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CD
Charlemagne PALESTINE
“CharleBelllzzz at Saint Thomas”
HelllszzzBelllszzz!
alga marghen proudly presents “CharleBelllzzz at Saint Thomas”, a CD in tri-folded digipak sleeve including the original Bells Studies by Charlemagne Palestine. Sixth chapter of the “Golden Research” series, these previously unreleased tracks are both some of the earliest recordings by Charlemagne and some of his darkest and most accomplished works ever.
“Bells Carillon” and “St Thomas Bells”, both recorded at unidentified dates between 1966 and 1968, are maximal bells pure resonating frontal attacks, building up in a structure that is already anticipating the later Strumming campaigns. Unique and clashing dissonances created like a spontaneous outburst, “instinctively” and “right away”. Charlemagne played the bells right next to his body. The sounds became physical, visceral, each crack of the clapper was like a small earthquake.
In 1963 while attending the high-school of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art. Charlemagne decided that he loved these voluptuous Taylor bells, high up in a tower and accessible only by a spiral staircase, that clanged all over 53rd Street and 5th Avenue… every day of the week from 1963 to 1970 when he left NYC to study and teach at CAL Arts.
Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “klanggdedangggebannggg” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!
World premier edition of these legendary seminal works!
alga marghen proudly presents “CharleBelllzzz at Saint Thomas”, a CD in tri-folded digipak sleeve including the original Bells Studies by Charlemagne Palestine. Sixth chapter of the “Golden Research” series, these previously unreleased tracks are both some of the earliest recordings by Charlemagne and some of his darkest and most accomplished works ever.
“Bells Carillon” and “St Thomas Bells”, both recorded at unidentified dates between 1966 and 1968, are maximal bells pure resonating frontal attacks, building up in a structure that is already anticipating the later Strumming campaigns. Unique and clashing dissonances created like a spontaneous outburst, “instinctively” and “right away”. Charlemagne played the bells right next to his body. The sounds became physical, visceral, each crack of the clapper was like a small earthquake.
In 1963 while attending the high-school of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art. Charlemagne decided that he loved these voluptuous Taylor bells, high up in a tower and accessible only by a spiral staircase, that clanged all over 53rd Street and 5th Avenue… every day of the week from 1963 to 1970 when he left NYC to study and teach at CAL Arts.
Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “klanggdedangggebannggg” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!
World premier edition of these legendary seminal works!
15,00€
In stock
CD
Charlemagne PALESTINE
“In-mid-air”
The first electronically generated sounds that Charlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especialy the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the elctronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous ’Podme Electronique’ of Varese, Xenakis and ’Gesang der Junglinge’ of Stockhausen. He immediately reacted buying a cheap reel to reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sounds waves looked and sunded like through an oscilloscope and he began studying Helmholtz’s on the sensation of tone. He started dreaming of an expressive continuous evermoving, everchanging sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white niose to create sonorities constantly changing timbres and weight. Five early electronic compositions including ’Sine Tone Study’ (1967); ’Open Closing’ (1968), created through speed alterations of ’Holy 1+2’; ’Seven Organism Study’ (1968); ’Negative Sound Study’ (1969) and ’Timbral for Pran Nath’ (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously unreleased. 3-folded digipak cover with original photos and liner notes written by the composer.
15,00€
Out of stock
CD
Ben PATTERSON
“Early works”
Alga Marghen proudly presents the first record ever produced by Ben Patterson: ’This is not only my first CD, but also the first recordings of these works available to the general public.’ Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avantgarde music classics, a crossover between John Cage exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: ’Duo For Voice And A String Instrument’ and ’Variations for Double-bass,’ both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. ’Duo’ was Patterson’s most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while ’Variations’ represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; for this purpose a collaboration was asked to Philip Corner, Walter Marchetti, Davide Mosconi and a few more friends. These newly recorded pieces include ’A Simple Opera’ (1995), a repetitive hommage to Emmett Willons on his 70th birthday; ’Paper Piece’ (1960), the work that cut the umbilical cord to all of the author’s previous classical and contemporary musical training and experience, and ’Pond’ (1961), a piece that reminds of Richard Maxfield’s electronic music with voice collage. The edition includes a fold-out 16 page insert with original scores and photos.
15,00€
In stock
CD
Anton BRUHIN
“Rotomotor”
The new compact disc by Anton Bruhin issued by Alga Marghen is titled Rotomotor and covers two different areas of the artist’s research. The first one is represented by a group of works including the short and mysterious environmental recording ’Orax’ as well as ’Lange Tone’, ’Versuchpilz 6’ and ’Paul is 35’, three excerpts from the epic ’MC-10 zyklus’ created between 1976 and 1977 recording various layers of sound sources on two cassette recorders with loudspeakers. The complete zyklus consists of 12 different episodes (each one ten minutes long) which investigate the multi-layer ping-pong recording technique; the spatial illusion of the monoaural replay which moves away from the listener’s ears into the depth of space. Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. ’r o t o m o t o r: ein motorische Idiotikon’, the title track, is a 28 minutes long reading, one of Bruhin’s major works. Rotomotor is a poetic Idiotikon of the swiss-german dialect where, instead of the straight alphabetical order, the words are organised according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an Akre.
15,00€
Out of stock
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Anton BRUHIN
“Vom Goldabfischer”
“The new compact disc by Anton Bruhin issued by Alga Marghen is titled Vom Goldabfisher and presents for the first time on cd the classic experimental folk recordings with the same title first issued on LP in 1969.”
15,00€
In stock
CD
N.A.D.M.A.
“Paura”
“NADMA was officially born between August and the beginning of September 1972 during the time spent in a little village in the Tuscan-Emilian Apennines. The identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sentibilities coming from avant-garde jazz experiences liberated by post-free curents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. All the group members assimilated and creatively incorporated the most progressive influences of Afro-American music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-European, especially African, musical cultures. The Natural Arkestra Da Maya Alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by RCA in 1973. The group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. The concerts took place mostly in Milan during 1973-74. The CD starting this series, “Paura”, is named after the first track of the NADMA concert at Circolo Lepetit in Milan in March 1973, presented here in its entirety. In this concert, the very first live concert preserved on tape, NADMA already performs a well-established repertoire, integrating and expanding upon the material of the RCA LP. Davide Mosconi himself documents the aesthetic and existential horizons of NADMA in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. The 16 pages booklet also includes and essay by Gabriele Bonomo as well as orignal documents and photos.”
15,00€
In stock
CD
ARIHA BRASS QUARTET
s/t
Axel Dörner trumpet. Franz Hautzinger trumpet. Mazen Kerbaj trumpet. Carl Ludwig Hübsch tuba. Recorded (on the 20th and 21st of november 2013). Artwork & design by Mazen Kerbaj.
15,00€
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CD
“A” TRIO
“Music to our ears”
Mazen Kerbaj, trumpet. Sharif Sehnaoui, acoustic guitar. Raed Yassin, double bass. All music improvised by Kerbaj, Sehnaoui, Yassin. Recorded, mixed and mastered by Fadi Tabbal at tunefork studio on the 29th and 30th of september 2010. Artwork & design by Mazen Kerbaj.
14,00€
In stock
CD
SPILL
“Stockholm syndrome”
Magda Mayas, piano. Tony Buck, drums. All music by Magda Mayas and Tony Buck. Track 1 recorded live by teemu korpipää at kiasma theatre, helsinki, on the 12th of november 2010 during the äänen lumo festival for new sounds. Track 2 recorded live at nasjonal jazz scene, oslo, on the 20th of october 2010. Mixed and mastered by Tony Buck. Artwork & design by Mazen Kerbaj.
14,00€
In stock
CD
Stéphane RIVES
“Much remains to be heard”
All music by Stéphane Rives (soprano saxophone). Recorded in october 2007 at Villa Bustros, Beirut. Recording, mixing and mastering by Stéphane Rives.
“In my first solo record, Fibres (on Potlatch), the physicality of sound - meant in both dimensions of physics and corporality - made the listener instantaneously captive of the predominant high-pitches, the density of the textures and the stretched durations. It offered to hear a work in progress, where the assumed presence of labour took part in the process of the music itself, putting in question the very act of listening by forcefully imposing its occupation of place and time. For instance the process created by the combination of mechanical and acoustic factors proper to the saxophone could bring the totality of desired random events, but paradoxically also had the negative effect of constraining the sound field into a space that is very difficult to mould. Guided by this paradox, I was first drawn towards extending the duration of the solo to exhaust it’s intrinsic possibilities, but the repeated experience of live situations lead me to a transformed problematic. This new solo presents itself less as a continuity of Fibres, but rather as an "introspection" of the elements present there, emancipated from their agglomerated state. The progressive discontinuous density of this piece gives silence a its role of quasi existential questioning yet liberating the listener from its apparent formalism, allowing him to relocate his listening in a space and a temporality that is his own. This autonomy pushes, I believe, towards an increase of tension and expectation. This solo is neither an improvisation nor a composition. The sound elements created through improvising are not ordered according to a premeditated composition, but rather by a shaping of intuitions derived from concert experiences. The piece was built in a natural and continuous equilibrium where sounds seem to generate one another within their structural components - intensity, dynamics, duration, stability, thickness…” Stéphane RIVES - Beirut, January 2008
14,00€
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Nicholas CHRISTIAN-Matt MILTON-Eddie PREVOST-Bechir SAADE
“A church is only sacred to believers”
“Recorded on sunday 17th of june 2007 at Atomic studio London by Tim Adams. Mixed and mastered by Marc Codsi. Artwork and design by Mazen Kerbaj. Spontaneity is not mere impulse... It does not imply undeliberated behaviour or feeling. Spontaneity is behaviour, feeling and thought that is free of external constraint, of imposed restriction. It is not an an uncontrolled effluvium of passion and action. Insofar as the individual removes the fetters of domination that have stifled her or his self-activity, she or he is acting, feeling and thinking spontaneously. [...] Spontaneity does not preclude organization and structure... [It] ordinarily yields non-hierarchichal forms of organization.” Murray Bookchin, On Spontaneity and Organization, 1972. (quoted by Maurice Brinton in Solidarity Pamphlet 49, December 1975)
In 1999 I took part in the Guelph Jazz Festival Colloquium in Ontario, Canada. During this festival I presented a key-note talk, played some drums and presented some ideas in a music ’clinic.’ After my practical demonstration and discussion with the audience, LaDonna Smith a violinist and an improviser of long-standing, enquired whether I offered this ’workshop’ practice on a regular basis. To which I replied that I did not. To which she responded by saying that I should. On the long flight home from Canada to England I began to reflect upon LaDonna’s words. And, finally I resolved (given I was reaching a - let us say - maturer period in my life) that such an initiative might have some merit. I made myself the promise that I would start a workshop devoted to improvisation with an emphasis upon what I think of as an ’experimental’ kind. The promise included the caveat that I would continue to do this until people stopped coming. With the initial help of the London Musicians’ Collective I found a place to hold a weekly session in central London and, mostly through the grape-vine, people began to arrive. Nine years later they are still coming. And, I suppose it means that I will have to continue. But contrary to whatever vision I had of any outcome, the experience of being involved in the Friday night improvisation workshop in London has produced innumerable, unmeasurable and unexpected outcomes. Not least being meeting with some very remarkable people. For at the date of this CD, some three hundred people have been to this workshop, representing over twenty different nationalities. So, it is not particularly surprising that half of this ensemble are non British. Bechir Saade is from Lebanon and Nicolas Christian is from France. What is surprising however, is the seriousness of the engagement. For in this most informal and fragile of musical forms, in which the musicians are searching and simultaneously reviewing new sounds and new configurations and responses, it would be a surprise if there were no doubts about this practice and numerous failures. But of course, negotiating failure (whatever that might be!) can be the route to other kinds of success (whatever that might be!). One thing of which I do feel certain however, is that in an enquiring and open-minded engagement, of the kind that characterizes improvisations such as on this CD, requires the development of an unconventional intelligence. In the looking for new sounds and new musical (and social) relationships the mind accesses (and maybe thereby enhances) a cognitive fluidity. For to make music of meaning for the moment the musician has to go beyond what is understood as the ’musical’. Paradoxically, the ’notion of music’ is perhaps an inhibiting factor in making music. Music for the world at large had perhaps become a fixed idea and often institutionalised. Possibly forms of music have become kinds of a church that is subtly alluded to in this title for the CD. Whether or not we too are creating a church may be an open question. Certainly the way we work, individually and together, suggests and encourages methods and an ethos very different from any other kind of music I know of. If it is becoming ’a church’ (and co-incidently the weekly London workshop takes place in the school room of a Welsh Chapel), then it is extremely open and tolerant of all approaches. All that it seems to abhor is unthinking responses and intolerance itself.” Eddie Prévost - 30th September 2008
14,00€
In stock
CD
Mike COOPER – Chris ABRAHAMS
“Trace”
Veterans experimental musicians Mike Cooper (originally from the UK, now living in Italy) and Chris Abrahams (from Australia) first teamed up as a duo in Sydney in 2005 to record the album Oceanic Felling Like, released in 2007 on Australian label Room40 to critical acclaim. Their second album Live In Sydney was recorded in April 2009 at a Sydney Improvised Music Association (SIMA) concert in the Sound Lounge of Sydney University, and released on Turkish improv music label Re:Konstrukt in late 2009. Trace, the duo’s second studio album, was released by Lebanese experimental label Al-Maslakh in April 2014, during the 14th edition of the Irtijal Festival for improvised music. Mike Cooper, electroacoustic guitar, effects. Chris Abrahams, piano, organ and electric piano. All music improvised, recorded and mixed by Abrahams and Cooper in Sydney, Australia on the 9th of April 2009. Artwork and design by Mazen Kerbaj. Inside drawings by Mike Cooper.
14,00€
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CD
Christine SEHNAOUI – Michel WAISVISZ
“Shortwave”
Edition of 500 numbered copies. About the recording : Christine Sehnaoui and Michel Waiswisz, met in Sweden in September 2006 when they performed a trio with percussionist Sven-Åke Johansson (this music can be heard on the Beirut-Ystad / Olof Bright CD16/17). They kept on working together until the present days whenever that was possible. The highlight of their collaboration could be several full days of recording at the famous GRM studios in Paris at 2 different periods during the year 2007. Selecting the music that you will hear on this CD has surely been the hardest part of the entire process. There was so much interesting and different material available that narrowing them down to an hour seemed an impossible task. There have been as much as 6 different versions of the recording, many of them with no single track in common, and all of them seemed perfect in the moment. The final decision was made after the artists gave the label this responsibility. We hope to have made the most out of the material at hand. About the musicians : Christine Sehnaoui has emerged in a short period as an innovative alto sax player, developing a personal language on her instrument. She has been involved in the Lebanese improvisation scene since its very first hours. Michel Waisvisz is a key figure in the live-electronics scene. He is one of the first live performers on synthesizers and the creator of many instruments, the most famous being the Crackle-Box and The Hands. Shortwave is his first studio recording to be released since the late seventies.
14,00€
Out of stock
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COMPILATION
THE GAMELAN OF THE WALKING WARRIORS
A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession.
The international audience’s interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, 60s and 70s which largely encouraged the discovery of this music beyond Indonesia’s borders. Taking advantage of a more advanced technology compared to the vinyl golden era, the present field recordings produced in 2011 render at the closest the power of gamelans. They are presented here in two forms. The first one offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect of the compositions. The second one presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse.
With The Gamelan of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Vincenzo Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (Sublime Frequencies, 2016).
The international audience’s interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, 60s and 70s which largely encouraged the discovery of this music beyond Indonesia’s borders. Taking advantage of a more advanced technology compared to the vinyl golden era, the present field recordings produced in 2011 render at the closest the power of gamelans. They are presented here in two forms. The first one offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect of the compositions. The second one presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse.
With The Gamelan of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Vincenzo Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (Sublime Frequencies, 2016).
14,50€
Out of stock
CD
Thomas LEHN-Marcus SCHMICKLER
“Navigation in hypertext”
“Lehn and Schmickler’s 1st recording BART is considered one of the best synth improv albums ever made. Since BART, dating back to 2000, the duo has toured frequently through Europe, Japan and the USA.This double-release, features some of the best performances the duo recorded over the course of 15 live concerts. A brilliant amalgam of the two musicians’ strengths, Navigation im Hypertext utilizes both improvisation and studio postproduction techniques to create a lasting work, combining the feel of a classic composed electronic music record with the raw, crackling energy of a free improv-session. Exciting and destabilizing, Navigation im Hypertext will surprise even the most hardcore Lehn fan : intertwined with Schmickler’s, his art never sounded this rich. If anything, Navigation im Hypertext takes electronic improvisation one step further. The arrangements range in tone from softer clusters of sound to more abrasive movements.” (label info) Comes in digipack, CD-only release.
12,00€
Out of stock
CD
Marcus SCHMICKLER – John TILBURY
“Timekeepers”
Ten years after their “variety” CD, A-Musik presents the brilliant second release by John Tilbury (piano) and Marcus Schmickler (computer). Recorded in January 2012 at Loft, Köln, mixed in December 2014 at Piethopraxis.
13,00€
Out of stock
CD
Marcus SCHMICKLER-John TILBURY
“Variety”
Musical events which are more or less alien to each other meet in a wide and harmonically differentiated space, which is explored in different directions. Briefly, they communicate - only to seperate again. Diverse actions form a clearly discernable foreground: the piano provides flageolets and piccicati, slow arpeggi and feldmanesque figures which move through the space supplied by the computer sounds while, at the same time combining with these. From time to time, little events rear their heads as if posing a question. A mutual pulse is an altogether rare occurance. The piano’s harmonic figures meet with computer sounds unexpectedly within a slowly changing acoustic environment. Piano pixies sing and dance serenely in a virtual space while the noises from the instrument insitage dialogues with the computer. The music ist tranquil, never aggressive and is at almost every moment polyphonic in the good old sense of the word. Pretty often, the two musicians play on two different planes so that in spite of the slowness of the whole thing, the resulting complex relationships offer a lot of surprises. Once the listener has become engaged in this process, he/she will remain so and become ever more curious. The sureness and the tranquility which emanats from these musical actions, figures, shapes and processes, acknowledges and asserts the ghost of Morton Feldman, who seems to hover benevolantly over these sounds: stop asking questions.” Johannes Fritsch (2005)7,5010,0012,00
A-MUSIKAllemagneMarcusSCHMICKLER“Wabi sabi”a 3CDVersion CD. “Wabi sabi” (1995) et “Param” (1995), deux pièces de musique électronique réduites à la stéréo du CD où Marcus Schmickler sculpte avec finesse et délicatesse les fréquences dans un flux abstrait et continu sous le regard de quelques êtres sonores.“Wabi Sabi is a staggering sounding, beautifully packaged and simply significant contemporary electronic album by marcus schmickler out of the thriving german underground music scene. schmickler has one release under his own name on the odd size label in france, and was a contributing member of pol and kontakta on the same label. most recently he released the exceptional pluramon pick up canyon album on the mille plateaux label (which featured the guest drumming of jaki liebezeit). this cd consists of two pieces: wabi sabi" -- a devastating 33 minute 2-channel spatial composition that mixes gorgeous flowing electronics ala francois bayle with moments radio-static density and transcending sound waves. "param" is a shorter work of 2-channel, powerfully droning electronics. "the pair of terms wabi and sabi are expressions of an attitude towards life that draw the power of artistic creation from silence and decay.”
12,00€
Out of stock
CD
TARAB
“Take all the ships from the harbour, and sail them straight into hell”
“The title to this album from Tarab (nee Eamon Sprod) is striking enough in its allusions of damnation, with a watery grave a potential outcome from human activity impacting the earth. So, it may be stating the obvious that the corroded locations where mankind has scarred the surface of the earth feature prominently in the work of this Melbourne based sound artist. The residual elements of these sites become the agents for metaphor and allegory in Tarab’s work, documented through field recording and sympathetic actions with found objects from those sites. One such location that features prominently in Take All of the Ships... is Angel Island in the San Francisco Bay. Once the home of an immigration station at the turn of the 20th Century and later a Nike Missile site for the US military, Angel Island now rests in the hands of the US National Park Service, which has left some of the buildings to succumb to the forces of decay. From the sounds culled from this site and others closer to his antepodean home, Tarab diligently overlays and stiches together a highly tactile composition with very little digital treatments to speak of.Take All of the Ships... opens with an ominous rumble whose frequencies appear to emerge from the center of the Earth and liquefying the surface upon impact. As these tones ebb and flow, Tarab unveils as revolving series of exaggerated details from a hyperbolic gash of two heavy pieces of metal grinding against themselves to a toxic chorale of nighttime insects to sand, wind, and surf detourned into sedimentary white noise. Tarab’s compositional sensibility shifts throughout the album, at first sparsely situating these sounds into shadowy vignettes. Gradually, Tarab coalesces this sublime opus into an arcing crescendo which exhibits sustained harmonics rarely heard in the best of the contemporary dronemusik technicians much less from the realm of sound ecology.”
12,00€
In stock
CD
Kiko ESSEIVA
“Le temps des moteurs”
Three pieces of musique concrete. Unnerving and at times eerie soundscapes, a soundtrack of disquiet.
“Esseiva is a composer of musique concrete sound collages. Into the melting pot goes a fine blend of electronics, field recordings, recordings from around the house and a bit of instruments, of which I recognized the piano mostly. These sounds are probably processed in some way or another and layered together in a very fine way. Mostly these sounds are stretched out quite a bit and superimposed on each other; maybe Esseiva uses a bit of time stretching, maybe loops, I am not sure of either (or both) and acoustic elements are looped on top; sometimes they are cut out abruptly and something else happens. In ‘Amplitudes Des Serpents’ this is done with some delicate and excellent quality. It is a very mysterious world that he pictures in this piece of shimmering sustaining sounds versus acoustic loops. That is a great piece, but so are the other two. Here we have mild noise passages, slightly distorted organ sounds and looped field recordings. This is an excellent release”. (FdW in Vital)
7,00€
Out of stock
CD
Paolo PARISI-John DUNCAN
“Conservatory (San Sebastiano)”
Back in stock. Full color 64 pp. paperbound catalogue with installation audio CD mounted in separate cover, both inserted in paper box. Catalogue : Texts (English / Italiano) by Daniela Cascella, Pietro Gaglianò, Giovanni Iovane, & Sergio Risaliti. Audio CD : John Duncan : shortwave, processing. Catalogue and CD cover produced by Maschietto Editore. CD produced by Allquestions. “Referring to the soundtrack for Conservatory (San Sebastian), Duncan speaks of “ghost voices”, emphasizing a line of research he’s followed in the last several years beginning with Phantom Broadcast (2002), the audio work and live concert performances that utilize a shortwave radio transmission intercepted in the course of a single recording: a shadow play that assumes the form of bells resonating into infinity, where they merge and reverberate, morphing into choruses suspended in space. Duncan’s recent work seems to outline the echoes of complex choral compositions and preclude the senses, where we can discern only a reflection that grows thin or thick, as if it were breathing. Tension is accumulated gradually without burning in dramatic or resolved passages; or better still, we could speak of infinite extensions of a single moment of climax, because at the climax these works contain the strength to unwind in a series of minimal tonal variations. Phantom broadcast: in his work Duncan renders perceptible sounds that are difficult to capture, belonging to a dimension impossible to measure in human terms, urging us to pay more attention to what we pass by and ignore. From the beginning of his more than twenty years of activity, his constant attempt has been to approach sounds that go beyond the normal, and the challenge given to everyone (above all to himself) has been to take possession of one’s own fears and limits. Voice is the sonic element investigated by Duncan with particular attention in the first years of the new century, as if it were a form of resident energy still calmed, capable of emitting forces that are vital to his art. This new investigation, outlined in a series of albums, is resolved in the installation The Keening Towers, realized for the 2003 Göteborg Biennial where childrens’ voices multiply in the air in an energetic rush. In the work realized for Conservatory (San Sebastian) Duncan utilizes darker vocal sounds giving form to an elusive audio-presence, a further ghost transmission at the limits of human measure: once more the sound is a gossamer diaphragm and necessary passage, so that what transcends our normal sense of hearing might be perceived here in all its evocative power.” Daniela Cascella, catalogue
31,00€
In stock
4 CD
Charlotte MOORMAN
“Cello anthology”
4 CD with book and inserts in splicase. New edition of 250 copies!
It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realised in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's œuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author'. The presence of Charlotte Moorman as catalyst must be realised in such an evaluation.
“Cello Anthology" is a collection of documents—sonic and photographic—as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines—from music to sound and concrete poetry, form visual and plastic art to cinema and to video art—is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organised between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realised in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s—works which affirmed the Florentine artist on the international scene—and the reprint of Gisela Gronemeyer's poignant essay dedicated toCharlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents.
Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents—a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the US and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts (26'1.1499" for a String Player by John Cage, Duet II by Toshi Ichiyanagi and two works by Giuseppe Chiari: Per arco and Ave Maria di Schubert, both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's Synergy, a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of Plus Minus by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert Sonata No. 1 for Adults Only and especially the first performance of Opera Sextronique, both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's Duet II and an abbreviated version of Cage's 2'1.1499" for a String Player. Of the famous TV Cello—conceived by Paik for Moorman as a 'living sculpture'—the third CD offers an in situ recording realised on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This version contains respectively the TV Cello Duets with Paul Garrin and the Concerto for TV Cello and Videotapes, largely improvised, “including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience”. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition The Long Hot Summer, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterised by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video Waiting for Commercials, realised by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here.
Luxury edition including a 154 page book with original documents, full colour photos and scores; a set of 16 full colour inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.
It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realised in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's œuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author'. The presence of Charlotte Moorman as catalyst must be realised in such an evaluation.
“Cello Anthology" is a collection of documents—sonic and photographic—as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines—from music to sound and concrete poetry, form visual and plastic art to cinema and to video art—is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organised between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realised in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s—works which affirmed the Florentine artist on the international scene—and the reprint of Gisela Gronemeyer's poignant essay dedicated toCharlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents.
Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents—a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the US and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts (26'1.1499" for a String Player by John Cage, Duet II by Toshi Ichiyanagi and two works by Giuseppe Chiari: Per arco and Ave Maria di Schubert, both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's Synergy, a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of Plus Minus by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert Sonata No. 1 for Adults Only and especially the first performance of Opera Sextronique, both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's Duet II and an abbreviated version of Cage's 2'1.1499" for a String Player. Of the famous TV Cello—conceived by Paik for Moorman as a 'living sculpture'—the third CD offers an in situ recording realised on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This version contains respectively the TV Cello Duets with Paul Garrin and the Concerto for TV Cello and Videotapes, largely improvised, “including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience”. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition The Long Hot Summer, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterised by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video Waiting for Commercials, realised by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here.
Luxury edition including a 154 page book with original documents, full colour photos and scores; a set of 16 full colour inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.
98,00€
Out of stock
8 CD
COMPILATION
MUSICA FUTURISTA – A CURA DI DANIELE LOMBARDI
“A stunner of an 8CD box set dedicated to the history of Italian futurist music - put together by Daniele Lombardi - the most complete collection of music ever assembled in reverence of the historical Futurismo movement of the Italian avant garde! Disc 1 features Daniele Lombardi at the piano performing material by FB Pratella, Silvio Mix, F. Casavola and others, plus the first recording of L Russolo’s Intonarumori and Arco Enarmonico. Disc 2 features Metropolis - a three part composition by Lombardi, where intonarumori (noisemaker) samples are processed digitally. Disc 3 is the second collection of works by Daniele Lombardi with Gabriella Bartolomei, featuring recordings made for radio. Disc 4 features “vocal writing” performed by Gabriella Bartolomei and other works. Disc 5 is a tribute to Luigi Russolo. Disc 6 is a complete collection of all FT Marinetti’s “declamazioni”, from 1920 to 1935. Disc 7 features “Zavod”, a famous orchestral score by A. Mossolov and a collection of famous songs and piano compositions by H. Cowell. Disc 8 features Roberto Fabbricianni’s futuristic scores for solo flute.” label info
39,00€
Out of stock
7 CD
David TUDOR
“The art of David Tudor (1963-1992)”
David Tudor’s (1926-1996) identity morphed seamlessly from interpreter of mainly acoustic music to composer-performer of predominately electronic music over a period of about ten years, from the mid-1950s to the mid-1960s. This set of seven CDs, the first truly comprehensive survey of Tudor’s work as a composer, goes beyond any previous attempt to document that process of transformation. It captures his touch and sensitivity and offers an expansive, previously unavailable view onto more than three decades of Tudor’s astonishingly original work as an electronic musician. It neatly describes the arc of his career, from his first composition, Bandoneon ! (A Combine), through the fully-realized works of his long collaboration with the Merce Cunningham Dance Company. Six works that were issued in excerpted form in Music for Merce (1952-2009) are issued here complete. Other highlights include the live soundscapes for the Pepsi Pavilion at the 1970 Osaka World Expo, the marvelous simultaneous performance with John Cage of Mesostics Re Merce Cunningham/Untitled, and two extended binaural recordings of Rainforest IV with Composers Inside Electronics, the best recorded documents of this signature work. While Cage has finally more or less received his due, Tudor’s own accomplishments have been somewhat overshadowed and are ripe for a proper re-evaluation. It is our hope that the release of this set will prompt a thorough reconsideration of his seminal achievements.
David Tudor : Anima Pepsi, Bandoneon ! (A Combine), Neural Network Plus, Pepscillator, Pepsibird, Phonemes, Rainforest IV [Berlin, 1980], Rainforest IV [Stockholm, 1980], Virtual Focus, Weatherings, Webwork
John Cage / David Tudor [simultaneous performance]: Mesostics re Merce Cunningham / Untitled.
John Cage : Variations II.
Christian Wolff : For 1, 2, or 3 People.
David Tudor, Takehisa Kosugi, live electronics. John Cage, voice. Composers Inside Electronics : John Driscoll, Phil Edelstein, Ralph Jones, Martin Kalve, David Tudor, Bill Viola, live electronics.
David Tudor : Anima Pepsi, Bandoneon ! (A Combine), Neural Network Plus, Pepscillator, Pepsibird, Phonemes, Rainforest IV [Berlin, 1980], Rainforest IV [Stockholm, 1980], Virtual Focus, Weatherings, Webwork
John Cage / David Tudor [simultaneous performance]: Mesostics re Merce Cunningham / Untitled.
John Cage : Variations II.
Christian Wolff : For 1, 2, or 3 People.
David Tudor, Takehisa Kosugi, live electronics. John Cage, voice. Composers Inside Electronics : John Driscoll, Phil Edelstein, Ralph Jones, Martin Kalve, David Tudor, Bill Viola, live electronics.
90,00€
Out of stock
7 CD
COMPILATION
FTARRI COLLECTION
This 7-CD set contains 19 selected performances from the Ftarri Festival, held in April 2008 (Kyoto / Tokyo), and the Ftarri doubtmusic Festival, held in September 2010. The 7 CDs, together with a sequentially numbered Ftarri Collection card, come in a special handmade felt bag about 18 cm high and 17 cm wide. Each bag has a different design.
Ftarri Collection 1 with Opera Southern Cross (Taku Sugimoto: composition, images. Katsuaki Iida: words, reading. Toshimaru Nakamura: no-input mixing board. Taku Unami: computer). John Butcher / Toshimaru Nakamura / Tetuzi Akiyama. Otomo Yoshihide / Toshimaru Nakamura / Ryu Hankil.
Ftarri Collection 2 with Noid / Kai Fagaschinski / Axel Dörner / Taku Unami. Eddie Prévost / Sachiko M.
Ftarri Collection 3 with gnu (Masahiko Okura: compositions, bass clarinet, alto saxophone. Shinichi Tsukamoto: keyboards. Yukiya Taneishi: electric bass. Tadashi Kumada: drums. Itoken: drums). Ami Yoshida. Tim Olive / Anthony Guerra / Makoto Oshiro.
Ftarri Collection 4 with Los Glissandinos (Klaus Filip: lloopp + Kai Fagaschinski: clarinet). Bunsho Nishikawa / Tim Olive / Haco. Katsura Yamauchi / Ko Ishikawa / Tetsu Saitoh.
Ftarri Collection 5 with Naoaki Miyamoto. Chie Mukai / Tetragrammaton.
Ftarri Collection 6 with Chihei Hatakeyama / Kiyoshi Mizutani. Hello (Takahiro Kawaguchi: composition, bass guitar. Shinjiro Yamaguchi: guitar. Satoshi Kanda: bass guitar).
Ftarri Collection 7 with Seiichi Yamamoto / Umeda Tetsuya, VOIMA (Yasufumi Suzuki: computer. Tetsuro Yasunaga: computer). Tetuzi Akiyama / Utah Kawasaki / Katsura Yamauchi.
Numbered limited edition of 300
69,00€
Out of stock
7 CD
Luigi ARCHETTI
“Null I – VII”
Epic in scale, static, timbre and stillness, “Null” is a vast and profound music project that Luigi Archetti has been pursuing over a longer period. His musical research is not about Null (the German word for zero) as a mathematical object, as a real number. Instead, the term Null (zero) is used here as a metaphor in order to describe a state of pausing and anticipatory waiting. The music in project Null is characterised by static sounds, by drones and their overlapping and layering. The sound surfaces turn into acoustic sluggish material which flows slowly through time and gradually transforms itself. It is a constant gliding, a constant mutation of sound structures. Attempts to discover clearly defined melodies, rhythmically ordered structures or even beats are to no avail. A universe of sound particles diffuse in the foreground of the musical atmosphere, whereby the sounds do not provide any reference whatsoever to a possible location.
detail
All the sounds in the Null project are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigree sound fabric which develops a pull effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events.
detail
All the sounds in the Null project are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigree sound fabric which develops a pull effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events.
45,00€
Out of stock
6 CD
COMPILATION
GOODBYE, BABYLON
Back in stock.
2003.
“In February 1999 a college radio disc jockey named Lance Ledbetter set out on a mission to compile rare and essential recordings of vintage religious music. Four and a half years later the result of this journey was released as a box set called Goodbye, Babylon. The set consists of five CDs featuring 135 Songs (1902-1960) and one CD featuring 25 Sermons (1926-1941). Accompanying the CDs is a 200 page book with Bible verses, complete lyric transcriptions, and notes for each recording. All of the components is reverently packed with raw cotton and housed in a deluxe 8" x 11" x 2.5" cedar box. Six CDs. 200 page book. Cedar box. Raw cotton.” 160 tracks with among others, Rev. T. T. Rose and Singers, Blind Lemon Jefferson, Carter Family, Frank Palmes, Brother Claude Ely, Stanley Brothers, Skip James, Johnson Family Singers, Blind Roger Hays, Blind Willie Johnson, Washington Phillips, Hank Williams, Sam Jones, Famous Blue Jay Singers, Dock Reed and Vera Hall Ward, Jimmie Strothers, Elder Otis Jones…
95,00€
Out of stock
6 CD
COMPILATION
WANDELWEISER UND SO WEITER
“Wandelweiser und so weiter” is a 6-CD box set with 8 hours of music by a wide range of composers in or around the Wandelweiser collective. The box brings together previously unissued works by the most well-known composers in the Wandelweiser collective (Michael Pisaro, Antoine Beuger, Radu Malfatti and Manfred Werder), pieces by other Wandelweiser composers (Johnny Chang, Sam Sfirri, Eva-Maria Houben, Stefan Thut, Taylan Susam), as well as music by other composers whose work relates to Wandelweiser in some way, such as James Saunders, Dominic Lash, Anett Németh and John Cage. A central focus of the collection is the way in which Wandelweiser music has in recent years come together with the ’post-reductionist’ strand within improvisation. Many of the pieces on the box set are realisations of Wandelweiser scores by musicians who are better known as improvisers, but who have recently been drawn to the soundworld of Wandelweiser. All the tracks on the box set are new recordings played by different groupings of over 50 musicians including Angharad Davies, Radu Malfatti, Lee Patterson, Jurg Frey, Philip Thomas, Patrick Farmer, Rhodri Davies, Phil Durrant, Sarah Hughes, Dominic Lash, Anton Lukoszevieze, Tim Parkinson and many more.”
CD1, Confluences. Sam Sfirri, “natural at last” (2010) with Neil Davidson, guitar & objects, Rhodri Davies, harp, Jane Dickson, piano, Patrick Farmer, amplified objects / open CD players, Dimitra Lazaridou-Chatzigoga, zither. Antoine Beuger, “Lieux de Passage” (2008) with Jürg Frey, clarinet + Angharad Davies, violin, Phil Durrant, electronics, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano. Manfred Werder”2011(4)” with Anett Németh, recording, instruments, objects. Sam Sfirri “natural at last” (2010) with Angharad Davies, violin, Phil Durrant, electronics, Jürg Frey, clarinet, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano. James Saunders, “various distinct spatial or temporal locations” (2011) with Simon Reynell, coffee carton. Radu Malfatti, “Heikou” (2010) with Angharad Davies, violin, Phil Durrant, electronics, Jürg Frey, clarinet, Joseph Kudirka, double bass, Anton Lukoszevieze, cello, Radu Malfatti, trombone, Lee Patterson, amplified objects, Philip Thomas, piano.
CD2, Crosscurrents. Sam Sfirri, “the undulating land” (2010) with NMC Chamber Ensemble: Jason Brogan, electric guitar, Bill Carson, acoustic guitar, Jared Sinclair, flute, Kim Larson, clarinet, Ron Wiltrout, percussion, Sam Sfirri, melodica. John Cage, “Three2” (1991) with Simon Allen, Chris Burn & Lee Patterson, percussion. Pierre Borel / Johnny Chang / Derek Shirley, “Etchings” (2012) with Pierre Borel, alto saxophone, Johnny Chang, viola, Derek Shirley, double bass. Phil Durrant, “Sowari for Ensemble” (1997) with Phil Durrant, electronics, Lee Patterson, amplified objects & processes, Philip Thomas, piano. Michael Pisaro, “fields have ears (3b)” (2010) with Set Ensemble:
55,00€
Out of stock
5 CD
COMPILATION
TEXT-SOUNDS COMPOSITIONS. A STOCKHOLM FESTIVAL
Back in stock. “Fylkingen Records in collaboration with the Swedish Radio released a series of LP records with text-sound compositions between the years of 1968-77. All of these were documentations of the international festival Text-Sound Compositions. A Stockholm Festival, which Fylkingen presented in Stockholm several times during these years. Most of the LPs were only pressed in batches of about 400-500 records, and most of the LPs sold out during the festivals. A re-release had long been planned, and this 5 CD box marks the complete re-release of the complete recordings. Apart from the 5 CDs with in all ca 6 hours of material, the CD box contains a 60 page booklet with essays by Teddy Hultberg and Sten Hanson, as well as historical photographs taken by Lütfi Özkök during the festivals.
The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson, and was meant to serve to name a genre that was a vital art form in the no man’s land between sound, poetry, and music. Text-sound compositions had influences from previous modernistic waves such as futurism, dadaism, lettrism, etc., but perhaps the most important influence was the Swedish poet and visual artist Öyvind Fahlström, who had just over a decade earlier coined the term "concrete poetry". The term concrete poetry related to Pierre Schaeffer’s concrete music, and it is somewhere between concrete poetry and concrete music that text-sound compositions appear. The birth of the electronic music studio and concrete music’s idea that every sound can be freed from its original context and given a new meaning when it is reworked and put together with other sounds in the electronic music studio became the catharsis for text-sound composition. In the electronic music studio, voice and language sounds can be broken down, unleashed, and then fused together to become a poetry that had never been heard before. Certain text-sound composers would come to work only with pure lingual sounds, but most eventually came to integrate lingual sounds with other sounds, both concrete and electronic.
The CD box contains works by the following text-sound composers and sound poets: Charles Amirkhanian, Lars-Gunnar Bodin, Svante Bodin, Henri Chopin, Bob Cobbing, François Dufrêne, Gust Gils, Jarl och Sonja Hammarberg-Åkesson, Sten Hanson, Bernard Heidsieck, C. Christer Hennix, Åke Hodell, Bengt Emil Johnsson, Sandro Key-Åberg, Bengt af Klintberg, Ilmar Laaban, Annea Lockwood & Harvey Matusow, Arrigo Lora-Totino, Ghérasim Luca, Arne Mellnäs, Franz Mon, Ladislav Novák, Dieter Roth & Emmett Williams, Erik Thygesen, Paul de Vree.”
The term text-sound composition was coined in 1967 in Sweden by the composers/writers Lars-Gunnar Bodin and Bengt Emil Johnsson, and was meant to serve to name a genre that was a vital art form in the no man’s land between sound, poetry, and music. Text-sound compositions had influences from previous modernistic waves such as futurism, dadaism, lettrism, etc., but perhaps the most important influence was the Swedish poet and visual artist Öyvind Fahlström, who had just over a decade earlier coined the term "concrete poetry". The term concrete poetry related to Pierre Schaeffer’s concrete music, and it is somewhere between concrete poetry and concrete music that text-sound compositions appear. The birth of the electronic music studio and concrete music’s idea that every sound can be freed from its original context and given a new meaning when it is reworked and put together with other sounds in the electronic music studio became the catharsis for text-sound composition. In the electronic music studio, voice and language sounds can be broken down, unleashed, and then fused together to become a poetry that had never been heard before. Certain text-sound composers would come to work only with pure lingual sounds, but most eventually came to integrate lingual sounds with other sounds, both concrete and electronic.
The CD box contains works by the following text-sound composers and sound poets: Charles Amirkhanian, Lars-Gunnar Bodin, Svante Bodin, Henri Chopin, Bob Cobbing, François Dufrêne, Gust Gils, Jarl och Sonja Hammarberg-Åkesson, Sten Hanson, Bernard Heidsieck, C. Christer Hennix, Åke Hodell, Bengt Emil Johnsson, Sandro Key-Åberg, Bengt af Klintberg, Ilmar Laaban, Annea Lockwood & Harvey Matusow, Arrigo Lora-Totino, Ghérasim Luca, Arne Mellnäs, Franz Mon, Ladislav Novák, Dieter Roth & Emmett Williams, Erik Thygesen, Paul de Vree.”
49,00€
Out of stock
5 CD
Sven-Ake JOHANSSON
“More compositions”
KNM Berlin, Ensemble Zwischentöne, Eberhard Blum, Agnieszka Dziubak, Gunnhildur Einarsdottir, Sven-Åke Johansson, a.o. Rec.1992 - 2013.
“Italienische Vekehrsverständigung” (1983) for seven woodwindplayers
woodwind ensemble, conducted by SÅJ,recorded Ballhaus Naunynstrasse Berlin 1992. “Klingend und festgehalten” (1995) five stations for combo drum set
“Bom-Zeke-Bom” (1995) for septet, Ensemble Zwischentöne. “22 Miniaturen für Akkordeonorchester” (1991) for accordeon orchestra. Akeordeon Orchestra Berlin, direction by Gerhard Scherer, recorded Sophiensaele Berlin 2003. “Wagenstück” (1990) for sextet. Ensemble Zwischentöne, direction by Peter Ablinger, recorded Sophiensaele Berlin 2003. “Im Memoriam Tom Cora” (2007) for prepared cello and brushes. Agnieszka Dziubak cello, recorded Berlin 2007.
“Variations on Vimse” (2011) for harp. Gunnhildur Einarsdottir harp, recorded Berlin 2013. “Neue Kochstrasse” (2006) for grenaphon timpani and loudhailer.Sven-Åke Johansson grenaphon, timpani, loudhailer, recorded Technisches Museum Berlin 2006. “Konzert für MC(H-D) und gemischtem Chor” (2000) for motorcycles and mixed choir. Harley Davidson Ensemble, direction by Sven-Åke Johansson, recorded Marstall Berlin 2000. “Wegen Überfüllung bereits geschlossen” (1992), chamber piece for two voices, bandoneon, clarinet, piano, double bass, percussion. Ensemble Zwischentöne, direction by Peter Ablinger, recorded Ballhaus Naunynstrasse Berlin 1992. “Flötenquartett NR.1” (1992) for four flutes. Eberhard Blum, Johanna Kessner, Christiane Hellmann, Klaus Schoepp, flutes, recorded Museum der bildenden Künste Leipzig 1993. “Abovensen zur See” (2005) for Ship horns, voice and percussion. MS Friedrich, Hafenamt 1, Piguin, Feuerlöschboot Bremen, Schiff Zwei. Sven-Åke Johansson percussion, voice, recorded at Neues Museum Weserburg Bremen 2005. “Die neue Zeit ist pausenlos” (2008) for the Ensemble Zwischentöne, direction, Andrea Neumann, Bill Dietz, recorded Ballhaus Naunynstrasse Berlin 2008. “Polis, Wachs und Pomade” (2000) chamber piece for strings, wind instruments and voice. Axel Dörner, Michael Gross trumpets, Andrew Digby trombone, Ekkehard Windrich, Marc Sabat violine, Jörg Winkler viola, Sven-Åke Johansson voice, recorded at Konzerthaus Berlin 2002. “Abovensen geht leicht gebückt…” (2002) for voice and percussion. Sven-Åke Johansson drums, vocals, recorded at Konzerthaus Berlin 2002. “Einen staubigen Klang finden” (1998) for trumpet, bass clarinet, violine and double bass. Winfried Rager clarinet, Michael Gross trumpet, Arnulf Ballhorn double bass, Imke Dithmar viola, recorded at Rundfunkhaus Köln 1999.
35,00€
In stock
5 CD
Sven-Ake JOHANSSON
“Jazzbox”
Box with 5 CD’s with Cool Quartett vol. I, Cool Quartett vol. II, Cool Quartett / Cool Sextett, Tune up, Candy with Borghini, Delius, Dörner, Johansson, Roder, Takase, Terzic, Walsdorff, Williamson.
35,00€
Out of stock
5 CD
OMIT
“Enclosures 2011-2016”
Co-released with End of the Alphabet Records.
Since his first self-released cassettes in the early 1990s, New Zealand’s Clinton Williams aka Omit has been on a singular and personal musical journey. Described as one of the greatest outsider artists currently working in the field, Omit employs homebuilt instruments constructed from modified electric motors and salvaged sound sources to create a startlingly original soundworld. It is a world he inhabits alone, isolated in the small town of Blenheim in southern New Zealand, but it involves a deep exploration of the human condition. Over the years OMIT’s music has become less noisy and more sparse and minimal, as open signal patterns and oblique textures pass each other in haunted spaces.
“Enclosures 2011-2016” is a 5xCD box-set co-released by Pica Disk (run by Lasse Marhaug out of Norway) and End of the Alphabet (run by Noel Meek in New Zealand) and collects Omit’s most recent self-released albums, artefacts that originally came in super limited edition CDRs with hand-made covers between 2011 and 2016. Unavailable except directly from the artist, these beautiful works are now available remastered in a deluxe box-set along with OMIT’s famous surrealist drawings and science fiction themed artwork, plus liner notes by close friend and collaborator Bruce Russell (The Dead C/A Handful of Dust).
“Clinton Williams is the hardest-working man in minimal electronic music. He is one of two people I know fairly well who I honestly believe is possessed by genius.” Bruce Russell (from the liner notes)
Since his first self-released cassettes in the early 1990s, New Zealand’s Clinton Williams aka Omit has been on a singular and personal musical journey. Described as one of the greatest outsider artists currently working in the field, Omit employs homebuilt instruments constructed from modified electric motors and salvaged sound sources to create a startlingly original soundworld. It is a world he inhabits alone, isolated in the small town of Blenheim in southern New Zealand, but it involves a deep exploration of the human condition. Over the years OMIT’s music has become less noisy and more sparse and minimal, as open signal patterns and oblique textures pass each other in haunted spaces.
“Enclosures 2011-2016” is a 5xCD box-set co-released by Pica Disk (run by Lasse Marhaug out of Norway) and End of the Alphabet (run by Noel Meek in New Zealand) and collects Omit’s most recent self-released albums, artefacts that originally came in super limited edition CDRs with hand-made covers between 2011 and 2016. Unavailable except directly from the artist, these beautiful works are now available remastered in a deluxe box-set along with OMIT’s famous surrealist drawings and science fiction themed artwork, plus liner notes by close friend and collaborator Bruce Russell (The Dead C/A Handful of Dust).
“Clinton Williams is the hardest-working man in minimal electronic music. He is one of two people I know fairly well who I honestly believe is possessed by genius.” Bruce Russell (from the liner notes)
30,00€
In stock
5 CD
Jürg FREY
“L’âme est sans retenue I”
“L’âme est sans retenue I” (1997-98) for electronic tape.
Field recordings by Jürg Frey in Berlin, October - December 1997, composed and mixed in Aarau, Switzerland in 1998. Mastered by Taku Unami.
“There is music in which the time/space of sound and the time/space of silence appear in their own particular realms. Even if the sounds are often very soft, this music is not about failing into silence.. The sounds are clear, direct and precise. Since they have left musical rhetoric behind, there is instead a sensitivity for the presence of sound and for the physicality of silence. There are long periods of the presence of sound, and long periods of the absence of sound. The two together form the “time present” of the piece.” Jürg Frey from the liner notes.
Field recordings by Jürg Frey in Berlin, October - December 1997, composed and mixed in Aarau, Switzerland in 1998. Mastered by Taku Unami.
“There is music in which the time/space of sound and the time/space of silence appear in their own particular realms. Even if the sounds are often very soft, this music is not about failing into silence.. The sounds are clear, direct and precise. Since they have left musical rhetoric behind, there is instead a sensitivity for the presence of sound and for the physicality of silence. There are long periods of the presence of sound, and long periods of the absence of sound. The two together form the “time present” of the piece.” Jürg Frey from the liner notes.
43,00€