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16 CD box

Denis DUFOUR
“Complete Acousmatic Works — Vol 2”

With the imminent release of this second volume of the Complete Acousmatic Works, Denis Dufour’s oeuvre is the subject of an unprecedented discographic publication. Together, the two box sets comprise a total of 32 CDs, featuring 93 works and over 34 hours of music, spanning nearly fifty years of creative output (1976–2024). The experience is extended through the booklets (Fr / Eng / De), including detailed notes for each title, reflections on the texts set to music, as well as forewords by Frédéric Acquaviva (Vol. 1) and Robin Rimbaud [Scanner] (Vol. 2). Denis Dufour (1953 ) Through a morphological and expressive approach to sound, Denis Dufour has developed a body of work in constant renewal, driven by projects that are each singular in nature. The resulting catalogue unfolds as a vast fresco, in which no motif is repeated, embracing a wide range of immersive sonic landscapes. An insatiable creator, his compositions — instrumental, vocal, mixed, and fixed-media — now form a catalogue of nearly 200 titles. With the release of the second box, KAIROS continues the monumental undertaking of documenting Denis Dufour’s complete acousmatic works. When one considers the extraordinary stylistic breadth, the wealth of expression, and the ever-expanding sonic territories explored in this second 16-disc set, one might feel that Dufour’s œuvre has at last been fully charted or, conversely, that there is still an inexhaustible world left to discover. Our need for music is insatiable, yet Dufour’s sonic-musical creation, his multi-polar acousmatic art, once again rises far above the ordinary. May this second box set in the larger anthology demonstrate how he has become one of the rare figures capable of breaking the space-time barrier through his unique ability to absorb other sound worlds and unite the disparate spheres of the audible, thus embodying the voluptuous, generative chaos of the music of our time.
60,00€
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16 CD box

Denis DUFOUR
“Complete Acousmatic Works — Vol 1”

A first box set containing 16 CDs, presenting more than 40 works and 18 hours of listening, including never released before music by Denis Dufour and texts in a detailed booklet (Fr/Eng/Ger). With his morphological and expressive approach to sound, Denis Dufour works on pieces in a constant state of renewal and on ideas that are specific to each piece. This results to a work looking like a large fresco in which no theme sounds alike, containing varied and breathtaking soundscapes and a patchwork of sounds, thoughts and colors that enable us to appreciate the sheer imagination as well as the consistence of his style. By deliberately but effortlessly opening his music to all sounds, Denis Dufour works with liberty, independence, rigor, and craftsmanship so refined that makes one forget oneself. Every second of sound is wrapped by a conscious ear so that so that his work contains no trace of automatic tools. Composer, teacher, researcher, director of label and festival, Denis Dufour, has greatly contributed to the development of acousmatic art in the world during forty years. First volume of the integral of his acousmatic work, this boxset regroups 44 works of Denis Dufour, composed between 1977 and 2020. Each one of the 16 discs is conceived as a listening program, which provides to listeners an immense landscape. The second volume is expected in 2022, and his instrumental work is under publication as well. CD 1 – 3 Melodramas 1, 2 & 3 CD 4 – 5 Radio Art 1 CD 6 – 9 Suites 1, 2 & 3 CD 10 – 11 Tombeaux 1 & 2 CD 12 Acousmalides Cycle 1 CD 13 – 14 Sacred Music 1 & 2 CD 15 Electronica CD 16 Moments musicaux 1
60,00€
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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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Out of 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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