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€
Out of stock
CD
Mika VAINIO
“Last live”
This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017 This material is the last concert he has gave. It took place at Cave12 on 02.02.2017. We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker.
After this listening, we felt invested in having to make this archive public.
In order to edit and work on this material, we asked Carl Michael von Hausswolff to do the mixing. At our request, this recording was organized in 4 movements. Stephen O’Malley kindly joined in the pre-edit process that took place on August 24 2020 at EMS Studios, Stockholm. Denis Blackham did the mastering.
This process was carried out in collaboration with Rikke Lundgreen.
Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise
Edit by Stephen O'Malley & Carl Michael von Hausswolff at EMS, Stockholm.
Mastered by Denis Blackham
Vinyl cut by Andreas Kauffelt at Schnittstelle, Berlin
Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection,
Cave12 / Editions Mego co-release
16,00€
Out of stock
2 CD
Bertrand GAUGUET – John TILBURY
“Contre-courbes”
Bertrand Gauguet : alto saxophone
John Tilbury : piano
CD 1
Live at Église Saint Maximin, Metz (France) Total time : 42:04
CD 2
Live at Festival Paysages d’écoute at Les Quinconces - L’Espal scène nationale du Mans (France) Total time : 43:54
"Tilbury doesn't need grips, it's only worth recommending again the late 2019 disc, " Tiger's Mind ". Gauguet, class of '70, is a multidisciplinary artist with a center of gravity in the alto sax. Attentive to the sound as if he were a glass blower, for him transparency and form are inseparable categories. Very sensitive to the spatial and environmental dimension (he collaborates with Eric La Casa), he is not afraid of acoustic and synaesthetic mimesis. In this double album the instruments are naked and illuminated by each other. The performances were recorded one in the church of San Massimino in Metz in 2016 and the other in the ultra-modern structures of L'Espal in Mans in 2019, on the occasion of the Paesaggi d'Ascolto festival. The two sets have a similar structure, explorations of an inner place that will never end to know. Atmospheres now shadowy and sacred, impressionistic fluorescence, evocations of nocturnal animals. The pianist investigates the whole body of the instrument and also plays chords of melodic shimmering. The reed insufflates vibrant sounds in space, pierces subtle notes and redraws their coordinates, chiseling out lyrical moments as well. There is a dramatic, theatrical dimension. Improvisation becomes a practice of sifting through time and space. Sound is searched for in the recesses of an obscurity-silence which is the third interpreter. A process of re-composition, full and empty, of an organic idea of musical architecture. "
Dionis Capuano Blow up, IT, 04-2021
13,00€
In stock
CD
Tom CORA – David MOSS
“Cargo Cult Revival”
Tom Cora made his musical debut as drummer on a local US television programme. In the mid 1970s he played guitar for a Washington, D.C. jazz club house band. He took up the cello while an undergraduate at the University of Virginia and studied with cellist Pablo Casals' student Luis Garcia-Renart and later with vibraphonist Karl Berger. During this time he formed his own group, The Moose Skowron Tuned Metal Ensemble and began constructing instruments for it. In 1979 Cora moved to New York City where he worked with Shockabilly guitarist Eugene Chadbourne. He performed at improvising clubs and venues in New York with John Zorn, Fred Frith, Butch Morris, Wayne Horvitz, David Moss, Toshinori Kondo and others. Cora also collaborated with George Cartwright and Bill Laswell which led to the formation of the art rock band Curlew in 1979 . Cora remained with Curlew for over ten years and appeared on five of their albums. In 1982 Tom Cora and Fred Frith formed Skeleton Crew, an improvising rock and jazz band best known for their live performances where they played various instruments simultaneously.
David Moss' life was shaped by drumming and singing. First, his father’s drum-set, Bertoia sound sculptures, duos with dancer Steve Paxton. Later, singing: at Berlin Philharmonie, Lincoln Center, Carnegie Hall, Salzburg Festival. In 2018/19 he received the German Music Authors Prize for experimental voice; sang in Olga Neuwirth’s opera Lost Highway, sang Frank Zappa’s music at the Venice Biennale; visited Taipei, Seattle and Bogota with Heiner Goebbels’ Surrogate Cities; worked with video artist Lillevan. Moss received Guggenheim and DAAD Artist-in-Berlin Fellowships. He directs the Institute for Living Voice (and teaches). In 2019 he made his debut at the Elbphilharmonie, Hamburg as the baritone soloist in Xenakis ÄIS; with the Rundfunk-Symphonie Orchester Berlin under Peter Rundel.
In 1983 Tom and David recorded the album "Cargo Cult Revival" together which was released on Fred Frith's label Rift Records. For this first ever CD re-issue, it was remastered by Martin Bowes.
12,50€
In stock
CD
Joke LANZ & Ute WASSERMANN
“Half Dead Half Alive”
Joke Lanz was born in Basel, Switzerland and is a well-know noise musician, performance artist and turntablist. He is also founding member and singer in the art rock group Sudden Infant, a member of the legendary Schimpfluch group (alongside Rudolf Eb.er, Dave Phillips, Marc Zeier and Daniel Löwenbrück) and performs in many duos and and other forms in the improvisation scene. He also writes music for theatre and film, radio, installations and objects.
Ute Wassermann is a German vocalist, composer and sound artist. She studied fine arts focusing on sound installations and performance at the University of Fine Arts of Hamburg. Wassermann has developed her own unique vocal techniques. She explores them in different forms such as voice performances, compositions, improvisations and installations. The human voice is extended in many different ways in her work and often plays with all kinds of other sound connotations. This also results in an extensive use of bird whistles, different kinds of resonating objects and prepared loudspeakers.
Lanz and Wassermann have been working as a duo for some time, and in 2019 they performed an excellent concert at Nickelsdorf jazz festival. This CD is a recording of that show.
12,00€
In stock
CD
ETANT DONNES
“L’Étoile Au Front”
Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie."
Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. L'Etoile du Front was the band's third album, dating back to 1982 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this CD re-issue we have added a long bonus track not on the original album.
12,00€
Out of stock
CD
ALIEN BRAINS
“Menial Disorders”
The Industrial / experimental project Alien Brains was founded by Nigel Jacklin in 1979 while he was still at school in Oundle, near Peterborough, in the UK. Menial Disorders was their first release on Deleted Records. The cassette album includes recordings made in the school physics department using sound generators and a ‘loopotron’ which had been lent to Nigel by one of Billy Bragg’s bandmates (Billy Bragg’s Punk band, Riff Raff, were based in Oundle at the time) as well as their first live appearance in the Dryden Chemistry lecture theatre. The concert featured Jacklin and Instant Automatons member / Deleted Records boss Mark Lancaster alongside a number of fellow school pupils.
Released on January 1st 1980, Menial Disorders was obtainable by sending a blank C90 cassette to Deleted Records who then copied it onto the cassette and posted it back to you. In Jacklin’s word this was like, ‘an early version of the internet, bypassing the conventional music industry.’ Jacklin went on to organize the legendary Industrial Records concert at Oundle School featuring Throbbing Gristle and Monte Cazazza. The concert was filmed by Daniel Landin (a.k.a. Stan Bingo) of 23 Skidoo / Last Few Days and released on video, much to the surprise - and horror! - of the school headmaster. Alien Brains went on to release several more cassettes as well as contributing to several compilations.
Jacklin describes Alien Brains as 'an abstract non-collective’ (rather than a group), pointing out that there was no fixed line-up, everything was spontaneous. Live appearances included The Basement in Newcastle, Ultra's in Amsterdam as well as Centro Iberico and the Architectural Association, both in London. Jacklin worked with a wide range of people including Dominic Guerin (SPK), Philip and Richard Rupenus (primarily known for their work as The New Blockaders), Allen Adams (The Destructors, Methods Of Execution), Philip Sanderson (Storm Bugs, Snatch Tapes), David Jackman (Organum), Harold Schellinx (of Dutch band The Young Lions) and Lionel Jarlan (Ptose Production.)
12,00€
Out of stock
CD
Lol COXHILL & Fred FRITH
“French Gigs”
George Lowen Coxhill, generally known as Lol Coxhill, was an English free improvising saxophonist and raconteur. He played the soprano or sopranino saxophone. In the late 1960s and early 1970s, he was a member of Canterbury scene bands Carol Grimes and Delivery and then Kevin Ayers and the Whole World. He became known for his solo playing and for work in duets with pianist Steve Miller and guitarist G. F. Fitzgerald. Coxhill collaborated with other musicians including Mike Oldfield, Morgan Fisher, Chris McGregor's Brotherhood of Breath and its musical descendant The Dedication Orchestra, Django Bates, The Damned, Derek Bailey and many others.
Jeremy Webster 'Fred' Frith is an English multi-instrumentalist, composer, and improvisor. Probably best known for his guitar work, Frith first came to attention as one of the founding members of the English avant-rock group Henry Cow. He was also a member of the groups Art Bears, Massacre, and Skeleton Crew. He has collaborated with a number of prominent musicians, including Robert Wyatt, Derek Bailey, The Residents, John Zorn, Brian Eno, Mike Patton, Lars Hollmer, Bill Laswell, Iva Bittová and Jad Fair.
The duets between Coxhill and Frith were recorded from the late '70s to the early '90s. They were originally released on AAA in 1983 on LP and on Ayaa Records in France in 1991 on CD. This re-issue was re-mastered by Myles Boison and features previously unreleased music recorded in 1999, the last time Coxhill and Frith performed together.
12,00€
In stock
CD
Andrea CENTAZZO & Elisabeth HARNIK
“Duophonic Landscape”
Elisabeth Harnik, an Austrian based pianist and composer has created a multi-faceted body of work by blurring genre boundaries through various collaborations in the field of improvised music, interdisciplinary projects and contemporary compositional works. She studied classical piano and later – with Beat Furrer – composition at the University of Music and Performing Arts, Graz. As an improviser she works within an electro-acoustic inspired sound-world, using specific preparations and extended techniques while pushing the limitations of the piano. Amongst others she has collaborated with Frank Gratkowski, Dave Rempis & Michael Zerang, Joelle Leandre and Ken Vandermark.
Andrea Centazzo is an Italian-born American composer, percussionist, multimedia artist and record label founder. In the 1970s he played percussion in avant-garde jazz with John Zorn, Steve Lacy, and Don Cherry and became "a leading figure in the European avant-garde". Centazzo has recorded over 60 LP's and CD's, and has composed 350 musical works of diverse types, in addition to writing eight musicology books. He founded the Ictus label with his wife Carla Luigi in 1976.
The music for Duophonic Landscape was recorded in a winery in Gorizia, Italy, in 2019. "The improvisations on this recording radiate with life and provide an expansive look into the deeper reaches of our minds. Each one completely engaged me, spurring my imagination in so many ways, taking me to new places that created landscapes with some vivid and unusual scenery. It was a fun listen by two master improvisers and the perfect antidote to another day in the confines of the Corona-Virus Blues. The power of improvisation. Its where it’s at my friends", says musician friend Steve Swell about the recordings on this album.
12,00€
In stock
CD
Susanna GARTMAYER & Christof KURZMANN
“Smaller Sad”
Susanna Gartmayer is an Austrian composer and bass clarinetist working in the fields of experimental rock music, multi idiomatic improvisation, jazz and contemporary music. She is especially interested in the sound possibilities of the low clarinets and the theory and practical implications of working together in bands and collectives. Christof Kurzmann is a performer, musician, composer and curator. After a successful start with his first band Extended Versions he continued his work in experimental electronic music. He has worked with people like Luc Ferrari, Fred Frith, John Butcher, Mats Gustafsson, Ken Vandermark, and has released more than 30 CDs.
Smaller Sad is the first album by this duo and was recorded in various locations at various times. Gartmayer and Kurzmann create an often fragile music somewhere between jazz, songwriting and improvisation. Susanna plays bass clarinet, Christof plays ppooll, rubber band and sings. They first performed together at an open session in 2014 and play together regularly since 2018 as a duo. Although the music is improvised, they always focus on melodies, too.
Susanna Gartmayer - Bass clarinet, Artwork
Christof Kurzmann - Ppooll, Voice, Tubber band
Christoph Amann - Mastering
12,00€
Out of stock
CD
Dean ROBERTS
“Not Fire”
Berlin-based songwriter Dean Roberts' first album in 12 years is a collection of dark and melancholic songs, set in unusual formats based around guitar, electronics, strings, with subtle rhythmic elements, performed by Dean's Dark Moth Ensemble, with additional musicians that include Boris Hauf on piano and The Neck's keyboardist Chris Abrahams on harp.
Dean M Roberts - Vocals, Guitar, Piano, Bass, Percussion, Lap-steel
The Black Moths:
Emanuele Porcinai - Feedback Guitars, Backing Vocals
Chris Abrahams - Harpsichord
Jenny Lange - Piano, Backing Vocals
Leighton Craig - Reeds
Sandra Selig - Vocals and Effects
Valerio Tricoli - Organ
Lucky Paul Taylor - Drums
Andrea Belfi - Drums
Recorded and produced by Dean Roberts, Emanuele Porcinai and Giuseppe Ielasi
15,00€
In stock
2 CD
Toshiya TSUNODA – Taku UNAMI
“Wovenland 2”
For their 2nd collaboration, sound artists Toshiya Tsunoda and Taku Unami present a series of acoustic experiments, each track using a single field recording — fishing spots, birds, a hiking trail, &c, — recording and manipulating those recordings using specific processes, seeking to emulate the way our minds process the senses that we encounter to create our perceived reality.
22,00€
Out of stock
CD
Choi JOONYONG / Jin SANGTAE
“Hole In My Head”
Recording in two locations in Seoul by Taku Unami, electronic, sound and noise artists Choi Joonyong and Jin Sangtae present a series of unusual interactions using sonic events, concrete and acousmatic interjections and aberrant expression, patiently conveying each event with clarity and intention and an almost theatrical sense of drama and narrative.
15,00€
Out of stock
CD
Tucker DULIN / Ben OWEN
“Cat Guarding Geese”
Cat guarding geese is composed of field recordings and performances on Roosevelt island, and a studio recording in Brooklyn, NY.
Tucker Dulin: bells, bowl, can, cymbal, lentils, mallet, whistle
Ben Owen: paper mic, speaker boxes, op amps, cassette
recorded by Billy Gomberg
mastered by Taku Unami
15,00€
In stock
CD
Anastassis PHILIPPAKOPOULOS
“Piano works” by Melaine Dalibert
Greek composer Anastassis Philippakopoulos has been a member of the Wandelweiser composers collective since 2003. He pursues his own compositional style to create a new kind of tonal music, deeply associated with his individuality and the surroundings of his life in Athens, which is a unique blend of stoic minimalism, the warm colors of modern romanticism, and the introspective depth of Zen.
In Philippakopoulos' piano works, each tone is closely connected with the previous and the subsequent tones via long resonances, forming a simple yet poignant melody that contains a magnetic power to draw the listener’s ears. The intensity of a single tone of his piano pieces often evokes a beautiful stone, organically formed over the course of a very long time. In fact, Philippakopoulos takes several months to a year to compose one short 2-4 minute piece.
On this album, Philippakopoulos' twelve solo piano pieces (composed from 2005-2018) are performed by a rising French composer/pianist Melaine Dalibert, who is known for a unique algorithmic compositional style as well as his interpretations of works by Giuliano D’Angiolini, Tom Johnson, Peter Garland, and many others. Here Dalibert realized the transient, meditative beauty of Philippakopoulos' piano works by inducing rich harmonics in the tranquil afterglows mysteriously tinged with shadows, brilliantly conveying the immense and profound world of Philippakopoulos' music narratively and poetically.
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compositions by Anastassis Philippakopoulos
piano by Melaine Dalibert
15,00€
In stock
CD
THE GIVING SHAPES
“Earth Leaps Up”
The Giving Shapes is a collaborative project between harpist/vocalist Elisa Thorn and pianist/vocalist Robyn Jacob that formed in fall 2017 at the Banff Centre for the Arts. This is the duo’s first release.
This project triangulates aspects of new music, creative music, and song-writing, combining their classical training and their involvement with the Canadian creative and indie music scenes. Though they originally met while both pursuing degrees in classical music at UBC in 2007, they share an interest in many musical styles. Their sound reflects broad influences from artists including Nico Muhly, Bjork, Jonny Greenwood, David Lang, and Caroline Shaw.
Thorn and Jacob are interested in merging the familiar with the new, and draw from their wide range of influences to create music that is honest. Their approach involves equal parts of intellect and feeling, pursuing both accessibility and experimentation equally. The process of songwriting varies from song to song, but usually one of them brings in a kernel, and the two develop parts together, parts on their own, then back to different possibilities together.
“The piano and the harp are a really interesting match because they are so related in timbre and function, but individual enough to offer each unique sound palate. The possibilities of blend, texture, and harmonic depth are really exciting. Robyn is an endless inspiration to me in all the things that she does. We have quite different approaches to writing (Robyn is more rhythm and pattern-based, whereas I am driven mostly by melody and harmony) so the collaborative writing process is really interesting and stimulating.” (Elisa Thorn)
"I like Elisa's integrity and devotion to her artwork, and her attitude in general as a musician and an artist. Also, it is a privilege to be able to make art with one of your best friends." (Robyn Jacob)
The Giving Shapes is a synthesis of their shared musical aesthetic and curiosity with their long-standing relationship as co-curators and presenters. Music from the duo’s projects has been featured in jazz festivals such as the Montreal and Toronto Jazz Festivals, new music festivals like Music on Main, and indie pop festivals including the Campbell Bay Music Festival.
The duo's sincere yet polished, cool yet warm, celestial yet humane approach towards sounds is integrated into a single intimate world of music with everything impeccably balanced. Thorn's and Jacob's ethereal voices convey subtle emotions, gently unfolding the narrative of their personal world into a unique space where the acoustic beauty of classical music and the accessibility of pop music humbly entwine around each other.
15,00€
In stock
CD
Melaine DALIBERT
“Infinite Ascent”
This is French composer/pianist Melaine Dalibert’s fifth solo album since 2015, all featuring his own compositions. This time, the album consists of melodically structured song pieces, an area that Dalibert has been exploring in the last couple of years as a new compositional approach outside his signature algorithmic method of composition. This series of eight short pieces appeal in a new way from his previous music, and shows his maturity as a composer. Dalibert wrote all eight pieces in 2019 and recorded them in December 2019 on a Steinway at the chapel of the Rennes Conservatory where he teaches.
"I wouldn't have thought it two years ago, but I started to step aside from my algorithmic systems to write very intuitive music, kind of pop-songs. It is surely a transient phase, but it seems to me to be necessary so as not to lock myself into certain procedures. It’s very important for me to feel free to write outside of any academy or tradition.” - Melaine Dalibert
‘Litanie’, one of the most evocative pieces on this album, was world premiered by Serbian-American Paris-based pianist Ivan Ilić in October 2019 at Bargemusic in NYC.
The album title 'Infinite Ascent' was conceived by David Sylvian who also contributed his artwork for the album cover, in addition to the two album covers of Dalibert’s previous solo CDs ‘Musique pour le lever du jour’ and ‘Cheminant’ on Elsewhere Music, for which he dedicated two other artworks.
"On listening to the album for first time I felt what I’d describe, for want of better terminology, a 'cosmic expansiveness'. Vibrational waves traversing the universe, a lone satellite, released from earth’s gravitational pull, spinning infinitely into the bright darkness. I ascribed to it a somewhat solitary migration. Not despite, but because of this, I found it a profoundly moving listening experience."
- David Sylvian
15,00€
In stock
CD
Shira LEGMANN
“Giacinto SCELSI: Suite No.9 / Quattro illustrazioni / Un Adieu”
Shira Legmann is an Israeli concert pianist, with a wide repertoire from Baroque to contemporary and experimental music. This album contains three piano works by Italian composer Giacinto Scelsi's: 'Suite No.9 "Ttai"' (1953), 'Quattro illustrazioni' (1953), and 'Un Adieu' (1978/1988).
'Suite No.9' and 'Quattro illustrazioni' were recorded live at two different concerts in 2014, while 'Un Adieu' was recently recorded in a studio in June 2020. This is Legmann's second CD on Elsewhere Music, following the 2019 album 'Barricades' in which she was the pianist for Michael Pisaro's composition for piano/electronics.
"Scelsi's music is something that 'grows' on us both as listeners and musicians. When I first discovered his music about ten years ago, I just dove into studying it, and the connection grew slowly while getting into more and more nuances in the playing. For a few years, I've been fascinated by these three pieces, and have performed them in Israel. It was not an immediate 'crush' but something that has gradually matured in me.
Scelsi was said to be a modest artist. He believed that as a composer, he is merely a mediator. For a substantial period, he composed his piano pieces by improvising: he conceptualized them and then improvised while recording. Later, with the help of friends and assistants, he notated from the recordings and that was his written composition. Since these compositions derive directly from improvisations, I felt the best representation of them would be as recordings of live performances, where there is also an element of risk, surprise, and spirit." (Shira Legmann)
"A whole chapter of recent musical history must be rewritten: the second half of this century is now unthinkable without Scelsi... He has inaugurated a completely new way of making music, hitherto unknown in the West." (Harry Halbreich)
Legmann's clean, supple yet solid piano sounds, which create a perfect balance of coolness and warmth, build a narrative flow with a stunning dynamic range, bringing these rarely performed piano works of Scelsi's back to life into the twenty-first century as timeless masterpieces.
15,00€
In stock
CD
Jürg FREY
“L’air, l’instant – deux pianos”
Jürg Frey’s unique compositional approach places him at the cutting edge of contemporary classical music. Since the late 90's, Frey started to work with 'lists' as a basis of his compositions, sometimes words, sometimes chords, from which he developed and organized musical materials. In recent years, Frey's focus on 'lists' has extended more toward the connections of items with each other, forming melodies.
Frey wrote two compositions for two pianos in 2017-2019: ‘Entre les deux l'instant’ (2017/2018) and 'toucher l’air' (deux pianos) (2019). ‘Entre les deux l'instant’ was world-premiered by Dutch pianists Reinier van Houdt and Dante Boon at Splendor Amsterdam and was later recorded there together with 'toucher l’air' by the same two pianists in the presence of Frey in Amsterdam in 2019.
The first piece on this album,'toucher l’air (deux pianos)', was composed in close connection to Frey’s previous composition 'Entre les deux l'instant'. This piece consists of seven movements, written for two parts for piano 1 and piano 2, in which two pianists play each part at the same time with subtle similarities but in different tempos. The interaction between the two is only vaguely shown in the score, giving this piece a mixed sense of openness and closeness, separation (or aloneness) and intimacy.
The second piece on this album, 'Entre les deux l’instant', consists of two parts: ‘Melody’ and ‘List of Sounds’. Melody starts with pianist 1 (Van Houdt), then continues with pianist 2 (Boon), going back and forth between two pianists to the end. When one pianist plays Melody, the other plays a note(s) from List of Sounds given in order in the score. The pianist can also add extra notes to the Melody, to double these notes, but slightly later and softer than the sounds of Melody, like adding a slightly ‘off’ shade to it. Two parts are played simultaneously by two pianists but the timings are flexible, up to each pianist to decide, not pre-arranged nor intended to coincide precisely.
Van Houdt and Boon conveyed every fine nuance of Frey’s two piano pieces with their extraordinary sensitivity and masterful skills, organically filling the two pieces with clean tranquility and airy feeling.
15,00€
In stock
CD
Mesias MAIGUASHCA
“Oeldorf 8”
First-ever official re-issue of the Ecuadorian composer’s stunning electroacoustic composition “Oeldorf 8” on vinyl and CD. Remastered by KASSIAN TROYER at D&M, Berlin.
MESÍAS MAIGUASHCA (b. December 24th, 1938 in Quito / Ecuador) is a composer of Neue Musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with ALBERTO GINASTERA at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966–67 where he studied with KARLHEINZ STOCKHAUSEN. From 1968 to 1972, MAIGUASHCA worked closely with STOCKHAUSEN in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined STOCKHAUSEN's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the OELDORF GROUP of composers and performers, and began work at the Centre Européen pour la Recherche Musicale in Metz, at IRCAM in Paris, and at the ZKM in Karlsruhe. From 1990 – 2004 MAIGUASHCA was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau where he still lives today.
The OELDORF GROUP, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians' collective active during the 1970s. In the adjacent barn, the group held concerts for audiences up to 300 people with an emphasis on live-electronic music and other kinds of new and avant-garde music. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the OELDORF GROUP (PETER EÖTVÖS - electronics and keyboards, the violinist/violist and composer JOACHIM KRIST, electronics specialist and composer MESÍAS MAIGUASHCA, who also played keyboards, and his wife GABY SCHUMACHER – cello) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3.
One of these commissioned compositions is „Oeldorf 8“: a retrospective portrait of the OELDORF GROUP consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later and turned into a sought-after, but not very well-known rarity achieving collector‘s prices., and was later unofficially reissued on KEITH FULLERTON-WHITMAN’s Creep Pone CDr label.
Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48 minute composition proves „ … a thing of wonder; from the outset, MAIGUASHCA's spoken introduction of the players & concept gets slowly eroded by errant, pointillist electronic sound … which then lets loose for a good 10 minutes before a swarm of slowly rising held tones c/o the players acoustic arsenal slowly comes to the fore. On the second side, the acoustic sounds - patiently, elegantly state their cases across a good half of the segment until a rising pulse-wave drone essentially annihilates the more nuanced phrasing & slowly builds to an almost ROLAND KAYN-esque climax of raw oscillator gristle” (Soundohm).
44 years after its original release, MAIGUASHCA’s stunning album finally sees its deserved and overdue re-release on CD and LP, carefully remastered by KASSIAN TROYER at D&M, Berlin.
„Maiguashca … is part of the first generation of South American maverick sound explorers that in the 1960s paved the way for a tradition of innovation that persists in the present noise and psychedelic scenes of the continent. Along with Edgar Valcárcel, César Bolaños, Beatriz Ferreyra, Mauricio Kagel or José Vicente Asuar, he contributed to expand the possibilities of musical language beyond the dominant Western canon …“ David Jarrin / Kraak Festival
14,00€
In stock
CD
Rhodri DAVIES
“Telyn Rawn”
"A Telyn Rawn is a harp strung with horse hair and predates the appearance of the triple, lever and pedal harps. The earliest reference to this early Welsh harp can be found in the Laws of Hywel Dda (13th century), the codification of traditional Welsh laws. This harp remains largely unknown to contemporary audiences. One of the last references to a Telyn Rawn made in Wales was around two hundred years ago.
In 2016 Davies researched the Telyn Rawn in early Welsh poetry and commissioned the building of a new harp. "All the music on this album is improvised. I designed and built a long forgotten instrument, experimented with wound and pleated horse hair strings, I engaged with historical texts and poetry, learnt the techniques and music from the Robert ap Huw manuscript and researched the importance of the horse and horse cults in Welsh culture. All these interventions were a means to improvise historically informed music and re-evaluate the legacy of the harp in Wales but ultimately served as a jumping off point so as to create new possibilities."-Rhodri Davies
13,00€
In stock
CD
Lucio CAPECE & Werner DAFELDECKER
“Iteration”
Two improvisations from an astonishing Munich performance in May 2019 by the Berlin-based duo of Lucio Capece & Werner Dafeldecker.
Lucio Capece - bass clarinet, slide saxophone, room acoustics & mini-speakers
Werner Dafeldecker - double bass
12,00€
In stock
CD
Kraig GRADY
“Monument of diamonds”
Epic 45-minute microtonal composition by Kraig Grady, using a 17-tone scale, the Meta-Slendro tuning, created by Erv Wilson. Composed in 2020. The instruments were specially built or adapted for the unusual tuning system.
Kris Tiner - trumpets
Subhraag Singh - saxophones
Emmett Kim Narushima - trombones
Terumi Narushima - organ
Kraig Grady, composition
12,00€
In stock
CD
Clara de ASIS & Mara WINTER
“Repetition of the same dream”
Five works for flute, percussion & electronics, recorded during Covid-19 lockdown in a church in Basel, Switzerland, March 2020.
Commissioned by Another Timbre
Mara Winter - flute
Clara de Asis - bowed objects, percussion & electronics
12,00€
In stock
CD
Ernstalbrecht STIEBLER
“Für Biliana”
Four chamber works for strings by Ernstalbrecht Stiebler, three of which are relatively recent, the other an early string trio dating from 1963.
Biliana Voutchkova (violin),
with Michael Rauter (cello) and Nurit Stark (viola)
Artwork by Bruno Duplant.
12,00€
In stock
CD
Magnus GRANBERG & SKOGEN
“Let pass my weary guiltless ghost”
Superb hour-long composition by Magnus Granberg for his Swedish-based ensemble Skogen.
Magnus Granberg (composition & prepared piano) with Skogen:
Anna Lindal (violin), Rhodri Davies (harp), Toshimaru Nakamura (no-input mixing board), Petter Wastberg (electronics), Ko Ishikawa (sho), Leo Svensson Sander (cello), Simon Allen (vibraphone, amplified strings), Henrik Olsson (objects), Erik Carlsson (percussion).
12,00€
Out of stock
CD
Emmanuel HOLTERBACH & BLUTWURST
“Ricercar nell’ombra”
A collaboration between composer Emmanuel Holterbach and the Italian ensemble 'Blutwurst', developed during a residency at Tempo Reale in Florence in 2018. A 46-minute work.
Cristina Abati (viola), Marco Baldini (trumpet), Maurizio Constantini (double bass), Daniela Fantechi (accordion), Michele Lanzini (cello), Edoardo Ricci (bass clarinet), Luisa Santacesaria (harmonium)
12,00€
Out of stock
5 CD box
Morton FELDMAN
“Piano”
5-CD box set presenting virtually all of Morton Feldman'smusic for solo piano. Performed by Philip Thomas, who also writes a 52-page booklet that is included in the box.
Artwork by David Ainley
Philip Thomas, piano
40,00€
Out of stock
CD
Magnus GRANBERG – ORDINARY AFFECTS
“Come down to earth where sorrow dwelleth”
Magnus Granberg is a composer/musician living in Stockholm. Through experimental music ensembles/projects such as his own group Skogen (which he has led since 2005), Ordinary Affects, Ensemble Grizzana and Insub Meta Orchestra, he has produced outstanding works revealing new compositional possibilities. Performances of his compositions have been released on various labels, chiefly the UK's Another Timbre. Granberg has earned a great deal of international attention and critical praise. In November 2019, he came to Japan for the first time to perform at Ftarri Festival, where he presented a revised version of his work "Come Down to Earth Where Sorrow Dwelleth" in a performance by four musicians (including himself) on sho, koto, piano and electronics.
Granberg originally wrote this work for the Boston-based experimental ensemble Ordinary Affects, which has an established reputation for performing works by contemporary composers such as Wandelweiser artists Antoine Beuger, Jürg Frey, Eva-Maria Houben and Michael Pisaro, as well as Christian Wolff, Ryoko Akama and others. Their repertoire also includes composed works by each of the Ordinary Affects members, as well as improvisation. They performed two works by Bruno Duplant on his album deux songes (les jours sont faits pour expliquer les nuits) (meenna-976), released on the Meenna label in 2019.
In early April 2019, seven months before Ftarri Festival 2019, the world premiere of "Come Down to Earth Where Sorrow Dwelleth" took place on a small-scale U.S. tour carried out by Ordinary Affects with guest Magnus Granberg. This CD contains a 75-minute performance recorded at the end of the tour, at Wesleyan University in Middletown, Connecticut. The five performers are Morgan Evans-Weiler (violin), Laura Cetilia (cello), Luke Martin (electric guitar), J.P.A. Falzone (vibraphone) and Magnus Granberg (prepared piano). From start to finish, the solemn and mysterious sound is haunting and poignant. The special qualities of Magnus Granberg's composition style and Ordinary Affects' performance style are fully exhibited in this masterpiece.
Ordinary Affects
Morgan Evans-Weiler: violin
Laura Cetilia: cello
Luke Martin: electric guitar
J.P.A. Falzone: vibraphone
Magnus Granberg: prepared piano
12,00€
Out of stock
CD
Masamichi KINOSHITA
“Ftarri’s Harmonium”
Why is there a harmonium (reed organ) at Ftarri? It all goes back to the Ftarri Festival held in Tokyo in November 2019. A quartet made up of Klaus Lang (harmonium), Johnny Chang (violin), Samuel Dunscombe (bass clarinet) and Michiko Ogawa (clarinet) was planned for the festival's final day, so Ogawa quickly purchased a used harmonium for Lang. As she lives in Berlin, Ogawa and Ftarri decided that the harmonium would be housed there temporarily and used in Ftarri concerts.
Composer Masamichi Kinoshita, who often performs at Ftarri, was interested in holding concerts featuring the harmonium. He planned the series "Ftarri's Harmonium," the first concert of which took place in February 2020. The second concert, on March 14, was performed by Kinoshita and three other musicians, and it was decided that three pieces composed for the concert by Kinoshita would be released on an album. Composer Masamichi Kinoshita was born in Fukui Prefecture in 1969. He has long been known for his diverse and fascinating musical activities--in addition to composing many pieces each year, with a particular focus on chamber music, he plans concerts and performs improvisation using junk electronics.
For the second concert of the "Ftarri's Harmonium" series, Kinoshita invited three energetic musicians active in the fields of gagaku (traditional Japanese court music) and contemporary music--Hanako Nakamura (sho), Yumiko Kiyota (gaku-biwa) and Gaku Yamada (guitar)--and Kinoshita himself played the harmonium. This CD is made up of three pieces composed by Kinoshita and performed by all four musicians--"47/19=2 . 9/19" (19 minutes), "Count to 11!" (8 minutes), and "17 Melodies, 13 Sustained Sounds, 1 Silence" (22 minutes). Through the combination of Japanese/western stringed instruments with Japanese/western instruments producing sustained tones, compositional structures highlighting the special qualities of the harmonium and other instruments--as well as the musicians' superb performances--can be savored to the fullest in this endlessly fascinating album.
All compositions by Masamichi Kinoshita
Hanako Nakamura: sho
Yumiko Kiyota: gaku-biwa
Gaku Yamada: guitar
Masamichi Kinoshita: harmonium
Recorded live at Ftarri, Tokyo, March 14, 2020
Recorded and mastered by Masamichi Kinoshita
11,00€
In stock
CD
Per Oddvar JOHANSEN – Seijiro MURAYAMA
“Dented Time”
Jazz drummer Per Oddvar Johansen was born in Oslo, Norway, in 1968. He has earned six Spellemannsprisen, Norway's equivalent to Grammy Awards. One of Norway's leading drummers, he has participated in over 80 albums. Paris-based drummer/percussionist Seijiro Murayama is familiar to Ftarri listeners for his many releases of solo and collaborative performances on the Ftarri, Hitorri and Meenna labels.
The eight tracks on this CD (each 5 to 10 minutes long) are duo performances by Johansen and Murayama, recorded in Norway in July 2019. Six of the tracks are improvisation, and the last two are composed pieces. Both musicians used very simple sets combining snare drum with small objects and cymbals. There's a notable restraint in terms of both the volume and the number of sounds. Together, the two veteran drummers play in similar styles, producing simmering, rattling, bubbling and clinking sounds. More than "playing," one might say they're releasing sounds. Though it's a performance by two drummers, there's no clumping together and leaping about of many percussive sounds; one can almost distinguish each individual sound. Naturally, even in this type of performance, the musicians' amazing technique and musicality are fully and clearly heard. Far removed from images commonly associated with a duo drum performance, this album abounds in fascinating qualities of a completely different kind.
Per Oddvar Johansen (right side): snare drum, etc.
Seijiro Murayama (left side): snare drum, etc.
Recorded at Steinsrud, Lommedalen, Norway, July 2019.
12,50€
Out of stock
CD
Takuma KURAGAKI
“Bottomless / Blank”
Electronic sound artist Takuma Kuragaki was born in 1968. Since he began his musical activity in the 1990s, he has presented his creations not only in live music venues, but also in museums and galleries. In 2009, Kuragaki earned an award for excellence in a contest featured in Sound & Recording Magazine in which entrants produced works incorporating material field-recorded by Ryuichi Sakamoto in the Arctic Circle. In 2017, Kuragaki took part in the 3-CD compilation album Prix Presque Rien Prize, made up of entries in the international contest Prix Presque Rien--a competition of outstanding works making use of French composer Luc Ferrari's sound archives. The newly released CD BOTTOMLESS / BLANK is Kuragaki's first full album.
Drawing inspiration from the activities and creations of Shusaku Arakawa and Madeline Gins, this album--with its key words ''bottomless'' and ''blank''--aims to have listeners become ''users'' who incorporate into their daily lives the experiences gained through the works. In contrast to conventional works of music, which stir up listeners' emotions and provide each individual with their own unique experience, this album--in which radically curtailed minimal sounds are placed sometimes regularly and sometimes at unpredictable intervals--will likely bring listeners the reality of time segmentation. This experience will surely be recalled at unexpected moments in daily life, which is overlaid with a network of various rhythms. How it is applied in these situations is left to each listener.
Original price was: 12,50€.6,00€Current price is: 6,00€.