In stock
CD
David BEHRMAN
“Leapday night”
David Behrman, electronics; Takehisa Kosugi, violin; Ben Neill and Rhys Chatham, trumpets...A series of three pieces/suites; ’Leapday Night’, ’A Traveler’s Dream Journal’, and ’Interspecies Smalltalk’ involving Rhys Chatham/Ben Neill (on trumpet/mutantrumpet), Fluxus mainstay Takeisha Kosugi (violin), and Behrman himself on electronics. Behrman creates thickly layered liquid sounds utilizing this complex computer music system which absorbs, actually hears, the sounds of instrumentalists, then plays off their improvisations with its own synthesized reactions. The system consists of pitch sensors ("ears" with which it listens to the performing musicians), various music synthesizers (some homemade), a computer graphics color video display and a personal computer. "Heavy period-synth float with bare accompaniment, thankfully just-pre DX-7."
15,00€
In stock
CD
David BEHRMAN
“On the other ocean”
David Behrman, electronics, Kim-1 microcomputer; Maggi Payne, flute; Arthur Stidfole, bassoon; David Gibson, cello. Recording engineers: "Blue" Gene Tyranny and Richard Lainhart. Originally released by Lovely Music on LP in 1978; reissued on CD in 1996.
“On the Other Ocean is an improvisation by Maggi Payne and Arthur Stidfole centered around six pitches which, when they are played, activate electronic pitch-sensing circuits connected to the "interrupt" line and input ports of a microcomputer, Kim-1. The microcomputer can sense the order and timing in which the six pitches are played and can react by sending harmony-changing messages to two handmade music synthesizers. The relationship between the two musicians and the computer is an interactive one, with the computer changing the electronically-produced harmonies in response to what the musicians play, and the musicians influenced in their improvising by what the computer does.
Figure in a Clearing, made a few months before On the Other Ocean, was the first piece of Behrman’s to use a computer for music. For Figure, the Kim-1 ran a program which varied the time intervals between chord changes. The time intervals were modelled on the motion of a satellite in falling elliptical orbit about a planet. David Gibson’s only "score" was a list of 6 pitches to be used in performance, and a request that he not speed up when the computer-controlled rhythm did. The timbral richness and concentrated eloquence of his playing sprang from his own sources.
Charming booklet notes by David Behrman.”
12,00€
In stock
CD
Alvin LUCIER
“Sferics – Music for solo performer”
“Sferics is the shortened term for atmospherics, natural radio-frequency emissions in the ionosphere, caused by electromagnetic energy radiated from nearby or distant lightning. These signals - resonant clicks and pops, called tweeks and bonks by scientists - occur in the audible range of humans and may be picked up by antennas and amplified for listening. They are best received at night, far from power lines. Occasionally, certain sferics get caught on and travel long distances along the magnetic flux lines around the earth, producing whistlers - downward-gliding signals which may last up to two or three seconds. My interest in sferics goes back to 1967, when I discovered in the Brandeis University Library a disc recording of ionospheric sounds by astrophysicist Millett Morgan of Dartmouth College. I experimented with this material, processing it in various ways - filtering, narrow band amplifying and phase-shifting - but I was unhappy with the idea of altering natural sounds and uneasy about using someone else’s material for my own purposes. I wanted to have the experience of listening to these sounds in real time and collecting them for myself. When Pauline Oliveros invited me to visit the music department at the University of California at San Diego a year later, I proposed a whistler recording project. Despite two weeks of extending antenna wire across most of the La Jolla landscape and wrestling with homemade battery-operated radio receivers, Pauline and I had nothing to show for our efforts. About ten years later composer Ned Sublette, who was interested in radio waves of all kinds, recommended a book by Calvin R. Graf, Listen to Radio Energy, Light and Sound, which describe a simple method of building a large loop antenna with which to receive these natural phenomena. Sferics was recorded by the composer on August 27, 1981, in Church Park, Colorado. The sound material was collected continuously from midnight to dawn with a pair of homemade antennas and a stereo cassette tape recorder. At regular intervals the antennas were repositioned in order to explore the directivity of the propagated signals and to shift the stereo field.”
15,00€
In stock
CD
Alvin LUCIER
“Still lives”
Three new pieces for piano soloist with accompanying pure wave oscillation. Titles: “Music for Piano with Slow Sweep Pure Wave Oscillators”(performed / composed for Marilyn Nonken), “On the carpet of leaves illuminated by the moon” (performed / composed for Ryuko Mizutani), and “Still Lives” (performed / composed for Joseph Kubera). All pieces exhibit Lucier’s unique take on performance-environment concepts. Quiet, melancholy, rather soothing. Gaining age with grace I suppose.” Hrvatski
14,00€
In stock
CD
Alvin LUCIER
“Theme”
New 1999 release previously unrecorded Lucier works from the mid-90s. Features: “Music for Piano with Magnetic Strings” (performed by Lois Svard, piano), “Theme” (Sam Ashley, Thomas Buckner, Jacqueline Humbert and Joan La Barbara, voices set to a poem by John Ashbery) and “Music For Gamelan Instruments, Microphones, Amplifiers and Loudspeakers” (performed by the Wesleyan University Gamelan Ensemble). “ ‘Music For Piano...’ is a work in which the strings of a piano sound by themselves. Several EBows (small electromagnets used primarily with electric guitars) are placed on the strings of the piano. The pianist works from a prose score which describes the process and suggests (s)he freely position and reposition five EBows on the piano strings, creating strands of sounds of varying density and texture. Much of the pianist’s time is spent listening for harmonics, audible beating, occasional rhythms produced as one or more magnets vibrate against adjacent strings, and other acoustic phenomena. ‘Theme’ sets a poem of John Ashbery’s to music. Lucier didn’t want to violate the flow of the words of the poem by fragmentation or any other cut-up method. The stanzas seemed musical enough just as they were, and he wanted the audience to hear the poem more or less in its pristine state. So working intuitively and by ear, he wrote out the poem for four readers in the order it was written, repeating words and phrases, overlapping and superimposing them in various ways. To ’set’ the poem, he inserted microphones into the mouths of various vessels, including a small milk bottle, a sea shell, a vase , and an empty ostrich egg, to pick up the words as they were sounding inside the vessels. The readers speak normally, alllowing the pitches of their voices which match those resonances of the vessels to create musical sounds.”a
14,00€
Out of stock
CD
Alvin LUCIER
“Clocker”
“For amplified clock, performer with galvanic skin response sensor, and digital delay system; Alvin Lucier, performer; recorded by Nicolas Collins. Through the means of a galvanic skin response sensor driving a digital delay on a miked clock, Lucier creates the illusions of time expanding and contracting, and of a room that is changing in size. Another classic Lucier catalog item, a 45-minute recording made in 1991 of this piece that he first conceived in 1978. The piece is for: amplified clock, performer with galvanic skin response sensor and digital delay system. The sounds that emanate are beautifully shifting patterns of tock-collage that reveal dramatic sonic detailings. "I wanted to make a work in which a performer could speed up and slow down time, stopping it, if possible, simply by thinking. I bought a Westclox Silver Bell Monogram in a local store and ordered a galvanic skin response sensor through the Edmund Scientific Catalogue. A GSR is designed to measure differences in skin resistance caused by changes in emotional state. A small current is sent through the body, the response to which is amplified, producing an output voltage which can be used to control various devices...later I added a bank of fixed delays which, as they splay out from the voltage controlled delay, create multiple reflections that almost convince the listener that the room is changing size.”
14,00€
In stock
CD
Alvin LUCIER
“Crossings”
1990 CD reissue of prime-era Lucier product, with works from 1982-85. Features ’In Memoriam Jon Higgins (for clarinet in A and slow-sweep pure wave oscillator)’, ’Septet for Three Winds, Four Strings and Pure Wave Oscillator’, and ’Crossings (for small orchestra with slow-sweep pure wave oscillator)’. Said slow-sweep pure wave oscillator produces slowly swept pure waves that oscillate (on separate occasions) a clarinet, three winds and four strings, and a small orchestra. Maximum beat frequency heterodyning, often at an audible pitch. Similar acoustic phenomena as Tony Conrad/Penderecki string work and just as aurally stimulating (for those with lazy ear-ciliae). Hrvatski.
12,00€
In stock
CD
Alvin LUCIER
“I am sitting in a room”
Alvin Lucier, recorded voice. “In this fascinating exploration of acoustical phenomena, Alvin Lucier slips from the domain of language to that of music in the course of 40 minutes and 32 repetitions of a simple paragraph of text. In I am sitting in a room, several sentences of recorded speech are simultaneously played back into a room and re-recorded there many times. As the repetitive process continues, those sounds common to the original spoken statement and those implied by the structural dimensions of the room are reinforced. The others are gradually eliminated. The space acts as a filter; the speech is transformed into pure sound. All the recorded segments are spliced together in the order in which they were made and constitute the work. I am sitting in a room was composed in 1970 and was first performed at the Guggenheim Museum in New York City that same year. A second version was made in 1972 to accompany the dance, Dune, performed by the Viola Farber Dance Company at the Brooklyn Academy of Music. Since that time, numerous versions of this composition have been realized in various ways by other musicians, including a Swedish radio broadcast version. This recording was made by Alvin Lucier on October 29th and 31st, 1980, in the living room of his home in Middletown, CT. The material was recorded on a Nagra tape recorder with an Electro-Voice 635 dynamic microphone and played back on one channel of a Revox A77 tape recorder, Dynaco amplifier and a KLH Model Six loudspeaker. It consists of thirty-two generations of Alvin Lucier’s speech and was made expressly for Lovely Music, Ltd.”
12,00€
In stock
CD
Alvin LUCIER
“Panorama”
Consists of 1990-94 recordings, released in ’97. "A gorgeous recording of works for trombone and piano, transformed by Lucier’s electronics and oscillators. ’Wind Shadows’ (1994), ’Music for Piano with One or More Snare Drums’ (1990), and ’Panorama’ (1993) -- were written for the Swiss musicians Roland Dahinden and Hildegard Kleeb, who play them on this CD. Also included: ’Music for Piano with Amplified Sonorous Vessels’ (1990), which was originally written for Margaret Leng Tan."
14,00€
In stock
CD
Alvin LUCIER
“Music on a long thin wire”
Alvin Lucier, concept & design; the Wire. “A 50-foot length of taut wire passes through the poles of a large magnet and is driven by an oscillator; the vibrations of the wire are miked at either end, amplified and broadcast in stereo. The thin wire is set vibrating four times at four different frequencies; what results is not the low drone one might expect from a long, vibrating wire, but a complexity of evocative, ethereal chords. First released on Lovely Music in 1980, Music on a Long Thin Wire is a classic example of Alvin Lucier’s investigations into the physics of sound and the sonic properties of natural processes.”
12,00€
In stock
CD
NIHILIST SPASM BAND
“No record”
One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie! “In 1965, eight guys from London, Ontario, decided to start a free-improv group - “free” to the point of building their own instruments, which they decided couldn’t be set up to produce specific pitches. The band got together once a week with their electric kazoos and kludged-together guitars and Art Pratten’s ‘pratt-a-various’. Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn’t treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the ‘90s, noise artists finally recognized NSB as their ancestors - and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over.” Spin.
“The record you’re holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It’s still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening.” Lasse Marhaug.
Same album as LP, equally great in full file-sized digital edition. Digipack comes with a 32-page color booklet jammed with band history, photos, and a list of live performances.
14,00€
In stock
CD
Frank BRETSCHNEIDER + Steve RODEN
“Suite nuit”
November 2014. Edition of 500.
Suite Nuit was originally commissioned for the 2004 Suite In Parochial festival (a project of Singuhr) in Berlin, Germany, and is the first collaboration between Frank Bretschneider and Steve Roden. Suite Nuit was presented as part of a series of site specific collaborations between sound artists, musicians and video artists who were encouraged to address the unique sonic, visual, and cultural contexts of the Parochial Church of Berlin Mitte.
This edition includes two long-lost live recordings of the collaborative performance and rehearsal and is co-presented by Line and Volume. Recorded live at the tower hall of the Parochial Church (Berlin, Germany) August 26, 2004.
Bretschneider: Micro Modular. Roden: guitar pedals, field recordings, contact microphones, and found objects.
Frank Bretschneider is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. Bretschneider’s subtle and detailed music is echoed by his visuals: perfect translated realizations of the qualities found in music within visual phenomena.
Bretschneider (1956) was raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics.
In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993.
In 1995, Bretschneider and fellow AG Geige member Olaf Bender founded the Rastermusic record label which eventually merged with Carsten Nicolai’s noton to form raster-noton in 1999.
Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena. His work includes painting, drawing, sculpture, film/video, sound installation, text and performance. Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through self-invented systems into scores, which then influence the process of painting, drawing, sculpture, and composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions, failures and left turns.
The inspirational source material becomes a kind of formal skeleton that the abstract finished works are built upon. In the visual works, translations of information such as text and maps, become rules and systems for generating visual actions such as color choices, number of elements, amounts of time and form building. In the sound works, singular source materials such as objects, architectural spaces, and field recordings, are abstracted through humble electronic processes to create new audio spaces, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case -sound concerned with subtlety and the quiet activity of listening.
14,00€
Out of stock
CD
Asmus TIETCHENS
“Ornamente (zwischen Null und Eins)”
“A new album by Asmus Tietchens can be quite an intimidating prospect. The Hamburg-based acoustics professor has been investigating the inner and outer realms of electronic sound production since the mid-sixties. He makes no concessions to mass marketing: the ‘press release’ for this disc simply features a quote, in German, from everyone’s favourite Romanian misanthropist philosopher, Emile Cioran, taken from a withering critique of French culture and high gastronomy. But you can forget about all that once you put the disc on and immerse yourself in the delicate, ethereal sounds that unfurl like wisps of light-reflecting dust.
The otherworldy tones and subtle dynamics here are rich in detail and complexity, but the drama is on a microscopic scale, giving that sense of being opened up to a new dimension of musical experience. Some of the weird tonal characteristics Tietchens favours remind me of Alvin Lucier’s ‘I Am Sitting In A Room’ - where a narration is gradually blotted out by the resonant feedback of the room through a process of replaying and re-recording. Tietchens manipulates and arranges his strange resonances to open up a haunting sound world of tones that float eerily amidst watery, metallic glints. The disc’s final track builds into the most expansive composition with a melodic arc surging through the deceptive stillness, suggesting more cosmic dimensions that I can imagine gracing an intense, introspective sci-fi film that’s probably impossible to make.”
(normanrecords.com)
The otherworldy tones and subtle dynamics here are rich in detail and complexity, but the drama is on a microscopic scale, giving that sense of being opened up to a new dimension of musical experience. Some of the weird tonal characteristics Tietchens favours remind me of Alvin Lucier’s ‘I Am Sitting In A Room’ - where a narration is gradually blotted out by the resonant feedback of the room through a process of replaying and re-recording. Tietchens manipulates and arranges his strange resonances to open up a haunting sound world of tones that float eerily amidst watery, metallic glints. The disc’s final track builds into the most expansive composition with a melodic arc surging through the deceptive stillness, suggesting more cosmic dimensions that I can imagine gracing an intense, introspective sci-fi film that’s probably impossible to make.”
(normanrecords.com)
11,00€
Out of stock
CD
Reinhold FRIEDL – QUATUOR DIOTIMA
“String Quartet 1, 2 et 3” composed by Reinhold Friedl (Zeitkratzer) and performed by Quatuor Diotima.
“Reinhold Friedl’s string quartets do not pretend to be string quartets, they are anti-Goethe. There is no sophisticated conversation of four elder gentlemen, sitting in armchairs. The music is physical work for the performers and intended to be physical pleasure for the listeners. All three quartets are based on the same idea: smooth transformations from a given texture into another one. The random-driven details vary between the pieces and the parts of the pieces. Meanwhile Reinhold Friedl developped a sotware in the frame of a PHD projects at Goldsmiths University London to help him modeling these texture transpositions.
13,00€
In stock
CD
Reinhold FRIEDL – Franck VIGROUX
“Tobel”
Reinhold Friedl, inside piano. Franck Vigroux, electronics.
“An encounter between two worlds. Reinhold Friedl and Franck Vigroux are two musicians, both addicted to a real contemporary approach, getting to the core of sound but by very different means. Reinhold Friedl with his purely acoustic instrument and his highly developed and refined inside-piano techniques meets Franck Vigroux with his electronics - including all kind of devices from tape recorders to analog synthesizers. Their sole purpose is to meld these two opposite sound worlds.
Tobel, an almost 40-minute composition premiered at NK Berlin and at Anis Gras le lieu de l’autre, Paris is the result of their first collaboration, which happened in 2013. La Muse en Circuit, National centre of musical creation - the studio founded by Luc Ferrari - invited the duo to record Tobel in their studios in Paris.”
13,00€
Out of stock
CD
Moniek DARGE
“Crete soundies”
“Kye is pleased to announce the release of crete soundies, the major new work by moniek darge, and the follow-up to last years soundies (1980-2001) CD. Crete soundies presents three new pieces - Magnesia (2006), Anemos (2007) and East crete (2008-2009). These works were born from two years of levka ori sound research, and an additional year in east crete in collaboration with fellow sound artist Francoise Vanhecke. Moniek darge was born in bruges, 1952 and studied music theory and violin at the music conservatory of Bruges, painting at the ghent royal academy of fine arts; art history, philosophy and anthropology at the university of ghent, belgium. She is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. since 1970 she has performed around the world and has been active on stage, first with the logos ensemble, then with logos duo (together with godfired-willem raes), and more recently with the m&m robot ensemble. She also founded logos women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. she’s often invited by international artists to collaboration. In 1986 the third program of the national belgian radio broadcasted a series of programs about her concerts and performances in new york city and about some artists with whom she collaborated there. a similar program was made about her music experiences in Kenya and Rwanda. and later on also about Japan, China, Bresil, Australia, New Zealand etc. She herself also realised radio programs about women artists over the world. in 1997 she received the title of cultural embassador of flanders for the logos duo. Moniek darge published several journalistic and literary essays, amongst which “inter media myths, auto-author” (1986), an art edition, combining poetry, drawings, scores and pictures (toronto, art metropole-catalogue no.12) and the book “lijf tegen lijf” (body against body, kritak, leuven, 1982). she’s general editor of the ’logos-blad’, the monthly magazine of the logos foundation, which appears already during more than 30 years and in which she also tells her international music travel experiences. many international magazines published her articles. besides her many concerts and performances all over the world and besides her activities as organiser, Moniek Darge is assistant professor at the "hogeschool gent" where she teaches 20th century art history, audio art and non western art studies at the fine arts department and an introductionary course in ethnomusicology at the music department. Crete soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the flemish government.” label info
16,00€
Out of stock
CD
Yannick DAUBY
“Echoes as Messengers”
This year 2015, Yannick Dauby and Wan-Shuen Tsai were part of a public art project at National Taiwan University. Yannick’s work was a creation project related to the sound universe of bats and led to a series of public events, including soundwalks and exhibitions in the campus. The blog chiroptera documented the activities of field recording and creation, some in collaboration with students. Here is a new output of this project, released as a CD.
Echoes as Messengers is a kind of domestic sound installation, an electroacoustic composition which develop itself slowly and sparsely, a “Discreet music” inspired by echolocation.
It has been composed with the ultrasonic voices of the Japanese House Bat (Pipistrella abramus) recorded in Taipei (Spring 2015), transformed and combined with the help of analogue electronics (notably the infamous Blippoo box by Rob Hordijk, the Sidrax organ by Peter Blasser and other modular synthesizers) and digital processing.
Please try to listen to it at low volume, or at dusk, or windows open.
This project as been informed and influenced by the remarkable works of Donald Griffin, Alvin Lucier, David Tudor and David Dunn.
10,00€
Out of stock
CD
Yannick DAUBY
“Vescagne, Salèse”
Two compositions (Spring 2014) related to the landscapes in the Mediterranean Alps. “Lignite”. Also called brown coal, this mineral was extracted in the mine of Vescagne, located near Vence, until 1953. Recordings : Bézaudun-les-Alpes, France, January 9th 2014. “Caïre Archas”. The toponym of this mount, located in the Mercantour area, relates to its shape : steep and protruding. But aren't moutains all analogue ? Recordings : Col de Salèse, January 15th 2014.
10,00€
Out of stock
CD
Marc NAMBLARD
“Chants of frozen lakes”
“Marc Namblard, sound artist and naturalist living in the northeast of France, has spent several years listening to and recording an acoustic phenomenon occuring in the winter time. The tiniest crackles inside the ice of frozen lakes produce mechanical vibrations. Under specific atmospheric conditions, these impulses propagate in the ice, whose tension makes it similar to the skin of a drum. The acoustic result is an unbelievable blend of drumming sounds and etheral resonances. This cd retraces the whole phenomena: in 55 minutes, one can discover the different steps of what happened at Lac de Pierre Percée (a lake close to Marc’s village) on the 16th of January 2006. It began with the frost falling on the vegetation accompanied by birds in the distance. The first brief percussive sounds announced the ice beginning its work under the first sunrays. A little bit later, the ice started to crackle : sounds became longer and more intense. At the end of the session, ice was breaking everywhere, the lake was singing. The phenomenon vanished with the appearance of a slight breeze. This soundwork gathers some of the most beautiful moments of hours and hours of Marc’s recordings into a whole piece, but there was no processing or overdub in the production of this publication : the aim is to propose to the listener an experience of what he would expect in the front of the lake (with the exception of the temperature). Marc’s recording technique is based on ORTF stereo configuration using condenser microphones and high-end preamplifiers. “Chants Of Frozen Lakes” can easily be classified in the domains of Naturalism, since it is based on straight observation of natural events, and in the field of Sound Art as it proposes a very intense listening experience. Therefore, this cd should delight listeners of nature sound recording, experimental music as well as electronica.”
10,00€
Out of stock
CD
Marc NAMBLARD
“Nuits de Guyane”
“Nuits de Guyane” is a sound collage of night time ambiances from Guiana (France), focusing on the calls of amphibians.
Field recordings realized in the forests and savannah near Sinnamary and Saül, close to the Saint-Elie trail and Savane Roche Virginie, from November 15th to December 10th 2014, between the dry season and the “little rainy season”.
10,00€
Out of stock
CD
Masayuki TAKAYANAGI
“Solo”
Recorded on 21 December, 1982 at Airegin, Yokohama. Mastered by Kojima Yukio. Design by Sasaki Akira. This recording is the last night of his modern jazz guitar-style. The after this night, Takayanagi played more free, noisy-guitar solo style (Action Direct) and/or guitar machismo style (translation of Ayler’s style by his guitar - Angry waves) and/or Tango style guitar. He released his masterpiece called “Lonely woman” (TBM) on 1982, and its accomplishment is this recording exactly !”
21,00€
In stock
CD
DE LA FUENTE – SIGHICELLI – CHEVILLON – ECHAMPARD
“Caravaggio”
“Canicule” (2000), “Vicolo del divino amore”, “Action!”, “Platz”, “Encres”, “Manège” (2001). Bruno Chevillon : doublebasse with effects. Eric Échampard : drums, percussions. Benjamin de la Fuente : violin with effects. Samuel Sighicelli : sampler, piano.
15,00€
Out of stock
CD
Michel REDOLFI
“Sons-Frissons”
Between sound imersion, soundscapes and narrative compositions. “History of sound” (2011), “L’ombre de la méduse” (2002), “Son frisson : deep EEG” (1998), “Songes drôlatiques” (1994), “Son frisson : light EEG” (1998), “Sonic immersion” (2011), “La galaxie du caïman” (1990).
15,00€
In stock
CD
Michel PASCAL
“Puzzle”
“Puzzle” (with the participation of Pierre-Yves Artaud, Daniel Kientzy, Bernard Vitet, Vinko Globokar, Gérard Frémy, Barre Phillips…).
15,00€
In stock
CD
Michel ZBAR
“Michel ZBAR”
“Novum Organum” (1993), “Liber Duodecim Portarum” (1983), “La Nuit d’Hermès” (1981).
15,00€
In stock
CD
Jacques LEJEUNE
“Pour entrer et sortir d’un conte”
“Pour entrer et sortir d’un conte” (1990), “L’église oubliée” (1997).
15,00€
In stock
CD
Jacques LEJEUNE
“Éloge de la bêtise ou les péripéties des Ubu”
“Éloge de la bêtise ou les péripéties des Ubu” (2004), for voices, saxophones and tape around “Pere Ubu” from Alfred Jarry.
15,00€
In stock
CD
François-Bernard MÂCHE
“Manuel de résurrection” (1998) for soprano and keyboards, “Kassandra” (1977) for tape and orchestra, “Sopiana” (1980) for flute, piano and tape, “Amorgos” (1979) for 12 instruments and tape, “Moires” (1994) for string quartet and tape.
15,00€
In stock
CD
Elzbieta SIKORA
“Lisboa, tramway 28”
’Lisboa, tramway 28’ (1998). ’Janek Wisniewski, décembre, Pologne’ (1982).
15,00€
In stock
CD
Bernard PARMEGIANI
“Sonare”
One 25 minute piece, from 1996. A State/CIRM commissioned work. "There is already music... of an Italian an character in this title! Sonare: l love this word because it is Italian and because upon hearing it, music simly springs forth from within it. For each of the 5 movements, I have chosen a pseudo-instrumental or synthesis sound which I sense will allow me to bring out its very essence to develop it until it is within the deepest levels of the soul, if the soul can at all be rendered accessible to such acoustic resonance!!! I had to imagine the most suitable interplay to bring out such ’intrinsic resonance’. Now of course, no interplay can be genuine unless certain freedoms are present within or inherent to it, the rule being that such an interplay should remain musical whilst the sounds, ’in a real context’ become linked to or opposed to each other. No combat, just interplay for its own sake, for itself alone, and at the same time, changes in contour, an opening or closing in the tone, range, patterns of rhythm, as if the work were a living being in itself which these creations in sound so often closely resemble, these same creations in sound, intended firstly for our ears but not only for our ears." B.Parmegiani.
15,00€
Out of stock
CD
Bernard PARMEGIANI
“Plain-temps”
“Présent composé” (1991). “Entre-temps” (1992). “Plain Temps” (1991-93).
15,00€
Out of stock
CD
Bernard PARMEGIANI
“L’œil écoute”
“L’Œil écoute” (1970), “La roue Ferris” (1971), “Espèces d’espace” (2002-2003).
15,00€