Out of stock
CD
David TUDOR
“Rainforest”
“Sounds electronically derived from the resonant characteristics of physical materials. First version (1968), a sound-score for Merce Cunningham’s dance work of the same name, established a means of sound transformations without the use of electronic modulation: the source sounds, when transmitted through the physical materials, will be modified by the resonant nodes of those materials. Fourth version (1973): A collaborative environmental work, spatially mixing the live sounds of suspended sculptures and found objects, with their transformed reflections in an audio system.
"In the first version, I made objects which I could travel with. The object were so small, however, that they didn’t have any sounding presence in the space, so I then amplified the outputs with the use of contact microphones. Then for the second version, I wanted to have a different kind of input... because for the first I had used oscillators that made animal and bird-like sounds. In the second version I wanted to use a vocal input to the system, the natural resonance of the object and its subsequent amplification. Its a kind of mechanical filter. The third version had to deal with the ability to have any input go to any transducer. I made that system for a simultaneous performance with John Cage (Mureau). It was one of those pieces that changes all the time so I needed to have a sort of continuous thing, so I used tape sources, but having the ability to mix them or separate them into different output channels. So the next step was "Rainforest IV"... the object was to make the sculptures sound in the space themselves. Part of that process is that you are actually creating a an environment. The contact mikes on the objects pickup the resonant frequencies which one hears when very close to the object, and then are amplified through a loudspeaker as an enhancement." (this transcription is partially edited from the original)”. David Tudor, form interview by John Fullemann 10/12/85
17,50€
In stock
CD
John CAGE
“Number pieces 5. Two2 for 2 pianos”
The Complete John Cage Edition, Volume 39. The Number Pieces 5. “Two2” (1989). Rob Haskins, piano I. Laurel Karlik Sheehan, piano II. Laurel Karlik Sheehan gave the Canadian premiere of Two2 with Jack Behrens in 1990. Rob Haskins is a respected Cage expert and scholar. Together they bring an authority and expertise to this performance of Two2. In most of the Number Pieces, all the performers have some freedom through Cage’s use of time brackets, flexible measures that show a range of possible starting and ending times. The time bracket system of notation used in these works allows a certain amount of flexibility in the performance: individual notes or chords may always occur in the same general time frame, but their specific order and duration varies slightly and unpredictably from performance to performance. In this way Cage could create a new kind of harmony of "...several sounds...being noticed at the same time." Cage based Two2 on renga, a Japanese poetic design of five, seven, five, seven, and seven syllables expressed at least thirty-six times. Each line of music is divided into five measures, just like the five lines of the poetry. The first measure contains five separate musical events - chords or single tones, usually shared between the two pianists - which correspond to the five syllables of the first line; the second measure has seven events, and so on. There are a total of thirty-six such five-measure sections in the piece. While the pianists can take any amount of time to perform each measure, each pianist must wait until both have finished the same measure before proceeding to the next. Given this flexibility, Haskins and Karlik Sheehan’s performance is the longest of the recordings to date - emphasizing the sense of spaciousness and interest in harmony that marks many of Cage’s late pieces. Liner notes by Rob Haskins.
15,00€
Out of stock
CD
Giacinto SCELSI
“The piano works 2”
“Mode’s Scelsi Edition continues with the second volume devoted to his piano works, consisting of two works from different periods in Scelsi’s oeuvre. The Suite No. 2 is one of the earliest of Scelsi’s published piano works. A highly virtuosic and expressive work, this Suite receives its first recording here. Written in 1955, Action Music is among Scelsi’s last piano works. Action Music was premiered by Geoffrey Douglas Madge in 1986 in Darmstadt. The title Action Music points to the high energy and physical and gestural elements of the music. The work’s vigorous character is underscored by predominantly fast tempi and directions for playing, including violento, con fuoco, martellato, fragroso (deafening!) and come percussione. In Action Music the performers are asked to play the piano in unusual ways by using their palms parallel to the keyboard, and employing fists and forearms to perform single pitches, chords, clusters and glissandi. One of Canada’s leading pianists, Stephen Clarke has performed as a soloist in festivals in Europe, Canada, and the U.S. He has worked with a number of ensembles and has performed as a soloist with the Los Angeles Philharmonic New Music Group, the Toronto Symphony Orchestra and the Composers’ Orchestra. This audiophile quality recording was made using high-resolution 96khz/24-bit technology.”
15,00€
In stock
CD
Giacinto SCELSI
“The piano works 4”
“Hispania “Triptyque pour piano” (1939). Suite No. 5 “Il Circo” (1935). Suite No. 6 “I Capricci di Ty” (1939). Stephen Clarke, piano. Mode’s Scelsi Edition continues with the fourth volume devoted to his piano works - three first recordings of major, large scale works from his early period of the 1930s. The piano plays a role of undeniable importance in Scelsi’s life and work. From 1930 to 1941, and again from 1952 to 1956, the composer produced an enormous repertoire for the instrument, including 40 Preludes, 11 Suites, four Sonatas, and many solo works. The works on this CD attest to his brilliance as an improviser, his sensitivity to rhythm and color, and the originality of his compositional identity. Hispania is a fascinating work, where passages show some signs of Scelsi’s later style, yet other features remain more closely connected to earlier practice. The “tryptique pour piano” is arranged in three distinct movements, fast-slow-fast. While much of Scelsi’s work is highly chromatic, reflecting the influence of Scriabin and Berg, Hispania contains long passages of predominantly diatonic material, using mostly the white keys of the piano with very few accidentals. It also shows the influence of French neoclassicism and impressionism, with certain moments recalling the Spanish-themed works of Ravel and Debussy. Suite No. 5: Il Circo or “The Circus,” an image that is full of possible connotations from the ancient (as in Rome’s Circus Maximus) to the exotic. Rhythm, an aspect of music which Scelsi held as equivalent to vitality, is the true shaping force in these short vignettes. Suite No. 6: I Capricci di Ty takes more steps in the direction of Scelsi’s later minimalistic style, with entire movements focusing on this type of material, some with variable beats in each measure, and time signatures often omitted altogether. Ty was Scelsi’s nickname for his wife, Dorothy. This audiophile quality recording was made using high-resolution 96khz/24-bit technology. Liner notes by Benjamin R. Levy (in English, German & French).” label info
15,00€
In stock
CD
John CAGE
“Complete string quartets, volume 2”
The Complete String Quartets Vol. 2. “String Quartet in Four Parts” (1949-50). “Four” (1989). The Arditti Quartet. The second volume of Cage’s String Quartets features his first and last works in this repertoire. The well known and exquisitely beautiful, serenely Zen-like early quartet receives its first new recording in 16 years. It is a pivotal work in Cage’s oeuvre, showing the composer’s transition between the rhytmically complex percussion works before it and the chance works of the 1950s. Four was written for the Arditti Quartet, its "time-bracket" form opens a world of microtones, the four independent players forming constantly shifting textures. The pairing of these two quartets on this recording offers a striking demonstration that the silent compositional voice which Cage discovered in 1949 has remained with hin ever since. The booklet features another etching by Cage and extensive liner notes by Cage scholar James Pritchett. Composer supervised recordings.
15,00€
Out of stock
CD
John CAGE
“Freeman etudes (books 1 & 2)”
Reissued. By Irvine Arditti, violin. John Cage’s Freeman Etudes are the modern equivalent of Paganini’s virtuoso solo violin etudes. Each etude is completely notated down to the smallest detail, and the composer states "...are as intentionally as difficult as I can make them...So I think that this music, which is almost impossible, gives an instance of the practicality of the impossible." The detail and complexity of these etudes give them a unique and unusual spot in Cage’s oeuvre. These first two books (there are 8 etudes per book) were composed between 1977 and 1980 with the help of Paul Zukofsky, who answered Cage’s questions about what was (and wasn’t) possible to play on the violin. Cage also composed the 17th Etude in 1980, but abandoned writing the remaining fifteen, believing them to be "almost impossible" music. They were abandoned until 1990, that is, when Cage heard Irvine Arditti’s remarkable rendition of the first 16 Etudes. Once again, Cage had the inspiration and the impetus to complete the last two books, which Arditti has recorded on mode 37. A goal of the Etudes is to make each one the same duration: as fast as one can play the most difficult Etude with accuracy. Arditti’s performances are at blistering speed and center around three minutes per Etude, far faster than any other recorded version. Mode had the pleasure to record the first 2 books under Cage’s extremely pleased and helpful supervision. The booklet contains photos from the recording session. Liner notes are by Cage scholar James Pritchett, who helped Cage with the materials to complete books 3 & 4 of the Etudes.
15,00€
Out of stock
CD
Giacinto SCELSI
“The viola works”
“Vincent Royer, viola & voice. “Manto” (1957). First recording with male voice. “Coelocanth” (1955). “Elegia per Ty” (1958). Séverine Ballon, cello. “Three Studies” (1956). First recording. “Xnoybis” (1964). First recording. Volume 9 of Mode’s Scelsi Edition is devoted to the first complete recording of Giacinto Scelsi’s works for viola solo and duo. Manto was a prophet in ancient Greece. Scelsi translated her oracle maxims into cryptic phonemes which the viola player has to sing simultaneously in the third movement. In Manto, the sound of the viola is expanded and explored via experimental playing techniques. This is the first recording of the third movement. In Xnoybis, Scelsi’s exploration “into the inside of the sound” is taken to its extreme. A central tone, variously colored and surrounded, moves in microtonal steps - no melody in the traditional sense, but a sole wandering sound. This is the first recording of the viola version in a transcription by Vincent Royer. Elegia per Ty for viola and violoncello is Scelsi’s tender rememberance of his former wife Dorothy (nicknamed “Ty”). It is among his most important chamber works. Coelocanth and the Three Studies belong to Scelsi’s earlier style of composing. Concise motivic gestures are developed by improvisation. These expressive, virtuoso pieces are overwhelming in their ecstatic ferocity. This is the first recording of the “Three Studies”. Violist Vincent Royer is one of the most outstanding performers of contemporary music today. Mr. Royer, who was born in France but now lives in Cologne, Germany, is among a handful of musicians who have truly mastered the works of the Spectral composers, such as Gerard Grisey. In his hands, these challenging and complex works give way to new forms of musical expression that are mysterious, powerful and filled with beautiful colors. A key to his deep understanding of new music is his close collaboration with living composers, like Horatiu Radulescu and Tristan Murail, two important composers with whom Mr. Royer has enjoyed a close working relationship. Liner notes by Friedrich Jaecker and Sharon Kanach.”
16,00€
Out of stock
2 CD
Cornelius CARDEW
“Treatise”
“Treatise” (1963-67). For any number of musicians with any instruments, may be performed whole or in part. The QUaX Ensemble, directed by Petr Kotik. Live recording from Prague, Czechoslovakia, 1967. Program notes Petr Kotik & John Tilbury. This performance of Cardew’s monumental 193-page graphic score Treatise was recorded live in Prague in 1967 by the Czech QUaX Ensemble, directed by composer, flutist, conductor Petr Kotik. This historical recording offers a unique perspective to hear Treatise as interpreted by Cardew’s contemporaries. Kotik met Cardew in Warsaw in 1962, and they began exchanging scores by mail, including Treatise, which was a work in progress. Upon meeting again in London (1966), Cardew provided Kotik with additional portions of the score and insights. Fresh from this encounter, Kotik started the QUaX Ensemble upon his return to Prague in 1966. The first thing QUaX did was to rehearse Treatise, working through the pages Kotik had: "The piece was very important for getting all of us together, musically speaking, besides having a lot of fun working out individual pages by having all the musicians contribute ideas and suggestions. We worked regularly over a long period of time, ending up with a 2-hour version of the piece ... only performed once, at the concert on October 15, 1967 in Prague." It is presented here. Cardew said: “Treatise is a continuous weaving and combining of a host of graphic elements (of which only a few are recognizably related to musical symbols) into a long visual composition, the meaning of which in terms of sound is not specified in any way. ... Any number of musicians using any media are free to participate in a ’reading’ of this score ... and each is free to interpret it in his own way”. Liner notes by Petr Kotik and Cardew’s friend and colleague John Tilbury. Tilbury says of this performance: "There is much to admire in this 1967 version of Treatise by the QUaX Ensemble from Prague: the feeling of spontaneity, its uninhibitedness, the rough-hewn sounds, the accidental, the half-intended, the blurred." High resolution 96khz, 24-bit remastering from the original analog tape.
26,00€
In stock
CD
John CAGE
“Freeman etudes books 3 & 4”
Reisued. By Irvine Arditti, violin. This CD presents the first recording of the second half of John Cage’s Freeman Etudes for violin. Those familiar with the previously-released volume of this work will already know what to expect: the bewildering complexity of the Etudes and the astonishing virtuosity of Irvine Arditti’s performance. Convinced that the later, more complex etudes were unplayable, Cage abandoned work on the Freeman Etudes in 1980, after completing the first sixteen and beginning the eighteenth Etude. It wasn’t until 1990, after hearing Irvine Arditti’s blistering performances that Cage was encouraged to complete the cycle with the last two books of sixteen etudes. Considering his role in the history of the Freeman Etudes, it is only fitting that Arditti should be the first to record them. This is the second release with Irvine Arditti in his traversal of The Complete Works for Violin by John Cage for Mode Records. Released 1989.
15,00€
Out of stock
2 CD
John CAGE
“44 harmonies from appartment house 1776”
Volume 32 of Mode’s Complete John Cage Edition. Features 2 long works: "Cheap Imitation" (1977, for solo violin; peformed by Irving Arditti); "44 Harmonies from Apartment House 1776" (1976, for string quartet, performed by Arditti Quartet). World Premiere Recording of "44 Harmonies" which is 103 minutes long. "Irvine Arditti completes his complete traversal of Cage’s works for solo violin with ’Cheap Imitation’ in this set. In 1969, John Cage transcribed a two piano version of Erik Satie’s 1918 music drama ’Socrate’ to accompany Merce Cunningham’s choreography ’Second Hand’. At the last minute, the French firm that held the copyright to Satie’s score refused to allow the performance. With an ingenious rewriting, Cage retained the rhythmical architecture of the musical lines, but replaced each note with a new tonal value, creating a melodically original work with an identical rhythmic structure."
26,00€
Out of stock
CD
Giacinto SCELSI
“The orchestral works 1”
“Hymnos” (1963) for organ & 2 orchestras. “Hurqualia” (1960) for large orchestra.
“Konx-Om-Pax” (1968) for large orchestra & chorus. The Carnegie Mellon Philharmonic & Concert Choir. Juan Pablo Izquierdo, conductor. “Canti del Capricorno” for voices & instruments. Pauline Vaillancourt, soprano. Douglas Ahlstedt, tenor. Volume 2 in Mode’s Scelsi Edition presents three of his rarely heard and recorded orchestral works, vividly captured in outstanding sound. Hymnos’ large orchestra is divided antiphonally into two almost identical groups, symmetrically placed on each side of a central axis made up of the organ, timpani, and percussion. About halfway through the piece, as a result of accumulated pedal tones and their harmonics, the aura of a phantom choir miraculously appears-or so it seems-in a spine-tingling sonic revelation. Hurqualia was written at the height of the composer’s maturity. As with Hymnos, Scelsi obsesses on a single note-in this case a different note for each of the four movements. It reveals a shocking Scelsi: violent, impulsive, loud, fast. Konx-Om-Pax is the word ’peace’ in three languages: ancient Assyrian, Sanskrit, and Latin. This 20-minute work for choir and orchestra is his crowning achievement. The orchestra is the largest ever assembled by Scelsi, projected onto an enormous landscape of sound. The joining of ’all’ in the third movement, combining the massive forces of orchestra and choir, makes an inevitable allusion to a previous ’ode to joy.’ The orchestral works are interspersed with selections from Canti del Capricorno. A collection of twenty songs, some of the Canti are written specifically for soprano voice, while for others the exact voice is not specified. Improvisation and ’personal inspiration’ play a large part in the interpretation of the songs. Presented here are some for solo voice and others with instruments, performed by soprano Pauline Vaillancourt and tenor Douglas Ahlstedt. A student of Hermann Scherchen, Juan Pablo Izquierdo’s interpretations of the Viennese masters of the 19th century continue a long-standing European tradition, while also being internationally for his bold interpretations of avant-garde music of the 20th century. His first Mode disc with the superb Carnegie Mellon Philharmonic garnered rave reviews.
17,00€
In stock
CD
Luc FERRARI
“Visage 2, Après presque rien, Madame de Shanghai”
“Visage 2” (1955-56) for brass, piano and percussion. Musiques Nouvelles. Jean-Paul Dessy, conductor. First recording. “Après presque rien” (2004) for fourteen instruments and two samplers. Art Zoyd, samplers. Musiques Nouvelles. Jean-Paul Dessy, conductor. First recording. “Madame de Shanghai” (1996) for three flutes and digitally stored sounds. Li Ping Ting as “Madame Shanghai”. Scottish Flute Trio. Although not as well known as some of his composer colleagues in France, Luc Ferrari (1929-2005) was a remarkable French composer who distinguished himself with a wide variety of works from traditionally notated compositions for conventional instruments to indeterminate scores, improvisations, experimental tape works, radio pieces, films and multimedia installations. This CD, Mode Records’ second disc featuring music by Ferrari, vividly confirms this fact. • Après presque rien (after almost nothing) is an unusual, moody musical reaction to Ferrari’s series of six Presque rien works spanning more than three decades of his career (1967-2001), conceived for tape recorder and displaying Ferrari’s concept of “anecdotal” music and love of nature. Après presque rien is a vivid instrumental work interspersed with a broad range of taped environmental sounds. It was a special commission from the avant-garde band Art Zoyd, Musiques Nouvelles and CCMIX. • Visage 2 for two trumpets, trombone, tuba, piano and six percussionists (on this disc) is the second piece in a five-part series of works carrying the same title and spanning the period between 1955 and 1959. While most of the works in this series reflect Ferrari’s fascination with serialism, Visage 2 is a physical confrontation of two sexual bodies, telling gestures with notes, rhythms and instruments. • Madame de Shanghai blends flute sounds with field recordings from the Asian commercial center of Paris (Avenue d’Ivry), including Chinese and Vietnamese voices. At the end of this piece, Ferrari features the voice of Orson Welles, who directed the 1947 film noir The Lady of Shanghai and acted the lover of “The Lady of Shanghai” (Rita Hayworth). Ferrari says “… I can say that this “dramatic comedy” is a bit of a tribute to the film by Orson Welles.”
• Liner notes by Sabine Feisst and Luc Ferrari.” label info
16,50€
In stock
2 CD
John CAGE
“Roaratorio”
“Roaratorio is one of Cage’s most attractive larger assemblages...the piece is a landmark in the composer’s later output, and a credit to all involved in its elaborate realization.” - Peter Dickinson, Gramophone, 1994. Roaratorio was a commission from the West German Radio and IRCAM for Cage to realize a work based on his favorite book, Finnegans Wake by James Joyce. Cage began by making a text from the original (which became Writing for the Second Time Through Finnegans Wake, also issued here in its entirety), and cataloging the many sounds and locations mentioned in the book. A recording of each sound was made at the noted locations - virtually every sound/location was recorded. These were then laid out in the sequence in which they are mentioned in the Wake and mixed, along with Cage’s rendering of the text, into a massive collage of 62 tracks of tape lasting about an hour. Added to this is live accompaniment from leading Irish musicians on traditional instruments, performing traditional Irish music. The result is an enthralling stew of words, sound and music unlike anything you’ve encountered before. Because Cage’s beautiful reading of the text often gets submerged in the density of Roaratorio, the unadorned recording of Writing for the Second Time... is also included. Special insight on the works can be had from Laughtears, with Cage interviewed by Klaus Schöning of the WDR regarding the project. “Roaratorio: An Irish Circus on Finnegans Wake” (1976/79). First CD recording. John Cage, voice. Joe Heaney, singer. Seamus Ennis, Uillean pipes. Paddy Glackin, fiddle. Matt Malloy, flute. Peadher Mercier, Mell Mercier, bodhran with 62 track tape. “Laughtears: Conversation on Roaratorio” (1979). First CD recording. John Cage and Klaus Schöning, speakers. “Writing for the Second Time Through Finnegans Wake” (1976/79). First CD recording. John Cage, speaker.
26,00€
Out of stock
CD
Horatiu RADULESCU
“Piano sonatas & string quartets 1”
Stephen Clarke, piano. The JACK Quartet.
“String Quartet No.5 “before the universe was born”, op. 89” (1990-95).
“’Piano Sonata No.5 “settle your dust, this is the primal identity”, op. 106” (2003)
“Piano Sonata No.2 “being and non-being create each other”, op.82” (1991)
The first volume in a projected series combining Radulescu’s complete Piano Sonatas and String Quartets — there are six of each — on Mode performed by the superb JACK Quartet and Stephen Clarke (piano).
In the 1970s, Horatiu Radulescu (1942 - 2008) began exploring and composing begun composing what he called “plasmatic music,” in which sound was conceived as an “endless ocean of vibrations,” as opposed to the traditional way in which music treats sound as a fabric of discrete scale steps. His music is linked to the “spectral music” school.
Radulescu’s Fifth String Quartet is one of the key works in his output. It is in some ways the richest manifestation of the body of string techniques he had developed for his music. It consists of 29 sections/pages which richly evocative titles, each lasting about 1 minute.
The Second Piano Sonata is inspired by the Tao of Chinese philosopher Lao tzu (6-5 BC). The first movement, “Immanence,” opens with a powerful sonority built from spectral functions which gives a sense of immensity and strength.
The Fifth Piano Sonata makes abundant use — more so than any of the other sonatas — of Romanian folk material, which is absorbed and integrated into Radulescu’s spectral language.
Liner notes by Bob Gilmore.
16,50€
In stock
CD
Luc FERRARI – Brunhild FERRARI – Vincent ROYER
“Ephémère”
“Ephémère” (1974) new version for viola & tape by Brunhild Ferrari (2012). Vincent Royer, viola.
“Le Piano Englouti” (2012) by Brunhild Ferrari, version for viola & tape. Vincent Royer, viola.
“Pour que le vent soit propice” (2011) based on “Ce qu’a vu le Cers” (1978) by Luc Ferrari. Vincent Royer, viola, voice, percussion & electronics.
This album tells stories about wind, ocean and a village feast in the southern France… The listener is led into a poetic journey about freedom and impermanence. It brings together three Ferrari-related works: by Ferrari himself, by Ferrari’s wife Brunhild Meyer-Ferrari and an improvisation by Royer to one of
Ferrari’s soundscapes.
Luc Ferrari was very interested in collaboration.
New music violist Vincent Royer began collaborating with Ferrari following their meeting in 2001.
Regarding “Ephémère” (1974), Ferrari wrote: “This musical piece – which, as its name says, is based on the effects of the sea – is intended for musicians open to all types of music. As the name says too, this tape has been conceived as a snap of time.” In 2012 Brunhild Ferrari realized this new version for Royer’s viola.
Brunhild Ferrari’s “Le piano englouti” (“The Sunken Piano”) is a tape piece comprised of recorded and processed sounds. The sounds were recorded over 14 years, at a Greek island almost swallowed by the noisy Aegean Sea, and in 2010, at a very discreet and silent Japanese island. Originally composed to accompany a piano, as in Debussy’s work of the same name, this version is arranged for Royer’s viola.
The Royer / Ferrari “Pour que le vent soit propice “uses Ferrari’s tape piece “Ce qu’a vu le Cers” as the basis for a viola & electronics improvisation. This live recording captures the special mood of the intimate concert surroundings it was recorded at.
Liner notes by Brunhild Ferrari and Royer.
17,00€
In stock
CD
Luc FERRARI
“Volume 1: Chansons pour le corps”
Includes "Chansons Pour Le Corps" (1988-94; for voice, clarinets, percussion, piano and synthesizer; Elise Caron, voice), and "Et Si Tout Entiere Maintenant" (1986-87; symphonic tale for voice, orchestral sound and tape; with texts by Collette Fellous; Anne See, voice; Nouvel Orchestre Philharmonique; Yves Prin, conductor). "The works on this disc show a combination of Ferrari’s musique concrete and instrumental styles. The point of departure for ’Chansons Pour le Corps’ was a series of spontaneous interviews with women on the subject of female form which Ferrari recorded in the Jardin du Luxembourg. It’s a great image, a young woman out for a Sunday afternoon stroll approached by a man wondering if she might allow him to record her talking about various intimate parts of her body. The interviewees were invited to speak about their eyes, hands, breasts and sex, and those who accepted did so with extraordinary candor. Novelist and radio presenter Colette Fellous was then asked to write texts based on the tapes to be set for soprano and ensemble interspersed with extracts from the original interviews. ’Et Si Tout Entiere Maintenant’ a ’symphonic tale’ for voice, orchestral sound and tape is an extraordinary work. The orchestral score was performed, recorded and then treated electronically in his studio, though the orchestra is never deformed beyond all recognition. This is incorporated into the piece along with the authentic sounds of the Swedish icebreaker and its crew, and Fellous’ spoken text. What results is typical Ferrari genre blending, inhabiting a region somewhere between fact and fiction, documentary and poetry, orchestral and electronic music."
16,50€
Out of stock
2 CD
Morton FELDMAN
“Trio”
“Trio” (1980). “Aki Takahashi (piano), Rohan de Saram (cello), Marc Sabat, violin. The expansive length of Feldman’s Trio (105 min. 22 sec) requires a new approach to listening, which takes scale, the physical experience of sound, and novel uses of musical memory into consideration. With his delicate manipulation of musical materials, Feldman blurs the listeners’ sense of time as their musical memory struggles to distinguish between past and present sounds - listeners are free to lose themselves in the beauty of each musical moment. Aki Takahashi and Rohan de Saram (formerly of the Arditti Quartet) both worked closely with Feldman. Marc Sabat is among today’s great Feldman interpreters, having recorded Feldman’s complete music for violin & piano on Mode. Available also as a single DVD with full video and extras. This is the only readily available performance of the Trio available in the U.S.A. Original recording in superb 96khz, 24-bit sonics. For the stereo mix, the violin and piano are clearly separated left and right to accentuate their interplay. Feldman’s use of extended string techniques can blur the timbral separation between cello and violin, creating unified sonic events exploring the qualities and possibilities of the combination of instruments - for example, utilizing the resonance of the piano and the sustaining qualities and dynamic control of the strings. These subtle nuances are brought out by the detail of the recording.”
22,00€
In stock
CD
Iannis XENAKIS
“Electronic works 2”
NEW: Volume 2 in Mode’s Xenakis Electronic Works series. “Polytope de Cluny” (1972-74) for 8-channel tape. “Hibiki-hana-ma” (1969-70) for 8-channel tape. Mode continues it’s Xenakis Edition with the second volume dedicated to his electronic works, again restored from the best quality source materials. New high-resolution transfers were made of Polytope de Cluny from the original analog master tapes. Hibiki hana ma has been restored from the existing digital masters. Hibiki hana ma was created for Expo 1970 World’s Fair in Osaka, Japan, where it was experienced by thousands. It was designed to be played on a tape loop in a hall which boasted state-of-the-art acoustic equipment, with some 700 speakers scattered under the floor divided plus 128 surface and suspended speakers symmetrically distributed throughout the pavilion’s amphitheatre. Essays by Sharon Kanach and Makis Solomos.
17,50€
Out of stock
CD
KROCK
“Välfärdsorkestern”
Krock, an electric guitar quartet with Pascal Jardry, John Viklund, Mikael Gillefalk and Danjel Röhr. They play compositions from Per Magnusson, Ida Lundén, Malin Bång, Tony Blomdahl, Christofer Elgh.
5,00€
Out of stock
CD
NID
“Plate tectonics”
“Crawling back into the wound: NID 1995 - 2007. NID is an experimental group whose aim it is to challenge conventional concepts and structures of electronic music by experimenting with the source of sounds. The music is created on the spot, making each performance a genuine and unrepeatable event. It has been described as moving sound-objects, improvised electronic noise, or brooding ambient music. It has been compared to an underwater-journey, a pathway to the inner self. Given enough volume, it certainly affects the body as well as the mind. In which way remains open to the listener’s psyche. NID was formed in 1995. Over the years the core-members have performed in art-galleries, rock-clubs, bars, water-reservoirs, cinemas, as well as at industrial and electronic festivals and in record shops. In 1998 they were invited to play onboard the MS Stubnitz when it was anchored in the harbour of Stockholm as part of the "European Culture Capital" activities. They were also involved in the 2001 Six And More & R:IP jubilees, improvising with 30 other electronic free-jazz musicians. As for the group name… A “nid” is a curse or insult with homosexual connotation that was frequently in use in the Viking age. It brought a depth to the concept of honour and shame. It could be used as a challenge or simply to ridicule another (which was a challenge per se). It could reveal anyone else to be no better than he was, and it undermined social structures. NID disbanded in 2006. Chris Sidgell continues in various projects, most notably his solo project B-Tong. Jürgen Eberhard releases music under the name Feine Trinkers Bei Pinkels Daheim. This is NID’s one and only proper CD release. The sound on this work may appeal to fans of Lustmord, New Blockaders or collage post-industrial in general-experimental ambient. The music on this CD was recorded live 2004 in Arnheim by Mars Wellink (Vance Orchestra). The cover was done by Katja Wahl. Limited edition of 500 copies, CD in jewel case.”
5,00€
Out of stock
CD
TRIAC
“Days”
2015.
Triac is a new trio project led by Rossano Polidoro of former duo TU M’ whose beautiful 2009 sold out LINE release Monochromes Vol.1 (LINE_040) garnered great acclaim.
Days is an album of dazzling yet smooth distant drones that almost hover in the air. The sound of the slowest moving picture and subtle flickering lights beyond it. For listeners who appreciate the works of Celer, William Basinski, and Stephan Mathieu.
Triac is a discrete electronic music trio formed in the end of 2011. Their work also encompasses audiovisual art installations about the relations between sound/space atmospheres and natural elements. Their first album in a room was released in 2014 on Russian label Mikroton.
Music composed and perfomed by Triac. Recorded in 2014. Rossano Polidoro (of TU M’): laptop. Marco Seracini: piano, synth. Augusto Tatone: electric bass.
Original price was: 11,00€.5,00€Current price is: 5,00€.
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Stian SKAGEN
“The inward rising”
“Stian Skagen (b.1980) aka [concept.virus] is one of the leading Scandinavian sound artists and has toured and recorded with acts such as Årabrot, Ryfylke and Nernes/Skagen, his work has been exhibited and performed several places around the world. The music presented on this release was made for the sound installation The Inward Rising by Skagen and fellow artist Monica Winther. The installation was presented at the Henie Onstad Art Centre from the 20th of November until 14th of December 2008. The Inward Rising is according to Skagen the result from a one-year research in paint pigments reflective and absorbing light qualities. LED light was programmed to change the colors reflecting from the painting. Various patterns and color combinations build up a large painting that in constant change as the lights are changing. The object was the source for a sound and video composition. The music on this record is standing in a minimalistic electro-accoustic tradition, inspired by composers such as Morton Subotnick, Karlheinz Stockhausen and Iannis Xenakis. The sound is digital and abstract, but contains clearly recognizable objects and structures which interacts with one another and makes up an organic whole. The critic Bjørn Hatterud wrote in a review on the piece in kunstkritikk.no that Skagen and Winther …“has created some of the most powerful I’ve experienced in an art museum ever… The sound is murky and dark. I hear trees falling, the roar of waterfalls, creepy creatures, or the roaring emptiness of space…” Prisma Records is proud to present this powerful, dynamic and extreme, yet delicately intricate composition for the first time.”
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Heribert FRIEDL
“Back_Forward”
“This cd is solely based on recordings of the hackbrett (cymbalon). It is a research of playing and digital processing of the instrument itself. The tracks should show the changes of concrete sounds into abstraction, without losing the soul of the sound itself. On BACK_FORWARD musical movement happens in a clearly defined space. Even though the initial point and the endpoint are never the same, the path between is always equal.” Limited edition of 300.
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RYKE
“Resuscitation”
“Collaborative work started in 1998 between R.H.Y. Yau (Auscultare & 23Five Inc.) and Kazumoto Endo (Killer Bug) is finally completed in 2006. Harsh spastic action concrete. Housed in a digipak and limited to 360 copies worldwide.”
5,00€
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Roger DOYLE
“The ninth set”
“Irish composer Roger Doyle’s first release on Die Stadt is his prize-winning work The Ninth Set, a 67 minute masterpiece in 5 parts. He was awarded the Magisterium Prize at this years’s Bourges International Electro-acoustic Music Competition in France for parts 4 and 5. The award, which is one of the most important prizes in the world for electronic music, is open to composers having at least 25 years of professional experience in the field, and its objective is “the promotion and diffusion of works that might become milestones in the history of electroacoustic music”. Previous works of Doyle include a 5-cd set Babel which took ten years to compose, where each track corresponds to a room or place within an imagined tower city; and the 3 hour Passades, music made from software that freezes sounds like a freeze-frame in dvd. He’s also known for his project Operating Theater which released the classic “Rapid Eye Movements” album - consisting of 4 works composed between 1968 1980 - on Steven Stapleton’s (Nurse With Wound) own United Dairies label in 1980. Furthermore he guested on Fovea Hex’s “neither speak nor remain silent” EP number 2 “Huge”, alongside among others Clodagh Simonds, Brian Eno, Percy Jones and Colin Potter. The cd comes in a color digipack in a first edition of 600 copies.”
5,00€
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2 CD
Kevin DRUMM – Jason LESCALLEET
“The abyss”
The label doesn’t want to do notes anymore about his new releases. So we have to write some with our very good English.
When you read the two names, you already can get an idea ! But it will be wrong. No way to fix what they are doing. Great and unexpected.
Kevin Drumm, guitar, piano, electronics, tapes. Jason Lescalleet, hammond 136J, casio SK5, amplified objects, tapes, dell xps.
When you read the two names, you already can get an idea ! But it will be wrong. No way to fix what they are doing. Great and unexpected.
Kevin Drumm, guitar, piano, electronics, tapes. Jason Lescalleet, hammond 136J, casio SK5, amplified objects, tapes, dell xps.
Original price was: 21,50€.15,00€Current price is: 15,00€.
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Ronnie SUNDIN
“Morphei”
Ronnis Sundin a composé la bande son d’un rêve imaginaire où le temps semble se ralentir et s’arrêter, où la pesanteur semble disparaître, où la...
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SINISTRI
“Free pulse”
Sinistri, formerly known as Starfuckers, is an experimental music unit based in Italy. Starting from an original, raw, minimal and high power approach to the rock language, they soon developed a personal direction exploring the space between proto-punk, black roots and contemporary classical music. Sinistri is a trio who uses electric, electronic and acoustic instruments, operating under the principles of intuitive music, exploiting asyncrony and non-metrical rhythms. Sinistri’s music comes out from an evolving process and appears like a steady aperiodic pulsation which filters, through a minimal rock perspective, archetypal prototypes and elements from jazz, funk, blues, concrete and electro-acoustic music.
Personnel: Manuele Giannini: guitar, amps, echoplex, wah, speaker, computer; Alessandro Bocci: computer, sampler, mixer, synth, turntables; Roberto Bertacchini: drums; Dino Bramanti: real-time processing-live mixing, sampling, MaxMSP code.
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Alexandre SAINT-ONGE
“Kasi naigo”
.....kasi naigo is a sound study of Ingmar Bergman’s Tystnaden (The Silence) and the silence of the Other...the object itself is a compression of an impossible space through the trituration of a gesture-the infinite as a question... A singular blast of air interchanged with a hollow, crackly static drone are almost constant through this, disc, and they serve to create an eerie, lonely, wide-open silence... This disc is expansive, tense, terrifying and subtle (Boss Sambosa, The Montreal Mirror).
CD in jewel case, front and back plastic covers marked with repetitive obsessional hand gestures using sharp object done in sync with film’s chronological clock.
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Alexandre ST-ONGE
“Joseph Carey Merrick”
SPECIAL CLEARANCE PRICES. “Welcome to eveyone for this CD Launch, the 22nd and the first of Alexandre St-Onge on Montrteal label Oral. This work is singular, vivid and direct, the 3 parts are glued together as a sound jewel. Following his tribute to Joseph Carey Merrick, composed and played at Epoxy 5 by Alexandre St-Onge in Montreal, May 2007, this not to be missed cd builds a relationship in between two monsters with deep feelings : the author and the man whom filmaker David Lynch immortalized in his movie The Elephant Man.”
3,00€
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CD
MØHR – MAEROR TRI
“Hafenstadt”
Release date: 27.01.2015. Digipak designed by Tilmann Benninghaus. Limited to 500 copies.
“This music was originally planned to form a part of the third tape box in the Møhr interpretation series of ZNS Tapes. In this series different artists got an individual 30-minutes-piece of basic material by Møhr to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by Das Konzentrat, Bestattunginstitut and Suicide Commando (released in 1990), the second, Kulturschock, contained works by Andrew Chalk / Darren Tate, Ectoplasmic Embryo Experience and Flagrants D’eli (released in 1991). The third one, which was to contain Hafenstadt by Maeror Tri (as well as material of PBK and The Haters), has never been released due to the sudden end of ZNS Tapes. We're convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives”. (Andreaz Vogel)
Møhr existed between 1986 and 1994 as the solo project of Andreaz Vogel.
Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with Møhr was
to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS recordings.
Maeror Tri existed from April 1988 to the end of 1996, coming from the very
north-western part of Germany. The three members were influenced by (post)
industrial, noise rock and experimental ambient and found a way to establish
their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for “consciousness”, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: 'We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. Out of Maeror Tri evolved the project Troum that is still very active.
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Dave PHILLIPS
“Field recordings”
“This is a co-release with Tochnit Aleph. Recorded by Dave Phillips, January-March 2001 and January-February 2004. These recordings have been equalized, other than they have been left es arecorded. No mixing, no layering, non normalization or compression, no effects nor any other additions or manipulations. All cuts are indexed. Play loud. Alternate playback through earphones is highly recommended. Seriously.”
Original price was: 10,00€.5,00€Current price is: 5,00€.