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2 LP

Sergei TCHEREPNIN
“Quasar <-> Lanterns”

Sergei Tcherepnin’s Quasar <-> Lanterns was originally produced in 2009 as an 8-channel installation with Ei Arakawa at Künstlerhaus Stuttgart. Remixed to stereo for this release, Tcherepnin’s trio of works combine analog synthesizer recordings and other instrumental sources with field recordings captured during the artists’ travels to Turkey and Georgia. Each piece introduces a separate facet of Tcherepnin’s compositional practice, respectively probing the boundaries between perception/hallucination, active/passive listening, and form/fiction. In the first piece, titled “Death (Quasar)”, recordings of an acoustic bass played by Adam Linson function as “sound meteors,” creating fissures and tears as they rip through a stable yet shifting aural field. “Sky” follows with a series of clear and high ear tones, unfolding as a succession of subtle sonic events. The final piece “Horse” explores the rhythmic and textural qualities of recorded horse hooves moving across stone, assembling the sounds into a sonic fiction in which horses and their riders leave the earth via flying carpets (objects referenced in the original installation).
Sergei Tcherepnin is a Brooklyn-based artist and musician. His work constructs temporary architectural interventions that push phenomena of the sonorous towards the haptic through performance, composition, and installation, exploring the materiality of sound and its physical and psychological effects on the listener. Recent performances and installations have been held at the 2014 Whitney Biennial, the 30th Sao Paulo Biennial, Guggenheim Museum, Audio Visual Arts, Murray Guy, and ISSUE Project Room.

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Sabisha FRIEDBERG with Peter EDWARDS
“The hant variance”

Sabisha Friedberg’s 2 LP The Hant Variance was recorded at EMPAC with Peter Edwards in a custom-tuned environment using advanced multi-channel recording techniques to capture a configuration of spatialized sound sources. Combining granular synthesis, analogue synthesizers, tone oscillators and field recordings, the composition is comprised of three movements. The low-end bass, which was recorded live with a subwoofer configuration that allowed for rapid directional shifts, serves as a sonic armature for the piece. Sustained pure tones shift minimally and the allocation of sound engenders a sense of aural disorientation. This landscape, with the premise of summoning a new phantom or haunted sonic space, exists in an interstitial, albeit present zone.
Born in Johannesburg South Africa, Sabisha Friedberg’s composition, performance and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, and low-end experiential thresholds. She has performed and presented installations widely in Western and Eastern Europe, Russia, Japan, and the US, and recently received commissions through residencies at ISSUE Project Room, EMPAC, and The Clocktower Gallery. In 2013 she presented the solo exhibition “Levitation” at Audio Visual Arts. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. Peter Edwards is an American artist and musician living in Holland, best known for his DIY experimental electronics website casperelectronics. His work has been presented internationally at venues including The MIT Media Lab, Transmediale, Dutch Electronic Arts Festival, New York Electronic Arts Festival, and Performa, among others.

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Kan MIKAMI – John EDWARDS – Alex NIELSON
“Live at Cafe Oto”

Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Nielson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real.

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Cathy HEYDEN
“Badlands”

Imagined while crossing the great american plains, “Badlands” is the first solo album by saxophonist Cathy Heyden. Each side of the record reveals a different facet of the (the devil's) instrument and of the (accomplished) instrumentist. 'Coyotes' pulls out of studio recording the tour de force of a radical evocation of the wild and nocturnal immensity of the desert ; while 'Soda Lake' meticulously explores unexpected patterns and matters. While expanding the possibilities of the solo instrument (one might think of Michel Doneda, Stéphane Rives, Nmperign...), the sonic exploration and soundscape-like approach of “Badlands” finds a natural way to the catalog of Universinternational.

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René BERTHOLO
“Um Argentino No Deserto”

Composer’s text : “This story began when I had to learn something about electronics, in order to make objects with electric movement, which I call “small-scale models”, and which I was making between 1963 and 1973. In 1973, when tired of repairs I had decided to give up making them, a friend gave me one of those musical boxes with a handle, a drum bristling with prickles and a steel comb. Although I had seen similar ones, that particular one fascinated me and I had an urge to make one like it, but using electronics. That is how my first “Makina” was born – one could describe it as of a digital, programmable type of synthesizer which has gone through different phases since then and taken on various shapes which even today are still ongoing. At first it was a machine which produced sounds, but I inevitably became more and more interested in its musical possibilities. Not having had any musical training, and knowing little of electronics I wanted to learn by “trial and error” and had doubts as to whether the sounds I produced could be considered as music. For this reason I calledit “Mosik”. I wanted to “play” a different kind of music from what we hear on records and tapes. I am not trying to imitate sounds made by the instruments we are familiar with today, but, if similarity does exist, I am not going to turn my back on it. This “Makina” which plays by itself is made up two parts: one that allows the programming of a fixed electronic memory which we refer to as the program, and one that plays and contains the “instruments”. Only this part is present when we give a “disconcert” in public. It is composed of three melodic units, two of them with eight octaves and three voices, and one with eight octaves and two voices. Three units consist of noises made by birds, frogs and other sounds of nature and 3 mini-samplers, two 16 seconds long and two lasting one minute. There are also 3 percussion instruments. The melodic units may produce very different sounds which make it difficult to hear how many are involved. The same could be said about the percussion elements because they have filters which may modify the basic sounds, and so on. The animal noises have twenty four basic sounds. These are modified by variations in the frequency of the oscillation which produces them. Finally there is a unit where the usual commands of a pre-amplifier: flats, sharps, balance and volume are programmed. The different sounds made by the “instruments” are programmed in this unit to come out up to six loud-speakers, thus enabling the sound to “travel” from one side to another around the room. Except for the integrated microcircuits, transistors, capacitors, etc, that have to be produced industrially, all the other elements, taht make up this “Makina” were created, designed and built by me.” Production of the 1st edition, Sirr.ecords 2000. 200 copies.

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The OVAL LANGUAGE
“Hibernation”

The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt, and continued to this day by John. Its fields of activity are multifaceted and have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, etc. The Oval Language has collaborated extensively with various artists, among others Nicolai Angelov, Koyo Axel Guhlmann, and Guido Hübner of Das Synthetische Mischgewebe.
Around 1991, the then members of the group – John, Berendt, and Peter Schüler – were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg.
“Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation.” (The Oval Language)
This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300.

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Maurizio ABATE
“Live at eLaSTiCo”

Another wonderful live session by the multi-instrumentalist Maurizio Abate, captured by Ulrich Rois (Bird People) in 2014 during his exhibition at the old location of the art association eLaSTiCo - in the centre of Bologna - then mixed and edited by Maurizio himself. To be considered a twin release of the Live from the border EP published in 2012, this single-sided release features a twenty-minute track building a ritual and meditative soundscape made with the processed sound of a hurdy-gurdy and a harmonica. Limited to 150 copies.

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Frederick GALIAY
“Missing time”

“Missing time is a composition for a soloist playing an electric bass and two amplifiers in interaction with a device of active sound recording. The bass, placed on the ground, is played with different objects (bows, metals, resonators…). The electric signal is divided into two independant circuits and modulated by the instrumentalist. Both bass amplifiers are recorded through several microphones distributed in the space of the studio.” “Missing time defines the loss of time suffered durinfg alleged abductions aboard UFOs. I wanted to bring together the eight phases described in abduction testimonies and my fascination for the obstinacy of the music of the monks Bönpo ceremonies.”

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PEOPLE LIKE US – POREST
“Optimized!”

Third volume of our irregular split series. This time pairing two artists at the top of their ‘collagist’ game, People Like Us and Porest. Two A sides of parallel radio broadcasts, for beautiful and not so beautiful days. The Parallel Broadcasts presents Porest’s recordings from the covert sector of his archives. Culled from shortwave and FM broadcasts, these selections were intercepted via prepared radio – finely tuned to receive what is known in certain circles as parallel broadcasting. Content explores the trauma of emerging global consciousness, acute cultural antipology and the urgent placement of democratic music today. Recorded on location in Jan/Feb, 2016 – Featuring contributions from Paul Staufenbiel and Michael Darr. All On A Beautiful Day was recorded in Spring 2016 by People Like Us for “Optimized!” - a week-long online a/v radio station programmed by Vicki Bennett, housed on WFMU.org which experimented with ideas of what radio might be in the world of high speed internet broadcasting. The content included 26 new a/v artist works, including both this and Porest’s Parallel Broadcasts, where people were invited to respond to the word “optimized”.

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THALASSA
“Bonds of Prosperity”

Thalassa is the avant-drone project for Aaron Turner (Sumac, Isis, Mamiffer, House Of Low Culture, etc.) and William Fowler Collins. In his many guises, Turner articulates a chimerical aesthetic that intrepidly explores beyond the scope of sludge, hardcore and post-rock. In Collins’ blackened earth drones, he steadfastly engages in the elemental exploration of the New Mexican landscape that often inspire comparisons to the potency of black metal without the need for a single blast beat. It makes a hell of a lot of sense these two would eventually cross paths and collaborate. The project name Thalassa harkens to ancient Greek mythology of a primordial sea-goddess, later reprised in the early 20th century through an obscure psychoanalytic treatise by Sándor Ferenczi who posited ideas of human sexuality in symbolic return to the sea. For Turner, the project's name was sparked by a blood disorder called Thalassemia, whose root name is that very same Greek goddess. The ocean, blood, rain, sand, the desert, heat, fog -- all of these elemental / environmental forces are at play in the heavily sedimental drones and crumbled noise from Turner and Collins on their debut release, Bonds of Prosperity. Pressurized torrents of sound build incrementally through layers upon layers of aggregated grit, soot and flotsam. Given the ecological and mythic references, these tracks suitably take the long-view through a uniquely muscular approach to American minimalism. Thalassa finds itself in very good company with Maeror Tri, Deathprod, Sunn O))) and Lustmord. 2XLP edition of 300 copies, housed in a custom printed 2LP sleeve, pressed on black vinyl only.

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Matthew REVERT
“Being small”

Kye is proud to present Being Small, the new LP by Matthew Revert. Lovely collection of Matthew's philosophies, worldviews and wisdom recorded cheaply at his home in Melbourne, Australia. Being Small arrives in a Matthew Revert designed sleeve with matching labels in an edition of 300 copies.

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Ulrich KRIEGER
“Winters in the abyss”

Matt Barbier, trombone. Zara Rivera, French horn. Paul Rivera, contrabass trombone. Winters in the Abyss are the first five pieces of Ulrich Krieger’s Deep-Sea cycle, which compromises a total of 14 pieces. Each movement of Winters in the Abyss can stand on its own and be performed as an independent piece. Numbered in order of their composition, the movements from V to I follow the sinking of this material from light flooded, warm near-surface waters to high pressure, pitch black and extreme cold deep-sea trenches. Winters in the Abyss takes the fictional undertone series, an upside-down overtone series, as its compositional material. Analogue to water pressure, the density of pitches is higher in the lower range and gets thinner in the upper range. The structures of the individual pieces follow the pressure, amount of live and movement being present in the respective depths. Therefore there is more movement in the higher regions and less in the lower regions. Based on an undertone series Winters in the Abyss is in Just Intonation, making its performance even more challenging by having the series ‘on its head’. An hour long endeavor on three brass instruments is a daunting task, but it also provides an unique opportunity for the performers to explore their physical and instrumental limits in a separate mode from the traditional pitfalls of brass endurance - missed high tones and playing wrong overtones. Winters removes that - the extremely low tessitura eliminates concerns of fatigue decreasing one's range or a lack of focus causing pitch errors. Long held concerns are stripped away and all that's left is staying in the middle of the sound and maintaining it. The instruments are all close-microphoned, therefore amplifying elements of the sound normally not or only weakly audible: air within tone, sound of spit, weaker partials, tiny tone fluctuations, and more. This results in a redefined brass sound that only pretends to be acoustic, due to the lack of electronic manipulation, but is inherently processed. Please note: This release packaging comes folded into quarters, ending up as a 5 ” x 5 ” brochure style booklet (liner notes inside), with the CD in a paper sleeve, all inserted into re-sealable plastic sleeves. There is no jewel case, tray card etc. There is a bar code.

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MESA RITUAL

Formed in New Mexico in 2009, Mesa Ritual is the duo of William Fowler Collins and Raven Chacon. In their five year existence they have created a concise, extremely focused, and inimitable body of work consisting of one EP, and this, their first full length album. Considering the rarified nature of their activities, the resultant sounds would suggest a process of patient sonic reductionism, whereby only the most essential elements are allowed to remain in the completed works. These skeletal compositions expose a core that is both vibrant and severe. Much like the environment from which they originated, the sounds conjured by Mesa Ritual on their debut full length are simultaneously alluring and forbidding. Over the course of the album’s nine tracks a deceivingly spare palette of sounds are implemented: sporadic gasps of crackling circuitry, arid washes of impenetrable static, dilapidated field recordings, and insistent cycles of rhythmic thunder. Through a deft and continual recombination of these elemental pieces, an interwoven series of fevered desert dreams are invoked in the listener - twisting and looming over the vast horizon, and then receding as new facets of the evolving storm supersede. Balancing on the precipice between purgatorial stasis and nightmarish descent, the album evokes the animalistic unease of finding oneself in familiar surroundings which have been uncannily altered beyond recognition. A tense listen though it may be, the album is not without its own form of subtle and serene beauty. In the midst of swirling sandstorms of agitated electronics there beats a steady heart, unwavering in purpose, poised in harmony. Perhaps it is this foundation of a pervasive living spirit veiled within the work that invites repeated visits into the outwardly hostile environments that Mesa Ritual devise.

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Ren WALTERS – Clinton GREEN – Michael McNAB
“At the Salt Museum”

In December 2015, these three Melbourne musicians camped at Murray Sunset National Park in northern Victoria, Australia, sounding various sites and performing ritualistic actions. This album documents our interactions with rusted salt harvesting machinery discovered at the outdoor “salt museum” on the shore of the Lake Crosbie saltpan.

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Marta SAINZ and IF, BWANA
“Sable”

Marta Sainz: voice, dan bau; If, Bwana (Al Margolis): amplified detritus box, recorder, clarinet. Marta Sainz and Al Margolis (If, Bwana) met and performed together in Madrid, Spain for the first time in October 2014. That initial performance – she on voice/performance and he on laptop, was such a joy, that they both determined that they would work together again as soon as possible. That opportunity arose again in June 2015, when the duo did a brief tour in Spain, as well as going into the studio in Madrid – which is Sable. On this recording of 3 improvised pieces, Sainz vocalizes as well as performs on an amplified dan bau - a Vietnamese single string instrument. Margolis makes use of what he calls a “detritus box” - one side wood, one side laminate, each half amplified with contact microphones - and all manner of detritus used to make sounds, as well as alto recorder and clarinet. Through the use of her voice and body, Sainz’s performance refers to elements of German Expressionism and the theater of cruelty of Artaud: she is seeking to emotionally shock the viewer with their own experience, without the content and performance having a specific meaning intended in itself. Margolis shows increasing clarity of vision in his work - both as a composer, and on this recording, as an improvisor. Together, they manage to fuse beauty and terror into something truly remarkable. This recording is a very special experience for anyone willing to travel the length of a terrifying way with these accomplished and visionary performers. Please note: This release packaging comes folded into quarters, ending up as a 5 ” x 5 ” brochure style booklet (liner notes inside), with the CD in a paper sleeve, all inserted into re-sealable plastic sleeves. There is no jewel case, tray card etc. There is a bar code.

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Maurizio GRANDINETTI
“Seek”

Maurizio Grandinetti is tirelessly exploring the possibilities of the acoustic and semiacoustic guitar, and «will fearlessly employ any technique, any instrument, to manifest the necessary sounds», as Elliott Sharp describes Maurizio Grandinetti’s openness to a wide range of tonalities and techniques. His activities are not limited to one genre or formation, but range from solo recitals, chamber and contemporary music to improvisation. Electrically amplified, and accompanying himself on electronic instruments, he breaks through the limitations of the instrument. Seek brings together the composers with whom Maurizio Grandinetti has collaborated in recent years. Composers who wish to explore the electric guitar more deeply, and who already bring along profound knowledge of the instrument, either by virtue of being guitarists themselves, as is the case with Elliott Sharp and Domenico Calliri, or because they already were familiar with electric guitars and electronics through their previous work. Upon Maurizio Grandinetti’s suggestion, seven pieces were created, and recorded under the supervision of composer and sound technician Alex Buess. The pieces were all recorded live in the studio, with no overdubs added to the tracks. On the vinyl, compositions by Alex Buess, Elliott Sharp, Junghae Lee. As bonus downloads compositions by Domenico Caliri, Eric Chasalow, Marcelo Nisinman, Volker Heyn.

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Maurizio GRANDINETTI
“Seek”

Maurizio Grandinetti is tirelessly exploring the possibilities of the acoustic and semiacoustic guitar, and «will fearlessly employ any technique, any instrument, to manifest the necessary sounds», as Elliott Sharp describes Maurizio Grandinetti’s openness to a wide range of tonalities and techniques. His activities are not limited to one genre or formation, but range from solo recitals, chamber and contemporary music to improvisation. Electrically amplified, and accompanying himself on electronic instruments, he breaks through the limitations of the instrument. Seek brings together the composers with whom Maurizio Grandinetti has collaborated in recent years. Composers who wish to explore the electric guitar more deeply, and who already bring along profound knowledge of the instrument, either by virtue of being guitarists themselves, as is the case with Elliott Sharp and Domenico Calliri, or because they already were familiar with electric guitars and electronics through their previous work. Upon Maurizio Grandinetti’s suggestion, seven pieces were created, and recorded under the supervision of composer and sound technician Alex Buess. The pieces were all recorded live in the studio, with no overdubs added to the tracks. Compositions by Alex Buess, Elliott Sharp, Junghae Lee, Domenico Caliri, Eric Chasalow, Marcelo Nisinman, Volker Heyn.

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Wojtek BLECHARZ
“Liminal studies”

Wojciech Blecharz is somewhat an exhibitionist. An emotional one, of course. With his music, he doesn’t create a vision of the contemporary world burdened with disasters, being neither a “digital indigent” nor a fan of algorithmic passages. He’s not even recognized as a political rebel who discloses his outlook on life between the notes. In the centre of his interest remains what’s closest to him – the human psychological condition in the context of experiencing crises and break-ups, traumatic memories. And he is not ashamed of deriving from life experiences, talking about them in interviews, private conversations, programmatic notes but also through musicians performing on stage. He, therefore, creates music that is emotional, even autobiographical and he has no problem with sharing it with the wider audience. Born in Gdynia (Poland) in 1981, in 2006 he graduated with honors from Frederic Chopin Music Academy in Warsaw (Master of Arts), in 2015 received a Ph. D. in music composition at University of California San Diego. Since 2012 Blecharz has been curating the Instalakcje music festival at Warsaw’s Nowy Theater, featuring non-concert music: sound installations, performance installations, sound sculptures, music videos, music theater and Blecharz has also directed both of his opera-installations Transcryptum (2013) commissioned by Grand Theater National Opera in Warsaw and Park-Opera (2016) commissioned by Theater Powszechny in Warsaw. Currently preparing the third opera installation Body-Opera commissioned by Huddersfield Contemporary Music Festival (premiere November 2016). Recently composed pieces for Kwadrofonik Ensemble (Warsaw), Forbidden City Chamber Orchestra (Beijing), Klangforum Wien (Vienna), Royal String Quartet (Warsaw), Aviva Endean (Melbourne), International Contemporary Ensemble (New York), Musiques Nouvelles (Brussels).

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Sloboda KAJKUT
“Sick Nature – City of Bore”

Slobodan Kajkut, composition. Heifetz (Arne Glöckner, guitar. Patrick Wurzwallner, drums. Maggot (Gottfried Krienzer, guitar. Martin Pfeiffer, percussion). For Slobodan Kajkut there was always and intention to write a piece for hardcore/trash/speed/reaction duet Heifetz. Fascinated not only with their variety of different musical styles, that are part of their musical language, but also with their ability to perform with extreme level of passion and variation of sarcasm and severity, Kajkut wrote a piece that musically and physically tests their patience. Somehow, the piece titled City of Bore (named by Heifetz), illustrates the character of the piece. Literally, there is nothing happening, the piece is a half an hour of emptiness, filled with periodical points. There is nothing new in the piece itself, many artists, such as Taku Sugimoto and many others, wrote thousands of such pieces, but in this case, interesting is to hear how Heifetz perform such music, always on the border to explode, though with ability to abstain. On the other side, Sick Nature (played by Maggot, duet formed to perform this particularly piece), also explores punctuality but in a rhythmical way, and with slightly extended instrumentation. Each single note of the piece is performed with almost mechanical precision, which make the piece extremely cold. Various percussions and dynamic extremes from very silent, to extremely loud, make a great correspondence to boredom of City of Bore. This is the music where Nothing makes sense

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DEK TRIO
“Burning below zero”

Ken Vandermark, reeds. Elisabeth Harnik, piano. Didi Kern, drums. DEK is a new improvised music trio that features Austrians Elisabeth Harnik (piano) and Didi Kern (drums), and American Ken Vandermark (reeds), who have been performing together since September of 2014, both in Europe and in the United States. 2016 has been an exciting year for the band- in January they were featured as part of Vandermark’s residency at the Stone in New York City, 2017 will bring them on tour in Europe. Their music has a wide range of influences, coming from sources based in Harnik’s work as an internationally acclaimed new music composer, Kern’s profile on European rock scene, and Vandermark’s two decades of work at both home and abroad, touring, recording, and collaborating with dozens of world renowned musicians as diverse as Getachew Mekuria and John Tilbury. The end result of these backgrounds and the open ended musical curiosity of the group is an extraordinary group aesthetic, inclusive and expressive and instantaneous.

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Rhodri DAVIES-David LACEY-Dennis McNULTY
“Poor trade”

“In September 2006 a Welshman, Rhodri Davies, travelled to Ireland to play harp with two Irishmen, David Lacey (percussion and electronics) and Dennis McNulty (computer). The trio recorded in St Patrick’s church in Dalkey, just south of Dublin as children played in the school playground next door and roadworkers went about their business along the road. Poor Trade, the resulting CD is a rich, colourful swell of detailed improvisation captured in the moment by the skilled microphone of David Reid. Sensually brooding in places, gloriously alive in others this is passionate, joyous music.”

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SHIBATETSU
“Plastic Pneuma”

Shibatetsu was born in Tokyo in 1959. Since the 1980s he has been active as a piano and keyboard harmonica player, improviser, and composer. This album is made up of his improvisational performances on keyboard harmonica. Each of the 13 tunes, recorded in 2013, are about 1-3 minutes in length (total time, 28 minutes 26 seconds). The keyboard harmonica’s distinctive quality is its simple, comfortable tone, and from this instrument Shibatetsu’s technique and sensitivity create amazingly varied sound textures, and striking melodies even amid abstractness.

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Kay GRANT & Alex WARD
“Fast talk”

“Singer Kay Grant left the Downtown New York scene some twenty years ago and crossed the Atlantic. Around the same time, schoolboy clarinettist Alex Ward donned long trousers and played in public with Derek Bailey. Since then, they have both been vital members of the London improvising scene, as these duo improvisations - recorded at four recent gigs and one studio session - attest. (Three of the ten pieces also involve live electronic vocal processing.)”

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Philip CORNER
“OM Entering. and Once Enterd”

Kye is proud to announce the release of “OM Entering. and Once Enterd”, the latest LP from veteran fluxus composer Philip Corner. “OM Entering. and Once Enterd” comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007. “Om Entrance” which one does.... because the performance is a real “passage from the material to the spiritual” unless the “real” world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians’ coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone. My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost 50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too. The movement from Sang/Teh (Situations). Guard duty in a cold Korean winter. This piece was a major turning-point in my work. My life too you-could-say. “Of Ancient Times and Modern Sounds” i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their “Ah Ahk” court music (“Soo Je Chun” the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West. Public performance in Seoul. That must have been the Spring of 1961 just before they “shipped me out”, to bring all that back home. Before that the wonderful and exceptional opportunity to “run through” some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival. But my long-waiting-for performance in Korea on native instruments has yet to take place. The Chopin Prelude piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the “as a revelation” series which “looks into” moments from the classics which usually go by too fast. Begun with Mozart, the series has “got a lot of mileage” out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz, and others.” (Philip Corner, 2015) “OM Entering. and Once Enterd” arrives in a full color, high gloss Philip Corner designed sleeve, with insert, 350 copies black vinyl.

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BEAM SPLITTER
“Rough Tongue”

Beam Splitter (Audrey Chen and Henrik Munkeby Nørstebø) is a duo for amplified voice and trombone. Beam Splitter’s debut album “Rough Tongue” on Corvo Records is one part, a timbral collage of carefully extracted sound material and in another, a longer moment taken from an intimate room below the din. All tracks are taken from three live concerts in 2016. Utilizing the pure sounds of acoustic and closely amplified trombone and voice, the record exemplifies the joining together of these two individual voices into a distinct dialog that delves beyond the borders of the corporeal elements of extended technique and sound. There is an intimacy and conflict that becomes evident as the two personas intertwine, in moments joining together seamlessly and in the next, being left with the feeling of irrevocable fracture. The two manage between these extremes with a kind of improvised grace that reveals an effort towards a common goal. It is an honest metaphor for human relationship in process that even in the most serene moments can leave one raw and entirely exposed. Red Gatefold Vinyl LP + Download Code. Limited to 300 copies, comes shrink-wrapped.

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Greg KELLEY – Bill NACE
“Live at Disjecta”

Fourth in Open Mouths “Live At.......” Series. Greg Kelley, trumpet. Bill Nace, electric guitar. Recorded March 9, 2016 by Daniel Menche. Edition of 300.

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Greg CAMPBELL – Greg KELLEY – Bill NACE – Wally SHOUP
“One end to the other”

Greg Campbell, drums, percussion, cornet, french horn. Greg Kelley, trumpet, microphone/mini-amp. Bill Nace, electric guitar. Wally Shoup, alto sax. “Recorded during a recent trek to the Pacific Northwest, this session is very damaged by the post-tongue explosive devices packed by each of the quartet’s members. Skittering along the most devious edge of improvisational madness, Greg, Greg, Bill and Mr. Shoup bring four chunks of deep underground moisture into the air for the first time. Let us make to examine them. “Morning” greets the listener beneath a raucous grackle filled tree, mounting to a commuters’ rage. Then along comes a mage with mushrooms, and the growl and rasp spreads out into what one must imagine a stoned rabbit’s brain records from a dawn. In “Separating a door from a window”, Mr. Shoup’s sax limns the wall of sound into permeable spaces. The horns and percussion throw up bramble hollers of humorous squawk, but in the end, Wally is triumphant. Like smoke snaking over the door, “Transom” is a very present and seductive piece. If you are a programmer, this is an excellent sound experience to loop, as it is both loving and bossy. Horn and reed lead you into ‘Nothing is deprived of its warmth,’ and then gleefully pierce your eardrums with needles. Once the path has been cleared to your brain, molten notes are poured in and, like a Dead Head prostrate with his pipe, you become one with the universe. A warm universe. At first I thought it was weird they named this album after the lost book of Tolkien’s Simarillion. Now I’m not so sure.” Lili Dwight/Byron Coley, Deerfield MA 2015 300 copies.

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Jake MEGINSKY
“Gates and Variations”

“Gates and Variations rounds out a loose trilogy of records by Jake Meginsky for Open Mouth. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each others space and light like a garden of plants that would never actually coexist anywhere in reality. Jake is always tirelessly reaching for something new yet I’d avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable. The first can go last. The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that its hard to tell if its intended or if something imperceptible within you shifted the locus of yr perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. Theres a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning.”

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COMPILATION
BRIDGES

Concept by Gerco Hiddink and Rutger Zuydervelt. Graphic design and photography by Gerco Hiddink. Field recordings and coordination by Rutger Zuydervelt. Mastered by Giuseppe Ielasi. Featuring Jim Denley and Espen Reinertsen, Burkhard Beins and Jon Mueller, Mats Gustafsson and Nate Wooley, Erik Carlsson and Steven Hess. Limited to 250.
“Bridges is an audiovisual project involving four pairs of improv players reacting to field recordings made at four bridges between Sinderen and Nijmegen in The Netherlands. Eight musicians were paired not to play together, but to react separately to the field recordings, which where then mixed together with the primary field recordings. The four pieces are released as a double 12" picture disc, with the artwork printed with a zoetropic series of images of the bridges”.
“Like music, film is time-based. Print is static. I thought that if I could find a way to translate the video into print, some element of time and movement would remain within the design… I edited dozens of small film loops per bridge, and placed frames of these in rings on vinyl, so that when the record is played, the film comes alive again in stop-motion. It’s a moving photograhic score.”

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Jonas KOCHER – Ilan MANOUACH
“Skeleton drafts”

Jonas Kocher, accordion. Ilan Manouach, soprano saxophone. Recorded in Athens in november 2014. CD co-released with Romvos.

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GENITAL WARTS
“No-Hop”

Eks: Sampler, Multitrack Tape Recorder, Effects. LeDruidGuillome: Piezo amplified Drums, Voice. Mario Gabola: Feedback, Resonance, Light. Relesed by Subincision Records and Viande Records, April 2016. All the materials of this album are taken by live impro sessions that we played happily together.
Recorded by Genital Warts between July 2015 and February 2016 at ASpirale Basement Studio (Napoli).

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Ralph KOPER with Norma PANDURO
“Shushupe”

Shushupe presents field recordings by Ralph Koper primarily pertaining to an ayahuasca ceremony which took place on February 8th, 2006 in Iquitos, Peru conducted by Norma Aguila Panduro Navarro (1944 - 2007) who was one of the very few female ayahuasca shamans in the world. The entheogenic brew known as ayahuasca (or yage) is made from the snake-like ayahuasca vine and the chacruna leaf. The brew is used as a traditional spiritual medicine in ceremonies among the Indigenous peoples of Amazonian Peru, many of whom say that they received the instructions of its use directly from the plants or plant spirits.
Shushupe is a Peruvian word for the bushmaster snake frequently encountered as an anthropomorphized guide during ayahuasca-induced visions and experiences into parallel realities that often take place during the ayahuasca ceremonies. Also, the spirit of Ayahuasca is often seen as a snake during visions.
Norma’s apprentice at the time, Paula Liebe joined in with singing one or two of the ceremonial icaros.
Ralph Koper is a field recording artist from The Hague, Netherlands. His main interest is capturing the sonic / energetic atmospheres of ecstasy of various cultures and nature. “I love it when elements, animals and sometimes people come together and celebrate. The interactions in sound are unintentional magical music.” Apart from and/OAR, Ralph has also had his work published or made available by 3Leaves, A Closer Listen and Sublunar Society.

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