In stock
CD
Benedict TAYLOR & Anton MOBIN
“Close – Quarters”
Benedict Taylor: viola
Anton Mobin: prepared chamber
Recorded on 4 & 5 September 2017 and mixed in 2018 by Anton Mobin at La Ferme Ta Gueule, Olivet, France. Mastered at the Sunny Side Inc. studio, Anderlecht (Belgium).
"The end result effortly straddles the lines between free improvisation, musique concrète and minimalist noise music. And even though it might sound unconventional and quite demanding without any visual aid, it is guaranteed to set both your ears and your imagination on fire." Guy Peters
Original price was: 9,00€.5,00€Current price is: 5,00€.
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SHASTA CULTS
“Configurations”
A ship sinks beneath the silver mirror of the sea-top, temple gongs ring through an empty valley, industrial machinery sputters, heaves, lurches forward, stops, falls apart… These sound events may be the most acute musical referents of Shasta Cults, the music project of Canadian synthesizer technician Richard Smith. Using obsolete electronics, Shasta Cults pursues the true sound of the instrument, freed from the tyranny of emulation, no strings/woodwinds/piano presets. Shasta Cults' compositions seek out unchartered territories where sustained drones may swell, build, or evaporate; where timbres collide, amplitudes fluctuate, sounds emerge, raw, primeval, new hybrids form from the collisions of electricity and frequency. There may be stretches of silence punctuated by bell-ish tones from futures unheard; a sequence of notes may verge upon melody before mutating into ugly moans, the sonic equivalent of funhouse mirrors. But the end result is far more than chance operation, sporadic sound fields, or indeterminate academic exercise. Instead, Shasta Cults brings us back to nature, back to the possibilities inherent in nature, to the truth of evolution, stitching both musical tones, and the sounds of 21st century living into a form which is as real, as imponderable, and as ungovernable as our own memories.
Recorded in 2017, employing the processes of non-linear waveshaping, frequency modulation and feedback, Configurations consists of eight programs captured live to multitrack using a rare, fully functional Buchla 700 digital-hybrid instrument designed in the late 1980s. Whereas previously released works made with the 700 almost always consist in simple manipulations of the single factory preset, this album delves deep into the instrument's rich sonic vocabulary to offer the listener a more elaborate demonstration of the system's capabilities.
Presented here in limited quantities this release is intended as a high fidelity audio archive of this obscure musical artifact.
Original price was: 12,50€.7,00€Current price is: 7,00€.
In stock
CD
Sébastien ROUX
“Inevitable music #5”
Inevitable music is a collection of pieces based on the work of American artist Sol Lewitt, initiated by Sébastien Roux in 2012. Each piece is a sonic translation of a wall drawing using the instructions given by Lewitt for the realization of the drawing, or the drawing itself, as partition. This fifth installment is the first to propose instrumental compositions for guitar, bassoon, clarinet, trumpet, violin, cello, viola and voice. The pieces were composed in 2016 during a residency at the Villa Medici for and with the experimental contemporary music ensemble Dedalus.
Sébastien Roux (born 1977) writes electronic music, and presents it in diverse formats, from CD’s and records, to public listening sessions, sound installations, sound walks, and radio pieces. He experiments with listening conditions, with the concept of soundscape, and with composition using formal constraints. In 2011 he began to develop an approach focused on principles of translation, analyzing the structures of pre-existing art works (visual, musical, literary) and transposing them into musical scores for new works. This process has led to the creation of Quatuor (2011, released on Brocoli records) and Nouvelle (2012). The most recent development out of this process of translation is Inevitable Music, a long-term examination and development of a methodology for applying the rules and means of the wall drawings of Sol Lewitt to sonic ends. Along with his solo works Roux maintains significant collaborations with writers (Célia Houdart), designers (Olivier Vadrot), choregraphers (DD Dorvillier, Sylvain Prunenec and Rémy Héritier). He worked at Ircam, Paris as a musical assistant to Georges Aperghis, Bruno Mantovani and Gérard Pesson, and was a musical assistant to Morton Subtonick, for “Parades and Changes, replays” by Anne Collod/Anna Halprin. He is a Rome Prize Winner and was in residence at the French Academy in Rome for 2015 – 2016.
12,50€
Out of stock
10 CD box
Roland KAYN
“Scanning (1982-1983)”
A hitherto-unreleased electronic masterpiece from Roland Kayn, singular pioneer of cybernetic music.
Over a period spanning the late 70s through the early 80s, Kayn (1933–2011) issued a quintet of extended works that quietly but definitively redrew the map of electronic music. Informed by cybernetics and a desire to actualise analogue circuitry as an agency in the compositional process, this music adopted a form that can only be described as oceanic, as side after side of vinyl allowed a wholly new vocabulary of electronic sound to find its shape.
In the decades that followed, these multi-LP boxed-set releases became hallowed documents of contemporary music (as well as highly prized collectors' items). Kayn's initially subtle influence belied a gradual shift towards the widespread adoption of his ideas and practices in the 21st century, incorporating both the rise in popularity of modular synthesis as a music-making tool, and the huge advancements in machine learning and AI.
Following the recent reissue of 'Simultan' (1977) and the first-time release of late work 'A Little Electronic Milky Way of Sound' (2009), it was clear that a new generation of listeners and musicians were eager to discover Kayn's vision in all its vastness.
Kayn's own label, Reiger Records Reeks, has been reawakened by his daughter Ilse, and her long-cherished dream of releasing this music is now finally a reality. Across 10 CDs of immersive audio, expertly remastered by Kayn aficionado Jim O'Rourke, listeners are now finally able to digest Kayn's little-known masterpiece, and to inhabit sonic territory that has waited unspoilt for decades.
CD 1: Sonagram, Nomogram, Polygram
CD 2: Cycloids I, Cycloids II
CD 3: Anisotropic Modulations I & II
CD 4: Anisotropic Modulations III & IV
CD 5: Anisotropic Modulations V, VI (Part 1) & VII (Part 2)
CD 6: Networks I, II & III
CD 7: Networks IV & V
CD 8: Radi, Intermodulation, Allotropic Radi
CD 9: Inverted Spaces, Counter Radi
CD 10: Array, Scanned Modulation
Recorded 1982-1983. This CD edition was mastered from the original archive tapes.
90,00€
In stock
CD
ETANT DONNES
“L’opposition et les cases conjuguées sont réconciliées”
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'Opposition Et Les Cases Conjuguées Sont Réconciliées was the band's second album, originally released in 1981 on French label Bain Total, run by die Form, on cassette only. For this CD re-issue we have added a long bonus track not on the original album.
12,00€
Out of stock
CD
ETANT DONNES
“La vue”
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. La Vue was the first ever recording, dating back to 1979 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this re-issue, the band has found a longer version than was previously available, so this is a unique chance to hear Etant Donnes in their earliest form in a version that has previously been unpublished.
12,00€
In stock
CD
HECKER
“Inspection II”
Florian Hecker’s latest CD release continues his work with computational techniques for analysis and resynthesis. In Inspection II we hear the progressive reconstruction of original source material using algorithms based upon human hearing and designed to capture timbral characteristics of sound. As the source is iteratively extracted from featureless noise, a complex ongoing dialogue commences between formal model and empirical experience of sound. Like Charon, the boatman who ferries souls of the dead across the styx, Inspection II crosses perpetually from one bank to the other: from the formal anticipations of analysis to the unexpected artefacts of synthesis.
In Robin Mackay’s libretto, recited by a synthetic voice, this inspective dialogue is transferred to the introspective psychoanalytic situation, where the continual re-narration of the self creates further disturbances and transformations—to attain a definitive image of oneself would be to face one’s own death.
As discussed in Amy Ireland’s essay Beside a Cold Statue commissioned for the CD sleevenotes, this process, whose symptomatology is recognisably that of masochism, sees the coldness of the formal model subverted as Hecker’s continual resynthesis delivers up a series of harsh, tantalising, and bewildering textures and timbres: ‘the resynthesized sound is more intractable, more disorienting, and more empirically obscene—a contingency that always disrupts the plan […] synthetic progeny, nourished on nothing but ice and noise…’.
Florian Hecker is an artist who works with synthetic sound, the listening process and the audience’s auditory experience, traversing performance, installation, and publications. Since 1996 he has exhibited and performed internationally.
Original price was: 14,00€.7,00€Current price is: 7,00€.
In stock
CD
Jean-Yves EVRARD & Christine WODRASKA
s/t
Jean Yves Evrard : Guitar
Christine Modraska : Piano
Two personalities. Two different instruments. Christine Wodrascka, pianist and improviser, and Jean Yves Evrard, guitarist and improviser, have produced a uniquemusical matter both homogeneous and complex at the same time and showcasing a form of freedomhidden between the musical notes. The two musicians, free from the typical conventions in both their content and the shape of their work, become receptors and then transmitters of the vibrations surrounding every space. In unison, their instruments are the extension of this musical mass, free and lush.
12,00€
In stock
CD
Joëlle LÉANDRE & Alexandra GRIMAL
“Désordre”
Joëlle Léandre : Double Bass and voice. Alexandra Grimal : Saxophone and voice.
Two instruments linked, calling to each other, leaping around, recalling and fooling around with the music of Joelle Leandre, improviser, composer and double bass player, and Alexandra Grimal, composer, singer and saxophone player. With chaos, a joyful mess of unique moments, bright, plural and playful, the two musicians have no care for determinism : The music just is, and they simply follow it.
12,00€
In stock
CD
Max EASTLEY – Fergus KELLY – Mark WASTELL
“The map is not the territory”
Max Eastley : arc (electro-acoustic monochord)
Fergus Kelly : invented instruments, found metals, electronics
Mark Wastell : tam tam, metal percussion, piano frame
Recorded at Studio 3, Stoke Newington, London on 8th March 2017 by Rupert Clervaux.
Edited, mixed and mastered by Fergus Kelly.
Produced by Mark Wastell.
Original price was: 9,00€.5,00€Current price is: 5,00€.
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CD
Sarah HENNIES
“Reservoir 1: Preservation”
Black Truffle is thrilled to present “Reservoir 1: Preservation,” a gorgeous new piece by American composer/percussionist Sarah Hennies. Sarah's work explores a variety of musical, sociopolitical, and psychological issues including queer & trans identity, love, intimacy, psychoacoustics, and percussion. The “Reservoirs” are a series of three one-hour pieces based on the relationship between the conscious and unconscious human mind. Jung and Freud described the unconscious mind as a reservoir, a repository for memories that we don’t readily need access to, yet are kept forever somewhere in our minds. Specifically, Freud believed that one function of the unconscious mind is to store traumatic memories, filed away so that we don’t have to confront them every day. The conscious mind has no direct access to the unconscious, yet the unconscious is a constant yet mysterious presence in our lives.
“Reservoir 1: Preservation” is scored for piano and three percussionists, performed by Phillip Bush and Meridian, the long-running experiment in percussion, improvisation, and interpersonal relationships that includes Tim Feeney, Sarah Hennies, and Greg Stuart. In “Preservation” the piano functions as a constant, pervasive, but almost subliminal murmur amid the percussion playing that cycles through a variety of timbral and gestural areas, including gentle droning, frenetic scraping, and bricks violently dropped into metal buckets. The percussion group never interacts with or responds to the piano, while the piano subtly absorbs aspects of the trio.
“Preservation” was recorded, mixed, and mastered by Jeff Francis at the University of South Carolina and performed by Meridian: Tim Feeney, Sarah Hennies, Greg Stuart (percussion), and Phillip Bush (piano). Released in a CD digipak with design by Lasse Marhaug. Cover photo from Abby Grace Drake’s photo series, “Shopping Carts of Southside Ithaca.
14,00€
Out of stock
CD
Keiji HAINO – Jim O’ROURKE – Oren AMBARCHI
“In the past only geniuses were capable of staging”
For its 50th release, Black Truffle presents the ninth album from one of the label’s core ensembles, the power trio of Keiji Haino, Jim O’Rourke, and Oren Ambarchi. Drawn from a November 2015 performance at Tokyo’s now-defunct SuperDeluxe, the record’s opening piece drops us immediately into the maelstrom, abruptly cutting into an extended episode of Ambarchi’s pummeling drums, O’Rourke’s fuzzed-out six-string bass, and Haino’s roaring guitar and electronics. Eventually settling into a hypnotic bass and drum groove over which Haino unleashes some almost Ray Russell-eque skittering atonal screech, these opening 13 minutes act as a potent reminder of the trio’s power.
Alongside showcasing the steady development of a unique language for the guitar-bass-drums power trio, the group’s succession of releases over the last decade has demonstrated a constant experimentation with new instruments, which continues here with O’Rourke use of Hammond organ (played at the same time as his roaming, sometimes knotty basslines). On the album’s second piece, the organ plays a key role, furnishing a harmonically rich shimmer over O’Rourke’s angular six-string bass chords, Haino’s distant, chirping electronics and Ambarchi’s crisp cymbal work; arriving somewhere halfway between Albert Marcoeur and Terje Rypdal, this piece is undoubtedly a highlight in the trio’s catalog so far.
The second and third sides are slow-burning, multi-part epics that range from spacious reflection to furious tumult. Where the trio’s previous double-LP set — This Dazzling, Genuine “Difference” Now Where Shall It Go? (BT 030LP, 2017) — was primarily instrumental in focus, here you find Haino’s voice taking the spotlight on the expansive third side, intoning, wailing. and exhorting in Japanese and English over a backdrop that moves from hushed bass and organ atmospherics to rolling toms and cymbal crashes before arriving at an ecstatic finale of searing guitar, tumbling drums and reverb-saturated bass. The fourth side returns to the hypnotic grooves of the opening piece, fixing on a relentless riff and riding it into oblivion under Haino’s roaming psychedelic soloing and jagged chordal slashes.
14,00€
In stock
CD
MANINKARI
“L’océan rêve dans sa loisiveté – third session”
Maninkari's third session of L'océan rêve dans sa loisiveté.
All selections composed, improvised, recorded by Frédéric & Olivier Charlot : santoor, cimbalom, duduk, viola, synths, frame drums, percussions, cello, melodica, jaw, harp, voice, zither.
Claudie Ponget and Catherine Marmet : voice, drone
Drawings: Frédéric Charlot
9,00€
In stock
CD
Yvan ETIENNE
“Twist”
For Serge Modular and field recordings. French artist/activist Yvan Etienne, is engaged in research in the field of sound art. As a musician, he composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. His sound art research questions the perception and physicality of sound spaces. Collaborations with Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Robert Poss, Paul Panhuysen, Marie Verry, la novia, Perinne Bourel…
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi. Cut by Mike Grinser at Dubplates & Mastering, Berlin. Artwork by Gregory Weiss
10,00€
Out of stock
CD
Eliane RADIGUE
“occam ocean vol.2”
Occam Ocean, for orchestra, 2015 (52:06)
Occam Ocean is a unique project, the result of two years of collaboration between Eliane Radigue, pioneer and emblematic figure of electronic music, and the musicians of ONCEIM (Orchestra of New Musical Creation, Experimentation and Improvisation). In the early 2000’s Eliane Radigue gives up her mythical ARP synthesizer to fully dedicate herself to the creation of instrumental pieces.
In 2013 when Frédéric Blondy invited her to collaborate with ONCEIM, she had mainly composed pieces for soloists or small ensembles of 2 or 3 musicians. She initially refused to do the piece for orchestra, the work seeming too enormous: « […] but Frédéric insisted, and I thank him for it. The orchestra is the most wonderful of instruments, its richness is unrivalled.»
ONCEIM directed by Frédéric Blondy with Pierre Cussac, accordion, Jean Dousteyssier, Jean-Brice Godet, Joris Rühl, Julien Pontvianne, Xavier Charles, clarinet, Benjamin Duboc, Fred Marty, Sébastien Beliah, contrabass, Jean Daufresne, Vianney Desplantes, euphonium, Giani Caserotto, Jean-Sébastien Mariage, Richard Comte, guitar, Akino Kamiya, Alvise Sinivia, Antonin Gerbal, percussions, Benjamin Dousteyssier, Bertrand Denzler, Carmen Lefrançois, Pierre-Antoine Badaroux, Stéphane Rives, Yoann Durant, saxophones, Alexis Persigan, trombone, Louis Laurain, trumpet, Robin Hayward, tuba, Charlotte Hug, Julia Robert, viola, Patricia Bosshard, violin, Anaïs Moreau, Félicie Bazelaire, cello.
18,50€
In stock
CD
Burkhard SCHLOTHAUER
“harmonies and structures”
« Nine – for John Cage » (2010) by Zeirkratzer with Reinhold Friedl (inside piano), Frank Gratkowski (bass clarinet), Hilary Jeffery (trombone), Hild Sofie Tafjord (horn), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Ullrich Philipp (double bass), Marc Weiser (electric guitar), Christian Lillinger (percussion).
The well-known Zagreb music biennale, which has been a hotspot for contemporary music for more than 30 years, asked Reinhold Friedl, musical director of Zeitkratzer, to perform a program of late ensemble works by John Cage in 2010. Unfortunately, however, there are only a few works that could be performed with the full cast of Zeitkratzer. So i suggested that i would rewrite the non-existent number piece nine for Zeitkratzer. In my master thesis, i had thoroughly studied John Cage's number pieces, their compositional style - in particular seven, one of the first works in this series - and had already recorded and produced this composition in 2002 (EWR 0604).
« yo tampoco lo entiendo » (2019) with Burkhard Schlothauer (viola, sine-waves).
For the dance piece « Bewegte Bauhausbilder » at Theater Gera 2019.
« structures indépendantes » (2007) with Antoine Beuger (flute), Gudula Rosa (tenor recorder), Burkhard Schlothauer (viola), Thomas Stiegler (viola), Jürg Frey (clarinet), Eva-Maria Houben (indian harmonium), Christoph Nicolaus (stone harp), Tobias Liebezeit (timpani).
Delicately spotted tones of two identical instruments (flutes, violas) in symmetrical intervals meet two different sound surfaces - on the one hand unisons with more or less beatings (violas, flutes) of about 5 seconds each and on the other hand 3 minute long sound blocks of clarinet and harmonium. The distribution of the action spaces of the duos is independent of each other: while the meeting of the tones is organized completely geometrically, we experience it as somehow coincidental. In addition, there are blocks of time in which the tympani sometimes glissandize very slowly and thus irritate the sound surfaces above in a subtle way. The stone harp contributes very beautiful, clearly microtonally defined tones.
9,00€
Out of stock
2 CD
Eva-Maria HOUBEN
“ensemble works”
CD 1: Echo Fantasy I, IV & V
CD 2: Gesang XI, Unter Anderen
Performed by Ordinary Affects: Morgan Evans-Weiler (violin), Laura Cetilia (cello), J.p.a. Falzone (vibraphone/piano), Luke Martin (guitar) with Eva-Maria Houben (organ).
10,00€
Out of stock
CD
Jean-Philippe GROSS
“Reflex”
“Reflex” is a piece in 13 parts performed on a Serge analog modular synthesizer system between between 2013 and 2018 and edited in 2019.
Beyond the notion of a study, and far from being a demonstration, one could consider Reflex as a collection of sound situations (all with different durations) possible on such a modular synthesizer. For some history, this system dates from 1972, from the West Coast of the United States.
It's quite some time now that the modular synthesizer has come back into favour, but rare are the opportunities to listen to something apart from just drone or beats. With Jean-Philippe Gross, there is a willingness to get back to the fundamentals of electronic music, without falling into a sort of objective purity of the 1950S. His pieces have an animal side, all the sounds are alive, in their pulsations, their grain, their vibrations and frequencies, their stereophonic movement and of course their dynamics.
A liveliness that knows how to tickle our eardrums and will always surprise us at each new listening.
Originally a drummer, he has played in the field of electronics, experimental and improvised music since 2001. He is curently playing with Stéphane Garin (Dénombrement), Jean-Luc Guionnet (Angle), Jérôme Noetinger, Axel Dörner, Clare Cooper (Nevers), John Hegre.
Recent works included music for theater, dance and performances, as well as compositions, Cutting Lines for the ensemble Dedalus, and Sécante for the project Phonoscopie.
From october 2001 to june 2009 he was engaged as a music program curator for Fragment (Metz, France).
Eich is a new label created by musician and composer Jean-Philippe Gross to release his collaborations and solo work.
8,00€
In stock
CD
Jean-Philippe GROSS
“Curling”
“Curling” was composed in February 2018. This electroacoustic piece is based on a recording of a Curling match – a sport shown very late at night on public television channels and played on ice with granite stones, where the aim is to get them as close as possible to a circular target, using a sweeping motion with a brush. This sonic tableau becomes a scene from sound theatre, as mysterious as it is tense and disturbing, placed over an electronic layer which slowly evolves over the duration of the work. The principle is simple, and, as is often the case with a simple and great idea and the know-how that goes with it, it works. We are seized by this tension playing out before us - and apart from a certain number of aficionados – in total ignorance of the unfolding drama! Highly recommended.
Originally a drummer, he has played in the field of electronics, experimental and improvised music since 2001. He is curently playing with Stéphane Garin (Dénombrement), Jean-Luc Guionnet (Angle), Jérôme Noetinger, Axel Dörner, Clare Cooper (Nevers), John Hegre.
Recent works included music for theater, dance and performances, as well as compositions, Cutting Lines for the ensemble Dedalus, and Sécante for the project Phonoscopie.
From october 2001 to june 2009 he was engaged as a music program curator for Fragment (Metz, France).
Eich is a new label created by musician and composer Jean-Philippe Gross to release his collaborations and solo work.
8,00€
In stock
CD
R.P.M. (K. ROWE – C. POTTER – P. MOULDYCLIFF)
“Circle Line”
Circle Line initially started life as a graphic score created by Phil Mouldycliff as a piece to be played by Keith Rowe in 1989. Over a period of twelve years this open form composition developed to the point where by 2002 an opportunity arose to make a recording of the work at IC Studio in Preston, using ambient recordings taken from Circle Line Tube stations made specifically for the project by Phil and Colin Potter . Keith effectively solos over the assemble tape collage of sounds from the Underground, starting and finishing with material collected at Edgeware Road. Given that a full circuit of the Line takes upwards of fifty minutes, the individual stations are grouped together to create workable sections delineated by geographical boundaries. Since making the recording the work has been performed live by Rowe, Potter and Mouldycliff on a number of occasions.
12,00€
In stock
CD
Massimo TONIUTTI
“Cava xi.xi.86”
Cava xi.xi.86 was a concept album split into two parts, side 1 formerly called gravi tracks 1-4 and side 2 le ghiaie tracks 5-7.
Mixed at the stanza delle uova (1987) using a (4+4) multi-track system.
Two more compositions have been added to this reissue:
Track 8 (cube version of gravi) and track 9 (with a little help from l'orchestra dei becchi di Fuji), both of them using '86/'87 archive sessions, re-worked and digitally mixed at my ground floor studio (2019).
Re-mastered from the original tapes.
All material recorded from November 1986 to April 1987 at the laboratory and its surroundings.
Sound sources : clothes horse, metal ladders, pipes, welded wire mesh, railing, metal cans, occluders, muffles, clamps, springs, mandrels, drill bits, wrenches, hacksaws and unidentified objects; processed field recordings, via sistiana's hammers ad venetian blinds, and trains; hi & lo-fi speakers and microphones, handheld cassette players and recorders.
10,50€
In stock
CD
TRIGGER + Jérôme NOETINGER
“Camera Obscura”
Trigger is an acoustic wind instrument trio working in the context of experimental music. Together they aim for the creation and shaping of a homogenous overall sound. The three instruments function as generators of noise and sound and blend together in a complex sound mass, which is permanently moving, changing and renewed. By using advanced playing techniques such as circular breathing, multiphonics and a vast palette of air sounds the instruments are removed from their traditional context and resemble electro acoustic sound sources, which interact by imitating and contrasting with the specifically use of timbre, density and dynamic. The players react to each other immediately, allowing fast changing sound constellations with a compositional awareness for structure and duration.
Nils Ostendorf | trumpet
Matthias Müller | trombone
Chris Heenan | contrabass clarinet
Jérôme Noetinger | Revox tape recorder
Recorded december 14th 2014 at NK Berlin. Editing: Nils Ostendorf. Mixing and Mastering: Werner Dafeldecker
10,00€
Out of stock
CD
Hélène BRESCHAND plays Éliane RADIGUE and Kasper T. TOEPLITZ
“Octopus”
Hélène Breschand (harp) plays :
- Occam Ocean XVI, composed by Eliane Radigue (27:12)
- Convergence, Saturation & Dissolution, composed by Kasper T. Toeplitz (26:23)
11,00€
In stock
CD
Kevin DRUMM – Adam GOLEBIEWSKI
“The Last Minute Or Later”
Kevin Drumm – electronics
Adam Golebiewski – drums, percussion, objects
All music by Kevin Drumm and Adam Golebiewski.
Recorded at LAS club – no audience – on 18th September 2016 by Maciej Maciągowski.
Mixed and mastered by Lasse Marhaug.
12,00€
Out of stock
CD
Felicia ATKINSON
“The Flower And The Vessel”
Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”
The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L’enfant et les sortilèges”, Debussy’s “La Mer” and Erik Satie’s “Gymnopédies”. There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer;
Although much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower & The Vessel ventures farther into silence, absence, and voiceless wilderness. Here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of the album: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence.
15,50€
In stock
CD
Hans-Jürg MEIER
“colours de la rose . presso il passo di cristallina . diaphanés”
Colours de la rose (2001) for flute, oboe, saxophone. A work in nine parts contrasting the music by Guillaume de Machaut.
Presso il passo di cristallina (1993) for 2 recorders. "the piece was preceded by the real experience of surprising silence just before crossing the Passo di Cristallina" (Hans Jürg Meier)
Diaphanés (durchscheinend), 2015, for three baroque transverse flutes and percussion. Music to Santo Stefano in Rotondo in Rome, the musical sensation while entering the room and its architectonical athmosphere.
In Hans-Jürg Meier's music, translations from architecture have become increasingly meaningful.
On the one hand, in both art forms, the power of imagination is of fundamental importance.
On the other, both work with holistic formal inventions that unfold in time or/and in space.
Endeavouring to make physically tangible the sensual qualities of the musical material (tones, intervals, texture), his compositions are committed to exploring the interaction of nature, form and beauty.
Original price was: 9,00€.5,00€Current price is: 5,00€.
In stock
CD
Antoine BEUGER
“… of being numerous”
“... of being numerous” for us opened up a space in which to affirm this tension, this challenge of being (singular and) numerous. In the name of this practice we left the subject of the preposition open to allow numerous possibilities to resonate: the challenge, the joy, the danger, the fragility, the grace, the condition, the difficulty, the meaning, the reality, the roots, the boun- daries, the promise, ..., ..., ... of being numerous.
Performing “... of being numerous” we would try to be as detached, as much by ourselves, as possible. we would all be involved in the same kind of things: playing a “phrase” (some “phrases”) with some mostly longish, quiet sounds; articulate a slow, but regular pulse with 2 little stones; reading some words, or syllables or letters from a poem one brought or knew by heart (just to oneself); humming a melody, so quietly, that maybe only oneself would hear it; making a very soft, continuous, spectrally complex frictional sound (paper on paper, stone on stone, paper on wood, finger on skin, ...); moving dry leaves from one bowl to another, trying to make no sounds; etc.; or just being silent, listening inward rather than outward.
Colectivo maDam: David Area (synthesizer, voice and objects), Joan Espasa (bass clarinet, voice and stones), Tomás Gris (melodica, voice and objects), Rubén (sinewaves, voice and objects), Víctor (singing bowls, voice and objects), Guillermo Torres (flugelhorn, voice and stones)
Guest: Antoine Beuger (flute, voice and objects)
9,00€
Out of stock
CD
Benjamin NELSON
“Miniatures”
Miniatures was recorded between 2016 and 2018 in Oslo and Vienna.
It is a collection of short electronic sound objects, situations, landscapes, or puzzles.
300 copies
12,00€
In stock
CD
Emiliano ROMANELLI
“Untitled (9 patterns)”
Music for acoustic guitar and four cassette players.
300 copies
12,00€
In stock
CD
Francisco LÓPEZ
“Untitled #370”
New solo full-length album by the master of sonic virtuality and ‘sonogenic composition’. An epic work; cryptic, dark, multiform, ineffable and (in the artist’s own words) ‘proudly monomedia’. [Pedro Higueras]
Created at ‘mobile messor’ (Tórshavn, Den Haag, Medellín, Luxembourg) and ‘Dune Studio’ (Loosduinen), 2018-2019. Piece commissioned by CC Conde Duque (Madrid).
13,50€
In stock
CD
Francisco MEIRINO
“Three Realizations for Ensembles”
Three compositions written by Francisco Meirino for ensembles.
Utilizing pitch and timbre of traditional acoustic instruments Meirino’s unique compositional voice speaks out. Guiding the listener through tension and decompression, unease and malaise.
Performed with Ensemble Vortex and Ensemble Phoenix Basel.
Recorded 2016-2019.
12,00€
In stock
CD
Paul DEMARINIS
“Music as a second language”
***2019 repres***
Paul De Marinis : performer-electronics. “Speech melodies extracted from sources as various as language instruction recordings, hypnotists and televangelists are resynthesized and applied to digital musical instruments, becoming eerily beautiful, "the singing of voices more ancient than language.”
15,00€