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CD

RLW
“Minority Of The Dead”

The backstory: 5 September, 2012 was the day John Cage would have turneed 100. Centenary celebrations for a prominent artist would seem rather conventional. Inappropriate for an extremely unconventional artist. But seemingly inappropriate things can be quite appropriate in unconventional contexts. So why not participate in a 100th birthday commemorative project? No sooner said than done... Ralf Wehowsky is a german experimental composer, active since the 80s (with the group p16.d4 then). his work is split between solo releases (under the moniker rlw) and collaborations, exploring all fields between media exchange and realtime presence recordings. collaboration partners include among others Lionel Marchetti, Merzbow, Jim O´Rourke, Bruce Russell, Das Synthetische Mischgewebe, Anla Courtis, Contrastate, Kohei Matsunaga, Annette Krebs - and Richard Francis.
14,00€
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2 CD

RLW
“C.D.”

Ralf Wehowsky is one of the most respected practitioners of radical music of our day. He was the founding member of the seminal German group P16.D4 and ran the legendary experimental label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Andrew Chalk, Jim O'Rourke, Achim Wollscheid, Lionel Marchetti, Kevin Drumm, Kouhei Matsunaga and Bruce Russell. Colonia Dignidad was the settlement of a German evangelical sect. After being prosecuted for child abuse in Germany, the group fled to Chile in 1961. Like similar religious sects, it was characterized by the outward appearance of a unified, godly community with well-tempered cultural activities and social welfare, but inwardly and in its environment by oppression, sexual abuse, and exploitation. In the 1970s, it unquestioningly inserted itself into Pinochet's regime of terror, aiding in the imprisonment and torture of political prisoners, weapons production, etc. Since the end of the 1980s, there has been a legal reappraisal of the C.D.'s crimes in Chile. Its successor organization makes a living from tourism. The C.D. project uses, on the one hand, a series of documentary recordings of contemporary witnesses, and on the other, a set of melodic improvisations (MIDI files), improvised in the spirit of the impressions of terror, tension, claustrophobia and fear associated with the Colonia. CD 2 (Knochenstückchen) directly reflects this atmosphere. CD 1 (Reue?) on the other hand, is characterized by the contradictory breadth of the statements found after the dissolution of the sect: Denial of atrocities to glorification of the C.D. by leaders who returned to Germany against the professed traumas of formerly abused inmates and exploited community workers. For this purpose, the eyewitness recordings were sound-modified to a considerable extent. The MIDI files were played back with a variety of virtual instruments (piano, guitar, sax, turntable, lung machine, barrel organ, synths, etc.) in a multitude of modifications (speed, pitches, loops, harmonic and tonal variations), so that the 11 pieces from CD 1 and the 16 pieces from CD 2 each represent a closely interwoven overall composition.
17,00€
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CD

RLW
“Satanic Inventions”

*** 2022 release *** Black Rose Recordings are proud to present the stunning new solo release by Ralf Wehowsky. He is currently one of the most respected electronic composers of our day. With this release his starting point is the comparison of the black plague and covid-19 as there are some astonishing similarities of how people dealt with the diseases. Denial of reality, conspiracy theories, searching for scapegoats, etc: Surely satanic inventions are the source of all calamities? Extracts from documentary recordings and a few fragments of ars nova/subtilior compositions have been transformed, extended, fragmented and re-contextualised, from which the 15 pieces of this release are built. Ralf Wehowsky was one of the founder members of the seminal German group P16.D4 and the label Selektion whose ground-breaking releases influenced many working in today’s experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O’Rourke, Achim Wollscheid and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation.
13,00€
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CD

RLW
“Agnostic Diaries”

2021 The common factor linking these recordings are projects that were never fully realized. The basic recordings started in 2005, however the period of reworking and transformation (2016 to 2017) is more important. All vocal parts and general revisions were done during this period. Agnosticism was the basic idea for the vocal/musical re-working of the pieces with the vocals implanted into the basic pieces, not just as simple overdubs, but inserted in a dialectical confrontation with the basic sounds and structures. "Le Ballet" relies on George Antheil's Ballet Mecanique; "For Gerald" on a co-operation with Anla Courtis using some sounds by Ovary Lodge planned for the Gerald Jupitter-Larssen series which stopped far too early. "Without M.B." includes RLW's parts for a collaboration with Marc Baron whilst "Monotype #6" includes vocals by Dylan Nyoukis, also used for a collaborative CD-r with him. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O'Rourke, Achim Wollscheid, and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact, it could be all of these.
10,00€
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CD

RLW
“Tunnel”

RLW ( aka Ralf Wehowsky ) whose work deals in the transformation of prerecorded sound material, the permutation of the senses and the metamorphosis of the sensitive, has been a proponent of long distance collaborations for decades, long before lockdown made this manner of working popular. This goes way back to his beginnings with Permutative Distortion or P16.D4 and the Selektion label. He is a strict and disciplined composer, a formal organizer of discernible objects. Tunnel presents five pieces built using fragments of Annette Krebs's voice. Far from being anecdotal, the work reveals a true alchemy. Vocal prints are converted into roaring metallic textures lost in an endless sonic vortex, both sculptural and masterful. https://www.corticalart.com/wp-content/uploads/2021/12/03-Piste-3.mp3
10,00€
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CD

RLW
“Flurry of delusion”

basic recordings for flurry of delusion were done in february 2010 (using instruments like guitar, oud, saz, harmophone, motors, weevil, turntables & percussion) by rlw (with the participation of giuseppe ielasi). for the compositions only small portions of the original recordings were used, rearranged, transformed and morphed. first drafts were customised late 2010/early 2011, a fundamental revision was undertaken in 2014, the final versions were realised in 2016. all parts relate to each other and nothing is what it seems to be.
9,00€
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Out of stock

CD

RLW
“The pleasure of burning down churches”

“Black Rose Recordings are proud to present the stunning new solo release by Ralf Wehowsky. He is currently one of the most respected electronic composers of our day. With this release he not only utilises his highly complex trademark electro-acoustic and electronic sounds, but also carefully edits in field recordings he made whilst in Vietnam. This description may sound familiar, but RLW always manages to stay far ahead of any contempories. This release will still sound fresh and relevant in years to come. Ralf Wehowsky was one of the founder members of the seminal German group P16.D4 and the label Selektion whose groundbreaking releases influenced many working in today’s experimental music scene.”
9,00€
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4 CD

Cornelius CARDEW
“The Great Learning”

All seven Paragraphs of Cardew's The Great Learning by the Scratch Orchestra Strasbourg under Didier Aschour, an orchestra born from an open call and two years of shared practice: 4CD box with a 116-page booklet. 4CD box with a 116-page booklet. Shiiin's thirteenth release is a complete recording of Cornelius Cardew's The Great Learning, the seven Paragraphs written between 1968 and 1971 on the opening of the Ta Hio (Daxue, "the Great Learning"), the Confucian treatise on self-cultivation and the harmonious ordering of collective life, in Ezra Pound's translation. Mixing voices, instruments, objects and actions through graphic and verbal notation, the score prescribes relationships between the performers more than sounds, and shares out among them the responsibility for the form. The work is inseparable from the Scratch Orchestra, which Cardew founded in London in 1969 with Michael Parsons and Howard Skempton. The Scratch Orchestra Strasbourg grew out of an open call launched by the Musica festival in spring 2023, with no condition of level or background: amateurs and professionals, the self-taught and people with no previous practice. First gathered in September 2023, the group worked regularly under Didier Aschour, with members of the Dedalus ensemble and Strasbourg musicians versed in improvisation, graphic scores and open protocols passing on tools rather than imposing a reading. The aim was neither to reproduce a traditional orchestra nor to rebuild Cardew's, but to put his principle back into play: turning a diversity of skills into a shared resource. On 15 September 2024 the orchestra performed all seven Paragraphs in the Saint-Paul church in Strasbourg, a concert of nearly seven hours that opened the music programme of the 42nd Musica festival, in dialogue with Mode d'emploi, the exhibition of instruction-based works at the city's museum of modern and contemporary art. The group went on working on other pieces and came back to The Great Learning for this recording, made in the same church from 27 to 29 November 2025. What it fixes is an interpretation shaped by more than two years of common practice, not a line-up assembled for a single date, which brings it close to Cardew's own idea of the orchestra as a lasting space of practice, learning and collective change. Alongside Aschour play Lou Renaud-Bailly, Jeanne Barbieri, Stéphane Clor, Yannick Guédon, Jean-Philippe Gross and Thierry Madiot, with Jérémy Marchal on the church organ, the Pelicanto choir directed by Mathilde Mertz and the De-ci De-là choir directed by Cédric Dosch. Paragraphs 1 to 3 fill the first disc and Paragraph 4 the second; Paragraph 5 alone runs over an hour and a quarter on the third, and the fourth holds Paragraphs 6 and 7. The booklet opens with a text by Stéphane Roth and gathers two essays. Dean Inkster's, written for the 2009 Cardew exhibition at CAC Brétigny, places the work within the composer's aesthetic and political path and shows how the dispersal of the voices opens onto a shared freedom of listening rather than a fusion of the collective. Matthieu Saladin's, first published in Revue & Corrigée in 2020, examines the devices of each Paragraph as so many attempts to contain the relations of domination that form again within any group.
49,00€
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2LP

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
45,00€
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In stock

CD

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
23,00€
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CD

David GRANSTRÖM
“Echoes of Impermanence”

Echoes of Impermanence sees David Granström’s previously established strict hermetic minimalist musical topography undergo a major shift with the introduction of the electric guitar, which instigates a breaking of the sealed crystal walls of the composer’s previous work within music of long duration and precise digital synthesis, bringing forth a riff-laden spirit previously lingering below the surface. The album was recorded at the world-renowned Elektronmusikstudion EMS as well as in the composer’s own studio with the help of Mats Erlandsson and features a guest appearance by long-time collaborator and XKatedral co-founder Maria W Horn performing on the Hurdy-Gurdy on the title track. David Granström is a composer and musician from Umeå in the northern part of Sweden. His hometown is a stronghold of extreme musical expression and consequently Granström grew up playing guitar in a metal band and started to compose music within that context which eventually evolved into solo projects, having access to studio facilities adjacent to the rehearsal space. Granström initially found his personal musical voice within the context of electroacoustic composition utilizing his advanced programming ability to manifest a sound and formal structure governed by algorithmic processes. The resulting musical work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of synthetic and acoustic origin in combination with strict digital synthesis techniques.
17,00€
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CD

William BASINSKI
“Passing the Cup of Sorrows”

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years. While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day. Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.
15,50€
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LP

Oren AMBARCHI
“Cooked”

With Cooked, Oren Ambarchi takes his adventurous sonic universe into gloriously unpredictable territory. Bringing together an extraordinary cast of international collaborators, including Eiko Ishibashi, Jim O’Rourke, Joe Talia and members of his Ghosted trio, the album unfolds across two expansive, side-long compositions. Blending hypnotic grooves, shimmering guitars, intricate electronics, jazz-inflected rhythms and surreal sonic detours, Cooked moves effortlessly between delicate atmospheres and exuberant experimentation. Meticulously constructed yet remarkably spontaneous, it reveals Ambarchi at his most playful, inventive and delightfully unpredictable. A dazzling journey through the outer limits of contemporary experimental music. Oren Ambarchi - Guitars and whatnot Hidden Tableau: Johan Berthling - Double bass Eiko Ishibashi - Piano Jim O'Rourke - Synth Konrad Sprenger - Voice synthesis, electronics & production Joe Talia - Drums Sleight of Hand: Johan Berthling - Double Bass Will Guthrie - Gamelan & drums Isak Hedtjärn - Whistling Michiko Ogawa - Shō Marcus Pal - Synthetic Sound Fredrik Rasten - Guitars James Rushford - Celeste, piano & portative organ Andreas Werliin - Drums
30,00€
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CORTICALART

Mail-order and distribution of experimental music (electroacoustic, improvised music, sound-art, noise, sound poetry), past or present, along with some books, magazines and DVDs.

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