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Taku SUGIMOTO

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CD

Taku SUGIMOTO
“Octet”

On this album, works composed in 2018 and '19 by Tokyo-based composer/guitarist Taku Sugimoto are performed by musicians based in Berlin. Sugimoto has in recent years been working on a series in which pieces written as scores for solo performance can also be played as ensembles, with each musician using their respective solo score. For example, a score for guitar solo and a score for cello solo can be played as a duo performance by a guitarist and a cellist using their respective scores. "Solo for Violoncello 1," one of the tracks on this CD, is the first work of this type composed by Sugimoto. It's also the first piece in the series he named "Solo for Strings," which is performed on bowed stringed instruments using only natural harmonics. In the pieces in this series, the lengths of tones and performances can be changed by the performers. When he was asked by Berlin-based clarinetists Michiko Ogawa and Sam Dunscombe to write a composition for their ensemble, Sugimoto thought of using the pieces in the "Solo for Strings" series. He prepared one piece for wind instruments to be performed by the trio of Ogawa (clarinet), Dunscombe (bass clarinet) and Rebecca Lane (flute), and five solo pieces from "Solo for Strings"--one each for contrabass, cello, and guitar, and two for viola. These pieces were performed and recorded in Berlin. Also recorded was the 25-minute work "Octet," performed by an ensemble of eight musicians using all six scores. This album is comprised of these seven pieces. In addition to Michiko Ogawa, Sam Dunscombe and Rebecca Lane, the performing musicians are Johnny Chang (viola), Catherine Lamb (viola), Lucy Railton (cello), Jon Heilbron (contrabass), and Fredrik Rasten (guitar).
11,00€
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CD

Taku SUGIMOTO
“Guitars”

Performed by Andrey Popovsky: electric guitar (1), semi-acoustic guitar (2), Denis Sorokin: classical guitar (2), electric guitar (3), Alexander Markvart: acoustic guitar (2). Taku Sugimoto is a Tokyo-based guitarist and composer. Improvisation is one aspect of his work, but currently his main activities are composing and performing composed pieces (including those of other composers). He continues his global and concentrated interaction with composers from around the world, particularly those closely connected with Wandelweiser. Ftarri had previously released two albums under Sugimoto's name alone—Septet (2015) and Quintets: Berlin, San Diego (2017). On both CDs, his compositions are performed by other musicians (on Septet, Sugimoto also participates in the performance). The CD Guitars, also released under Sugimoto's name, is comprised of three pieces that he wrote for that instrument. The first and third are guitar solos around 20 minutes long; the second is a guitar trio of about 10 minutes. The performers are three guitarists from Russia, and the pieces were recorded in St. Petersburg in 2017 and 2018. The solo compositions were performed by Andrey Popovsky (track 1) and Denis Sorokin (track 3); and the trio was performed by these two plus Alexander Markvart. All the performances are extremely simple and concise, but convey a feeling of complexity and richness. Abounding in an incomparable feeling of depth within their simplicity and candor, these are truly Sugimoto-like works.
13,00€
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CD

Taku SUGIMOTO
“h”

Cristián Alvear & Taku Sugimoto (guitars). Recorded live in concert at Ftarri, Tokyo, November 2017.
13,00€
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In stock

CD

Taku SUGIMOTO
“13 & 14 for guitars”

Composed by Taku Sugimoto. Tetuzi Akiyama: guitar. Recorded live at Loop-Line on October 23, 2009. Recorded by Taku Sugimoto. Mastered by Taku Unami. Drawing by Taku Sugimoto.
12,00€
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CD

Taku SUGIMOTO
“26 (2009) Electronic version”

Composition named “26” : different sequences of electronic sounds and silences on the left and right channels. Realized by Taku Unami, 2009 in Tokyo.
12,00€
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CD

Taku SUGIMOTO
“Quintets: Berlin, San Diego”

In recent years, guitarist Taku Sugimoto has been active as a composer, providing works to musicians inside and outside Japan, and also as an improvisational musician. He often works with composers and musicians in the sphere of the Wandelweiser school, and gives many performances overseas. Sugimoto is also a member of the Suidobashi Chamber Ensemble, which is made up of five Japanese musicians. This CD, Sugimoto’s first release since Septet (on Meenna) in 2015, is made up of two versions, both about 30 minutes long, of his 2017 composition “Quintet,” recorded in Berlin and San Diego (U.S.A.). It is performed by five musicians on flute, two clarinets, violin and cello. Track 1, the Berlin version, is a live performance that took place on August 6, 2017. Track 2, the San Diego version, was studio-recorded on March 15, 2017. Clarinetists Samuel Dunscombe, from Australia, and Michiko Ogawa performed on both tracks. Other performing musicians were Rebecca Lane (flute), Johnny Chang (violin), and Lucy Railton (cello) in Berlin; and Michael Matsuno (flute), Erik Carlson (violin), and Judith Hamann (cello) in San Diego. Sugimoto composed the work but did not participate in the performances. The frequently overlapping and interfering long tones and the short tones nonchalantly plucked on the strings continue throughout the performances. Simple structural beauty and a tranquil resonance pervade the performances. A masterpiece.
12,00€
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CD

Taku SUGIMOTO
“Septet”

Guitarist Taku Sugimoto continues his long-term musical activities, with a focus on composing, and also collaborates closely with some of the composers in the Wandelweiser Group. This release is one of the summits of his recent work. Septet is a work of just under 40 minutes, performed by seven musicians on clarinet, flute, viola, contrabass, cello, electric guitar and sine-tones. Throughout, numerous diffuse sound reverberations emerge and overlap, then fade away. The sound progression is simple and unhurried, but the work is permeated with tension from start to finish. A masterpiece. This is the live recording of the work's world premiere in Berlin in March 2015. The performers are Rebecca Lane (flute), Michael Thieke (clarinet), Johnny Chang (viola), Koen Nutters (contrabass), Derek Shirley (cello), Taku Sugimoto (electric guitar) and Bryan Eubanks (sine-tones). “This composition is conceived of as a sort of double concertino for clarinet, flute, and small ensemble. However, the two main instruments, clarinet and flute, make no melody: the one tone is shared and repeated by them. I want to have the other instruments (viola, cello, contrabass, guitar, and sine-tone generator) work as if they are drawing several spectrums with the sound of the clarinet or flute, so each of these instruments has a specific set of microtones to play. In order to make it easier to produce those microtones, the stringed instruments are tuned anomalously; only harmonics or open strings are played. The very low frequencies are produced only by the sine-tone generator, since these frequencies are too low to play with any musical instrument except piano.” T. S.
13,00€
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2 CD

Taku SUGIMOTO
“Live in Australia”

“Taku Sugimoto is an extremely restrained guitarist who produces very few sounds in performance, allowing silence to be the controlling force. As an improviser and composer, he’s garnered international acclaim, and also provoked strong reactions, both positive and negative. This two-CD set documents Sugimoto’s live performances, in Australia in September 2003, of two of his own compositions (one per CD): "Dot (73)" and "Music for Amplified Guitar." Environmental sounds-listeners’ coughs, footsteps, and chair scraping, as well as noises from outside-make their way clearly and naturally into Sugimoto’s live concerts. Occasionally there’s a sound from his guitar; it’s as if he were collaborating with the sounds around him. This is very much the case on Live in Australia, and particularly on Disc 1. As the performance began, so did a rain shower, which grew more intense, filling the space with a sound like white noise. Over this background noise, Sugimoto quietly plucked a handful of short sounds. The set includes a long (1,000+-word) essay by Sugimoto that sheds new light on his musical ideas.” All composed by Taku Sugimoto. Taku Sugimoto: guitar. Packaged in a cardboard jacket. Mastered by Taku Unami. Drawing by Taku Sugimoto. Design by che chat. Includes liner notes by Taku Sugimoto in Japanese, and English.
16,00€
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2 LP

Eliane RADIGUE
“Triptych”

The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the 4th side. Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she†began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth" Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley , "Jetsun Mila"(1986), as well as the Trilogy of Death: Kyema (1988), Kailasha†(1991) and Koume†(1993).
45,00€
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In stock

LP

Andrew CHALK
“Mystical Obscurant”

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint. Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it. “The Seed of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace. What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.
25,50€
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LP

ELEH
“Floating Frequencies / Intuitive Synthesis I”

When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus. From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young" ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH. This audiophile quality presentation of ELEH's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.
25,00€
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LP

Bob BELLERUE
“Chaos Is A Law”

Avec Chaos Is A Law, Bob Bellerue fait du chaos une force créatrice. Feedback, cordes de piano, métal, électronique et drones s’entrechoquent dans une matière sonore en perpétuelle transformation, entre rugosité, dissonance et étranges éclats mélodiques. Une musique physique et imprévisible, qui se construit, se fracture et renaît sans cesse. Ici, le bruit devient matière vivante, l’incontrôlable devient méthode, et le chaos, une forme de liberté.
27,50€
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CD

Russell HASWELL
“Let It Go”

It has been twenty-five years since the seismic events of 2001—when twin towers collapsed under terrorist attack and Coventry's sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997–2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: "Science Fiction is now!" In the face of this darkening reality, LET IT GO arrives as both acknowledgment and antidote. This new full-length on Editions Mego extends an olive branch through defiant sonic diversity—an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell's core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted. The album weaves reverent echoes of 1990s Detroit techno's hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, "rapidly fluctuating pitched sounds" that characterized Iannis Xenakis' late electronic works—resulting in pieces such as Fall 3 and Fall 2, where instability becomes a form of vitality. The tracks Exit Downwards and The Anxieties Of Our Time whilst reflecting the currents of the release also offer surprisingly melodic patterns over jagged rhythms. The wryly titled Thu 25 Dec 2025, (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model—known more evocatively as the drunken walk—each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence. LET IT GO is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.
15,00€
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LP

Klara LEWIS
“Opening”

Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Her new album Opening is a deceptive recording with veiled melodies and clandestine bangers. Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped. The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective. Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways. The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together.
26,00€
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