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Search Result for Genre EXPERIMENTAL
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LP
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MONDOJ 005LP
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$31.00
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RELEASE DATE: 7/13/2018
LP version. Michael Beharie (New York) and Teddy Rankin-Parker (Chicago) first met while attending Oberlin College. Since graduating, Beharie and Rankin-Parker each veered into markedly different avenues. In addition to a consistent output of solo releases on NYC-label Astro Nautico, Beharie also recently joined up with the ever-confounding New York ensemble Zs, recently performed on albums by Laurel Halo, Greg Fox, and Colin Self and is a regular composer for dance and film. Rankin-Parker became an in-demand cellist for his prowess in the work of improvisation, avant-garde music, and the more exploratory realms of indie pop, lending his talents to a wide array of bands and collaborators, such as Primus, Iron & Wine, Steve Reich, Pauline Oliveros, Glen Hansard, Father John Misty, International Contemporary Ensemble (ICE), Chicago Sinfonietta, and Nicole Mitchell's Black Earth Ensemble. But after a decade of geographic distance, the duo came together to write and record its collaborative debut, A Heart From Your Shadow. Rather than jump into stream-of-conscious improvisation, Beharie and Rankin-Parker chose to focus the album's themes via intricately composed pieces. The end result could be described as protest music, brimming with intense energy, harrowing anxiety, and steadfast optimism. All of this finished with a few hired hands: produced by Michael Beharie, mixed carefully by Jim O'Rourke and mastered by James Plotkin. "Intro" sets the grim scene and issues the album's M.O. A doom symphony of urban anxiety, the song shows the expansive efforts this duo is able to accomplish. "Gully" offers muted mayhem that's highly synchronized and militantly percussive. It's an anguished two-step of hope and hopelessness. The hyper-repetitive patterns almost hypnotize you into a zoned-out stupor. "Icon" is a psych-freak out of sorts, but the bombast is counter-balanced by intermittent breaks of ambient compositions. There's a deeper layer still, shown in "Smooth Face", equal parts meditatively uplifting and unsettlingly dissonant. Inner and outer anxieties resonate with actual police sirens in a swirl of tonal turmoil. "Fake Money" is a relatively laid-back drift down a river littered with musique concrète, rustic drones, and effects pedal. "Roses" veers into backlit kosmische anthems. Midway through the track, things drop out completely into an open, fog-covered scene cloudy with keyboard-vocal tones. Closer "Petaluma" offers a sweet and sincere coda, chasing a fleeting moment of spontaneous beauty. The orchestration chaos and permeated distortion of A Heart From Your Shadow is largely about healing, not fear.
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GRA 004LP
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$23.50
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RELEASE DATE: 7/13/2018
The result of a long period of study and retirement in a house in the Bologna countryside in the first three months of 2018, Kenosis renews the meeting between Stefano Pilia and Massimo Pupillo (already together on several tours of ZU and in the Zu93 project, together with David Tibet). A Greek word of Gnostic derivation (literally meaning "emptying"), Kenosis is the result of a process of composition that saw the two musicians move away from their usual writing methods and from the conventional use of their instruments, to push themselves towards a sound, only apparently electronic, at the limit between the organic and inorganic world. Everything you hear in Kenosis was played, simply using a bass and an electric guitar processed analogically, often improvising in very long sessions, the starting point for the actual composition. The drawings of the Red Book of Jung, open every day on a different page and left in front of the mixer, have marked the writing of the album which shows, among other things, the shared passion for the harmonic method of Arvo Part and the research underground of certain Italian artists, in particular Roberto Musci. In the DNA of these pieces, inspiring elements such as the Diamond Sutra, the meditation lessons of Joseph Goldstein, the bell towers, the sounds of birds in the fields surrounded the studio. "This is music that is simply passed through us."
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FTR 340LP
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$18.50
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RELEASE DATE: 7/13/2018
"Unlike the last Bang! Bros. record we did (12/12/12, FTR 170LP), this one's frilly style was not dictated so much by a date as by time. According the jacket's notations, it was recorded in less than an hour in October, 2016. What? You might cry. What kind of a goddamn record can be recorded in under an hour? We'd like to point out that such live classics as Metallic K.O. (1976) and Mars Live at Artists Space (2011) were recorded inside those temporal parameters. Futhermore, we should point out that Bang! Bros. are a duo who live by the rules of real time interaction. They do not attempt to step in the same river twice. Theirs is a journey that leads only in one direction -- ever outward! The pair of musicians who are the Bang! Bros. (Mark Johnson and ARKM Foam) make a huge effort to always assure their attempts to manipulate electronic splint-chutes of all manners are observable as live events (observed either by eye, nose and ear, or ear alone). In the case of recordings, we are asked to accept the word of these gentlemen that their output is of the living variety, but they have never given us reason to doubt them, so why should we start now? The music on Hard Rocks Vol. 21 (only a few other volumes of which I have had actual access to) is the brilliant, spaced and sprongy, fast edit head wrench we have come to expect of the Bros. It delivers what I'd dare say is a full month's worth of confusion in just over thirty minutes. In this sense, it will be an incredible time-saver for many of us. Let's just get all that confusion jammed in, then we can do some chores! One can only hope that the cartoon on the back of the jacket -- in which Sam Gas Can suggests the Bang! Bros. will go and live in the jungle and forget to eat -- is just his idea of a sick joke. I mean I dunno about you, but if I had to spread my confusion out over the whole month, I'd be well and truly fucked." --Byron Coley, 2018 Edition of 200.
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MONDOJ 005CD
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$12.50
PREORDER
RELEASE DATE: 7/13/2018
Michael Beharie (New York) and Teddy Rankin-Parker (Chicago) first met while attending Oberlin College. Since graduating, Beharie and Rankin-Parker each veered into markedly different avenues. In addition to a consistent output of solo releases on NYC-label Astro Nautico, Beharie also recently joined up with the ever-confounding New York ensemble Zs, recently performed on albums by Laurel Halo, Greg Fox, and Colin Self and is a regular composer for dance and film. Rankin-Parker became an in-demand cellist for his prowess in the work of improvisation, avant-garde music, and the more exploratory realms of indie pop, lending his talents to a wide array of bands and collaborators, such as Primus, Iron & Wine, Steve Reich, Pauline Oliveros, Glen Hansard, Father John Misty, International Contemporary Ensemble (ICE), Chicago Sinfonietta, and Nicole Mitchell's Black Earth Ensemble. But after a decade of geographic distance, the duo came together to write and record its collaborative debut, A Heart From Your Shadow. Rather than jump into stream-of-conscious improvisation, Beharie and Rankin-Parker chose to focus the album's themes via intricately composed pieces. The end result could be described as protest music, brimming with intense energy, harrowing anxiety, and steadfast optimism. All of this finished with a few hired hands: produced by Michael Beharie, mixed carefully by Jim O'Rourke and mastered by James Plotkin. "Intro" sets the grim scene and issues the album's M.O. A doom symphony of urban anxiety, the song shows the expansive efforts this duo is able to accomplish. "Gully" offers muted mayhem that's highly synchronized and militantly percussive. It's an anguished two-step of hope and hopelessness. The hyper-repetitive patterns almost hypnotize you into a zoned-out stupor. "Icon" is a psych-freak out of sorts, but the bombast is counter-balanced by intermittent breaks of ambient compositions. There's a deeper layer still, shown in "Smooth Face", equal parts meditatively uplifting and unsettlingly dissonant. Inner and outer anxieties resonate with actual police sirens in a swirl of tonal turmoil. "Fake Money" is a relatively laid-back drift down a river littered with musique concrète, rustic drones, and effects pedal. "Roses" veers into backlit kosmische anthems. Midway through the track, things drop out completely into an open, fog-covered scene cloudy with keyboard-vocal tones. Closer "Petaluma" offers a sweet and sincere coda, chasing a fleeting moment of spontaneous beauty. The orchestration chaos and permeated distortion of A Heart From Your Shadow is largely about healing, not fear.
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2LP
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R 008LP
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$31.00
PREORDER
RELEASE DATE: 7/13/2018
Recital present a deluxe edition of Ian William Craig's landmark debut album A Turn Of Breath, originally released in 2014. The first Recital album to get exceptional notoriety, here it is in its final form, with an additional LP of unpublished material. Here is the original description Sean McCann wrote four years ago for it's original release: "Recital here presents the premiere LP by vocalist Ian William Craig (b. 1980, Edmonton). Ian, a trained opera singer, delivers an elegant balance between theatrical and ambient sentiments. A Turn Of Breath combines the essence of a choral LP from Angel Records or Deutsche Grammophon with the spontaneity of experimental home-recording. This collection holds twelve works for voice and ¼" tape, recorded from 2011-2013. Voice appears as the sun's light through a vast storm; still obscured by tape malfunctions and manipulations. A system of reel-to-reels is employed, which yields a lovely sort of morphing repetition. Each iteration crumbles as more harmony is placed on top, residual tones spilling off the sides into nothingness. Craig's innate ability to sing beautiful, sorrowful melodies carries each track. The pieces on A Turn Of Breath vary from grand choral meditations to quiet interludes, and even a few impressionistic 'songs' accompanied by faint acoustic guitar. An overarching warmth resonates through each side, making this a very pleasant listen. A suitable compliment to a pot of coffee in the morning or a glass of armagnac in the evening."
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WRWTFWW 026LP
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$26.50
PREORDER
RELEASE DATE: 6/29/2018
LP version. 140 gram vinyl; Heavy cardboard old Stoughton tip-on sleeve. WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ("mkwaju" in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient -- the ideal companion to her majestic opus from 1983, Through The Looking Glass (WRWTFWW 018LP/019CD/019LP). Sourced from the original masters.
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OME 1007LP
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$25.00
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RELEASE DATE: 6/29/2018
Fantôme Phonographique present a reissue of the only known recordings from the infamous occultist, mystic, magician, poet, novelist, sexual deviant, and all-around misfit, Aleister Crowley. Recorded onto wax cylinder in the early 1910s, and later transferred to 78 RPM discs. The tracks include Crowley's recitation of the first two Enochian Keys, original poetry, incantations, and songs. An absolutely essential piece of occult history. This collection was originally compiled and released on LP in 1986.
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2LP
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GODREC 048LP
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$34.50
PREORDER
RELEASE DATE: 6/29/2018
dieb13 on Philip Jeck: "... In his hands, a tool as simple as a hammer that blocks the arm of the record player creates a loop with a taste of eternity. Two or three such hammers can create musical galaxies far beyond the reach of traditional instruments, where no human ear has ever been before. From unidentifiable rumble and grinding to brilliant instrument-snippets and comical voice fragments, Philip Jeck glues sounds together as if they were never meant to exist on their own. Whether it be Pachelbel's Canon or some mid-90s dance music that's on Philip's vinyl, but what we hear in the Vinyl Coda is his very unique musical voice -- articulated with a perfect sense for structure, suspense and sound."
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GODREC 046LP
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$23.50
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RELEASE DATE: 6/29/2018
Excerpt from liner notes by Keith Potter: "Georges Aperghis is probably still not much associated, by the public that internationally attends performances of his works, with music for solo piano. Music-theatre -- of an uncommonly original kind, with extended vocal techniques much to the fore -- has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced -- often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry -- are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved. This instrument's 88 keys, and the two hands of its (usually firmly seated) keyboard operative, are normally engaged to less obviously 'theatrical' ends." Personnel: Lenio Liatsou - piano, voice.
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GODREC 047LP
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$23.50
PREORDER
RELEASE DATE: 6/29/2018
Tiny space... dimmed lights... little steps... circling... like abstract curving lines... round and round... repeat... Composition by Slobodan Kajkut. Personnel: Dejan Trkulja - clarinet; Christian Pollheimer - vibraphone; Slobodan Kajkut - sampler, programming.
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OME 1006LP
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$25.00
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RELEASE DATE: 6/29/2018
Fantôme Phonographique present a reissue of Pur En Finir Avec Le Jugement De Dieu by Antonin Artaud. Antonin Artaud was a French poet, dramatist, and director and one of the most important figures in 20th century European theater, and especially the avant-garde. His piece "Pour En Finir Avec Le Jugement De Dieu" was recorded in 1947 to be aired on French radio. But the project was shelved not only for its scatological, anti-American, anti-religious content, but also for its avant-garde sound, with screams, cries, grunts, glossolalia, and general cacophony, all of which the radio thought would be too shocking for the listeners of post-WWII France. Now regarded as one of his most brilliant works, the piece is finally available again on vinyl courtesy of Fantôme Phonographique. Features the voice actors Maria Casarès, Roger Blin, and Paule Thévenin. Edition of 500 (hand-numbered).
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CD
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WRWTFWW 026CD
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$15.50
PREORDER
RELEASE DATE: 6/29/2018
WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ("mkwaju" in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient -- the ideal companion to her majestic opus from 1983, Through The Looking Glass (WRWTFWW 018LP/019CD/019LP). Sourced from the original masters. CD version comes as a digipak.
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CD
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R 048CD
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$15.00
PREORDER
RELEASE DATE: 6/15/2018
Here, Asha Sheshadri and Christian Mirande record together as Open Corner. Vocal accounts of mundane suburbia and human despondency by Asha, under a woven forest of pops and cracks and creaks courtesy of Christian. In a way the texts are reminiscent of Robert Ashley's "Au Pair" pieces -- from the second Atalanta CD (LCD 3303CD) -- overrun by the swamp of a broken dishwasher and a leaking wine fridge. Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice... First edition of 200.
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R 045CD
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Recital present the newest record by Canadian composer Sarah Davachi. This CD version includes an extended/complete version of "Hours In The Evening". Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.
Sean McCann: "I find it hard to separate 'At Hand' from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship -- frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul."
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CD
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CORE 003CD
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$15.50
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RELEASE DATE: 6/15/2018
Electronics whizz, studio producer and Punkt co-director Jan Bang teams-up with vocalist Sidsel Endresen on Hum, an album released as part of Confront Recordings' Core Series. Recorded live in Oslo in 2016, Hum focuses on atomized gestures quarried from mutant combinations of voice and corrupted circuitry. Personnel: Sidsel Endresen - voice; Jan Bang - sampler, Dictaphone. Composed by Sidsel Endresen and Jan Bang. Copyright control (TONO). Recorded by Asle Karstad at Victoria Nasjonal Jazzscene, Oslo. Mixed and produced by Jan Bang at Punkt Studio, Kristiansand.
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CORE 002CD
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$15.50
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RELEASE DATE: 6/15/2018
Strikingly sparse and meditative percussive duo from esteemed vocalist Julie Tippetts and Mark Wastell. Both equipped with a wealth of percussion but perfectly restrained, the pair are near-still, bright and clear at first, until the surface of their glistening sound begins to prickle and rush with an unseen current. Tippett's voice effortlessly matches the bellows of the Wastell's shruti box, and its gentle drone highlights her natural vocal warmth. Intimate, explorative and intuitive, each note struck or sung is turned over gently, explored, and put back down to rest -- like a rare find in a rock pool. Recorded live at Cafe OTO by James Dunn, January 2017. Mixed by James Dunn.
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CORE 001CD
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$15.50
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RELEASE DATE: 6/15/2018
Additional contribution from Toshimaru Nakamura (no-input mixer) recorded by Steve Bates and David Sylvian, Montreal. Tubular bell and concert bass drum recorded by Matthew Sansom, Surrey University, 2006. Original text by Bernard Marie Koltès. Compositional structure by Mark Wastell. Mixed and mastered by Rupert Clervaux. Personnel: Rhodri Davies -- lap harp, table harp, vibraphone, radio; David Sylvian -- voice, vocal treatments, electronics; Mark Wastell -- tam tam, cracked ride cymbal, chimes, Indian temple bells, singing bowls, metal chain, tubular bell, concert bass drum. Voice recorded by David Sylvian, Los Angeles, USA. Instrumental parts recorded by Rupert Clervaux at Studio 3, London.
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CD
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R 047CD
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$15.00
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RELEASE DATE: 6/15/2018
Recital label head Sean McCann on the release: "I have been a fan of Derek Baron's music for only a small amount of time. But I appreciate how he and his cohorts blend technical talent and technical knowledge with abstract ideas and abstract approaches. Cop Tears is made up of Derek Baron, Cameron Kapoor, and Andrew Wilhite. This album is a four-track recording of the group playing one of my favorite John Cage pieces, Thirteen Harmonies. It was originally published in a tiny edition of 40 CDrs by Derek's own Reading Group label. I thought it was beautiful enough to see the light of day again. I even got the John Cage Trust to sign off on the release! As regal as bored as humble as confused."
Here is what the group wrote on the album: "Thirteen Harmonies is a selection from John Cage's 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage's Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an 'apartment house' among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the 'multiplicity of centers' of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty four-track on bled-through tape in Cameron's apartment house in Queens, New York."
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LP
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BT 038LP
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$28.50
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RELEASE DATE: 6/15/2018
Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT 020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe. Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Comes on neon orange vinyl.
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3LP
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ET 785-04LP
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$75.00
PREORDER
RELEASE DATE: 6/15/2018
After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 -- until 1991 mostly together with Johan Goedhart --, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a three-LP box set edited on Apollo Records in 1986. This new three-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gatefold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. Regular version comes in an edition of 250.
"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book Long Strings 1982-2011)
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LP
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AUDIOMER 020LP
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$27.50
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RELEASE DATE: 6/15/2018
Composer, musician, visual artist, and performer, Charlemagne Palestine is a legendary figure in the New York underground scene. At the piano or on his electronic oscillators, this outsider of skillful music experiments with the principles of resonance and repetition in a quest for the "golden sound": the ultimate harmonic vibration. Based in Brussels for 20 years now, his iconic work consisting of teddy bears, divinities, and other enchanting encounters is exhibited in BOZAR (AA SSCHMMETTRROOSSPPECCTIVVE, May 18-August 26, 2018). For the occasion, Charlemagne Palestine also presents two exceptional musical performances at the Kunstenfestivaldesarts. Published on the occasion of Charlemagne's AA-SSCHMMETTRROOSSPPECCTIVVE exhibition, audioMER. present historical piano recordings dating from circa 1974. They were played on a Bösendorfer model 220, regarded as the "Rolls Royce" of pianos, at Charlemagne's 64 North Moore Street studio, Tribeca in New York. The music here represents Charlemagne's infamous "strumming" technique.
Charlemagne Palestine was born Chaim Moshe Palestine in Brooklyn, New York of a Jewish immigrant family from Odessa and Minsk in 1947. At six years old he started to sing traditional Jewish cantorial music in the synagogue. At the New York University, he began composing electronic music at the NYU Electronic Music Studio run by Morton Subotnick where he worked with electronic synthesizer oscillators and filters which he would name "Spectral Continuum". Later Subotnick invited him in 1969 to relocate to Los Angeles and participate in the creation of a new radical school for multimedia, arts, music, dance, and theater known as the California Institute of the Arts. There he met happening artist inventor Allan Kaprow, video pioneer Nam June Paik, avant-garde composer James Tenney, fluxus artists Emmett Williams, Dick Higgins, Alison Knowles, and Judson Dance Theatre member and artist Simone Forti with whom Palestine created a unique music and dance form called "Illuminations" in 1970, which they have continued to perform irregularly over the last 45+ years even just recently at Centre Pompidou, Paris and MoMA, New York. At Cal Arts he developed many different practices: electronic and acoustic sound works, body performance art, video art and multimedia installations. With Forti he was invited for the first time to Europe to perform in a festival in Rome in 1972 where he met La Monte Young, Philip Glass, Steve Reich, and Terry Riley. With his revolutionary solo piano work Strumming Music (1974), he was included in the new musical trend known as minimal music.
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3LP
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ET 785-04LTD-LP
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$108.00
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RELEASE DATE: 6/15/2018
Special edition. Includes a tote bag, the book Long Strings 1982?2011 (originally published by Het Apollohuis), and six postcards; Edition of 50. After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934-2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 -- until 1991 mostly together with Johan Goedhart --, each installation made specifically for the site where it was displayed. Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre. The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a three-LP box set edited on Apollo Records in 1986. This new three-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gatefold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos. Regular version comes in an edition of 250.
"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book Long Strings 1982-2011)
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By the end of the 1970s, a new generation of musicians who brought together ancestral and forefront, became visible in Lima as they searched for native sounds and the new tools of technology. Amongst them, we find Arturo Ruiz Del Pozo, composer who studied with Edgar Valcárcel. After studying at the National Conservatory in Lima he traveled to London in 1976 to register himself at the Royal College of Music where he took a master's degree in electronic composition. Ruiz Del Pozo had left Lima with a bag full of Peruvian native instruments with the idea of utilizing them in his future compositions. In London he was taught by Lawrence Casserly, one the prominent figures of Britain's electro acoustic composition; a musician who was fascinated by the interaction of instruments and electronic media way back from the times of his fundamental audiovisual experimentation group Hydra. Ruiz del Pozo utilized a series of concrete music resources learnt from Casserly. Based on sounds that came from native instruments and diverse manipulations to which these sounds were subject of, he obtained textures and sonorities, which, at the same time they invoked rituals, they opened a new field of experimentation; a collage of sounds of Andean reminiscence, echoes and abstractions, which will entrance you an unprecedented sound universe. These recordings were named Native Compositions (Composiciones Nativas) and they were released in a cassette tape format in 1984 by the author himself. More than 30 years later Buh Records rescued these recordings to inaugurate its Essential Sounds (Sonidos Esenciales) collection, dedicated to publishing strange and fascinating artifacts of Peruvian experimental music of this period, in a CD edition (2015), which was quickly sold out. Now the label presents its first release on vinyl.
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$28.50
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RELEASE DATE: 6/1/2018
Alga Marghen present recordings from Luc Ferrari's Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. "Exercices D'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou Donc Est-T-On?", a very complex piece forthcoming on Alga Marghen including both "Dance", issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by Alga Marghen in 2010, as well as the "Labyrinthe De La Violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe De La Violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).
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"Mette Rasmussen is a Danish saxophonist, based in Norway, who has been recording with some of our favorite players (Chris Corsano, Alan Silva, Mats Gustafsson, Ace Farren Ford, etc.) She has also formed this duo with Asheville-based guitarist, Tashi Dorji (whose combo, Manas, has had two LPs on Feeding Tube this far: FTR 208LP, 2015 and FTR 330LP, 2017). The duo material for this LP was recorded in Montreal, right around the same time Mette and Tashi recorded a trio set for Trost (with the addition of drummer Tyler Damon). And it's all great stuff. Mette's playing has a raw tonal approach that makes one think of Eric Dolphy at his harshest. Her lines evince much of the same nimbleness as well. The effect is not unlike being hit in the face by a bunch of snakes with wings. Naturally, Tashi is playing electric in order to make himself heard, and the clots of sound he manages to coax out of his amp are worthy of comparison with such form-erupters as Keith Rowe. On the first side, there's a real physicality to the blocks Tashi creates, as well as to the manner which Mette's reed attacks them. It's an incredible sound -- brutal and communicative in equal measures. But as much as this may imply a musical surface akin to that of Borbetomagus, there's a lot more open space here. Especially on the second side, the music is paced to give itself over (now and then) to crenellations that allows in as much light as they emit. This record is a supremely human effort and hopefully the harbinger of much more to come." --Byron Coley, 2018 Edition of 250.
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