In stock
CD
Luc FERRARI – GOL – Brunhild MEYER-FERRARI
“Tautologos III”
“Tautologos III” (1969) from Luc Ferrari performed by GOL (Jean-Marcel Busson : electronics (Metacrackle, Luxonic), charango. Frédéric Rebotier : voice, clarinet, objects. Ravi Shardja : bass, electric mandoline, flute, sanza) and Brunhild Meyer-Ferrari, voice, cardboard.
“Havresac” (2012) by Gol & Brunhild Meyer-Ferrari.
Recorded 2012, studio Honolulu, Le Havre by Emmanuel Lalande.
10,00€
Out of stock
CD
Jérôme NOETINGER
“dR”
Jérôme Noetinger, tape recorder Revox B77, microphones, radios, objects, synthesizer Korg MS20, piano frame…
Recorded January 2017 at PiedNu, Le Havre, by Emmanuel Lalande. Edited and mixed June 2017. Mastered by Giuseppe Ielasi, September 2017.
“All the pieces on this CD were realised on one or two Revox B77s and recorded directly to hard disc. They represent a panorama of my practice on a range of devices (reel-to-reel tape recorders, contact microphones, radios, small electronics, voice and microphone, pick-up microphones, objects...).
I discovered the reel-to-reel tape recorder in 1983 and started to work with it on arriving in Grenoble in 1986 in the studios of COREAM (école de musique de Fontaine). Initially used principally as a player to reproduce pre-recorded sounds, the tape recorder became my instrument.
I use it with loops to play with repetitions, delay and accumulations. Or with spools, taking off the pinch roller to manually control the speed. The magnetic tape – a surface of inscription of a sound being made – is a malleable support, where crayonnés, scratches and magnetisation excite the polarisation of the magnetic particles.
The possibilities of reinjection, that is, recording from the left channel to the right while at the same time from the right to the left, simultaneously controlling the speed, transforms this tape recorder into a sound generator.” JN
10,00€
Out of stock
CD
Toshiya TSUNODA – Taku UNAMI
“Wovenland”
Serie of recordings made by Toshiya Tsunoda & Taku Unami in different locations and then processed through different playback speed, noise gate or parallel editing.
15,00€
Out of stock
CD
Taku UNAMI – Takahiro KAWAGUCHI
“Teatro Assente”
Taku Unami & Takahiro Kawaguchi locked in an empty theater. What do they do ? What do they listen to ? Who is there ? What the fuck is going on ?
15,00€
In stock
CD
Taku UNAMI – Devin DISANTO
A short live set from the 2015 AMPLIFY 2015: exploratory festival in NYC, a wild unexpected ride.
15,00€
In stock
CD
Reed ROSENBERG – Ethan TRIP
“Medium Rude”
Reed Evan Rosenberg-microphones, pedals, max, voice. Ethan Tripp-microphones, motors, junk. recorded in 2014 and 2015. mastered by Joe Panzner. design by Matthew Revert
15,00€
Out of stock
CD
Michael PISARO-Taku SUGIMOTO
“2 seconds-b minor-wave”
“Michael Pisaro and Taku Sugimoto are not generally closely associated, but have quite a bit in common. Both are composers whose primary instrument is the guitar, both have close ties to the Wandelweiser collective (Pisaro is a longtime member), and both have pursued their unique paths without much concern as to how the rest of the world will perceive them. 2 seconds/b minor/wave marks their first collaboration, but these aesthetic overlaps allow their independently conceived recorded parts to fit together remarkably naturally.
Michael Pisaro has been associated with the Wandelweiser collective since just after their formation in the early nineties. The departure points for his music were John Cage’s ideas of the durational frame, Ben Johnston’s work with alternate tunings, Christian Wolff’s opening of the relationship between composition and performance, and Alvin Lucier and James Tenney’s use of scientific hypotheses to explore sound phenomena. Pisaro has spent much of the last decade making field recordings, and occasionally using them in his work. Much of his recent composition, and especially the work with his primary collaborator, percussionist Greg Stuart, has concerned the massing and then the spatialization of sound to create ’homemade’ environments. Pisaro lives in Southern California, teaching at the California Institute of the Arts, running the Experimental Music Workshop, and curating his own recently launched recording imprint, Gravity Wave. This is his first recording for Erstwhile.
Currently Sugimoto’s interest focuses on composition and its performance, rather than improvisation. With Taku Unami and Masahiko Okura, Sugimoto organizes the almost-monthly Chamber Music Concert at Loop-Line and the irregular Taku Sugimoto Composition Series at Kid Ailack Art Hall, both in Tokyo. He runs the label Slub Music, which in addition to Sugimoto’s own recordings has released CDs by other Japanese musicians as well as Wandelweiser mainstays Radu Malfatti and Antoine Beuger. He has just issued the first four discs compiling the abovementioned Composition Series, a strong statement on two 2 CDs documenting his work over the past few years. This is his second recording for Erstwhile after 2000’s seminal The World Turned Upside Down, and he also took part in the AMPLIFY 2002 festival in Tokyo and is featured on the box set of that event.
2 seconds/b minor/wave is a long distance collaboration, with each musician composing and recording their own parts, before hearing what the other had done. Pulse, pitch and wave were the three areas they wanted to explore on the three pieces, and loose rules/guidelines were agreed on beforehand, as follows: ’2 seconds’ was a unit of pulse, either as a basic unit or a point of departure; ’b minor’ was a key, with Sugimoto playing harmony and Pisaro playing melody : and ’wave’, with no further details, simply whatever that word brought to mind. This was the extent of the specific discussion between the two, and thus the entirely fluid melding of the results is a testament to their deep understanding of the other’s aesthetic/s. Yuko Zama’s intuitively empathetic design is a perfect symbiotic fit for the music contained within.” label info
15,00€
Out of stock
CD
Matthew REVERT – Vanessa ROSSETTO
“Earnest rubbish”
After a solo on Kye, the Australian writer Matthew Revert comes back with the American sound artist Vanessa Rossetto. Together they mostly work with field recordings, editing and mixing them in a narrative form, adding some texts and voices.
15,00€
Out of stock
CD
Kevin DRUMM – Jason LESCALLEET
“Busman’s holiday”
This album is a meditation on the inner mental environments that one encounters and endures during times of work-related travel.
The music contained herein should be well suited for headphone distraction in airports, bus stations, train stations, subway terminals, and in the confines of the seats related to these methods of mass transportation.
Recorded, edited and mixed by Kevin Drumm and Jason Lescalleet in 2015.
The music contained herein should be well suited for headphone distraction in airports, bus stations, train stations, subway terminals, and in the confines of the seats related to these methods of mass transportation.
Recorded, edited and mixed by Kevin Drumm and Jason Lescalleet in 2015.
15,00€
Out of stock
CD
Keith ROWE – Graham LAMBKIN
“Making a”
Graham Lambkin first heard Keith Rowe’s sixties work in AMM as a teenager growing up in Folkestone, a small town in Kent, England, and for him it was very influential. That same year, Lambkin formed his now legendary band The Shadow Ring and Lambkin says, "For Darren (Harris) and I, AMM was one of the groups that gave us licence to just do what we wanted, regardless of whether it fitted with convention or employed ’accepted’ techniques, and did so from a very English standpoint which held great appeal." A decade of increasingly skewed and inspired work by the band culminated in 2003’s I’m Some Songs, constructed long distance as Lambkin had relocated to the US in 1998. Since then, Lambkin has primarily worked under his own name, both as a solo artist and in duo with Jason Lescalleet.
Rowe first became aware of Lambkin’s work more recently, initially via 2007’s Salmon Run, but when the two first met at the AMPLIFY 2011: stones festival in NYC, the connection was immediate. 2012 was spent in preparation and in January 2013 the duo met first in NYC for a memorable live set and then travelled to Graham’s house in Poughkeepsie where Making A was recorded. The instant personal chemistry between the two fully translated to their musical relationship, both the similarities and differences seem to perfectly fit. This immediate rapport led to the quickest ever turnaround time from recording to release for an Erstwhile, just 77 days. Both musicians feel that Making A represents something very unusual and unique from their own perspective, and it is also the first release in Rowe’s close to half century of recording in which he does not use a guitar or a radio. The six panel digipak features combined artwork from the two musicians, joining forces to create a visual whole that parallels the music.
Rowe first became aware of Lambkin’s work more recently, initially via 2007’s Salmon Run, but when the two first met at the AMPLIFY 2011: stones festival in NYC, the connection was immediate. 2012 was spent in preparation and in January 2013 the duo met first in NYC for a memorable live set and then travelled to Graham’s house in Poughkeepsie where Making A was recorded. The instant personal chemistry between the two fully translated to their musical relationship, both the similarities and differences seem to perfectly fit. This immediate rapport led to the quickest ever turnaround time from recording to release for an Erstwhile, just 77 days. Both musicians feel that Making A represents something very unusual and unique from their own perspective, and it is also the first release in Rowe’s close to half century of recording in which he does not use a guitar or a radio. The six panel digipak features combined artwork from the two musicians, joining forces to create a visual whole that parallels the music.
14,00€
Out of stock
CD
Keith ROWE – Christian FENNESZ
“Live at the LU”
Keith Rowe and Christian Fennesz are recognized as two of the most prominent and influential musicians in experimental music. However, despite their joint participation in the 12 person MIMEO collective, their commercially released work has rarely intersected, which is why Live at the LU, a document of their first duo show together, is so revealing.
Rowe’s history should be familiar to anyone following this area of music. Having mostly performed within AMM until the late nineties, he’s since been involved in a wide range of projects, including a slew of the most prominent Erstwhile releases. He’s the cornerstone musician for the label, and is co-curating the upcoming AMPLIFY festival in Cologne and Berlin, AMPLIFY 2004: addition.
Fennesz, known to a wider audience for his studio-constructed records like Endless Summer and the recently released Venice (Touch), is also a superb live laptop improviser, as documented on 2003’s Live in Japan CD. As a collaborative musician, he’s been involved in projects like FennO’Berg (w/ Jim O’Rourke and Pita) and Wrapped Islands (w/ Polwechsel), and will be touring this summer in a quartet with Rowe, Oren Ambarchi and Toshimaru Nakamura.
Recorded in May in 2002 in Nantes, Live at the LU finds the two musicians revisiting old pathways, further exploring territory they’ve separately mapped on records such as The Crypt, Harsh, and Hotel Paral.lel. Together they construct a soundworld that is jagged yet bright, stark and jarring, but in the end, somehow still soothing. Rowe’s cover painting is deeply symbolic, rife with subtle references, many of which are fleshed out in Friederike Paetzold’s brash pop design.
Rowe’s history should be familiar to anyone following this area of music. Having mostly performed within AMM until the late nineties, he’s since been involved in a wide range of projects, including a slew of the most prominent Erstwhile releases. He’s the cornerstone musician for the label, and is co-curating the upcoming AMPLIFY festival in Cologne and Berlin, AMPLIFY 2004: addition.
Fennesz, known to a wider audience for his studio-constructed records like Endless Summer and the recently released Venice (Touch), is also a superb live laptop improviser, as documented on 2003’s Live in Japan CD. As a collaborative musician, he’s been involved in projects like FennO’Berg (w/ Jim O’Rourke and Pita) and Wrapped Islands (w/ Polwechsel), and will be touring this summer in a quartet with Rowe, Oren Ambarchi and Toshimaru Nakamura.
Recorded in May in 2002 in Nantes, Live at the LU finds the two musicians revisiting old pathways, further exploring territory they’ve separately mapped on records such as The Crypt, Harsh, and Hotel Paral.lel. Together they construct a soundworld that is jagged yet bright, stark and jarring, but in the end, somehow still soothing. Rowe’s cover painting is deeply symbolic, rife with subtle references, many of which are fleshed out in Friederike Paetzold’s brash pop design.
15,00€
Out of stock
CD
Keith ROWE
“The room”
“This was one of the first occasions on which I worked with Keith Rowe, who bore more or less the same relation to the electric guitar as David Tudor did to the piano (I put that in the past tense because by no stretch of the imagination could you now call them guitarist or pianist respectively)”. Cornelius Cardew, 1966
“More than forty years later, Keith Rowe is still adding to his remarkable legacy of sound and color. This latest release, The Room, marks the third full-length solo recording of his career, following A Dimension of Perfectly Ordinary Reality (1989) and Harsh (1999). Each of these prior recordings marked the end of a phase of Rowe’s work just before he switched to a new guitar, whereas The Room is a continuation of his recent collaborative work, as captured on records like between, cloud, A View From The Window, November Quebec and the ErstLive 005 box. The Room is a very personal project for Rowe, and he struggled with its precise conception over the last few years. It’s in part a tribute to two of his most important influences, Cardew and Mark Rothko, and the creation of a recording that did justice to his feelings about these two was a long journey. After many months of thought and numerous attempts to transfer the ideas in his head to a concert context, Rowe began in early 2007 to record at his home each day. He recorded dozens of hours before finally arriving at an end result that he could live with, and those results are here. For Rowe, The Room represents an “emotional state made audible” as well as an attempt to “reject virtuosity”, a philosophy which has been guiding all of his work over the past few years. Erstwhile mastering engineer Earl Howard did some crucial (and uncredited, due to the minimal text on the package) postproduction on Rowe’s home recorded master, just minor tweaks on their own, but resulting in a decided overall improvement in the sound quality. The Room is the first release on the new ErstSolo imprint, and is the first standalone digipak on Erstwhile, with the entire design consisting of two triptych Rothko-influenced Rowe paintings, one on the outside and one on the inside. Keith Rowe: guitar, electronics.”
“More than forty years later, Keith Rowe is still adding to his remarkable legacy of sound and color. This latest release, The Room, marks the third full-length solo recording of his career, following A Dimension of Perfectly Ordinary Reality (1989) and Harsh (1999). Each of these prior recordings marked the end of a phase of Rowe’s work just before he switched to a new guitar, whereas The Room is a continuation of his recent collaborative work, as captured on records like between, cloud, A View From The Window, November Quebec and the ErstLive 005 box. The Room is a very personal project for Rowe, and he struggled with its precise conception over the last few years. It’s in part a tribute to two of his most important influences, Cardew and Mark Rothko, and the creation of a recording that did justice to his feelings about these two was a long journey. After many months of thought and numerous attempts to transfer the ideas in his head to a concert context, Rowe began in early 2007 to record at his home each day. He recorded dozens of hours before finally arriving at an end result that he could live with, and those results are here. For Rowe, The Room represents an “emotional state made audible” as well as an attempt to “reject virtuosity”, a philosophy which has been guiding all of his work over the past few years. Erstwhile mastering engineer Earl Howard did some crucial (and uncredited, due to the minimal text on the package) postproduction on Rowe’s home recorded master, just minor tweaks on their own, but resulting in a decided overall improvement in the sound quality. The Room is the first release on the new ErstSolo imprint, and is the first standalone digipak on Erstwhile, with the entire design consisting of two triptych Rothko-influenced Rowe paintings, one on the outside and one on the inside. Keith Rowe: guitar, electronics.”
15,00€
Out of stock
CD
Keith ROWE – Toshimaru NAKAMURA – Thomas LEHN – Marcus SCHMICKLER
ErstLive 002 is from the quartet of Keith Rowe, Toshimaru Nakamura, Thomas Lehn and Marcus Schmickler, the final quartet performance in the Cologne half of AMPLIFY 2004: addition, also in May 2004. This was the quartet’s first performance together.
Keith Rowe: guitar, electronics. Toshimaru Nakamura: no-input mixing board. Thomas Lehn: analogue synthesizer. Marcus Schmickler: synthesizer, computer.
Keith Rowe: guitar, electronics. Toshimaru Nakamura: no-input mixing board. Thomas Lehn: analogue synthesizer. Marcus Schmickler: synthesizer, computer.
14,00€
In stock
CD
Jérôme NOETINGER – eRikm
“What a wonderful world”
“Jérôme Noetinger and eRikm have been focal points of France’s experimental-music underground since the early ’90s. They’ve explored concepts of context and copyright along parallel paths, converging only rarely. In 2001/2002, Noetinger and ErikM painstakingly edited and shaped the material into a coherent whole, flavoring their complex, abstract electronics with insistent repetitions and field recordings, creating instant concrète -- each individual idea as carefully constructed as the impeccably chosen first and last sounds. Personnel: Jérôme Noetinger : electroacoustic devices; ErikM: 3-K.pad F system, MD, turntables.”
12,00€
Out of stock
CD
Jérome NOETINGER – Will GUTHRIE
“Face off”
Jerome Noetinger, tape recorder Revox B77 and electronics. Will Guthrie, drums and amplified objects. Studio and concert recordings reworked by each musician to build this CD mix of improvisation and concrete music.
12,00€
Out of stock
CD
Jeph JERMAN – Tim BARNES
“Matterings”
Notes from the producer : “I’m really excited to finally have Jeph and Tim on Erstwhile, as I have long been inspired by both. In July 2004, I saw a night of solos and duos by Jeph, Tim, Sean Meehan and David Daniell at Clemente Soto Velez in Manhattan, and that night inspired me to start the ErstQuake series with Tim, which we kicked off a few months later, also at Clemente Soto Velez. So in a way this has been in the works since then, although all of the material was newly recorded in 2014.” Five tracks, 68 minutes, recorded by Barry Weisblat along with Jeph/Tim and mastered by Jason Lescalleet.
15,00€
In stock
CD
Hong CHULKI – Will GUTHRIE
“Mosquitoes and Crabs”
Chulki Hong, turntables, guitar, electronics. Will Guthrie, drums, percussion, electronics. Recorded by Taku Unami, Mullae Arts Village, Seoul, South Korea, 20-22 October 2016. Mixed and edited by Taku Unami.
15,00€
Out of stock
CD
Greg KELLEY – Olivia BLOCK
“Resolution”
Greg Kelley, trumpet. Olivia Block, electronics, piano. Recorded at Experimental Sound Studio, Chicago in August 2010. A great mix of instrumental and field recordings.
15,00€
Out of stock
CD
Graham LAMBKIN-Jason LESCALLEET
“The breadwinner”
“Graham Lambkin-Jason Lescalleet-microphone, tapes, Casio SK-5. Graham Lambkin and Jason Lescalleet are both highly respected artists, with small but intensely hardcore followings. Since 2001, they’ve been gradually moving closer towards realizing a collaborative project, and The Breadwinner is the results of two years of recording, reworking and polishing. Lambkin first entered the public consciousness at 19 when he formed his band The Shadow Ring, in Folkestone, a small town in Kent, England. The band was memorable and built an rabidly passionate fan base because of its sui generis approach, blending elements of folk, noise, cracked electronics, and surrealist poetry, while radically changing the overall formula with each release. A decade of increasingly skewed and inspired work culminated in 2003’s I’m Some Songs, constructed long distance as Lambkin had relocated to the US in 1998. Over the last few years, Lambkin has primarily worked under his own name, most notably with 2007’s brilliant Salmon Run, a precursor to The Breadwinner. Lescalleet has gradually and painstakingly built a compelling discography over the past decade. He uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. He is one of a growing list of master producer/musicians, whose skill lies as much in reworking, assembling and mastering the material available as in creating it (or helping create it) in the first place. He has worked with such wide-ranging artists as Ron Lessard, Joe Colley and Phill Niblock, and has released a string of superb solo discs in Mattresslessness (Cut), Electronic Music (RRR) and The Pilgrim (Glistening Examples). This is his second release for Erstwhile, after 2001’s Forlorn Green (with Greg Kelley), and his third is already in preparation, a duo with Bhob Rainey, planned for release in early 2009. The material for The Breadwinner was recorded at Lambkin’s house in upstate NY, over two recording sessions. The duo treated the entire building and its surrounding grounds as a studio, welcoming in outside sounds, which were later kept or eliminated as they felt appropriate. The subtitle on the front cover is “musical settings for common environments and domestic situations”, layering numerous submerged fragments to find beauty in everyday life. “Jason Lescalleet’s influence was palpably present long before the average Joe knew how many L’s were in his last name (or could successfully google it). He spun tape loops with nmperign from the get-go, frequently signified the endings of his characteristically foundation-shaking performances by hurling a nearly indestructible, hundred-pound Peavy amp across the stage, and provided the bulk of the "disaster" in legendary drummer Lawrence Cook’s “Disaster Unit 2000”. But as the smoke cleared and the Peavy met its demise in a white-walled room, it became apparent to an awful lot of people that Lescalleet was making some amazing music; beautifully constructed symphonies of decay born of an intimacy with items and ideas lesser minds might discard: tape machines, lo-bit samplers, the tedium of everyday life. His ability to evoke powerfully complex emotional experiences from such muck made a collaboration with Graham Lambkin practically inevitable. Composer Walter Marchetti once made a statement to the effect that he was seeking to reach the “bottom” of music. Some more diligent attention to this task might lead him to the music of Graham Lambkin. Already marking out a glorious bottom with his former band, The Shadow Ring, Lambkin has pursued a music so removed from prescribed aesthetics that one is flooded by the beauty it seems to ruthlessly avoid. He puts the mundane to tape and carves out its horror, its sweetness, and its unsettling ambivalence. Shrouded in a disarming naiveté, the music leaves the listener ill-prepared for its very adult take on being-in-the-world. We are fortunate that humor can be so black, that we may surrender happily and willingly to an experience not many artists are willing or capable of delivering.” Bhob Rainey
15,00€
Out of stock
CD
Graham LAMBKIN – Michael PISARO
“Schwarze Riesenfalter”
“Very excited about this one! “Schwarze Riesenfalter” - a project Graham Lambkin and I worked on throughout the last year is now available. One of the darkest, funniest, strangest projects in which I’ve ever had a part. Black butterflies, fragmented mouths, dead kings: you get the idea. Fantastic cover art by Graham as well.” Michael Pisaro
Schwarze Riesenfalter
Black butterflies crowd the midnight sky.
A beacon pierces the offshore mist with firelight.
We awaken to the flutter of bats, a passage of hawks.
An icy wind of bleached birches and synthesized snow.
Rude chorus of fragmented mouths submerged in rumor.
The king lies deposed, un-dead.
Michael Pisaro / Graham Lambkin.
Mastered by Jason Lescalleet
Schwarze Riesenfalter
Black butterflies crowd the midnight sky.
A beacon pierces the offshore mist with firelight.
We awaken to the flutter of bats, a passage of hawks.
An icy wind of bleached birches and synthesized snow.
Rude chorus of fragmented mouths submerged in rumor.
The king lies deposed, un-dead.
Michael Pisaro / Graham Lambkin.
Mastered by Jason Lescalleet
15,00€
In stock
CD
Eric LA CASA – Taku UNAMI
“Parazoan mapping”
Notes from the producer : “I’m really happy to have Taku back on Erstwhile after the stellar motubachii and Teatro Assente, and of course to have Eric make his Erstwhile debut. Parazoan Mapping documents the initial duo meetings of these two long-time friends and collaborators”. Photography is by Eric Coisel.
15,00€
In stock
CD
Christian WOLFF – Antoine BEUGER
“Where Are We Going, Today”
Christian Wolff, piano, objects, charango, flute. Antoine Beuger, voice, whistles, EWR recordings (1995) of Christian Wolff’s “Stones”.
Beuger recorded by Antoine Beuger, September 2017. Wolff recorded by Spencer Topel, November 2017.
Beuger recorded by Antoine Beuger, September 2017. Wolff recorded by Spencer Topel, November 2017.
15,00€
In stock
CD
Christian WOLFF – Keith ROWE
“In September 2011, Erstwhile producer Jon Abbey was invited to curate two weeks of shows at John Zorn’s legendary Manhattan venue The Stone, which he used as an opportunity to invite many of his favorite musicians from Japan, Europe and the US to perform. A second three night festival at Issue Project Room was later appended onto the end, making the AMPLIFY 2011: stones festival a 35 set, 17 night extravaganza in all. Four of those thirty-five sets will now be available in the ErstLive series (EL009 & EL010 now and EL011 & 012 in October). This set was the first ever full-length duo set from these two longtime masters, bringing Rowe together with one of his early influences, New York School stalwart and John Cage collaborator Christian Wolff. This show coincidentally occurred on September 4, ending after 11 PM, so almost precisely one year before Cage’s 100th birthday.”
14,00€
In stock
CD
Christian WOLFF – Michael PISARO
“Looking around”
Christian Wolff, prepared piano, whistles, stones. Michael Pisaro, electric guitar, harmonica, stones. Recorded in 2014.
Chistian Wolff (1934), American composer of avant-garde music.
Michael Pisaro (1961), guitarist andcomposer, member of Wandelweiser.
Chistian Wolff (1934), American composer of avant-garde music.
Michael Pisaro (1961), guitarist andcomposer, member of Wandelweiser.
15,00€
In stock
CD
Antoine BEUGER – Michael PISARO
“This place – Is love”
An extended work from Antoine Beuger and Michael Pisaro, defined by six stanzas written by Beuger, Anna Swir, Mei-Mei Berssenbrugger and Edmond Jabes, a subtle cycle on love and permanency realized in tone and voice.
15,00€
Out of stock
CD
Anne GUTHRIE – Richard KAMERMAN
“Sinter”
“Sinter injects vast amounts of oxygen into the room, air swirling and echoing in huge spaces, light shimmering and hazy. In metallurgical terms, sintering is the making of objects from powder and “powdery”, especially with a metallic connotation, isn’t the worst term you could use for much of this music. Field recordings (and, per the sleeve, "domestic recordings") are mixed with electronics throughout; nary a French horn in sight though I think I pick up a bit of Kamerman’s small clattering devices here and there. […] An extraordinary piece capping one of the finest recordings I’ve heard in quite a while. Excellent work”. Brian Olewnick. ErstAEU, a new sub-label to “document the work of young American experimental musicians working in a post-electroacoustic vein”.
15,00€
In stock
CD
Joe PANZNER – Greg STUART
“Dystonia duos”
“Percussive elements are discernible (Stuart sleeve-credited with "friction, electricity, gravity), pure or transmogrified. But the who-did-what aspect is even sillier to dwell on than usual as what one confronts are these enormous, extraordinarily deep slabs of sound, layered as far in as one can hear. If there’s a visual analogy that springs to mind it’s of a multitude of thin sheets--a wide range of colors, grains, embedded elements, degrees of transparency and opaqueness--overlaid with a fine combination of care and abandon. […] A tremendously exciting recording and a very auspicious debut for the Erst imprint, AEU”. Brian Olewnick . ErstAEU, a new sub-label to “document the work of young American experimental musicians working in a post-electroacoustic vein”.
15,00€
In stock
CD
BOCHE
“Beats”
Hans Ludwig Jacoby, aka Boche, was born in Darmstadt, Germany, in 1955. He was active as a recording musician primarily from the mid-1980s until 1991. Beats collects the most intriguing of his rhythmic experiments. Many of the 27 tracks on this album - all recorded onto cassette tape, and none of which have been published before - were made with equipment purchased from Ho. Turner, who was a close friend. This edition was meticulously compiled and mastered by Marc Behrens. Edition of 200 copies
11,00€
Out of stock
CD
Helena GOUGH
“Knot Invariants”
“Rotated and submerged. Drawn tight below the surface. Remnants of hair, string and wood. Tied across and back. Knot Invariants is Helena Gough’s third album. It was created using source material derived solely from recordings of cellists Anthea Caddy and Anton Lukoszevieze. Supported by EMS and Sound and Music.”
11,00€
In stock
CD
KRISTOFF K.ROLL
“Corazón road”
“It’s a mix of two cultures, but not a fair one , because one is over the other, explains a disembodied Mexican voice in Juan et Cecilio. “In this case, it’s the European culture over ours.” The point raised is as old as Columbus, but it takes on a new significance considering the voice (Juan or Cecilio?) was captured , sampled, and spliced into a new electroacoustic work, Corazón Road, by the French electroacoustic duo, Kristoff K. Roll. Corazón Road is neither an exemple of ethnological forgery nor a subjective soundtrack. Shooting for, as they put it, “The poetry of everyday life,” Carole Rieussec and Jean-Christophe Camps began reaserch for their sprawling work during a trip to Mexico City in 1990. Ovr the next year, they made a circuitous path through Central America, recording everything from a New Year’s celebration in Guatemala City to cascading waterfalls to a morning stroll in Uxmal to young rappers in Belize. Hours of field recordings and notes resulted in a work in three “tableaux” with interludes.” Reissue of IMSO 9303.
12,00€
Out of stock
CD
Theodore LOTIS
“Époque de l’eau”
Arioso Dolente - Beethoven Op. 110 (2002). A South Wind will Bring the Sand (2002). Underwater Theories (2002). Sibylla’s Voice (2001). Shadows (2000). La mer (1996).
“What most attracts me to the music of Theodore Lotis is his mastery of the spatial image. This is not so much to do with constructing perspective - relations between near and far, or the movement of sound across the stereo field - but with the nature of the textural fabric, how he deploys his sounds in spectral space. The spectral texture is distributed in multiple registers. Layers interact, come and go, relate sympathetically, or pressurise each other as they seek their place, or move on. Our mental image of space and spaciousness gathers over time as we observe these behaviours, as we absorb the accumulation of microcosmic detail. (...) Although there are traces of known sounds, not always firmly identifiable, and although the metaphors revealed in works’ titles evoke the spaces of natural phenomena like water, wind, air and light, we do not remain anchored in our world. This music seeks to transport us to an imagined, highly expressive, other-worldliness.” Denis Smalley
“What most attracts me to the music of Theodore Lotis is his mastery of the spatial image. This is not so much to do with constructing perspective - relations between near and far, or the movement of sound across the stereo field - but with the nature of the textural fabric, how he deploys his sounds in spectral space. The spectral texture is distributed in multiple registers. Layers interact, come and go, relate sympathetically, or pressurise each other as they seek their place, or move on. Our mental image of space and spaciousness gathers over time as we observe these behaviours, as we absorb the accumulation of microcosmic detail. (...) Although there are traces of known sounds, not always firmly identifiable, and although the metaphors revealed in works’ titles evoke the spaces of natural phenomena like water, wind, air and light, we do not remain anchored in our world. This music seeks to transport us to an imagined, highly expressive, other-worldliness.” Denis Smalley
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Roxanne TURCOTTE
“Fenêtres intérieures”
“De la fenêtre” (2010-12), “Bestiaire” (2010-11, 14), “Petit ange” (2012-14), “Alibi des voltigeurs” (2012-14), “OVI (Objet volant identifié)” (2009-14), “Zone d’exclusion” (2013, 14), “Tout en rouge” (2012-14), “Le piano d’Horowitz” (2014).
After piano studies at the Conservatoire de musique de Montréal, Roxanne Turcotte focused on composition and music technology, earning a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes, Francis Dhomont and Serge Garant.
Active as a composer and sound designer, Turcotte has built her aesthetics around a cinema-like art of integration. She also creates and performs music for television, cinema, radio, the stage, the Internet, and circus arts, in addition to creating sound, music, and visual installations. She is asked to sit on composition juries, and she regularly performs composition training sessions and workshops.
Turcotte has received grants from the Canada Council for the Arts (CCA) and the Conseil des arts et des lettres du Québec (CALQ). Under her belt, she has ten recordings, a few publications, numerous concerts with various music ensembles, and multiple tours and concerts in Canada, the USA, and Europe.
The music of Roxanne Turcotte has won numerous awards and distinctions: International New Music Composers Competition (USA, 1987, ’89), Hugh Le Caine Award from the SOCAN Foundation (Canada, 1985, ’89), Luigi Russolo International Competition (Italy, 1989), 6th “Villes manifestes” Radio Art Competition (La Muse en circuit, France, 2005), Bourges Electroacoustic and Sound Art International Competition (France, 2005, ’07, ’08), and Prix collégien de musique contemporaine (Sherbrooke, Québec, 2010).
Roxanne Turcotte is currently working on the integration of sound installations and live performance.
After piano studies at the Conservatoire de musique de Montréal, Roxanne Turcotte focused on composition and music technology, earning a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes, Francis Dhomont and Serge Garant.
Active as a composer and sound designer, Turcotte has built her aesthetics around a cinema-like art of integration. She also creates and performs music for television, cinema, radio, the stage, the Internet, and circus arts, in addition to creating sound, music, and visual installations. She is asked to sit on composition juries, and she regularly performs composition training sessions and workshops.
Turcotte has received grants from the Canada Council for the Arts (CCA) and the Conseil des arts et des lettres du Québec (CALQ). Under her belt, she has ten recordings, a few publications, numerous concerts with various music ensembles, and multiple tours and concerts in Canada, the USA, and Europe.
The music of Roxanne Turcotte has won numerous awards and distinctions: International New Music Composers Competition (USA, 1987, ’89), Hugh Le Caine Award from the SOCAN Foundation (Canada, 1985, ’89), Luigi Russolo International Competition (Italy, 1989), 6th “Villes manifestes” Radio Art Competition (La Muse en circuit, France, 2005), Bourges Electroacoustic and Sound Art International Competition (France, 2005, ’07, ’08), and Prix collégien de musique contemporaine (Sherbrooke, Québec, 2010).
Roxanne Turcotte is currently working on the integration of sound installations and live performance.
13,00€