Out of stock
CD
Marc BARON
“Un salon au fond d’un lac”
After the highly-acclaimed Hidden Tapes released on Potlatch in 2014, Marc Baron puts another solo recording forward. Un salon au fond d’un lac is the new opus by this composer engaged in reel-to-reel tapes experimentation and using cut-up, noise, found sound, pre-recorded and degraded tapes. As always, Marc Baron uses analog tape techniques only. Composed on 2014.
10,00€
Out of stock
CD
Marc BARON
“Hidden tapes”
Hidden Tapes is composed from old cassette tapes, with addition of some other sources from movies soundtracks and classical or liturgical music extracts which were retrieved in closets. These sound documents were accelerated or slowed down, layered and transformed with analog devices. No digital effect, no plugin. Computer was only used for editing and mixing. Composed on 2013.
About Marc Baron : Between 2000 and 2010, Marc Baron was an improviser on saxophone. He made concerts and performances in solo or ensembles (mainly duo Narthex, quartet Propagations). Concerts in France, Italy, Switzerland, Portugal, Australia. Collaborations with Loïc Blairon, Seijiro Murayama, Jean-Luc Guionnet, Jean- Sébastien Mariage, Bertrand Denzler, Pascal Le Gall and Stéphane Rives. Since 2010 he works as a composer for speakers: sound diffusion, installations, live performances. Performances in festivals: 104, Umlaut and Parisonic (Paris), Villa Savoye (Poissy), Mulhouse. "Now, now" (Sydney, Australia), Parisonic (Melbourne, Australia).
About Marc Baron : Between 2000 and 2010, Marc Baron was an improviser on saxophone. He made concerts and performances in solo or ensembles (mainly duo Narthex, quartet Propagations). Concerts in France, Italy, Switzerland, Portugal, Australia. Collaborations with Loïc Blairon, Seijiro Murayama, Jean-Luc Guionnet, Jean- Sébastien Mariage, Bertrand Denzler, Pascal Le Gall and Stéphane Rives. Since 2010 he works as a composer for speakers: sound diffusion, installations, live performances. Performances in festivals: 104, Umlaut and Parisonic (Paris), Villa Savoye (Poissy), Mulhouse. "Now, now" (Sydney, Australia), Parisonic (Melbourne, Australia).
10,00€
In stock
CD
Pauline OLIVEROS – Francisco LÓPEZ – Doug VAN NORT – Jonas BRAASCH
“Quartet for the end of space”
“This recording consists of 8 electro-acoustic compositions. 2 pieces by each of the 4 composers. The works span a vast sonic terrain, challenging listener and performer alike through a seamless blend of Deep Listening and Absolute Noise, moving between ever-fluid improvisation and carefully controlled sound manipulation.
The quartet convened for two improvisational sessions between February and May of 2010, with López sitting in on a Triple Point (Oliveros-Van Nort-Braasch) recording session and bringing his finely crafted sonic objects-as-instruments, further spanning the electro-acoustic divide that has become Triple Point’s calling. The four later re-formed for their debut concert at the Deep Listening Institute in Kingston, NY in September of 2010. These sessions have since become raw material for the individual artists to construct new visions of this shared sonic body through extensive and thorough evolution of the recordings - personal reflections culled from a collective tapestry.
Pauline Oliveros has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations.
Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.
Doug Van Nort is an experimental musician and digital music researcher whose work is dedicated to personal and collective creative expression through noise, free improvisation and generally electro-acoustic means of production, from the lo-fi of broken electronics to the hi-tech of custom signal processing algorithms. Recent projects have spanned telematic music, laptop ensemble compositions,, immersive electro-acoustic works, interactive sonic installations and machine listening systems.
Jonas Braasch is an experimental soprano saxophonist and acoustician with interests in Telematic Music and Intelligent Music Systems. He has performed with Curtis Bahn, Chris Chafe, Michael Century, Mark Dresser, Pauline Oliveros, Doug van Nort and Stuart Dempster among others. His saxophone style expands the traditional repertoire by incorporating various non-western elements and extended techniques.” label info
14,00€
Out of stock
CD
Pauline OLIVEROS
“No mo”
In the summer of 1966 I worked in the classical Electronic Music Studio at the University of Toronto for six weeks. The system I used to create No Mo and Something Else consisted of Layfette tone generators, noise source and tape delay. In the Fall of 1966 I was the newly appointed director of the Mills Tape Music Center formerly the San Francisco Tape Music Center and now the Center for Contemporary Music at Mills College. Bog Road was created at the Mills Tape Music Center in the Summer of 1967 with the Buchla Series 100 Box. The studio overlooked a pond where frogs were singing a chorus that inspired a series of Bog pieces.
14,50€
Out of stock
CD
Pauline OLIVEROS
“Alien bog – Beautiful soop”
Pauline Oliveros completed Beautiful Soop (1966) and Alien Bog (1967) utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and her tape delay system. “I was deeply impressed by the sounds from the frog pond outside the studio window at Mills. I loved the accompaniment as I worked on my pieces. Though I never recorded the frogs I was of course influenced by their music.”
14,50€
In stock
CD
David ROSENBOOM
“Invisible gold”
“David Rosenboom (b. 1947) has been widely acclaimed as a pioneer in American experimental music since the 1960’s. He is a composer, performer, conductor, interdisciplinary artist, author, and educator having explored ideas in his work about the spontaneous evolution of forms, languages for improvisation, new techniques for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multi-media, compositional algorithms, and the structure of the brain and nervous system. These two works, “Portable Gold and Philosophers Stones” (1972) and “On Being Invisible” (1976-77), are classics of live electronic music involving extended musical interface with the human nervous system.”
14,00€
In stock
CD
Annea LOCKWOOD
“Thousand year dreaming-floating world”
“Performers on Thousand Year Dreaming: Art Baron, conch shell, trombone, didjeridu; Libby Van Cleve, oboe, English horn; Jon Gibson, didjeridu; Annea Lockwood, voice; J.D. Parran, clarinet, contrabass clarinet; Michael Pugliese, tam-tam, clapping sticks; N. Scott Robinson, conch shell, frame drums, pod rattle, tam-tam; John Snyder, didjeridu, waterphone; Charles Wood, tam-tam, stones; Peter Zummo, trombone, didjeridu
Thousand Year Dreaming (1990) was commissioned by Essential Music and was written with the musicians on this recording, their particular strengths and inclinations, very much in mind. It grew out of an improvisatory piece, Nautilus, which Art Baron, Scott Robinson and Lockwood realised in 1989. They found that the sound of conch shell trumpets, didjeridu and frame drums really flowered in the resonant spaces they were using for the piece. Lockwood started imagining the sonorities possible with four didjeridus, gongs, conches and trombones and frame drums, all shaped by the penetrating and sensuous edge of oboes and clarinets. Four sections emerged to which she gave the subtitles: breathing and dreaming; the Chi stirs; floating in mid-air; in full bloom. While most of the work is fully scored, it contains two improvisations: a duet for John Snyder (didjeridu) and Scott Robinson (frame drum), and a section for all four didjeridus. In performance, at this point the four players wander amongst the audience, exploring the space s acoustics, playing into a listener’s shoulder here, a foot there - sonic massage. When close to completing the piece Lockwood realised that its underlying, generative idea was the gradual awakening and release of sonic energy, energy which I think of as coiled and latent, in breathing and dreaming, but with an embedded power which will nourish when summoned. Floating world (1999) is an immersion in place and transience. The composer invited friends who work with environmental sounds themselves, and who have a strong sense of place, to make recordings for her in places of personal, spiritual significance to them, so it is a collaborative work. From their field recordings (edited but not processed), and other sounds Lockwood wove the slowly shifting texture forming floating world.”
12,00€
In stock
CD
COXHILL-EDWARDS-NOBLE
“The early years”
Lol Coxhill (soprano sax), John Edwards (double bass) and Steve Noble (drums). Recorded London 11 January 2004 by Mick Ritchie at Barefoot Studios.
15,00€
In stock
CD
Okkyung LEE
“Dahl-Tah-Ghi”
Okkyung Lee is a cellist, composer, and improviser who moves freely between of artistic disciples and contingencies. Since moving to New York in 2000 she has worked in disparate contexts as a solo artist and collaborator with creators in a wide range of disciplines. A native of South Korea, Lee has taken a broad array of inspirations—including noise, improvisation, jazz, western classical, and the traditional and popular music of her homeland—and used them to forge a highly distinctive approach. Her curiosity and a determined sense of exploration guide the work she has made in disparate contexts. Lee has appeared on more than 30 albums, including a diverse variety of recordings as a leader, but she is perhaps known best for her improvisational work, where she draws upon visceral extended techniques, in both solo and collaborative contexts. Not content with static performance approaches, Lee routinely explores the spaces she performs in, responding to atmosphere, audience, or objects surrounding her, to produce an immersive experience.
“Dahl-Tah-Ghi” was recorded at the Emanuel Vigelang Mausoleum in Oslo in June 2013 for a limited audience of 30 people. The artist Emanuel Vigeland (1875-1948) erected the building in 1926, intended as a future museum for his sculptures and paintings. He eventually decided that the museum should also serve as a mausoleum. All the windows were closed and his ashes were to rest in an urn above the entrance door. The mausoleum is completely covered with fresco paintings that depict human life from conception till death, in dramatic and often explicitly erotic scenes. The mausoleum also has an extraordinary reverb of up to 18 seconds, and has become a desirable space for artists to perform intimate concerts because of its special accoustic character.
“Dahl-Tah-Ghi” was recorded at the Emanuel Vigelang Mausoleum in Oslo in June 2013 for a limited audience of 30 people. The artist Emanuel Vigeland (1875-1948) erected the building in 1926, intended as a future museum for his sculptures and paintings. He eventually decided that the museum should also serve as a mausoleum. All the windows were closed and his ashes were to rest in an urn above the entrance door. The mausoleum is completely covered with fresco paintings that depict human life from conception till death, in dramatic and often explicitly erotic scenes. The mausoleum also has an extraordinary reverb of up to 18 seconds, and has become a desirable space for artists to perform intimate concerts because of its special accoustic character.
12,00€
In stock
CD
Don & Camille DIETRICH
“Dietrichs”
Simultaneously with the reissue of the “Dietrich” solo album, Pica Disk is proud to release a contemporary recording of Don Dietrich – which is also the debut of the duo with his daughter Camille Dietrich.
Having grown up exposed to her father’s playing since birth Camille Dietrich has been in a unique position as a musician, being subjected to a method of free playing that takes most artists years of exploration to locate. Yet as a cellist Camille has not grown up a copy of her father, and while she shares his unforgiving intensity in her playing, there is an individual confidence and playfulness to how she approaches her instrument, especially when considering that she was 19 years old at the time of the recording. Camille’s fresh approach also feeds back to Don, and the trust the two have in each other makes for a dynamic that usually takes years to achieve, making their duo album not just a father/daughter novelty one-off record, but a fully fledged musical statement that marks the start of a collaboration to reckon with.
Having grown up exposed to her father’s playing since birth Camille Dietrich has been in a unique position as a musician, being subjected to a method of free playing that takes most artists years of exploration to locate. Yet as a cellist Camille has not grown up a copy of her father, and while she shares his unforgiving intensity in her playing, there is an individual confidence and playfulness to how she approaches her instrument, especially when considering that she was 19 years old at the time of the recording. Camille’s fresh approach also feeds back to Don, and the trust the two have in each other makes for a dynamic that usually takes years to achieve, making their duo album not just a father/daughter novelty one-off record, but a fully fledged musical statement that marks the start of a collaboration to reckon with.
9,00€
In stock
CD
Don DIETRICH
“Dietrich”
For four decades Don Dietrich has been one of the three musicians that makes Borbetomagus, a band that somewhere in the crossing point between loud rock, free improvisation and electronic noise music carved their own unique place in the musical landscape. Often overlooked and underappreciated Borbetomagus kept going like a steam train, slowly building a cult following that appreciates them for their uncompromising vision. Few bands can look back at a career with as much integrity as Borbetomagus, and if the term “no compromise” ever meant something in music, they embody it.
Alongside his time in the band with Donald Miller and Jim Sauter, saxophonist Don Dietrich has also ventured into doing solo work a few times. In 2002 he recorded his debut full-length album “Dietrich”, released on the French label Élevage De Poussière in 2003. This was a small run edition LP with limited underground distribution, yet over the years the album grew to be considered a classic of the noise music field. It became a cult record, which its fans would champion to like-minded adventurous music lovers.
Outside the trio format Dietrich’s lone amplified saxophone appeared even more direct and unforgiving, like a force of nature that is both ripping itself apart and regenerating immediately. The intensity of Dietrich’s physical playing isn’t as much helped by the electric amplification as bringing it to its knees. A whole history of how to play the saxophone is killed off and reanimated over the course of the album’s six pieces.
The “Dietrich” album has been out-of-print for years, and is now being reissued in remastered form on CD by Pica Disk. As an added bonus the 1994 “Chinese Root Letter/Tabulae Sex” 7”, originally released on Thurston Moore's Ecstatic Peace Records, is also included.
Alongside his time in the band with Donald Miller and Jim Sauter, saxophonist Don Dietrich has also ventured into doing solo work a few times. In 2002 he recorded his debut full-length album “Dietrich”, released on the French label Élevage De Poussière in 2003. This was a small run edition LP with limited underground distribution, yet over the years the album grew to be considered a classic of the noise music field. It became a cult record, which its fans would champion to like-minded adventurous music lovers.
Outside the trio format Dietrich’s lone amplified saxophone appeared even more direct and unforgiving, like a force of nature that is both ripping itself apart and regenerating immediately. The intensity of Dietrich’s physical playing isn’t as much helped by the electric amplification as bringing it to its knees. A whole history of how to play the saxophone is killed off and reanimated over the course of the album’s six pieces.
The “Dietrich” album has been out-of-print for years, and is now being reissued in remastered form on CD by Pica Disk. As an added bonus the 1994 “Chinese Root Letter/Tabulae Sex” 7”, originally released on Thurston Moore's Ecstatic Peace Records, is also included.
9,00€
In stock
CD
Benjamin NELSON
“First”
Following numerous small run releases and years of private development First is the debut CD release by Benjamin Nelson. Recorded and mixed in the summer and fall of 2015 in Oslo First represents the culmination of Nelson’s live and studio practice since 2008 focused on long form, reductionistic, and near-static electronic music. First explores the perception of time, interference patterns, room reflection and hearing fatigue as primary compositional elements. Favoring textural over tonal development First is equal parts immersive environment and sound object. Nelson encourages listeners to observe sound in a sculptural manner – listening as a process of observing slow changes as one would to those of a physical object and its environment.
With influences stemming from early minimalism and composers such as Eliane Radigue and Maryanne Amacher the influence of 80s home taper works such as those of Jeph Jerman’s Hands To and John Hudak can also be heard in Nelson’s work; eschewing the elements of pseudo-spirituality, passive listening and pastoral subject matter often associated with minimal oriented sound for a focus on rougher textures and objective listening. Not every room is easy to be in, and those that are not are usually more interesting.
Available only on CD in an edition of 300 copies. UV varnish print on black paper in plastic wallet.
With influences stemming from early minimalism and composers such as Eliane Radigue and Maryanne Amacher the influence of 80s home taper works such as those of Jeph Jerman’s Hands To and John Hudak can also be heard in Nelson’s work; eschewing the elements of pseudo-spirituality, passive listening and pastoral subject matter often associated with minimal oriented sound for a focus on rougher textures and objective listening. Not every room is easy to be in, and those that are not are usually more interesting.
Available only on CD in an edition of 300 copies. UV varnish print on black paper in plastic wallet.
10,00€
Out of stock
CD
KSIEZYC
“Rabbit eclipse”
Rabbit Eclipse is the second full length recording from the legendary Ksi yc following on from their self titled debut from 1996.
The Moon never went away.
The 2013 the Penultimate Press reissue of Ksi yc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material.
Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band.
Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia.
Another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits.
Rabbit Eclipse is packaged in a 4 page DVD format digipack inverted in an edition of 500 copies.
Line up: Agata Harz vocals, objects. Katarzyna Smoluk-Moczyd owska, vocals, keyboards, objects. Lechos aw Polak accordion, keyboards, synthesizers. Remigiusz Mazur Hanaj tapes, hurdygurdy, violin. Robert Nizi ski clarinet, keyboards, objects. Pawe Roma czuk Fidel, StösselLaute, objects.
The Moon never went away.
The 2013 the Penultimate Press reissue of Ksi yc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material.
Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band.
Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia.
Another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits.
Rabbit Eclipse is packaged in a 4 page DVD format digipack inverted in an edition of 500 copies.
Line up: Agata Harz vocals, objects. Katarzyna Smoluk-Moczyd owska, vocals, keyboards, objects. Lechos aw Polak accordion, keyboards, synthesizers. Remigiusz Mazur Hanaj tapes, hurdygurdy, violin. Robert Nizi ski clarinet, keyboards, objects. Pawe Roma czuk Fidel, StösselLaute, objects.
12,00€
Out of stock
CD
KARUNA KHYAL
“Alomoni 1985”
“Alomoni 1985” was originally released on Voice Records, VO-1002. Reissued 1998. On this occasion Paradigm Discs has decided to reissue 2 LP’s of what can only be described as rock music, minus the drum kit. These two records are something of a mystery. No group information was ever given, and no production date or location is indicated. It would seem though, that these records are both by the same group of Japanese people and that they were recorded in the mid seventies in Japan. In common with Magical Power Mako, the musical influences here are much more Germanic than anything Japanese, with long hypnotic free form rock hysteria, comparable to Faust in the use of experimentation and heavily fuzzed electric guitar. The emotional wordless vocals echo those of Damo Suzuki from Can. But unlike Can the rhythms are wrought from hand drums, sleigh bells, tambourine, bass drum and other simple means. Hard blown harmonica is a strong feature on this somewhat crazed mantric rock along with recorder, flute, zither, mandolin, acoustic guitar and synth. There is also a strong use of tape loops, electronics, environmental sounds, backwards tapes and what sounds distinctly like the hysterical laughter of Stan Laurel.
15,00€
In stock
CD
GRAVITY ADJUSTERS EXPANSION BAND
“One”
The GAEB started in 1967 and remains one of the the America’s long lost and underestimated groups who explored the areas of free jazz, improvisation and experimental music. Drummer Lee Charlton shifts moods from jazzy phrasing to more abstract sound sculpture; in this world the GAEB mainly reside, using the self-invented percussive and bowed instruments of multimedia artist Richard Waters, many of which incorporate water filled resonators to bend and tune. Other improvisers at the time--AMM, MEV, Sonde and Taj Mahal Travellers--made extensive use of homemade and adapted instruments, but the GAEB are a very different concern with their own unmistakable identity. Their first LP One appeared in 1973 on Nocturne Records, a small Californian label (the first of their two LPs, the second appearing some eight years later). Paradigm Discs’ CD edition contains the entire first LP, plus fifteen minutes of extra material from the time.
13,00€
In stock
CD
Trevor WISHART
“Machine”
“Although Machine was completed in 1971 it was not released until 1972, shortly after the release of Journey Into Space. Machine is therefore the first major composition by Trevor Wishart. It was composed at York University and was originally issued on vinyl as 3 sides of a highly adventurous 3LP box set called Electronic Music From York, released by the University’s own record label. In common with Journey Into Space (also on Paradigm Discs), Machine makes use of a large number of volunteer contributors, mostly from the student body at York. With this recording, however, there are no instruments used. Instead, the music of Machine is made up entirely from a combination of spoken text and carefully directed improvising choirs that take their lead from prerecorded factory sounds. These are extensively mixed and edited with yet more collected machine sounds and other sources of musique concrète, as well as occasional use of basic electronic sources. The scale of this work, and the degree of preparation involved in scoring it, seem to have more resonances with the world of theatre or film rather than tape composition. Much of Wishart’s early work involved the use of musicians and artists being directed to perform in new ways, outside of their usual remit. A combination of late 60s openness, detailed scores that provide frameworks for improvisation and slavish editing have resulted in an incomparable sound work. With a continuous playing time of one hour, the wild and previously unexplored terrain covered by this pioneering work of British experimental music moves in turn through the full range of possible audio landscapes from the oceanic calm of the doldrums to earsplitting factory mayhem. Jewel case cd with 12 page booklet.”
13,00€
Out of stock
CD
Trevor WISHART
“Journey into space”
York University’s music department houses one of the UK’s first ever electronic music studios, and during the early seventies it was a hotbed of creative activity. Much of the released output from the studio at this time revolved around the work of the dynamic composer Trevor Wishart. Journey Into Space was his first release, composed between 1970 and 72, and was privately pressed (shortly before the formation of YES records), as two separate LP’s in 1973. (The CD cover amalgamates the 2 original designs). Along with other early private releases of experimental music in the UK (ie the LP of sound poems by Cobbing/Jandl, or the LP of musique concrète by Desmond Leslie), this record is also a total anomaly in the canon of British experimental music and has little to do with the current, or even subsequent work by Wishart. The vast length of this piece has many different styles. There are acoustic sections, mostly of junk and toys (bike bells, squeeze horns, bottles, metal tubes, combs etc.) as well as flute and brass sections that are used as raw material. There are also sections of everyday field recordings, scraps of NASA Apollo transmissions, as well as plenty of multitracking, editing, vocal acrobatics and musique concrète. Among the 48 participants credited on the original sleeve are a whole roster of York University alumni including nearly all the artists who were showcased on the then unreleased 3LP box set ’Electronic Music From York’, along with other noteworthy students as diverse as Steve Beresford, Jonty Harrison, Roger Marsh, Dominic Muldowney, Bernard Rands and Jan Steele. The co-operative spirit of York’s music and drama departments, plus the raw enthusiasm and open attitude of the participants involved in the project gave this music an immediacy, similar to the later LAFMS scene.
14,00€
Out of stock
CD
Pauline OLIVEROS
“Electronic works”
Released 1997. I of IV was made in July 1966 at the University of Toronto Electronic Music Studio and was first released by CBS alongside works by 2 other young composers - ’Come out’ by Steve Reich and ’Night music’ by Richard Maxfield. It is really only in recent years (born out of the more radical elements of dance music, electronica and ambient music) that music like this is being rediscovered by a growing number of people interested in all manner of experimental electronics. Track 2 was also made in the summer of 1966 at the University of Toronto Electronic Music Studio, and track 3 was made at the San Francisco Tape Music Center in 1965. The 3 pieces on this CD are all live experiments, which at the simplest level use either an array of oscillators or filters, a mixer and one spool of tape feeding a series of (variously set up) stereo tape machines. Long delay lines, pile ups of noise and rich sonorities are the stuff of this music. The third piece also samples a chunk of Pucini’s ’Madame Butterfly’, which only makes this music seem even more contemporary.
11,50€
Out of stock
CD
Yoshihide OTOMO – Sachiko M – Evan PARKER – John EDWARDS – Tony MARSH – John BUTCHER
“Quintet – Sextet”
Otomo Yoshihide, guitar. Sachiko M, sine waves. Evan Parker, saxophones.
John Edwards, double bass. Tony Marsh, drums. John Butcher, saxophones.
10,00€
Out of stock
CD
Peter BROTZMANN – John EDWARDS – Steve NOBLE
“…The Worse The Better”
2016 RePress.
Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together. Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering,
Berlin.
REVIEWS
“...a 40minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German freejazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction.” Stewart Lee, The Sunday Times
“These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining neartelepathic
modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten
roar, while Noble’s mulekicking at the traps reels out ride hits like a baby sporting a bonnet of bees.” Spencer Grady, BBC Music
“All three are on outstanding form, from the opening yelp when it comes to Big Bang beginning, nobody does it better than Brötzmann to Edwards’s snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters.” Dan Warburton, The WIRE
12,00€
Out of stock
CD
Keiji HAINO – John BUTCHER
“Light Never Bright Enough”
Keiji Haino: Vocal, Guitars, etc. John Butcher: Saxophones and Feedback. Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe Oto arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe Oto in London.
Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe Oto in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey.
13,00€
In stock
CD
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.
13,00€
Out of stock
CD
Toshimaru NAKAMURA
“No input mixing board #8”
Letterpress impression. Limited to 200 copies. Co-Released by Oral and The Dim Coast. “Here’s my new (in 2013) solo album. I hope you find it worthy enough to take your time and have a listen. It was recorded in one day. Compared to previous releases, “Maruto” on Erstwhile Records (2 years to produce), “Egrets” on Samadhisound (5 years), it came to life quite quickly. Almost like it popped out. But it took three men’s great support to realise it this way. Eric Mattson was an initiator. He ignited this project by inviting me to Quebec City, made me talk and play music, and kept me in a good mood with a lot of tricks. Steve Bates kindly offered me a newly furnished studio, his time and work (then he became the one who encouraged me the most to put out this record). And David Sylvian drove up from his home in New Hampshire to join us. We worked collaboratively for two days. After David left, the studio looked completely different from when I arrived. Around my no-input mixing board was a mess of cables, microphones and loud speakers, a set up suggested by David, and there I was very tempted to stay for another day to do some more recordings by myself. The result of all this is here. Thanks very much to Eric, Steve and David.”- Toshimaru Nakamura
16,50€
In stock
CD
Bernard BONNIER
“Casse-tête”
Composed in 1979 and edited on LP in 1984 by Amaryllis. Reissue on CD by Oral, 2008. “Contrary to an electronic music delighting itself in soaring above reality in self abstraction, the concrete music of Bernard Bonnier has a down on earth hearing, and a dancing too, altough now and then out of beat. Bernard Bonnier has defined chameleon-music as: “...a mime* trying to beat its parth through the puzzle (casse-tête: literally “head-breaker”) of soliciting madness, sundowns, violence, science, love, death, velveeta* cheese, competition, sex, zen, and mandragora.” This must be true as well of soldier boy, an issue to the motion: “nothing lost, everything regained”. Each and every single sound hear trough this piece has been made from the loop “tell me why...” by means of electro-acoustic manipulations, the mark of Bernard Bonnier’s concrete music. Following the steps of Pierre Henry, Bernard Bonnier has been a forerunner to new-wave, and other “underground rock” music.” Aulnes Périn February 79
13,00€
Out of stock
CD
VELTZ
“Hommage to home electronics”
“I have interested in junk materials and have made sound works since several years ago. Before then, I listened experimental music as a fan, but my border of music and non music became meaningless by encounter with Fluxus, sound-art, media-art and others. Since then, I love texture of “sound” itself. I remarked abandoned analog televisions when transmitting system of broadcast signal was changed to digital format in 2011. They are one of my favorite instrument at present, and I hold live performance and installation used them. In this CD, I used analog TV, cassette tape recorder and video player. However, their sounds are not manipulated, and I recorded their spontaneous machine noise only. Are These one of “experimental music”? I think it may be “discovered music”. Obviously, I cannot leave from the fascination of ordinary equipments in my life.” Profile of artist : Born in 1974 Akira Matsuoka established VLZ Produkt in 2008 for produce of live show and release of himself and related artists (T. Mikawa, Keitetsu Murai, Nobuo Yamada and others). His installation work for analog TV was opened at Gendai Hights gallery in 2011. He was participated in exhibition of Fluxus artist AY-O in 2012.
17,00€
In stock
CD
COMPILATION
HOMMAGE FOR SPACE – Experimental Music of Japan vol.1
This is the live recording of the music performance held at the installation exhibition of Chiharu Shiota in the gallery of Kanagawa Kenmin Hall in Yokohama Japan last October. The performance was defined as Art Complex by Toshi Ichiyanagi from the music stand point of view. The content of music consists of live computer improvisation as well as some acoustic programed pieces by piano performance by Akiko Samukawa, Toshi Ichiyanagi and computer electronics by Tomomi Adachi to create the interpenetration of temporal and spacial situation in the gallery space. Morton Feldman “2 Pianos”. Toshi Ichiyanagi “Time Sequence”. Michal Kleofas Oginski - Toshi Ichiyanagi “Polonaise in A minor "ojczyzny"” Improvisation, Hommage for Space. Avec Akiko Samukawa, Toshi Ichiyanagi, piano and Tomomi Adachi, live electronics.
16,00€
In stock
CD
Yasumune MORISHIGE – REIZEN
“Music for Piano”
This new recording is collaboration by Yasumune Morishige and Reizen. Yasumune Morishige is one of Japan’s most unique voices of the cello, improvising musician. His sound is not only hard edge and deep but also sensitive, however, he has played with other artists almost than solo. Reizen has acted as ambient unit Nerae until several years ago. He plays guitar drone now, and the sound was released on PSF and Fylkingen. In this recording, they played inside (and prepared) piano only. Especially Morishige’s solo piano play is extremely rare. Reizen’s sound is made from wires of piano vibrated by handy fan. All tracks consists of their solo playing. Recorded in March and October 2015.
200 copies.
16,00€
In stock
CD
Toshi ICHIYANAGI
“Music for piano (1959-1961)”
Experimental Music of Japan Vol. 11. The Music for Piano series was written under John Cage’s influence in his New York years. This CD is the premiere complete recording without simultaneous playing. The series was played and recorded by pianist Takuji Kawai at KEN in Tokyo in October 27, 2012. "Music for Piano No. 1-No. 7" was composed between 1959 and 1961. All the works were written using graphic notations (No. 1, No. 2, No. 5 and No. 6) and instructions (No. 3, No. 4 and No. 6). "This period of my compositions such as ’Music for Electric Metronomes,’ ’Stanzas for String Instrument,’ ’Duet for Piano and String Instrument,’ and ’Sapporo’ were all written by graphic notations, which expanded my idea of space in music in later compositions. The premiere of ’Music for Piano No.2’ took place in 1959, performed by David Tudor at Living Theatre in New York. No. 5 was by Yuji Takahashi, No. 4, No. 6 and No. 7 were by myself. This is the first time collecting all seven pieces played open to the public and recorded at the same time. Various techniques as well as different qualities of the sounds were created in an amazing manner by pianist Takuji Kawai through my graphic notations. He played all the noises and concrète sounds without using any electronic device but with live natural sounds only to reflect 1950s to early ’60s social situations." --Toshi Ichiyanagi
17,00€
Out of stock
CD
Toshi ICHIYANAGI
“Funakakushi” – Obscure Tape Music of Japan vol.17
“Funakakushi” (1963). This electronic work was composed for opening ceremony of hotel “Funakakushi-en” in Kagawa prefecture in 1963. It was realized like sound installation used many speakers built-in stone sculpture. They were designed by sculptor Mitsu-aki Sora (b. 1933) and were arranged here and there at main garden of the hotel. The sound was made from modified Japanese traditional instrument Biwa and sea wave sound. Engineer Junosuke Okuyama [3] assisted for electronic devices.
“Life Music (tape version)” (1964). Life Music was composed as tape version originally in 1964. After then, this work was played as another version with electronic modified orchestra (contact microphones were put on al instruments of the orchestra at Nissei Theatre in 1966. Junosuke Okuyama designed special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine on liner notes of “Orchestral Space” LP as follows, “…amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played…”
“Life Music (tape version)” (1964). Life Music was composed as tape version originally in 1964. After then, this work was played as another version with electronic modified orchestra (contact microphones were put on al instruments of the orchestra at Nissei Theatre in 1966. Junosuke Okuyama designed special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine on liner notes of “Orchestral Space” LP as follows, “…amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played…”
18,00€
In stock
CD
Toshi ICHIYANAGI + Yoji KURI
“Drip music” – Obscure Tape Music of Japan vol.9
Toshi Ichiyanagi (sound) + Yoji Kuri (manga). Yoji Kuri is an experimental animation artist in Japan has acted since early 60’s. His name is well-known not only by many works full of ’black humour’ in 60’s-70’s, but also the sound materials were made by avant-garde composers (Toru Takemitsu, Yoko Ono, and others). This new edition is combined Ichiyanagi’s unpublished tape work (it was sleeping at Kuri’s studio 30 years) with Kuri’s written off fantastic manga work (16pp) inspired by the sound. In 1966, "Yabunirami no Concert" (manga book with 7" single) was published by Kuri privately. This "Drip Music" is similar style issue since then.
19,00€
Out of stock
CD
Toshi ICHIYANAGI
“Electronic field”- Obscure Tape Music of Japan vol.8
This performance is a part of concert series “Japanese Experimental Music 1960’s” carried out at Art Tower Mito in Ibaraki. Toshi Ichiyanagi played improvisation on prepared piano and the sound was modulated by live-electronics. However he is a ’maestro’ of contemporary music now, his quite non-declined experimentalism is appeared by this great and deep sound. Also painter Sadamasa Motonaga (b.1922, a member of Gutai) projected abstruct figures to walls of the space. “Electronic Field” (1997).
18,00€
Out of stock
CD
Toshi ICHIYANAGI
“Music for Tinguely” – Obscure Tape Music of Japan vol.5
“Ichiyanagi is the best known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60’s, he made many great tape music. But most of them has not published on discs or issued for very small edition. This CD consists of his obscure three tape works. “Music for Tinguely” was made from junk objects of kinetic sculptor Jean Tinguely. “Appearance” is live electronic music. It’s not only premiere performance but also John Cage and David Tudor participated in performance. Very noisy and hard core!! “Music for Living Space” was composed for inner space of “Sun Tower” of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa’s manifest. Strange!!”
18,00€