Out of stock
CD
Keiji HAINO – Jim O’ROURKE – Oren AMBARCHI
“now while it’s still warm let us pour in all the mystery”
CD version. Keiji Haino, guitar, flute, voice. Jim O’Rourke, bass. Oren Ambarchi, drums. Special guests on first track, Charlemagne Palestine and Eiko Ishibashi, wineglasses. "Following on from 2012’s acclaimed Imikizushi (BT 007CD/LP), Now While It’s Still Warm Let Us Pour in All the Mystery is the fourth release from the established power trio of Keiji Haino, Jim O’Rourke, and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trio’s two previous 2 LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio’s interactions, from holy minimalism to cave-man rock. The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Haino’s angelic vocals. This 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Haino’s great folk-drone project, Nijumu. When Haino turns to the flute on the LP’s second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, O’Rourke and Ambarchi transform into the delicate and probing rhythm section of a classic ’70s fusion side. When the trio returns to the crushing free-rock of their last two records, O’Rourke’s heavily effected bass rolling alongside Ambarchi’s tumbling rhythms as Haino’s guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- O’Rourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitsusha double live LP. Perhaps more accessible than the trio’s previous recordings because of its range and concision, Now While It’s Still Warm... exudes the dark, alien quality of Haino’s greatest recordings and testifies to the strength of the musical bond that has developed between these three players. --Francis Plagne, Jan 2013." Limited edition LP in a lavish gatefold with a printed inner sleeve. Design by Stephen O’Malley with high quality live shots by Ujin Matsuo and stunning artwork by Shunichiro Okada.
15,50€
Out of stock
CD
FUTURO ANTICO
“Dai primitivi all’electronica”
An outstanding raga-like drone LP with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes. Originally released in 1980, the sound is completly analog and warm, the reissue maintain the first tape artwork + info and photos.
15,00€
Out of stock
CD
RLW
“The pleasure of burning down churches”
“Black Rose Recordings are proud to present the stunning new solo release by Ralf Wehowsky. He is currently one of the most respected electronic composers of our day. With this release he not only utilises his highly complex trademark electro-acoustic and electronic sounds, but also carefully edits in field recordings he made whilst in Vietnam. This description may sound familiar, but RLW always manages to stay far ahead of any contempories. This release will still sound fresh and relevant in years to come. Ralf Wehowsky was one of the founder members of the seminal German group P16.D4 and the label Selektion whose groundbreaking releases influenced many working in today’s experimental music scene.”
9,00€
Out of stock
CD
Asmus TIETCHENS
“Fast ohne Titel, Korrosion”
Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognise until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music or both ?
As a pioneer of electronic composition his work spans over three decades and doesn’t fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete.
Never straightforward or obvious, always unpredictable and innovative his ground breaking music influences many working in today’s experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener and Richard Chartier.
12,00€
In stock
CD
The DEAD C
“Patience”
“Patience is both appropriate and inappropriate as a title for the latest release by The Dead C. Inappropriate because its been only two years since the last album, which in Dead C Time is but the flicker of a candle; appropriate since the key to enjoying the Dead C is willingness to sit down, listen and let the music take over your mind. With an unforgiving and intense four tracks, Patience will not be confused with the work of any other band.” label info
15,00€
In stock
CD
The DEAD C
“Armed courage”
With nary a praising documentary, coffee table photo book or tribute band to their name, The Dead C are nonetheless one of the most respected, longest surviving groups in the history of rock. Still sporting the original band members (Michael Morley on guitar, vocals, Bruce Russell on guitar, Robbie Yeats on drums) from their first assemblage in 1987, The Dead C’s renown has a lot to do with their stubborn unwillingness to compromise in any form. With a varied and challenging discography, the band has never released an album requiring later apology. No The Elder. No Diabolus in Musica. No Trans. Each release demands appraisal on its own merits and exists separate from any temporal trends in underground music, save for whatever influence they’ve had on others. Armed Courage reaffirms their epochal career. With two side-long tracks, the record epitomizes the elements which elevate The Dead C to a level of worship. Compositions assemble and pivot, colliding new landscapes while undermining their very foundations. The Dead C exists on an intuitive sphere, with music never over-thought, yet rewarding when contemplated. 2013 marks the first time The Dead C has ever appeared on the cover of a magazine, and how appropriate that it was in The Wire, the only international music rag to celebrate anti-traditionalism. It is easy to view this as a highpoint of recognition, but the real achievement happens whenever that cognitive switch flips in the listener’s head, and they suddenly think, “I get it” - because from that point on, the promise of future satisfaction is guaranteed.
15,00€
In stock
CD
Richard CHARTIER
“Removed”
Back in stock. Very last copies !
Limited Edition, embossed sleeve 300 copies.
In 2000, The Wire wrote of Chartier’s work: “it’s worth stretching the ears in search of Chartier’s sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows”… the same holds true today.
Formed over the course of 5 years, Removed was a process of removal/erasure.
Only trace elements appear from what was. Their interactions merely a ghost of a composition - subtle echoes across the sound spectrum. A glacially paced progression of discreet relational sonic events and flows.
Inspired in part by the rigorous line drawings of American visual artist Linn Meyers, whose 2011 untitled drawing graces the cover, Removed draws the listener in to follow patterns. Meyers often creates large scale on-site works that transform a space into durational installations of seemingly endless lines. Seen from a distance these lines appear as almost natural ripples in a wall surface, but deeper, upon closer inspection, the delicate echoes and fluctuations of the artist’s hand arise from the density of details.
Chartier’s precise sound compositions work in a similar manner. Austere and shimmering, the two compositions of Removed beg for careful listening on headphones. Or let these 2 compositions play quietly amplified across your space. Either way, a physically captivating dimensional experience.
Removed is a continuing reflection on major aesthetic elements of Chartier’s artistic language as it has evolved through the years. This is Chartier’s first new solo studio album since 2013’s field recording exploration Interior Field and 2012’s purely digital Recurrence, both released on LINE, US.
13,00€
In stock
CD
Joseph HAMMER
“Roadless travel”
LAFMS musician Joseph Hammer creates unparalleled works of tape manipulation. However, as yet there are comparatively few solo albums by this phenomenal artist. To rectify this situation, Art Into Life has decided to release Roadless Travel, his latest album. The album comes with a dense 24 page booklet of liner notes (essentially a full history of Hammer) by T. Sakaguchi, who has enjoyed a long friendship with him and is the foremost Japanese historian of the LAFMS scene. Liner notes - Takuya Sakaguchi. Translation - Alan Cummings.
17,00€
In stock
CD
Yvan ETIENNE
“Feu”
Yvan Etienne : Serge Modular, Field recordings, Hurdy gurdy. Recorded at “2 princesses” and EMS/Stockholm. French artist/activist Yvan Etienne, is engaged in research in the field of sound art (specific site installations, concerts, etc.). As a musician, he composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. His sound art research questions the perception and physicality of sound spaces. He has played with Phil Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Robert Poss, Paul Panhuysen, Marie Verry…
13,00€
In stock
CD
Werner DURAND
“Schwingende Luftsäulen”
“Schwingende Luftsäulen” (Vibrating Air Columns) was composed, played and recorded by Werner Durand between Fall 2010 and Spring 2011, using the Pan-Ney, an instrument that he invented in 1984 and used in these recordings as the only sound source. This is music made of air. Built from air, transmitted by air. Durand’s work is conceived starting from the properties of the air passing thru the plastic tubes that constitutes the Pan-Ney. In the stream of acoustic phenomena applied to musical construction, by way of his ethno-minimalistic approach, this music talk to us about the most ancient feeling and the most contemporary concept in music. A music coming from the far times and made for the future times. The music is accompanied/underlined by the beautiful drawings by Karlheinz Bux, that, as in his own words: “... are abstracted emblems of figures set in rotation. In their appearance, they may resemble oscillating air columns…” This music is dedicated to Tony Conrad, whose piece “Ten Years Alive On The Infinite Plane” from 1972 inspired this particular tuning.
Cardboard Folded cover, 8 pages insert with liner notes in german and english. Edition of 300 copies.
12,00€
In stock
CD
MOHAMMAD
“Segondè Saleco”
34°N - 42°N / 19°E - 29°E study vol.3
Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34°- 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes “Sagaraki” featuring Erifili Giannakopoulou on vocals. The first and second volumes , Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad's music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009.
Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34°- 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes “Sagaraki” featuring Erifili Giannakopoulou on vocals. The first and second volumes , Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad's music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009.
11,00€
In stock
CD
MOHAMMAD
“Lamne gastama”
Lamnè Gastama is the second volume of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29° .
In this second volume Mohammad descend further down into the bowels of darkness unleashing sonic monoliths and Promethean melodies and rhythms. Lamnè Gastama, a veritable tour de force including Hapsía the first ever vocal track by the trio so far featuring Sakis Tolis of Rotting Christ.
Segondè Saleco, the third volume and final catharsis is expected in spring 2015. Tirage limité de 500 copies.
In this second volume Mohammad descend further down into the bowels of darkness unleashing sonic monoliths and Promethean melodies and rhythms. Lamnè Gastama, a veritable tour de force including Hapsía the first ever vocal track by the trio so far featuring Sakis Tolis of Rotting Christ.
Segondè Saleco, the third volume and final catharsis is expected in spring 2015. Tirage limité de 500 copies.
10,50€
Out of stock
CD
MOHAMMAD
“Spiriti”
Reissue of the 3LP release on CD format.
“Exactly a year after Roto Vildblomma Mohammad come back with a new release entitled Spiríti. Recorded during 2010 - 2011 in Salonica, Athens and the Island of Tinos. Spiríti is the culmination of Mohammad’s adventures in physical sound and intermodulations. It thrives in powerful low frequencies and rich resonances at the same time being utterly homogenous and monolithic. The atmosphere is dark but exhilarating, heavy but cathartic filled with distant “melodic echoes” from beyond. Mohammad are Nikos Veliotis (cello), Ilios (oscillators) and Coti (double bass).”
11,00€
Out of stock
CD
Miguel A. GARCIA & Miguel SOUTO
“The Lurking Fear”
This album is a collaboration between the prolific Basque sound artist Miguel A. Garcia (a.k.a. Xedh) and the Galician musician Miguel Souto, entitled "The Lurking Fear" as a homage to the American cult horror and science-fiction writer Howard Phillips Lovecraft. More than 50 minutes of dark electronic music in compact disc. Authentically dark and gnarled, a nightmarish opera that encompasses electroacoustic music, noise, dark ambient and drone.
For those who don’t know Anoxia yet, Anoxia Records is a Spanish independent record label whose main objective is to claim music as a form of art beyond mere entertainment or a superficial communication. With this objective we aim to release unique works of art beyond genres or tags.
7,00€
In stock
CD
INSUB META ORCHESTRA
“13 & 27”
Co-ordinated and composed by Cyril Bondi & d’incise.
Alexis Degrenier (hurdy-gurdy), Anna-Kaisa Meklin (viola da gamba), Angelika Sheridan (flutes), Antoine Läng (voice), Anouck Genthon (violin), Bertrand Gauguet (saxophone), Brice Catherin (cello), Bruno Crochet (laptop) - Christophe Berthet (saxophone), Cyril Bondi (harmonium, bass drum), d’incise (laptop), Daniel Tyrrell (acoustic guitar), Dorothea Schürch (voice, singing saw), Eric Ruffing (analogue synthesizer), Gerald Perera (electric double bass), Hans Koch (clarinet), Heike Fiedler (voice), Ivan Verda (electric guitar), Jamasp Jhabvala (violin), Luc Müller (floor-tom, melodica), Maxime Hänsenberger (bowl, harmonium), Raphaël Ortis (laptop), Regula Gerber (double bass), Rodolphe Loubatière (bowl, cymbal), Sébastien Branche (saxophone), Sandra Weiss (bassoon), Steve Buchanan (saxophone), Thierry Simonot (laptop), Violeta Motta (flutes), Vinz Vonlanthen (electric guitar), Wanda Obertova (voice), Yann Leguay (electronics).
“For the ‘13 unissons’, we split the orchestra in 13 subgroups (2-3 musicians) playing just one note as a unison. Every group can play as much as they want but never have more than 3-4 groups playing together. The silence is used as a moment of breath, giving a certain articulation between the musical moments. The main idea is to create different structures and associations between the groups.
‘27 times’ was a difficult piece to record because the structure is quite complex even if the result seems quiet and peaceful. For years our main goal with the orchestra was to convince everybody to feel the ensemble as a whole and not as a collection of individuals. For this piece we ask them exactly the opposite. We started with the idea that each musician had to choose his or her ‘most unique, personal sound’. But obviously, as this is so subjective, we had to find a way to have some coherence.
During this 30 minute piece, each musician has to play 27 times. The orchestra is divided into 4 groups (percussions, strings, winds and electronics), playing at 3 moments. In each moment, the musicians has to play 3 times a sequence of 3 times. Which is at the end 3x3x3, so 27 times, but always the same sound.” Cyril Bondi
Alexis Degrenier (hurdy-gurdy), Anna-Kaisa Meklin (viola da gamba), Angelika Sheridan (flutes), Antoine Läng (voice), Anouck Genthon (violin), Bertrand Gauguet (saxophone), Brice Catherin (cello), Bruno Crochet (laptop) - Christophe Berthet (saxophone), Cyril Bondi (harmonium, bass drum), d’incise (laptop), Daniel Tyrrell (acoustic guitar), Dorothea Schürch (voice, singing saw), Eric Ruffing (analogue synthesizer), Gerald Perera (electric double bass), Hans Koch (clarinet), Heike Fiedler (voice), Ivan Verda (electric guitar), Jamasp Jhabvala (violin), Luc Müller (floor-tom, melodica), Maxime Hänsenberger (bowl, harmonium), Raphaël Ortis (laptop), Regula Gerber (double bass), Rodolphe Loubatière (bowl, cymbal), Sébastien Branche (saxophone), Sandra Weiss (bassoon), Steve Buchanan (saxophone), Thierry Simonot (laptop), Violeta Motta (flutes), Vinz Vonlanthen (electric guitar), Wanda Obertova (voice), Yann Leguay (electronics).
“For the ‘13 unissons’, we split the orchestra in 13 subgroups (2-3 musicians) playing just one note as a unison. Every group can play as much as they want but never have more than 3-4 groups playing together. The silence is used as a moment of breath, giving a certain articulation between the musical moments. The main idea is to create different structures and associations between the groups.
‘27 times’ was a difficult piece to record because the structure is quite complex even if the result seems quiet and peaceful. For years our main goal with the orchestra was to convince everybody to feel the ensemble as a whole and not as a collection of individuals. For this piece we ask them exactly the opposite. We started with the idea that each musician had to choose his or her ‘most unique, personal sound’. But obviously, as this is so subjective, we had to find a way to have some coherence.
During this 30 minute piece, each musician has to play 27 times. The orchestra is divided into 4 groups (percussions, strings, winds and electronics), playing at 3 moments. In each moment, the musicians has to play 3 times a sequence of 3 times. Which is at the end 3x3x3, so 27 times, but always the same sound.” Cyril Bondi
13,00€
Out of stock
CD
DAVIES-PATTERSON-TOOP
“Wunderkammern”
“David Toop laptop, steel guitar, flutes, percussive devices. Rhodri Davies harp, ebows, electronics, preparations. Lee Patterson amplified devices, field recordings. Recorded by Dave Hunt at Dave Hunt Studio, London, 24 July 2006. Magnificent, tight studio recordings from 2006 by a trio of UK improvisers of different generations, coming together to create a rich and strange soundworld of whispered, scraped and quietly haunting reverberations.” label info
11,00€
In stock
CD
Tiziana BERTONCINI-Thomas LEHN
“Horsky park”
“Tiziana Bertoncini (violin) and Thomas Lehn (analogue synthesiser). Recorded in Milan, Italy in july 2006. Recorded in Heidelberg, Germany in november 2010. Galaverna was recorded on November 11th, 2010 at Festival Pulsi, Triennale Bovisa, Milano, Italy. Moss agate was recorded on July 30th, 2006 at art ort Festival, Heidelberg, Germany.Recorded, mixed and mastered by Thomas Lehn and Tiziana Bertoncini.” label info
14,00€
Out of stock
CD
Terry JENNINGS-John CAGE
“Lost daylight”
“The compositions on ‘Lost Daylight’ (at10) by John Cage and the almost-forgotten American Fluxus composer Terry Jennings date from between 1958 and 1966. Yet in the hands of John Tilbury and Sebastian Lexer they sound astonishingly modern. Jennings’ solo pieces couldn’t be more conventional in using only pure keyboard notes, but they could hardly be more radical in the way in which the notes are reduced, isolated and surrounded with silences. As Michael Pisaro’s sleevenotes say, “It is music of simplicity and great mystery. There are bar lines, but nothing feels counted: things happen in moments not measures… The sounds drift, suspended in a dense medium of some kind. The shape of a piece emerges gradually, like the hills appearing as the marine layer burns off. Each piece feels like a small event extended in time.” The score for John Cage’s ‘Electronic Music for Piano’ is nothing more than a few sketchy suggestions for ways in which David Tudor might combine Cage’s ‘Music for Piano’ with the use of electronics. On ‘Lost Daylight’ Sebastian Lexer has transformed John Tilbury’s performance with an alchemical array of electronic techniques, using - as Cage had suggested - star charts and other random processes to determine the editing of the 40 minute interpretation. The result is the first recording of the piece that really sounds like ‘electronic music for piano’ rather than piano music subjected to a minor electronic treatment.”
12,00€
In stock
CD
Sophie AGNEL-Bertrand GAUGUET-Andrea NEUMANN
“Spiral inputs”
Sophie Agnel (piano), Bertrand Gauguet (alto and soprano saxophones) and Andrea Neumann (piano frame & electronics). Recorded in Mulhouse, february 2010 and Le Garric, june 2008. Mixed on 23rd and 24th September 2010 at GMEA studio, Albi (81). With the support of GMEA, National Centre for Musci Creation, Albi. The recordings took place during a first residency in June, 2008 at GMEA, National Centre for Music Creation, Albi and during a second residency in February, 2010 at Meteo Festival, Mulhouse. label info
14,00€
Out of stock
CD
Olivia BLOCK
s/t
New work for piano and organ (2017).
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
13,00€
Out of stock
CD
Morton FELDMAN
“Piano, Violin, Viola, Cello”
Feldman’s last work, played by Mark Knoop, piano, Aisha Orazbayeva, violin, Bridget Carey, viola, Anton Lukoszevieze, cello.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
13,00€
Out of stock
CD
Melaine DALIBERT
“Ressac”
Two modular pieces for solo piano, composed and played by Melaine Dalibert.
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
13,00€
Out of stock
CD
Martine ALTENBURGER-John RUSSELL
“Duet”
“As a teenager in the 1970’s John Russell took guitar lessons with Derek Bailey, and his playing is firmly in Bailey’s tradition: an exemplary instrumentalism which combines unconventional techniques with an unashamed love for the natural sounds and resonances of the instrument. Duet consists of a complete set played at a 2008 festival in France with Martine Altenburger, a much under-rated cellist who has performed in both improvised and contemporary classical settings with musicians such as Le Quan Ninh, Thomas Lehn, Michel Doneda and Frédéric Blondy.” label info
12,00€
In stock
CD
Martin ARNOLD
“The Spit Veleta”
The second CD in the Canadian Composers Series contains three recent works by the Toronto-based composer Martin Arnold, played by Mira Benjamin (violin) and Philip Thomas (piano). Three linked pieces by the maverick Toronto-based composer who says that his music aspires to sound like “slow-motion dance music recorded underwater in a methadone clinic”. Solos for piano and violin, plus a duo for both instruments, played by Mira Benjamin and Philip Thomas. In his introductory essay to the booklet accompanying the Canadian Composers CDs, Nick Storring quotes a comment that Arnold made about one of his earlier works, highlighting a quality which Storring feels applies to a large part of Arnold’s compositional output: “The piece is not intended to be demonstrative but rather placidly elusive; it is not meant to sound recognizably innovative but rather disorientingly (but quietly and good-naturedly) perverse.”
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
14,00€
Out of stock
CD
Marc SABAT
“Harmony”
The fifth CD in the Canadian Composers Series is also the debut appearance on Another Timbre by the Jack Quartet. It features chamber music for strings by the Berlin-based composer Marc Sabat, whose compositions explore the world of Just Intonation. But, as Nick Storring argues in the booklet accompanying the Canadian Composers Series of CDs, “to fixate upon this aspect of his music conceals at least half of what makes it so beguiling and beautiful. From an aural perspective, what is most salient about his work is not the system itself but his fluency within it. Part of this is attributable to his deep insight and compassion surrounding performance. Prior to his shift from to Toronto to Berlin, Sabat was revered as a violinist, and in his Euler Lattice Spirals Scenery quartet one hears the fruits of his tireless exploration of pitch. But his music never comes across as a dry academic study. Rather his rich treatment of the string quartet as medium brings the listener into close proximity with the palpable joy Sabat experiences in discovering these sonorities. It’s anchored in a reflective, unhurried temporality, but full of radiant blossomings of sound, wild sparkling eruptions in the instruments’ uppermost registers.”
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
14,00€
In stock
CD
Lucio CAPECE
“Awareness about”
Four recent pieces by Berlin-based instrumentalist, composer and improviser, Lucio Capece, all focusing on the process of listening. One piece performed by Konzert Minimal, the others all solo performances, including Lucio’s extraordinary piece at the Halle des Expositions in Evreux, France, using speakers hanging from helium balloons and location recordings through cardboard tubes.
13,00€
In stock
CD
Linda Catlin SMITH
“Dirt Road”
An extraordinary journey for violin and percussion, stretching across 15 movements and over 68 minutes. Canadian composer Linda Catlin Smith is one of the best-kept secrets of experimental music, and ‘Dirt Road’ is one of her few concert-length pieces. Brian Olewnick writes “this striking, gorgeous album from Linda Catlin Smith is wonderfully played by Mira Benjamin (violin) and Simon Limbrick (percussion)… definitely check it out.”
14,00€
In stock
CD
Lee PATTERSON – Vanessa ROSSETTO
“Temperament as waveform”
Long-awaited duo, assembled over a period of two years as a result of file exchanges between Manchester UK and Austin Texas between 2010 an 2012. Four tracks of powerful electro-acoustic composition from two like-minded musicians who have never met in person. “This fascinating album manifests both the frustration and invention that can emerge from inter-continental collaboration. It is an album of sacrifice - one that subsumes existent tendencies into the creation of a whole beyond individual identity”. Matthew Revert, Surround.
14,00€
Out of stock
CD
Jürg FREY
“Circles and Landscapes”
Works for solo piano played by Philip Thomas.
78 minutes of wonderful piano music by Jürg Frey: five new or recent pieces together with “In Memoriam Cornelius Cardew” from 1993.
“Philip Thomas presses the keys with such resonating deliberation that I felt I was at the piano with him. There is not only vibrant life in this music, but maturity….[Frey] is beyond the need to prove something, or make a point. His music just is.” (Debra Richards, Swissvibes)
14,00€
Out of stock
CD
John CAGE
“Four4”
“Four4 for four percussionists (1991). By Simon Allen, Chris Burn, Lee Patterson, Mark Wastell. A unique realisation of one of Cage’s late “number pieces” by an ensemble of musicians better known for their work as improvisers. The 72-minutes piece uses a system of flexible time brackets which were determined randomly according to a computer programme. Each musician chooses a number of sounds and assigns each of them them a number. Every time that number occurs above one of the time brackets, they play that sound.” label info
12,00€
Out of stock
CD
John TILBURY – John LELY – Dirar KALASH
“Seaside”
John Tilbury recording on clavichord for the first time, playing compositions by Christian Wolff (two of his ‘Tilbury’ pieces) and John Lely, plus improvising with the young Palestinian musician Dirar Kalash on oud, and John Lely on electronics.
14,00€
In stock
CD
John CAGE
“Winter Music”
“Winter Music” (1957). Version for four pianos. With Mark Knoop, Catherine Laws, Philip Thomas & John Tilbury.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
13,00€