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FERNS (FR)

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In stock

LP

BJ NILSEN / Bruno DUPLANT
“Stratégies Obliques III”

The Stratégies Obliques series continues with two previously unreleased tracks. Still based on the principle of randomly drawn cards invented by Brian Eno and Peter Schmidt. BJ Nilsen Recorded in 2022 and refurbished in 2025 at Odd Phasing and Echoes, Amsterdam NL Bruno Duplant Dispositifs électroacoustiques
24,00€
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2 CD

SMALL CRUEL PARTY
“Quietly Flows The Ouabache”

"Old material never released before, different from his other releases"
17,50€
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Out of stock

CD

Sam DUNSCOMBE & Michiko OGAWA
“Expended Desert”

Ferns Recordings presents Expended Desert, a collaboration between Sam Dunscombe and Michiko Ogawa. Sam Dunscombe (field recordings, synthesis) Michiko Ogawa (shō, hammond organ) December 2022 Locations: Roadside, Joshua Tree National Park Railway siding, Ludlow North Shore Yacht Club, Salton Sea Soundwalk, Slab City Adelanto Solar Park, Victorville
11,00€
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CD

BRUME
“A Treatise On Ethnography”

Brume/C Renou: Analog & digital electronics, percussion, metal, DIY wind instruments, amputated electric guitar, acoustic guitar, voice, electronic toys, tape (reel to reel & cassette), field recording, 60's radio, tv, effects, etc... + mix.
11,00€
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CD

Aliénor GOLVET
“Point, Line, Surface”

PhD student at Ircam-STMS lab in the {Sound, Music, Movement} Interaction (ISMM) team under the supervision of Frédéric Bevilacqua and Benjamin Matuszeswski. "My music is an exploration of sterility, mundanity and stillness interpreted through personal feelings and subjective experience. My composition process is intuitive and personal. The recordings I use are of the following nature : souvenirs of lost moments, recordings of natural and urban empty spaces, microphone and object manipulation, deformed voices, non-expertly played instruments, resonances."
11,00€
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3 CD

COPPICE
“Draw Agreement”

A spatiotemporal synthesis of Coppice's auditory and musical experiments (2009-2022) with custom, prepared, and modified musical instruments. This 3CD set abridges Coppice's first three studies, artificially inserts them into the Yerkes Observatory in Williams Bay, WI, and binaurally captures their diffusion across Elastic's CLEAT (Chicago Laboratory for Electroacoustic Theatre), a 16-channel 96-speaker sound system.
21,00€
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In stock

10"/25cm

SMALL CRUEL PARTY
“Ἡσυχασμός”

These two pieces were recorded in Paris in December of 2017 at the request of Banned Productions who then released them as a cassette. However, only very few copies of the tape were made and distributed, which is the reason for this new edition, mastered for the occasion by Paul Lavigne at Kontrast Mastering.
17,50€
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In stock

LP

Christoph HEEMANN
“End of an Era”

"end of an era" was produced over a period of 23 years. It began with a few short recordings of lightly processed sine waves that came to me via Asmus Tietchens and Achim Wollscheid. The work on these resulted in a first version and release of "time is the simplest thing" (Three Poplars 2003) which I was never fully satisfied with, so I continued working on it further until a definitive version was completed in 2018. I began work on "time and again ... and again" in 2013 when experimenting with analog electronics. Again I made a first version that I was not entirely happy with and picked up again and completed it in 2022 with the help of Ronnie Oliveras who engineered parts of the remix. The titles for the pieces are related to American writer Clifford Simak whose novels and short stories have been a source of inspiration since adolescent days. 300 copies, clear vinyl
23,00€
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In stock

2 LP

Kiyoshi MIZUTANI
“Inferior’s Betrayal”

Reissue of the self-produced K7 in 1994 on Kiyoshi Mizutani's Ulcer House label. Mizutani was a member of Merzbow in the '80s and has done solo work since 1989. He has recordings on Ulcer House, ZSF Produkt, Shirocoal Recordings, NEdS, Sounds For Consciousness Rape, Pure, Artware, Kaon, e(r)ostrate, Povertech Industries, and Flenix Records.
27,00€
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Out of stock

LP

SMALL CRUEL PARTY
“È Vago Fior Del Tempo”

"This record presents some work from the late 1980s, originally self-released for friends on various cassette editions of about 5 to 7 copies. These pieces, along with others from the same period, were then later released on limited cassette editions by Petri Supply. This vinyl edition presents them with the intended playing order on side one, in a silkscreened sleeve printed by Charlotte at zyx-éditions, at Bretoncelles in Basse Normandie." (William Ransone)
20,50€
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Out of stock

CD

SMALL CRUEL PARTY
“Do you believe in a pencil”

Reissue of the first Small Cruel Party CD with different artwork done by Abo (Mark Schomburg/Petry Supply). 200 copies.
12,50€
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Out of stock

CD

Bruno DUPLANT
“Zone Habitable”

Zone Habitable is as its name suggests, in astronomy and exobiology, a region of space where conditions are favorable for the appearance of life as we know it on Earth and therefore potentially capable of supporting extraterrestrial life. Like a fiction, Habitable Zone is a translation, a musical interpretation (using various instruments, electronic processing and field recordings) of what this exoplanet could be. (Bruno Duplant). 100 copies
11,00€
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Out of stock

LP

Giancarlo TONIUTTI / Massimo TONIUTTI
“Stratégies Obliques I”

Second part of the "Stratégies Obliques" which this time brings together the two Toniutti brothers on this split LP. The principle is the same as Stratégies Obliques Ø. They both had to create their pieces using Oblique Strategies, an oracular deck of cards by Brian Eno and Peter Schmidt intended to be used as a prompt during the creation process. Any cards they used would become the titles of the plays. - Giancarlo Toniutti A Tinct Myrrh (discard an axiom, just carry on) Composed in March 2021. All sounds recorded early 2021. Studio work from March to April 2021 at la stanza nera, Udine. Sound sources : eraly percussion, rustler, iron wares, prepared slabs, domestic idiophones. Massimo Toniutti The Background Colour of a Paragraph (ask your body, mute and continue) Recorded and composed : February/April 2021 1. sounds and ideas and experiments (February) 2. the domestic installation (March) 3. composition of the selected material (April) 200 copies, white vinyl.
23,00€
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Out of stock

CD

SMALL CRUEL PARTY
“Cervorum Simulacra”

"Cervorum simulacra" was originally released as a lathe-cut LP limited to 30 copies ; "Pour Eric S-W" has never been released. Cervorum Simulacra (live à Qui Plume La Lune, Paris, 11.iv.08) Pour Eric S.-W. (live, Radio KSER, Everett, Washington, 15.iv.92)
11,50€
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In stock

CD

TARAB
“Rooms”

Between 2019 and 2021 I presented three installations. Seeking to move away from sharing borrowed representations of things, spaces and actions in the form of recordings, to instead shape spaces or situations with sounds and rooms, things and an audience. If we understand space not as physical, but as shaped through use, it raises the somewhat rhetorical or even quixotic question: can a space be shaped by sound? Can one space be shaped inside another? However, ROOMS is not intended to act as a straight document of these installations, despite drawing heavily upon them. Rather, it has been made to explore some of the ideas and methods which emerged from the process, within the space formed by a pair of stereo speakers situated in yet another room. It is not intended as a re-presentation of those assembled spaces, but works towards being its own listening space within the rooms and ears of a listener. Recorded audio material is explored as a shifting series of perceivable surfaces, textures and depths; traces of places and actions; points in space; vibration of speaker cone and microphone diaphragm; resonant objects acting as small sounding containers within larger containers; movements of air; a constant shifting set of perspectives; the traces that are left behind; debris gathered up and pawed over. Recorded sound is gathered and understood as partial, fragmentary, incomplete. While ROOMS is a construction, it is presented not quite as an abstraction nor as a re-presentation, but as a form of both-ness or an inbetween-ness; somehow inside-out and outside-in. An interaction or assemblage of shifting, sounding elements and things. (Eamon Sprod)
11,50€
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In stock

CD

Julien HERAUD
“Hidden Parasites”

Hidden parasites is a collection of electronic pieces pretty minimal and simple for those I tried to conserve the intensity of harsh and abrasive noise and the subtlety and narrativity of electroacoustic compositions. Hidden Parasites is an immersive work into subtle high feedbacks, destroyed samples, bass drones and weird raw recordings. It's not meditative, but all the tracks explore modulation and change into a range of long durations where I tried to create organic landscapes and a contemplative narration form. [Julien Heraud]
10,00€
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Out of stock

LP

Francisco LÓPEZ
“Animast”

"Few albums would be as fitted for vinyl release as this one. Drawing on both analog-material and digital-immaterial undisclosed sources, "Animast" plays with the sonic textures and responses most suited for the characteristics of this particular analog medium: noisy crispness, compositional 'loopiness', contrasting sharp-and-thick textures and cycling dynamics. A must for experimental heads and adventurous DJs alike!" untitled #369 Created at mobile messor (Anatananarivo, Dublin, Madrid, Den Haag and Dune Studio (Loosduinen), 2018-2019 untitled #365 Created at mobile messor (Paris, Valencia, Oslo, Venice and Dune Studio (Loosduinen), 2018-2019
20,00€
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Out of stock

CD

Daniel MENCHE
“Dirge”

Daniel Menche has yet again utilized a piano to create a vast and immense storm of noise and drones. In 2011 he created a piano noise album titled “Guts” that was the sound of a piano being violently attacked and then electronically treated. Ten years later Daniel Menche worked with a grand piano that was in tune and located in a very acoustically sound studio. With carful elegance and care Daniel Menche wove long horse hairs in between the longest strings of this grand piano and bowed the strings for several hour to create massive amounts of overtones, drones and noise. Edited, mixed and subtly treated, “Dirge” is presented in a rather raw manner. The bowing acoustic movements was the main focus to the music rather than the electronic making this a unique recording in the ever growing discography of Daniel Menche. “Rawest Dirge” is a bonus track only on this CD release that is the raw recording of several objects placed on the strings with tone generators resonating the strings. “Rawest Dirge” is presented raw without any edits or treatments. “Dirge” was a very physical recording to make and therefore an album that truly needs to be heard physically loud and deep as possible. Daniel Menche : Bowed Grand Piano and Noise Recorded at the Hallowed Halls studio in Portland Oregon. Great gratitude to Peter Drake who assisted me wit hthe creative recording process of the grand piano. Recorded throughout January 2021 Mastered at the Stereophonic Mastering.
11,00€
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In stock

LP

Mike VERNUSKY
“Aatma”

Aatma is the re-imagining of my recent journey into Mumbai through sound, place, and moment with a Nagra SD recorder. The work was composed immediately upon my return while these things were, in a very real sense, still resonating in my mind. Part 1 is the arrival. Echoes of the shanka can be heard from a distant past across the Arabian Sea, as waves wash debris ashore and push you deep into the tumult of the city. Here you may experience the current of life and ride old trains into spectral shadows of obscure & eccentric Bollywood and devotional vinyl records from a local music boutique. Part 2 is a precarious walk across the narrow causeway leading to Haji Ali Dargah, a 600-year-old mosque only accessible at low tide. It is difficult to reach the mosque without being taken aback by the disparate forms of life unfolding on the way in, both in the sky and on foot as can be heard here. Part 3, the final section, is a departure from the hustle of the city altogether. This section delves into the droning, colorful, and percussive instruments with their richly complex and evolving timbres. It culminates in a return to daily shanty life on the beach accompanied by transistor radios blasting modern bollywood music. Aatma is a tribute to Mumbai’s wonderful people and culture, and in the hope of representing different and altered states of listening, living, and celebrating. I hope you find this journey as inspiring as it was for me. - Mike Vernusky. Music and field recordings by Mike Vernusky. Mastering and additional tempura by Cory Allen. Design by Noopur Choksi. Photography by James David Smith. Kind logistical support by Bhanuj Kappal, Damian O'Riain & Jay Kumar Singh. Special thanks to Manuella Blackburn and illapfest UK. Bollywood vinyl courtesy of Pilak Bhatt of MusicCircle. 150 copies
19,50€
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In stock

LP

Daniel MENCHE
“Primal Fictions”

“Primal Fictions” may sound like the early work of a literary novelist, but words are not Daniel Menche's chosen form of expression - instead, sound and noise form the foundation of his 30 year dedication to abstract sonic exploration. “Primal Fictions” (LP) released by Ferns Recordings is a prime display of Menche’s unique approach to field recordings and electronic manipulation. An earthly marriage of the acoustic and electronic worlds, “Primal Fictions” is a stunning example of Menche’s immersive and overwhelming music, one that invites the listener to become lost inside a vast sound forest. 200 copies.  
19,00€
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In stock

CD

Jack PATTERSON
“Milk Thistle”

Includes recordings made at Riverside Park in New York and Rock Creek Park in DC. Assembled summer 2018 and fall 2019. "During the period I worked the most on these, summer 2018, I was reading the Daoist Zhuangzi and some Stoics. That material is likely why this CD has to do with detachment and inaction, as well as unspecifiable emotions. The synthetic/concrete sound relationship seems post facto to engage with the above. Inside and outside interpenetrate and relate in tension – openness, suffering, trouvailles and surprises of sound and feeling. The composition involved many layers of mixes, seemingly to do with the fact I'd been looking at a ton of digital imaging of manuscript palimpsests". (Jack Patterson)
11,00€
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In stock

Sale
CD

Anla COURTIS & DAS SYNTHETISCHE MISCHGEWEBE ‎
“Squenun”

"We somehow tried to use sounds as idioms. Turning them upside down and back again, make them collide with each other's distorted mirror image, let them mean everything one would usually not think them to mean. "Careta" meaning someone who acts like someone they are not. A sound, in music, usually one would say doesn't mean anything, but the sound of the word "word" does (if you have learned English). But, a collaboration allows to pretend it would mean something else and language is but a collaboration, words and meanings have to be shared to exist. Maybe to craft their own little world." Recorded in Rennes & Buenos Aires 2017 - 2019 ℗ Ferns recordings 2020 © Anla Courtis & Guido Hübner 200 copies
11,00€ Original price was: 11,00€.6,00€Current price is: 6,00€.
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Out of stock

2 CD

Matt SHOEMAKER
“Tropical Amnesia Two & Three”

Double CD limited edition of 300 copies. All sound recorded November 2007 in/at/around Mamori Lake, Amazonas, Brazil. Material culled and assembled December 2007/January 2008 in Seattle.
13,00€
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LP

COMPILATION
“Bidödaren”

With Unken Reflex, Joe Colley, Daniel Menche, Small Cruel Party, Tarab, BJNilsen, Toy Bizarre, Steve Roden. "Bidödaren = Beekiller, approximately... In Swedish there is a double meaning; bi is the insect bee (in English), but also has the meaning of something like a "side-effect". Like if the killing of bees is just something being done beside doing something else. (Leif Elggren)" Limited to 200 copies.
18,00€
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In stock

CD

Massimo TONIUTTI
“Cava xi​.​xi​.​86”

Cava xi.xi.86 was a concept album split into two parts, side 1 formerly called gravi tracks 1-4 and side 2 le ghiaie tracks 5-7. Mixed at the stanza delle uova (1987) using a (4+4) multi-track system. Two more compositions have been added to this reissue: Track 8 (cube version of gravi) and track 9 (with a little help from l'orchestra dei becchi di Fuji), both of them using '86/'87 archive sessions, re-worked and digitally mixed at my ground floor studio (2019). Re-mastered from the original tapes. All material recorded from November 1986 to April 1987 at the laboratory and its surroundings. Sound sources : clothes horse, metal ladders, pipes, welded wire mesh, railing, metal cans, occluders, muffles, clamps, springs, mandrels, drill bits, wrenches, hacksaws and unidentified objects; processed field recordings, via sistiana's hammers ad venetian blinds, and trains; hi & lo-fi speakers and microphones, handheld cassette players and recorders.
10,50€
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Out of stock

CD

Thomas TILLY
“A Semiotic Survey”

Limited to 200 copies. Field recordings made by Thomas Tilly at Saül and on the Rorota road, French Guiana, May 2015. Composed using field recordings, electronic sounds and microphones dysfunctions, from 2015 to 2018 by Thomas Tilly.
10,50€
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Out of stock

LP

SMALL CRUEL PARTY
“Resin, Parched, Chthonic”

Cassette released in 1991 on the label A State Of Flux, reworked and rebuilt so that it can match the duration of a vinyl. The ambience of this album is noisy, drone, abstract, shamanic. Mastering by Giuseppe Ielasi. 300 copies.
18,00€
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Out of stock

mini CD

BJ NILSEN
“Terroir”

All source material recorded in Krems, Langenlois, Kalvarienberg at Schönberg am Kamp at, April - September 2016. Recordings made of the terroir, harvest and fermentation during vinification. Original four channel version presented at the opening of Drahtsicht, an outdoor sculpture by Günter Wolfsberger, 9 October 2016.
7,00€
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Out of stock

CD

SMALL CRUEL PARTY
“Islands of Sleep”

Reissue of a vinyl released 20 years ago on GMBH records. “Manipulation of physical objects in acoustic space and a great deal of concentrated activity. Even in pieces involving dense sound at high volume the resultant effect is one of intense calm.” 300 copies.
9,50€
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Catalogue


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In stock

2LP (purple)

Ernest BERK
“Electronic Music 1955-1984” (purple)

Purple vinyl version. For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. Ernest Berk was a singular figure and a 1950s pathfinder in electronic music in Britain. With a background as a dancer and choreographer, he devoted much of his attention to electronic music for dance. The music collected here spans almost twenty years and was created across his three North London studios at Camden Road, Dorset Street, and the Diorama in Peto Place. In this particular combination of electronic composition and contemporary dance, Berk had no direct counterpart in Britain, with the American composer and choreographer Alwin Nikolais providing the closest parallel. Berk’s musical language evolved from early tape manipulation, microphone recordings and radio interference towards electronically generated sounds produced with tone, pulse and white-noise generators. Throughout these technological changes, he maintained a strict economy of means, often limiting himself to only a few carefully selected sound sources. Rhythm, pulse and percussive tape loops remained central to his compositions, reflecting his experience as both a dancer and percussionist. Gemini (Les Amies), Op. 52, in which recordings of a kettle lid grinding and spinning on various surfaces are juxtaposed with percussion loops, offers a striking example of this approach. Berk also regularly returned to completed works, altering them, extracting sections and reusing recognisable motifs in new compositions. In Your Image, Op. 43 and No Fish (or Oh Mr. Bard), Op. 29 reveal this practice of self-quotation particularly clearly. The latter is presented here in an eleven-minute version preserved on one of a group tapes that had disappeared from Berk’s collection after his death and were thought lost, until Berk’s friend and colleague Andreas Wirth revealed in 2024 that he held a number of them. Dance remained central to Berk’s work. He composed fourteen works for dancer and choreographer Rebecca Wilson, their collaboration continuing until 1976, and in 1971 established the Dance Theatre Commune with his third wife, Ailsa Berk. Nocturne (While I was asleep), Op. 163, with its repeating looped sequences suggestive of breathing, also existed in an hour-long version created for the DTC’s semi-dark, all-night “Liberation” dance sessions. One of his later works, Osterglocken, Op. 221 (1980), distils Berk’s enduring interest in restricted sound materials through subtle variations of timbre, gesture and pulse. For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. This anthology forms part of the ongoing process of rediscovering this distinctive body of work.
21,50€
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In stock

2LP

Ernest BERK
“Electronic Music 1955-1984”

Black vinyl version. For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. Ernest Berk was a singular figure and a 1950s pathfinder in electronic music in Britain. With a background as a dancer and choreographer, he devoted much of his attention to electronic music for dance. The music collected here spans almost twenty years and was created across his three North London studios at Camden Road, Dorset Street, and the Diorama in Peto Place. In this particular combination of electronic composition and contemporary dance, Berk had no direct counterpart in Britain, with the American composer and choreographer Alwin Nikolais providing the closest parallel. Berk’s musical language evolved from early tape manipulation, microphone recordings and radio interference towards electronically generated sounds produced with tone, pulse and white-noise generators. Throughout these technological changes, he maintained a strict economy of means, often limiting himself to only a few carefully selected sound sources. Rhythm, pulse and percussive tape loops remained central to his compositions, reflecting his experience as both a dancer and percussionist. Gemini (Les Amies), Op. 52, in which recordings of a kettle lid grinding and spinning on various surfaces are juxtaposed with percussion loops, offers a striking example of this approach. Berk also regularly returned to completed works, altering them, extracting sections and reusing recognisable motifs in new compositions. In Your Image, Op. 43 and No Fish (or Oh Mr. Bard), Op. 29 reveal this practice of self-quotation particularly clearly. The latter is presented here in an eleven-minute version preserved on one of a group tapes that had disappeared from Berk’s collection after his death and were thought lost, until Berk’s friend and colleague Andreas Wirth revealed in 2024 that he held a number of them. Dance remained central to Berk’s work. He composed fourteen works for dancer and choreographer Rebecca Wilson, their collaboration continuing until 1976, and in 1971 established the Dance Theatre Commune with his third wife, Ailsa Berk. Nocturne (While I was asleep), Op. 163, with its repeating looped sequences suggestive of breathing, also existed in an hour-long version created for the DTC’s semi-dark, all-night “Liberation” dance sessions. One of his later works, Osterglocken, Op. 221 (1980), distils Berk’s enduring interest in restricted sound materials through subtle variations of timbre, gesture and pulse. For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. This anthology forms part of the ongoing process of rediscovering this distinctive body of work.
20,00€
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In stock

2 CD

Ernest BERK
“Electronic Music 1955-1984”

For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. Ernest Berk was a singular figure and a 1950s pathfinder in electronic music in Britain. With a background as a dancer and choreographer, he devoted much of his attention to electronic music for dance. The music collected here spans almost twenty years and was created across his three North London studios at Camden Road, Dorset Street, and the Diorama in Peto Place. In this particular combination of electronic composition and contemporary dance, Berk had no direct counterpart in Britain, with the American composer and choreographer Alwin Nikolais providing the closest parallel. Berk’s musical language evolved from early tape manipulation, microphone recordings and radio interference towards electronically generated sounds produced with tone, pulse and white-noise generators. Throughout these technological changes, he maintained a strict economy of means, often limiting himself to only a few carefully selected sound sources. Rhythm, pulse and percussive tape loops remained central to his compositions, reflecting his experience as both a dancer and percussionist. Gemini (Les Amies), Op. 52, in which recordings of a kettle lid grinding and spinning on various surfaces are juxtaposed with percussion loops, offers a striking example of this approach. Berk also regularly returned to completed works, altering them, extracting sections and reusing recognisable motifs in new compositions. In Your Image, Op. 43 and No Fish (or Oh Mr. Bard), Op. 29 reveal this practice of self-quotation particularly clearly. The latter is presented here in an eleven-minute version preserved on one of a group tapes that had disappeared from Berk’s collection after his death and were thought lost, until Berk’s friend and colleague Andreas Wirth revealed in 2024 that he held a number of them. Dance remained central to Berk’s work. He composed fourteen works for dancer and choreographer Rebecca Wilson, their collaboration continuing until 1976, and in 1971 established the Dance Theatre Commune with his third wife, Ailsa Berk. Nocturne (While I was asleep), Op. 163, with its repeating looped sequences suggestive of breathing, also existed in an hour-long version created for the DTC’s semi-dark, all-night “Liberation” dance sessions. One of his later works, Osterglocken, Op. 221 (1980), distils Berk’s enduring interest in restricted sound materials through subtle variations of timbre, gesture and pulse. For decades, Berk’s position as a 1950s pathfinder remained largely unrecognised, while his remarkable body of electronic music — comprising more than 280 compositions — lay dormant and neglected. This anthology forms part of the ongoing process of rediscovering this distinctive body of work.
16,00€
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LP

COIL
“How To Destroy Angels”

First reissue of the seminal 1984 EP, originally released on L.A.Y.L.A.H. 180 gr Audiophile LP, Black vinyl, (1 side audio, 1 side etched), Insert.
18,00€
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2 LP

Ragnar JOHNSON – Ralph HARRISSON
“Ethiopian Musics 1971”

These recordings were made in the Empire of Ethiopia in 1971. The music recorded in Addis Ababa uses masenko fiddles, craar and bagana lyres, washint flutes and kabaro drums. There is folk music played in Addis Ababa tej beit bars with vocals, craar, masenko, washint and kabaro, Ethiopian Christian songs accompanied by the bagana large 'Harp of David' and Mary Armede's craar accompanied Amharic sung poetry. There are Afar chants and flutes from the Danakil Desert, Anuak thumb piano, Nuer harp and dance drumming and a Fila Flute Dance from the Sudan and Kenya borderlands. Ethiopian Musics 1971 is one of those albums where each musical moment is pure, intoxicating gold, while also being greater through the sum of its parts. There are the many songs, forming a rich tapestry of remarkable range across the respective two LPs/CDs (moments that wondrously flirt with sonic abstraction; hypnotic rhythms; pulsing chant; melodies that, in structural arrangement and tonal combination, help us reframe how such a thing might be understood, and a great deal more), each imbued with a remarkable directness and emotive sensibility, and there is the stunning quality of these recordings themselves, transporting each sound to our ears as though we intimately share its creator's space, while being imbued with the pure heart and remarkable spirit with which they were made. As we said before, it's little wonder, once heard, why these recordings and this music feels as fresh and relevant (enduring more than 50 years) today as when they were made. Once again, Sub Rosa has raised the bar with this essential addition to the incredible work that Ragnar Johnson and Ralph Harrisson did back in Ethiopia during 1971, radically expanding our access to the sounds that they captured with these stunning, beautifully produced 2LP and 2CD editions. A few words from the recordists: 'The recordings that Ragnar Johnson and Ralph Harrisson made in Ethiopia in 1971 have preserved the skill of the musicians and the beauty of the music for posterity. After more than fifty years the music lives on for the listener.' While Johnson's recording career was relatively brief, ending toward the end of the decade when he turned increasingly to teaching in UK universities - specifically the anthropology of art and social anthropology - his impact on the field was lasting. Between 1971 and 1979, in addition to those he made in Ethiopia, he made hugely significant recordings in Yemen (also issued by Lyrichord before being reissued by Sub Rosa) and Papua New Guinea, which were originally released by David Toop's Quartz Publications to wide celebration, before being revisited by Ideologic Organ in 2023. While it's worth noting that commercial releases of ethno musicological recordings by labels like Folkways, Lyrichord, and Ocora were still in their relatively early days when he entered the field, Johnson's recordings quickly stood apart for their vivid qualities and clarity of space, allowing them to stand the test of time. There is a clear sense of space, and the cries of the flutes exist across the entire stereo field; it is a reflection of his skill as a field recordist that these recordings continue to be reissued over fifty years later. As he later stated: "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound. The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process... I used to enjoy being in the moment and hearing something wonderful despite the stress of the vigilance required to ensure that the recordings were accomplished according to plan. The responsibility is to record and document the music as effectively as possible so that it has been preserved for posterity. It is better to actually record music than to sit in a seminar room debating the ethics of recording music." It is this very ethos and sense of clarity that can be encountered across the length of Ethiopian Musics 1971.
23,00€
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In stock

LP

David TUDOR
“Anima Pepsi”

Blume presents Pepsibird and Anima Pepsi, two works composed in 1970 by David Tudor, one of electronic music’s most visionary pioneers, for the legendary Pepsi-Cola Pavilion at Expo ’70 in Osaka. Created by Experiments in Art and Technology (E.A.T.), the pavilion was conceived as a radical immersive environment where sound, architecture, light and technology converged.

Having emerged as one of the leading interpreters of the post-war avant-garde, performing works by John Cage, Karlheinz Stockhausen, Morton Feldman and many others, Tudor gradually abandoned the piano to develop his own electronic instruments and systems. For the Pepsi Pavilion, he helped create a unique sound environment using 37 speakers, allowing sounds to move through the space in complex stationary and rotating patterns. Pepsibird and Anima Pepsi take the principles of musique concrète into strange new territories. The former draws on recordings of human and animal brain activity, transforming subtle pulses and textures into vast, resonant fields of sound. The latter turns recordings of insects, animals and human voices into detailed, pointillistic patterns and otherworldly atmospheres through electronic processing. Radically experimental, unpredictable and technologically visionary, these works anticipate many later developments in electroacoustic music, from field recording and live processing to immersive spatial sound. More than fifty years later, they remain remarkable documents of an optimistic moment when electronic music sought not simply to create new sounds, but to imagine entirely new environments for listening and experience.
25,00€
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