mannes College of Music; Juilliard Pre-College Division) during weekends while in high school. He remains an active composer. While Toub composed serial and dodecaphonic music until 1982, his subsequent works have been described as “minimalist,” although the durations of a subset of his compositions are not at all minimal (1.5 to over 4 hours in some cases).
13,00€
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Mats ERLANDSSON & Gus LOXBO
“Minnets Långa Kedjor”

Minnets Långa Kedjor by Mats Erlandsson & Gus Loxbo is an intimately crafted musical topos moving through landscape of free improvised music, electroacoustic drone and doom metal according to an inherent dream logic. Their collaboration takes its starting point in a long friendship and a common frame of reference shaped by their upbringing environment in Bergslagen, with the specific moods that a shared past geographical location can give rise to. Through associations and memories - geographical, poetic and imaginary - immediate musical impulses shaped by an interplay that has developed over 25 years were captured instantly. These impulses formed the foundational material for a process of transformation where the music has been amplified, obscured and refined through extensive studio work carried out by Mats Erlandsson in the electroacoustic music tradition using editing and audio transformations through digital processing and analogue tape work. As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in various collaborations utilizing synthesized and recorded analog and digital sound, contaminated field-recordings and extensive tape processing. Gus Loxbo has had a long career in improvised music primarily as a double bass player both solo and with groups such as Pombo and Silence Blossoms. His solo debut album Trådknaster was recorded by Mats Erlandsson and released in 2021 to much acclaim. The album contained nine solo compositions for double bass with no overdubs presenting the abstract sound of Loxbo’s extended performance techniques and a stark highly amplified light. Mats Erlandsson and Gus Loxbo have been playing music together since before either one of them had any notion of the existence of experimental music, and their musical relationship was fundamental in helping each other transform and extend their respective ideas about what could constitute a valid musical expression. The album Minnets Långa Kedjor is their first recorded work presented in public.
17,50€
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Maria W HORN
“Melting Pillars Of Snow”

XKatedral is proud to present a new full-length album by label co-founder Maria W Horn. Melting Pillars of Snow is a collection of new compositions from the renowned Swedish composer written for Contrabass Recorder, Shō, Percussion, Electric Guitar, Voice and Electronics performed by Horn together with a chamber ensemble consisting of Anna Petrini, Mattias Hållsten, Magdalena Meitzner and Mats Erlandsson. The album also features narration by Horn as well as a guest appearance by Michael Gira on the first single Scythe of Saturn. Melting Pillars of Snow sees Maria drawing inspiration from W.G. Sebald’s novel The Rings of Saturn which is a poetic reflection following an unnamed narrator wandering along the Suffolk coast in England. As the landscape gradually shifts the text touches in various ways on the passage of time and the distance between past, present, and future, reflecting both vast temporal scales, such as the cycles of the seasons, deep historical time and microscopic moments and fragments. With the compositions contained in this release Maria evokes a similar sense of stillness - an environment in which the movement of time itself can be illuminated and observed. The instrumentarium found on this album is Horn’s most ambitious to date and sees her adding a complex array of percussion instruments, wind instruments operating at each extreme of the musical range and electric guitar paired with her regular palette of customized algorithmic synthesis and electronic processing to weave a spiraling spectral tapestry through the audio range. Percussionist Magdalena Meizner performs specialized techniques on the overtone triangle, dubachi, timpani and tam-tam, as well as pitched wine glasses and bowed crotales. The low end contrabass recorder played by Anna Petrini and the high frequency Shō performed by Mattias Hållsten add contrasting chordal arrangements set in strict metric structures. The ensemble is completed by Mats Erlandsson performing on electric and acoustic guitars moving from gentle arpeggiated figures to doom-laden drones and feedback howls. Maria W Horn: Electronics, hurdy gurdy and narration Anna Petrini: Contrabass recorder Magdalena Meitzner: Overtone triangle, bowed crotales, tam-tam, dubachi, timpani, pitched wine glasses and specialized percussion techniques Mattias Hållsten: Shō Mats Erlandsson: Electric and acoustic guitars, analog tape treatments Michael Gira: Narration on Scythe of Saturn
27,50€
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Stephen O’MALLEY
“Avaeken”

American experimental composer Stephen O'Malley releases 'Avaeken', two sides of immense, immersive, self-annihilating music via Dais Records. The record preserves site-specific work: O'Malley installed 'Avaeken' as part of 'Wish You Were Here', the exhibition by renowned American artist Banks Violette, underscoring the tension between presence and absence, life and loss. O'Malley and Violette have developed a distinct language of sound, space, and sculpture over the past two decades, reverberating the walls of world-class institutions from The Guggenheim and Centre Pompidou to prominent galleries such as Maureen Paley in London, Gladstone Gallery in NYC, and Antwerp’s TICK TACK, the brutalist space where Wish You Were Here unfolded in early 2026. Emerging now as an LP, 'Avaeken' presents power and phenomena: low-frequency vibrations, deep oscillations, and phase cancellations that translate as innately effective in any environment. Violette’s visual expression — the impossibility of locating yourself within the loss of a friend and the broader decay of culture — now fills the LP sleeve and feels inextricable from O'Malley’s sound, both still without resolution. The origins of 'Avaeken' date back to 2020, when O’Malley was commissioned by the ZWERM electric guitar quartet of Belgium. He rendered the piece, naming it after the millennium-plus-old oak tree on Sweden’s island of Fårö, for four guitarists on standard electric guitars, sustaining microtonal harmony produced with EBows and slides. "Natural harmonic tone coloured by the valves of the amplification is the one desired characteristic," reads the initial notes. "At first I asked, why would I write for another guitar player?" he says. "I realized how amazing it is to be a listener on the other side of the music; together we were able to try all these precisions with intonation, harmonics, specific microtonal ideas." The quartet performed 'Avaeken' several times before O'Malley joined them for a recording session in Muziekcentrum De Bijloke, a 13th-century former hospital with modern acoustics in Gent.
26,00€
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Kassel JAEGER
“Sub Re”

Kassel Jaeger (aka François J. Bonnet) returns to Shelter Press after Swamps / Things, Shifted in Dreams, and the recent reissue of the classic Zauberberg, co-composed with Akira Rabelais and Stephan Mathieu. With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales, the historic and essential Parisian studio that Bonnet has been directing since 2018. Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It's precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a multitude of contexts and occasions to give them form. The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch's contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology. Sub Re also refers to a chapter in Victor Hugo's Toilers of the Sea, a key passage in which the main character, faced with a colossal task, finds himself alone in the middle of the sea, beneath a gigantic shipwreck caught in the jaws of an isolated reef, surrounded by water, currents, and winds, alone to face the impossible. It is indeed beneath the surface that actions arise, decisions are made, and intuition guides us.  
17,50€
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