Out of stock
LP
Lino Capra VACCINA
“Antico Adagio”
2017 small repress.
Notes to the release: Deluxe edition, silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve, limited to 300 copies. Includes insert with notes in Italian and English.
Before an aberrant idea of progress and workaholic ethic ludicrously sped up our daily lives, even in the hectic city of Milan it was possible to “play slowly” – with no pressure, simply following the path your art was showing you. After a classic artistic journey and an experimental stint with Aktuala and other brilliant fellow musicians (like Franco Battiato, above all), Lino Capra Vaccina, near the end of the 70s, recorded Antico Adagio. It was an amazing album, anticipating countless future experiments in the field of new age and world music but also in avantgarde and electronic music. Apart from a few violin parts and the extraordinary vocal lines (sung by Vaccina himself and Juri Camisasca), Antico Adagio is an album fully built on percussions. But, at the same time, it’s the farthest thing from the typical idea of percussions. You won’t find a single trace of African or primitive beats: instead, this is a collection of rather long, subtle and thoughtful compositions, crafted with vibraphones, marimbas and gong. Together they create a work which will remain unique – both in Capra Vaccina’s discography as well as in a more general sense.
From Kieran Hebden/FourTet liner notes: «There are records I have found in my life that I was almost wishing existed before hearing them. Recordings with new combinations of sound and atmosphere I knew could be wonderful to me if I ever discovered them, and then on discovery the sound was even better than I could have imagined. I felt this way when first hearing music by Alice Coltrane (Journey to Satchidananda) and Don Cherry (Organic Music Society) and I also felt it with Antico Adagio. The combinations of the rhythms and melodies resonate with me in a very clear way and I feel transported by this music every time I hear it.… I first heard this record when it was posted on the Mutant Sounds blog a few years ago and am very happy to see it get another release. The music is timeless and brilliant and maybe there are other people out there wishing for a sound like this too who will now have chance to find it».
Notes to the release: Deluxe edition, silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve, limited to 300 copies. Includes insert with notes in Italian and English.
Before an aberrant idea of progress and workaholic ethic ludicrously sped up our daily lives, even in the hectic city of Milan it was possible to “play slowly” – with no pressure, simply following the path your art was showing you. After a classic artistic journey and an experimental stint with Aktuala and other brilliant fellow musicians (like Franco Battiato, above all), Lino Capra Vaccina, near the end of the 70s, recorded Antico Adagio. It was an amazing album, anticipating countless future experiments in the field of new age and world music but also in avantgarde and electronic music. Apart from a few violin parts and the extraordinary vocal lines (sung by Vaccina himself and Juri Camisasca), Antico Adagio is an album fully built on percussions. But, at the same time, it’s the farthest thing from the typical idea of percussions. You won’t find a single trace of African or primitive beats: instead, this is a collection of rather long, subtle and thoughtful compositions, crafted with vibraphones, marimbas and gong. Together they create a work which will remain unique – both in Capra Vaccina’s discography as well as in a more general sense.
From Kieran Hebden/FourTet liner notes: «There are records I have found in my life that I was almost wishing existed before hearing them. Recordings with new combinations of sound and atmosphere I knew could be wonderful to me if I ever discovered them, and then on discovery the sound was even better than I could have imagined. I felt this way when first hearing music by Alice Coltrane (Journey to Satchidananda) and Don Cherry (Organic Music Society) and I also felt it with Antico Adagio. The combinations of the rhythms and melodies resonate with me in a very clear way and I feel transported by this music every time I hear it.… I first heard this record when it was posted on the Mutant Sounds blog a few years ago and am very happy to see it get another release. The music is timeless and brilliant and maybe there are other people out there wishing for a sound like this too who will now have chance to find it».
24,50€
In stock
LP
Stephen O’MALLEY
“Gruidés”
The dark interpreter, Stephen O’Malley ov Sunn 0))), presents his towering debut orchestral composition ‘Gruidés’; commissioned by French 35-piece improv orchestra ONCEIM - l’Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales - and released thru Demdike Stare’s DDS label.
In early 2014 O’Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, comprised of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation and classical. Understandably intimidated by the prospect, but encouraged to “just be punk rock about it”, the preternaturally gifted composer has conceived a technically demanding - for the players at least - and richly rewarding longform drone piece intently focussed on harmonic experimentation and overtone study.
During its 35 minute lifespan, ‘Gruidés’ requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding a gloaming spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion as used in his Scott 0))) collaboration.
It makes great use of the acoustic qualities of Saint Merry church, central Paris, as captured in the recording of IRCAM’s Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in the cover art by Jean-Luc Verna. It’s an incredibly immersive piece that comes highly recommended if you’re into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber and, indeed, Sunn 0))).
24,00€
Out of stock
LP
Hélène BRESCHAND
“Les incarnés”
New solo recorded in Paris, December 2013. Harp, acoustic and electric, voice. “Hélène Breschand demonstrating her readiness to deconstruct her instrument’s identity...”. Julian Cowley - The Wire
17,00€
In stock
LP
Rie NAKAJIMA
“Four forms”
Rie Nakajima is a Japanese artist based in the UK. She has exhibited and performed all over the world charming audiences with her inventive works of mechanical bricolage. In 2014 she received the Arts Foundation prize for Experimental Music. She co-curates the event series “Sculpture” with David Toop and has collaborated with Miki Yui, David Cunningham, Phill Niblock, Pierre Berthet and many others.
Consumer Waste is pleased to release Nakajima’s debut LP, which contains four pieces recorded in Oxford in January 2014: “sources of sound that have the lives of small creatures, maybe small creatures that hibernate in darkness but then come to life when exposed to the light. These creatures of which I speak are activated to perform their own cycles of drumming or scraping, all working together as if moving inexorably toward the sudden miraculous synchronicity of flashing light that a few fortunate observers have seen in firefly displays. What I am saying, should it be unclear, is that this is a kind of intensely rhythmic music performed by an extra-human ensemble not susceptible to the orthodoxies of human culture, in a sense a step into another dimension.” David Toop
20,00€
In stock
LP
Hermann NITSCH
“Orgien Mysterien Theater – 25. Aktion (wiederaufgeführt)”
Re-Performance of the 25. Action, March 1982 in the gallery Pakesch, Vienna (Premiere was in New York 1968). Hermann Nitsch, Austria, painter, performance-artist and composer, was a crucial founding artist of “Viennese Actionism”. Exhibitions and performances all over the world since the 60s.
The idea of the very sensual and archaic “Orgien Mysterien Theater” was developed in the late 50s and is performed in variations untill today.
Nitsch works out all settings of the rituals, the feast in great detail, precisely composes days of art, performance, food, wine and music – to celebrate the existence of mankind…
25,00€
In stock
LP
L’AUTOPSIE A RÉVÉLÉ QUE LA MORT ÉTAIT DUE À L’AUTOPSIE
“Le souffle de l’avorton”
With Franck de Quengo, Alan Courtis, Nicolas Marmin and Sébastien Borgo.Work with the music scores of 17th century dead at birth composer Jean-Philippe Borbollono. Handmade sleeve + inserts & liner notes + two postcards + poster.
17,00€
Out of stock
LP
Günter MÜLLER – Norbert MÖSLANG
“vlan_voilà”
Günter Müller, ipods, electronics. Norbert Möslang, cracked everyday electronics. Recorded April 10, 2016, cave12, Geneva.
A beautifull record from two Swiss masters of electronic music. Like an imaginary landscape full of pulses, resonances, ghostly voices and nice noises !
20,00€
In stock
LP
FEMME
“Chroma”
“When it comes to head-scratchers, no one plows into the scalp like Bruit Direct. For their 24th release, they’ve ponied up this melange by the duo Femme, whose lp, Chroma, summons forth a soundscape of stellar post trance, electro magma. As dense as it is deft. The 10 gurgling innards effortlessly spewed out here rank it alongside other Moltenadelic CO-2 snuffers such as Ilitch’s ‘Periodik Mindtrouble’ & Junji Hirose + Yoshihide Otomo’s ‘Silanganan Ingay’. Lush, foreboding & fantastical, ‘Chroma’s’ pocket universe of seductive dread could spook the sheen right off’ve Moebius’ Airtight Garage & there ain’t a damn thing Major Grubert or Jerry Cornelius gonna do about it. The future doesn’t get anymore Untopian than this.” Tom Lax
Femme is the duo of Arno Bruil (Descendeur / France Sauvage) and Jo Tanzprocesz (Fusiller / Opera Mort).
19,00€
Out of stock
LP
Kevin DRUMM
“Crowded”
Recorded, mixed, edited at Pathetic Bubble Studio 2009-2012. Source material for Repetitive Algae recorded in 2007. Spectral editing and time domain consultation on Repetitive Algae by Russell Haswell. “[…] The two side long pieces here seem to be two different sides of the same coin. ’Rediki’ is a piece of electronics, loud at times, swirling-beating-oscillating most of the times and piercing right through your ears, without mercy, but it’s also, at the same time, not y’r typical noise record. The deep end has a menacing/treating/oppressing sound that adds a lot of tension to the piece. Here is where the true power of the piece lies, and what sets the great composer aside from those who try their hands at noise. But alright it’s a noise indeed, and for me the really great/even better piece of music is on the other side, ’Reptitive Algae’, which seems to me all acoustic, and perhaps if not all, then at least for a greater part. Maybe it’s here where Drumm got the idea for the title of the record. One side is crowded with buzzing and ringing of tones and on the other it’s just crowded with sounds. Multi-layered with tons and tons (it seems) of acoustic sounds, rubbing against each other. Sound source: unknown. There is a bit of electronica in there, but don’t ask me how this works. Well, perhaps I could guess: lots of loops of different lengths playing at the same time, so that they hardly make the same connection very soon again. Music with a great deal of tension, like a horror movie soundtrack. The graveyard shakes and all the bodies rise like one man, rattling their cages. This record is reminder I should play some Kevin Drumm soon again.” (-) Frans de Waard, Vital Weekly.
15,00€
In stock
LP
Kevin DRUMM
“Phantom jerk”
6 oscillators recorded July 2013 at Single Room Occupancy, Chicago IL. Vinyl issue of his 2013 CDr release, “Phantom Jerk”. In the tradition of “Imperial Distortion”. Black vinyl.
15,50€
Out of stock
LP
Jérôme NOETINGER – ENSEMBLE PHOENIX
“Les voix de l’invisible”
“In June 2012, Ensemble Phoenix Basel commissioned me to create a work for them to play.
It was the first time in my life I had received such a request. After several months of reflection, I accepted and began working on a way of communicating a music with other musicians.
Not knowing classical notation, I decided to do what I do know: that being, working with recording and loops, and thereafter, ask the musicians to play by ear.
After a first session, having their interpretations in mind, I could reorganise it all taking into account the physical limits of each instrument.
I am very happy with this experience and warmly thank everyone in the Ensemble Phoenix for having made this possible.
The title, “Les voix de l'invisible” (The voice of the invisible) is inspired by Pascal Quignard's book, “La haine de la musique” (The hate of music).” Jérôme Noetinger (translated by Liz Racz)
Ensemble Phoenix Basel. Christoph Bösch, flute. Toshiko Sakakibara, clarinet. Raphael Camenisch, saxophone. Samuel Wettstein, synthesizer. Maurizio Grandinetti, electric guitar. Aleksander Gabrys, doublebass. Daniel Buess, percussion and electronics. Thomas Peter, electronics.
Jérome Noetinger, composition, Revox tape machines.
Recorded live at Gare du Nord Basel, 14 & 15 June 2013.
Recorded, mixed and mastered by Alex Buess.
16,00€
Out of stock
LP
Ikue MORI – Maja S.K. RATKJE
“Scrumptious sabotage”
Now as a vinyl also. “A recording of live performances which brought together two essential figures of the contemporary scene: an oustanding Norwegian composer and vocal artist Maja S.K. Ratkje and a celebrated improviser and composer, former DNA drummer, Ikue Mori. The common sound territory, created together by Mori and Ratkje, balances between quietly growing tension and powerful outbursts of unrestrained, relentless noise. Within this harmony, Ratkje takes adventurous excursions towards the borders and unknown facets of sound, using treated voice as well as an acoustic and electronic workshop, while Mori’s thoughtful laptop provides a strong frame and a sense of deep focus. In these carefully crafted, long and nuanced compositions, both artists maneuver between meditative, ritual areas and irregular, elusive noise blots. The most astonishing element of this superb performance is the realization that even though the compositions are entirely intuitive, created without any previous planning, guidelines or negotations, the listener can sense a nearly palpable sense of deep connection and understanding between the artists. Their knowledge and keen, immediate communication create an invisible harness, which naturally directs the stream of improvisation. This engaging, exhaustive listen is a contemplative retreat and a daring, dizzying somersault at once”. (-) Olga Drenda. All music composed and performed by Maja Solveig Kjelstrup Ratkje and Ikue Mori. Recorded live by Barry Hollywood at Black Box, Belfast, March 31, and by Dan Fox and Simon Hanson at The Lanternhouse, Ulverston, March 29, 2012 UK. Mixed and mastered by Maja S.K. Ratkje in Svartskog, Norway. Cover design by Lasse Marhaug.
16,00€
Out of stock
LP
Sarah HENNIES
“Embedded Environments”
Through a remarkable and singular body of work, over the course of the last decade, like storm beginning as whisper on the horizon, the composer and percussionist Sarah Hennies has slowly emerged as one of the definitive voices of her generation. Initially coming to focus as a member of Austin’s experimental music scene during the early 2000’s, before relocating to upstate New York, with a delicate, clattering grace, she has continuously offered vision, conceptual armature, crucial understanding for the contemporary proximity of avant-garde and experimental practice. Entirely of her moment, she defies what we know and expect, owing allegiance to none. Hennies has been darting around the edges of modern composition for years, but that world has never been an entirely comfortable fit, nor is it the best framework and context within which to approach her work. She is better understood in the proximity of figures like Jim O’Rourke, a creator of a countercultural music, which incorporates everything, while owing loyalty to none. Though not for aesthetics, Hennies could equally be framed with composers like Steve Reich, Arthur Russell, Julius Eastman, and Mary Jane Leach, all of whom struggled to create more inclusive musical hybrids, attacking the institutions as they stood. As these figures once were, Hennies’ position within the contemporary landscape is challenging, bristles, and requires work to understand. Her music isn’t always what it seems. What is unquestionable, is that it is entirely of this moment, and not a product of appropriation or pastiche. What she has to say, has never been said.
Comprised of two site specific compositions - Foragers, and Embedded Environments, recorded in a silo in Buffalo, NY, these recordings are a crowing moment within the long arc of Hennies’ practice. Each work is composed for a quartet of percussionists - Jason Bauers, Tim Feeney, and Bob Fullex, with Hennies contributing on vibraphone and percussion. While Foragers, and Embedded Environments are products of Hennies’ quest for elemental meaning and relationships within sound - those which lay beyond traditional understandings of structure, beat, and tone, here there is a third and unfamiliar actor in play, the space itself. Activated by the silo for which they were composed, Hennies’ broken, staggering rhythms and resonances are offered new freedom through a seductive Trojan horse, pushing them toward even more complex and jarring depths.
Foragers, and Embedded Environments delves into a realm of ideas, proximity, and place, offering a new vision for our sonic present, and what may be to come. Visionary, challenging, bristling, pared to only the essential beats or tones, this music, while beautiful and elemental, is a product of a rigorous form of conceptualism, often unfamiliar within the world of organised sound.
Comprised of two site specific compositions - Foragers, and Embedded Environments, recorded in a silo in Buffalo, NY, these recordings are a crowing moment within the long arc of Hennies’ practice. Each work is composed for a quartet of percussionists - Jason Bauers, Tim Feeney, and Bob Fullex, with Hennies contributing on vibraphone and percussion. While Foragers, and Embedded Environments are products of Hennies’ quest for elemental meaning and relationships within sound - those which lay beyond traditional understandings of structure, beat, and tone, here there is a third and unfamiliar actor in play, the space itself. Activated by the silo for which they were composed, Hennies’ broken, staggering rhythms and resonances are offered new freedom through a seductive Trojan horse, pushing them toward even more complex and jarring depths.
Foragers, and Embedded Environments delves into a realm of ideas, proximity, and place, offering a new vision for our sonic present, and what may be to come. Visionary, challenging, bristling, pared to only the essential beats or tones, this music, while beautiful and elemental, is a product of a rigorous form of conceptualism, often unfamiliar within the world of organised sound.
21,00€
Out of stock
LP
Peter CUSACK
“After Being In Holland For Two Years”
The music you are about to hear defies categorisation. Peter Cusack’s debut long player from 1977 is a peak into one of the most varied and experimental musical scrapbooks you are likely to hear. Infused with natural sounds and a healthy dose of musical abstraction, it is difficult to pigeonhole this record into any genre. It is the kind of record you wished existed while nothing really came close to the mark.
A solo album of guitar and environmental sounds, a montage filled with montages where references to and resonances of varied, often disparate soundworlds spill in every direction. The music manages to be both blatant and covert at the same time; it’s clearly, acutely disjointed and polyvocal yet strangely out of focus in regard to intent. But that’s a thing about montages: by having nothing lead causally, conventionally to the next, a radical, imaginary simultaneity occurs; you continue to experience the presence of each previous section (even though you no longer hear them) even as a new one abruptly presents itself - all this without the actual physical interference that happens with collage. Presented here for the first time since its initial pressing with extensive new liner notes by Toronto-based composer-performer Martin Arnold, writing that compliments the utterly singular notes Cusack provided for the initial release, reproduced here as well. The LP comes as a limited Edition pressing in full color cover with a fold-up tri-panel inner sleeve housing a Nagaoka anti-static record sleeves, green colored vinyl and Obi.
Peter Cusack is an improvising guitarist, field recording artist and occasional whistler. He founded Bead Records in 1974 to release the only LP by Touch Of The Sun – his shortlived duo with clarinetist Simon Mayo, but the label went on to become a collectively run initiative that produced more than 30 albums of improvised music. The following year he was among those who founded both the journal Musics and London Musicians Collective, both of which were important focal points for London’s nascent improvising community.
Cusack was a member of the eclectic freeform group Alterations with Steve Beresford, Terry Day and David Toop, as well as their irreverent seaside covers spin-off The Promenaders. He formed significant musical relationships with instrument builder Max Eastley, multi-wind instrumentalist Clive Bell, vocalist Vivienne Corringham and sampling trombone player and composer Nicholas Collins.
A solo album of guitar and environmental sounds, a montage filled with montages where references to and resonances of varied, often disparate soundworlds spill in every direction. The music manages to be both blatant and covert at the same time; it’s clearly, acutely disjointed and polyvocal yet strangely out of focus in regard to intent. But that’s a thing about montages: by having nothing lead causally, conventionally to the next, a radical, imaginary simultaneity occurs; you continue to experience the presence of each previous section (even though you no longer hear them) even as a new one abruptly presents itself - all this without the actual physical interference that happens with collage. Presented here for the first time since its initial pressing with extensive new liner notes by Toronto-based composer-performer Martin Arnold, writing that compliments the utterly singular notes Cusack provided for the initial release, reproduced here as well. The LP comes as a limited Edition pressing in full color cover with a fold-up tri-panel inner sleeve housing a Nagaoka anti-static record sleeves, green colored vinyl and Obi.
Peter Cusack is an improvising guitarist, field recording artist and occasional whistler. He founded Bead Records in 1974 to release the only LP by Touch Of The Sun – his shortlived duo with clarinetist Simon Mayo, but the label went on to become a collectively run initiative that produced more than 30 albums of improvised music. The following year he was among those who founded both the journal Musics and London Musicians Collective, both of which were important focal points for London’s nascent improvising community.
Cusack was a member of the eclectic freeform group Alterations with Steve Beresford, Terry Day and David Toop, as well as their irreverent seaside covers spin-off The Promenaders. He formed significant musical relationships with instrument builder Max Eastley, multi-wind instrumentalist Clive Bell, vocalist Vivienne Corringham and sampling trombone player and composer Nicholas Collins.
17,00€
Out of stock
LP
Mary Jane LEACH
“Pipe Dreams”
Two astonishing archival works by Mary Jane Leach are now available on vinyl for the first time, and a landmarkfrom the highly fertile 1970-80s New York minimalist scene. Having moved to New York during the middle 1970’s, she entered fray during a crucial period in the city’s creative and cultural life, joining a community of remarkably talented and ambitious Downtown composers, which, among others, included Julius Eastman (following his untimely death, she become the great champion and protector of the composer’s legacy), Arnold Dreyblatt, Arthur Russell, Ellen Fullman and Philip Corner.
Long overdue, these works are an open door - an entry into a body of thought and sound which has lingered just out view, issuing its quiet influence over the past four decades. They are the light shone on the shadows of neglect, illuminating Leach as one of the most important and underrecognized voices in her generation - those New York composers who followed the Minimalist.
Première release, available in an edition of 300 copies, a shifting and simmering body of tone and tension, doubling as meditative sonic immersion, an other-worldly sound environment, etched in wax.
Long overdue, these works are an open door - an entry into a body of thought and sound which has lingered just out view, issuing its quiet influence over the past four decades. They are the light shone on the shadows of neglect, illuminating Leach as one of the most important and underrecognized voices in her generation - those New York composers who followed the Minimalist.
Première release, available in an edition of 300 copies, a shifting and simmering body of tone and tension, doubling as meditative sonic immersion, an other-worldly sound environment, etched in wax.
21,00€
Out of stock
LP
Jocy DE OLIVEIRA
“Estórias Para Voz, Instrumentos Acústicos e Eletrônicos”
The legendary debut of Jocy De Oliveira - and a landmark classic from the 70s Brazilian Electronic music scene. To quote Keith Fullerton Whitman, this is the “lost Tropicalia / Psych / free-Vocal / Ring-Modulator freakout / jam hybrid that you’ve only dreamt about!” It is difficult to overstate the importance of Jocy De Oliveira. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Her work is a lens - a window into breadth, idealism, and actualities of her many eras - of all the possibilities they’ve held. While she remains a widely celebrated voice in her own country - Brazil, perhaps more than any other figure, Oliveira’s life and career, with her album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos from 1981 - resonating through a shimmering body of organised sound, unveils truths lingering in the shadows - histories long suppressed and lost - the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights.
Oliveira began her career as a concert pianist, dedicated to the cutting edge works of the avant-garde. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents - working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. Her rendering of Messiaen’s Catalogue D’Oiseaux is still widely held as the definitive version. During the early 1960’s, Oliveira shifted her efforts toward composition. A wildly restless creative mind, she embarked on a process of folding organised sounds across nearly every context it could inhabit - public and private interventions, theatre, installations, film, video, tape, as much as the concert hall - blurring the lines between performance and composition, incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theatre work written with Luciano Berio - Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. In 1968 she joined Pauline Oliveros and Annea Lockwood as one of the only women asked to contribute to the legendary publication Source: Music of the Avant Garde - entering its fourth and seventh editions, and became its sole Latin American contributor. Only the beginnings of what, over the coming decades, would rise as her singular and astounding body of achievement and work.
Released in 1981, during the last years of her country’s military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view - heard by almost no one beyond Brazil’s borders. Among the most astounding realisations of electroacoustic process ever recorded - a work of shimmering beauty and potential, across its two sides, Oliveira yields works which level the field. A series of sonic stories for voice, and acoustic and electronic instruments - prepared piano, violin, percussion, synthesizers, electric celesta, etc, it the album’s singularity, culture, humanity, and introspection which can not be displaced. Like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian, and to be Brazilian, is to be many things at once. It’s works draws on a diverse range of the country’s musics and percussion traditions, as well as Indian raga structures, and Japanese Shomyo singing - inspired in part by the sounds of immigrant communities within Sao Paulo, the city where Oliveira grew up. Across the album’s breadth, electronic music returns home - distilling the entirety of Oliveira’s being, radically diverse culture, and idealism. A work of profound democracy, optimism, and truth - reforming history, and in so doing, placing the future of the avant-garde back into its own hands.
Reissued for the first time since it original release, this marks the return of one of the 20th century’s most important electronic works. Presented with the care and craft for which Blume editions has become known, these are the wonders of art - the towering heights of sounds - the realm where countless possible utopias unfold. The LP comes as a limited edition, in full color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve, Red colored vinyl and an original insert that functions as Obi as well.
Oliveira began her career as a concert pianist, dedicated to the cutting edge works of the avant-garde. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents - working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. Her rendering of Messiaen’s Catalogue D’Oiseaux is still widely held as the definitive version. During the early 1960’s, Oliveira shifted her efforts toward composition. A wildly restless creative mind, she embarked on a process of folding organised sounds across nearly every context it could inhabit - public and private interventions, theatre, installations, film, video, tape, as much as the concert hall - blurring the lines between performance and composition, incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theatre work written with Luciano Berio - Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. In 1968 she joined Pauline Oliveros and Annea Lockwood as one of the only women asked to contribute to the legendary publication Source: Music of the Avant Garde - entering its fourth and seventh editions, and became its sole Latin American contributor. Only the beginnings of what, over the coming decades, would rise as her singular and astounding body of achievement and work.
Released in 1981, during the last years of her country’s military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view - heard by almost no one beyond Brazil’s borders. Among the most astounding realisations of electroacoustic process ever recorded - a work of shimmering beauty and potential, across its two sides, Oliveira yields works which level the field. A series of sonic stories for voice, and acoustic and electronic instruments - prepared piano, violin, percussion, synthesizers, electric celesta, etc, it the album’s singularity, culture, humanity, and introspection which can not be displaced. Like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian, and to be Brazilian, is to be many things at once. It’s works draws on a diverse range of the country’s musics and percussion traditions, as well as Indian raga structures, and Japanese Shomyo singing - inspired in part by the sounds of immigrant communities within Sao Paulo, the city where Oliveira grew up. Across the album’s breadth, electronic music returns home - distilling the entirety of Oliveira’s being, radically diverse culture, and idealism. A work of profound democracy, optimism, and truth - reforming history, and in so doing, placing the future of the avant-garde back into its own hands.
Reissued for the first time since it original release, this marks the return of one of the 20th century’s most important electronic works. Presented with the care and craft for which Blume editions has become known, these are the wonders of art - the towering heights of sounds - the realm where countless possible utopias unfold. The LP comes as a limited edition, in full color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve, Red colored vinyl and an original insert that functions as Obi as well.
21,00€
Out of stock
LP
Bruce NAUMAN
“Soundtrack From First Violin Film”
When speaking of most artists, critical value is generally gauged by evaluating contributions to existing fields. Bruce Nauman is different. His influence is singular. The change his ideas provoked, unequaled. Since the mid 1960’s, he has laid the groundwork – in thought, context, practice, and materiality, for nearly every fine-artist that has followed in his wake. He is the towering pillar of conceptual thinking. Even those who do not directly draw on the ground he gained, must contended with a world in his image.
Initially issued by Tanglewood Press in 1969 - a component of the art multiples edition 7 Objects/69 (also including David Bradshaw, Eva Hesse, Stephen Kaltenbach, Alan Saret, Richard Serra, and Keith Sonnier), Soundtrack from First Violin Film is a crucial element in Nauman’s diverse the canon of contributions - bridging the emerging practices of performance, video, and sound. For an artist smashing boundaries and building anew, it is a near perfect work. Blume’s release (along with the Die Schachtel's one), marks the first time this seminal work has been available to a broader audience, making it a historic event.
Soundtrack from First Violin Film, while resembling music, is one of the earliest gestures of sound art as it has come to be understood. It falls within Nauman’s larger body of solitary actions and performances. In 1968, the artist moved briefly to New York, occupying Jasper Johns’ then vacant studio in the Hamptons, beginning to build the body of work for his first solo show at Leo Castelli Gallery - documenting them in what became the very first works of video art. Within the larger body of effort, emerged a series of works featuring him playing the violin. It is from this world, that the LP Soundtrack from First Violin Film, with its disembodies sounds, grew.
Nauman’s violin works, as the exist in the world, are only distant cousins of performance and compositions. They are objects - doubling the signifiers of music and the body back upon themselves. Rather seeking entirely new and liberated sonic realms, they employ conceptual practice, instrument, and rhythm to strike direct confrontation - sculpting something far more challenging and difficult to define. These works resemble music, challenge expectations of it, but are not that thing. They could be understood as a conceptual inversion of recordings by John Cage or of Musique Concrète. Rather than seeking to utilize non-instrumental sources to create music, Nauman used instrumental sounds and references to make something which is not music at all – the figuration of an idea - highlighting the dimensional possibilities of meaning, and the elasticity of language. In addition to being seminal works of conceptual art, among the earliest gestures which propose sound as a singular material surrogate for painting and sculpture, Soundtrack from First Violin Film - which also includes the works Violin Problem Two (Playing Two Notes Very Close Together) and Rhythmic Stamping (Four Rhythms in Preparation for Video Tape Problems) is a member of the body of work which established the terms for nearly all Sound Art to follow. Often overshadowed by its creator’s astounding body of work during this period, when isolated, it is profoundly important gesture with the history of art and experimental practice.
Edition of 300 copies, the LP comes in full color cover with printed inner sleeve housing a Nagaoka anti-static record sleeve, yellow colored vinyl and an original insert that functions as Obi as well.
Initially issued by Tanglewood Press in 1969 - a component of the art multiples edition 7 Objects/69 (also including David Bradshaw, Eva Hesse, Stephen Kaltenbach, Alan Saret, Richard Serra, and Keith Sonnier), Soundtrack from First Violin Film is a crucial element in Nauman’s diverse the canon of contributions - bridging the emerging practices of performance, video, and sound. For an artist smashing boundaries and building anew, it is a near perfect work. Blume’s release (along with the Die Schachtel's one), marks the first time this seminal work has been available to a broader audience, making it a historic event.
Soundtrack from First Violin Film, while resembling music, is one of the earliest gestures of sound art as it has come to be understood. It falls within Nauman’s larger body of solitary actions and performances. In 1968, the artist moved briefly to New York, occupying Jasper Johns’ then vacant studio in the Hamptons, beginning to build the body of work for his first solo show at Leo Castelli Gallery - documenting them in what became the very first works of video art. Within the larger body of effort, emerged a series of works featuring him playing the violin. It is from this world, that the LP Soundtrack from First Violin Film, with its disembodies sounds, grew.
Nauman’s violin works, as the exist in the world, are only distant cousins of performance and compositions. They are objects - doubling the signifiers of music and the body back upon themselves. Rather seeking entirely new and liberated sonic realms, they employ conceptual practice, instrument, and rhythm to strike direct confrontation - sculpting something far more challenging and difficult to define. These works resemble music, challenge expectations of it, but are not that thing. They could be understood as a conceptual inversion of recordings by John Cage or of Musique Concrète. Rather than seeking to utilize non-instrumental sources to create music, Nauman used instrumental sounds and references to make something which is not music at all – the figuration of an idea - highlighting the dimensional possibilities of meaning, and the elasticity of language. In addition to being seminal works of conceptual art, among the earliest gestures which propose sound as a singular material surrogate for painting and sculpture, Soundtrack from First Violin Film - which also includes the works Violin Problem Two (Playing Two Notes Very Close Together) and Rhythmic Stamping (Four Rhythms in Preparation for Video Tape Problems) is a member of the body of work which established the terms for nearly all Sound Art to follow. Often overshadowed by its creator’s astounding body of work during this period, when isolated, it is profoundly important gesture with the history of art and experimental practice.
Edition of 300 copies, the LP comes in full color cover with printed inner sleeve housing a Nagaoka anti-static record sleeve, yellow colored vinyl and an original insert that functions as Obi as well.
21,00€
Out of stock
LP
Alessandra NOVAGA
“Movimenti Lunari”
Alessandra Novaga delivers a stunning new LP album, a compelling investigation of her resonantly spacious guitar playing, which dismantles the instrument’s unique properties through relentlessness. Movimenti Lunari speaks of the relentlessness of natural forces. Something that seems to have no development, but instead advances inexorably. A form developing out of a memory progressively coming into focus; never still, constantly pulsating and vibrating with new elements. Beyond any rational, analytic thought, a sound that belongs to remembrance.
Sandro Mussida’s In Memoria questions this relationship between movement and stillness in the form of a piece of music. The piece is a meditation around memory, technology and sound: the repeating theme recalls bells chiming over and over that, drawn out into lines as long as the horizon. Francesco Gagliardi’s Untitled, January, speaks of a sound evoked by an image. A photograph. A foggy landscape seen from a train. Accompanied by a single instruction: ‘A drone, or drones. Any duration’.
Simultaneosuly timely and timeless, Movimenti Lunari has the feel of artistic invention, a canvas of delicacy melding into intense streams of sound.
Sandro Mussida’s In Memoria questions this relationship between movement and stillness in the form of a piece of music. The piece is a meditation around memory, technology and sound: the repeating theme recalls bells chiming over and over that, drawn out into lines as long as the horizon. Francesco Gagliardi’s Untitled, January, speaks of a sound evoked by an image. A photograph. A foggy landscape seen from a train. Accompanied by a single instruction: ‘A drone, or drones. Any duration’.
Simultaneosuly timely and timeless, Movimenti Lunari has the feel of artistic invention, a canvas of delicacy melding into intense streams of sound.
17,00€
In stock
LP
Will GUTHRIE
“People Pleaser”
Black Truffle presents People Pleaser, the new LP from Nantes-based drummer and percussionist Will Guthrie. Initially rising to prominence in Australia as a drummer in the fields of jazz and improvised music, Guthrie later turned increasingly toward electronics and amplified percussion, developing an idiosyncratic style of electro-acoustic performance characterized by shimmering metallic textures, rapid-fire textural transformations and aggressively high volume. Recent years have seen a return to the drum kit in both solo and collaborative work, in performances where Guthrie uses duration and endurance to push at the limits of his formidable technical abilities as a player in the free jazz tradition, working variations on short rhythmic units into an endless flow of non-metered pulse.
Although drawing on many aspects of Guthrie’s past work, People Pleaser stands alone in the catalogue of his recorded work. Working fast and intuitively over a period of three weeks, Guthrie has crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by rough and ready sampling style of producers like RZA, J Dilla and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand. Guthrie’s unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out in the early Weather Report and other classic fusion. Drawing together a manifold of influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peak into the laboratory of a unique sensibility.
Although drawing on many aspects of Guthrie’s past work, People Pleaser stands alone in the catalogue of his recorded work. Working fast and intuitively over a period of three weeks, Guthrie has crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by rough and ready sampling style of producers like RZA, J Dilla and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand. Guthrie’s unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out in the early Weather Report and other classic fusion. Drawing together a manifold of influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peak into the laboratory of a unique sensibility.
18,00€
In stock
LP
Riccardo VILLALOBOS & Oren AMBARCHI
“Hubris Variation”
Oren Ambarchi’s recent Editions Mego release Hubris gets the remix treatment courtesy of electronic music legend Ricardo Villalobos.
Villalobos expertly tranforms Ambarchi’s layered web of countless sustained and pulsating palm-muted guitars into a funky, mesmerising and propulsive long-form piece.
Key selling points: Electronic music legend Ricardo Villalobos remixes Oren Ambarchi. Original track by Oren Ambarchi taken from the album HUBRIS (Editions Mego EMEGO 227). Villalobos expertly tranforms Ambarchi’s layered web of countless sustained and pulsating palm-muted guitars into a funky, mesmerising and propulsive long-form piece. Photograph by Estelle Hanania - Sculptures by Daniel Druet. Design by Stephen O'Malley. Vinyl cut by Rashad Becker at Dubplates & Mastering.
Villalobos expertly tranforms Ambarchi’s layered web of countless sustained and pulsating palm-muted guitars into a funky, mesmerising and propulsive long-form piece.
Key selling points: Electronic music legend Ricardo Villalobos remixes Oren Ambarchi. Original track by Oren Ambarchi taken from the album HUBRIS (Editions Mego EMEGO 227). Villalobos expertly tranforms Ambarchi’s layered web of countless sustained and pulsating palm-muted guitars into a funky, mesmerising and propulsive long-form piece. Photograph by Estelle Hanania - Sculptures by Daniel Druet. Design by Stephen O'Malley. Vinyl cut by Rashad Becker at Dubplates & Mastering.
17,00€
In stock
LP
Oren AMBARCHI
“Stacte Karaoke II”
What happens when Ambarchi is backed up by the world’s greatest monster riff legends from his beloved homeland? Find out in the 2nd volume of this infamous series where endless riffing and ecstatic shredding is the order of the day. Bonus intro track features some band from New York.
Yah Boobay!
Yah Boobay!
14,30€
Out of stock
LP
Max EASTLEY – Steve BERESFORD – Paul BURWELL – David TOOP
“Whirled Music”
“Black Truffle is honored to present the first ever reissue of Whirled Music by Max Eastley, Steve Beresford, Paul Burwell and David Toop, one of the key documents of the inventive and energetic scene around the London Musicians Collective in the late 1970s and early 1980s. Originally released on Toop’s own Quartz label in 1980, the LP features a remarkable series of performances made entirely with whirled and swung instruments and objects.
Part of the second generations of British free improvising musicians, the prolific scene centered around the performers heard here chafed at the limitations present within the music and ideology of improvising legends such as Derek Bailey, Evan Parker, Tony Oxley and John Stevens. Where the first generations of British free improvisers often demonstrated a rigorous commitment to non-idiomatic free improvisation and instrumental virtuosity, musicians like Beresford reconnected with the dada antics of figures like Han Bennink and surrendered to joyful musical promiscuity, gleefully disrupting expectations around ‘serious’ improvised music through quotations (of anything from Betthoven to reggae) and deliberate amateurism.
However, where many recordings by various groupings of these musicians made around this time are gloriously anarchic real-time collages – see the classic Alterations LPs – Whirled Music is a singularly focused affair. Beginning in 1979, Whirled Music was the title given to a series of performances in which a variety of instruments and objects, both home made and store bought, traditional and invented, would be whirled to produce sound. In addition to variations on traditional instruments such as the bullroarer, Whirled Music also made use of whirled whistles, hand drums, radios and microphones. Due to the danger this represented for both performers and audiences, the performers wore protective masks and were separated from the audience by a net.
As Toop points out in the newly commissioned notes contained in this reissue, these events were somewhere between ‘composition, installation, and improvisation’, at once sharply focused and wildly uncontrolled. Presented in glorious cassette-recorded room fidelity, the LP’s first side features a single extended live performance in which percussive chattering, resonant gong-like tones, mysterious wind tones and swells of delirious noise join together to create a sonic landscape as reminiscent of an environmental recording (wind in the trees, the squawking of birds) as of an ethnographic recording of the music of an unknown civilization. Although purely acoustic, the music has an unstable, dispersed quality reminiscent of the pioneering live electronics of the Sonic Art Union or even early Voice Crack. The LP’s second side presents a series of shorter excerpts, including some beautifully sparse outdoor recordings where the sounds of the whirled instruments blend indistinguishably into the backdrop of environmental sounds.
A stunning document from a still under-recognised moment, Whirled Music is here presented in a stunning gatefold sleeve and 24-page booklet containing new liner notes by David Toop alongside contemporary reviews, flyers, notes on the instruments and performance documentation. Remastered and cut at 45RPM by Rashad Becker at D&M Belin for maximum fidelity.” Francis Plagne
Part of the second generations of British free improvising musicians, the prolific scene centered around the performers heard here chafed at the limitations present within the music and ideology of improvising legends such as Derek Bailey, Evan Parker, Tony Oxley and John Stevens. Where the first generations of British free improvisers often demonstrated a rigorous commitment to non-idiomatic free improvisation and instrumental virtuosity, musicians like Beresford reconnected with the dada antics of figures like Han Bennink and surrendered to joyful musical promiscuity, gleefully disrupting expectations around ‘serious’ improvised music through quotations (of anything from Betthoven to reggae) and deliberate amateurism.
However, where many recordings by various groupings of these musicians made around this time are gloriously anarchic real-time collages – see the classic Alterations LPs – Whirled Music is a singularly focused affair. Beginning in 1979, Whirled Music was the title given to a series of performances in which a variety of instruments and objects, both home made and store bought, traditional and invented, would be whirled to produce sound. In addition to variations on traditional instruments such as the bullroarer, Whirled Music also made use of whirled whistles, hand drums, radios and microphones. Due to the danger this represented for both performers and audiences, the performers wore protective masks and were separated from the audience by a net.
As Toop points out in the newly commissioned notes contained in this reissue, these events were somewhere between ‘composition, installation, and improvisation’, at once sharply focused and wildly uncontrolled. Presented in glorious cassette-recorded room fidelity, the LP’s first side features a single extended live performance in which percussive chattering, resonant gong-like tones, mysterious wind tones and swells of delirious noise join together to create a sonic landscape as reminiscent of an environmental recording (wind in the trees, the squawking of birds) as of an ethnographic recording of the music of an unknown civilization. Although purely acoustic, the music has an unstable, dispersed quality reminiscent of the pioneering live electronics of the Sonic Art Union or even early Voice Crack. The LP’s second side presents a series of shorter excerpts, including some beautifully sparse outdoor recordings where the sounds of the whirled instruments blend indistinguishably into the backdrop of environmental sounds.
A stunning document from a still under-recognised moment, Whirled Music is here presented in a stunning gatefold sleeve and 24-page booklet containing new liner notes by David Toop alongside contemporary reviews, flyers, notes on the instruments and performance documentation. Remastered and cut at 45RPM by Rashad Becker at D&M Belin for maximum fidelity.” Francis Plagne
21,00€
Out of stock
LP
Keiji HAINO – Jim O’ROURKE – Oren AMBARCHI
“This Dazzling, Genuine “Difference” Now Where Shall It Go?”
With This Dazzling, Genuine “Difference” Now Where Shall It Go, Black Truffle presents the 8th full-length release from the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analogue electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where previous releases from the trio have often featured extended vocal workouts from Haino, at times suggesting abstracted folk song, Haino’s vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O’Rourke or Ambarchi taking the lead role as often as Haino does.
The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi’s busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O’Rourke’s FX-saturated strings rise and fall, momentarily converging for passages of near stasis before again pulling apart to continue wandering through areas of gently sour discord; O’Rourke’s use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino’s guitar. On the second side, O’Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern, the two driving home the idea for the duration of the side while Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback.
The third side presents some of the most abstract music heard from the trio since their first release (Tima Formosa, BT04). Continuing Haino’s explorations of new instruments, the side opens with a long passage of toy piano, an instrument that in his hands is at once childlike and imbued with a mysterious gravity. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O’Rourke, for the first time in this group, performs on the EMS Synthi. In a long passage in the middle of the side, he provides ample evidence of his mastery of the instrument, crafting a complex texture from pointillist stabs and rapid sweeps that possesses the same unpredictable yet controlled feeling of classic live-electronics documents like Pierre Henry’s ‘Corticalart’ series. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax.
Beginning with a sequence of ‘fourth world’ drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax.
The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi’s busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O’Rourke’s FX-saturated strings rise and fall, momentarily converging for passages of near stasis before again pulling apart to continue wandering through areas of gently sour discord; O’Rourke’s use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino’s guitar. On the second side, O’Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern, the two driving home the idea for the duration of the side while Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback.
The third side presents some of the most abstract music heard from the trio since their first release (Tima Formosa, BT04). Continuing Haino’s explorations of new instruments, the side opens with a long passage of toy piano, an instrument that in his hands is at once childlike and imbued with a mysterious gravity. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O’Rourke, for the first time in this group, performs on the EMS Synthi. In a long passage in the middle of the side, he provides ample evidence of his mastery of the instrument, crafting a complex texture from pointillist stabs and rapid sweeps that possesses the same unpredictable yet controlled feeling of classic live-electronics documents like Pierre Henry’s ‘Corticalart’ series. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax.
Beginning with a sequence of ‘fourth world’ drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax.
24,00€
Out of stock
LP
Keiji HAINO
“ 1973 live – milky way”
Black Truffle is thrilled to present the first vinyl issue of Keiji Haino’s Milky Way. Originally released as a limited CD in Japan by the short lived Mom ‘n’ Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino’s first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Ashley’s Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino’s name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino’s voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino’s singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right.
Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino’s poetry in Japanese, with English translation by Alan Cummings Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O’Malley
Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino’s poetry in Japanese, with English translation by Alan Cummings Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O’Malley
20,00€
In stock
LP
John DUNCAN
“Klaar”
“Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan’s forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan’s earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with ‘Delta’, which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding ‘The Immense Room’, where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan’s friends and collaborators Jim O’Rourke and Christoph Heemann and is a must for anyone interested in their work.” - Francis Plagne
Opening with ‘Delta’, which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding ‘The Immense Room’, where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan’s friends and collaborators Jim O’Rourke and Christoph Heemann and is a must for anyone interested in their work.” - Francis Plagne
17,00€
In stock
LP
Eyvind KANG & Jessica KENNEY
“Reverse tree”
Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney’s voice and Kang’s viola alongside a multitude of other instrumentalists. Kang’s Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T’ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi and Stephen O’Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney’s voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama’s classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney’s ‘Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle’s Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan’s instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney’s words,
‘scouring the edges of each syllable, each vocalist is kneeling on a sheep hide, searching for the possibilities of what this knowledge might be, shared and private, through layers of history, culture, colonialism, distance, desire’.
Features an all-star international ensemble with Kang and Kenney alongside maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi, Stephen O’Malley, vocalist Nova Ruth and Seattle’s Gamelan Pacifica.
Presented in a deluxe sleeve designed by Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016. Cut at 45rpm for maximum fidelity.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney’s voice and Kang’s viola alongside a multitude of other instrumentalists. Kang’s Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T’ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi and Stephen O’Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney’s voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama’s classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney’s ‘Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle’s Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan’s instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney’s words,
‘scouring the edges of each syllable, each vocalist is kneeling on a sheep hide, searching for the possibilities of what this knowledge might be, shared and private, through layers of history, culture, colonialism, distance, desire’.
Features an all-star international ensemble with Kang and Kenney alongside maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Gu nadóttir, and guitarists Oren Ambarchi, Stephen O’Malley, vocalist Nova Ruth and Seattle’s Gamelan Pacifica.
Presented in a deluxe sleeve designed by Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016. Cut at 45rpm for maximum fidelity.
15,00€
Out of stock
LP
Crys COLE
“Sand – Layna”
Limited edition LP of Canadian sound artist crys cole’s first full-length solo release.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
She is known for her work with Keith Rowe, Oren Ambarchi and in Ora Clementi, her acclaimed duo with Australian composer James Rushford.
The LP comprises of two side-long works. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
Artwork design by Lasse Marhaug. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin
LP only release, edition of 300
Sand / Layna is the first full-length solo release by Canadian sound artist crys cole. While cole is known to many through her collaborative work with a host of Canadian artists and internationals such as Oren Ambarchi, Keith Rowe and James Rushford, this LP presents the first opportunity for an extended appreciation of her singular approach to amplified sound. Using contact and other microphones to amplify her interactions with small objects and the surfaces on which they rest, cole’s work exists in a lineage of heavily amplified 'small sound' that stretches back to Cage’s Cartridge Music. cole’s approach to these materials and techniques is distinguished by its single-mindedness: rather than simply searching for interesting or attractive sounds, her performances attempt to illuminate the sonic properties of the specific objects and amplification devices she uses. Devoid of looping and complex processing, the sonic outcome of her work always retains an audible link to the handling of microphones and what they amplify. The awkward and sometimes even 'ugly' sounds of manipulated microphones and recording equipment thus sit comfortably alongside the mysterious crackle of amplified salt and the deep, musical resonance of a rubbed tabletop.
This LP presents two pieces, recorded almost ten years apart. Sand, recorded in 2004, crafts a sustained texture from rubbed surfaces that transcends academic sound art tropes to recall the haunted environments of Massimo Toniutti and Small Cruel Party. The seemingly static structure of the piece allows the multitude of dynamic and timbral variations caused by the basic instability of cole's sound sources to come to the fore. In contrast, Layna, constructed between 2012 and 2013, lets loose a volatile stream of microscopic activity. Adding extremely amplified voice and domestic field recordings to the mix, the piece inhabits a space of bodily, almost sensual intimacy, moving beyond the Cageian tradition of small sounds to somewhere uncomfortably human.
19,00€
Out of stock
LP
Charlemagne PALESTINE
“Godbear”
Reissue.
Black Truffle is pleased to present the first vinyl release of Charlemagne Palestine’s Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca’s Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the ‘golden sound’. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the ‘Rolls Royce’ of pianos. With the piano’s sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature.
Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, “The Lower Depths” stages a slow descent from the piano’s mid-range to the Bösendorfer’s cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine’s journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of “Strumming Music” performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine’s enthusiasm for Debussy and Ravel. “Timbral Assault” is like an evil twin of “Strumming Music”, transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine’s later collaborations with Christoph Heemann.
A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine’s ecstatic and mysterious sound world.” - Francis Plagne
Godbear is presented in a deluxe gatefold sleeve designed by Stephen O’Malley and has been remastered and cut by Rashad Becker at D&M, Berlin.
Black Truffle is pleased to present the first vinyl release of Charlemagne Palestine’s Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca’s Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the ‘golden sound’. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the ‘Rolls Royce’ of pianos. With the piano’s sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature.
Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, “The Lower Depths” stages a slow descent from the piano’s mid-range to the Bösendorfer’s cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine’s journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of “Strumming Music” performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine’s enthusiasm for Debussy and Ravel. “Timbral Assault” is like an evil twin of “Strumming Music”, transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine’s later collaborations with Christoph Heemann.
A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine’s ecstatic and mysterious sound world.” - Francis Plagne
Godbear is presented in a deluxe gatefold sleeve designed by Stephen O’Malley and has been remastered and cut by Rashad Becker at D&M, Berlin.
15,00€
Out of stock
LP
Annea LOCKWOOD
“Tiger Balm”
“Black Truffle is honored to present a new issue of Annea Lockwood’s classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman’s breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood’s belief in the complexity that deep listening can reveal within seemingly simple sounds.” Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming. LP design via Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin February 2017.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman’s breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood’s belief in the complexity that deep listening can reveal within seemingly simple sounds.” Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming. LP design via Stephen O’Malley. Mastered and cut by Rashad Becker at D&M, Berlin February 2017.
24,00€
In stock
LP
Edward KASPEL + Steven STAPLETON – Colin POTTER + Quentin ROLLET
“The Man Who Floated Away – The Closer You Are To The Center, The Further You Are From The Edge”
This record reveals two new musical encounters.
For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano.
For the first time together, author, vocalist and keyboard player Edward Ka-Spel (Legendary Pink Dots, Tear Garden) and sound collage wizard Steven Stapleton (Nurse With Wound) offer us a 19 plus minute long piece called “The Man Who Floated Away”, composed and recorded in 2017. On the other side, the master of drone Colin Potter (Nurse With Wound, Monos) and French free sax player Quentin Rollet (guest with The Red Krayola, Nurse With Wound, Mendelson, David Grubbs, DRAME…) present a long suite called “The Closer You Are To The Center, The Further You Are From The Edge” their first collaboration ever, recorded in London in 2012, with special guest Isabelle Magnon on piano.
18,00€
In stock
LP
L’OCELLE MARE
“Serpentement”
“The very old catfish, covered in moss, that live in the depths of the lake, never go up towards daylight and disdain any bait that nature offers them.They are only attracted by the oddest shapes that fishermen can invent, shiny and silvery blades in the shape of a human hand that, attached to their line, dance a jig; or also a bat made of red glass with hooks treacherously sewn inside their wings”. G.Meyrink. Instruments: mechanical metronome with bell, harmonica reeds, six string banjo, amps, microphones, feet tapping, hand clapping, six string ukulele, tuning forks, timer, mouth organ, Harmonicas, concertina, dry poppy pods,whistlings,... The solitary project of Thomas Bonvalet initially focused on the nylon string guitar, taking short, dynamic and abrupt forms and limiting itself exclusively to the acoustic possibilities of the instrument. A radical posture, it constantly threatened to put itself at an impasse, seeing itself forced into metamorphosis and movement. The instrument thus became less and less identifiable. At the periphery it absorbed the sound of objects (metronome, tuning forks...) deviating from their common usage, integrating the breath and the sounds rising from the instrumental gesture, splitting up to reveal a new fleeting form. Amplification has also progressively taken an essential part in this new instrumentarium/organism. However, there remains this same subterranean voice, the consideration of detail and tension, the seeking of possible points of sudden revelation. “Serpentement” is the fourth recording of “L’ocelle mare” and was recorded by Adrian Riffo, in the Protestant temple of Bergerac (France), in november 2011. Thomas Bonvalet, (born October, 1977) lives in Alpedrete, Spain. Guitar player of the band Cheval de frise between 1998 and 2004, he made is first solo show under the name of l’ocelle mare in September 2005. He toured Europe, Scandinavia, Israel, USA and China.
14,50€
In stock
LP
LA BARACANDE
CD and LP contains different material.
Basile Brémaud : voice, violin. Guilhem Lacroux : guitar, lap steel, bass. Pierre-Vincent Fortunier : bagpipe, violin. Yann Gourdon : hurdy gurdy, drone box. Recorded in 2016.
La Baracande is the meeting of musicians from TOAD with the singer Basile Brémaud around the songs from Virginie Granouillet “La Baracande”. Her songs have been collected by Jean Dumas in the 50 and 60’s.
13,00€