Out of stock
CD
Giuseppe IELASI
“its appearance, reflected by three copies”
Electronic music, composed and mixed in May 2021.
Original materials recorded in January 2018.
12,00€
Out of stock
CD
Luigi TURRA
“Prisma”
“It forms slowly, through the refraction of light. It penetrates and breaks it down, radiating the listening space among the windows oriented to the spring sun. Oblique plates, breath and transparencies. Stillness. Sound prisms.”
'Prisma' is the first solo album from Italian composer Luigi Turra on 901 Editions, despite his long-term relationship with the label and appearances on various collaborations and compilations: 'Ma 間' with Fabio Perletta (2020), 'Kailash' with Shinkei (2016) and the piece 'Ki IV' (2016) for the series 'Quark: How Does The Invisible Sound?'.
Three years after 'Fukinsei', his latest solo album released by the Japanese label mAtter, Turra further develops his sound path, free from compromises and inclined toward radicalism. With Prisma, he continues to stylise his personal electroacoustic research, through a renewed reductionist guise in which corrosive metallic abrasions placed on the proscenium are retracted as sudden caesuras to leave space for rarefied and distilled piano styles, close to the most essential Ryūichi Sakamoto.
'Prisma' transfigures the sound images through an elegant impulse of refractions, consisting of sound / pause / noise that originate from silence and that are reabsorbed into it, through iridescent elliptic tensions.
A silence that reveals itself as suspension and antithesis to the suffocating fullness of language in order to trace a sound idiom, a balance between action and expectation.
The articulation of the elements is intimate, suspended and the logic of the combinations/juxtapositions subjectively unfolds in the progressive listening experience through an incorporeal diffusion, resolved in sound textures that dig out matter to highlight its residues.
13,00€
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€
In stock
CD
CARBON SINK
“Matière noire”
Gaël Angelis : Enigma DIY Synth, granular sampler, effects, field recordings
Magali Sanheira : Guitar, vehicle spring, bows, objects, effects
Recorded live @ Centre d'art Les Tanneries, Amilly 2018
10,00€
In stock
CD
Mathieu WERCHOWSKI
“Noir Paradis”
Mathieu Werchowski : violon, alto & voix A la mémoire de John Russell Cet album tire ses sons d’improvisations générées par un beau violon acoustique,...
12,00€
In stock
CD
Sébastien ROUX
“Musiques d’ordinateur”
Musiques d’ordinateur rassemble des pièces écrites entre 2011 et 2020. Les pistes de ce CD sont les résultats plus ou moins prévisibles de programmes plus...
12,00€
Out of stock
CD
Rafael TORAL & João Pais FILIPE
“Jupiter and beyond”
João Pais Filipe: Bass Drum, Gongs, Bells.
Rafael Toral: Feedback (modified MS-2 amplifier), Guitar.
Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.
Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.
Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.
"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral
11,00€
Out of stock
Book + CD
Yannick DAUBY
“Fushan & Taipingshan”
A project (Book+CD) by Yannick Dauby about sounds and stories of low and middle altitude mountains of Yilan, North East of Taiwan.
The book (in English and Chinese) features interviews with five persons who have special knowledge and experience about the forests of Taipingshan and Fushan : Lue Kuang-Yang, Kacuzi Hacyo, Wu Chiu-Hsiang, Lai Chun-Piao, Lai Bo-Shu. Notes about listening and sound recording practice by Yannick Dauby. Identification of animal sounds with Chinese, English and Latin names.
The 75 minutes audio CD contains field recordings realized in Fushan Botanical Garden and Taipingshan Forest Area between 2013 and 2015, edited and mixed in 2016.
15,00€
In stock
CD
Asmus TIETCHENS
“Seuchengebiete 4”
Seuchengebiete 4, the continuation of Asmus Tietchens’ almost legendary series of treated water sounds, consists of six Hydrophonies. The sonic palette ranges from deep gurgling bass pulses to fragile movements of showering bright particles. The overall mood is ernest, contemplative and dark. Seuchengebiete 4 is perhaps the ultimate soundtrack for our crises-ridden times.
14,00€
Out of stock
CD
Bernard PARMEGIANI
“Stries”
Bernard Parmegiani (1927–2013), the grand old man of French electroacoustic music, did not write much music for tape with live performers. Among them is “Stries” for the unusual combination of three live synthesizer players and tape.
Until recently, “Stries” had not been played live for some 30 years. This is the first complete recording, only part of it had been previously released on LP on the INA/GRM label.
“Stries” was written for the three synthesizer players of the Paris-based electroacoustic trio TM+, Yann Geslin, Laurent Cuniot and Denis Dufour, founded at the INA/GRM. Over the span of the ensemble’s lifetime, TM+ used a range of different instruments — analog synthesizers in the late 1970s and early digital synthesizers in the mid-1980s — and amassed a repertoire of about 40 compositions written especially for them.
Fortunately, Yann Geslin, of the INA/GRM, archived the original score by Parmegiani, as well as the parts for the instrumentalists. Also in GRM’s archives was the original analog reel-to-reel tape for the piece, as well as the analog 8-track recordings from the recording session.
Armed with this material, the electronic music trio of Colette Broeckaert, Martin Lorenz and Sebastian Berweck, together with Yann Geslin, recreated the piece with the aim of bringing it back to the stage as well as producing generic scores that could help get the piece into the repertoire of many instrumentalists. Their work is realized on this release.
“Stries” (1980) is a work in three parts based on the tapes of Parmegiani’s “Violostries” for violin & tape from 1963. The tape part is derived completely from recordings of the violin which Parmegiani masterfully alters to create an at times extremely dense, at other times pointillist piece of music.
The first part, “Strilento,” is a piece for tape solo and can as such be played alone, while the second and third movements — “Strio” and the eponymous “Stries” — make direct usage of the old tapes and the analog synthesizers of the players.
Sebastian Berweck’s liner notes detail the reconstruction of “Stries” for both performance and this recording.
Stries (1980) for 3 synthesizers and tape 44:59
1. Strilento 17:26
2. Strio 7:31
3. Stries 20:01
Broeckaert//Berweck//Lorenz, synthesizers
16,50€
Out of stock
CD
John CAGE
“The Works for Piano 11”
Cage – Satie – Feldman – Takahashi sums up the focus of this album. All of these works by Cage are influenced by Satie. Cage’s friend and colleague Morton Feldman made an arrangement of Cage’s solo piano “Cheap Imitation” for a trio of piano, flutes/piccolo and glockenspiel. Feldman’s admiration for the pianist Aki Takahashi caused him to gift this arrangement to her. And, full circle, we have the repertoire of this album.
The major discovery is Feldman’s arrangement of Cheap Imitation for this very Feldmanesque instrumental ensemble. It is unknown why Feldman made this arrangement in 1980. Knowing of Takahashi’s reputation as a pianist specializing in new music, Feldman had invited her to be an artist in residence at the university where he taught. When she was leaving, Feldman gave a musical score to Takahashi as a gift. It was a copy of John Cage’s solo piano piece Cheap Imitation with annotations by Feldman. He told her that this was an instrumental version of this piece: flute, piano, and glockenspiel. He signed the title page, just under the original title:
Instrumental Version (Fl, Pf, Glock)
Morton Feldman
Buffalo, N.Y. Winter 1980
Dedicated to Aki Takahashi
Cage was to create a two-piano transcription of Erik Satie’s Socrate for a Merce Cunningham choreography, but he was unable to get permission from the publisher. Even worse, he could not even get performance rights to use the published piano-vocal score of Socrate. Cage’s creative solution was to make a piano piece that maintained the exact metrical and phrase structure of Socrate, but with different notes to avoid copyright issues. He called this piece Cheap Imitation. Cunningham responded by calling his dance Second Hand.
The recital is completed by three short works under Satie’s influence. Perpetual Tango is derived from the “Tango” movement of Satie’s Sports et divertissements. Cage’s method was to take the rhythm of the original tango and erase parts of it. He does not specify pitches, but instead gives the pitch ranges of the original piece. The pianist chooses which pitches to play in the rhythm given. In 1989 he applied the same procedure on another piece from Sports et divertissements, “The swing;” he titled the result Swinging.
All sides of the small stone… is a composition with a completely unknown history, derived from Satie’s Gymnopédies. All we have is a page of musical manuscript written in the back of a score of a work by American composer James Tenney with the signature “John” and the date “7/78.” The manuscript was discovered when Tenney’s papers were being organized after his death. It has been attributed to Cage, but the handwriting doesn’t look like his. Neither Cage nor Tenney — nor anyone else, for that matter — said a word about this piece, so its definitive composer will remain a mystery. Aki Takahashi gives the first recording of this unpublished work.
Liner notes by James Pritchett.
16,50€
Out of stock
CD
Horatiu RADULESCU
“Works for Cello”
L’Exil Intérieur, op.98 for cello & piano (Ian Pace, piano); Das Andere, op.49 (version for cello); Pre-Existing Soul of Then, op.76 for 2 cellos; Lux Animae, op.97 for cello — Catherine Marie Tunnell, cello
16,50€
Out of stock
CD
Morton FELDMAN
“For Bunita Marcus”
Aki Takahashi, piano.
For Bunita Marcus opens with a clear call to our attention. With these first six notes, we step over the threshold and into the journey of the piece. We know that we are in this for the long haul: Morton Feldman’s late works are notorious for being marathons. He composed For Bunita Marcus in 1985, immediately after his four-hour For Philip Guston, and two years after his six-hour String Quartet (II) These earlier works make an hour-long solo piano piece seem short. Still, it is a long time to sustain a single movement, a single journey, and we inevitably have this in mind as we take the first step: so this is how it starts.
For Bunita Marcus, like all the late Feldman works, is an adventure that takes a relatively long time to play out, but which is remarkably lacking in heaviness. We may expect an epic, but we get something much subtler. Indeed, what we get is the present moment, in all its beauty, over and over again. If we surrender to the musical image that is right in front of us, a piece like For Bunita Marcus is an easy world to enter into and to explore with Feldman. We step into the silence after that first six-note motto, and we wonder: What comes next? The next hour and a quarter is spent doing nothing more than discovering what comes next—and the next thing after that, and the next after that.
For Bunita Marcus is performed here by Aki Takahashi, one of the greatest Feldman intrepreters. After Triadic Memories, Feldman composed all his piano music for Aki Takahashi. In remarks made before the U.S. premiere of Triadic Memories, he described Takahashi as “absolutely still,” “undisturbed, unperturbed, as if in a concentrated prayer.” He found that her concentration was transmitted to the audience; a performance by her was “like a séance.” Ms. Takahashi premiered the work in Middleburg, The Netherlands in 1985. Through her performance, the journey of For Bunita Marcus is rich in color, pacing and poetry.
The cover photo of Feldman, Bunita Marcus and Aki Takahashi was taken around the time of the premiere.
16,50€
Out of stock
CD
Horatiu RADULESCU
“Works for Organ & for Cello”
Works for Organ & for Cello: Christe eleison, op.69; You-tree kalotrope III; Amen, op.88 (Christoph Maria Moosmann, organ); Intimate Rituals III, op.63 for string instrument & sound icons (Catherine Marie Tunnell, cello. Horatiu Radulescu & Petra Junken, sound icons); Immersed in the Wonder II, op.96 (Stanley Clark, trombone. Catherine Marie Tunnell, cello).
16,50€
In stock
CD
Karlheinz STOCKHAUSEN
“Kurzwellen”
Kurzwellen (1968) Premier of the new performing version by C.L.S.I. for 4 instruments, 4 shortwave radios, 6 computers, and conductor — C.L.S.I. Ensemble, Paul Mefano, conductor.
16,50€
In stock
CD
MOONDOG
“Piano Trimba”
The project "Piano Trimba" by Dominique Ponty (piano) and Stefan Lakatos (trimba), gathering miniatures composed by Moondog during his life, is remarkable for more than one reason. On the one hand, because his performers have known and worked for many years with the composer. On the other hand because this very sensitive recording brings together known pieces and unpublished pieces of Moondog, most of which are dedicated to Dominique. In perfect resonance with the work of Moondog, Dominique and Stefanen are today the most authentic performers. The truly "unheard" character of these works, their faithful interpretation, attentive to every detail, make this record an indispensable testimony to the work of this luminous musician.
18,00€
In stock
CD
Dave PHILLIPS
“To death”
this album is dedicated to death. not death the spectre that installs horror and fear in many (in the western world), nor death the enemy of the (western) for-profit medical system, but death as part of a cycle, like birth. death the only certainty in life. dying, like living, as something that can be done well - or not. death also something that can be a release, a relief, a liberation, the end of suffering, a freedom.
this album is inspired by my father's illness, deterioration and death, and my being his carer for the 15 last months of his life. recording this album started 6 months into that journey, from october 2020 on.
it was my father's wish to die at home, and my siblings and i granted him that wish. this album was sent off to press early june 2021, when my father found his peace.
13,00€
In stock
CD
Aaron DILLOWAY & Jeph JERMAN
“Casual Collisions”
Casual Collisions is a collaborative album by two of the most prominent voices in experimental sound, Aaron Dilloway and Jeph Jerman. Recorded in 2013 and originally self-released on CDR by Jerman in a small edition, New Forces and White Centipede Noise are pleased to make these recordings widely available for the first time. Across four tracks the unique voices of these artists meld seamlessly together. Jerman's tactile, physical sounds are wrapped up in Dilloway's magnetic wizardry. Damaged electronics and hissing tapes form the canvas on which objects crunch, grind, and clatter. Temporality blurs as field recordings, loops, and live acoustic sounds meld together in sonic alchemy. Two masters in perfect sync. Remastered by BJ Nilsen, packaged in a full color 6-panel digipack.
10,00€
In stock
CD
Renato GRIECO & Bruno DUPLANT
“La Disparition”
Inspired by Georges Perec's lipogrammatic novel “La Disparition”, written without the use of the letter e. The music score and its interpretation reflect constraint as a process. The score is dedicated to Reinier Van Houdt.
12,00€
In stock
CD
Ben VIDA & Marina ROSENFELD
“Leaving”
‘Leaving’ is a generative four-loudspeaker composition created for Skanu Mežs by Marina Rosenfeld and Ben Vida, who perform as a duo and have recorded two albums in recent years, ‘Feel Anything’ and ‘Vertice’. Drawing from both records as well as a remote performance that was filtered through the empty volume of New York’s Fridman Gallery during the hot summer of the city’s Covid-19 quarantine, ‘Leaving’ is the artists’ meditation on the absence and presence, fragmentation and drift of our present reality — “a strange dialogue, dreaming of each other through communication of another order… (François Bonnet on ‘Vertice’)”
14,00€
In stock
3 CD
Robert CURGENVEN
“Beyond Enclosures”
The 3 albums that comprise this set all, at their heart, concern air and the attendant inter-permeability and fluidity of volumes – be they discretionary or open volumes, architectural or spatiotemporal. Each volume is subject to the specificities of: their resonance; concomitant movements of volumes of air; their locational context and adjacent spaces. The 3 albums present different harmonic, gestural and durational possibilities to encourage us to step out of the perceptual frameworks that enclose us. Each album offers a unique instrumental foundation: experimental turntable techniques inter-woven with piano & pipe organ harmonics (Bardo); resonant architectural interventions in post-Communist architectures and their locational context via custom-made oscillators (SPECTRES); extended pipe organ techniques with an accompanying soundsystem that plumb architectural harmonics and corporeal resonances (Bronze Lands). These works entreat us to think and hear beyond the structures enclosing each instrumental- and performance- approach – the turntable body, the architectural, the pipe organ, the speaker enclosure itself, even the confines of an audience as a gathering – and also to consider these longform works as an inter-related suite of aural and conceptual worlds.
24,00€
CD
Steve RODEN
“the radio – airria (hanging garden) – vein stem is calm”
Sonoris is pleased to announce the release both on vinyl and cd, with a new mastering by Giuseppe Ielasi, of some important works from the influential and respected artist Steve Roden. These tracks, which mix conceptual composition and musicality, transcend the ambient or lowercase categories too quickly applied to his music, due to its ghostly beauty.
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In the tradition of John Cage's Cartridge music amplified objects, Steve Roden extracts a fine and delicate music through his manipulation of specific objects, with an apparent simplicity that hides a captivating magic. Whilst reinventing a form of ambient music which is discreet and atmospheric, Steve Roden delivers sound textures, gives shape to color swatches, traces vibrant frequencies and creates visual art objects.
Roden, both a visual and a sound artist often tagged as minimal for want of a better description, builds the sound design of a life, a new construction for the future which encompasses architecture, visual arts, and painting in a single form.
• The radio (1996): The sound sources are derived from the object itself: the airwaves as well as the internal mechanics (aerial,springs, knobs ...). Originally released as a miniCD by Sonoris, this work centered on Roden's voice and found sound loops is now unexpectedly considered a classic and was seen as "a particularly modest form of genius" in a review by The Wire at the time.
• Airria ( hanging garden ) (2003): Arnold Schönberg's work " The book of hanging gardens " haunts the piece, and is used as a backbone over which a ghostly and exhilarating vocal hovers. Both unsettling and relaxing, this track from the "Speak no more about the leaves" CD has strangely become a mini phenomenon on youtube with its number of views and comments.
• Vein stem is calm (1996): A few seconds taken from a Ralf Wehowsky piece are shaped into a nocturnal raga imbued with substances of an indeterminate nature.
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Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case – sound concerned with subtlety and the quiet activity of listening.
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Mastering by Giuseppe Ielasi.
10,00€
CD
Jérôme NOETINGER & Lionel FERNANDEZ
“Outer Blanc”
Highly electrified guitar, anamorphosed, perforated, and tainted by all sorts of effects, implodes its rage and its urgency in the magnetic nets of a tape recorder as cannibal as it is destructive. From various recordings Lionel Fernandez & Jérôme Noetinger have created and produced these ten pieces: big, biting, dangerous and acerbic – like the intoxicated meeting of a chainsaw and a microphone. Real garage music: grease, gutted car bodies and outdated alternators, like a soundtrack ripped from an unreleased Tobe Hooper film.
Lionel Fernandez and Jérôme Noetinger: a musical encounter between two important and uncompromising figures in contemporary experimental music in France. This duo emerged during an evening of the label Premier Sang programmed at Instants Chavirés (Montreuil) in the 2010s… A few years and a few furious concerts later and it is now on the Sonoris label that they are releasing their first record.
Guitarist of the pioneering french free noise/no wave band Sister Iodine, Lionel Fernandez uses an out of norm practice of the electric guitar in a group or as solo playing, “a guitar used as a flame thrower thrashed and fiercely held up as machette totem, he chops through darkness with unsane anti-riffs and carved blocs of dirty sounds, where gargle in slow combustion gangreened micro-textures » (Le Non_Jazz)
He also plays in other deviant combos such as Antilles, Cobra Matal, Ibiza Death, Haine, Porsche, Discom, Minitel, Mauser M etc and has collaborated either live or on records with Masaya Nakahara, Meyna’ch/Mütiilation, Andy Bolus/Evil Moisture, Stephen Bessac/Kickback, Hendrik Hegray, Tujiko Noriko etc..
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica.
From 1987 to 2018, he was the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming co-ordinator of exhibitions, gigs, and experimental cinema at le 102 rue d’Alembert, Grenoble.
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Lionel Fernandez, guitar, electronics
Jérôme Noetinger, Revox B77, electronics
10 tracks, 42 minutes, master by Fred Alstadt at Studio Angström
10,00€
12 CD box
Bernard PARMEGIANI
“L’œuvre musicale en 12 CD”
2021 repress
Disc 1: Violostries (1964), 16:37 JazzEx (1966), 16:51 L’instant mobile (1966), 10:41 Capture éphémère (1967), 11:57 Disc 2 Bidule en ré (1969), 9:18 Pop’eclectic (1969), 10:59 Du pop à l’âne (1968), 10:09 Ponomatopées (1970), 6:17 Musico picassa (1978), 6:53 Et après (1973), 11:35 Disc 3 L’œil écoute (1970), 19:11 Pour en finir avec le pouvoir d’Orphée (1972), 23:27 La roue Ferris (1971), 10:40 Disc 4 Enfer (1972), 61:20 Disc 5 De natura sonorum (1975), 53:01 Disc 6 Dedans-dehors (1977), 22:24 La table des matières (1979), 19:02 Des mots et des sons (1977), 19:17 Disc 7 La création du monde (1982-84), 72:44 Disc 8 Exercisme 1 (1985), 17:22 Exercisme 2 (1985), 27:03 Exercisme 3 (1986), 24:13 Disc 9 Litaniques (1987), 21:23 Rouge-mort: Thanatos (1987), 16:48 È pericoloso sporgersi! (1991), 25:37 Disc 10 Le présent composé (1991), 23:45 Entre-temps (1992), 22:22 Plain temps (1991-93), 24:23 Disc 11 Sonare (1996), 21:22 Sons-jeu (1998, 2000), 21:09 La mémoire des sons (2000-01), 24:40 Disc 12 Immer / sounds (1999), 11:24 Espèces d’espace (2002-04), 21:47 Au gré du souffle… le son s’envole (2005-06), 20:03 Rêveries (2007), 13:46
Disc 1: Violostries (1964), 16:37 JazzEx (1966), 16:51 L’instant mobile (1966), 10:41 Capture éphémère (1967), 11:57 Disc 2 Bidule en ré (1969), 9:18 Pop’eclectic (1969), 10:59 Du pop à l’âne (1968), 10:09 Ponomatopées (1970), 6:17 Musico picassa (1978), 6:53 Et après (1973), 11:35 Disc 3 L’œil écoute (1970), 19:11 Pour en finir avec le pouvoir d’Orphée (1972), 23:27 La roue Ferris (1971), 10:40 Disc 4 Enfer (1972), 61:20 Disc 5 De natura sonorum (1975), 53:01 Disc 6 Dedans-dehors (1977), 22:24 La table des matières (1979), 19:02 Des mots et des sons (1977), 19:17 Disc 7 La création du monde (1982-84), 72:44 Disc 8 Exercisme 1 (1985), 17:22 Exercisme 2 (1985), 27:03 Exercisme 3 (1986), 24:13 Disc 9 Litaniques (1987), 21:23 Rouge-mort: Thanatos (1987), 16:48 È pericoloso sporgersi! (1991), 25:37 Disc 10 Le présent composé (1991), 23:45 Entre-temps (1992), 22:22 Plain temps (1991-93), 24:23 Disc 11 Sonare (1996), 21:22 Sons-jeu (1998, 2000), 21:09 La mémoire des sons (2000-01), 24:40 Disc 12 Immer / sounds (1999), 11:24 Espèces d’espace (2002-04), 21:47 Au gré du souffle… le son s’envole (2005-06), 20:03 Rêveries (2007), 13:46
60,00€
In stock
CD
Eliane RADIGUE
“occam ocean vol.3”
Occam river II, for violon and cello
Occam VIII, for cello
Occam delta III, for violon, viola and cello
Silvia Tarozzi, violon.
Deborah Walker, cello.
Julia Eckhardt, viola.
Recorded in 2019 at l'Abbazia di Santa Maria Assunta, Monteveglio (Bologna)
With a 32 page booklet.
22,00€
Out of stock
CD
Carl Michael von HAUSSWOLFF
“INSNITT”
Arch explorer of EVP and paranormal recordings, CMvH is joined by John Duncan, Joachim Nordwall and other members of the Swedish avant fraternity at the opening of his 2018 solo exhibition in Gothenburg
‘INSNITT’ captures 30 minutes of roiling subharmonic frequencies and anxious scrabble made at 3:e Våningen, Gothenburg on September 14th 2018. It arrives over 40 years since his first recordings to witness the Swedish polymath flanked by a coterie of longtime collaborators including Leif Elggren, Jean Louis-Huhta, and Henrik Rylander, plus the aforementioned, charging the air with stressed electronics that resemble the sounds of shearing metal and hi-pitched, whirring mechanicals.
Their massed effect is saturated with sense of hyperrealist psychedelia, appearing to physically keen and lurch in 3D in a way that ultimately makes us feel seasick and rinsed out by the end. Perhaps it’s best recommend to those listeners with strong sea legs and a tolerance for this kind of northerly climate sounds.
13,00€
In stock
CD
ID M THEFT ABLE
“Well I Fell in Love With the Eye at the Bottom of the Well”
"The initial idea for "Well I Fell in Love with the Eye at the Bottom of the Well" was actually to attempt to make a doo wop song with that as the title. I kept adding more and more ideas and those ideas blossomed into other ideas to the extent that there's only the faintest hint of that initial doo wop impulse on the album but a whole other sort of garden grew up around it and through it. It was probably a decade from the moment that that title popped into my head as an idea for a doo wop song to its completion as a full length album, one that has absolutely nothing whatsoever to do with doo wop."
But maybe think experimental/musique concrete/sound poetry/noise and all around amazingness...
id m theft able performs within and without the realms of noise, avant-improvisation, sound poetry, performance, et c. et c. et c. using voice, found objects, electronics, and whatever else is available......
He has given over a thousand performances across 4 continents, in 40 countries and 40 states in settings ranging from the scummiest of squats to the fanciest of festivals.
13,00€
In stock
CD
Phill NIBLOCK
“NuDaf”
A 65-minute electroacoustic composition featuring Dafne Vicente-Sandoval, bassoon. "The aural effect is minimal to the max, but it isn't simplistic. The tones vibrate and glow, the densely packed texture shifting hues like a sonic aurora borealis" --John Rockwell, The New York Times. NuDaf (2020) is the second longest piece in Phill Niblock's repertoire of recorded audio works. NuDaf is a departure from his previous pieces in that he makes extensive use of multiphonics and constructed the work with fewer tracks than usual, creating uniquely transparent and ephemeral textures. The piece is the result of a collaboration between Niblock and the stellar bassoonist Dafne Vicente-Sandoval. Her musicality and breadth of knowledge, extended bassoon performance, and uncanny timing inspired the piece. This is the first of three collaborative projects between XI Records and Akoh Media. Akoh initiated the project, suggesting that Phill confront a longer form that also seemed eminently suitable to Dafne Vicente-Sandoval's interests. Akoh, as is its tradition, presents the work in a limited numbered edition of a one-of-a-kind Petri dish that incorporates Niblock's photos in an exquisite and unique design. From the liner notes by Michael Pisaro-Liu: "... over the course of the long duration of NuDaf we listen to a slow-motion explosion that frees it, creating a spectacular shape, right before our ears."
15,00€
In stock
2 CD
Tom CHIU
“The Live One”
XI Records announce the release of Tom Chiu's new double-CD, The Live One, a diverse and thoroughly engrossing album that showcases the multiple facets of Chiu's visions. Chiu is a polymath who is as comfortable with lyricism and the beauty of tonality as he is with process-based works and challenging conventions of composition. Chiu specializes in creating spatial experiences and altered states of mind with his music, with a singular, questing path. On the album opener, "Into The Forest", melancholic themes build and become wrapped in echoes that reverberate like a skipping stone casting ripples in a pond. Dry and delicate melodies emerge that float spatially. The piece is an assemblage of over 60 musical fragments composed by Chiu, which coalesce seamlessly into a homogeneous whole. "BABIP", a solo performance, begins with Chiu's pizzicato which evokes the spirit of gamelan, and builds through increasingly intense gestures, woozy double stops and extended techniques until he starts transforming the sound of his instrument with live effects. The functionally-titled "Duo Improvisation 16741" sees Chiu pairing with sound artist and composer Michael Schumacher. Together, they create a hypnotically jarring sonic whirling dervish. Chiu's live effects invoke undertones of Tuvan throat singing as glissandos layer with insistent bell tones. The insistent piece thrillingly morphs into electronic pulses and sirens, journeying deeply into sonic abstraction. The track "Birave Trifecta" sees Chiu performing with Dan Joseph on hammer dulcimer and Jason Cady on modular synthesizer under the moniker JCC Trio. The trio's piece begins as almost a folk stomp, with echoes of minimalism in its insistence. It builds to euphoric intensity with Chiu's bravura playing, sawing at his instrument with fierce abandon. "RETROCON" is a work performed by FLUX Quartet. The epic piece unfolds like a mini symphony, with the quartet creating a stunningly rich sonic world. The layers of the string quartet swell and undulate like a small boat in the middle of the ocean negotiating the waves of an impending storm, then wail plaintively before returning with clustered hives of notes. A startling and insistent monolithic pulsing then seems to summon dark deities before receding with a delicate beauty. The final piece on the album, "deKonstruct", is an improvisation which quotes from existing materials, colliding Bach and Chiu. Chiu uses a looping pedal to create a bed for his hyper-kinetic performance which mutates through his arsenal of sonic manipulation, to mesmerizing effect. (from the liner notes by JG Thirlwell)
13,00€
In stock
2 CD
Cecilia LOPEZ
“Red / Machinic Fantasies”
Cecilia Lopez's work is a perfect combination of flavors that slowly reveal themselves as you spend more time enjoying it. It has marvelous layers of sonic explorations that slowly unfold and draw you in. Red is more than a musical composition. It roots lie in its physicality. Nestled on a large cargo-like cable web are an array of small speakers and contact microphones. As this web sways the speakers and microphones come in and out of proximity and form an evolving feedback network, which slowly reveal themselves as a myriad of permutations accompanied by sympathetic synthesizer tones. Zero-input mixing works seem to be very popular now, but Red takes feedback further, beyond the electronic domain, by its use of a multi-faceted instrument creating a sonic architecture intertwined with the resonances of acoustical spaces. Her Machinic Fantasies, a kind of performed installation, explores another set of instruments she has constructed using two hand-rotated, 55-gallon drums each having a speaker inside with multiple cutouts that act as acoustical filters. Her sound materials, derived from field recordings to spoken word and live acoustic/electronic instruments, are fed into the oil drums and emanate through the holes and are at the same time amplified using microphones placed near the rotating holes. Driven by a detailed score, this recording resulted from a music commission at Roulette in Brooklyn, New York combining the two rotating drum instruments with instrumentalists Jean Carla Rodea, Julia Santoli, Christopher McIntyre, and Joe Moffett. Machinic Fantasies also has multiple dimensions with the resonances of the performance space excited by the instruments, the musicians weaving their sounds into the space from different locations, and the ongoing physical rotations of the spinning drums to create a swirling almost hypnotic music.
15,00€
Out of stock
CD
Phill NIBLOCK / OPENING PERFORMANCE ORCHESTRA
“Four Walls Full Of Sound”
"You should play the music very loud. If the neighbors don't complain, it's probably not loud enough." - Phill Niblock
Four Walls Full of Sound is an electronic interpretation of the works of Phill Niblock by the Prague-based group Opening Performance Orchestra. This studio version, recorded at the re-set studio, was preceded by a live performance at the 2017 Ostrava Days Festival of New and Experimental Music. The cover was designed by Jaroslav Buzek and the booklet includes essays by Kurt Gottschalk and Petr Ferenc. Sound designer Stephan Mathieu took part in shaping the resultant sound of the recording.
12,50€
Out of stock
CD
Ron NAGORKA
“Lovregana, Music from a Tasmanian Forest / Soundscapes from Wilderness”
Ron Nagorcka (1948) is a composer, performer, and naturalist. In 1988 he moved to a remote forest in northern Tasmania, where he built his own house and solar-powered studio (some fascinating photos of his home-studio are present in the booklet attached to this release).
This CD collects his first works recorded in his forest residence in Tasmania, his music sites on the borderline between documentation and the fictional landscapes. Are among the strangest, most fascinating, most intense field recordings based works and an essential chapter in the history of Australian experimental music.
"I can only hope it will encourage people to discover for themselves the mysterious harmony that is wilderness." Ron Nagorcka 1988
200 copies
15,50€