Out of stock
CD
Jim SAUTER – Kid MILLIONS
“Boanerges”
Duo of Jim Sauter from Borbetomagus and Kid Millions from the Boadoms and Oneida ! The sound of saxophone turning into an extreme noise and brutal raging percussion! Such is the latest “NOISE JAZZ” from NYC! (JOJO Hiroshige / Hijokaidan). Jim’s sax playing is impulsively domineering in Borbetomagus, which is based on a usually percussion-less trio formation of two saxophones and one guitar; and I was really curious to hear what would happen when it encountered a drummer who is often described in terms of "stamina." Truly, the answer is in this album. --T. Mikawa ( Incapacitants, Hijokaidan ) from linernote
“...something struck me immediately, the slight slap-back delay on the sax, the SAX! Yes, of course it’s Jim Sauter, and a long long time since I had heard him with drums, but also, with a new rhythmical sense to his use of effects, not just altering the timbre, and the threshold, of his horn, but also changing the space it was in, the relation to a new space that Kid Millions drums propelled him into head forward”. -Jim O’Rourke, from linernote. obi text : Jojo Hiroshige (Hijokaidan), linernotes : T.Mikawa (Incapacitants, Hijokaidan), Jim O’Rouke in English and Japanese, digipack with 16 page booklet.
14,00€
In stock
CD
Christian ZANÉSI
“Soixante dix-huit tours”
“Sémaphores” (2009). “Music commission from the Eole studio in Toulouse. For Yann Geslin. The choice of title became obvious towards the end of the compositional work, when a whole series of electronic signals, initially in the background, appeared as essential elements of the piece. Even though they are heard in the distance, or very eroded, the presence of these sounds is sustained. To come through the noise is part of the very nature of a signal. The title is therefore to be understood as a metaphor for the signal as matter. There is another layer in this work, linked to old sounds I dug up and that were made in the ‘80s on the "non-real-time" computer of the GRM. These sounds considerably renewed the materials of electroacoustic music at the time, giving new impetus to composers working in the studio. “Tours et détours en 78 tours” (2009). It is down to chance, (so convenient at times), that in spring 2007 a famous 78 rpm record fell into my hands: pressed by Pierre Schaeffer in 1949, it is essentially made up of basic instrumental sounds (including oboes, flutes, metallic percussions, "radio" voice...) presented as closed grooves, that is to say identically repeated over a short time span. This is one of the two records containing basic material used for composing the « Suite Pour 14 Instruments » heard for the first time on the radio station Paris Inter in November 1949. I was impressed by the tenuous softness emanating from these sounds and I felt like a child, discovering a very old family film in a forgotten box. I took just a few of these fragments, and I worked on them by associating electronic materials relevant to me today. I also kept - whilst slightly altering it - this famous 78 rpm beat (78 at the black) which I believe is one of the keys of the success of concrete music in its early days. Gradually, I understood that I was working on the idea of fragility with the feeling of the ineluctable passing away of things and beings.” “Christian Zanési currently is the artistic director of the Ina GRM. He has initiated many projects in the field of radio, publications and musical events including: the Electromania radio show on France Musique, the festival Présences électronique and the CD box sets “Archives GRM”, “Bernard Parmegiani, l’œuvre musicale”, “Luc Ferrari, l’œuvre électronique”.”
13,00€
In stock
CD
John DUNCAN-KONTAKT DER JÜNGLINGE-CM von HAUSSWOLFF
“A compilation of live recordings specially released for a Die Stadt label night feat. All artists, at Argos in Brussels on 18. October 2007. The John Duncan recording was made at The Compound, San Francisco on 21 July 2007. Kontakt der Junglinge (Asmus Tietchens & Thomas Koner) “Montreal Solution 1” is an excerpt from their live performance at Mutek Festival, Montreal on 28 May, 2003. The final track on this CD is by C.M. Von Hausswolff and was recorded at “Easy To Swallow”, All Tomorrows Parties, SEOne Club, London, cursted by Russel Haswell, on 2 June 2005. Released in a limited edition of 500 numbered copies.”
13,00€
Out of stock
CD
ASMUS TIETCHENS
“Geboren, um zu dienen”
8th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Described by Tietchens himself as his ’Industrial’ album, “Geboren, um zu Dienen” was originally released on the spanish Esplendor Geometrico label in 1986. The CD version incl. three unreleased bonus tracks from the same period and comes with a full colour fold-out booklet incl. liner notes by Tietchens himself.
“If I’d ever recorded an ’Industrial’ solo album, it must be “Geboren, um zu dienen”. Although I obviously wasn’t one of the inventors of ’Industrial Music’, I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative - a tank war between NATO and the Warsaw Pact - sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms ? This particular background has to be seen as the main influence on “Geboren, um zu dienen”. I believe that many of my colleagues also recording ’Industrial’ albums felt the same at that time. IF there would have been a ’Bang’ it - without doubt - would have been global. Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. “Geboren, um zu dienen” was an experiment in itself which first fruits I set free immediately. As if I’d to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of ’Industrial’. The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish ’Esplendor Geometrico’ label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80’s, also albums by the ’Industrial’ group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident ’Nevertheless’.
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral (”A Call for abortion”), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the ’Stiftung Warentest’. Go on Germany !” Asmus Tietchens, 2006
“If I’d ever recorded an ’Industrial’ solo album, it must be “Geboren, um zu dienen”. Although I obviously wasn’t one of the inventors of ’Industrial Music’, I clearly felt an affinity to it. So I tried to learn my lessons well adding my own musical aspects to the general apocalyptic noises of this genre. My main concern was to dive deep into the canonical topics of fear, hysteria, claustrophobia, machine and threat. The end was imminent as hundreds of Pershings and SS20 all pointed in the direction of the march up area called West Germany, the seals of the read buttons were already broken. Even the conventional alternative - a tank war between NATO and the Warsaw Pact - sounded like utter apocalypse. Would we really have welcomed our brothers from the east with open arms ? This particular background has to be seen as the main influence on “Geboren, um zu dienen”. I believe that many of my colleagues also recording ’Industrial’ albums felt the same at that time. IF there would have been a ’Bang’ it - without doubt - would have been global. Fear, emptiness and the futility of the aesthetical, were not alien to me, but until then I moved inside a carefully tested zone which was defined by a spectrum of experimental forms. “Geboren, um zu dienen” was an experiment in itself which first fruits I set free immediately. As if I’d to work under a deadline I recorded the tracks hastily, not wasting much thoughts about dynamics, duration, precision and construction. In the same way I resolutely did rough mixes of the seperate tracks of the pieces: what sounded dirty stayed dirty. Essentially the raw and the unsculptured were a part of the dogma of ’Industrial’. The original nine tracks plus five more (three which appear as Bonustracks on this CD) all developed in a very short period of time. The album was released on the spanish ’Esplendor Geometrico’ label, run by Andres Noarbe, in the same year. Originally a tape only label EG released a series of radical albums during the mid 80’s, also albums by the ’Industrial’ group of the same name, many which are much sought after items today. Of course only 500 copies of the album were pressed, which still meant a considerable financial risk given the small circle of potentionally interested listeners. But the enthusiasm and dedication of everyone involved lead to a self-evident ’Nevertheless’.
Looking back at these years it has to be noted that I established a daring attitude then, which luckily developed positively and stayed with me until today. The fact that a german attorneys general confiscated a small number of the LP in 1990 deeming the cover as being immoral (”A Call for abortion”), was registered with satisfaction. A case like this corresponds with the mark of quality granted by the ’Stiftung Warentest’. Go on Germany !” Asmus Tietchens, 2006
13,00€
Out of stock
CD
Asmus TIETCHENS
“Aus Freude am Elend”
“11th part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Aus Freude Am Elend is based on the human voice as a primary sound source and was originally released in edition of 500 copies on Dom America in 1988. The CD includes two previously unreleased tracks and comes in a jewel case with full color artwork and poster booklet also feat. The original front and back cover. First edition of 600 copies”. “Following my research of piano and water sounds (DS102, DS88) it didn’t come as a surprise that my next project was about the human voice as a sound source. The great masters of Plunderphonics already showed the way in the early 80’s, when they plundered the gigantic junk-shops packed full of already recorded material, which was stolen by them to use it for their own aesthetic targets. This album only consists of such stolen goods. Each track with the exception of ’In memoriam P.F.’) was based on voices of people who I naturally didn’t ask their permission to use these recordings in the first place. So you can hear the voices of ecstatic religious people as well as other people making love. You’ll also hear someone singing to Annette and Peggy out of the trash bin of a publishing company. Even the screams of furious teachers came in handy while I made loops from them. Especially loops: Rarely before this album and only once after it (on Stupor Mundi) did I made use of the structural means of loops to such an extent. I was fascinated by the rhythmical and harmonic permanence, in the same way as many of my musical colleagues at the time. The aspect of the ’Ritual’ was a self-evident common formulation in difficult music during the 80s, so loops and tape voices, monotonous rhythms and LoFi became obvious means to shape the music. AUS FREUDE AM ELEND too was strongly spiced with these ingredients and therefore can be seen as a prototype album of this specific view of music during the time. This tendency was supported - even partly inspired - by a new generation of sound machines, which also made it possible for new aesthetic goals to appear at the horizon. The 90s were near at hand and sound art music would develop drastically in many ways in the years to follow. Samplers, digital editing, hard-disc recording and the first PC’s opened new doorways. Half of the material on AUS FREUDE AM ELEND was already created with these digital tools. I never quite understood how the labels Dom America (run by Jon Carlson) and Dom here in Germany were connected. Did Carlson used to be a fan of Dom which was founded by Christoph Heemann and Achim Flaam. Did he simply liked the release politics of this label. And what became of Dom America ? Actually I don’t know. I guess it was one of the small enthusiastic independent labels which released a handful of titles and which disappeared after being active for a couple of years during the 80s. However AUS FREUDE AM ELEND had vanished shortly after its release. I only used ’stolen’ voices twice again (’Stupor Mundi’, 1990 and ’Das Fest ist zu Ende. Aus’, 1993) after this album by the way.” Editorial notes : All the tracks were copied from the original tapes which I found to be still in very good condition. The final track "Weiter nicht" on Side-B of the LP ended with a lock groove. It’s presented here in its original length and therefore stops abruptly. The bonus track "Doch noch weiter" was recorded almost one year after the release of the LP.
15,00€
In stock
CD
Asmus TIETCHENS & Okko BEKKER
“E”
2015
This is part 15 in the Tietchens reissue series of vinyl releases from the 1980ies. E was a joint work with Okko Bekker that was originally released on DOM in 1988. The CD reissue includes both tracks from the bonus 7” U that came with the first pressing of the LP. Furthermore there are two extra unreleased pieces from the same period. As always the original LP cover artwork is reproduced in the CD booklet as a fold out poster; the booklet also has some editorial remarks. Edition of 600 copies, joint release with Auf Abwegen.
15,00€
Out of stock
CD
Mario BERTONCINI
“Arpe eolie”
CD only. The CD presents the complete selection of his compositions for aeolian objects, from 1973 to more recent days. “Chanson pour instrument à vent” (1974), “Istantanee” (1995), “Istantanee II” (2006), “Chanson pour instrument à vent” (1974 - 2000), “Chain reaction” (1973), “Fuochi (introduzione” (1982).
16,00€
Out of stock
CD
Lino Capra VACCINA
“Antico Adagio”
Before an aberrant idea of progress and workaholic ethic ludicrously sped up our daily lives, even in the hectic city of Milan it was possible to “play slowly” - with no pressure, simply following the path your art was showing you. After a classic artistic journey and an experimental stint with Aktuala and other brilliant fellow musicians (like Franco Battiato, above all), Lino Capra Vaccina, near the end of the 70s, recorded Antico Adagio. It was an amazing album, anticipating countless future experiments in the field of new age and world music but also in avantgarde and electronic music. Apart from a few violin parts and the extraordinary vocal lines (sung by Vaccina himself and Juri Camisasca), Antico Adagio is an album fully built on percussions. But, at the same time, it’s the farthest thing from the typical idea of percussions. You won’t find a single trace of African or primitive beats: instead, this is a collection of rather long, subtle and thoughtful compositions, crafted with vibraphones, marimbas and gong. Together they create a work which will remain unique - both in Capra Vaccina’s discography as well as in a more general sense.
From Kieran Hebden/FourTet liner notes: «There are records I have found in my life that I was almost wishing existed before hearing them. Recordings with new combinations of sound and atmosphere I knew could be wonderful to me if I ever discovered them, and then on discovery the sound was even better than I could have imagined. I felt this way when first hearing music by Alice Coltrane (Journey to Satchidananda) and Don Cherry (Organic Music Society) and I also felt it with Antico Adagio. The combinations of the rhythms and melodies resonate with me in a very clear way and I feel transported by this music every time I hear it.… I first heard this record when it was posted on the Mutant Sounds blog a few years ago and am very happy to see it get another release. The music is timeless and brilliant and maybe there are other people out there wishing for a sound like this too who will now have chance to find it».
Available as two individual LPs: Antico Adagio (DS27/1LP) and Frammenti da Antico Adagio (DS27/2LP), which features previously unreleased material from the original 1978 sessions. The deluxe CD edition (Antico Adagio, DS27CD) contains both albums.
From Kieran Hebden/FourTet liner notes: «There are records I have found in my life that I was almost wishing existed before hearing them. Recordings with new combinations of sound and atmosphere I knew could be wonderful to me if I ever discovered them, and then on discovery the sound was even better than I could have imagined. I felt this way when first hearing music by Alice Coltrane (Journey to Satchidananda) and Don Cherry (Organic Music Society) and I also felt it with Antico Adagio. The combinations of the rhythms and melodies resonate with me in a very clear way and I feel transported by this music every time I hear it.… I first heard this record when it was posted on the Mutant Sounds blog a few years ago and am very happy to see it get another release. The music is timeless and brilliant and maybe there are other people out there wishing for a sound like this too who will now have chance to find it».
Available as two individual LPs: Antico Adagio (DS27/1LP) and Frammenti da Antico Adagio (DS27/2LP), which features previously unreleased material from the original 1978 sessions. The deluxe CD edition (Antico Adagio, DS27CD) contains both albums.
18,00€
In stock
CD
Fabio SELVAFIORITA – Valerio TRICOLI
“Death by water”
“Die Schachtel is proud to present Death by Water: a four-hand musique concrète composed by Fabio Selvafiorita and Valerio Tricoli. This one track disc has been realized between Milan, where it has been composed, and Giudecca Island, in Venice, the location of the field recordings and reel-to-reel tape treatments. The music stresses and questions the dramatic and alchemical potential of a musical landscape marked by water, as the work is intended to approach the fourth movement of T. S. Eliot’s poem “The waste Land”. Fabio Selvafiorita e Valerio Tricoli created a work full of narrative suggestions, visceral and metaphysical at same time.” label info
15,00€
Out of stock
CD
Pauline OLIVEROS
“Lion’s eye-Lion’s tale”
“Lion’s Eye for Gamelan was commissioned in 1985 by Barbara Benary for Gamelan Son of Lion. Lion’s Eye for Synthesizer was commissioned concurrently by Neil Rolnick for iEAR Presents at Rensselaer Polytechnic Institute. Both versions were performed in 1985. The intention to combine both pieces in order to expand the tempo range of the Gamelan was first realized in May of 1989 in performances by the Berkeley Gamelan in Oakland and San Francisco, California under the direction of Daniel Schmidt. This version of Lion’s Eye is recorded on this disc. The duration of “Lion’s Eye” is forty-five minutes. “Lion’s Tale” (1989) is composed of layered polymetrical, polyrhythmical patterns. The patterns are played at speeds ranging up to 1800 per minute. The composer designed patterns are generated by the computer program. “Lion’s Tale” may be created in a new version every time the program is run. “Lion’s Tale” also exists in a MIDI version for a keyboard performer. Both versions are available from Deep Listening Publications. Known internationally as a composer, accordionist and teacher, Pauline Oliveros’s work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros’ compositions have been performed worldwide.”
14,00€
In stock
CD
VOMIR
“Les escaliers de la cave”
Core harsh noise wall. Artwork by Jacques Noel (Un regard moderne). No compromise ! No remorse ! New CD lim. 200 (corelease w/ Narcolepsia & Skumrex).
8,50€
In stock
CD
Kevin DRUMM
“Impish tyrant”
“A CD repress of a cassette that was released on the Spite label in 2004. Guitar and electronics. Processed guitar riffs and screeching electronics.”
9,00€
Out of stock
CD
Patrizio FARISELLI
“Antropofagia”
Patrizio Fariselli was playing with Area. In 1977 he did record this very nice piano solo record with or without preparations. Another very good reissue from Cramps.
13,00€
Out of stock
CD
Paolo CASTALDI
“Finale (1971-1973)”
“Awesome piano release on the legendary ’nova musicha’ series, brand new remastered-digipack edition for this italian master of the post-avantgard scene. Originally recorded in 1975.”
13,00€
In stock
CD
Miguel Angel CORIA
“En rouge et noir”
“An excellent and breathy recording with lush piano elegies awash in a radical sonic realm that is profoundly reminiscent of Charlemagne Palestine but in a very hectic-spirited way, truly an excellent and underrated recording that explores new piano possibilities. Digipack edition.”
13,00€
Out of stock
CD
Martin DAVORIN JAGODIC
“Tempo furioso”
“Davorin-Jagodic was a Yugoslavic-Croatian composer who realized this great album in 1975 appearing in the Nurse With Wound List. Featuring some creepy, sometimes droning, electronic musique concret. Should make fans of musique concret (especially the early stuff) very happy.”
13,00€
Out of stock
CD
John CAGE
“Cheap imitation”
“Humbly engaged but never over-determined, Cheap Imitation remains John Cage’s most devotional and enduring homage to a lifelong contract between the Maestro of Stony Point and Erik Satie. Composed when he was refused permission to use the arrangement for Satie’s “Socrates” as the “accompaniment” to Merce Cunningham’s choreography, Cheap Imitation is a tempered, harmonically rich and wryly simple melodic examination. This newly remastered edition marks the first US release of this historic recording.”
13,00€
Out of stock
CD
Giusto PIO
“Motore immobile”
“Giusto Pio’s Motore immobile was his debut LP. On the first title track, he uses a droning organ and moves from triad to triad, superimposing the next one briefly before moving on, occasionally expanding the sound with octave doubling and then just as quickly subtracting the lower tones. Intermittent humming and violin provide additional notes. On “Ananta”, he uses a piano flourish to introduce each triad, landing on the tonic note each time. Very calm, and very mysterious, this record is as overlooked as they come (part of the appeal, of course).”
13,00€
Out of stock
CD
Demetrio STRATOS
“Cantare la voce”
Digipack CD with 16 pages booklet. Reissue of a 1978 LP out on Cramps Records.
13,00€
Out of stock
CD
Demetrio STRATOS-Lucio FABBRI
“Recitarcantando”
“Of all of Demetrio Stratos’ recordings, this 1978 live date with violinist Lucio Fabbri is easily the most accessible and least adventurous. That said, Recitarcantando is also perhaps the most songlike and beautiful of Stratos’ albums and deserves recognition for showcasing the vocalist as a singer of uncommon power and originality.”
13,00€
Out of stock
CD
David TUDOR
“Microphone”
“Originally released on LP in 1973 as number 16 in the Nova Musicha series. Recorded at Center for Contemporary Music, Mills College, Oakland, California. Includes 12-page booklet with photographs, score and liner notes in Italian.”
13,00€
Out of stock
CD
Alvin CURRAN – Paolo TOFANI – Mauro TESPIO
“Segments”
New release for Alvin Curran, Paolo Tofani and Mauro Tespio : Electrifying all the objects is the common interest of those three artists. We could say that represents the bridge between the ancient music experience and the present music technology : "Technology is one of those myths that return cyclically to haunt all of us, now then and surely in the future... ... with the later I began to record the world or sound around me, knowing intuitively that it was an on-going and never-ending symphony of immense beauty...". Alvin Curran: piano, prepared piano, sampling keyboard, percussion, shell, tube, Shofar. Paolo Tofani: Trikanta Veena connected to a Axon Ax 50 Apple MacBook Pro midi converter by a GK-2 esaphonic Roland. Mauro Tespio: trumpet, tibetan bells, percussion, Balaphone, Synth EMS Aks.
13,00€
Out of stock
CD
Mika VAINIO & Franck VIGROUX
“Peau froide, léger soleil”
“Peau froide, lèger soleil”, is the result of a three year recording process, initiated by Mika Vainio and Frank Vigroux after a series of shared live experiences.
Sprawling after a show in Paris in 2012, their collaboration is an exercise in sensitive intensity, drifting the whole space between minimalist meditations and maximalist kinetics. Vainio’s signature brutalist production resonates all throughout the record, constructing a psychic scenario for Vigroux’s researches in spatial abstraction and tonal radicalism. Densely built though free-from structural limitation this album is an intense 9track motion serving as the third installment in Cosmo Rhythmatic’s catalog and acting as new chapter in the label’s construction an uncompromising sonic identity.
Mastered by Dennis Blackham at Sky mastering. Lacquer cut at D&M, Berlin.
Photography By Umut Ungan (Front Cover), Diego Jr. (Back Cover)
Sprawling after a show in Paris in 2012, their collaboration is an exercise in sensitive intensity, drifting the whole space between minimalist meditations and maximalist kinetics. Vainio’s signature brutalist production resonates all throughout the record, constructing a psychic scenario for Vigroux’s researches in spatial abstraction and tonal radicalism. Densely built though free-from structural limitation this album is an intense 9track motion serving as the third installment in Cosmo Rhythmatic’s catalog and acting as new chapter in the label’s construction an uncompromising sonic identity.
Mastered by Dennis Blackham at Sky mastering. Lacquer cut at D&M, Berlin.
Photography By Umut Ungan (Front Cover), Diego Jr. (Back Cover)
12,00€
Out of stock
CD
VELTZ
“Broken TV Audio Report”
In the last 10 years Akira Matsuoka (aka Veltz) has established himself as a key figure in the next generation of Tokyo noise artists. His work covers a wide range: metal junk noise, erased tapes, field recording and audio dedications to analogue television. Analogue broadcasting in Japan was switched of in 2011, an event recorded by Matsuoka and presented at the end of this album. The collection of CRT televisions he has since amassed have become his primary instrument, used in numerous performances and on his CD for edition omega point. The tracks on this disc demonstrate the range of this instrument. Recorded over a 6 year period, they comprise a catalogue of the sound fields Matsuoka is capable of provoking from these abandoned screens.
Released in oversized 7” package with letterpress back panel and a 16 page risograph booklet of macro photographs of analogue television noise.
Limited and numbered to 150 copies.
15,00€
In stock
CD
SUTCLIFFE JÜGEND
“Pigdaddy”
“Six stories of mind-fucking depravity. Pigdaddy contains some of the most fucked up, histrionic and downright bizarre vocals ever recorded. The music is created using the most basic sound sources. The overwhelming sense of moral decay makes this Sutcliffe Jügend’s most original album yet. Pigdaddy is beyond perverse. Sexual transgression never sounded so dirty. Hear Pigdaddy and you will never feel clean again. Over 45 minutes of music. Cover painting by Kevin Tomkins.”
5,00€
Out of stock
CD
LOUIS MINUS XVI
“De Anima”
Alto Sax : Adrien Douliez. Tenor Sax : Jean-Baptiste Rubin. Bass : Maxime Petit. Drums : Frédéric L’Homme.
“It’s been almost 10 years since Louis Minus XVI reigned over the free jazz of the Flandres. Fortunately for us, his reign is not ready to stop with this new album “De Anima”.
This Art Ensemble of Lille is hyperactive. In addition to three albums and a split with the Berber artist Lahcen Akil, we find members of the quartet in equally ambitious projects, such as Unik Ubik, M.Thibault, Hook, L’Atelier d’Education Musicale du Centre Social Raymond Poulidor, but also in the company of avant-garde cult figures such as Daniel Carter or Pascal Comelade.
The music of Louis Minus XVI is revolutionary, humanist scaffold jazz whose alto and tenor saxophones Adrien Douliez and Jean Baptiste Rubin are the breath of life. They mix, accompany each other, clash stereophonically, and systematically fall back on their legs like a gutter cat skirmish.
Frederic L’Homme’s abrasive drum play, from which chaos emanates, adds depth to this dialogue, and airs the space with world music incursions reminiscent of Okay Temiz’s work.
This twilight jazz, sometimes composed of afrobeat, is led by the stretchy and incisive bass of Maxime Petit, whose aggressiveness fades with a soft groove finesse, evoking the chaâbi sounds.
The experience is total live, in perfect symbiosis, Louis Minus XVI guarantee a trance at the crossroads of Post-Punk and Be-Bop.
The icing on the cake, they happen mostly in small places, close to people, reflecting the state of mind that unites them. ”
Sam Nolin
“It’s been almost 10 years since Louis Minus XVI reigned over the free jazz of the Flandres. Fortunately for us, his reign is not ready to stop with this new album “De Anima”.
This Art Ensemble of Lille is hyperactive. In addition to three albums and a split with the Berber artist Lahcen Akil, we find members of the quartet in equally ambitious projects, such as Unik Ubik, M.Thibault, Hook, L’Atelier d’Education Musicale du Centre Social Raymond Poulidor, but also in the company of avant-garde cult figures such as Daniel Carter or Pascal Comelade.
The music of Louis Minus XVI is revolutionary, humanist scaffold jazz whose alto and tenor saxophones Adrien Douliez and Jean Baptiste Rubin are the breath of life. They mix, accompany each other, clash stereophonically, and systematically fall back on their legs like a gutter cat skirmish.
Frederic L’Homme’s abrasive drum play, from which chaos emanates, adds depth to this dialogue, and airs the space with world music incursions reminiscent of Okay Temiz’s work.
This twilight jazz, sometimes composed of afrobeat, is led by the stretchy and incisive bass of Maxime Petit, whose aggressiveness fades with a soft groove finesse, evoking the chaâbi sounds.
The experience is total live, in perfect symbiosis, Louis Minus XVI guarantee a trance at the crossroads of Post-Punk and Be-Bop.
The icing on the cake, they happen mostly in small places, close to people, reflecting the state of mind that unites them. ”
Sam Nolin
8,00€
In stock
CD
Thomas TILLY & Jean-Luc GUIONNET
“Stones air axioms”
Thomas Tilly : recordings, measurements, composition. Jean-Luc Guionnet : church organ, measurements. “Nowadays, information is circulating through cables and codes, however, before the advent of technology, the very acoustics of amphitheatres and religious buildings fulfilled this transmission function. The cathedral is one example. Partly conceived to enhance voice and music, it offers a wide resonance to support the religious discourse. These unique acoustics are part of its characteristics. This massive air volume is being enclosed and defined by stone. It acts as an amplifier of noise and forces listening and attention. The behaviour of the visitor/audience going through the building is thus being altered. The architecture constraining this air volume is complex and ruled by doctrine. The shape it is drawing constitutes both a symbol and an element of hierarchy for the listening situation within the space. Stones, Air, Axioms” is a sound work based on the relationship between the architecture and acoustics of St Pierre Cathedral in Poitiers. It is articulated around informal acoustic experiments and a study of the site. It is restricted by the range of noises potentially generated by the site : on one hand the specific sonic environment of the building and on the other hand the organ used here as a sound generator. The use of the instrument has been defined by calculations combining metric measurements collected on site and the speed of sound in the air. Each time, the instrumental performance is being recorded on location and constitutes a great part of the material the piece is made of. This work has been developed into four distinct parts, each dealing with one aspect of the relation between sound and architecture. This piece has been specifically created as part of the MicroClima festival in 2010. It has been supported by the Poitou-Charentes council, the Espace Mendès-France and the MicroClima festival.”
12,00€
Out of stock
CD
Olivier BENOIT
“Serendipity”
“Olivier Benoit - guitar. Recorded in 2006 at La Malterie, Lille, France. Olivier Benoit plays solo since 1998. He has developed since those years specific work on the instrument, at the edge of prepared guitar or otherwise “effects” guitar, preferring to take advantage of the instrument “as it is” and as expressed.
The material and the acoustic space
In his solo, he developed a large timbral vocabulary, although he uses very few utensils and very little effect. Because he focused his research on intrinsic properties of the instrument, turning it into an ultra sensitive plate, seeking a mastery and ever greater precision. The music, though made of high feedback controlled, raw sounds, frictions of silence, stillness, tension or in the contrary relaxation, extreme speed, does not want to be a music of “effects” or a “catalog of sounds.”
Musical discourse
Musical form, whatever the project he works with (with la Pieuvre or solo here) is an absolutely essential factor in his speech, which makes music sometimes close to contemporary music, as the structure takes on a prominent place. The improvised aspect of his work allows him to maintain this state of emergency, this freedom, this opportunity to seize on the elements / events / bumps / accidents that may occur in situ, whether due to the acoustics of a room, the quality of the amplifier, the mental state or even the ambient humidity.” label info
The material and the acoustic space
In his solo, he developed a large timbral vocabulary, although he uses very few utensils and very little effect. Because he focused his research on intrinsic properties of the instrument, turning it into an ultra sensitive plate, seeking a mastery and ever greater precision. The music, though made of high feedback controlled, raw sounds, frictions of silence, stillness, tension or in the contrary relaxation, extreme speed, does not want to be a music of “effects” or a “catalog of sounds.”
Musical discourse
Musical form, whatever the project he works with (with la Pieuvre or solo here) is an absolutely essential factor in his speech, which makes music sometimes close to contemporary music, as the structure takes on a prominent place. The improvised aspect of his work allows him to maintain this state of emergency, this freedom, this opportunity to seize on the elements / events / bumps / accidents that may occur in situ, whether due to the acoustics of a room, the quality of the amplifier, the mental state or even the ambient humidity.” label info
12,00€
In stock
CD
Jean-Luc GUIONNET
“Plugged inclinations”
“I work since 1993 to an experimental approach of the church organ (CD “Pentes”, “Tirets”) :
1) we control a machine
2) the organ is halfway between vehicle and artificial intelligence : it is a public transport : a ship, a barque, a boat, a building within a building
3) passing the machinery to the filter of listening, gesture and architecture
4) bringing the blast into the space : ventilate
5) make this organ sound not like this other one
6) express the organ as one says about lemon.
The blast is endless.
And since 2005, to an extension of the results to the electric organ (CD “Gezurrezko Joera”) :
1) find ways to get into the experience with an electric vehicle
2) arranging keyboards as we used to assemble organs (great, récit, positive, choir)
3) consider the functional state of each keyboard and play with it
4) go back in the machine as we go back in a train of thought
5) transplant of an helpful member, a mixing desk is added to the keyboards : carburetor, distributor, central nervous system
6) microphones take care in examining the device
7) no other effects than these : organic device.
And the electric current is endless too.
Neither the blast nor the current do need me.”
Jean-Luc Guionnet
10,00€
In stock
CD
Ellen FULLMAN-Konrad SPRENGER
“Ort”
“Truly an exercise in shifting contexts, Fullman’s haunting voice blends eerily with the sonorities of her “Long String Instrument”, which seems to function as a kind of cosmic fiddle. Konrad Sprenger has created a "wall of sound" behind Fullman with a potpourri of acoustic instruments, including Dreyblatt’s own “excited strings bass”, a zither, violin, electric bass and even tympani along with the Long String Instrument. The pieces on "Ort" range from covers of Woody Guthrie and the traditional John Hardy to new versions of Fullman’s original recordings from the early 1980’s and more recent song-compositions; each marked by Fullman’s evocative textual lyricism and innovative chordal and timbral transformations. "Ort" represents a unique blend of musical styles, from hillbilly-country & western to contemporary minimal, with shades of art-rock. This record is impossible to categorize easily, it fits in many “places”, which is as it should be.” (Arnold Dreyblatt)
15,00€
Out of stock
CD
Yann PARANTHOËN – Christian ZANÉSI
“Un visage apparaît”
“Portrait d’Irène Zack” by Yann Paranthoën. “Portrait sans visage” by Christian Zanési. “Initially, Yann Paranthoën, disappeared in 2005, had the idea to produce a short play “Portrait of Irene Zack” radio portrait of a sculptor at work. This piece is part of a larger work that addresses the possible loss of touch in artistic creation. He works as usual with his Nagra slung his pole in hand to record the sounds but also with tape recorders for editing and mixing. Anxious to show what could be compared to the sound of a musician, he asks Christian Zanési, a composer friend who works at the GRM to produce a short work too from the sounds he recorded. Zanési will work with the computer that will allow mounting the mix but also all the transformations of matter sound.” Notes from the label (in a very bad translation !).
10,00€
Out of stock
CD
Sophie AGNEL – Olivier BENOIT
“Reps”
Sophie Agnel, piano. Olivier Benoit, guitare. Recorded at Césaré, July 2011. Highly recommended !
“In my mind, the music of Sophie Agnel and Olivier Benoit has always contained something like a disclosure of the intimate. They are not overly prolific when it comes to phonographic output. They have no time for superfluous chit-chat. This is their second opus in almost fifteen years of collaboration, and in this sense, Reps is a finely selected jewel bearing witness to the sensitivity that animates both its creators”. Cathy Heyden
“In my mind, the music of Sophie Agnel and Olivier Benoit has always contained something like a disclosure of the intimate. They are not overly prolific when it comes to phonographic output. They have no time for superfluous chit-chat. This is their second opus in almost fifteen years of collaboration, and in this sense, Reps is a finely selected jewel bearing witness to the sensitivity that animates both its creators”. Cathy Heyden
12,00€