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Search Result for Genre EXPERIMENTAL
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LP
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SOMA 033LP
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$23.00
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RELEASE DATE: 3/20/2020
"In what distant deeps or skies Burnt the fire of thine eyes On what wings dare he aspire? What the hand dare seize the fire?" --W. Blake
Stephen O'Malley on the release (Paris, January 2020):"My first encounter with Karen Jebane (aka Golem Mecanique) was in the context of Echoés above the village of Le Saix in Haut-Ales, in 2016. This tremendous location runs along a deep river canyon with a long cliff on one side and a small mountainside slope on the other. Importantly, and uniquely, some mad acoustician geniuses have built massive concrete amplified horns into the hillside to project sound against the cliff, activating the landscape's natural resonance and delay patterns. The Echoés organizers exploit this system once per year, in a type of private weekend. People arrive for a few evenings of music and enjoy the summer and loosen their minds a bit. I was to be performing later in the night (under the stars, one of my most memorable and moving experiences with music ever), but Karen began her performance directly at sunset, the color saturating the sky and shadows growing deep purple and reds. Instantly and for the next hour I felt like I had descending into the Neolithic/Mythological age. And into the pre-renaissance mindset of time where linearity was absent, cyclic experience unnecessary... just when it was/is. Karen's deep and evocative chanting voice reflected and called forth in multitude amongst the landscape. Bone-chilling, or, perhaps, penetrating down through the bone. A thick and immaterial drone wove itself into the air. Voices began emerging from the cliff's face, the stones itself were singing, seemingly liberated from their geological time space. I understood more about why archetypal memory forms of seers, divinatory, witches and sorceresses exist in our cultural long storylines, our shared sociopsychological neurological rationalization constructs. Those necessary systems of attempting to interpret and communicate the world. It was an incredible moment within the blur between the night and the day. Although Karen's main instrument are her voice, and her mind, she also performs on organ, and also together with the Mediterranean folk music impressionada Marion Cousin on this deeply moving album. Karen also utilizes a very special French instrument known as the BAB, a kind of mechanized vielle (hurdy-gurdy)... one of the more incredible inventions of the La Nòvia group's legendary instrument builder Léo Maurel. Basically, the instrument sounds like an arcane goth/spirit interpreting Phill Niblock's string pieces, in monochrome on the very edge of the invention of color grain. Marvelous." Recorded and mixed by Borja Flames on 2019 New Year's Eve. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin July 2019.
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2LP
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ELPALMAS 002LP
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$38.50
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RELEASE DATE: 2/28/2020
Angel Rada, pioneer of experimental electronic music in Venezuela, has always been a restless mind, an experimentalist with his feet firmly planted on the ground of the art, his particular mix of sound design, cultural avant-garde attitude, and spiritual inquiry led him to explore an impressively rich sound universe throughout his more than 20 productions (one of the most extensive in his country) making him the cult musician he is today. El Palmas Music, an independent record label in Barcelona, pays tribute to this visionary Venezuelan musician with Tropical Cosmic Sounds From Space, a double-LP compilation with 15 carefully selected tracks from Angel Rada's extraordinary first period, coveted by experimental and cult electronics collectors around the globe. The main focus of the compilation is between 1980 to 1989, the time when Rada released cosmic-tropical experimental jewels such as Upadesa (1983), Viveka (1984), Continuvm (1986), Armagedon & the Third Wave Revolution (1987), and Impressiones Etnosonicas (1988). Rada embraced psychedelia in his youth, his rock band named The Gas Light gave him the opportunity to experiment with electronic instruments, electric organs, and the autoharp. This impulse led him to get his career to the next level. While he was taking music studies in Germany, gets in direct contact with cosmic music and iconic artists such as Klaus Schulze. Back in Venezuela, at the beginning of the eighties, he establishes the foundation of his work and begin to be known as a reference, subverting the industry rules, not only from the point of view of sound and production but also because of his self-management. Although his direct influences: psychedelia, krautrock, and experimental electronic, were a starting point for his work during his studies in Germany between 1973 and 1978, Rada not only mastered the art of analog synthesizers, creating totally new sounds, but put his efforts on the search for an original sound landscape, rooted in its native homeland as in spiritual matters. His music was tagged in his time by his German colleagues as "Latin Cosmic Psikraut", a futuristic vision of the Caribbean Sea ahead of its time, full of innovative textures and amorphous envelopes with an almost narcotic effect. Unexpectedly, while rehearsing, one day in 1999, a natural tragedy would take his studio away, and all those valuable instruments that had accompanied him throughout his life were forever gone. Includes insert with notes and download with seven bonus tracks.
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SOD 123LP
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$19.50
PREORDER
RELEASE DATE: 2/21/2020
"Beside Myself is the second full-length release from Canadian sound artist crys cole. Known to many through her extensive collaborative practice with artists such as Oren Ambarchi, Leif Elggren, and James Rushford, in her solo work cole uses contact microphones, voice, simple electronics, and field recordings to create sonic environments that linger uneasily at the threshold of perception. Demonstrating how cole's work has developed and deepened since the relative austerity of her first solo LP Sand/Layna (BT 017LP, 2015), Beside Myself offers two lushly immersive side-long pieces that explore ideas of compositional drift. 'The Nonsuch' is inspired by the aural hallucinations experienced in the hypnagogic state during the onset of sleep. Opening with scratching contact mic textures and unintelligible vocal murmurs, the piece threads together live and studio performances with field recordings of urban environments to create a texture that is at once seemingly consistent and marked by constant transitions. Individual elements rise up from the background thrum only to disappear just as we become conscious of them; heterogenous sounds and spaces succeed one another with the unassailable logic of dreams. 'In Praise of Blandness (Chapter IX)' also focuses on drift and transition, but in a much more single-minded way. Over a rich, slowly-evolving organ drone, cole reads a passage from the French sinologist François Julien's book In Praise of Blandness (1991) exploring the concept of 'blandness' in the Taoist aesthetics of sound. Beginning crisp and clear, cole's voice becomes gradually less distinct over the course of the piece, the spoken words blurred by resonant frequencies à la Lucier's I Am Sitting in a Room until we are left with only the rhythm of incomprehensible speech. The text that cole reads acts a perfect description of her aesthetic project: 'We hear it still, but just barely, and as it diminishes it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening then, to its extinction, to its return to that great undifferentiated matrix'." --Francis Plagne (November, 2019) Includes download code; edition of 300.
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2LP
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FOX 022LP
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$23.00
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RELEASE DATE: 2/14/2020
Alternative Fox present a reissue of Musica Elettronica Viva's United Patchwork, originally released in 1978. One of the most mythical experimental groups of all time, Musica Elettronica Viva was formed in 1966 by a group of American composers in Rome, its nucleus comprised of pianist Frederic Rzewski, sound improviser Alvin Curran, and the improvisatory keyboardist Richard Teitelbaum. Taking cues from John Cage and David Tudor, MEV employed open, limitless structures, using found instruments, toys, a homemade synthesizer, and the first Moog to reach mainland Europe. Improv and critical listening practices aimed to liberate listeners from the constraints of bourgeois capitalism and as their sound evolved, forms of Jewish mysticism and surrealist automaticism pointed to transcendent potential. An abortive US tour in 1970 split MEV into three units, but the Kabbalistic Dixieland band later reformed with Rzewski, Curran, and Teitelbaum joined by saxophonist Steve Lacy, trombonist Garrett List, and keyboardist Karl Berger. The resultant double album United Patchwork, recorded in November 1977 at Mama Dog for Horo Records, captures MEV in all of their discordant, improvisatory glory, from Teitelbaum's side-long opener, "Via Della Luce", to the honking noise of Lacy's "Fox", the excessive keyboard meanderings of Curran's "Psalm", Berger's vibraphone folly, "Cross Over One" and Rzewski's ponderous "What Is Freedom".
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CD
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SR 495CD
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$15.50
PREORDER
RELEASE DATE: 2/14/2020
Oscillatorial Binnage's Agitations: Post-Electronic Sounds is an 11-track album of post-digital, post-electronic music. The recordings are deeply acoustic -- no electronic processing features anywhere. The sounds are produced by the experimental manipulation of repurposed recycled objects subjected to electromagnetic force fields. The "infinite world of the real" offers up richly unpredictable effects, with fields of vibration producing psychoacoustic flourishes, along with spontaneous, arbitrarily microtonal and harmonic compositions. Agitations: Post-Electronic Sounds constitutes a series of sonic exercises based around one principal philosophy: that systems of electromagnetically-resonated physical objects can lead to complex electronic-sounding tones that emerge acoustically, progressing themselves in surprising non-linear dynamic states, providing pointers for further actions upon the objects. Techniques usually associated with electronic music, such as modulation, wave-shaping, filtering, etc., are here applied to acoustic physical systems via prods, cranks, levers, gears, and jacks. The bulk of the recordings were made at La Borde Basse/Studio Midi-Pyrénées in 2013, with additional tracks recorded with electromagnetic-force-field resonated oil drums at Alserkal Avenue, Dubai, and upgraded reconstructions of Luigi Russolo's Futurist intonarumori at Mount Pleasant, Clapton. Starting with fallen dry leaves, found pottery, and brass junkets, the experiments progressed to combinations of interconnected objects, including industrial springs, clamps, woks, rods, hand-held brass bells, earthenware, dry leaves, stones, pitchforks, feathers, paper, plastic receptacles, lamp-post doors, wicker baskets, grilles, bottles, barrels, and much more. The album forms an acoustic exploration into the alchemy of found objects, and the origins of inspiration. London-based electroacoustic quartet Oscillatorial Binnage have been giving workshops and performing live experimental improvised music together since 2004. 16-page booklet.
"While music in general drifts every day further from real strings, drums and vinyl, into the virtual world of files, Oscillatorial Binnage reaffirms the origin of sound in physical things that shake, rattle and hum -- the pre-industrial caterwauling of post-electronic music." --Nicolas Collins (author of Handmade Electronic Music)
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CORE 010CD
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$14.50
PREORDER
RELEASE DATE: 2/7/2020
Personnel: Mike Cooper - lapsteel guitar, electronics; Mark Wastell - Paiste 32" tam tam, percussion, shruti box. Recorded at Studio 3, Stoke Newington, London on October 3rd, 2018 by Rupert Clervaux. Mixed and mastered by Rupert Clervaux and Mark Wastell. Produced by Mark Wastell. CD comes in printed, double-panel ekopack cardboard sleeve.
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LP
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CY 980LP
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$28.50
PREORDER
RELEASE DATE: 2/7/2020
Song Cycle present the first reissue of Wounds by David Toop and Paul Burwell. Originally released in 1980 on Toop's Quartz! label, the album is representative of a seminal moment within the British music scene evolved around the London Musicians Collective in the late 1970s and early 1980s. Founded in 1976 by a group of improvising musicians and sound artists including Evan Parker, Peter Cusack, Lol Coxhill, Sylvia Hallet, Max Eastley, the LMC contributed to shape a new generation of free improvisers with broader interests ranging from the music of John Stevens, Evan Parker, and Cornelius Cardew, to non-western music experiences. David Toop and Paul Burwell came to know each other precisely in these crucial moments, to start a long-lasting collaboration on two separate but intertwined projects a trio with the artist and poet Bob Cobbing, and an improvisation duo. As result of the latter, the nine tracks included in Wounds are edited from a single performance at the LMC, date 30.6.1979. Recorded by Max Eastley and Russ Wood, these shows saw the employment of different musical instruments as well an odd number of found objects placed in front of the artists, on the floor, ready to be picked up and played. Electric guitar, flute, cassette, water, rubbish, explosives, six strings harp, bamboo fiddle, whistle were only a few of the wider arrange of instruments at the disposal of the two. The result is an ambivalent album, suspended between the unfolding of the time of performance, and the circularity of the ritual. And if the collage of texts appearing on the artwork demonstrates a certain disapproval and skepticism toward the progress of society, Wounds seems also suggesting a possible cure. The improvised music, the use of non-canonical instruments, the presence of pre-recorded sounds coming, seems indeed to be an open invitation to the listeners to abandon the old conventions and to search for a new system of relationships.
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2LP
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IMPREC 473LP
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To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album, The Ready Made Boomerang. Recorded in a cistern, this double-LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones -- as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.
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CD
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BT 057CD
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$15.50
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RELEASE DATE: 1/31/2020
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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LP
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BT 057LP
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$23.50
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RELEASE DATE: 1/31/2020
LP version. Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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LPOST 015LP
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$31.00
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RELEASE DATE: 1/24/2020
When gazing over the expanse of 20th century avant-garde music, few European projects can claim the seminal importance of the Gruppo di Improvvisazione Nuova Consonanza. Formed in Rome in 1964 and considered to be the first experimental composers collective, its membership included many of the most remarkable voices of its day: Franco Evangelisti, Ennio Morricone, Egisto Macchi, Roland Kayn, Frederic Rzewski, and many others. Creatively radical, rawing on jazz, serialism, musique concrète, and extended techniques -- breaking with the divisions that largely defined the global avant-garde scene, the Group sculpted a body of sound like nothing before or since. Over the last few years, numerous reissues and archival releases have brought their crucial contributions back into the center of the contemporary consciousness. Cinevox highlight the emergence of yet another crucial piece in the puzzle, the reissue of what is arguably the rarest artifact in their catalog: 1975's Gruppo d'Improvvisazione Nuova Consonanza. The collective's fifth full-length release, encounters the project at its sublime best. This incarnation features Macchi, Morricone, Evangelisti, Mario Bertoncini, Walter Branchi, Giovanni Piazza, and Jesus Villa Rojo, each masterfully responding and intervening within an expanse of sound where no one voice takes center stage. Delicate acoustic textures sculpt an endlessly surprising sense of tactile space, penetrated by percussive interventions and atonal squeals, each in their own way defying a concise image of source. Wildly intelligent, and yet feeling so natural that these interactions of sound might have simply always been or appeared, the album captures an archetypal vision of one of the most important groups in the history of the avant-garde -- a singular, and entirely new vision of improvisation and collaboration which laid the groundwork for a countless number of artists who followed in their wake. Fully remastered from the original tapes, which revealed a different sequence than the original Cinevox album. Moreover, "Settimino", the long track that opens the first side, has a completely different structure which can be listened here for the first time. Includes an exclusive 30x30cm, 12-page booklet with never seen before pictures and essays/texts which delve deep into the album. 180 gram vinyl; Edition of 400.
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3CD BOX
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SLT 005CD
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Saltern presents its fifth release, Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; Edition of 500.
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8VL 5214LP
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$27.50
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RELEASE DATE: 1/24/2020
An LP comprised of two stunning works composed by Luc Ferrari during the early 1980s, "Dialogue Ordinaire Avec la Machine" and "Sexolidad", released by the long standing Italian experimental imprint, Elica. Wild and wonderful, this one is absolutely essential for any fan of electronic avant-garde. Needing little introduction, Luc Ferrari is one the great figures in 20th century avant-garde and experimental music. Ferrari was a pioneer, who, for roughly half a century, continuously revolutionized the field of electronic and electroacoustic creative process. Leaving such a sprawling body of work in his wake, much remained unreleased at the time of his death in 2005. Labels and fans have been scrambling to catch up over the years since. Part of their long-standing dedication to Ferrari, dating back to the 1990s, Elica's latest LP, Dialogue Ordinaire Avec la Machine / Sexolidad, takes great strides toward illuminating the composer's remarkable range of diverse approaches to sound. Composed between 1982 and 1984, the first piece showcases Ferrari's interest in tape collage work and sampling, whereas the second piece is one of his less than traditional compositions for a traditional ensemble. "Dialogue Ordinaire Avec la Machine" describes the not so chance meeting between the artists (Ferrari helped by Yannick Gornet) and the mysteriously working machine (a sampler), between the curiosity, amusement, surprise, ineptitude and excitement of the musicians and the machine with its appeal, complexity, stubbornness and synthetic eruptions. A rollercoaster through exploration, seduction, observations, misunderstandings, purrs, moans, gurgles, whooshes, loops and mechanical rhythms from which Ferrari builds his own synthesized folklore, ending with one of the most unusual episodes in the composer's production, the rather graphically explicit and apocalyptic "Love Song With the Machine" (which, to make an unlikely comparison with younger artists, one could imagine the music of the New York duo Suicide mixed by Nurse With Wound's Steven Stapleton). "Sexolidad" is one of Ferrari's most seductive instrumental pieces, representing a journey over the body, in which tonalities and their mix create "a particular harmonic climate [...]" The curious concept and its musical composition result in an extremely enjoyable piece which is continuously intriguing, evocative, dauntless, persuasive and highly satisfying, exquisitely performed here by the Ives Ensemble. Includes 30x30cm four-page booklet with bilingual (French-English) versions of the integrated text from "Sexolidad" and the lyrics to "Love Song with the Machine". Gatefold cover; edition of 300.
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2LP
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ZEIT 015LP
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$31.00
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RELEASE DATE: 1/17/2020
Double-LP version. Clear vinyl; six-panel, gatefold sleeve. Ending the decade of silence which followed more than ten years of remarkable, critically-acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitious effort to date, Weltformat, issued by Die Schachtel. Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part Low Tide Digitals series, released by Rune Grammofon between 2001 and 2009. Weltformat, like its predecessors, builds on decades of solo and collaborative efforts by its creators -- Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Lüdi, Taku Sugimoto, Tetuzi Akiyama, and others. Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse. Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful. Weltformat, encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking.
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BR 117LP
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$26.50
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RELEASE DATE: 1/17/2020
The work of Jorge Eduardo Eielson (Lima 1924 - Milán 2006) in the fields of visual and sound poetry has been conspicuously absent from the international anthologies pertaining to these disciplines. One of the reasons of this absence may be the limited circulation of this side of his broad and complex output as a poet and visual artist. In the past few years, though, this aspect of his work has become better known, and can now be seen, in its own right, as a valuable contribution to the development of experimental poetry. Jorge Eduardo Eielson called "vocal structures" or "audiopaintings" his experiments in vocal poetry, which were all based on combinatorial analysis and permutations. Of these experiments carried out over a period of five years (1972-1977), only one has remained, and its author has presented it on several public and private occasions, both in its recorded form as well as in live performances. It is the piece called Colores [Colors], which is based on the repetition of words that name colors: red, yellow, green, blue; each word has a different tonality. Colores is derived from the permutation of four word-tones, a work inspired by both serialist composition and conceptualism. Audiopaintings: Verbal Structures for Voice (1972) presents for the first time on vinyl the full version of Colores and adds a live recording of the piece performed in 1998. This album is published by Buh Records with the support of Proyecto AMIL, who have joined efforts to develop a collection dedicated to presenting fundamental Peruvian works that operate at the borders of visual arts and sound. The publication also includes a booklet with extensive liner notes by Luis Alvarado, with information on several dimensions of Eielson's relationship with sound poetry, thus becoming a reference album for scholars and collections on the art of voice and sound poetry.
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BT 056LP
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$29.00
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RELEASE DATE: 1/17/2020
Black Truffle present Realejo, the first vinyl release from Brazilian sound artist and composer Manuel Pessoa de Lima. Having composed works for diverse contexts including cinema, contemporary dance, theater, and television, Lima's live appearances often take the form of self-reflexive lecture performances that combine electro-acoustic sound, red light, video, and spoken text, moving unpredictably from the hilarious to the distressing. Realejo consists of two side-long pieces of highly idiosyncratic electro-acoustic collage, beginning with recordings Lima made of himself playing the organ in the Schloss Solitude Chapel in Stuttgart. Exploring the peculiarities of the instrument's mechanics, Lima made hours of recordings with the organ stops half-way open, moving from haunting gliding tones to oddly tuned fair-ground melodies reminiscent of the record's namesake realejo, a hand-cranked organ traditionally found in Brazil as the musical accompaniment to the work of fortune-telling parrots. To these organ sounds, Lima added recordings of a security guard made in São Paulo: "Just before coming to Stuttgart, I started making field recordings of a security guard in São Paulo. It's something pretty common in residential areas: they sit in a chair with a whistle, and use that to signal when people arrive, leave or pass by in the street. This particular security guard, Miguel Viana, works on the same street my parents live, and where I had my childhood, and he has worked there since I was a small child. He has watched the street at night, from 8PM to 6AM, every single day, except Sundays, for over 30 years." The poignant sounds of the security guard's whistles punctuate Lima's electro-acoustic environment, which also includes raw digital synthesis, recordings of his friends' infant child, audio lifted from YouTube, and, on the LP's second side, elements taken from an earlier work, "36 English to Portuguese Lessons". Finely chiseled from dozens of hours of source material into a detail-rich, mercurial structure, Realejo is alternately jarring and seductive, introducing listeners to a young composer with a powerfully individual voice.
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ZEIT 015CD
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$18.00
PREORDER
RELEASE DATE: 1/17/2020
Ending the decade of silence which followed more than ten years of remarkable, critically-acclaimed activity by the partnership of veteran experimentalists, Luigi Archetti and Bo Wiget, the duo returns with what may be their most ambitious effort to date, Weltformat, issued by Die Schachtel. Switzerland-based Luigi Archetti and Bo Wiget began collaborating in 1998, the fruits of which initially emerged as the critically heralded, three-part Low Tide Digitals series, released by Rune Grammofon between 2001 and 2009. Weltformat, like its predecessors, builds on decades of solo and collaborative efforts by its creators -- Archetti with famed Krautrock pioneers, Guru Guru, among many others, and Wiget with Werner Lüdi, Taku Sugimoto, Tetuzi Akiyama, and others. Sculpted from the intricate tonal interventions and responses of Archetti on guitar, mandolin, and electronics, and Wiget on cello, electronics, and vocals, across the album the duo constructs a remarkably diverse landscape in sound, folding touchstones of modern classical, free improvisation, minimalism, harsh noise, and ambient music, into a seamless, singular expanse. Clusters of tone and dissonance merge, collide, and abrade against drones, textures, and pulsing electronics, each element a representative voice of its creator, caught in an imagistic conversation beyond words, which feels as immediate and intuitive, as it does perfectly balanced and thoughtful. Weltformat, encountering Archetti and Wiget just past the 20 year mark of their collaborative partnership, bears the fruit of rigorous experiments in sound - an immersive, effortless form of sonic realism, built from the optimism and hope which lays at the root of the avant-garde. As beautiful, inviting, immersive, and slow moving, as it is challenging, destabilizing, and thought provoking.
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LP
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ET 903-05LP
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Edition Telemark presents the first vinyl LP since 1989 by Munich's long-running ensemble for experimental music, PHREN, formed in 1968 by Michael Kopfermann. Informed by the musical avant-garde at the time and especially the problems discussed by other improvisational groups, Kopfermann developed his own approach to improvisation and tone production and sought to find instruments and playing techniques that allowed him to realize what he had in mind. His thinking centered around the treatment of noise and the eschewal of a separation between noise and tone, as well as methods for overcoming the limitations of the pre-conceived tones of the tempered system. This ruled out quite a few instruments, and also electronic techniques available at the time were deemed to primitive for the tones he sought to produce. After initially experimenting with Turkish cymbals stimulated by cello bows, Kopfermann settled on a range of instruments that included traditional string instruments, e.g. viola and violoncello, and certain wind instruments like the flugelhorn and the helicon. All instruments were prepared, the string instruments with thicker gut strings and unusual tunings, the wind instruments with longer elbow pieces. The preparations, along with the development of new and uncommon playing techniques, allowed the players to create and improvise on previously unheard noisy tones that are not static and pre-conceived but substantially individual. Over time, the number of musicians in the ensemble expanded up to six and the activities under the PHREN moniker became morefold, most notably with the formation of the PHREN theater group led by Carmen Nagel-Berninger. Still, even during the sextet years, trios and duos of varying instruments were played, often called "analytical" because they were meant to focus individual voices against the background of the larger ensemble. From early on, PHREN published about their activities in written form and on LPs and later CDs, mostly in their own PHREN-Verlag. This new LP thus compiles recent recordings from 2010 and 2018 of the duo of Carmen Nagel-Berninger (prepared viola) and Inge Salcher (prepared flugelhorn). The duos heard here are not so much meant as analytical studies, but rather as fully valid, improvisationally generated pieces, applying the musicians' long-term experience with their music in a way that doesn't sound reduced despite the small line-up. Printed inner sleeve and extensive liner notes in German and English by Reinhard Kapp, Carmen Nagel-Berninger, and Inge Salcher, as well as a detailed discography; Edition of 300.
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LP
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BT 055LP
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7.5 on Pitchfork. Black Truffle release Le Piano Englouti (The Sunken Piano), the first collaboration between Brunhild Ferrari and Jim O'Rourke, offering up two side-long realizations of Ferrari's tape compositions recorded in concert at Tokyo's SuperDeluxe in 2014, revised and mixed by O'Rourke in 2019. The title piece weaves an immersive web of electronics, pre-recorded piano, and field-recorded sounds, including the raging Aegean Sea, the tranquil atmospherics of a Japanese island, and the roar of a pachinko parlor. Far from a slice of audio vérité, these geographically distant sites intermingle in an unreal space where they often become indistinguishable. Shadowed by electronics and reverberant snatches of piano, the field recordings rise up and recede like ocean waves, creating a constantly shifting texture that is nonetheless warmly inviting. Chirping birds are confused with their electronic doubles; snatches of footsteps and voices are engulfed by ambience of unclear origin. Increasingly present throughout the piece, the piano rises up one last time before being swallowed up for good by the pachinko parlor. "Tranquilles Impatiences" (Quiet Impatiences) takes as its source material the electronic sounds produced by Luc Ferrari for his 1977 Exercises d'Improvisation, seven tapes intended to be heard alongside instrumental improvisation. Brunhild Ferrari's piece layers Luc Ferrari's sounds into a dense new work that emphasizes the insistently pulsing rhythms of the source material. In this realization with O'Rourke, the piece becomes a monumental sound-object, a slowly shifting mass of skittering electronic tones, shimmering reverb, and growling bass from which field-recorded events occasionally arise. At times, the placement of these fragments of real life in a pulsing, insistent musical landscape calls up Luc Ferrari's classic Petit Symphonie; at other points, the swarming electronics bring to mind O'Rourke's Steamroom work or even the vast expanses of Roland Kayn. Deluxe gatefold sleeve with liner notes from Brunhild Ferrari. Design by Lasse Marhaug. Mixed and mastered by Jim O'Rourke. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin.
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3LP BOX
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ROTOR 071-73LP
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This luxurious pink Cadillac color box set, 1973-1976-1979, brings together the first three albums of Jac Berrocal -- Musiq Musik (1973), Paralleles (1976), and Catalogue (1979) -- in which countless personalities of the crossover music of the hexagon participate. Musiq Musik (1973): Berrocal's first album, recorded in 1973 with the excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria, including various instruments such as bells, muezzins, conches, shenaïs, cymbals, and gongs embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. Paralleles (1976): Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock n' Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this is a noisy piece "Bric-à-Brac" made in homage to Luigi Russolo's repertoire reorganized by bonuses and unpublished from the same period. Catalogue (1979): Jac Berrocal and his "Marquises of Disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "Micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. Deluxe, rigid box set with three metallic covers and an impressive booklet of photos and unpublished documents; 200 gram vinyl.
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2LP
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ET 903-04LP
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Am Grabe (At the Grave) is an ongoing audio ritual executed by Stefan Fricke and Alper Maral. Since 2015, they have been visiting the graves and burial grounds of composers from various eras in order to record the sounds and noises present. Each sequence is a pure field recording, serving as a memento of a bit more than four minutes in length. After having been compiled for a series of radio programs, selections from Am Grabe here appear on audio media for the first time. This edition commemorates 36 composers -- from Bach to Beethoven, from Mahler to Eisler, from Stockhausen to Ben Patterson -- the recordings connected serially, sometimes overlapping, and compiled across four LP sides.
"Am Grabe is a work in progress, a collection of homages which shall and can never end, as long as emphatic music will exist and will constantly be invented in the world." (from the liner notes)
Stefan Fricke (b. 1966 in Unna) is a German musicologist. He founded the Pfau Verlag, specializing in books about contemporary music, in 1989, and since 2008 is editor for contemporary music and sound art at Hessischer Rundfunk (Hessian Broadcasting Corporation). He teaches as honorary professor at the University of Mainz.
Alper Maral (b. 1969 in Istanbul) is a Turkish composer whose oeuvre encompasses theatre and film music, symphonic and chamber works, electro-acoustic music, a.o. He plays in a number of ensembles such as -- for early music -- İstanbul Barok, A-415, and Bornova Trio, as well as -- for contemporary music -- Karınca Kabilesi, Control Voltage Project, and Alper Maral Multiphonics Ensemble. He is professor at the Ankara Music and Fine Arts University.
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LP/DVD
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ET 903-03LP
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WAVES is an ongoing research project by Dutch artists Petra Dubach and Mario van Horrik that involves so-called shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Started in 2010, the project has so far produced a number of installations and concerts, some recordings have been published previously on Edition Telemark as a double 12" in 2016 (ET 628-01LP). For a few weeks in 2016 and 2017, Dubach and van Horrik had the chance to work on WAVES in the former Church of the Holy Heart in their hometown of Eindhoven where they stretched two 50 meters long strings between columns of the building and placed a piëzo transducer on one end and a shaker on the other end. Using this setup, they developed three different systems for generating feedback, spawning numerous experiments and recordings, a selection of which is presented on this LP. Video recordings of the process are enclosed on a DVD, showing the building and the strings as well as performances by Petra Dubach where her body and movement influences the standing waves in the space and thus the sound. Edition of 200 in full-color sleeve with photos from the church and liner notes by Petra Dubach, Mario van Horrik, and Ruud Post. DVD enclosed inside the sleeve.
"All our experiments didn't have any plan as a basis; the sounds of one setup resulted in changes for the next setup. This could be: changes of drivers, adding or removing preparations, changing position of the recording device or the external driver, changing parameters of the mixing board or amps, or changing nothing at all: through the vibrations of the strings the preparations were more or less slowly transported across the length of the strings; sometimes forward, sometimes backward. We have made recordings of this process of more than one hour where the sounds constantly change under the influence of this transportation. But sometimes the movement would end in a fixed state." (from the liner notes)
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3LP BOX
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DPROMBX 148LP
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Triple-LP box set in three different dayglo color vinyl LPs; includes a fold-out insert. There is no track listing -- no Side A, B, etc. This music is to be played in whichever order the listener wants to. The box and insert all have new artwork by Babs Santini. Features all new material.
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LP
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FTR 454LP
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"Three:four Records (Switzerland) and Feeding Tube Records (USA) are pleased to announce the release of Early Abstractions, Vol. 1 by Danny Oxenberg (Supreme Dicks), Bear Galvin, and Friends (Pillow Mt. Conspiracy). Early Abstractions, Vol. 1 is the follow-up their 2016 release Late Superimpositions (three:four records), and contains recordings made in New York, Western Massachusetts, and Los Angeles -- some old, some older, some relatively new, some borrowed, some blue . . . Around the world in 90 days, it feels like, this album has taken many forms. Originally it was going to be a double album of all older music that I recorded mainly at 76 Charles Street in NY in the '90s, and since then this has evolved to include other stuff from the 2000s. So originally this was going to be titled Early Abstractions (a nod to Harry Smith) and now it is kind of still half that, and other stuff. Still I would like to thank all of the friends who have played on this and helped record it. Like Julian Koster who played the Banjo, did some vocals, and recorded the track here called 'Banjo-Coke' (I 'played' the Coke) at his Grandmother's house, I believe in Long Island. I would also like to thank Shannon Ketch and Adam Langellotti who both played on and helped to record, 'Crackers'. And also thanks to Jenna and Les and Beverly and of course Mark Hanson for playing with us over the years. And I would also like to give a big thanks I guess to Steve Shavel, who we are all missing a lot and hope he reappears, but he played the majestic lap steel slide guitar here on 'Waves', and also did the background talking vocals. Mark Hanson played drums on that track. And maybe someday we will release an album of the Blinded Sphinx music we recorded back then. Also, I would be remiss not to thank Jane F. King and Tim Wilson for playing on 'Star Spangled to Death'." --Danny Oxenberg, NYC, March 2019. Original art by Hippolyte Hentgen and design/layout by Darryl Norsen. Produced by Maxime Guitton. Edition of 300.
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LP
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GODUNK 060LP
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Whistling Arrow is the debut collaboration between critically acclaimed composer and performer Laura Cannell, This Heat/Camberwell Now founder and seasoned composer/improviser Charles Hayward, multi-disciplinary musician Andre Bosman, and prepared guitar minimalists Ex-Easter Island Head. Brought together by a shared bill on Cannell's Arts Council-funded Modern Ritual tour, the six musicians convened for a single session in Liverpool's Parr Street Studios in 2017. Recording live in the room with few preconceptions and an appreciation of each other's work, the sextet improvised on violins, recorders, drums, piano, electronics, prepared guitars, percussion, and voice. The music of Whistling Arrow represents a deeply empathic meeting of unique musical voices: evoking a musical territory of the ancient and the modern, earthen, and concrete. Laura Cannell's over bow violins wring melodic fragments and modes into groaning chordal shapes, gut-strung, and rapturous; scraping the ground and circling treetops, birdcall double-recorders chirruping in concert. The mallet-struck guitars of Ex-Easter Island Head surge and drift against clouds of overtone-rich amplified strings, excited with motors, Allen keys, and bows, emerging like sun rays through the foliage. Andre Bosman's marshland electronics permeate with humid unease -- glinting metal half-buried, clandestine cabling in wild country. Charles Hayward's expressive command of rhythm and intricate percussive color moves the music forward in swung leaps and nimble left turns, rolling resonances pushing and pulling the formal anchor of Jonathan Hering's piano into tumultuous terrain and gleaming chord shapes. With sleeve notes by writer and comedian Stewart Lee name-checking Faust, Arvo Pärt, the Velvet Underground, and Hildegard Von Bingen as sonic touchstones, the music of Whistling Arrow draws upon the decades-worth of compositional/improvisational practice of the sextet.
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