In stock
CD
Eric LA CASA – Taku UNAMI
“Parazoan mapping”
Notes from the producer : “I’m really happy to have Taku back on Erstwhile after the stellar motubachii and Teatro Assente, and of course to have Eric make his Erstwhile debut. Parazoan Mapping documents the initial duo meetings of these two long-time friends and collaborators”. Photography is by Eric Coisel.
15,00€
In stock
CD
Christian WOLFF – Antoine BEUGER
“Where Are We Going, Today”
Christian Wolff, piano, objects, charango, flute. Antoine Beuger, voice, whistles, EWR recordings (1995) of Christian Wolff’s “Stones”.
Beuger recorded by Antoine Beuger, September 2017. Wolff recorded by Spencer Topel, November 2017.
Beuger recorded by Antoine Beuger, September 2017. Wolff recorded by Spencer Topel, November 2017.
15,00€
In stock
CD
Christian WOLFF – Keith ROWE
“In September 2011, Erstwhile producer Jon Abbey was invited to curate two weeks of shows at John Zorn’s legendary Manhattan venue The Stone, which he used as an opportunity to invite many of his favorite musicians from Japan, Europe and the US to perform. A second three night festival at Issue Project Room was later appended onto the end, making the AMPLIFY 2011: stones festival a 35 set, 17 night extravaganza in all. Four of those thirty-five sets will now be available in the ErstLive series (EL009 & EL010 now and EL011 & 012 in October). This set was the first ever full-length duo set from these two longtime masters, bringing Rowe together with one of his early influences, New York School stalwart and John Cage collaborator Christian Wolff. This show coincidentally occurred on September 4, ending after 11 PM, so almost precisely one year before Cage’s 100th birthday.”
14,00€
In stock
CD
Christian WOLFF – Michael PISARO
“Looking around”
Christian Wolff, prepared piano, whistles, stones. Michael Pisaro, electric guitar, harmonica, stones. Recorded in 2014.
Chistian Wolff (1934), American composer of avant-garde music.
Michael Pisaro (1961), guitarist andcomposer, member of Wandelweiser.
Chistian Wolff (1934), American composer of avant-garde music.
Michael Pisaro (1961), guitarist andcomposer, member of Wandelweiser.
15,00€
In stock
CD
Antoine BEUGER – Michael PISARO
“This place – Is love”
An extended work from Antoine Beuger and Michael Pisaro, defined by six stanzas written by Beuger, Anna Swir, Mei-Mei Berssenbrugger and Edmond Jabes, a subtle cycle on love and permanency realized in tone and voice.
15,00€
Out of stock
CD
Anne GUTHRIE – Richard KAMERMAN
“Sinter”
“Sinter injects vast amounts of oxygen into the room, air swirling and echoing in huge spaces, light shimmering and hazy. In metallurgical terms, sintering is the making of objects from powder and “powdery”, especially with a metallic connotation, isn’t the worst term you could use for much of this music. Field recordings (and, per the sleeve, "domestic recordings") are mixed with electronics throughout; nary a French horn in sight though I think I pick up a bit of Kamerman’s small clattering devices here and there. […] An extraordinary piece capping one of the finest recordings I’ve heard in quite a while. Excellent work”. Brian Olewnick. ErstAEU, a new sub-label to “document the work of young American experimental musicians working in a post-electroacoustic vein”.
15,00€
In stock
CD
Joe PANZNER – Greg STUART
“Dystonia duos”
“Percussive elements are discernible (Stuart sleeve-credited with "friction, electricity, gravity), pure or transmogrified. But the who-did-what aspect is even sillier to dwell on than usual as what one confronts are these enormous, extraordinarily deep slabs of sound, layered as far in as one can hear. If there’s a visual analogy that springs to mind it’s of a multitude of thin sheets--a wide range of colors, grains, embedded elements, degrees of transparency and opaqueness--overlaid with a fine combination of care and abandon. […] A tremendously exciting recording and a very auspicious debut for the Erst imprint, AEU”. Brian Olewnick . ErstAEU, a new sub-label to “document the work of young American experimental musicians working in a post-electroacoustic vein”.
15,00€
In stock
CD
BOCHE
“Beats”
Hans Ludwig Jacoby, aka Boche, was born in Darmstadt, Germany, in 1955. He was active as a recording musician primarily from the mid-1980s until 1991. Beats collects the most intriguing of his rhythmic experiments. Many of the 27 tracks on this album - all recorded onto cassette tape, and none of which have been published before - were made with equipment purchased from Ho. Turner, who was a close friend. This edition was meticulously compiled and mastered by Marc Behrens. Edition of 200 copies
11,00€
Out of stock
CD
Helena GOUGH
“Knot Invariants”
“Rotated and submerged. Drawn tight below the surface. Remnants of hair, string and wood. Tied across and back. Knot Invariants is Helena Gough’s third album. It was created using source material derived solely from recordings of cellists Anthea Caddy and Anton Lukoszevieze. Supported by EMS and Sound and Music.”
11,00€
In stock
CD
KRISTOFF K.ROLL
“Corazón road”
“It’s a mix of two cultures, but not a fair one , because one is over the other, explains a disembodied Mexican voice in Juan et Cecilio. “In this case, it’s the European culture over ours.” The point raised is as old as Columbus, but it takes on a new significance considering the voice (Juan or Cecilio?) was captured , sampled, and spliced into a new electroacoustic work, Corazón Road, by the French electroacoustic duo, Kristoff K. Roll. Corazón Road is neither an exemple of ethnological forgery nor a subjective soundtrack. Shooting for, as they put it, “The poetry of everyday life,” Carole Rieussec and Jean-Christophe Camps began reaserch for their sprawling work during a trip to Mexico City in 1990. Ovr the next year, they made a circuitous path through Central America, recording everything from a New Year’s celebration in Guatemala City to cascading waterfalls to a morning stroll in Uxmal to young rappers in Belize. Hours of field recordings and notes resulted in a work in three “tableaux” with interludes.” Reissue of IMSO 9303.
12,00€
Out of stock
CD
Theodore LOTIS
“Époque de l’eau”
Arioso Dolente - Beethoven Op. 110 (2002). A South Wind will Bring the Sand (2002). Underwater Theories (2002). Sibylla’s Voice (2001). Shadows (2000). La mer (1996).
“What most attracts me to the music of Theodore Lotis is his mastery of the spatial image. This is not so much to do with constructing perspective - relations between near and far, or the movement of sound across the stereo field - but with the nature of the textural fabric, how he deploys his sounds in spectral space. The spectral texture is distributed in multiple registers. Layers interact, come and go, relate sympathetically, or pressurise each other as they seek their place, or move on. Our mental image of space and spaciousness gathers over time as we observe these behaviours, as we absorb the accumulation of microcosmic detail. (...) Although there are traces of known sounds, not always firmly identifiable, and although the metaphors revealed in works’ titles evoke the spaces of natural phenomena like water, wind, air and light, we do not remain anchored in our world. This music seeks to transport us to an imagined, highly expressive, other-worldliness.” Denis Smalley
“What most attracts me to the music of Theodore Lotis is his mastery of the spatial image. This is not so much to do with constructing perspective - relations between near and far, or the movement of sound across the stereo field - but with the nature of the textural fabric, how he deploys his sounds in spectral space. The spectral texture is distributed in multiple registers. Layers interact, come and go, relate sympathetically, or pressurise each other as they seek their place, or move on. Our mental image of space and spaciousness gathers over time as we observe these behaviours, as we absorb the accumulation of microcosmic detail. (...) Although there are traces of known sounds, not always firmly identifiable, and although the metaphors revealed in works’ titles evoke the spaces of natural phenomena like water, wind, air and light, we do not remain anchored in our world. This music seeks to transport us to an imagined, highly expressive, other-worldliness.” Denis Smalley
13,00€
In stock
CD
Roxanne TURCOTTE
“Fenêtres intérieures”
“De la fenêtre” (2010-12), “Bestiaire” (2010-11, 14), “Petit ange” (2012-14), “Alibi des voltigeurs” (2012-14), “OVI (Objet volant identifié)” (2009-14), “Zone d’exclusion” (2013, 14), “Tout en rouge” (2012-14), “Le piano d’Horowitz” (2014).
After piano studies at the Conservatoire de musique de Montréal, Roxanne Turcotte focused on composition and music technology, earning a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes, Francis Dhomont and Serge Garant.
Active as a composer and sound designer, Turcotte has built her aesthetics around a cinema-like art of integration. She also creates and performs music for television, cinema, radio, the stage, the Internet, and circus arts, in addition to creating sound, music, and visual installations. She is asked to sit on composition juries, and she regularly performs composition training sessions and workshops.
Turcotte has received grants from the Canada Council for the Arts (CCA) and the Conseil des arts et des lettres du Québec (CALQ). Under her belt, she has ten recordings, a few publications, numerous concerts with various music ensembles, and multiple tours and concerts in Canada, the USA, and Europe.
The music of Roxanne Turcotte has won numerous awards and distinctions: International New Music Composers Competition (USA, 1987, ’89), Hugh Le Caine Award from the SOCAN Foundation (Canada, 1985, ’89), Luigi Russolo International Competition (Italy, 1989), 6th “Villes manifestes” Radio Art Competition (La Muse en circuit, France, 2005), Bourges Electroacoustic and Sound Art International Competition (France, 2005, ’07, ’08), and Prix collégien de musique contemporaine (Sherbrooke, Québec, 2010).
Roxanne Turcotte is currently working on the integration of sound installations and live performance.
After piano studies at the Conservatoire de musique de Montréal, Roxanne Turcotte focused on composition and music technology, earning a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes, Francis Dhomont and Serge Garant.
Active as a composer and sound designer, Turcotte has built her aesthetics around a cinema-like art of integration. She also creates and performs music for television, cinema, radio, the stage, the Internet, and circus arts, in addition to creating sound, music, and visual installations. She is asked to sit on composition juries, and she regularly performs composition training sessions and workshops.
Turcotte has received grants from the Canada Council for the Arts (CCA) and the Conseil des arts et des lettres du Québec (CALQ). Under her belt, she has ten recordings, a few publications, numerous concerts with various music ensembles, and multiple tours and concerts in Canada, the USA, and Europe.
The music of Roxanne Turcotte has won numerous awards and distinctions: International New Music Composers Competition (USA, 1987, ’89), Hugh Le Caine Award from the SOCAN Foundation (Canada, 1985, ’89), Luigi Russolo International Competition (Italy, 1989), 6th “Villes manifestes” Radio Art Competition (La Muse en circuit, France, 2005), Bourges Electroacoustic and Sound Art International Competition (France, 2005, ’07, ’08), and Prix collégien de musique contemporaine (Sherbrooke, Québec, 2010).
Roxanne Turcotte is currently working on the integration of sound installations and live performance.
13,00€
Out of stock
CD
Roxanne TURCOTTE
“Libellune”
by François Couture in All-Music Guide (USA), October 21, 2003
“The drawing gracing the cover of Roxanne Turcotte’s Libellune may convey the message that this album is not cut from the same block as empreintes DIGITALes’ other productions, but it is not that remote from electroacoustic music. Her previous album (going back a decade) had already shown her interest in music that is more soundtrack-like than abstract, more interested in sound quotes and storylines than sculpting masses of sound. Libellune innovates as it is addressed in part to children. The 26-minute title piece pictures a dragonfly’s journey around the world with the help of flutist Michel Dubeau and his arsenal of ethnic wind instruments. Gentle and graceful, it doesn’t trade in fascination for simplicity and because of that stands as Turcotte’s finest work to date. Sons et Tintamarre, a suite of short vignettes featuring children voices is less convincing, although the voice manipulations will amuse. The conversation/miscommunication theme that dominated Amore is revisited in two pieces: Y---OW (as in yellow pages) and Micro-trottoir. The latter, an orchestrated collage of street interviews, hardly rises above the anecdote. Dreamier pieces like DMXnébula and Poussière d’étoiles hold more interest and remind us of Turcotte’s studies with Francis Dhomont. The tiny bells at the beginning of the first movement of Poussière d’étoiles lure us into a soundworld that recalls in part childhood wonder but also the more grown-up aspect of tape music. Libellune’s occasional naivete may not please every listener -- and it’s not quite yet the album to introduce your children to the genre -- but it takes a refreshing stance.”
“The drawing gracing the cover of Roxanne Turcotte’s Libellune may convey the message that this album is not cut from the same block as empreintes DIGITALes’ other productions, but it is not that remote from electroacoustic music. Her previous album (going back a decade) had already shown her interest in music that is more soundtrack-like than abstract, more interested in sound quotes and storylines than sculpting masses of sound. Libellune innovates as it is addressed in part to children. The 26-minute title piece pictures a dragonfly’s journey around the world with the help of flutist Michel Dubeau and his arsenal of ethnic wind instruments. Gentle and graceful, it doesn’t trade in fascination for simplicity and because of that stands as Turcotte’s finest work to date. Sons et Tintamarre, a suite of short vignettes featuring children voices is less convincing, although the voice manipulations will amuse. The conversation/miscommunication theme that dominated Amore is revisited in two pieces: Y---OW (as in yellow pages) and Micro-trottoir. The latter, an orchestrated collage of street interviews, hardly rises above the anecdote. Dreamier pieces like DMXnébula and Poussière d’étoiles hold more interest and remind us of Turcotte’s studies with Francis Dhomont. The tiny bells at the beginning of the first movement of Poussière d’étoiles lure us into a soundworld that recalls in part childhood wonder but also the more grown-up aspect of tape music. Libellune’s occasional naivete may not please every listener -- and it’s not quite yet the album to introduce your children to the genre -- but it takes a refreshing stance.”
12,00€
Out of stock
CD
Robert NORMANDEAU
“Dômes”
“La part des anges” (2011, 12), “Kuppel” (2005-06, 14), “Pluies noires” (2008, 14), “Hamlet-Machine without Actors” (2014), “Baobabs” (2012-13) with Stéphanie Lessard, soprano; Marie-Annick Béliveau, alto; Michiel Schrey, ténor; Pierre-Étienne Bergeron, bass; Sixtrum (João Catalão, Julien Compagne, Julien Grégoire, Philip Hornsey, Kristie Ibrahim, Fabrice Marandola).
After a BMus in Composition (Electroacoustics) from the Université Laval (Québec City, 1984) Robert Normandeau moved to Montréal and completed an MMus in Composition (1988) and the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He is a founding member of the Canadian Electroacoustic Community (CEC, 1987). From 1986 to ’93, he was an active member of the Association pour la création et la recherche électroacoustiques du Québec (ACREQ), where he produced the Clair de terre concert series at the Planétarium de Montréal. In 1991, he co-founded Réseaux, an organization for the presentation of media arts events, notably the acousmatic concert series Rien à voir and Akousma.
After a certain interest in instrumental and mixed works, his current endeavours are focused on acousmatic music. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.
After a BMus in Composition (Electroacoustics) from the Université Laval (Québec City, 1984) Robert Normandeau moved to Montréal and completed an MMus in Composition (1988) and the first PhDMus in Electroacoustic Composition (1992), under Marcelle Deschênes and Francis Dhomont. He is a founding member of the Canadian Electroacoustic Community (CEC, 1987). From 1986 to ’93, he was an active member of the Association pour la création et la recherche électroacoustiques du Québec (ACREQ), where he produced the Clair de terre concert series at the Planétarium de Montréal. In 1991, he co-founded Réseaux, an organization for the presentation of media arts events, notably the acousmatic concert series Rien à voir and Akousma.
After a certain interest in instrumental and mixed works, his current endeavours are focused on acousmatic music. More specifically, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. Along with concert music he now writes incidental music, especially for the theatre.
12,00€
Out of stock
CD
Robert NORMANDEAU
“Palimpsestes”
“Palimpseste” (2005, 11), “Murmures” (2007, 11), “Jeu de langues” (2009), “Anadliad” (2010), “Palindrome” (2005-06, 07). Robert Normandeau (1955) is a Canadian electroacoustic music composer who studied with Marcelle Deschênes and Francis Dhomont. Today he’s Professor of Electroacoustic Music Composition in Montreal since 1999.
13,00€
Out of stock
CD
Robert NORMANDEAU
“Clair de terre”
“One of the stongest images of the achievements we witnessed during the 20th century. These pictures of the earth taken from space will forever stay in our minds. Normandeau’s Clair de terre is build up with a cinematic structure as the titles of each movement reveals. The two other titles introduces us to Normandeau’s world when he composes for th estage (theater). They are made up of sonic elements he used for music composed for the stage. This is Robert Normandeau’s fourth release on empreintes DIGITALes”. “Malina” (2000), “Erinyes” (2001), “Clair de terre” (1999).
12,00€
Out of stock
CD
Philippe LE GOFF
“Titakti” (1991-95)
All of the pieces where composed at studio Canope (Lyon, France), with the support of Sacem, the Muse en circuit (Paris) and at the villa Médicis Hors les murs program. Final mastering was realized at the GMEM (Marseille, France). The recordings were made between 1988 and 1993, in Nunavik (Québec Arctic) in the villages of Puvirnituq, Kuujjuaraapik and Akulivik; in Nunavut (Northwestern Territories), on Coat Island and on Baffin Island in the villages of Iqualuit, Apex and Kimmirut.
“Meta incognita”, “Nipingit - La parole”, “La guerre”, “Plan séquence”.
“Meta incognita”, “Nipingit - La parole”, “La guerre”, “Plan séquence”.
8,00€
Out of stock
CD
Paul DOLDEN
“L’ivresse de la vitesse 1”
Reissue of 2 CD. “L’ivresse de la vitesse”, en deux CDs séparés. “L’ivresse de la vitesse” (1992-93), “Physics of Seduction. Invocation
3” (1992), “Revenge of the Repressed. Resonance
2” (1993), “Dancing on the Walls of Jericho” (1990), “Physics of Seduction. Invocation
2” (1991).
3” (1992), “Revenge of the Repressed. Resonance
2” (1993), “Dancing on the Walls of Jericho” (1990), “Physics of Seduction. Invocation
2” (1991).
12,00€
Out of stock
CD
Paul DOLDEN
“Histoires d’histoire”
“Music of Another Present Era” (2013-16), stereo tape. Music of Another Present Era plays freely with our ability to imagine another time and culture. At the same time, it recognizes that this historical imagining is necessarily conditioned by our own time and place. We do not know exactly what ancient music sounded like, as we are left with only inaudible details such as the microtonal scales that were used. This work appropriates a number of these ancient tuning systems to create a sense of the past within our present era. While the music of ancient times can at best only be approximated, stories and myths have been passed down for generations that can further illuminate the past while still speaking to us now. These stories stimulated my musical imagination, bridging past and present, a pilgrimage through musical time and place. This is not a programmatic work, instead these stories appear in the music metaphorically. This metaphoric use of myths is so that the musical content be recognized without it being diminished or reduced, as often occurs in programmatic music in which the musical content threatens to vanish behind an unequivocal verbal interpretation. In other words, as the group of late 20th century philosophers known as Guns N’ Roses said: “use your illusion.”
“BeBop Baghdad” (2013), electric guitar, and stereo tape. Maurizio Grandinetti, electric guitar. Many guitarists cut their musical teeth via jamming. With players taking turns soloing and sensitively backing up the other soloists, it remains the ideal forum to display your chops and pick up new tricks through careful listening. BeBop Baghdad is a fantasy based on the jam session. A live guitarist solos through most of the work, while a room full of musical playmates is simulated by a pre-recorded tape part. Like in a live jam session, musical styles can quickly change on a player’s whim, and the musicians must remain alert to follow the flow. In the first half of BeBop Baghdad, the soloist is surrounded by free-jazz style reeds, winds and brass. In the second half the soloist is supported and challenged by a rhythm section that hops from a Latin music club to a Nashville Country music stage, and from a New York City jazz club to a suburban basement seething with speed metal. Surprisingly, every locale is visited by an ensemble of Arabian musicians, lending an exotic flavor and further testing the soloist's abilities. Fortunately, our guitar hero has just returned from a tour of Iraq, where he was swinging, rocking and trilling with the locals. The recurring themes based on Arabic scales lend continuity to BeBop Baghdad through the wildly shifting scenes.
“Show Tunes in Samarian Starlight” (2012), B-flat trumpet, and stereo tape. ukasz Gothszalk, B-flat trumpet. The work plays freely with our historical imagination, specifically, our ability to imagine another time and culture. At the same time, this imagining is always conditioned by our own time. We know the microtonal scales used by many ancient cultures. However we have no idea of how they were used or what the music sounded like. Show Tunes in Samarian Starlight appropriates a number of ancient scales to create a musical fantasy of ‘show tunes’ and ‘nightclub music’ for ancient times. The work is based on the same melodies recreated in different tuning systems. These fluctuate between two musical moods — plaintive and calm, like a ballad, and energized, like a rock, swing, or Latin groove. Similarly, the structure of the work fluctuates between the microtonality of an imagined past and our modern tuning system.
“BeBop Baghdad” (2013), electric guitar, and stereo tape. Maurizio Grandinetti, electric guitar. Many guitarists cut their musical teeth via jamming. With players taking turns soloing and sensitively backing up the other soloists, it remains the ideal forum to display your chops and pick up new tricks through careful listening. BeBop Baghdad is a fantasy based on the jam session. A live guitarist solos through most of the work, while a room full of musical playmates is simulated by a pre-recorded tape part. Like in a live jam session, musical styles can quickly change on a player’s whim, and the musicians must remain alert to follow the flow. In the first half of BeBop Baghdad, the soloist is surrounded by free-jazz style reeds, winds and brass. In the second half the soloist is supported and challenged by a rhythm section that hops from a Latin music club to a Nashville Country music stage, and from a New York City jazz club to a suburban basement seething with speed metal. Surprisingly, every locale is visited by an ensemble of Arabian musicians, lending an exotic flavor and further testing the soloist's abilities. Fortunately, our guitar hero has just returned from a tour of Iraq, where he was swinging, rocking and trilling with the locals. The recurring themes based on Arabic scales lend continuity to BeBop Baghdad through the wildly shifting scenes.
“Show Tunes in Samarian Starlight” (2012), B-flat trumpet, and stereo tape. ukasz Gothszalk, B-flat trumpet. The work plays freely with our historical imagination, specifically, our ability to imagine another time and culture. At the same time, this imagining is always conditioned by our own time. We know the microtonal scales used by many ancient cultures. However we have no idea of how they were used or what the music sounded like. Show Tunes in Samarian Starlight appropriates a number of ancient scales to create a musical fantasy of ‘show tunes’ and ‘nightclub music’ for ancient times. The work is based on the same melodies recreated in different tuning systems. These fluctuate between two musical moods — plaintive and calm, like a ballad, and energized, like a rock, swing, or Latin groove. Similarly, the structure of the work fluctuates between the microtonality of an imagined past and our modern tuning system.
13,00€
Out of stock
CD
Natasha BARRETT
“Isostasie”
A former student of Jonty Harrison and Denis Smalley - two important figures of the British electroacoustics school - Natasha Barrett integrates the approach of these two composers into a proposition which recalls both sound ecology and properly abstract composition. Isostasie is full of these poetic, disconcerting environments, impressionistic pictures of various formats, evocative of her country of adoption, Norway. In this CD, one will encounter various meteorological happenings, the midnight sun, «Red Snow» (a phenomenon due to the growth of algae or diatoms), as well as an ode to the forest, «Viva la Selva!» Plenty of illustrations and impressions of the Norwegian landscape, postfaced with an «exploration of spatial musical structure» («The Utility of Space»), all fabricated with utmost delicacy by a young composer with an attuned ear, of whom this is the third album already (following two self-produced CDs, «Rocks & Wraiths» and «Chillies & Shells».)
12,00€
Out of stock
CD
Micheline COULOMBE SAINT-MARCOUX
“Impulsion”
“For the first time with Impulsion are presented all of the works for tape by Coulombe Saint-Marcoux (all but two which have disappeared). This historical disc is the occasion to discover the work of one of the Canadian electroacoustic pioneer.”
12,00€
Out of stock
CD
Mathew ADKINS
“(60) Project”
The involvement and the contribution of sound materials by over 60 of the world’s leading electronic composers and sound artists, under the control of Mathew Adkins. Composed in 2008, mixed at the GRM and created in the Huddersfield Contemporary Music Festival for the 60 years birthday of Musique Concrete. With A_dontigny, AGF, Lars Åkerlund, Michael Alcorn, Javier Álvarez, Miguel Azguime, Natasha Barrett, François Bayle, Gonzalo Biffarella, Ludger Brümmer, Mira Calix, Christian Calon, Lawrence Casserley, Richard Chartier, Rhodri Davies, Vladislav Delay, Donnacha Dennehy, Francis Dhomont, Lawrence English, eRikm, Dror Feiler, Christian Fennesz, Ambrose Field, Iris Garrelfs, Gilles Gobeil, Kink Gong, Jonty Harrison, Tim Hecker, Erdem Helvacioglu, Zoë Irvine, Christina Kubisch, Diane Labrosse, Andrew Lewis, Mats Lindström, Francisco López, Eric Lyon, Stephan Mathieu, Adrian Moore, Åke Parmerud, Gert-Jan Prins, Maja Solveig Kjelstrup Ratkje, Pedro Rebelo, Steve Roden, Sébastien Roux, Scanner, Janek Schaefer, Conrad Schnitzler, Si-cut.db, Wayne Siegel, Rodrigo Sigal, Pete Stollery, Paulina Sundin, Kees Tazelaar, Terre Thaemlitz, Todor Todoroff, Kasper T Toeplitz, David Toop, Germán Toro-Pérez, Pierre Alexandre Tremblay, Hans Tutschku, Rodrigo Cicchelli Velloso, Marc Weiser-Rechenzentrum, Yeoh Yin Pin, John Young, and Christian Zanési.
12,00€
Out of stock
CD
Martin BÉDARD
“Topographies”
“The title of Martin Bédard highly anticipated release speaks by itself: Topographies. It is a music full of relief showing a remarkable work on high dynamics. Not one second of downtime will be met, the music being filled of a rarely seen energy. The tight discourse will bring the listener within dense and opaque spaces where he will hold his breath, left by a feeling of emptiness after a complete listening. A technically and aesthetically dazzling release”.
“Grand dehors” (2011), “Topographie de la noirceur” (2004-2005), “Push & Pull” (2010), “Métal fatigue” (2012), “Champs de fouilles” (2008).
“Grand dehors” (2011), “Topographie de la noirceur” (2004-2005), “Push & Pull” (2010), “Métal fatigue” (2012), “Champs de fouilles” (2008).
13,00€
Out of stock
CD
Manuella BLACKBURN
“Petites étincelles”
“Javaari” (2012-13). “Ice breaker” (2015). “Snap happy” (2016-17). “Time will tell” (2013). “New Shruti” (2013).
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.
Manuella Blackburn has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College of Music (Tokyo, Japan).
Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
Manuella Blackburn has received a number of international awards and prizes for her acousmatic music including: Grand Prize in the Digital Art Awards (Fujisawa, Japan, 2007), First Prize in the 7th and 10th Concurso Internacional de Composição Electroacústica Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in the Diffusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil).
She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK).
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.
Manuella Blackburn has worked in residence in the studios of Miso Music (Lisbon, Portugal), EMS (Stockholm, Sweden), Atlantic Centre for the Arts (New Smyrna Beach, FL, USA), and Kunitachi College of Music (Tokyo, Japan).
Her music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
Manuella Blackburn has received a number of international awards and prizes for her acousmatic music including: Grand Prize in the Digital Art Awards (Fujisawa, Japan, 2007), First Prize in the 7th and 10th Concurso Internacional de Composição Electroacústica Música Viva (Lisbon, Portugal, 2006, ’09), First Prize in the Musica Nova International Competition of Electroacoustic Music (Prague, Czech Republic, 2014), International Computer Music Association European Regional Award (Australia, 2013), 3rd Prize in the Diffusion Competition (Ireland, 2008), Public Prize in the Concurso Internacional de Composição Eletroacústica (CEMJKO, Brazil, 2007) and Honorary Mentions in the Centro Mexicano para la Música y las Artes Sonoras (CMMAS) competition (Morelia, Mexico, 2008) and in the Concurso Internacional de Música Eletroacústica de São Paulo (CIMESP ’07, Brazil).
She is currently Senior Lecturer in Music at Liverpool Hope University (England, UK).
13,00€
Out of stock
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Manuella BLACKBURN
“Formes audibles”
First solo disc by British composer Manuella Blackburn. Manuella Blackburn’s work brilliantly embodies the vivid side of modern acousmatic music. This first disc of the Manchester-based British composer will keep the listener’s mind awake from the first to the last second. One will find dynamic works where the discourse is articulated with incredible finesse. Each element is precisely organized within complex timbre structures of great clarity. Each piece is based on sound materials carefully selected and delicately processed: from the electric guitar, to electronic switches to traditional musical instruments. In these bursts of sound remains an emphasis on pitch, uttering a reference to tonal musical history, keeping the listener drawn into the singular narrative of a frankly lively work. “Vista points” (2009), “Switched on” (2011), “Karita oto” (2009), “Kitchen Alchemy” (2007), “Cajón!” (2008), “Spectral spaces” (2008).
13,00€
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John OSWALD
“Aparanthesi”
The master of plundephonics takes us on a wild ride with “the one-note idea.”
"Now when I say that aparanthesi is one note I mean that it is one specific pitch and manifestations of that pitch in the various audible octaves. For A there are ten audible octaves, from the lowest note on most pianos (A=27.5 Hz) to 5 octaves above A 440, which is 14,080 Hz. These ten manifestations of simple halvings and doublings of a set frequency are the entire harmonic content of aparanthesi - any deviations from this frequency gravitate back to it, by various means."
"Now when I say that aparanthesi is one note I mean that it is one specific pitch and manifestations of that pitch in the various audible octaves. For A there are ten audible octaves, from the lowest note on most pianos (A=27.5 Hz) to 5 octaves above A 440, which is 14,080 Hz. These ten manifestations of simple halvings and doublings of a set frequency are the entire harmonic content of aparanthesi - any deviations from this frequency gravitate back to it, by various means."
13,00€
Out of stock
CD
James O’CALLAGHAN
“Espaces tautologiques”
1st disc by Montréal-based young Canadian composer James O’Callaghan.Includes the trytich of acousmatic works that imagine the sounding bodies of instruments as resonant spaces. “Objects-Interiors” (2013), “Bodies-Soundings” (2014), “Empties-Impetus” (2014-15), “Isomorphic” (2011-14).
James O’Callaghan is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Électromania, Radio France) and “highly refined sense of colour” (Vancouver Sun).
His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computer-assisted transcription of environmental sounds, and unique performance conditions.
His work, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, has been variously commissioned by the Groupe de recherches musicales (GRM), NYO Canada, Ensemble Paramirabo, Quasar, and Standing Wave, among others.
James O’Callaghan is the recipient of the Canada Council for the Arts’ Robert Fleming Prize (Canada, 2015), and his music has been awarded first prizes in the Salvatore Martirano Memorial Composition Award (USA, 2016), the Musicworks’ electronic music competition (Canada, 2015), the SOCAN Foundation Awards for Young Composers (Canada, 2013, ’14), including its 2014 John Weinzweig Grand Prize, and the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2013). His music was nominated for the Gaudeamus Award (The Netherlands, 2016) and the Juno Award for Classical Composition of the Year (Canada, 2014), and was a finalist in the the 8e Prix collégien de musique contemporaine (Québec, 2016) and the Klang competition (France, 2015).
Originally from Vancouver, he received a Master of Music degree in composition from McGill University in 2014, studying with Philippe Leroux, and a Bachelor of Fine Arts honours degree from Simon Fraser University in 2011, studying with Barry Truax.
James O’Callaghan is a composer and sound artist based in Montréal praised for his “mastery of materials and musical form” (Électromania, Radio France) and “highly refined sense of colour” (Vancouver Sun).
His music intersects acoustic and electroacoustic media, employing field recordings, amplified found objects, computer-assisted transcription of environmental sounds, and unique performance conditions.
His work, spanning chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances, has been variously commissioned by the Groupe de recherches musicales (GRM), NYO Canada, Ensemble Paramirabo, Quasar, and Standing Wave, among others.
James O’Callaghan is the recipient of the Canada Council for the Arts’ Robert Fleming Prize (Canada, 2015), and his music has been awarded first prizes in the Salvatore Martirano Memorial Composition Award (USA, 2016), the Musicworks’ electronic music competition (Canada, 2015), the SOCAN Foundation Awards for Young Composers (Canada, 2013, ’14), including its 2014 John Weinzweig Grand Prize, and the Canadian Electroacoustic Community’s competition Jeu de temps / Times Play (CEC, Canada, 2013). His music was nominated for the Gaudeamus Award (The Netherlands, 2016) and the Juno Award for Classical Composition of the Year (Canada, 2014), and was a finalist in the the 8e Prix collégien de musique contemporaine (Québec, 2016) and the Klang competition (France, 2015).
Originally from Vancouver, he received a Master of Music degree in composition from McGill University in 2014, studying with Philippe Leroux, and a Bachelor of Fine Arts honours degree from Simon Fraser University in 2011, studying with Barry Truax.
12,50€
Out of stock
CD
Jacques TREMBLAY
“Chroniques d’une séduction”
“Espresso espressivo” (2003-04). “L’énigme anima (1997, 2001)”. “Empathies entropiques (1998-2001)”. “The main theme running through all three of the works included on this cd is otherness. Each piece illustrates different facets of this theme. O the irony! As I try to fold back around my memories, my ability to focus is suddenly challenged by my noisy neighbour going by and talking loudly into his cell phone headset. The noise of this undesired speech immediately ties up my memory. This foreign tongue and its strong accents are heckling me. However, I persist in writing, which soon relegates the surrounding audio flow to the background. Since I cannot grasp the meaning of the words, my neighbour’s conversation becomes beat, movement, pace. And my listening finds purchase on the musicality of the sound. Later, when I resume my active listening, I realize that elsewhere in the background, over my head in fact, the patrons of the fruit store are ‘pacing around,’ influenced by the ebb of a radio, whose sound reaches me through the floor-ceiling in a highly-filtered form. Finally, further in the background is an animated layer of vehicle sounds pulsated by the clock mounted on the wall… An Arabian song comes from a car, panning from left to right... Multiplicity is here and now and... My attitude hesitates between shutting it all out or marveling at it. I listen... looking from the inside out... and rather than closing itself up, my perception tries to feed off these sonic imprints. The above sums up pretty well how I found my pace in realizing these works. My vision extrapolated into numerous ramifications along the way. My attention still thought it was focusing on a familiar sound, but it was actually slipping into the chronicles of intrigue and fascination. And for this experience, the ‘I’ becomes the ‘other.’ And being able to dissociate oneself from it is strangely fascinating. Isn’t that part of the Other’s seductive power? This very otherness holds the power to awake us, dust down our old ready-to-ware suits-ideas, initiating a new fresh attitude toward astonishment and discovery.” Jacques Tremblay
13,00€
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Horacio VAGGIONE
“Fluides”
“Mécanique des fluides” (2014-15). “PianoHertz” (2012). “Consort for Convolved Violins” (2011). “Préludes suspendus III” (2009, 10). “Fractal C” (1983-84).
Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music.
Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.
Horacio Vaggione cofounded the Universidad Nacional de Córdoba’s Centro de música experimental (CME) in 1965. A year later, on a Fulbright fellowship, he was introduced to the computer as a music tool by Lejaren Hiller and Herbert Brün at University of Illinois (Urbana, Illinois, USA). In 1969-73, he joined Luis de Pablo in the electroacoustic music studio Alea in Madrid (Spain), after which he worked in various French studios — GRM, IRCAM, IMEB — and in several European and North-American universities. He was artist-in-residence in Berlin (Germany) in 1987-88 on a fellowship from DAAD.
Horacio Vaggione won awards in numerous international competitions, including NewComp (Cambridge, Massachusetts, USA, 1983); the ICMA Award (1992), the Euphonie d’or (Bourges, France, 1996), the Ton Bruynèl Award (The Netherlands, 2010), and the Giga-Hertz-Preis 2012 (Karlsruhe, Germany).
Starting in 1989, Horacio Vaggione worked at the Music Department of Université Paris 8 (France) as a professor, PhD research director, and director of the Centre de recherche informatique et création musicale (CICM). He became Professor Emeritus in 2012.
Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music.
Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.
Horacio Vaggione cofounded the Universidad Nacional de Córdoba’s Centro de música experimental (CME) in 1965. A year later, on a Fulbright fellowship, he was introduced to the computer as a music tool by Lejaren Hiller and Herbert Brün at University of Illinois (Urbana, Illinois, USA). In 1969-73, he joined Luis de Pablo in the electroacoustic music studio Alea in Madrid (Spain), after which he worked in various French studios — GRM, IRCAM, IMEB — and in several European and North-American universities. He was artist-in-residence in Berlin (Germany) in 1987-88 on a fellowship from DAAD.
Horacio Vaggione won awards in numerous international competitions, including NewComp (Cambridge, Massachusetts, USA, 1983); the ICMA Award (1992), the Euphonie d’or (Bourges, France, 1996), the Ton Bruynèl Award (The Netherlands, 2010), and the Giga-Hertz-Preis 2012 (Karlsruhe, Germany).
Starting in 1989, Horacio Vaggione worked at the Music Department of Université Paris 8 (France) as a professor, PhD research director, and director of the Centre de recherche informatique et création musicale (CICM). He became Professor Emeritus in 2012.
13,00€
Out of stock
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Hildegard WESTERKAMP
“Transformations”
“Hildegard Westerkamp says: "I hear the soundscape as a language with which places and societies express themselves." Her Transformations CD presents five of her soundscape compositions, reflecting work composed from 1979 to 1992, each sounding the depths of a different place, creating a different inner landscape each time I hear them. She works with the sonic and sociopolitical potentials of each place, recording, mixing, and subtly transforming sounds to heighten listeners’ awareness and appreciation of these sites. She is a skilled and careful interpreter of their languages.”Andra McCartney. New catalog number, new box but music stays the same.
13,00€
Out of stock
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Hans TUTSCHKU
“Moment”
Hans Tutschku (Weimar, Germany, 1966), composer living in USA, member of Ensemble für Intuitive Musik Weimar. “Extrémités lointaines” (1998), “… Erinnerung…” (1996), “Les invisibles” (1996), “Sieben Stufen” (1995), “Die zerschlagene Stimme” (1991).
12,00€
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Hans TUTSCHKU
“Firmament”
“Firmament - schlaflos” (2010), “Klaviersammlung” (2011), “Issho ni” (2014).
Hans Tutschku began to study music at an early age. In 1982 he joined the Ensemble für Intuitive Musik Weimar, playing synthesizer and live electronics. He studied electroacoustic composition at the Hochschule für Musik in Dresden (Germany), and accompanied Karlheinz Stockhausen on several concert tours in 1989-91 for the purpose of studying sound diffusion.
In 1989 he co-founded with Michael von Hintzenstern the Klang Projekte Weimar, a presenter of contemporary music, which presents an annual festival as well as a concert series.
In 1991-92 he took part in the international year-long course at the Institute of Sonology (The Hague, The Netherlands). In 1994 he followed the annual composition and computer music course at IRCAM (Paris, France). In 1995-96, he taught electroacoustic composition at the Franz Liszt Academy in Weimar (Germany) where he also set up the studio. In 1996, he attended the Royaumont Composition Workshop with Brian Ferneyhough and Klaus Huber (France).
He taught at IRCAM (Paris, France) from 1997 to 2001, and at the Conservatoire de Montbéliard (France) from 2001 to 2004. In May 2003 he completed a PhD in composition at the University of Birmingham (England, UK) with Jonty Harrison. Since September 2004 he has been working as professor of composition and director of the electroacoustic studios at Harvard University (Cambridge, MA, USA).
Hans Tutschku began to study music at an early age. In 1982 he joined the Ensemble für Intuitive Musik Weimar, playing synthesizer and live electronics. He studied electroacoustic composition at the Hochschule für Musik in Dresden (Germany), and accompanied Karlheinz Stockhausen on several concert tours in 1989-91 for the purpose of studying sound diffusion.
In 1989 he co-founded with Michael von Hintzenstern the Klang Projekte Weimar, a presenter of contemporary music, which presents an annual festival as well as a concert series.
In 1991-92 he took part in the international year-long course at the Institute of Sonology (The Hague, The Netherlands). In 1994 he followed the annual composition and computer music course at IRCAM (Paris, France). In 1995-96, he taught electroacoustic composition at the Franz Liszt Academy in Weimar (Germany) where he also set up the studio. In 1996, he attended the Royaumont Composition Workshop with Brian Ferneyhough and Klaus Huber (France).
He taught at IRCAM (Paris, France) from 1997 to 2001, and at the Conservatoire de Montbéliard (France) from 2001 to 2004. In May 2003 he completed a PhD in composition at the University of Birmingham (England, UK) with Jonty Harrison. Since September 2004 he has been working as professor of composition and director of the electroacoustic studios at Harvard University (Cambridge, MA, USA).
12,00€