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TAIGA (US)

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3 LP

ELEH
“Homage” [!!damaged cover!!]

Coffret abimé au dos, fente au niveau de la tranche du haut + quelques taches de vieillissement. Split at upper edge on the back of the box + few foxing spots.  Presenting a unified whole, the Homage 3LP boxed set contains Homage to the Square Wave, ...Sine Wave and ...Pointed Waveforms, all out of print until now. Initially released separately in 2008, 2009 and 2012 respectively with custom letterpress jackets, this collection includes new retrospective artwork by John Brien. Each disc comes in its own one-color silkscreen jacket using the same blue, orange and green from the original editions; all housed in a rigid white satin-coated slipcase with spot varnish printing hand-numbered out of 800. Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation Eleh enables an individual reaction free of the clutter of white noise.
52,00€ Original price was: 52,00€.25,00€Current price is: 25,00€.
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NOVELLER
“No dreams”

A few copies are back in stock !
Soaring 6th solo album by American electric guitarist Sarah Lipstate. “Sarah Lipstate is Noveller. No Dreams, her 6th full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. The compositions on No Dreams explore the artist’s struggle with her blurred perception of reality and hallucination in the twilight of sleep and awakening. The songs alternate between being firmly rooted in place, like the epic beat-driven “Mannahatta” and the playful guitar melodies of “Rue de Montmorency”, and navigating the murky underworld of nightmare as in the dissonant layers of bowed guitar and manipulated piano in “The Fright”. Title track “No Dreams” is a gloriously melancholic plea from Lipstate’s overdriven electric guitar for exemption from the throes of parasomnia.” - Important Records.
Mastered for vinyl by James Plotkin, cut direct to metal and pressed on 200g virgin vinyl in an edition of 400. Housed in a heavy custom weight black paper jacket letterpress printed with silver ink, diecut and hand-assembled at Studio on Fire in Minneapolis.
25,50€
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LP

Tatsuya NAKATANI
“Confirmation”

Nomadic percussionist Tatsuya Nakatani travels worldwide, his performances blooming with ceaseless expanse. Although Nakatani is a valiant collaborator, joining with other musicians, dancers, filmmakers and beyond, solo percussion is the root of it all. Simply stated in Nakatani’s own words, this album is “Confirmation of all of my acoustic solo percussion performance since 1998.  Recorded live at Nakatani-kobo in Easton Pennsylvania USA during snow season of beginning of 2015. No overdubbing and used the fewest effects possible on this LP.” Confirmation is Nakatani’s third release on Taiga. We initially saw the vibrant color of his collaboration with Mary Halvorson and Reuben Radding on MAP Fever Dream. Followed by Nakatani Gong Orchestra, a woven blend of heavy vibrations from his one-off group experiments on the road. Now we have number three, solo percussion, the foundation of his practice, charged with thunders, screams, sparks and countless other ineffable sonic textures. Mastered by James Plotkin, cut direct to copper & pressed on 200g virgin compound, Confirmation is Nakatani’s first solo percussion album to be released on LP. Housed in a custom heavyweight yellow paper jacket with silver & metallic black foil stamping made at Studio on Fire in Minneapolis. Pressing of 430 on opaque red vinyl.
23,00€
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LP

Francisco LOPEZ
“Untitled #300”

Pressing of 400 on 200g virgin vinyl. Pressing of 300 copies on crystal-clear 200-gram virgin vinyl packaged in a custom letterpress jacket printed, die-cut, and hand-assembled at Studio On Fire in Minneapolis, with particular care taken to retain the fine detail of the cover’s microscopic type. “Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion” --Pedro Higueras, Sonom Studios. “Untitled 300 is an LP based on multi-track field recordings I did in 2011 of a large colony of seagulls in a group of small islands right in front of the Moroccan-Algerian border, together with hydrophone and contact mic recordings of sea creatures underwater from the same location (side A and B of the LP, respectively). Being interested in going beyond a traditional 'soundscape' perspective, I've played freely with mixing and editing, in an unorthodox way, different multi-channel recordings I did. Side A ('abovewater') is the large seagull colony. In side B ('underwater') what you hear is predominantly millions of very small shrimp-like crustaceans, dolphin sonar (the beating pattern of the first section), and occasional fish (the 'frog-like' calls)" --Francisco López. Original environmental sound matter recorded in the Chafarinas Islands off the coast of Morocco, summer 2011. Edited, mixed, and mastered at mobile messor, The Hague, the Netherlands, summer 2012. Field work carried out with the collaboration and support of the SIGEIN-Chafarinas research group (Integral Ecological Management System of the Chafarinas Islands), directed by Francisco J. Acosta (Universidad Complutense de Madrid, Spain) and coordinated by Javier Zapata (Spanish National Park Service).
24,00€
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LP

Douglas QUIN
“Fathom”

“Douglas Quin’s Fathom brings together four extended underwater soundscapes-two each from the Arctic and Antarctic. The recordings have been gathered over a period of 15 years, capturing an extraordinary palette of sonic voices, events, spaces, and textures. To the human ear, these soundscapes are haunting and otherworldly; yet they are very much of this world-out of earreach. The tracks are minimally edited and are his first field recordings to be archived in vinyl. Included with the release is a sealed envelope containing an insert with specific locations, animals, and other elements heard, giving listeners the option to absorb sound with or without association. The envelope is printed with liner notes and comments from Dutch journalist and music critic René van Peer. Mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin-vinyl, Fathom comes packaged in custom letterpressed materials and is presented as a limited edition of 1000. Douglas Quin is a sound designer, naturalist, public radio commentator, educator, and music composer. For over 20 years Quin has traveled widely, documenting the natural soundscape-from Antarctic ice to Arctic tundra and from African savannah to Amazon rainforest. His recordings of endangered and disappearing habitats represent one of the most unique and extensive collections anywhere. Quin recently created the sound design for and mixed Werner Herzog’s Academy Award® nominated film, Encounters At the End of the World. He contributed to the sound design for Spore, a game from Maxis-Electronic Art, and has also worked on exhibits for the Smithsonian Institution National Museum of Natural History, American Museum of Natural History, and the Polish Academy of Sciences, among others.” label info Quin is an Associate Professor in the Television, Radio and Film Department at the S. I. Newhouse School of Public Communications at Syracuse University. He is currently involved as a bioacoustics researcher with the Kagu Recovery Plan and Conservation Research New Caledonia in conservation efforts to protect the critically endangered kagu bird. Quin recently collaborated with clarinetist F. Gerard Errante on his CD release, Delicate Balance, and is composing a new work for the acclaimed Kronos Quartet featuring soundscapes and interactive electronics using the K-Bow-a new bow controller by instrument builder Keith McMillen.
19,00€
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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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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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In stock

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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