Out of stock
CD
Matthew REVERT / Vanessa ROSSETTO
“Everyone Needs A Plan”
“Everyone needs a plan” records the evolution of communication from its tentative genesis toward an eruption of language that cannot be stopped. It is a documentary of connection and how, as words passed from one to another become refined, a deeper understanding of not just the other, but also the self is achieved. “Everyone needs a plan” condenses years of communication into an essence wherein profundity exists not just in the grandiose, but also within the smallest unit of human experience. As communication blooms, it reveals how one can connect with another and the myriad ways in which this can occur. It is not just what lives within the words spoken, but within the silences, sighs, coughs and laughter. “Everyone needs a plan” is what results when we stop preventing ourselves from groping toward whatever our personal truths may be. Matthew Revert/Vanessa Rossetto
14,50€
In stock
CD
Lucio CAPECE / Marc BARON
“My Trust In You”
Marc Baron: field recordings, tape recorders and other analog devices. Lucio Capece: bass clarinet, slide saxophone, analog synthesizer and filter, drum machines, double looper, equalizers in feedback, regular and telephone field recordings, mini speakers in movement.
Recorded and mixed by Marc Baron and Lucio Capece. Mastered by Taku Unami.
14,50€
Out of stock
CD
Ken IKEDA / Eddie PRÉVOST
“The whole moon rests in a dewdrop on the grass”
Ken Ikeda, electronics, Eddie Prévost, percussion. Recorded at Cafe Oto, London 8th January, 2018.
Experimental combination of electronics and mostly bowed percussion.
"Rare duo set from Japanese musician and artist Ken Ikeda - who has composed and recorded for David Lynch and Moriko Mori amongst others - and English percussionist Eddie Prevost, the seminal figure of free improvised music since the 1960s." - Cafe OTO
12,00€
Out of stock
CD
N.O. MOORE / John EDWARDS / Eddie PRÉVOST
“Darkenend, yet Shone”
N.O. Moore, electric guitar, John Edwards, double bass, Eddie Prévost drums.
Recorded 2017at Iklectic, London.
"The trio of Eddie Prévost (drums), NO Moore (guitarism), and John Edwards (bass) combines improvisation, free jazz, rock, and electronic sound into a sonorous aggregate that avoids collapsing into any one category, being something in its very own right. Propulsive rhythm, new sounds, and energetic improvisation will be called down, with expectations both met and mangled." mkgallery.org
12,00€
In stock
CD
Francisco MEIRINO
“The Ruins”
From the ruins of hours of multi-channel recordings created during his residency at EMS Stockholm, Francisco Meirino has created a definitive statement of time and discovery.
Inspired by the Serge and Buchla modular synthesizers, he felt as if he were standing before ancient ruins, familiar yet unknown. After allowing these recordings to sit and decay over time, he discovered, when he finally came back to them, that all that was left were the pieces and ruins of sonic archives.
The end result is a masterpiece statement, an exercise in abandonment and discovery.
The ruins Francisco Meirino has unearthed reach deep into our psyche from seemingly the most unlikely source, machines, evoking a story of damage and resurrection.
12,00€
Out of stock
4 CD
Mats GUSTAFSSON & FRIENDS
“MG 50 – Peace & Fire”
In October 2015 happened a big 3day-celebration in the Viennese venue Porgy&Bess for the 50th birthday of Mats Gustafsson - saxophone player extraordinaire in contemporary (free) jazz, for instance with The Thing, Fire!, and in various duo/trio/ensemble-formations. Many musicians Gustafsson played with or currently plays with were invited to join in various formations. Comes in a heavy cardboard box with two thick booklets including essays and many photos !
CD 1 - 26 october
Mats Gustafsson / Didi Kern
RISC (Billy Roisz/Dieb 13)
Sven- Åke Johansson
Swedish azz
CD 2- 27 october
FAKE THE FACTS + Paul Lytton & Martin Brandlmayr
Christof Kurzmann / Sofia Jernberg
FIRE! Plus guests
CD 3 - 28 october
Klangforum Wien & Mats Gustafsson
TR!O + 1 (Günther Christman /Paul Lovens/Thomas Lehn/Mats Gustafsson)
THE THING & KEN VANDERMARK
CD 4 - STRENGE KAMMER
Kjell Nordeson
Per – Åke Holmlander
Agustí Fernández
Erwan Keravec
Christof Kurzmann / Ken Vandermark
Anna Högberg
Original price was: 45,00€.25,00€Current price is: 25,00€.
In stock
CD
LA MORTE YOUNG
“A Quiet – Earthquake Style”
La Morte Young is a supergroup including the members of the bands Nappe, Sun Stabbed and Talweg. Their first studio album, released 5 years ago, has been acclaimed by some press and has also been tip of the tongue of the now defunct Volcanic tongue mailorder.
A Quiet – Earthquake Style is the second studio album by La Morte Young, recorded during a residency in november 2015 at GRIM in Marseille.
It’s always hard to describe a record when you are part of it, so here is a the thoughts of Stefan Neville (Pumice, Olympus, ...) while listening to it : « This is an unpleasant, confusing & transcendental new record by some very heavy french bastards. It is destructive & haunted & ridiculous. Side one begins with cold violent ripping splatter. Almost rock music but tortured & distressed like a tough metal buffoon falling over wearing dangerous nail studded armbands tumbling & screaming down the steps of an infinity dungeon, into an open sewer where his bullet belt short circuits the worlds electricity & his shitty corpse gets boiled up into a spiritual paste of false hope. On side two we hear a duet between apocalyptic wind & some bulldozers. Cannons are fired into the ocean and a chorus of concussed whale's reply unhappily. Then the world dies and robot scanners on autopilot move in to forever check the pulse of the rubble & giggle amongst themselves for eternity. None of this feels like mere humans playing instruments to me. It is a huge, terrifying, obscene & hilarious record... »
For whom think that Sunn O))), the Dead C and François Bayle are also ridiculous and hilarious.
CD version exists in red or blue Riso cover.
11,00€
Out of stock
2 CD
Steve REICH
“Drumming”
Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.
Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing – pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.
The premier performances of Drumming took place in December 1971 in New York City – first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made – and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.
Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.
This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.
20,00€
Out of stock
CD
Toshimaru NAKAMURA
“Re-Verbed (No-Input Mixing Board 9)”
Re-Verbed (No-Input Mixing Board 9) is the latest edition from Tokyo based artist Toshimaru Nakamura.
The No-Input Mixing Board is a unique instrument pioneered by Nakamura. As its name suggests, it is a mixing console within which external no input exists. The instrument is fuelled only by its own feedback. Initially used by Nakamura as a more tonal instrument, creating incredibly high frequency outputs, over time the mixing board has become decided more rhythmic and harmonic. It is this sonic territory that is the focus of this edition.
Re-Verbed (No-Input Mixing Board 9) is by far one of Nakmura’s most musical recordings. The board’s tonality is front and centre; low pulses and cavernous pulses fizzle and murmur with a subtle but frenetic energy. Drifting into decidedly dub oriented directions, Nakamura allows the instrument to breathe; specifically he finds new dimensions to the ways interference can be brought into harmony within the pieces. While the instrument might suggest a sense of indeterminacy, Nakamura’s intimate relationship with it means he can maintain an unerring sense of control over it.
Re-Verbed (No-Input Mixing Board 9) is evidence of his intense capacity to create profound work with this most unusual of devices. A conjuring of something truly unique from literally nothing.
12,00€
In stock
CD
Melaine DALIBERT
“Musique pour le lever du jour”
Melaine Dalibert (born 1979), a French composer/pianist, has been increasingly recognized for his compositional piano works as well as his interpretations of works by Gérard Pesson, Giuliano D’Angiolini, Tom Johnson, Peter Garland and many others. Trained as a classical pianist in Rennes (where he teaches now), Dalibert studied a large repertoire of contemporary composers' works at the Paris Conservatories. Being involved with experimental music at a young age, Dalibert found a way to compose music through mathematical concepts.
Fascinated by natural phenomena which are both expected and unpredictable, and also inspired by the work of the Hungarian-born French media artist Véra Molnar, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series. His piano music has been released on two recordings to date: Quatre pièces pour piano, self-released in 2015, and Ressac, issued by Another Timbre in 2017. ‘Musique pour le lever du jour’ (the title meaning 'Music for The Daybreak') was composed by Dalibert over two years and completed in 2017, with the concept being an ‘endless piece’ with no beginning or no end. This one-hour piece adopts slow tempi, leaving meditative space for long resonances in which pentatonic coloring gradually modulate in all tones, resulting in complex layers of direct tones, overtones, and prolonged reverberation, all organically subliming into rich sonorities with incredible harmonic clarity. Produced and design by Yuko Zama, artwork by David Sylvian. The single CD is a limited edition of 500.
Fascinated by natural phenomena which are both expected and unpredictable, and also inspired by the work of the Hungarian-born French media artist Véra Molnar, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series. His piano music has been released on two recordings to date: Quatre pièces pour piano, self-released in 2015, and Ressac, issued by Another Timbre in 2017. ‘Musique pour le lever du jour’ (the title meaning 'Music for The Daybreak') was composed by Dalibert over two years and completed in 2017, with the concept being an ‘endless piece’ with no beginning or no end. This one-hour piece adopts slow tempi, leaving meditative space for long resonances in which pentatonic coloring gradually modulate in all tones, resulting in complex layers of direct tones, overtones, and prolonged reverberation, all organically subliming into rich sonorities with incredible harmonic clarity. Produced and design by Yuko Zama, artwork by David Sylvian. The single CD is a limited edition of 500.
15,00€
In stock
3 CD
Biliana VOUTCHKOVA / Michael THIEKE
“Blurred Music”
The Berlin-based Bulgarian violinist Biliana Voutchkova and German clarinetist Michael Thieke have worked together intensely within both compositional and improvisational duo and group projects in Berlin since 2011.
In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches. The triple CD “Blurred Music” features three of the duo’s live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era. Co-produced by David Sylvian and Yuko Zama, artwork by David Sylvian. The three CD set is a limited edition of 500.
In their current project “Blurred Music”, the duo works with musical structures that create a blur; improvised parts alternate with fields of pre-structured material in which digital recordings of the duo are duplicated by live performance. Virtually identical fragments of the live performance synchronize simultaneously with the playback, unavoidably giving rise to blur in the temporal dimension, in the rhythmic, timbral, and motivic variations, and in the microtonal interpretation of individual pitches. The triple CD “Blurred Music” features three of the duo’s live performances, recorded in Chicago, Philadelphia and New York during their USA tour in December 2016. These three live recordings are all very differently structured, factoring in the conditions and the atmosphere of each venue as well as the musicians' own perspective and mindset. This series of three concerts, all occurring within a nine day period, showcase the very wide range of this duo, so all three recordings combine to form a saga of their peak. Using their highly trained virtuosic skills and intense concentration, the duo carefully deconstructs the conventional tones of instruments into fine particles in an organic flow, to create a completely new world of music on their own, somewhere between tonality and atonality, and will hopefully be recognized as one of the most mature accomplishments of improvisational/compositional works of this era. Co-produced by David Sylvian and Yuko Zama, artwork by David Sylvian. The three CD set is a limited edition of 500.
28,00€
In stock
CD
Xavier CHARLES / Jacques DI DONATO
“Ilex”
Xavier Charles & Jacques Di Donato, clarinet. Great duo that started at the beginning of the 90’s. “Ilex” is a great moment of free improvisations full of air, sounds and silence, recorded in Mhère (Morvan, France), May 2014. Mastering done by Anthony Laguerre. Artwork by Marie Bouchacourt.
12,00€
Out of stock
CD
Gérard BROUTIN
“Ère isouienne an 52 : un musicien lettriste”
First ever release of the text-sound pieces by French lettrist artists Gérard-Philippe Broutin (b. 1948). Broutin studied Art History at the University of Paris and the École du Louvre. Alongside other artists such as Maurice Lemaître, Roland Sabatier, Alain Satié, François Poyet or Jean-Pierre Gillard in particular, Broutin meets Isidore Isou in 1968 and from then on participates in most of the events and literary exhibitions of the lettrist movement.
The remarkable lettrist text-sound pieces contained on this CD were written during the early 1970’s and recorded and broadcasted at Radio France in September 1976, with introductory texts by Jean-Pierre Gillard.
“Stances à Jean-Paul Curtay”. “Étude no.1”. “3 brèves improvisations”. “Étude no.2”. “Un fameux chapeau”. “Polyphonie”.
Edition of 300 copies in six-panel digipak.
8,00€
In stock
2 CD
OMIT
“Interceptor”
2008. Back in stock.
“Omit is the nom de plume for Clinton Williams, an electronic musician who has been quietly toiling in New Zealand for a good portion of the past two decades. His work has appeared alongside such luminaries of the NZ free noise community as Birchville Cat Motel, The Dead C, Flies Inside The Sun, Dean Roberts, Surface Of The Earth, etc.; however, Omit’s home-spun constructs widely detour from the sculpted grit and mottled distortion found in the work of his countrymen and -women. In listening to his masterful Quad (a 3CD opus released in 1998 through Corpus Hermeticum), one gets the very palpable sense of an artist in a contentious argument with his own unwieldy mousetrap of tape-loops, modular electronics, effects pedals, drum machines, and the creaking sounds of his house. That internal debate with himself through his machine exudes an existential melancholy, which could be applied to any number of grander metaphors of the dependency of electronics, cybernetics, and technology upon mankind. Interceptor is the result of an experiment whereby Williams worked with a portable studio away from his longtime home of Blenheim. He possessed two suitcases of drum machines, effects, and analog synths; and, Williams recalls being “pissed off with myself wasting time recording this stuff when I was trying to find a job”. His frustrations stripped away much of the grandiose sweeps of ambience and shadow, leaving behind a life-support system grid of overlapping, phase-shifted blip and click. An undertow of hypnotic tonalities pulls those rhythms towards a crepuscular gloom. Williams has always been at odds with his own work, yet his self-doubt continues to deliver magnificent albums which thrive in a symbiotic struggle with mechanical disintegration. Interceptor conjures the best offered by Mika Vainio, Klaus Schulze, and the Throbbing Gristle tracks authored by Chris Carter. Always the pessimist, Williams grumbles, “In many ways, it’s a document of my failure to do the most simplest things in life”. If only all of our failures could be this brilliant.”
16,50€
In stock
CD
Simone FORTI
“Al Di Là”
Saltern presents Al Di Là, the first full-length collection of recordings by renowned dancer/choreographer, artist, and writer Simone Forti. Forti (born 1935, Florence, Italy) has influenced generations of artists through her innovative approaches to dance and movement. Forti is noted for her extensive work with musicians, including Charlemagne Palestine, La Monte Young, Jon Gibson, Peter Van Riper, and Z’EV, among others. With Al Di Là, we hear Forti musically in her own right through a diverse collection of never-before-released pieces, ranging from the early ‘60s to mid-80s, that highlight Forti’s use of her voice, folk songs, handmade instruments, and physical space. The album, compiled by Forti with the assistance of Tashi Wada, includes a rare guest appearance by La Monte Young and Marian Zazeela and features a 28-page color booklet of writings, drawings, and photos by Forti. Al Di Là is a uniquely personal and intimate portrait of one of the truly visionary artists of our time.
From Forti's liner notes: “I’m awaiting a song from afar, from afar, a song of goodbye from afar. For now I've seen the game I was playing, slowly leaving the earth and drifting far among the stars.” Edition of 550.
From Forti's liner notes: “I’m awaiting a song from afar, from afar, a song of goodbye from afar. For now I've seen the game I was playing, slowly leaving the earth and drifting far among the stars.” Edition of 550.
19,00€
In stock
CD
Jean-Luc GUIONNET / Seijiro MURAYAMA
“Idiophonic”
Seijiro Murayama (percussion, voice) lived in France for many years and is currently based in Paris. Alto sax player Jean Luc Guionnet, who lives in Paris, is also known as a pipe organist. The two musicians have released three CDs to date: “Le Bruit du Toit” (Xing-Wu Records, 2007), “Window Dressing” (Potlatch, 2011), and “Mishima, Day & Night” (Ftarri, 2015). Guionnet played the sax on each of these albums. Their fourth release, Idiophonic, is the first on which Murayama performs with Guionnet the organist.
This album contains three improvised pieces. Two of them were performed at a church in Berlin, Germany, in June 2015, and the third at a church in Ljubljana, Slovenia, in September 2012. Murayama plays only the snare drum. (His voice is also heard from time to time on the first track.) The sound of Guionnet’s organ--at different times loud, soft, majestic, and rough--is both noise-like and expressive. Murayama, meanwhile, effectively fires out sharp, striking sounds as he switches between sticks and brush. Each of them plays with restraint and a high degree of tension, never producing too much sound. Their musical compatibility, combined with the richly reverberating church acoustics, make for truly impressive performances.
12,00€
Out of stock
CD
Taku SUGIMOTO / Stefan THUT
Guitarist, composer and improviser Taku Sugimoto frequently performs overseas as well as in Japan. He’s also a member of the Suidobashi Chamber Ensemble, which consists of five Japanese musicians. Stefan Thut is a Swiss cellist and composer. Both Sugimoto and Thut are known as unique performers and composers, and both have close ties with the contemporary classical Wandelweiser group. The two have a long association, performing together when Sugimoto visits Switzerland and when Thut comes to Japan.
Sugimoto and Thut performed in Geneva and Basel during Sugimoto’s 2015 European tour. (They'd previous collaborated in larger formations, but this was their first duo performance.) The concert in Basel on March 21 is documented on this CD. The duo of Thut (cello) and Sugimoto (guitar) performed Thut's 2015 composition “Ten Strings, 1-24” (which includes the sound of rolling dice) and Sugimoto's 2014 composition “Mada”. The two pieces (each about 25 minutes long) are presented here as a single 49-minute track instead of separate tracks. (Thut’s piece is heard before Sugimoto’s) Each work displays the special character of these two highly individual composers, whose performances on this collaboration album are endlessly fascinating.
12,00€
Out of stock
2 CD
Kazuo IMAI / Roger TURNER
“Molecules”
This masterful performance was born of the meeting of two master improvisers, Kazuo Imai of Japan and Roger Turner of the UK.
Imai, who studied with Masayuki Takayanagi and Takehisa Kosugi, is one of Japan’s leading improvisers and guitarists.
Turner is a drummer and percussionist who has been actively performing throughout the world since the beginning of the 1970s.
His Japan tour in October 2017 included concerts with Japanese musicians in various locations, including his performance with Kazuo Imai at Bar Isshee in Tokyo on October 11. In this duo concert, Imai played one nylon string guitar, while Turner used only snare drum, tom tom, cymbals, metal and wood instead of setting up a complete drum set; and the sound was acoustic, without electric amplification. The overall sound is somewhat controlled, in keeping with the nylon string guitar volume; and within that context the musicians’ interacting sounds are remarkably diverse, dynamic, and beautiful. The concert’s first and second set are documented in their entirety on this album.
Imai, who studied with Masayuki Takayanagi and Takehisa Kosugi, is one of Japan’s leading improvisers and guitarists.
Turner is a drummer and percussionist who has been actively performing throughout the world since the beginning of the 1970s.
His Japan tour in October 2017 included concerts with Japanese musicians in various locations, including his performance with Kazuo Imai at Bar Isshee in Tokyo on October 11. In this duo concert, Imai played one nylon string guitar, while Turner used only snare drum, tom tom, cymbals, metal and wood instead of setting up a complete drum set; and the sound was acoustic, without electric amplification. The overall sound is somewhat controlled, in keeping with the nylon string guitar volume; and within that context the musicians’ interacting sounds are remarkably diverse, dynamic, and beautiful. The concert’s first and second set are documented in their entirety on this album.
17,00€
In stock
CD
Morgan EVANS-WEILER
“Unfinished Variations (for Jed Speare)”
The remarkable Boston violinist and composer Morgan Evans-Weiler doesn’t have a score for this record, but its focus is ultra-precise. The piece, dedicated to the stalwart experimentalist Jed Speare, a close friend of the musician and who died in 2016, is a rigorous exploration of pitch, specifically in the microtonal complexity of the simplest bowed gestures. Evans-Weiler relies on a handful of simple pitch variations from memory, but ultimately the results don’t rely on any sort of melodic movement. Rather, the violinist pulls his bow across the strings in richly striated tones both gentle and piercing, marbled by a bounty of sounds—high-pitched squeals, abraded drags, intensely ringing double stops—that eventually bypass the lack of compositional shape to create an enveloping experience all its own.
Evans-Weiler explained that “the performance of the piece is specifically dictated by my experience of the repetitions and the fatigue that accompanies,” and that certainly can apply to the listener, whose level of engagement depends on a certain freshness of the ears, the volume of playback, and attention level. The performance draws heavily on psychoacoustics, where an immersion in the sounds creates an almost psychedelic experience—where the bowed violin seems to produce ever-fattening tones, both viscous and biting. Extended passages are interrupted by brief moments of silent repose, with the violinist changing his fingering before embracing a slightly different pitch—it also allows the listener to recalibrate and retrench for another study that builds in volume and attack. It’s probably not for everyone, but the degree of focus and the richness of Evans-Weiler’s sound-worlds are nothing short of astonishing. - Peter Margasak, Bandcamp Daily
14,00€
In stock
CD
Prune BÉCHEAU
“Stries ton, tripes et poils”
Prune Bécheau lives and works in France (Dordogne). Classically trained on the baroque violin, she has distanced herself from a traditional approach in order to express her idiosyncratic range of glitch sounds using special bow pressure and angle techniques performed solo or collectively in Europe. She is a member of the bands Pancrace (Penultimate Press, 2017) and Urs Graf Consort (Synchronies / La République des Granges, 2016) in which she also sings and plays keyboards (organ, piano, synthesizer) as well as of the sextet La Peuge. She is also involved in sound theory and contextual installations here and there.
The album ”Stries ton, tripes et poils” is comprised of a series of pieces exploring microtonality and specific timbres produced through different usages of the bow, playing with the diverse relationships between horse hair and gut strings (pressure / angle / velocity of the bow, transversal / oblique / torsional frictions, etc). The music is neither fully written nor completely improvised. It breaks the integrity of sounds and sound sets through obsessive physical processes to the point of highlighting specific ritornellos - composed of overtones, undertones and “off tones”. This “geographical” approach of the concrete violin-object has been influenced by music as diverse as Bach and Wyschnegradsky, polyphonic Pygmy music and Inuit throat singing, the sound of birdsongs and frogs. - Prune Bécheau
14,00€
In stock
CD
Matt SARGENT
“Ghost Music”
Recorded by Ryan Streber at Oktaven Audio in Yonkers, NY, November 2015.
Matt Sargent teaches music at Bard College, which lies close by the Hudson River, and percussionist Bill Solomon, the sole performer on Ghost Music, is a member of Ensemble Signal. Since the music of Steve Reich figures prominently in the Ensemble’s repertoire, and this piece is composed of spare, often repetitive bell tones, it would be easy to file it under New York minimalism - easy, but incomplete. Solomon is also a member of Queer Percussion Research Group, and Weighter Music is operated by Sarah Hennies, whose own music has articulated the isolation and confusion she experienced before coming out as a trans woman. When Sargent first composed the piece a decade ago, he conceived it as “a movable sanctuary.” This music isn’t about following in anyone’s footsteps; it uses bare resources to establish a bounded and essential space. - Bill Meyer, The Wire Magazine August 2018
14,00€
In stock
2 CD
Leslie ROSS
“Drop By Drop, Suddenly”
XI Records is very proud to release this 2 CD set of eleven compositions for bassoon composed and performed by Leslie Ross, internationally renowned instrument builder and uncompromising creative musician.
The first CD starts with the shortest seed pieces that play primarily with the timbral and microtonal differences highlighted between tone-holes, forming a layered, pseudo-multitrack effect while playing with only one fingering, single note or multiphonic. They range from the more strictly tonal or modal pitch-centered to the thicker atonal and dissonant collection of frequencies found in some multiphonics. Pieces progress to longer complex ones by the second CD, some of which have as minimal material as the shorter ones, but make more extensive use of live multitrack recordings and frequency filters to further bring out changes in frequencies or accentuate beatings inherent in specific multiphonics. The electronics used were created explicitly for each composition using the computer based program MAX/MSP.
Save for the unconventional 15 microphones of the “prepared bassoon”, these recordings include pieces with no sound processing whatsoever, as well as pieces that do involve sound processing and multi-tracking. Importantly, however, any processing (timed entrances of microphones, overdubbing, looping, spectrum filtering, pitch shifting...) is made in real time, not post-recording. All recordings are single-take recordings where four speaker channels along with room microphones have been mixed down to stereo. Key clicks occasionally get picked up in a loop recording to return sometimes processed, sometimes not later; in circular breathing a multiphonic might drop out a moment before sounding again –what might sound like clicks or occasional drop outs on some of the recordings are not overlooked mastering faults but the result of this live processing and playing as would be experienced in performance.
14,00€
Out of stock
CD
Joan LA BARBARA
“The Early Immersive Music of Joan La Barbara”
“as lightning comes in flashes” (1981) for 8 track tape. New 2017 stereo mix. “Autumn Signal” (1978) for 8 track tape, mixed to 4 channels. “Cyclone” (1976-77) for 16 track tape.
Joan La Barbara is a long recognized pioneer of extended vocal techniques and a champion of new music. She emerged from the New York Downtown scene to perform in the ensembles of Steve Reich and Philip Glass, including the premiere of Glass’ Einstein on the Beach. She has performed and recorded works by composers including John Cage, Robert Ashley, Morton Feldman, Philip Glass, Alvin Lucier, and her husband Morton Subotnick. Composer/Vocalist Joan La Barbara has created a rich body of experimental works, many initially produced on analog tape. This collection includes a first release of the award-winning “Cyclone”, first presented at a the ISCM World Music Days festival in Bonn, Germany in 1977. The other two works were initially issued on LP on the Wizard label, but now in new mixes. The reissues offered here remixed to her original surround concept: as lightning comes, in flashes explores a vast array of La Barbara’s signature extended vocal techniques. “Autumn Signal” is a rare example of the composer’s work with Buchla synthesizer, which she utilized for spatialization as well as modification of vocals.
For this release, fresh 96khz/24-bit transfers were made from the original multi-track analog tapes. Then all new stereo and surround mixes were then created under the supervision of the composer.
Liner notes by Bernard Gendron trace La Barbara’s beginnings in the New Music world from the early 1970s Downtown Scene and her evolution as an avant-garde vocalist and composer. In addition, La Barbara contributes detailed notes on the works.
16,50€
Out of stock
CD
George CRUMB
“Metamorphoses (Book I) (2015–17)”
“Metamorphoses (Book I)” (2015–17). First recording. Written for Margaret Leng Tan. “Five Pieces for Piano” (1962). Margaret Leng Tan, piano.
This important release couples George Crumb’s (b. 1929) earliest work for piano, the Five Pieces for Piano (1962) with his most recent piano cycle, Metamorphoses (Book I) (2017). Margaret Leng Tan has long been a champion of Crumb’s music, and he composed Metamorphoses (Book I) for her. This recording is of the German premiere at the legendary Donaueschingen Festival in 2017. Crumb’s Metamorphoses is a natural descendent of his monumental Makrokosmos I & II piano cycle of the early 1970s. With a nod to Mussorgsky’s Pictures at an Exhibition, each movement of the Metamorphoses is inspired by a famous painting. And, like the Makrokosmos, it requires the pianist to be a virtuoso not only at the keyboard but playing inside the piano and vocalizing as well. Ms. Tan is regarded as the “Diva of the Toy Piano,” and Crumb has also incorporated the toy piano and toy percussion instruments into some movements. Crumb says: “I have always been most fortunate to have had outstanding pianists who were willing to tackle the formidable technical and musical innovations in my scores. And among the very finest of these is Margaret Leng Tan for whom I wrote Metamorphoses (Book l). Margaret’s technical prowess and superb artistic sensitivity is a combination that must warm the heart of any composer!”
The CD also includes the early Five Pieces for Piano. All the components of Crumb’s mature compositional language are already evident: a broad palette of coloristic effects along with an extraordinarily sensitive command of nuance, his unmistakable musical gestures, an inherent sense of drama coupled with a magical suspenseful atmosphere and a battery of interior piano effects demanding that the pianist be somewhat of a harpist and percussionist as well. This newly remastered recording is taken from Ms. Tan’s Sonic Encounters recital on Mode (mode 15, from 1988).
Original price was: 16,00€.8,00€Current price is: 8,00€.
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Henry COWELL & Percy GRAINGER
“Works for Saxophones”
Percy Grainger (Australian-American) and Henry Cowell (American) were forward-looking, pioneering composers and close friends. These two men had so much in common, musically and personally, that it is almost as if they were mirror images of one another. Besides having classical training and folk music influences, both were also musical avant-gardists. They experimented with new sounds, new forms of expression, and new notational systems. Most of their saxophone pieces are either folk arrangements or original compositions inspired by British and Celtic folk music. Cowell and Grainger created a rich repertoire for the classical saxophone, but much of it is overlooked, only partially published, and therefore widely unknown until this CD.
22 works are included, 9 by Grainger, 7 by Cowell and 5 by Cowell as arranged by Grainger. Many are first recordings. They are scored for varied instrumentation : sax ensembles, sax & piano and sax & orchestra. Two works are presented in two versions, both for sax piano and sax & orchestra, performed here by the Glens Falls Symphony conducted by Charles Peltz. The uniquely scored pieces are the first recording of Cowell’s Chrysanthemums (1937), a short song for soprano & small ensemble and Cowell’s first chamber music piece featuring saxophones. It was thought to be lost but was rediscovered in 2003. Grainger’s Random Rounds (1912) is technically not a piece for saxes, but is too important a work to leave out. It is a composition for unspecified, soloistic chamber ensemble and probably the first aleatoric piece ever in the history of Western music. Written for flexible instrumentation, it is performed here by a large ensemble including 3 singers, 2 guitars, mandolin, piano, percussion, winds and strings.
Saxophonist/composer Ulrich Krieger lived and worked in Berlin since 1983, then moved to work from CalArts University. His arrangement of Lou Reed’s Metal Machine Music lead to a touring ensemble with Mr. Reed. He has recorded many records for Mode of Bryars, Berio, Cage and his own works.
Percy Grainger (1882–1961), “The Immovable Do” (1939), “Lisbon” ( 3 versions: July – low key with 3 altos; August – high key; July – low key with soprano) (1943). “Ye Banks and Braes O Bonnie Doon” (1932). “The Lonely Desert-Man Sees the Tents of the Happy Tribes” (versions with orchestra and with piano) (1949). “The Merry King” (1936-39). “Molly on the Shore” (1938). “Random Round” (1912-14/43).
Henry Cowell (1897–1965), “Air and Scherzo” (versions with piano & with orchestra) (1961). “Sailor’s Hornpipe” (1949). “Hymn and Fuguing Tune Nr.18” (1964). “Caoine” (arranged Grainger, ca.1937/38). “Sax Quartet” (1961). “60 – For Percy Grainger” (1942). “Chrysanthemums” (1937).
16,00€
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Michael BARTHEL
“Halber Pogo”
Edition of 300 copies in six-panel digipak.
Second full-lenght release by German sound-poet and writer Michael Barthel on Tochnit Aleph. Recorded April 2018 straight to tape without overdubs. Raw, unsettling, and poetically incorrect!
“Halber Pogo (half a pogo) is a 60 minute recording in which scripted text-pieces are recited from memory. The selection of the pieces is left up to the moment, as much as how much content of each piece is remembered; along with their actually determined pronounciation - that often buggers off. This inaccuracy, the resulting pauses, the sensuality that arises from these circumstances, is what is of interest to Halber Pogo.”
Original price was: 12,50€.8,00€Current price is: 8,00€.
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2 CD
Hermann NITSCH
“Traubenfleisch”
Double CD. Edition of 300 copies in six-panel digipak.
First recording of the grand scale “Traubenfleisch 2007-2017” symphony by Hermann Nitsch. Performed at the Nitsch Museum, Mistelbach, September 2, 2017, by Orchestra “Klangvereinigung Wien” and a new choir formed for the occasion. Directed by Andrea Cusumano.
21,00€
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CD
Mark VAN HOEN
“Invisible Threads”
All titles composed and recorded by Mark Van Hoen in Los Angeles 2016.“[…] Other Touch artists were also an influence here – Claire M Singer, Jana Winderen and as ever Chris Watson (who has been an enduring influence from the moment I first heard Cabaret Voltaire in 1979)… along with my project ‘drøne’ with Mike Harding… the collaborative aspect of drøne brought up a few new paths in itself.During the time I was recording the album I was editing audio and sound design for films – this too went some way to defining the structure and sound of ‘Invisible Threads’. At the time of recording several of the titles on the album, I had re-read ‘The Conversation of Eiros and Charmion’, a short story by Edgar Allen Poe… and in some ways this record is a soundtrack to that.The title ‘Invisible Threads’ refers to the intangible connection between all of the musical and personal influences that brought this record into being.”Instrumentation/sound sources : Modular synthesizer notably using modules manufactured by Make Noise, The Harvestman & Mutable Audio. Software – Ableton Live, Pro Tools and many plugins – heavily used were Max, Soundhack and Native Instruments’ Reaktor & Kontakt. Fender Rhodes piano, Fender Jaguar guitar. Farfisa Organ, Vox continental.
Original price was: 12,50€.7,00€Current price is: 7,00€.
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MOPCUT
“Accelerated Frames of Reference”
MOPCUT is a medium-length noise-style that covers the head and ears with a vertical bang and a horizontal wave. It's a popular style for all ages, genders and generations.The soundscape should be trimmed evenly all around the circumference so that the noise at the front reaches the inner eye while the waves on the sides cover (or almost fully cover) the ears. The beats at the back maintain the same length as the samples at the front and sides. Once the overall sound is achieved, trimming is used to achieve minimalism or maximalism, depending. Improvisation, noise and electronic beats work well as backgrounds for the MOPCUT. Electronic appliances and devices may be used to give the MOPCUT a bit more volume, but effects may lead to standing up instead of hanging low. (Lukas König)
Original price was: 15,00€.8,00€Current price is: 8,00€.
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CD
ILIOS
“El anillo invisible que sujeta el mundo de la forma al mundo de la idea”
Active since the early 90’s in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound pale
e touching and surpassing the limits of the sound spectrum ILIOS advocates for an anti-career. Some of ILIOS recorded output has been regarded by the media as: “The sound of death” or “The most enervating record imaginable”.
More than 300 live shows, lectures and workshops in 30 countries in: Asia, South + North America, Europe, Oceania pushing the space and body resistances to a hard test pursuing a state of alert for the human senses.
Numerous audio releases including: “Kenrimono” (released on PAN) based on sounds of pachinko parlours, “Vento Elektra” based on electric signals and home electricity, (Antifrost) the “Symphonies for oscillators and internal combustion engines”, based on car vibrations performed live; and many others. Apart from his solo work, ILIOS is also known as founder and half of MMMD (aka Mohammad), a chamber doom project together with cellist Nikos Veliotis.
“El anillo invisible que sujeta el mundo de la forma al mundo de la idea” was commisioned by the reknown Ensemble Phoenix Basel, a formation known for its interpretations of pieces by composers such as Zbigniew Karkowski, John Duncan, Lou Reed, William Bene, Jérome Noetinger among others. It has been performed live in Switzerland, in Basel and Geneve in June 2016. This recording consists of the live (no further mixing) in Geneva on June 12th, 2016 at Cave 12. Although it was not intended, tragic circumstances automatically qualified the piece as an hommage to the late Daniel Buess, co-founder of the Ensemble Phoenix Basel who died a few months before the piece was finished. A physical exercise, aligning all instruments to perform form the highest possible frequencies down to he limits of infrasound before converging to an endless procession - lament.
Bass Flute / Flute: Christoph Bösch. Contrabass: Aleksander Gabrys. Violin: Wojciech Garbowski. Electric Guitar: Maurizio Grandine. Percussion: Sebastian Hofmann. Oscillators/ Field Recordings: ILIOS. Trumpet: Nenad Markovic. Electronics: Thomas Peter. Bass Clarinet / Clarinet: Toshiko Sakakibara. Baritone Saxophone: Remo Schnyder. Keyboards: Samuel Wettstein. Written and conducted by ILIOS. Performed live in Geneva at Cave12 on June 12th 2016.
Original price was: 9,00€.5,00€Current price is: 5,00€.
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CD
The SET ENSEMBLE
“Stopcock”
Founded in 2010 in Oxford, the Set Ensemble is dedicated to the performance of experimental music and contemporary composition. All of the members of the ensemble are also composers and they often write for one another, using the ensemble as a testing ground for new ideas, developing and rehearsing pieces together. This process is a collaborative endeavour with the score acting as one material amongst many, directing or shaping actions within a complex field of activity.
This disc contains six such compositions by Sarah Hughes, Bruno Guastalla, Patrick Farmer, Dominic Lash and Paul Whitty, the scores for which are all text- or instruction- based. Running the gamut from tonal instrumentation to fluxus antics, sometimes even within one work, this collection refuses to sit tidily within one strand of contemporary music, reflecting the broad influences and practices of the ensemble’s members.
This album was released in conjunction with the fourth issue of BORE. BORE was founded in 2013 by Sarah Hughes and David Stent and publishes scores that are primarily text-based, but may encompass any form of notation or instruction intended for the realisation of musical performance, staged events, texts, images or objects. The fourth issue of BORE collects a number of scores by members of The Set Ensemble, including Angharad Davies, Rhodri Davies, Patrick Farmer, Bruno Guastalla, Sarah Hughes, Dominic Lash and Paul Whitty.
A CD of etudes for buried and exhumed audio tape.
Through its focus on process and materiality, Bias opens the practice of sound ecology beyond the acoustic to consider the audibility of the chemical composition of soil. From scraps of muddied media buried across three sites in Austria, Greece and Italy, Lami crafts a series of melancholy studies which seem to question the inevitable legacy of human culture and industry in the geological strata.
Edition of 150 CDs packaged in oversize 7” sleeve, with 16 page risographed booklet featuring accompanying visual works by Lami and a commissioned text by Francesco Bergamo.
Original price was: 16,50€.9,00€Current price is: 9,00€.
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KANON
“The beauty is the thing”
“Kanon : Aki Takase (piano, inside piano). Kazuhisa Uchihashi (guitar, effects and daxophone). Axel Dörner (trumpet). This trio’s musical inspirations give birth to an amazing, extraordinary, mind-boggling mandara of sound. It’s an extreme sound that could only be achieved by people engaged in the ultimate sonic and musical explorations. Surrender yourself to the joyful sounds coming out of the left and right speakers, and you’re sure to be taken on a natural high. It took confidence and pride for these three to come together as regular members and name their group Kanon. Once you hear their sound, you’ll see the light -guaranteed !”
Original price was: 18,00€.10,00€Current price is: 10,00€.