Out of stock
CD
MINIZZA
“Le voyage au Groenland”
Minizza return to their electro-pop roots with the soundtrack to French director Sébastien Betbeder’s latest film. Betbeder has in the past worked with Sylvain Chauveau (Nuage, 2007), Bertrand Betsch (2 automnes, 3 hivers, 2013) and Sébastien Tellier (Marie et les naufragés, 2016).
In a departure from their previously more experimental albums in this release Minizza opts for a clear, eminently melodic approach. Both catchy and yet melancholic it is reminiscent of the late 70s/80s movie soundtracks from the likes of François de Roubaix, Pierre Bachelet, Vladimir Cosma and Ennio Morricone.
Franck Marguin and Geoffroy Montel formed Minizza in 2000. They worked several times with Erlend Øye from The Kings Of Convenience, and their first album, Music for girls, features Edward Ka-Spel from The Legendary Pink Dots.
At the end of the 2000s Minizza became a trio when joined by contemporary artist Rainier Lericolais. Their second album, Hotel Monterey (with David Sanson from That Summer) is an imaginary soundtrack from Chantal Akerman’s movie of the same name. For their third release, À Rebours, a concept album based on Joris-Karl Huysmans’s masterpiece, they also collaborated with the four members of That Summer (Etienne Bonhomme, Olivier Cavaillé, Nicolas Jorio and David Sanson), Pierre-Yves Macé and Daniel Palomo-Vinuesa.
In 2016, Minizza signed the soundtrack of Le voyage au Groenland, a tragi-comedy by French director Sébastien Betbeder, who has previously worked with Sylvain Chauveau (Nuage, 2007), Bertrand Betsch (2 automnes, 3 hivers, 2013) and Sébastien Tellier (Marie et les naufragés, 2016).
In a departure from their previously more experimental albums in this release Minizza opts for a clear, eminently melodic approach. Both catchy and yet melancholic it is reminiscent of the late 70s/80s movie soundtracks from the likes of François de Roubaix, Pierre Bachelet, Vladimir Cosma and Ennio Morricone.
Franck Marguin and Geoffroy Montel formed Minizza in 2000. They worked several times with Erlend Øye from The Kings Of Convenience, and their first album, Music for girls, features Edward Ka-Spel from The Legendary Pink Dots.
At the end of the 2000s Minizza became a trio when joined by contemporary artist Rainier Lericolais. Their second album, Hotel Monterey (with David Sanson from That Summer) is an imaginary soundtrack from Chantal Akerman’s movie of the same name. For their third release, À Rebours, a concept album based on Joris-Karl Huysmans’s masterpiece, they also collaborated with the four members of That Summer (Etienne Bonhomme, Olivier Cavaillé, Nicolas Jorio and David Sanson), Pierre-Yves Macé and Daniel Palomo-Vinuesa.
In 2016, Minizza signed the soundtrack of Le voyage au Groenland, a tragi-comedy by French director Sébastien Betbeder, who has previously worked with Sylvain Chauveau (Nuage, 2007), Bertrand Betsch (2 automnes, 3 hivers, 2013) and Sébastien Tellier (Marie et les naufragés, 2016).
15,00€
Out of stock
CD
Sylvain CHAUVEAU
“Post-everything”
Myriam Pruvot, backing vocals, Chantal Acda, backing vocals, Joseph Mills, electronics, Jacques Coursil, trumpet, Sylvain Chauveau, vocals, guitar, harmonium, programming, radios, ebows, field recordings.
Post-Everything is the third and final part of a trilogy where Chauveau deconstructs the pop song format. Three album titles like the three verses of a haiku: Singular Forms (Sometimes Repeated), Kogetsudai, Post-Everyting. This last album is the most accessible and romantic, and shows two distinct climates: electronic & vocals, acoustic guitar & vocals. Post-Everything has been two years in the making and was 100% self-funded thanks to streaming platform revenues. The album includes 10 tracks, including two Lykke Li covers: I Follow Rivers and No Rest For The Wicked.
Sylvain Chauveau has made solo records on labels like FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals. His music has been played on John Peel's BBC show and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post and many others. One of his tracks was published on the compilation WVI Reflections on Classical Music (Decca/Universal) alongside peices by Philip Glass, Gavin Bryars and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto 2011), Fundacao Serralves (Porto 2011), and Lieu Unique (Nantes 2004). He runs the labels Onement, whose aim is to release one-copy vinyl records (onement-label.com) and I will Play This Song Once Again Records where musicians re-record their songs for each buyer. He has composed a piece titled You Will Leave No Mark On The Winter Snow whose duration is seven years, with extremely long silences inside (7yearsofsilence.com). He has made soundtracks for long feature films and dance performances. Sylvain Chauveau also plays with 0 (with Joël Merah and Stéphane Garin), Arca (with Joan Cambon) and On (with Steven Hess). He was born in 1971 in Bayonne (France) and lives in Brussels, Belgium.
Sylvain Chauveau back catalog on Brocoli: How To Live In Small Spaces (Brocoli 017), Kogetsudai (Brocoli 013), The Absence (Brocoli 007, with Rainier Lericolais), Second Souffle (Brocoli 003, with ON).
Post-Everything is the third and final part of a trilogy where Chauveau deconstructs the pop song format. Three album titles like the three verses of a haiku: Singular Forms (Sometimes Repeated), Kogetsudai, Post-Everyting. This last album is the most accessible and romantic, and shows two distinct climates: electronic & vocals, acoustic guitar & vocals. Post-Everything has been two years in the making and was 100% self-funded thanks to streaming platform revenues. The album includes 10 tracks, including two Lykke Li covers: I Follow Rivers and No Rest For The Wicked.
Sylvain Chauveau has made solo records on labels like FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals. His music has been played on John Peel's BBC show and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post and many others. One of his tracks was published on the compilation WVI Reflections on Classical Music (Decca/Universal) alongside peices by Philip Glass, Gavin Bryars and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto 2011), Fundacao Serralves (Porto 2011), and Lieu Unique (Nantes 2004). He runs the labels Onement, whose aim is to release one-copy vinyl records (onement-label.com) and I will Play This Song Once Again Records where musicians re-record their songs for each buyer. He has composed a piece titled You Will Leave No Mark On The Winter Snow whose duration is seven years, with extremely long silences inside (7yearsofsilence.com). He has made soundtracks for long feature films and dance performances. Sylvain Chauveau also plays with 0 (with Joël Merah and Stéphane Garin), Arca (with Joan Cambon) and On (with Steven Hess). He was born in 1971 in Bayonne (France) and lives in Brussels, Belgium.
Sylvain Chauveau back catalog on Brocoli: How To Live In Small Spaces (Brocoli 017), Kogetsudai (Brocoli 013), The Absence (Brocoli 007, with Rainier Lericolais), Second Souffle (Brocoli 003, with ON).
15,00€
Out of stock
CD
Sylvain CHAUVEAU
“Kogetsudai”
Kogetsudai is Sylvain Chauveau’s 10th album, the second in a trilogy initiated by Singular Forms (Sometimes Repeated) (2010), where the song structure is dismantled and reconstructed on the fringe of silence.
Whereas Singular Forms found inspiration from Abstract Painting, Kogetsudai is influenced by Zen rock gardens found in Japan — also the location where the album was conceived (for the most part) — and from which the album borrows its title. Layers of minimal electronic sounds and filtered field recordings meet Sylvain’s rich baritone voice, with ghosts of piano.
Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l’Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto 2011), Fundacao Serralves (Porto 2011), and Lieu Unique (Nantes 2004). He runs the labels Onement, whose aim is to release one-copy vinyl records (www.onement-label.com) and I Will Play This Song Once Again Records where musicians re-record their songs for each buyer. He has composed a piece titled You Will Leave No Mark on the Winter Snow whose duration is seven years, with extremely long silences inside (www.7yearsofsilence.com). He has made soundtracks for long feature films and dance shows. Sylvain Chauveau also plays with 0 (with Joël Merah and Stéphane Garin), Arca (with Joan Cambon) and On (with Steven Hess). He was born in 1971 in Bayonne (France) and lives in Brussels, Belgium.
Kogetsudai is the third album featuring Sylvain Chauveau published by Brocoli, following ON’s Second Souffle (with Steven Hess and Pierre-Yves Macé), and the 7 inches The Absence (with Rainier Lericolais).
Whereas Singular Forms found inspiration from Abstract Painting, Kogetsudai is influenced by Zen rock gardens found in Japan — also the location where the album was conceived (for the most part) — and from which the album borrows its title. Layers of minimal electronic sounds and filtered field recordings meet Sylvain’s rich baritone voice, with ghosts of piano.
Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l’Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto 2011), Fundacao Serralves (Porto 2011), and Lieu Unique (Nantes 2004). He runs the labels Onement, whose aim is to release one-copy vinyl records (www.onement-label.com) and I Will Play This Song Once Again Records where musicians re-record their songs for each buyer. He has composed a piece titled You Will Leave No Mark on the Winter Snow whose duration is seven years, with extremely long silences inside (www.7yearsofsilence.com). He has made soundtracks for long feature films and dance shows. Sylvain Chauveau also plays with 0 (with Joël Merah and Stéphane Garin), Arca (with Joan Cambon) and On (with Steven Hess). He was born in 1971 in Bayonne (France) and lives in Brussels, Belgium.
Kogetsudai is the third album featuring Sylvain Chauveau published by Brocoli, following ON’s Second Souffle (with Steven Hess and Pierre-Yves Macé), and the 7 inches The Absence (with Rainier Lericolais).
15,00€
Out of stock
CD
Sylvain CHAUVEAU
“How to live in small spaces”
His new solo instrumental album. The album title is taken from two long pieces in the work; new versions of compositions for Christian Rizzo choreography. Reminiscent of Morton Feldman, time is suspended to the unresolved piano chords. Each one if followed by a minimal electronic piece. They were also composed for a dance performance by Cécile Loyer, recalling Sylvain's works on S. (Type 2007) and his collaboration with Stephan Mathieu, Palimpsest (Schwebung, 2012). Sylvain Chauveau has made solo records on labels like FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals. His music has been played on John Peel's BBC show and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post and many others. One of his tracks was published on the compilation WVI Reflections on Classical Music (Decca/Universal) alongside peices by Philip Glass, Gavin Bryars and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama Kyoto 2011), Fundacao Serralves (Porto 2011), and Lieu Unique (Nantes 2004). He runs the labels Onement, whose aim is to release one-copy vinyl records (onement-label.com) and I will Play This Song Once Again Records where musicians re-record their songs for each buyer. He has composed a piece titled You Will Leave No Mark On The Winter Snow whose duration is seven years, with extremely long silences inside (7yearsofsilence.com). He has made soundtracks for long feature films and dance performances. Sylvain Chauveau also plays with 0 (with Joël Merah and Stéphane Garin), Arca (with Joan Cambon) and On (with Steven Hess). He was born in 1971 in Bayonne (France) and lives in Brussels, Belgium.
Also available this fall: Un Autre Décembre, Sylvain Chauveau's third album reissue for the first time on vinyl, out on Minority Records in September 2015. Down To The Bone, Sylvain Chauveau's acoustic tribute album to Depeche Mode reissue on vinyl for the first time, out on Ici, D'Ailleurs... on August 28th 2015.
Brocoli is a French label founded in 2005 and dedicated to experimental music in various genres: musique concrète (Michel Chion, Sébastien Roux, Pierre-Yves Macé), electronic music (Rainier Lericolais, Roux/Epplay, ON), repetitive / neo-classical (Quentin Sirjacq) and pop (Sylvain Chauveau, Minizza).
Also available this fall: Un Autre Décembre, Sylvain Chauveau's third album reissue for the first time on vinyl, out on Minority Records in September 2015. Down To The Bone, Sylvain Chauveau's acoustic tribute album to Depeche Mode reissue on vinyl for the first time, out on Ici, D'Ailleurs... on August 28th 2015.
Brocoli is a French label founded in 2005 and dedicated to experimental music in various genres: musique concrète (Michel Chion, Sébastien Roux, Pierre-Yves Macé), electronic music (Rainier Lericolais, Roux/Epplay, ON), repetitive / neo-classical (Quentin Sirjacq) and pop (Sylvain Chauveau, Minizza).
15,00€
Out of stock
CD
Sébastien ROUX
“Quatuor”
Sébastien Roux’s new album is an ambitious work of musique concrète. Like the title track of his previous album More Songs, Quatuor is based on Beethoven's 10th string quartet.
The sonic material of the piece is culled from arrangements of the original score by Mathieu Bonilla, for flute, clarinet, cello, French horn, and percussion. Quatuor follows the same structure as the original string quartet, classic and solid, but the sound is profoundly original, in turns woody, rubbed, creaking, jerky or enveloping.
Quatuor will without a doubt become a milestone in the canon of electroacoustic music.
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. 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 into scores for new works (radiophonic or electro-acoustic taped music). This process has led to the creation of Quatuor (2011) an electroacoustic work based on Beethoven’s 10th String quartet, commissioned by Groupe de Recherches Musicales and Nouvelle (2012) a radio work, based on Flaubert's short story The Legend of Saint Julien L’Hospitalier, commissioned by the Westdeutscher Rundfunk. The most recent development out of this process of “translation” is Inevitable Music which has involved an exhaustive research on the wall drawings of Sol Lewitt, and a long-term examination and development of a methodology for applying the rules and means of these works to sonic ends. He has written music for dance and theater, for choreographers Lionel Hoche, Sylvain Prunenec, and DD Dorvillier, and theater director Annie Dorsen.
The sonic material of the piece is culled from arrangements of the original score by Mathieu Bonilla, for flute, clarinet, cello, French horn, and percussion. Quatuor follows the same structure as the original string quartet, classic and solid, but the sound is profoundly original, in turns woody, rubbed, creaking, jerky or enveloping.
Quatuor will without a doubt become a milestone in the canon of electroacoustic music.
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. 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 into scores for new works (radiophonic or electro-acoustic taped music). This process has led to the creation of Quatuor (2011) an electroacoustic work based on Beethoven’s 10th String quartet, commissioned by Groupe de Recherches Musicales and Nouvelle (2012) a radio work, based on Flaubert's short story The Legend of Saint Julien L’Hospitalier, commissioned by the Westdeutscher Rundfunk. The most recent development out of this process of “translation” is Inevitable Music which has involved an exhaustive research on the wall drawings of Sol Lewitt, and a long-term examination and development of a methodology for applying the rules and means of these works to sonic ends. He has written music for dance and theater, for choreographers Lionel Hoche, Sylvain Prunenec, and DD Dorvillier, and theater director Annie Dorsen.
15,00€
Out of stock
CD
Sébastien ROUX & Vincent EPPLAY
“Concatenative Mu”
Following Klavier intégral (2006, commissioned by INA/GRM), Sébastien Roux (12k, Optical Sound, ROOM40, ...) and Vincent Epplay (artist/musician, he has released albums on Tiramizu, Stembogen, and exhibited his art installations at Palais de Tokyo and Beaubourg in Paris) are back and have come up with punk musique concrète !
Plunderphonics of John Oswald, Negativland or The Tape Beatles, and German experimental music from the 80s/90s (HNAS, Rowenta/Khan, P16D4) have without a doubt influenced Concatenative Mu, but Roux & Epplay bring them further on, adding some virtuosity that makes it exhilarating. This is a demanding, disturbing, rich, yet funny and fully inventive work of art. Born 1977, Sébastien Roux came to music as a guitarist in different rock groups until beginning a career as an electronic music composer, working in an eclectic variety of formal trajectories: records (solo as well as collaborations with Greg Davis, Vincent Epplay, and Eddie Ladoire), electroacoustic concerts, improvisations (with Kim Myhr and David Fennech), audiovisual performances, music for dance (in current collaboration with young choreographer Marinette Dozeville, as well as a recent music and sound design for Pan by choreographer Lionel Hoche), radio art (he was awarded the Radio Art Prize by La Muse en Circuit in 2005), live music for cinema (for Nanouk of the North, in collaboration with Vincent Epplay at The Fondation Cartier), sound installations (most notably a current series entitled Wallpaper Music, with its next incarnation at Fri Art in Fribourg, as well as the soundtrack for Precisions Sur les Vagues, by Celia Houdart at the Festival d’Avignon in 2008). Concurrently Roux works at IRCAM as an assistant to the composer Georges Aperghis. He has performed in Europe, Australia and North America. He has been invited by several festivals like Musique Action (Nancy), Nuit d’hiver (Marseille), Netmage (Bologna), Whynote (Dijon), Présence Electronique (Paris), J’en Rêve (Fondation Cartier Paris), Musica (Strasbourg), Net Days (Bruxelles), Santarcangelo (Italy), Akousma (Montreal). His work is documented by Brocoli, Apestaartje, 12k, Carpark, Room 40, n-rec and Optical sound. He will be composer in residence at La Muse en Circuit in 2009, as well as during the 2009-2010 season at Studio Césaré in Reims. This year he is also commissioned by the GRM to create a sequel to his album Songs (12k, 2006) to be completed in 2010. Vincent Epplay is a virtual artist and musician, working on visual arts, experimental music, the relationship between sound and image, and spatial sound diffusion. His latest installations are Cabines d’écoute and Ebruitement des Rochers Parlants at Laboratoires d’Aubervilliers, Juke-box pour musique sans titre at the Palais de Tokyo (Paris), Cabine n°5 for the Ecoute exhibition at Centre Georges Pompidou (Paris), Musique pour les plantes des dieux with Arnaud Maguet at Villa Arson (Nice). He also often performs live, either solo or with other performers, and at music festivals in Europe (such as Villette numérique - Paris, Netmage - Bologne, Transmediales - Berlin, Buenos Aires festival).
Plunderphonics of John Oswald, Negativland or The Tape Beatles, and German experimental music from the 80s/90s (HNAS, Rowenta/Khan, P16D4) have without a doubt influenced Concatenative Mu, but Roux & Epplay bring them further on, adding some virtuosity that makes it exhilarating. This is a demanding, disturbing, rich, yet funny and fully inventive work of art. Born 1977, Sébastien Roux came to music as a guitarist in different rock groups until beginning a career as an electronic music composer, working in an eclectic variety of formal trajectories: records (solo as well as collaborations with Greg Davis, Vincent Epplay, and Eddie Ladoire), electroacoustic concerts, improvisations (with Kim Myhr and David Fennech), audiovisual performances, music for dance (in current collaboration with young choreographer Marinette Dozeville, as well as a recent music and sound design for Pan by choreographer Lionel Hoche), radio art (he was awarded the Radio Art Prize by La Muse en Circuit in 2005), live music for cinema (for Nanouk of the North, in collaboration with Vincent Epplay at The Fondation Cartier), sound installations (most notably a current series entitled Wallpaper Music, with its next incarnation at Fri Art in Fribourg, as well as the soundtrack for Precisions Sur les Vagues, by Celia Houdart at the Festival d’Avignon in 2008). Concurrently Roux works at IRCAM as an assistant to the composer Georges Aperghis. He has performed in Europe, Australia and North America. He has been invited by several festivals like Musique Action (Nancy), Nuit d’hiver (Marseille), Netmage (Bologna), Whynote (Dijon), Présence Electronique (Paris), J’en Rêve (Fondation Cartier Paris), Musica (Strasbourg), Net Days (Bruxelles), Santarcangelo (Italy), Akousma (Montreal). His work is documented by Brocoli, Apestaartje, 12k, Carpark, Room 40, n-rec and Optical sound. He will be composer in residence at La Muse en Circuit in 2009, as well as during the 2009-2010 season at Studio Césaré in Reims. This year he is also commissioned by the GRM to create a sequel to his album Songs (12k, 2006) to be completed in 2010. Vincent Epplay is a virtual artist and musician, working on visual arts, experimental music, the relationship between sound and image, and spatial sound diffusion. His latest installations are Cabines d’écoute and Ebruitement des Rochers Parlants at Laboratoires d’Aubervilliers, Juke-box pour musique sans titre at the Palais de Tokyo (Paris), Cabine n°5 for the Ecoute exhibition at Centre Georges Pompidou (Paris), Musique pour les plantes des dieux with Arnaud Maguet at Villa Arson (Nice). He also often performs live, either solo or with other performers, and at music festivals in Europe (such as Villette numérique - Paris, Netmage - Bologne, Transmediales - Berlin, Buenos Aires festival).
15,00€
Out of stock
CD
Sébastien ROUX
“More songs”
More Songs is the fourth solo album by Sébastien Roux, and a sequel to Songs, released on Taylor Deupree’s 12k label. It consists in three electroacoustic compositions which use an ensemble of acoustic instruments (strings, clarinet, horn, percussion, flute) recordings as source material. It starts with the short Créancier de secondes, a musique concrète rereading of the eponymous work by French composer Gérard Pesson. For More Songs, Roux asked fellow composer Mathieu Bonilla to transcribe seven fragments of Beethoven’s 10th string quartet, which are used as sound content within the piece as well as drawing from their structure to build the piece. Obliques is a revised version of a live piece written for cellist Séverine Ballon.
15,00€
Out of stock
CD
Rainier LERICOLAIS
“Dots per image”
“Central to Chris Marker’s artistic concerns were his preoccupations with memory, the human voice, photography, cinema, poetry, Japanese culture... and cats. In Dots Per Image, multidisciplinary artist Rainier Lericolais confronts Marker’s œuvre - and also in his book Le Dépays (1982) in particular -, and with his own experience traveling in Japan. These memory fragments are transformed into music and poetry with the help of Etienne Sandrin (French voice-over), Lili Kim (japanese voice-over), his friend musicians (Pierre-Yves Macé, Simon Fisher Turner, Daniel Pabeuf, David Sanson, Geoffroy Montel), film director Daniella Marxer and sculptor Michel Aubry. “My first encounter with this Dépays (”non-country”) was in Japan, when I asked for directions to the Goutokuji cats cemetery. The only response I got was “over there and a vague gesture”. (Rainier Lericolais). Limited edition of 300 copies.”
15,00€
Out of stock
CD
Quentin SIRJACQ
“La chambre claire”
“Quentin Sirjacq, a native of Paris, studied classical piano from an early age. But by 15 he was a devotee of Ellington, Mingus and Coltrane, who began to exert as strong an influence on him as Ravel and Satie. His interest in classical and jazz music guided his studies at the Royal Conservatory in The Hague and at Mills College in Oakland, California, and shaped his development as pianist and improviser to composer. Though always faithful to the melodic line, Sirjacq has embraced the avant-garde and improvised music; he’s performed or recorded with Fred Frith, Joëlle Léandre, and William Winant, in addition to realizing the works of James Tenney, Steve Reich, Frederic Rzewski and José Maceda, among others. His compositional approach combines strong, evocative melodic ideas with a sound treatment and organization taken from the disparate strains of musique actuelle (pop, electronic, improvised, experimental). This versatility has made Sirjacq’s work a perfect fit for theater, television, radio and documentary films, where he has worked with Bruno Bayen, Marion Vernoux, Richard Bean, Jacques Taroni et Loui-Do de Lencquesaing.”
15,00€
Out of stock
CD
Pierre-Yves MACÉ
“Miniatures – Songs recycle”
Pierre-Yves Macé is a young French composer, he was born in 1980, but has already released four albums on respected labels including Tzadik and Sub Rosa. Miniatures - Song Recycle is his second album for the Parisian imprint Brocoli, following the acclaimed Passagenweg. Miniatures - Song Recycle, as the title suggests, alternates musique concrète studies and songs in the form of lieder, where the voice is made of recycled, chopped and transformed a cappella vocals from YouTube, accompanied by the composer/pianist.
15,00€
In stock
CD
Michel CHION
“Musiques concrètes 1988-91”
Brocoli continues to unearth Michel Chion’s unreleased gems, after the concrete melodrama Tu and the collection of early works Musiques Concrètes 1970-71. This time it focuses on the period from 1988 to 1991, starting with 10 études de musique concrète, a series of obsessive pieces, sounding in turns dry and liquid. While Variations smashes a waltz theme to pieces, Crayonnés Ferroviaires is a work and manifesto, an ode to the tape recorder and to the possibilities offered by the microphone and magnetic tape.
A bright, lively and bold experimental music.
Michel Chion, born 1947, is a writer, historian, independent researcher and teacher, director and composer. He was a member of the Groupe de Recherches Musicales (GRM) between 1971 and 1976 and has been composing a diverse and rich set of works since 1970: melodramas, suites of short pieces, technical and formal studies, and religious music. Michel Chion is recognized worldwide as one of the most influential composers of musique concrète.
A bright, lively and bold experimental music.
Michel Chion, born 1947, is a writer, historian, independent researcher and teacher, director and composer. He was a member of the Groupe de Recherches Musicales (GRM) between 1971 and 1976 and has been composing a diverse and rich set of works since 1970: melodramas, suites of short pieces, technical and formal studies, and religious music. Michel Chion is recognized worldwide as one of the most influential composers of musique concrète.
15,00€
In stock
CD
Michel CHION
“Musiques concrètes 1970-71”
Brocoli is pleased to announce the release of seven early works by Michel Chion, the celebrated musique concrète composer. Composed before he joined the Groupe de Recherches Musicales (GRM) in 1971 his characteristic style and sounds are already present. The abrasive electronics and sanctity in Blanche prefigure 1973’s Requiem; Sonatine and Train de pianos are based on prepared piano improvisations; Habanera and L’Oiseau en Cage evoke La Ronde, and Le Ciel Tremble is the composer’s first melodrama. Essential listening for lovers of the composer and genre, and for anyone interested in the history of electronic and experimental music.
15,00€
Out of stock
CD
DEFIBRILLATOR & Peter BRÖTZMANN
“Conversations about not eating meat”
Sebastian Smolyn, e-trombone. Artur Smolyn, electronics. Oliver Steidle, drums. Peter Brötzmann, reeds.
Sebastian Smolyn (trombone) and Artur Smolyn (electronics) are Defibrillator. They have committed themselves to improvised music and do enthralling performances full of energy and love of adventure. They have been educated in classical music in conservatories in Germany, France and Switzerland. They have played in numerous well-known orchestras and ensembles. Their experience is the matrix for a kind of music that follows its own rules, that makes use freely of what it needs. The music is pushed by two musicians who engage in everything that serves the organic thriving of their sound. They unfold their own acoustic vocabulary in a very convincing way. After the show you want to try to find out what their possible influences are and you will find New Music, Free Jazz, Noise and Hardcore in its many different shapes. There are familiar rhythmic patterns, harmonies and tonal references, which are broken and altered. The beat comes and goes, is dominant at times or gets pushed away by soundscapes and spherical sounds. When the Smolyn brothers meet it is a meeting of electronics and e-trombone on an equal level. Since they can trust each other blindly, they can also challenge each other and push their boundaries.
The Smolyn Brothers played several concerts together with Peter Brötzmann, Oliver Steidle, Daniel Buess, Julian Sartorius, Olaf Rupp, Maxime Hänsenberger and others. (Text: Matthias Kogon)
14,00€
In stock
CD
Slawomir KUPCZAK
“Report”
“You’ve been carrying this suicide for the twentieth year and for the twentieth year in a row you still don’t know what to do about this suicide you’ve been nestling in yourself for twenty years - and, after twenty years now, you still don’t know what to do about the suicide you’ve been carrying for forty years. You go to the kitchen, you make coffee, you forget where you are, your thoughts concentrate only on the defeat you’ve been living with for sixty years, that after sixty years you still have no idea what to do with the suicide you’ve been carrying in yourself for eighty years. And you move on. As if nothing ever happened.” Bô t Records i Niklas Records proudly present a new radio play by S awomir Kupczak (an outstanding young Polish composer of electroacoustic music) to libretto by Pawe Krzaczkowski. The album belongs to a series “Wroc aw Klang”, coproduced by Bô t Records and Niklas Records and devoted to new experimental music created in The European Capital of Culture 2016.
5,00€
In stock
CD
Raphael ROGINSKI
“Plays Henry Purcell”
Raphael Rogi ski, guitar. Olga Mys owska, voice, synth. Sebastian Witkowski, synths.
“I feel a very intimate relation with English culture thanks to my admiration to the music of the 60s. But then there is also William Blake’s Albion, Benjamin Britten and the myths. I have been puzzled by why do I constantly hear the same thing in the music of Bert Jansch and Led Zeppelin, Joy Division and Dead Can Dance. And then in the music of PJ Harvey and Traffic. And in Henry Purcell too, and in John Dowland and William Byrd. I am sure there is a sense of strong continuity in English music. The sound of it is something like a call from moors, delicate and blurred by the wind. Perhaps it does not suit the contemporary English people, maybe it is more of a sound of King Arthur. If I am not mistaken, it was England where the custom of titling pieces originated from. Dream is something totally different from Sarabande. Titles suggest something and this something sticks in your mind when you are playing the piece. Purcell fascinates me because he speaks of profound emotions that we only know as flattened today. Back then feelings were a magic maze. Purcell was a genius who wrote functional music but somewhere in its depths he managed to put his own mantras, as if woven of haze, full of longing and desire.”
13,00€
Out of stock
CD
INNER EAR
“Return from the Center of the Earth”
Mikolaj Trzaska, saxophones, bass clarinet. Steve Swell, trombone. Per- Åke Holmlander, tuba. Tim Daisy, drums. All compositions by Inner Ear. Recording during concerts in Chicago: Hideout (02.03.2011) & Elastic (30.08.2012). Mixing by David Zuchowski. Cover Design: Marek Wajda.
15,00€
Out of stock
CD
WOLFRAM
“Atol Drone ±”
A former member of trio Neurobot, since 2000 a solo artist who also performs in spontaneously created lineups (eg. with Thomas Ankersmit, Alexei Borisov, Xavier Charles, Phil Durrant, Facial Index, David Galbraith, Janko Hanushevsky, Martin Koller, Robert Piotrowicz, Ignaz Schick, Andrew Sharpley, Torben Tilly, Viön & Mem). He has played in Poland, Germany, Austria and France. He made 3 records with Neurobot: Normal Subjects (1998), Tarcza 9800 (2000), l.i.v.e.v.i.l. (2001) and 6 solo records Projekt Drei (2000), Mind Locations (2001), Atol Drone (2002), Superrecombination_sys (2002), Habitat (2004), Thinking Dust (2005). Neurobot’s music explored the areas of improvised noise and power electronics, however, Wolfram’s solo projects incline towards ambient music mixing blurred sounds in the foreground with the noise elements receded into the background. His slowly developing, mostly minimalist compositions are based on ambient and noise. The result of this fusion is music which seems calm, but is a full of tension underneath. Wolfram’s latest album "Thinking Dust" has received enthousiastic reviews from music critics in Poland. Co-released with Bô t Records. 1, 2, 4, 6 taken from Atol Drone album previously released in 2002 on Polycephal. 3, 5, 6 taken from Superrecombination_sys mini-album previously released in 2002 on Mik.Musik.!
“Atomic Fears. Rarely you remember the moment you listen to a record for the first time as something clear and tangible - what is retained in the memory is the atmosphere and the emotions that the music evokes, but not much else. Atol Drone (Polycephal 2002) was an altogether different case. It broke through into my mind surreptitiously like a high Pacific wave and for years it held sway over the area of my musical memory responsible for the rough sea, atomic fears, sea fever, incomplete Morse signals nobody can decipher anymore, spectral sounds from a sunken orchestra which keeps on playing, stray radio waves picked up at random by a stranded survivor, and sounds of an approaching freighter, possibly bringing relief and rescue. The world Wolfram conjures up on Atol Drone is an oneiric and delicate one, weaved from delicate samples. Somewhere in the background you can make out murmurs of unrest from a volcano, silence of a never-ending calm interrupted by the sound of a bird gliding in the sky, sea waves rhythmically crashing against a coral reef, sounds of an impending disaster and, finally, violence and cruelty of the enraged Ocean. So intense and powerful is the sense of unrest this album seems to convey that virtually each of its pieces could work as a soundtrack to a film. Its narration, well thought-out composition, and drama-like structure makes it a soundtrack ready to be used in that medium. Ten years having passed since, the re-issue contains an addition of four new tracks to the original four: GameLAN, Smokgame, Minimumgame, and specially composed for this release Back to the Atol. Yet again, despite the changes I felt the same atomic fears I felt back then. Apparent suspension and calm (SE), soothing drones of cicadas (GameLAN) and nostalgic beauty (Flashback) seem a mere prelude to an imminent disaster (Smokgame, Minimumgame) but a past or a future one? Wolfram makes time freeze - after all, an atoll’s exotic, unusual, circular structure imposes repetitions and recurring motifs which may equally be of the present (Back to the Atol) and the past (NW). Both the original and the re-issue bonus tracks evoke a similar rush of emotions and fuel one’s imagination in the same way: a landscape extending under the scorching sun, pristine sand on the beaches unspoilt by human foot, the murmur of the sea, palm tree groves waving in slow-motion - the bliss soon to be shattered by an approaching disaster. Tremendously nostalgic and oneiric in each of its track, a perfect collection of atmospheric drone music, born of an exceptional imagination of a Polish artist”. (-) Monika Powalisz (transl. Przemek Chojnacki).
10,00€
Out of stock
CD
VENN CIRCLES
“veNN circles is a typical Bocian release, therefore definitely not for the faint of heart. Gerard Lebik (electronics), Piotr Damasiewicz (trumpet) and RED Trio’s Gabriel Ferrandini (dr) draw you down to their personal hell consisting of distant, muffled, agonized cries that seem to come out of a huge anthill populated by tiny, spooky creatures. The sounds are intimidating echoes, the electronics cause a ringing in the ears providing an atmosphere of constant drizzle. Ferrandini’s percussion remind of objects falling down from nowhere, while Damasiewicz’s style seems to be based on Nate Wooley’s more adventurous albums. This could be an alternative soundtrack for David Lynch’s Eraserhead - creepy, painful, but also exciting!” (http://www.freejazzblog.org)
10,00€
Out of stock
CD
SEC_
“Moscaio”
Composed, edited and mastered by SEC_ between December 2010 and September 2011 using: Revox tape recorder, computer, no-input feedback, field recordings, radio, microphones and pick-ups. The first version of this piece has been produced in the framework of the serie “A short guide to becoming-bat”, curated by Stefano Perna for ORF Ö1 Kunstradio - Radiokunst in 2011. “Long time before humans began to exploit the properties and the uses of the electromagnetic spectrum, animals had already developed a sophisticated system for the manipulation of waves and the transmission of sound signals for the purpose of communication and orientation. Ethologists and natural scientists have shown that many species of animal like dolphins, whales and insects live into an undulatory space made of signals and calls, of frequencies and amplitudes, a radically temporalized space, a pulsating space, that constantly changes, evolves, expands and contracts.
But what an insect feels ? How does it perceives the environment, itself, the other living beings ? Science, on one side, can give us some answer in the form of concepts and theories; this way we can understand the process. Music, on the other side, can assemble for us swarms of perceptions that drag our senses and bodies toward zones where man and insect become indiscernible; there, we are affected by the process. In that region, one is suddenly caught in a becoming-animal that alters its organs, environment, space and time. It let us enter into a waveform space, whose geometry is unknown, a kind of non-human spatiality populated by forces and signs to which our perceptual system is not correctly attuned.
This is the way this composition works. No naturalistic descriptions, no documentary impulses, no metaphoric translations. Here we have a contraption. And, like all machines, this device doesn’t ask to be read or interpreted. You have to activate it, to put it into work, so it can start extracting from your body ways of perceiving of which you were not aware. An insect body appears: weight loss, oblique speed, exhausting slowness, entangled spaces. A shift in the umwelt happens: an imperceptible and obscene sensorial universe comes to the senses, done of buzz, drone, tiny sounds, sudden appearances, unpredictable trajectories and sharp movements.
But these sounds are very far from any desire of reproduction, a simplistic acoustic mimesis of the natural world. Everything here comes from a deeply altered technical world.
In fact, unlike all machines, this device avoids functionality, it works through series of faults: the ambiguous analog autoeroticism of no-input feedbacks, the uptake of radio signals, interferences, the unauthorized excavation of electromagnetic fields, quirky bits of digital data, all stuffed into shreds of tape abominably manipulated. All communication technologies, once designed to preserve information and to exchange watchwords, are brought to the threshold of collapse. And now they start talking an unprecedented language: a nomadic population of traces and marks that, like a swarm made of millions of flying hungry insects, flutter rapidly in the space, than suddenly flock around a piece of meat and then, again, dissolve into chaos”. (-) Stefano Perna
10,00€
Out of stock
CD
NEW MONUMENTS
“Long pig”
“New Monuments is a trio of C. Spencer Yeh on violin and electronics, Ben Hall on trap set (looking at the cover I believe this to be drums) and Don Dietrich on saxophone and electronics. Hall is for me the unknown factor here and Yeh and Dietrich earned their wings in the world of improvisation, the latter through his alliance with Borbetomagus - for me the best group ever when it comes to noise and saxophones. The recordings here where made at Studio L in New York on May 8th 2012 and it's what you expect this to be. If your expectations would have been some mild jazzy improvisation record, then you clearly don't know the history of these men (although, thinking about it: it would be nice for a radical change of tune one day). This is very much along the lines of Borbetomagus, except it's not two saxophones and a guitar, but drums, violin, saxophones and electronics. I expect a lot of electronics actually. It's screaming with noise and distortion, especially on the violin and saxophone side, with the drum kit being splattered around like animal from the Muppet show. It’s forceful, it’s loud, and it’s wild even while it has a moment of quietness here and there. It's not one blast from beginning to end, but rather well defined pieces with a beginning and an end. It sometimes even rocks, like good free rock should be when Hall plays more consecutive rhythms. Much mayhem, much excitement.” (FdW in Vital)
10,00€
Out of stock
CD
Tomasz KRAKOWIAK
“Moulins”
“Tomasz Krakowiak’s latest work on Bocian Records is a purely sonic affair. Performed on acoustic percussion instruments, it has little to do with percussion music. Each piece is named after a particular location and/or a sonic event present there. Krakowiak’s monotonous playing a specific instrument seems to achieve an effect of a field recording made at the given location. What makes this effort successful is a broad range of his techniques and sonic intuition. These excellent recordings oscillate between subtle, single vibrations of metal and meaty wall of sound, with mechanical rasping in the middle of the spectrum. Abstract, yet very physical, and surprisingly direct. This is one of the most interesting free improv projects of this year, even though it isn’t typical improvised music as it features structures characteristic of sound sculpture - no dramatic effects or themes, it is all about the texture of sound and interaction between its layers. Moulins seems to be an example of an interesting trend among drummers who play with free-improv groups but in their solo work focus on purely sonoristic explorations - see the latest releases from Will Guthrie (Sticks, Stones and Breaking Bones, 2012), Chris Corsano (Cut, 2012) or Eli Keszler (Cold, 2011). Krakowiak’s release stands out here, though, owing to its originality. [Daniel Bro ek "Canti Iluminati"]”
10,00€
Out of stock
CD
Reinhold FRIEDL
“Golden quinces, Earthed”
In April 2003, Reinhold Friedl was invited by Elke Moltrecht, the former music curator at Podewil in Berlin to perform a piano recital on the Neo-Bechstein. She had the idea to bring him together with David Balzer, a Berlin-based piano constructor, who owns a beautiful Neo-Bechstein of which there are only seventeen known exemplars world-wide. Friedl’s concept was to create an “orchestra sound” using his inside-piano-techniques on the Neo-Bechstein
About instrument: Between 1929 and 1931 the physicists Walther Nernst and his assistant Hans Driescher developed the Neo-Bechstein Grand Piano at the Heinrich Hertz Institute in Berlin. The idea was to construct an instrument for live radio transmission, because good quality microphones did not exist for this purpose. This was coincidently a difficult time for the piano industry. Piano makers tried to be modern and Bechstein even had their own department for electronic music instruments, as this seemed to be the future!
The main difference to a traditional piano is that instead of amplifying the strings with the help of a wooden soundboard, they are transformed by eighteen humbucker pickups into electrical signals. These signals are sent to a valve amplifier and emitted by a mono loudspeaker. As the piano did not need
a soundboard anymore, the traditional hammer mechanics had to be made differently and much lighter. A lot of sophisticated technical transformations were made. The instrument was built in co-operation with Telefunken who were responsible for the electronic devices and Bechstein who designed the mechanical parts of the instrument. No more than 150 copies of the instrument were produced and it is assumed that only a few instruments still exist, ten are now known to be in various museums. A curiosity of the instrument was the built-in radio receiver. This receiver made it possible to route both the radio signal and the instrument signal simultaneously to the output and mix them. A soundboard in a traditional piano does not only amplify the tone, it also cuts the very high frequencies and damps the oscillation of the strigs due to its mass...” Recorded mixed and mastered by Rashad Becker.
10,00€
Out of stock
CD
Reinhold FRIEDL
“Mutanza”
“This CD presents compositions for piano using the instrument in an unorthodox way. The strings are bowed with nylon strings, stimulated by E-Bows, rubbed with metal, the keys’ sound is examined as a corrugated surface and staccato rhythms are repeated in a narrow register. On the one hand, the pieces introduced here explore new ways of playing the piano. In this sense they are "enlarged playing techniques", as they have been developed for most instruments in the second half of the twentieth century. On the other hand, the works confine themselves to selected material and raise the question to what extent the material already is the composition. To me, it seems less interesting to answer this question, which can hardly be answered unambiguously than to observe that the development of the present music was substantially inspired by electronic music. Mario Bertoncini has expressed this, Helmut Lachenmann has introduced the concept of a "musique concrete instrumentale", Phill Niblocks’ loop-like composed music was inspired by the interference between his Harley Davidson and a droning truck ascending the serpentines of the Rocky Mountains. The present CD is a homage to electronic music and moreover, it documents attempts to clear out a gentrified piece of furniture and technically, to catapult the piano into the present”. “Guero” (Helmut Lachenmann), “Epitaff” (Reinhold Friedl), “Music in Fifths” (Philip Glass), “An American Dream” (Mario Bertoncini), “Mutanza” (Witold Szalonek), “Music for Piano with Magnetic Strings” (Alvin Lucier), “Pan Fried 11” (Phill Niblock). Co-released with Bô t Records.
10,00€
Out of stock
CD
Paal NILSSEN-LOVE & Mats GUSTAFSSON
“Sin-gas”
Mats Gustafsson, tenor, baritone and bass saxophone. Paal Nilssen-Love, drums. Recorded by Martin Siewert in Vienna 2013.
10,00€
Out of stock
CD
Mike MAJKOWSKI
“Bright astonishment of the night”
Mike Majkowski, double bass. Recorded July 2014 in Berlin by himself. Mastered by Werner Dafeldecker.
10,00€
Out of stock
CD
Kasper T. TOEPLITZ
“Fluster”
Composition for electric bass from Zbigniew Karkowski performed by Kasper T. Toeplitz. One hour of extreme sound divided into 3 parts between sub-bass, wall of noise and high frequencies. A commission from GRM.
10,00€
Out of stock
CD
Ikue MORI – Maja S.K. RATKJE
“Scrumptious sabotage”
“A recording of live performances which brought together two essential figures of the contemporary scene: an oustanding Norwegian composer and vocal artist Maja S.K. Ratkje and a celebrated improviser and composer, former DNA drummer, Ikue Mori. The common sound territory, created together by Mori and Ratkje, balances between quietly growing tension and powerful outbursts of unrestrained, relentless noise. Within this harmony, Ratkje takes adventurous excursions towards the borders and unknown facets of sound, using treated voice as well as an acoustic and electronic workshop, while Mori’s thoughtful laptop provides a strong frame and a sense of deep focus. In these carefully crafted, long and nuanced compositions, both artists maneuver between meditative, ritual areas and irregular, elusive noise blots. The most astonishing element of this superb performance is the realization that even though the compositions are entirely intuitive, created without any previous planning, guidelines or negotations, the listener can sense a nearly palpable sense of deep connection and understanding between the artists. Their knowledge and keen, immediate communication create an invisible harness, which naturally directs the stream of improvisation. This engaging, exhaustive listen is a contemplative retreat and a daring, dizzying somersault at once”. (-) Olga Drenda. All music composed and performed by Maja Solveig Kjelstrup Ratkje and Ikue Mori. Recorded live by Barry Hollywood at Black Box, Belfast, March 31, and by Dan Fox and Simon Hanson at The Lanternhouse, Ulverston, March 29, 2012 UK. Mixed and mastered by Maja S.K. Ratkje in Svartskog, Norway. Cover design by Lasse Marhaug.
10,00€
Out of stock
CD
Howard STELZER & Frans de WAARD
“Pink pearl”
Composed in Lowell MA (USA) and Nijmegen (NL) by HS and FdW, 2011-2012.
All sounds were extracted from live, studio and mail collaborations 2002-2011.
Cover photography by Ashley Stelzer. Cover design by Mirt. Mastering by SEC_. Frans de Waard (1965) has been producing music since 1984. First as Kapotte Muziek, but throughout the years, he also worked as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks, both of whom are also a member of Kapotte Muziek these days), Zebra (with Roel Meelkop) and such solo projects as Freiband, Shifts as well as his own name. He played various solo concerts as Goem-FDW in Japan, as part of a package tour with Pan Sonic. Frans de Waard also likes to play sets of improvised music with whoever is available, just as he did with people like Guiseppe Ielasi, Jaap Blonk, Howard Stelzer, Roel Meelkop, Andrew Liles, Radboud Mens and the mayor of his home city Nijmegen. In 2008 film maker Harrie Timmermans made a small documentary about his work with Kapotte Muziek under the title “What You See Is What You Hear”. He has given workshops and lectures at various places, such as Extrapool, the art academy of Maastricht en ’s-Hertogenbosch, the Glinka Conservatorium in Moscow and Lithuania. With Scott Foust he formed the duo The Tobacconists in 2009 and with Wouter Jaspers the duo Ezdanitoff in 2010. Howard Stelzer has been active as a composer and performer of electronic music since 1992. His music exploits the unique sonic and physical qualities of cassette tapes and tape players: gritty hiss, the squeal and hum of cheap motors taxed until (and sometimes well beyond) their breaking point, amplified plastic clatter, and play speed altered by pressure from fingers applied to the tapes’ reels. Early work was stubbornly low fidelity, with awkward pauses and jarring a-musical transitions assembled roughly into rather linear collages. Stelzer’s music has evolved over the years, and now seems to sit still for longer durations. Tapes and cassette artifacts are densely layered, treated, layered some more, thrown into a bin and shaken up, then smoothed back out into pleasantly boring stasis with lots of sharp tacks buried within. Stelzer ran the Intransitive Recordings label from 1997 until 2012.
All sounds were extracted from live, studio and mail collaborations 2002-2011.
Cover photography by Ashley Stelzer. Cover design by Mirt. Mastering by SEC_. Frans de Waard (1965) has been producing music since 1984. First as Kapotte Muziek, but throughout the years, he also worked as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks, both of whom are also a member of Kapotte Muziek these days), Zebra (with Roel Meelkop) and such solo projects as Freiband, Shifts as well as his own name. He played various solo concerts as Goem-FDW in Japan, as part of a package tour with Pan Sonic. Frans de Waard also likes to play sets of improvised music with whoever is available, just as he did with people like Guiseppe Ielasi, Jaap Blonk, Howard Stelzer, Roel Meelkop, Andrew Liles, Radboud Mens and the mayor of his home city Nijmegen. In 2008 film maker Harrie Timmermans made a small documentary about his work with Kapotte Muziek under the title “What You See Is What You Hear”. He has given workshops and lectures at various places, such as Extrapool, the art academy of Maastricht en ’s-Hertogenbosch, the Glinka Conservatorium in Moscow and Lithuania. With Scott Foust he formed the duo The Tobacconists in 2009 and with Wouter Jaspers the duo Ezdanitoff in 2010. Howard Stelzer has been active as a composer and performer of electronic music since 1992. His music exploits the unique sonic and physical qualities of cassette tapes and tape players: gritty hiss, the squeal and hum of cheap motors taxed until (and sometimes well beyond) their breaking point, amplified plastic clatter, and play speed altered by pressure from fingers applied to the tapes’ reels. Early work was stubbornly low fidelity, with awkward pauses and jarring a-musical transitions assembled roughly into rather linear collages. Stelzer’s music has evolved over the years, and now seems to sit still for longer durations. Tapes and cassette artifacts are densely layered, treated, layered some more, thrown into a bin and shaken up, then smoothed back out into pleasantly boring stasis with lots of sharp tacks buried within. Stelzer ran the Intransitive Recordings label from 1997 until 2012.
10,00€
Out of stock
CD
Fred LONBERG-HOLM – Ken VANDERMARK
“Resistance”
Personnel: Fred Lonberg-Holm, cello, electronics; Ken Vandermark, reeds.
“Resistance recorded live in 2013 is an expected performance of unforeseen music. That said, it boosts Vandermark’s stock (not that he needs it) as a soloist. He has, of late, stepped out of his role as composer, arranger, and organizer of ensembles to perform solo and in improvising duos with Nate Wooley, Agustí Fernandez, Mats Gustafsson, and Tim Daisy. Freed from all the duties associated with large ensembles, he can focus on improvising. Here his saxophone and various clarinets weave, bounce, and at times, collide with Lonberg-Holm’s cello and electronics. The music here, all improvised, fills a gap in both their discographies, and it was a long time coming”. (www.allaboutjazz.com)
“Resistance recorded live in 2013 is an expected performance of unforeseen music. That said, it boosts Vandermark’s stock (not that he needs it) as a soloist. He has, of late, stepped out of his role as composer, arranger, and organizer of ensembles to perform solo and in improvising duos with Nate Wooley, Agustí Fernandez, Mats Gustafsson, and Tim Daisy. Freed from all the duties associated with large ensembles, he can focus on improvising. Here his saxophone and various clarinets weave, bounce, and at times, collide with Lonberg-Holm’s cello and electronics. The music here, all improvised, fills a gap in both their discographies, and it was a long time coming”. (www.allaboutjazz.com)
10,00€
Out of stock
CD
Fred LONBERG-HOLM – Adam GOLEBIEWSKI
“Relephant”
Fred Lonberg-Holm (cello, electronics) and Adam Golebiewski (drums, cymbals, objects).
Fred Lonberg-Holm born in 1962, composer, improviser. He began formal cello studies at the age of 10. Former student of Anthony Braxton, Morton Feldman, Bunita Marcus and Pauline Oliveros. Fred was active in a number of projects, including the Peter Brötzmann Tentet, XMarsX (with Mars Williams), VCDC, ADA Trio (with Peter Brötzmann and Paal Nilssen-Love), the Vandermark 5, and many others that are still active today. Ongoing projects of which he is a member include Joe McPhee s Survival Unit III (with Michael Zerang), NRG Ensemble and Witches and Devils (with Mars Williams), Fast Citizens, Friction Brothers, Party Knüllers (with Stale Liavik), Boxhead Ensemble, Screw and Straw, and Ballister (with Paal Nilssen-Love and Dave Rempis) as well as many others. He has worked with a wide variety of improvisers Lotte Anker, Jaap Blonk, Peter Brötzmann, John Butcher, Anthony Coleman, Tim Daisy, Axl Dörner, Hamid Drake, Peter Evans, Frode Gjerstad, Adam Golebiewski, Mats Gustaffson, Shelly Hirsch, Charlotte Hug, Sofia Jernberg, Mazen Kerbaj, Ikue Mori, Paal Nilssen-Love, Rob Mazurek, Andrea Neumann, Jim O’Rourke, Jeff Parker, Avreeayl Ra, Akira Sakata, Ken Vandermark, Nate Wooley, Michiyo Yagi, and Michael Zerang, as well as numerous others. His extensive discography includes free improvised and free jazz recordings as well as new music, pop, rock and noise. Adam Go biewski born in 1984, percussionist, improviser, musicologist. Involved mainly in improvised and experimental music and free jazz. In his work he focuses on the ultimate extension of the potential of the drum set and percussion instruments as to their anatomy, sound and expressiveness, which results in a direct and intense sound language. He has been invited to collaborate with such icons of experimental music and art as Yoko Ono and Thurston Moore. He has performed and recorded with leading representatives of improvised music: Mats Gustafsson, Fred Lonberg-Holm, Ken Vandermark, Kevin Drumm, John Edwards, Mazen Kerbaj, Sharif Sehnaoui, Mike Majkowski, Tim Daisy, Miko aj Trzaska and many others. He lives and works in Pozna , Poland.
12,00€
In stock
CD
Antoine CHESSEX – APARTMENT HOUSE – Jérôme NOETINGER
“Plastic Concrete – Accumulation”
This collaboration between Swiss composer Antoine Chessex, French electronic wizard Jérôme Noetinger and iconic UK experimental group Apartment House presents two pieces of dense electro-acoustic music recorded live at London’s Cafe OTO in 2014 and 2015.
Chessex’s compositions are characterized by textural density and microtonal tensions resulting in sound-masses exploring the physical dimensions of different acoustic spaces. In both pieces, titled “Plastic Concrete” & “Accumulation”, the scores have been conventionally written for the acoustic ensemble and feature Noetinger’s real time tape machine manipulations blurring the boundaries between classical notation and spontaneous improvisation. The result is a thrilling collective work, an evocative multilayered structure morphing into dark sonic abstractions.
“Plastic concrete” (2014) features a score for chamber music ensemble scattered
around Cafe Oto. The acoustic textures performed by the Apartment House’s musicians are modified in real time by analog electronics, thus abstracting the acoustic timbres of the instruments, and further diffused on the quadraphonic sound system resulting in an immersive piece of experimental music
Apartment House: Andrew Sparling: Clarinet. Dominic Lash: Double Bass. Ruth Ehrlich: Violin. Andrew Connington & Andrew White: Trombones. Anton Lukoszevieze: Cello. Seth Josel: E-guitar. + Jérôme Noetinger: reel to reel tape recorder, electronics. Antoine Chessex: composition, backtape & live diffusion.
“Accumulation” (2015) for amplified string quartet and electronics. Chessex wrote a score for Apartment House featuring dense clusters of acoustic textures treated in real time by Jérôme Noetinger with his analog setup made of two reel-to-reel tape recorders. Electronic accumulations and manipulations by the tape recorders transform the strings into dissonant layers resulting in an intense piece of experimental music.
Apartment House: Gordon MacKay, violin, Hilary Sturt, violin, Bridget Carey, viola, Anton Lukoszevieze, cello + Jérôme Noetinger, reel to reel tape recorders, electronics. Antoine Chessex, composition & live diffusion.
10,00€
Out of stock
CD
Oren AMBARCHI & Thomas BRINKMANN
“The Mortimer trap”
“The Mortimer Trap is an epic 77min “variation” of Morton Feldman’s For Bunita Marcus constructed by German experimentalist and techno icon Thomas Brinkmann and Australian sound artist Oren Ambarchi. Pulsating waves of claustrophobic ambience generated from who-knows-what patiently builds into a throbbing rhythmic pulse of gorgeous sonic density. Since the 80s Thomas Brinkmann has experimented with sound, its textures and its construction methods. His custom built two-arm turntable on Concept 1, the sampling of damaged records on Klick and various experiments with carved-groove vinyl are just a handful of career highlights that mark Brinkmann out as a true musical pioneer. Oren Ambarchi, primarily known for his solo guitar records for the Touch label, has worked with a diverse array of artists such as Keiji Haino, Fennesz, Phill Niblock, Jim O’Rourke, Voice Crack, Keith Rowe and Sunn 0))). Ambarchi and Brinkmann first worked together in in Japan in January 2011 in a trio with Mika Vainio. The Mortimer Trap is their first collaborative work as a duo.”
15,00€