In stock
LP
Marta DE PASCALIS – HOWLROUND
Edition of 200 copies.
Marta De Pascalis “Her Core” /Howlround “Hard Core”.
The shadowy forces behind The Tapeworm are delighted to announce the latest release to come flying out of The Wormhole. On a limited edition split LP two of Europe’s foremost exponents of the tape loop go head-to-head, recorded within the hallowed environs of a former Buddhist Monastery – with dramatically un-Zen results.
On one side, Italian composer Marta De Pascalis mixes loops and analogue synthesis to create densely layered collages of glowing melodic shards and growling bass distortion, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. ‘Her Core’ is a rusty, sand-blasted slab of heaviness that provides the perfect continuation from her two solo albums – a hall of mirrors collapsing in on itself, over and over.
Meanwhile, Howlround is in full contraction mode on ‘Hard Core’, heading directly into the murky innards of a quartet of vintage reel to reel machines and using live tape delay to create syncopated rhythmic pulses, crackles and squelches that founder member Robin The Fog describes as ‘accidental gabber’. Originally rising to notoriety through sonic portraits of entire buildings, here Howlround dramatically scale down the subject matter to concentrate on mapping out the endless psychedelic dimensions of a circuit board, discovering a whole new world of creative potential in the process.Both sets were recorded live at London venue Iklectik during the fall of 2017 at “A Can of Worms”, an event to celebrate The Tapeworm’s 100th release. What’s perhaps most remarkable about this LP is that it captures a pair of artists in a snapshot, in parallel. Here, Howlround shakes off the back catalogue, stepping out of the comforting confines of the studio. De Pascalis plays harder than ever before. Both artists taken by a moment, into the harsh glare of the unknown. The fact that each has created their noisiest and most abrasive work yet will surely be seen as a happy coincidence. A can of worms, indeed…
16,00€
Out of stock
CD
Philip CORNER
“Gong-Ear: Shaman”
Limited edition of 250 copies. Mastered by Jacques Beloeil. Collages by D.M. Nagu.
Philip Corner (b. 1933) is an American composer, musician and visual artist. His teachers include Henry Cowell and Olivier Messiaen. While on military duty in Korea in 1960-1961 he studied calligraphy with Ki-sung Kim and many of his works have calligraphic scores. A founder member of Fluxus, Corner has performed with George Maciunas, Dick Higgins, Yoko Ono and Nam June Paik. From 1967 to 1970 he taught the course in Experimental Composition at the New School for Social Research, which John Cage initiated in 1956. He was a member of Judson Dance Theater as both dancer and composer and has written scores for dance pieces by James Waring, Yvonne Rainer, Lucinda Childs and Elaine Summers among many others. He lives in Reggio nell’Emilia with his wife and performing partner, the dancer and choreographer Phoebe Neville. His wide-ranging output includes numerous works for gongs, bells, metal percussion and gamelan orchestra.
Philip Corner writes… ‘Hiah Park – new age shaman, then living in California (where else?). My Korea connexion interest led me to a workshop she gave in New York; more sessions continued until the opportunity of really working together at the proposed seminar ‘Art and the Invisible Reality’ to be held in Bavaria. I revisited my old practice of ‘metal meditations’ specially reinterpreted to go with performance/dance derived from traditional shamanic practices (of which she a certified practitioner). Then done in Trento in front of the cathedral where we joked about when they burnd witches. After the two performances in Europe our association came to an end.
Sin Cha Hong, a great friend in New York and a fabulous dancer and choreographer. Truly profound and intense body-incorporated physicality serving a spiritual content in no need of official status. Her Korean-American company she called Laughing Stone (with its implicit antipod-olarity so seeming compatible with my own expression thru music); she used my anklung (Javanese bamboo rattles) quartet gamelan Adagio onstage for one of her solos.
For many years now she has been back in the Orient. We did reconnect in 1993, performing together in the festival ‘The Seoul of Fluxus’. This recording I made alone in the New York loft with my ‘familiar’ – the large Paiste tam-tam: while holding her in my mind.
The dancer/shamans are, as their names show, from Korea – the country par excellence for this ancient form of religion incarnate. I have had a long a long continuing and most appreciative relationship to that country’s culture, from 1960 when shipped as a trombonesman to the American occupying forces there and turned on each afternoon listening to ‘National (Kuk Ahk) Music Hour’ their theme song ‘Su Je Chun’ – the most ancient piece from the court repertoire which I have never stopped hearing as the most beautiful music ever made. That, and the breakthrough composition ‘Sang-Teh/Situations’ which written and performed in Seoul in 1961, made this meeting and working with a genuine Korean shaman a spectacular amplification of my rapport.
It was the beginning of the years-long improvisation-meditation practice shared with many other dancers, including most notably Phoebe Neville, soon to become my wife, and still is.’ – Philip Corner, Reggio nell’Emilia, 1st September, 2016.
11,00€