Out of stock
5 CD
Hartmut GEERKEN – Michael RANTA
“The Heliopolar Egg”
Documentary recordings of Hartmut Geerken and Michael Ranta’s November and December 1976 tour of the Middle East and East Asia. Geerken is known for his long relationship with Sun Ra including compiling a discography), but he wears many other hats too: musician, film-maker, archivist. Ranta is a percussionist best known for his famous “Improvisation Sep.1975” collaborative
record with Toshi Ichiyanagi and Takehisa Kosugi. This is a CD reissue of an LP boxset, originally released in 2010 as the last release on the now dormant Italian label Qbico. The tour started in Iran before moving east to India, Bangladesh, the Philippines, Korea, and ending in Japan. At their show in Osaka, they played together with Toshi Ichiyanagi. This edition includes the concert with Ichiyanagi, solo performances by Ichiyanagi and Shoko Shida, as well as a rare Delhi performance that was originally only included in the highly limited 6LP edition of the Qbico set. All the tracks overflow with rich multi-dimensionality, providing a glimpse of Ranta and Geerken’s depth as performers.
Boxset. Includes a 12-page booklet with flyers from the period.
Limited edition of 500.
Disc 1. rec. November 25; Baghe Ferdows-Zafaranieh, Teheran, Iran. rec. December 1; Max Mueller Bhavan, Delhi, India. rec. December 3/4; Max Mueller Bhavan, Calcutta, India.
Disc 2. rec. December 8, German Cultural Institute in co-op with the Academy of the Arts, Dacca, Bangladesh.
Disc 3. rec. December 13; Abelardo Inner Green (open air) in co-op with the U.P. College of Music, Manila, Philippines.
Disc 4. rec. December 15; Korea Drama Center, Seoul, Korea.
Disc 5. rec. December 18, Goethe-Institute, Osaka, Japan.
46,00€
Out of stock
4 CD
Ghédalia TAZARTÈS
“Les danseurs de pluie – coffret”
New slipcase edition!
This lavish set includes the complete Ghédalia Tazartès recordings previously issued on CD by Alga Marghen. This editions is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves.
“Diasporas” is the CD edition of Tazartès’ first album also including “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP).
“Tazartès’ Transports” is the CD edition of Tazartes' second album complete with four “Assassins” bonus tracks (previously issued as "Les danseurs de la pluie" miniCD).
“Une eclipse totale de soleil” is the CD edition of Tazartès' third album. Originally conceived in two parts, this CD edition is completed by the long bonus track “Il regalo della befana”, or “Eclipse totale de soleil (Part III)”.
“Tazartès” is the CD edition of Tazartès’ forth album also including “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP).
Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghédalia’s intra-European exoticism. Where was music before music halls? Where was the voice before it learned how to speak? Ghédalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrats of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!
This lavish set includes the complete Ghédalia Tazartès recordings previously issued on CD by Alga Marghen. This editions is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves.
“Diasporas” is the CD edition of Tazartès’ first album also including “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP).
“Tazartès’ Transports” is the CD edition of Tazartes' second album complete with four “Assassins” bonus tracks (previously issued as "Les danseurs de la pluie" miniCD).
“Une eclipse totale de soleil” is the CD edition of Tazartès' third album. Originally conceived in two parts, this CD edition is completed by the long bonus track “Il regalo della befana”, or “Eclipse totale de soleil (Part III)”.
“Tazartès” is the CD edition of Tazartès’ forth album also including “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP).
Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghédalia’s intra-European exoticism. Where was music before music halls? Where was the voice before it learned how to speak? Ghédalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrats of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!
53,00€
Out of stock
4 CD
MUSICA ELETTRONICA VIVA
“Mev 40”
This 4-CD set, covering the years 1967-2007, comprises the best surviving recorded documents from four decades of performances, personally curated by its three core members - Alvin Curran, Frederic Rzewski, and Richard Teitelbaum. As such, it is an invaluable historical anthology of one of the pioneering and truly legendary exponents of live-electronic music. With Alvin Curran, Frederic Rzewski, Richard Teitelbaum, Karl Berger, Allan Bryant, Steve Lacy, George Lewis, Garrett List, Carol Plantamura, Gregory Reeve, Ivan Vandor… “Musica Elettronica Viva (MEV) was begun one evening in the spring of 1966 by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor in a room in Rome overlooking the Pantheon. MEV’s music right from the start was also totally open, allowing all and everything to come in and seeking in every way to get out beyond the heartless conventions of contemporary music. Taking its cue from Tudor and Cage, MEV began sticking contact mics to anything that sounded and amplified their raw sounds: bed springs, sheets of glass, tin cans, rubber bands, toy pianos, sex vibrators, and assorted metal junk; a crushed old trumpet, cello and tenor sax kept us within musical credibility, while a home-made synthesizer of some 48 oscillators along with the first Moog synthesizer in Europe gave our otherwise neo-primitive sound an inimitable edge. In the name of the collectivity, the group abandoned both written scores and leadership and replaced them with improvisation and critical listening. Rehearsals and concerts were begun at the appropriate time by a kind of spontaneous combustion and continued until total exhaustion set in. It mattered little who played what when or how, but the fragile bond of human trust that linked us all in every moment remained unbroken. The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos-both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it”. Alvin Curran.
49,00€
Out of stock
4 CD
Brunhild & Luc FERRARI
“Contes sentimentaux”
These pieces have been made between 1989 and 1994 for the German radio. Brunhild and Luc Ferrari are speaking around the pieces from Luc like “Petite symphonie intuitive pour un paysage de printemps”, “Ce qu’à vu le Cers”, “Collection de petites pièces” (36 enfilades pour piano et magnétophone), “Music promenade” among others, describing small details and anecdotes. They speak in French and German and consider the recorder as a scratchpad.
40,00€
Out of stock
4 CD
Nate WOOLEY
“The Complete Syllables Music”
Composer, improviser, and trumpet player Nate Wooley continues to cement his place as an American iconoclast by releasing the complete recordings of his revolutionary solo [Syllables] compositions. Pleasure of the Text Records is releasing the deluxe 4 CD set consisting of two reissues of out-of-print early works: 8 [Syllables] (originally released on Peira Records 2013) and 9 [Syllables] (originally released on Mnoád 2014) as well as the premiere recording of his
150 minute epic For Kenneth Gaburo.
The Complete Syllables Music is the first collected edition of trumpet experimentalist Nate Wooley’s groundbreaking solo compositions. His attempt to sidestep a positive/negative value based musical aesthetic and to expand his own preconceptions of what the trumpet tone should be led him to the construction of a new compositional language, based on adjusting the physical parameters of how one makes sound. This new way of thinking was based on the shape and positioning of the oral cavity necessary to produce the phonetic sounds in speech; using the International Phonetic Alphabet as a new kind of tone-row to create structures on the position of the teeth, tongue, throat and nasal cavity. The result is an approach to the sound of the trumpet that is involved in traditional nor extended technique, but treats virtuosity as a non-issue. The box set features the first two works in this vein, reissued from out of print recordings on the Peira and Mnoád labels and is capped off with the most ambitious, and final solo version of the Syllables pieces, the 150 minute long electro-acoustic masterpiece For Kenneth Gaburo.
Personnel: Nate Wooley: trumpet, amplifier, tape, analog synthesizers.
Recorded Disc 1 Recorded at Issue Project Room, Brooklyn, NY Originally Released on Peira Records October 1, 2011 Recorded, mixed and mastered by Philip White.
Disc 2 Recorded at I Beam, Brooklyn, NY Originally Released on Mnóad Records October 7, 2012 Recorded, mixed and mastered by Jeremiah Cymerman.
Discs 3 and 4 Recorded at Curtis R. Priem Experimental Media Performing Arts Center EMPAC), Troy, NY Previously Unreleased Recorded, mixed and mastered by Jeff Svatek.
27,00€
In stock
4 CD
WITCYST
“Real Folk – Lathe Cut Singles 1993-1997”
A bone-fide underground legend, Witcyst has been creating completely unique noise music from the isolation of smalltown New Zealand since the late eighties. For three decades Witcyst has been an infamous prol yet mysterious force of the deep noise underground, sharing handmade cassettes, lathe cut singles, CDRs and art objects via the post, but never touring or appearing live.
Witcyst’s mysterious career is marked by a complete absence of live performances and a massive prolificness in recordings wrapped in his own hand-made day-glo collaged artworks and assemblages. His music is the freest of free music. Unhampered by arch design or advanced technique, his work stands as an ever-surprising, unmatchable feast for the ears and eyes.
With the release of “Real Folk” Pica Disk and End of the Alphabet hope to break the long-held secret of Witcyst and bring his glorious visions to a wider audience. The 4xCD boxset collects 40 tracks from 20 self-released 7” lathe cut singles from the mid-nineties (all from legendary New Zealand lathe-cutter, Peter King), that were originally released in editions of 10 to 20 copies, so rare most of them have never appeared on Ebay or Discogs. The box-set also includes three booklets of artwork, photos and an extensive first-time home interview of Witcyst himself by Noel Meek.
• 4 CDs > 40 tracks > more than four hours of material
• 3 booklets totaling 72 pages, including first time in-depth interview with Witcyst and almost 100 colour photos and artwork.
• CDs in individual colour wallets reproducing the artwork of each 7” single
• Limited edition of 300 copies.
Witcyst’s mysterious career is marked by a complete absence of live performances and a massive prolificness in recordings wrapped in his own hand-made day-glo collaged artworks and assemblages. His music is the freest of free music. Unhampered by arch design or advanced technique, his work stands as an ever-surprising, unmatchable feast for the ears and eyes.
With the release of “Real Folk” Pica Disk and End of the Alphabet hope to break the long-held secret of Witcyst and bring his glorious visions to a wider audience. The 4xCD boxset collects 40 tracks from 20 self-released 7” lathe cut singles from the mid-nineties (all from legendary New Zealand lathe-cutter, Peter King), that were originally released in editions of 10 to 20 copies, so rare most of them have never appeared on Ebay or Discogs. The box-set also includes three booklets of artwork, photos and an extensive first-time home interview of Witcyst himself by Noel Meek.
• 4 CDs > 40 tracks > more than four hours of material
• 3 booklets totaling 72 pages, including first time in-depth interview with Witcyst and almost 100 colour photos and artwork.
• CDs in individual colour wallets reproducing the artwork of each 7” single
• Limited edition of 300 copies.
30,00€
Out of stock
4 CD
Keith ROWE
“The room extended”
Keith Rowe, guitar, electronics. Recorded at home from mid-2013 to mid-2016. 4 solo CDs, 246 minutes, no content overlap with the earlier The Room (ErstSolo 001) this is Keith’s solo masterwork.
“One of the first things that hits you is the immense depth of much of the work; there always seems to be at least four or five layers of sound occurring, enough that on each subsequent listen (I've been through its four-plus hours five times so far), you pick up not only sounds you've not heard/noticed before but, more rewardingly, new relationships between them, both simultaneous ones and ones spanning the course of the piece. For a while, Rowe has been interested in revisiting sound areas he's investigated over the years, seeing if there might be aspects he'd previously missed or investigating new ways of deploying them and at several moments here, listeners familiar with his history may well recognize some signature sounds. There are plenty of new, even startling ones as well, such as the artificial sounding bird call that's looped for an almost unconscionable length at one point. More tellingly, the habit he first (as far as I know) used in his solo performance in Tokyo in 2008, that of the intentional inclusion of extracts from Western classical music, is a thread that winds through the entirety of 'The Room Extended'. In at least one sense, it's simply an honest evocation of his room, the main room of his home in Vallet, in which any visitor will hear over his stereo, not the latest release from the contemporary improvising world, but rather Wagner, Haydn, Brahms, Purcell, Mondonville and others. This is, in a circumscribed sense, his room.” Brian Olewnick, Just Outside
“One of the first things that hits you is the immense depth of much of the work; there always seems to be at least four or five layers of sound occurring, enough that on each subsequent listen (I've been through its four-plus hours five times so far), you pick up not only sounds you've not heard/noticed before but, more rewardingly, new relationships between them, both simultaneous ones and ones spanning the course of the piece. For a while, Rowe has been interested in revisiting sound areas he's investigated over the years, seeing if there might be aspects he'd previously missed or investigating new ways of deploying them and at several moments here, listeners familiar with his history may well recognize some signature sounds. There are plenty of new, even startling ones as well, such as the artificial sounding bird call that's looped for an almost unconscionable length at one point. More tellingly, the habit he first (as far as I know) used in his solo performance in Tokyo in 2008, that of the intentional inclusion of extracts from Western classical music, is a thread that winds through the entirety of 'The Room Extended'. In at least one sense, it's simply an honest evocation of his room, the main room of his home in Vallet, in which any visitor will hear over his stereo, not the latest release from the contemporary improvising world, but rather Wagner, Haydn, Brahms, Purcell, Mondonville and others. This is, in a circumscribed sense, his room.” Brian Olewnick, Just Outside
38,00€
Out of stock
4 CD
Jakob ULLMANN
“Fremde Zeit – 1-4”
“Fremde zeit addendum” + “Fremde zeit addendum 4. Solo III für Orgel” now in a 4 audio-CDs box, booklet German-English.
Recordings in neuen Aufnahmen 2008-2011 · in new authorized recordings 2008-2011. “disappearing musics for six players (more or less)”, 1989-1991. Maruta Staravoitava, recorder. Pavlos Serassis, clarinet. Patrick Stadler, saxophon. Orsolya Sepsi, Éva Csizmadia, violins. Lucie Martin, Hans-Peter Schulz, keyboards. “solo I + II + III”, (1992-1993-2010). Molly McDolan, oboe. Dafne Vicente-Sandoval, fagott. Hans-Peter Schulz, organ. “komposition für streichquartett 2”, (1997-1999). Pellegrini-Quartett : Antonio Pellegrini, Thomas Hofer, violins. Fabio Marano, viola. Helmut Menzler, cello. “PRAHA: celetná. - karlova - maiselova” (2004-2007). Jardena Flückiger, voice. Christoph Bösch, recorder. Dafne Vicente-Sandoval, fagott. Helena Winkelman, violin. Oliver Margulies, viola. Ellen Fallowfield, cello. Clara Gervais, doublebass, percussion. Stephan Schmidt, voice. Leonardo Idrobo Arce, electronics. “Thus, Ullmann creates a quiet music in order to give himself and his listeners the opportunity to hear more, and better. This comes about because our ability to hear is augmented when listening to quiet music. We hear better because we make an effort to hear better. That is why Ullmann likes to locate his sound sources at the periphery, so as not to make it too easy for the ear. In order to let sounds develop and move on their own time, the pieces are usually longer than the general concert norm dictates. The opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening.” Bernd Leukert
39,00€
In stock
3 CD
Eliane RADIGUE
“Trilogie de la mort”
Trilogie de la Mort is a work in three parts for analogue Arp synthesizer. The first third of the work, Kyema is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé, makes up the last part of the trilogy and emphasizes the transcendence of death.
28,00€
Out of stock
3 CD
AMM
“Laminal”
“A three CD set marking thirty years in the making of AMMmusic. Three concert performances: Aarhus, Denmark, 1969. London, 1982. New York, 1994. Featuring variously: Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost, Keith Rowe and John Tilbury. Includes an illustrated booklet with commentaries by Jim O’Rourke, Victor Schonfield, Malcolm LeGrice and John Tilbury”. Tremendous historical document of all exclusive material to this box, perfectly packaged, desperately awaited. “AMM moves on or comes together on any plane: it could be volume, speed or density as much as pitch. The most peaceful and united parts might be the ones which are the busiest and most crowded. AMM uses all the dimensions of musical space to create the feeling that sound is a solid object in solid space -- complete with size, shape, performance. It depends where they are sitting, what they are focussing on, how long and at what stage they can concentrate, and how widely or narrowly. There is no whole or centre, only parts. AMM reveals the behaviour of sound, and its anomalies. Low sounds absorb high ones, loud sounds blot out soft ones, but most sounds placed side by side either co-exist, reach out to each other or merge. Sometimes you can hear one sound being squeezed until it splits into two or more. The melody need not be sound changing: it could simply be sound being”.
30,00€
Out of stock
3 CD
Keith ROWE – Sachiko M – Toshimaru NAKAMURA – Otomo YOSHIHIDE
Keith Rowe guitar, electronics ; Sachiko M, sine waves, contact microphone on objects ; Toshimaru Nakamura no-input mixing board ; Otomo Yoshihide electric guitar, turntables. “ErstLive 005 is from the quartet of Keith Rowe, Sachiko M, Toshimaru Nakamura, and Otomo Yoshihide, the centerpiece show of AMPLIFY 2004: addition, the "four hour quartet". ErstLive 005 contains three individually packaged slimline CDs in a slipcase with original artwork by Keith Rowe, which wraps around the entire box, front, side, and back, as well as liner notes from all four musicians and numerous pictures from Yuko Zama. ErstLive 005 documents only the second performance of this quartet, after a brief set in Cologne the week before.” “One thing I can say for sure is that the boundary between listening to this CD and playing this music is totally dissolved, and there is only a difference of time and space where the sounds are heard.” -Otomo Yoshihide
32,00€
Out of stock
3 CD
Henri POUSSEUR – Michel BUTOR
“Paysages planétaires”
In year 2000 Henri Pousseur was asked by Philippe Samyn, architect of Brussels who likes to work in association with other arts, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus making the hours between 6 a.m. and 10 p.m.
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
55,00€
Out of stock
3 CD
Giuseppe IELASI
“3 pauses”
After a pause which lasted two years, senufo editions starts again.
Electronic music realised between 2014 and 2016, to be played at low volume.
25,50€
In stock
3 CD
ELEH
“Floating frequencies – Intuitive synthesis”
“Edition of 1000. This deluxe 3 CD set presents Floating Frequencies/Intuitive Synthesis in its completed 3 part entirety. Metallic silver print on a heavy duty matte black jacket. Intuitive Synthesis/Floating Frequencies takes full advantage of the low noise floor and clarity provided by the digital medium. Mastered by Eleh specifically for the digital environment. This box is not intended to be a replacement of the analog records but an entirely different experience.”
30,00€
3 CD box
Jean-Claude ELOY
“Anâhata”
“Anâhata” (1984-86). Primordial vibration. Sound ceremonial with a contemplative character for two voices of Japanese Buddhist monks (traditional Shômyô techniques - traditional temple chanting - in a larger, modern and creative form), three Japanese Gagaku instrumentalists (traditional court music in a modern and creative form), one percussionist (with a percussion instrument orchestra) and electro-acoustic (fixed interactive sounds). Electronic studio of the Sweelinck Conservatorium, Amsterdam (1984-86). With Ebihara Kôshin (Tendai sect): solo voice, Arai Kôjun (Shingon sect): solo voice, Yaotani Satoru: Ô-Hichiriki solo, Shiba Sukeyasu : solo Ryûteki, Miyata Mayumi: Shô solo, Ô-Shô, Alto-Sheng, Michael W. Ranta : solo percussions, Jean-Claude Eloy, electro-acoustic (sound projection, general coordination, mixing). Studio recording made during the Donaueschingen festival 1990 (Donaueschinger Musiktage) by the SWF (Südwestfunk), Baden-Baden. First World publication. Presented in a small box of 3 x CDs with 60 pages booklet.
“Jean-Claude Eloy is a French composer, born in 1938. He studied at the Paris National Superior Conservatory of Music, where he won First Prizes in Piano, Chamber Music, Counterpoint, Ondes Martenot, and studied composition with Darius Milhaud. He attended summer courses at Darmstadt (Pousseur, Scherchen, Messiaen, Boulez, Stockhausen) and was a student in composition in Pierre Boulez’ master class at the Music Academy in Basel (1961-1963). Works by Jean-Claude Eloy have been performed all over the world. They have been conducted by Pierre Boulez, Ernest Bour, Michael Guilen, Bruno Maderna, Diego Masson, Michel Tabachnik, Arthur Weisberg and others ... He has lived in the United States (professor at the University of California, Berkeley, in the sixties), Germany (invited by the WDR studios in Cologne, the Technische Universität in Berlin, guest artist at the Berliner Künstlerprogramm), Holland, Japan (where he collaborated with NHK and the National Theater of Japan, among other activities). He participates regularly in numerous international festivals, principally in Europe, but also in Asia, the United States, Canada and Latin America as sound-projectionist for his electro-acoustic works and with the soloists closely associated with his compositions : Fatima Miranda (vocalist), Yumi Nara (soprano), Michael Ranta (percussionist), Junko Ueda (Shômyô singer and Satsuma-Biwa player), Kôshin Ebihara and Kôjun Arai (Buddhist monk singers), Mayumi Miyata (Shô player), etc.”
35,00€
Out of stock
3 CD
Phill NIBLOCK
“Touch three”
“Sethwork” (2003) Seth Josel, acoustic unamplified guitars played with e-bow. “Harm” ( 2003) Arne Deforce, cello. “Lucid Sea” (2003) Lucia Mense, recorders. “Parker’s Altered Mood, aka, Owed to Bird” (2004) Ulrich Krieger, alto saxophone. “Zrost” (2004) Martin Zrost, soprano saxophone. “Not Yet Titled” (2003) Franz Hautzinger, trumpet. “Valence” (2005) Julia Eckhardt, viola. “Alto Tune” (2004) Ulrich Krieger, alto saxophone. “Sax Mix” (2004) Ulrich Krieger, alto, tenor and baritone saxo. These nine pieces were made from March 2003 to January 2005. They were all made (except "Sax Mix") by recording a single instrument with a single microphone. The recordings were direct to the computer-hard disk, most of them using my Powerbook G4, Protools, an M-box and an external firewire drive. The resulting mono sound files were edited to remove breathing spaces, leaving the natural decay of the tone, and the attack of the subsequent iteration of the same tone. Each note was represented by several repetitions, perhaps ten for each tone, of about 15 seconds duration each. Each piece uses a few tones. A simple chord, perhaps. Additional microtonal intervals were produced in Protools using pitch shift. The pieces were assembled in multitracks, usually either 24 or 32 tracks. The recording environment varied from a simple apartment in Berlin (Ulrich Krieger’s) to a very large hall used for symphony orchestra performances and recordings, with a sizable audience space (Deutschland Radio, Cologne). The recordings were generally done quite closely miked. One hears only the sound of the instrument. There is no electronic manipulation in the recording, the editing of the tones, or in the mix. The only changes to the recorded tones are the pitch shifts to create microtones. The microtones are doing the work.
20,00€
In stock
3 CD
MURAL
“Tempo”
Jim Denley, wind instruments. Kim Myhr, twelve-string guitar, zither. Ingar Zach, gran cassa, percussion.
“Tempo” is a 3CD box set recorded live during a 4-hour performance at the Rothko Chapel in 2013. Following up on the group’s Live at the Rothko Chapel from 2011, this release shows the group expanding into a much longer form. Mural consists of Australian windplayer Jim Denley, with Norwegians Kim Myhr (guitar) and Ingar Zach (percussion). They first performed in 2007 in Madrid, and have made concerts around the world since. The trio has released two critically acclaimed records.
After two successful concerts at the Rothko Chapel and a CD-release on the Chapel’s own publications, the trio visited the chapel in Houston, Texas for the third time in April 2013. Wishing to challenge traditional concert formats, they decided to play a four hour long performance in the chapel. The result was so satisfying to them that they decided to release the music as a 3CD-box set.
The music that was played in the chapel is an expansive and patient form of music, far beyond any traditional entertainment formats. In an abyss of time, Mural’s music was not only elevated to another level; one could say that in these long durations, it finally came to its own right.
Rothko’s paintings from the Rothko Chapel can be seen on the front cover of the release.
20,00€
Out of stock
3 CD
Daniel MENCHE
“Sleeper”
Daniel Menche is best known for his assemblages of visceral, industrial-
strength noise. In such head-rinsing recordings as Vilké (2013), Deluge (2003), and Fields of Skin (1997), Menche’s compositional directives instigate and exacerbate the physiological properties of anxiety -- increased blood pressure, blurred vision, claustrophobia, panic, disorientation, etc. In the hands of a talented composer such as Menche, noise can be demonstrative, cathartic and even communal. But after three decades of intense relentlessness, Menche posed the internal question: “Why the hell do I gravitate to compositions that stresses people out?” In re-evaluating his own compositional strategies and philosophical stances, Menche worked out the ideas through sound. Out of that research came the makings an ambient record that he could fall asleep to. These recordings seek to amplify the re-imagined traces of light and dark across the inner eyelid of the dreamer caught in that crepuscular moment between wake and sleep.
To peg this album as merely an ambient record is to do Sleeper a gross disservice. This a Menche ambient record. Feckless new age drivel, this is not. While seeking a graceful tranquility and placid states of mind, Menche’s compositional tools remain the sonic equivalent of a chainsaw. Rough edges and bold gestures are steadfast reminders that Menche is at the helm. In Sleeper, Menche plunges into the harmonic dissonance and glassine minimalism found in the historical works of La Monte Young and Charlemagne Palestine. Never one to be static, Menche drapes his ephemerally half-melodic loops and unfurled sonic tapestries onto a distant, iron-clad thump as a rhythmic spine. The ghostly frequencies that flare out of from his drones almost always evolve into sharp and blinding coronas of sound, embruing the album with an unnerving tension.
An opus at a third of the length, Menche’s Sleeper is a monumental album of colossal driftwork clocking in well over three hours.
3 CD edition of 500 copies, housed in a custom printed tri-gatefold stumptown printing CD jacket.
18,00€
Out of stock
3 CD
Jacques LEJEUNE
“Parages and other electroacoustic works”
Born (1940) in Talence, France, Jacques Lejeune studied music at the Schola Cantorum with Daniel Lesur, at the Conservatoire National Supérieur of Paris with Pierre Schaeffer, and at the Groupe de Recherches Musicales with François Bayle. He entered the GRM (Musical Research Group) in 1968 and directed the Cellule de la Musique pour L’Image (Music for Images Department) in which various productions for stage and television were produced. In 1978, in partnership between the National Audiovisual Institute, GRM, and the ADAC (City of Paris), Lejeune launched the Ateliers de Musique Électroacoustique (Studios for Electroacoustic Music) designing both its curriculum and program.
Six of Lejeune’s compositions are featured in this 3CD retrospective totaling near three-and-a-half hours of music. Presented chronologically, these works for tape represent a stunning array of themes, images, and destinations covering the years 1971-1985. Throughout Lejeune’s compositional development, the informal content of dreams, reflections on the written fable, and the mythological thinking of our ancestors - all reappear.
Originally released on LP by INA-GRM, both Parages and Symphonie au bord d’un paysage have been remastered and re-released here for the first time on CD. Parages (1973) is a work exploring distances (or vicinities), cycles, and the transparency of the sky. A deep undercurrent of perpetual movement, altitude - flight and fall - is ever-present in the piece, encompassing a procession of auditory colors, places, and events. These elements multiply, uniting beyond their individual musical processes, further immersing the listener within an increasing auditory field. Symphonie au bord d’un paysage (1981) is a composition concerned with motion, panoramas, and geographical relationships - all as if being at the edge of a vast chasm. This expanse projects the listener onto an audio compass, traversing specific territories, while contemplating the path and its spatial trajectories along the way. Also included is Lejeune’s masterwork, Blanche-Neige (1975). This has been regarded as one of the most peculiar and elusive recordings in the whole GRM-related canon. This early LP, also known as Fantasmes, was originally recorded for a theatre/ballet production of the same name. Loosely based on the text by the Brothers Grimm with its narrative symbolism and tale of the deep forest, Blanche-Neige is one of the finest compositions of cinéma pour l’oreille (cinema for the ear) for tape and electronics from the period. Cri (1971) is the earliest piece featured in the set, with an emphasis on the very nature of vocal expression. Integrating mixed landscapes and a spacious use of cyclical elements, this work offers a fantastic prelude to Lejeune’s evolution as a composer. Additionally featured are Entre terre et ciel (1979) and Les palpitations de la forêt (1985). These two works are concerned with the natural world, labyrinths, clusters, and intermingled morphologies of the Earth.
For Lejeune, his methods are always galvanized through tangible images. It is expressed in an acoustic research based on an ambiguity between the anecdotal and the musical. This follows the work of Luc Ferrari, with his notion of anecdotal music; bringing into relation the sounds of everyday reality and the musical narrative. Lejeune’s pieces may be further described as a “character passing through a series of landscapes.”
The boxed set includes a 28 page bilingual booklet (in English/French) with detailed program notes as well as a 32 page booklet of interpretive stanzas surrounding these bizarre and evocative works. Meticulously translated and collected for the first time in print, these writings offer a rare insight into Lejeune’s creative process. Parages and other electroacoustic works 1971-1985 is an essential overview of one of the seminal figures in musique concrète.
32,00€
Out of stock
3 CD
COMPILATION
PRIX PRESQUE RIEN PRIZE
In 2010 Brunhild Ferrari decided to make public some of Luc Ferrari’s original sound archives by offering a selected collection of recordings to other composers who may wish to use the material for the creation of original musical works.Her desire was to open this sonic treasure to other artists without wanting to impose any aesthetic direction on them, and with the only purpose of encouraging new artistic inventiveness.
This edition presents the “Presque Rien Prize” winners and other selected works of the first three biennial contests, the most recent contest having taken place in December 2015. Each of the competitions has been concluded by a concert including the winning and other selected works of the competition. While 109 new works were submitted to the three initial editions, we are delighted to keep receiving many other works from over the world for the forthcoming competition in 2017.
CD1, 2011 edition: John Palmer (winner), Elsa Justel (mention), Daniel Blinkhorn (mention), Dinah Bird & Jean-Philippe Renoult.
CD2, 2013 edition: Brian Jacobs (winner), Ayako Sato (mention), James Andean (mention), Masashi Isai, Andrea Belfi, Donia Jourabchi, Takuma Kuragaki.
CD3, 2015 edition: Hideki Umezawa (winner), Lisandro Barbato (mention), Johannes S. Sistermanns (mention), Manfredi Clemente, Manuella Blackburn, Laurence Bouckaert, Dimitris Maronidis, Yingzi Li.
The slipcase edition includes three CDs in individual digipak sleeves as well as a 68-page booklet in English, French and Japanese with liner notes written by the composers, their biographies, title tracks, photos and an introduction by Brunhild Ferrari.
This edition presents the “Presque Rien Prize” winners and other selected works of the first three biennial contests, the most recent contest having taken place in December 2015. Each of the competitions has been concluded by a concert including the winning and other selected works of the competition. While 109 new works were submitted to the three initial editions, we are delighted to keep receiving many other works from over the world for the forthcoming competition in 2017.
CD1, 2011 edition: John Palmer (winner), Elsa Justel (mention), Daniel Blinkhorn (mention), Dinah Bird & Jean-Philippe Renoult.
CD2, 2013 edition: Brian Jacobs (winner), Ayako Sato (mention), James Andean (mention), Masashi Isai, Andrea Belfi, Donia Jourabchi, Takuma Kuragaki.
CD3, 2015 edition: Hideki Umezawa (winner), Lisandro Barbato (mention), Johannes S. Sistermanns (mention), Manfredi Clemente, Manuella Blackburn, Laurence Bouckaert, Dimitris Maronidis, Yingzi Li.
The slipcase edition includes three CDs in individual digipak sleeves as well as a 68-page booklet in English, French and Japanese with liner notes written by the composers, their biographies, title tracks, photos and an introduction by Brunhild Ferrari.
36,00€
Out of stock
3 CD
Julius EASTMAN
“Unjust malaise”
Members of Creative Associates; Jodi Beder, Sarah Carter, Barry Gold, Julie Green, Christine Gummere, Maureen Hynes, Chase Morrison, Abby Newton, Larry Rawdon, David Sabee, cellos; Frank Ferko, Janet Kattas, Patricia Martin, pianos; Julius Eastman, piano, voice, conductor. This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940-1990), who died sixteen years ago under unexplained circumstances and whose musical legacy was thought lost. This comprehensive and definitive document, which comprises almost all of Eastman’s signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work.
In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman’s work and its importance: “Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context… Applying minimalism’s additive process to the building of sections, he developed a composing technique he called “organic music,” a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.”
Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation.
Stay on It (1973). If You’re So Smart, Why Aren’t You Rich? (1977). Prelude to The Holy Presence of Joan D’Arc (1981). The Holy Presence of Joan D’Arc (1981). Gay Guerrilla (1980). Evil Nigger (1979). Crazy Nigger (1980).
In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman’s work and its importance: “Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context… Applying minimalism’s additive process to the building of sections, he developed a composing technique he called “organic music,” a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.”
Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation.
Stay on It (1973). If You’re So Smart, Why Aren’t You Rich? (1977). Prelude to The Holy Presence of Joan D’Arc (1981). The Holy Presence of Joan D’Arc (1981). Gay Guerrilla (1980). Evil Nigger (1979). Crazy Nigger (1980).
40,00€
In stock
3 CD
Joris DE LAET
“Sem etc.”
Joris de Laet (Belgium, 1947) is a fully autodidact composer of electroacoustic music. Between 1972 and 1975 he worked at the IPEM along with Lucien Goethals and Karel Goeyvaerts and in 1973 he founded the SEM (Studio for Experimental Music) where he organised plenty of group sessions, live performances, lectures... De Laet’s work is adventurous, complex and difficult to
classify, due to many interesting contrasts in his style and approach academic vs intuitive, modern composition vs free improvisation, acoustic vs electronic, sound vs noise... This selection (10 tracks) of his early recordings (1972 1979) represents an overview of his intriguingly radical and highly personal work which includes solo tape experiments, live electronics with Karel Goeyvaerts and group performances with experimental instrumentalists from the SEM ensemble : Pieter Kuyl (chapmanstick), Leo Verheyen (trombone), Paul Adriaenssens (flute and amplified objects), Maurice Verstuyft (flute). All material has been mastered from the original tapes and is previously unreleased. Edition of 300 copies.
40,00€
Out of stock
3 CD
Robert ASHLEY
“Perfect lives”
Robert Ashley, solo voice; Jill Kroesen and David Van Tieghem, chorus; "Blue" Gene Tyranny, keyboards; David Van Tieghem, non-keyboard percussion; Peter Gordon, music producer; Paul Shorr, soundtrack producer. 3 CDs.
“Perfect Lives has been called "the most influential music/theater/literary work of the 1980s." At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980’s update of the mythology of small town America. Perfect Lives is populated with myriad characters revolving around two musicians --"R", the singer of myth and legend, and his friend, Buddy, "The World’s Greatest Piano Player". They have come to a small town in the Midwest to entertain at the Perfect Lives Lounge. As Robert Ashley describes in the opera synopsis, "they fall in with two locals to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable about of money from The Bank for one day (and one day only) and let the whole world know that it was missing."
The eloping couple, Ed and Gwyn, the old people at the home, the sheriff and his wife (Will and Ida) who finally unravel the mystery, and Isolde who watches the celebration of the changing of the light at sundown from the doorway of her mother’s house are some of the characters who journey through the seven episodes of the opera.
Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.”
“Perfect Lives has been called "the most influential music/theater/literary work of the 1980s." At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980’s update of the mythology of small town America. Perfect Lives is populated with myriad characters revolving around two musicians --"R", the singer of myth and legend, and his friend, Buddy, "The World’s Greatest Piano Player". They have come to a small town in the Midwest to entertain at the Perfect Lives Lounge. As Robert Ashley describes in the opera synopsis, "they fall in with two locals to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable about of money from The Bank for one day (and one day only) and let the whole world know that it was missing."
The eloping couple, Ed and Gwyn, the old people at the home, the sheriff and his wife (Will and Ida) who finally unravel the mystery, and Isolde who watches the celebration of the changing of the light at sundown from the doorway of her mother’s house are some of the characters who journey through the seven episodes of the opera.
Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.”
30,00€
Out of stock
3 CD
MERZBOW – KAPOTTE MUZIEK
“Works 1987-1993”
Both of these projects hardly need an introduction. Merzbow is since the late ‘70s the project of Masami Akita working in the field of noise music, having released a few hundred CDs/LPs/cassettes by now.
In 1987 Kapotte Muziek was then the solo project of Frans de Waard, after Christian Nijs left the group early ’87. De Waard concentrated on working with other musicians, and started trading tapes with a few musicians he was already in contact with, and one of them was Merzbow. The first release was a cassette, which was released in two versions, one of Merzbow’s ZSF Produkt and one on Belgium’s Therapie label (although none ever showed up, so perhaps it didn’t happen). In October 1989 Merzbow was invited to play at V2 in ’s-Hertogenbosch and a subsequent small tour was done in The Netherlands, playing in Utrecht and Nijmegen. On october 3rd 1989 Merzbow played in the evening in a small student club, Diogenes, and in the late afternoon as a duo with Kapotte Muziek. The first 20 minutes were released on one side of the LP ‘Documentation/Collaboration’, whereas the second side has ‘recycled’ versions of those recordings. For their next project Merzbow Kapotte Muziek took all the recordings from that day and reworked them in an extensive process into the LP ‘Continuum’.
This 3CD set compiles all of these recordings and more. It includes (CD1) the first cassette, ZSF Produkt version, (CD2) has for the first time the complete live recording from the collaborative concert at Radio Rataplan plus two compilation pieces that were made around the same, and (CD3) the complete ‘Continuum’ LP, as well as three highly obscure compilation tracks, including the long reworked ‘Radio Rataplan’ from the very obscure ‘Dutch Tour’ double cassette by V2_Archief.
All expertly remastered by Jos Smolders at Earlabs, all lovingely designed by Meeuw, in a carton box with three CDs, poster, shrinkwrapped and sticker. Edition of 300 copies only.
23,00€
Out of stock
3 CD
ELEH
“Homage”
Imprec is proud to present Eleh’s Homage series remastered and on CD for the first time. Certain frequency combinations that were impossible to cut on LP are effectively presented in this digital edition. Packaged in a heavy duty 6 panel fold out jacket with inner printing and a matte finish.
Eleh, an artist who flourishes in restraint, uses a reduced sonic vocabulary to highlight delicate intricacies in a logical path toward harmonious satisfaction. The organization of hypnotic square waves, rippling sine waves and triangle/saw tooth waveforms is a discourse in the infinity, rather than the limits, of reduction. By employing a natural practice of balanced interpretation, Eleh enables an individual reaction free of the clutter of white noise.
40,00€
Out of stock
3 CD
Michael PISARO
“Continuum Unbound”
Michael Pisaro’s Continuum Unbound is a three CD box set, featuring three individual as well as linked CD-length pieces, each 72 minutes long.
“Kingsnake Grey” is a field recording of sundown in the Congaree National Park in South Carolina. The beautiful and erratic sonic transformation that occurred over the 72 minutes was the model for the other two pieces.
“Congaree Nomads” takes as its basis 24 three-minute recordings Greg Stuart and I made in the park, along Cedar Creek and the Kingsnake, the Weston Lake and the River trails. It is a “nomadic” series that moves very gradually from the Creek to the Congaree River. Instrumental “fogs” (harmonies made by Pisaro and Stuart) overlay the field recordings.
“Anabasis” is a composition in 72 parts for five musicians, loosely based on four kinds of materials: Sand, Wind, Tone and Wave. The musicians featured on this recording (in addition to Pisaro and Stuart) are Patrick Farmer, Joe Panzner and Toshiya Tsunoda.
Continuum Unbound, as the title implies, attempts to hear how the apparent continuum of the sounding world is actually a series of states that are as fragile and discontinuous as they are solid and connected. (Discrete continuity is one of the ways we have of understanding contingency.)
The three discs come in an oversized box with a gorgeous cover collage by Greg Stuart, which also includes a 12 page full color booklet including additional photos and liner notes by Pisaro.
50,00€
Out of stock
3 CD
MARGINAL CONSORT
“08.09.13”
Marginal Concert is the collective improvisation project made up of Kazuo Imai, Tomonao Koshikawa, Kei Shii, and Masami Tada. All of the members were students of Takehisa Kosugi at Bigakko art school in 1975. They started the project on the invitation of Imai in 1997. Each year Marginal Consort holds from one to several concerts in which they perform continuously, without interruption, for two to four hours. Various electronic and acoustic sounds blend and coexist, and myriad sound colors/textures and reverberations flow in a free and spacious way while making large-scale transformations over time. Superb. These 3 CDs document Marginal Consort's live performance at a gallery in London in September 2013.
27,00€
Out of stock
3 CD
Michael PISARO – Reinier van HOUDT
“The earth and the sky”
Erstwhile is proud to announce the first release on the new ErstClass imprint, an epic collection of Pisaro’s work for piano from 1994-2016, 11 pieces totalling 223 minutes. The pieces are performed by the brilliant Dutch pianist Reinier van Houdt (Current 93, Walter Marchetti, Robert Ashley, etc.) with close oversight by Pisaro as well as his own musical input at times. The gorgeous 8-panel digipak was designed by Yuko Zama (also the lead producer), and the 8 page booklet features liner notes by Marc Medwin.
29,00€
In stock
3 CD
Manfred WERDER
“2003”
Erik Carlson (violin), Stephanie Richards (trumpet), D. Edward Davis (electronics).
“Stück 20031”
three instruments sharing the same pitch.
three performers determine a common pitch.
the duration of the performance is not determined. the performers do not use a watch.
two of the performers play the pitch, lasting three to seven seconds, once during the duration of the performance.
for itself. simple.
“Stück 20032”
one performer
the performer determines a sound.
the duration of the performance is not determ
ined. the performer does not use a watch.
the performer plays the sound lasting three to seven seconds twice during the duration of the performance.
for itself. simple.
“Stück 20033”
two instruments sharing the same pitch.
two performers determine a common pitch.
the duration of the performance is not determined. the performers do not use a watch.
the pitch lasting three to seven seconds sounds twice during the duration of the performance.
for itself. simple
10,00€
In stock
3 CD
John CAGE
“Klang der Wandlungen”
3 Audio CDs in a Box & Booklet German / English.
“Seventy-Four” (1992) for orchestra. SWR Symphonic Orchester, direction by Jonathan Stockhammer. Recorded 2011 in Paris.
“103” (1991) for orchestra. WDR Symphonic Orchestra, direction by Arturo Tamayo. Recorded 1992. “Postcard from Heaven” (1982) for one to 20 harps. Gabriele Emde, harp. Recorded 1985. “In a Landscape” (1948) for keyboard oder harp. Gabriele Emde, harp. Recorded 1985. “Some of The Harmony of Maine” (1978) for organ. Jakob Ullmann, organ. Recorded 1990. “In retrospect, the references to the difference between Cage’s pieces and the (largely) European tradition, cultivated over years if not decades, seem to be based much more upon the creative process rather than the actual sonic results. What was important for Cage was not the “deviation” of certain sound shapes, an audible difference from European tradition, but rather liberation from restrictive bonds of interpretation and expression. Even when he was a student with Arnold Schoenberg, who he held in high esteem throughout his life, Cage had already been enquiring into traditions in music and art in this sense, in a highly productive way as it was mostly entirely non-polemic – long before
so-called “postmodernism” was in sight. Cage’s conclusion, namely to establish from Schoenberg’s principle of equality of all tones in a row their complete equivalence through chance operations also proved applicable to entirely different traditions and constellations.” Jakob Ullmann
“103” (1991) for orchestra. WDR Symphonic Orchestra, direction by Arturo Tamayo. Recorded 1992. “Postcard from Heaven” (1982) for one to 20 harps. Gabriele Emde, harp. Recorded 1985. “In a Landscape” (1948) for keyboard oder harp. Gabriele Emde, harp. Recorded 1985. “Some of The Harmony of Maine” (1978) for organ. Jakob Ullmann, organ. Recorded 1990. “In retrospect, the references to the difference between Cage’s pieces and the (largely) European tradition, cultivated over years if not decades, seem to be based much more upon the creative process rather than the actual sonic results. What was important for Cage was not the “deviation” of certain sound shapes, an audible difference from European tradition, but rather liberation from restrictive bonds of interpretation and expression. Even when he was a student with Arnold Schoenberg, who he held in high esteem throughout his life, Cage had already been enquiring into traditions in music and art in this sense, in a highly productive way as it was mostly entirely non-polemic – long before
so-called “postmodernism” was in sight. Cage’s conclusion, namely to establish from Schoenberg’s principle of equality of all tones in a row their complete equivalence through chance operations also proved applicable to entirely different traditions and constellations.” Jakob Ullmann
33,00€
In stock
3 CD
Reinhold FRIEDL & Dirk DRESSELHAUS
“Real time”
Reinhold Friedl and Dirk Dresselhaus are coming from really different backgrounds: Dresselhaus released since the late ninties as Schneider TM several experimental-electronic Freakpop recordings. He started in the 80ies Indipendent rock/pop-postpunk and developed his personal approach to sound and structura as an autodidact, starting with guitar effect devices and 4-track homerecording. Reinhold Friedl studied mathematics and music, got scolarships and international commissions, and built up the ensemble Zeitkratzer, disrespecting all musical frontiers. So it’s not astonishing, that both met for the first time, when Zeitkratzer performed Lou Reed’s Metal Machine Music: Dirk Dresselhaus was restless enthusiastic about this unrestrained contemporary music group, succeeding to devote itself to the instrumentation of purely tuned guitar feedback. Dresselhaus and Friedl started their cooperation, that happened over years in studios only: what happen’s if you put those strange inside-piano sounds - another domain where Friedl set standards - or those powerfull hupe piano-drones into Schneider TM’s electronic devices, modulating them with an incredible complex Feedback system and recursive effect settings ? Sometimes violent, sometimes subtile, mostly large-scale sound fields, which always work out only one sound or noise, developing an overwhelming impact. Reinhold Friedl plays pianoforte, harmonics, horse hair, metal sheet, fishing line, metal tube: inside-piano, extended piano; Dirk Dresselhaus plays oscillator, spring reverb, isolator, memory man, digital delay, mixing desk, lfo, noise generator, vibrator - time machine, pitch shifter, ring modulator.
26,00€
Out of stock
3 CD
Vincent BARRAS – Jacques DEMIERRE
“Voicing through Saussure”
Jacques Demierre and Vincent Barras have collaborated for decades, creating a diverse body of sound performances exploring ties between language and the mind. Here everything is coming from materials found in the work of linguist Ferdinand de Saussure. The detailed analysis of the sonorities of various ancient and modern languages, their re-elaboration and re-composition is finally embodied in a score-text.
Original price was: 30,00€.10,00€Current price is: 10,00€.