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Search Result for Genre EXPERIMENTAL
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CD
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DCLP 011CD
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$18.00
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RELEASE DATE: 10/25/2019
Perpetual Possibility is an album that bears witness to the collaboration between Lino Capra Vaccina, living legend of Italian minimalism and the avant-noise duo Untitled Noise with an interesting album on the label Dark Companion. Perpetual Possibility is the faithful transcription of the concert held by the trio at the MA*GA Museum in Gallarate, Italy and is the first recorded live album by Lino Capra Vaccina. Untitled Noise weaves delicate electronic warps on which the gongs, vibraphone, piano and bells of Capra Vaccina, true semantic trademark of the founder of Aktuala. A mystical and nocturnal album recorded live at the Maga di Gallarate, mixed, and mastered by Alberto Callegari at the Elfo Studios in Tavernago. Recorded live on March 3, 2018 at MA*GA Museum, Gallarate, Italy; Mixed in January 2019 at Big Muff Studios, Piacenza by Max Marchini. Personnel: Lino Capra Vaccina - vibraphone, piano, glockenspiel, gongs, wind chimes, percussions, tablas, bowed instruments, cymbals; Untitled Noise comprising: Michele Lombardelli - analog devices, oscillators, mixer; Luca Scarabelli - microphones, springs, metals, marbles. CD version comes in an edition of 500..
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LP
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DCLP 011LP
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$27.50
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RELEASE DATE: 10/25/2019
LP version. Bronze vinyl; edition of 500 (hand-numbered).
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TRANSVERS 014LP
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$29.00
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RELEASE DATE: 10/11/2019
To celebrate the 90th anniversary of Luc Ferrari's birth, Transversales Disques announce the release of Photophonie - Bandes magnétiques inédites, unpublished archives, spanning 1973-1992, revelatory collection of commercial, commission, and secret music by electroacoustic music pioneer Luc Ferrari. "Photophonie" (1989) features music for the photographic exhibition of Alain Willaume; "Il était une fois" (1973) was Commissioned by the G.M.E.B.; "Trans-Voices" (1992) was curated by the American Center, Paris; and "Leica" (1977) was used in advertisement for the Leica camera. Affiliated with French Radio's Groupe de Musique Concrète, co-founder of the GRM with Pierre Schaeffer in 1958, Luc Ferrari (1929-2005) was a major figure of musique concrète and electroacoustic music, broke away to pave his own path of individualistic expressions of minimalist music, musical theater, field recordings, orchestral music and soundtracks.
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2LP
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TROST 183LP
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$32.00
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RELEASE DATE: 9/27/2019
Post-metal power force Sumac based around Aaron Turner (Isis, Old Man Gloom) follow up their collaboration with Keiji Haino on Thrill Jockey, American Dollar Bill -- Keep Facing Sideways, You are too Hideous to Look at Face on (2018), with another monolith -- heavy and experimental at the same time. Personnel: Keiji Haino - guitar, voice, flute, taepyeongso; Aaron Turner - guitar; Nick Yacyshyn - drums; Brian Cook - bass. Recorded at Soh Ki Moon at Fever, Tokyo on July 3rd, 2017. Mixed by Randall Dunn at Avast, Seattle, December 2018. Mastered by James Plotkin, Bethlehem, December 2018.
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2LP
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PP 044LP
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$33.00
PREORDER
RELEASE DATE: 9/27/2019
Pancrace is a quintet from France comprising Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel, and Jan Vysocky. Pancrace began with a residence in 2015 at the Saint Pancrace church in Dangolsheim where the instrument inventor Léo Maurel resides. Pancrace's debut self-titled double-LP was released by Penultimate Press in 2017 and ended up on The Wire's best releases of that year. After the first record and subsequent tour the band were despondent that the main character of their story, the church organ, was not there. A series of meetings and chance encounters resulted in the band developing their own organ which they named "Organous". The approach of Pancrace is based on the physicality of sound, a choice of specific tone qualities within a given spatial contextual awareness. Therefore, the manufacturing and usage of the musical instrument are constantly reassessed. Consequently, playing with the mechanical aspect of the instruments is central to their musical approach and narrative. Designing an unbound pipe organ -- though emulating some of the mechanical idiomatics of the initial Pancrace church organ -- seemed the obvious way to gain more spatial control over a vast choice of places. This allowed them to approach their music from a totally new angle and work from within the organ. The results of these experiments are captured here, on their second opus, The Fluid Hammer. This new beast of an instrument, somewhere between a spider or an octopus, led Pancrace to compose from the frontality of the instrument as well as with the interactive tone possibilities brought by other instruments. With its six panels display (two bass registers, two treble, and a pair of crumhorns) the organ projects sound like the musique concrèt Acousmonium giving the listener a spatialized perception of a wide range of tones and harmonics. Fluid Hammer is the result of the research and experiments undertaken with the Organous and other instruments. Fluid Hammer is a more rhythmic and percussive affair than its predecessor, bringing to mind the experiments of Conlon Nancarrow as well as fairground barrel organs. The wide range of polyrhythmic patterns generates a constant tension between the machine and the human play. Music for Organous (spatialized and MIDI-controlled pipe organ), Uilleann pipes, Pi-synth, piano, motorised bow, boîte à bourdons, gaida, Baroque violin, hurgy toys, toy piano, componium, bodhran, low whistle, bird calls, AM radio, and shaker.
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LP
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PP 043LP
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$25.50
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RELEASE DATE: 9/27/2019
Penultimate Press present A Sunset for Walter, the first duo release from long-time collaborators Jérôme Noetinger and Anthony Pateras. "Having worked together in a number of different collaborative contexts over the years, the pair used Pateras' 2018 residency at Schloss Solitude in Stuttgart as an opportunity to develop a major durational work for Steinway piano and multiple Revox tape machines. Presenting four excerpts from a three-hour concert, the LP's opening moments immediately establish its distinctive sound-world: an austere sequence of octaves slowly sounded by the piano gradually develops into passages of fragmentary lyricism as Noetinger's tape manipulations dilate the sonic space with rumbling sub-bass, distant echoes, and hints of uncanny backmasking. A Sunset for Walter was conceived as a loose tribute to the piano works of Walter Marchetti, particularly the slowed-down subaquatic expanse of Nel Mari Del Sud. As Marchetti described his own work, A Sunset for Walter is 'music without beginning, or end, or development', where the lack of obvious structural divisions creates something like an endless present. But where the monochrome surface of Marchetti's work -- in its willingness to descend, in his own words to the 'pits of aesthetic poverty' -- often approaches total stasis, A Sunset for Walter is calmly immovable in its overall texture but perpetually changing in detail, as the performers respond intuitively to each other, their instruments, and the environment. Noetinger's tape manipulations range from nearly imperceptible shadowing of the live piano to anarchic bursts of rewinding tape, floating wisps of feedback, and dreamlike concrète interjections of children's voices and splashing water. Pateras' piano performance moves from single pitches left hanging over a backdrop of silence to almost Messiaen-esque sequences of complex chords and arpeggios, all sounded within a temporal framework that seems to follow internal rhythms of breath and bodily movements. Caught in this hall of mirrors, the listener is often unable to distinguish the live piano from its tape-manipulated reflection. Like the sunset of the title, here outlines blur into a crepuscular haze, as fleeting effects of light and shade catch our attention just as they disappear." --Francis Plagne
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LP
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TRANS 005LP
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$26.50
PREORDER
RELEASE DATE: 9/27/2019
Discos Transgénero present an official reissue of Juan Hidalgo's Rrose Sélavy, originally released by Cramps Records in 1977. Juan Hidalgo (1927-2018) was born in Las Palmas, Canary Islands. He studied composition and piano in Spain and later in Paris and Geneva. He moved to Milano in 1956 where he has developed most of his musical career. He collaborated during his career with people like Marchetti, John Cage, or Bruno Maderna. Rrose Sélavy is a unique queer-sound-art piece that claims for revision of the role of the gender in the society through the musical language. Juan Hidalgo played a leading role in definitively abandoning the traditional avant-garde musical research -- the problem of music as sound -- to devote himself to the musical fact as a search for a language that is creative and critical at the same time. Beyond the abstract notion that the language can be a source of indoctrination, words and language play an important role in the social construction of gender. The musical language also marks and generates a very particular type of social body and listening. Precisely, a change in the syntactic form of sounds would trigger a new listening and a new understanding of the world of sound that surrounds us. Silence and noise are not only two opposite poles within music, but also at a social level. Rrose Sélavy begins with a celesta solo. A piece based on the relentless repetition of the first five notes of the scale of C major, but without predictable order, without syntactic logic between them, and without any series of tonal hierarchies between them. Since this hierarchy is missing, there is neither beginning nor end; the duet's piano, while remaining within that narrow range of pitch, expands the ground to other octaves. From the trio to the final sextet, the inclusion of new sonorities adds nuances and dimensions to what, at first, looked like simple children's music. This is a truly "rare" example in form and content in the arts scene, despite the stumbling block that has seemed to be for decades for the history and historiography of traditional style, determined to evaluate movements, concepts, and actions, is perceived nowadays, once again and as always, as a gradual, free and liberating flow. Includes the original inner notes by Daniel Charles in addition with notes from Julio Pérez and Eloy Palazón. Edition of 500.
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2LP
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SR 164LP
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$23.50
PREORDER
RELEASE DATE: 9/27/2019
Early electronic music from 1959 to 1969 produced by the Institute of Sonology/Instituut voor sonologie, in Utrecht, Holland. Works composed by Dick Raaijmakers, Frits Weiland, Ton Bruynel, Konrad Boehmer, Gottfried Michael Koenig, and Rainer Riehn. Raw material -- a real revolution: music produced by machines designed to construct a new era. Officially founded on September 1, 1960, at the instigation of several people representing cultural institutions, the Institute for Sonology had already taken initiatives in the field of electroacoustic music since 1954. A large complex of studios (initially under the name STEM = STudio voor Electronische Muziek) was set up under the patronage of Utrecht University in an old house on Plompetorengracht in Utrecht. Instruments, machines, and tapes (among them, that of Varèse's "Electronic Poem") coming from Philips laboratories. Double-LP includes insert.
Notes on the five radical composers featured here. Ton Bruyneel: The realization of "Reflexen" took place at the Institute for Sonology and in the composer's private studio. Brunèl has written numerous works for tape and for tape and live instrumentalist. Gottfried Michael Koenig: He studied church music in Braunschweig and composition in Detmold. From 1954 to 1963 he worked at the famous studio for electronic music of the West German Radio (WDR) in Cologne. From 1964-1984, he was the artistic director of the Institute for Sonology. Koenig is one of the pioneering composers of electronic and computer music of the first generation of post-WW2 composers. Dick Raaijmakers: Born in Maastricht, he studied piano at the Royal Conservatory in The Hague. From 1957-1960 he joined the Studio for electronic music at Philips in Eindhoven. Rainer Riehn: Born in Danzig, in 1960 he studied composition under Johannes Aschenbrenner and then (until 1963) at the Robert-Schumann Conservatory in Dusseldorf. Until 1966 he studied music in Mainz, Zurich and Berlin. In 1965-66, he participated in courses on electronic music in Utrecht under the direction of G.M. Koenig. Frits Weiland: He enjoyed a technical as well as a musical education. After working for the Dutch Radio and television broadcasting system, he worked from 1961 to 1990 for the Institute for Sonology. Konrad Boehmer (1941-2014): Born in Berlin, from 1959 to 1961 he studied composition under Godfried Michael Koenig. From 1961 to 1963, he worked in the electronic studio of the Cologne Radio (WDR) where one of his creations was "Position" for tape, voice, and orchestra.
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LP
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R 068LP
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$24.00
PREORDER
RELEASE DATE: 9/27/2019
Recital label head Sean McCann on Stones : Dreams: "The first audio document ever published by Fluxus artist Geoffrey Hendricks (1931-2018). There is a romanticism found in Geoffrey, that, in my mind, sets his work aside from his Fluxfriends. Known for his timeless sky paintings, applied to canvas, cars, clothes, and so on, the conceptual married the majestic. He was a master painter, whose work could have filled cathedral ceilings. Instead, he chartered his bow alongside George Maciunas, John Cage, Dick Higgins, etc. in the 1950s. Hendricks became a prominent member of Fluxus, shown in exhibitions around the world for over 60 years. In the 1970s, composer Charlie Morrow approached Hendricks about recording an album for the New Wilderness Audiographics cassette series. This became a 40-year dance of orbiting schedules and slipping dates. The sky aligned in 2014, and a recording session at Ear Up Studios in New York manifested. Geoffrey's connection to nature not only focused upwards at the sky, but always downwards to stones. 'Rock Music' consists of a box of rocks being cast across a room. Pounded on wood, soft and hard, the sonar-like snapping echo mapping the dimensions of the room. Small bells hover over the rubbing of stones humming to each other. You can tell that this was a therapeutic ritual he practiced for years, not merely an improvised recording concept. With the LP is a booklet that includes diaries of his stone collecting on Cape Breton island in 1973, beautifully infused with dream recollection. The cassette of 'Music for Sky Slate Wall' was discovered by chance earlier this year in the vast archive Hendricks left behind. It holds Geoff's close friend Philip Corner performing at an Emily Harvey Foundation exhibition in 1999. Corner responds to the Hendricks installation, interpreting the wall adorned with watercolors of day and night skies, grey slate, and a ladder hanging more paintings and golden ornaments. Philip Corner performs with prongs, Korean shaman cymbals, his voice, and a shoe. Their charming friendship can be heard in the interplay. This project was made possible by Geoff's widow, Sur Rodney (Sur), his children, Tyche and Bracken Hendricks, Philip Corner, and Charlie Morrow." Includes 16-page pamphlet with essays by Tyche Hendricks and Charlie Morrow, diaries and artworks by Geoffrey Hendricks. Edition of 220.
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CD
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BT 053CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Black Truffle present Reservoir 1: Preservation, a gorgeous piece by American composer/percussionist Sarah Hennies. Sarah's work explores a variety of musical, sociopolitical, and psychological issues including queer and trans identity, love, intimacy, psychoacoustics, and percussion. The Reservoirs are a series of three one-hour pieces based on the relationship between the conscious and unconscious human mind. Jung and Freud described the unconscious mind as a reservoir, a repository for memories that we don't readily need access to, yet are kept forever somewhere in our minds. Specifically, Freud believed that one function of the unconscious mind is to store traumatic memories, filed away so that we don't have to confront them every day. The conscious mind has no direct access to the unconscious, yet the unconscious is a constant yet mysterious presence in our lives. Reservoir 1: Preservation is scored for piano and three percussionists, performed by Phillip Bush and Meridian, the long-running experiment in percussion, improvisation, and interpersonal relationships that includes Tim Feeney, Sarah Hennies, and Greg Stuart. In Preservation the piano functions as a constant, pervasive, but almost subliminal murmur amid the percussion playing that cycles through a variety of timbral and gestural areas, including gentle droning, frenetic scraping, and bricks violently dropped into metal buckets. The percussion group never interacts with or responds to the piano, while the piano subtly absorbs aspects of the trio. Preservation was recorded, mixed, and mastered by Jeff Francis at the University of South Carolina and performed by Meridian: Tim Feeney, Sarah Hennies, Greg Stuart (percussion), and Phillip Bush (piano). CD digipak with design by Lasse Marhaug; Cover photo from Abby Grace Drake's photo series, Shopping Carts of Southside Ithaca.
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LP
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OME 1025LP
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$23.00
PREORDER
RELEASE DATE: 9/13/2019
Fantôme Phonographique present a reissue of Speech After The Removal Of The Larynx, originally released by Smithsonian Folkways in 1964. The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when you breathe and it protects the windpipe when you swallow. However, those unfortunate to experience the potentially fatal malignant tumors of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose, and Throat Dept. of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one's esophagus via swallowing, suction, or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni, and "western electric" are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release. 180 gram vinyl; includes insert; hand-numbered.
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LP
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FTR 468LP
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$22.00
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RELEASE DATE: 9/13/2019
"Ned Collette's last album, the 2LP set Old Chestnut (FTR 362-2LP), was hailed as a masterpiece by 'most everyone who heard it. Part of this was due to the darkly delicate lyrics and vocals of Ned himself (akin to the work of Graeme Jefferies, ca. This Kind of Punishment), but much was also due to the elegant lyricism of the music, which had a fantastic prog/folk heft as impossible to peg as it was to ignore. With this new LP, Collette (an Australian ex-pat, now based in Berlin) goes all-instrumental, along with his long-time drumming partner, Joe Talia (fellow ex-pat, now in Tokyo), and composer James Rushford (also from Australia) on viola. The two, side-long tracks are a departure from the pop formatting of Old Chestnut, but an expansion of that album's instrumental passages, playing with a syncretic fusion of several genres, while remaining beholden to none. Talia -- who has been working with Collette for over a decade, but is perhaps best known in the U.S. as Jim O'Rourke's drummer of choice -- uses synths and tapes, apart from his deft touch with the tubs. Rushford's work on viola is as idiosyncratic as you'd expect, given the evidence of his recordings with Ora Clementi, Food Court, and others. Rushford does opt for more standard tactics in spots, but his approach to long tones is not always clearly wrought by human hands. Collette's playing on guitar, synth, bells and drum machine combines a clear affinity with the trope of both 'new music,' and also with the artfully wrought dream-hybrids of Old Chestnut's musical textures. This means that while the music on Afternoon-Dusk may not be as immediately engaging, it also scratches some of the same itches as Old Chestnut and will definitely reward listeners who spend time with its soaring sonic inventions. The aspirations of Afternoon-Dusk are monumental, neo-symphonic and spectacularly successful. You have been warned!" --Byron Coley, 2019 Edition of 300.
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LP
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OME 1023LP
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$23.00
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RELEASE DATE: 9/13/2019
Fantôme Phonographique present a reissue of Daphne Oram and Vera Gray's Listen Move & Dance, originally released in 1962. The British composer, musician, and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Oram's composition "Still Point", involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. "Oramics" was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, "Oramics" was also employed for sound installations, theater productions, and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move & Dance series of BBC programs were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich, and others, designed for "stamping, punching, kicking and jumping" movements, as well as "running lightly", "dancing on toes" and "shaking all about", which contrasted sharply with Oram's electronic abstractions, which seemed to have been beamed in from outer space. 180 gram vinyl.
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2LP
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EMEGO 262LP
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$32.00
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RELEASE DATE: 9/13/2019
First time outing from two ardent explorers of peripheral sound tactics. Cylene is the first collaboration by François J. Bonnet (Kassel Jaeger) and Stephen O'Malley (Sunn O)))). Laid bare, you have a subtle and nuanced study of their individual practices forming a titanic whole. O'Malley's guitar inscribes a void that patiently opens up a spacious universe for Bonnet to discreetly alter with perception re-orientating studio maneuvers. Cylene is infinitely rewarding for those that succumb to its delicate detours. A vast glacial plain unfurls slowly upon the listener invoking a mood similar to the stillness found following despair. As Joseph Ghosn succinctly outlines in his liner notes, "Stephen and François deal in those moments and instants that happen after the violence, and the ugliness and the mess. Their music is about chaos being summoned and ordered. It is about the noise that nurtures your ears after a long heartbreaking pain. I have heard the sounds of wars being fought and the noises of hearts being broken, and I have never found a shelter as soothing as this music which makes me think of sunken ships and beauty found in the depths of oceans long forgotten." Art direction: Stephen O'Malley. Portrait photographer: Eléonore Huisse. Recorded at GRM Studios, Paris May 2018. Edited and mixed by François Bonnet at GRM studios, Paris August 2018. Mastering by Rashad Becker at Dubplates & Mastering, Berlin January 2019.
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LP
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DCLP 010LP
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$27.50
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RELEASE DATE: 8/30/2019
LP version. Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.
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LP
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BLUME 016LP
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$25.50
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RELEASE DATE: 8/30/2019
Blume present the first ever reissue of Winfried Mühlum-Pyrápheros's Musica Nova Contemplativa, originally released in 1970. This stunning artifact of its era has, until now, remained among the rarest artifacts in the field of cross-disciplinary efforts known as the Artist Record: sonic adventures embarked on by artists primarily dedicated to the visual realm. Creatively challenging, ahead of its time, and unquestionably beautiful, its rare musicality sets the stage for alternate understandings of what minimalism was and came from, during its early years. Droning and tense, subtle melodic elements underpin sheets of tone and atonality, sculpting an incongruous sense of spatial ambience; the concept of Musica Nova Contemplativa drew on a unique, unfixed compositional system created by combining traditional musical notation with mobile and variable elements, expressed graphically as a system of coordinates which leave variation, interpretation, and improvisation up to the performer. Captured as eleven distinct movements, the work, in hindsight, can now be understood as a lost, freestanding work of musical minimalism, echoing idiomatic roots in Fluxus and the raw temperaments of artists like Tony Conrad and Henry Flynt, threaded with touchstones in the work of Eliane Radigue, Giacinto Scelsi, and Jani Christou. Born in Germany during 1941 and educated in philosophy and psychology, over the last half century the bulk of Winfried Mühlum-Pyrápheros's artistic output has been largely oriented around painting, sculpture, and installation, each focused on the experiences of phenomena, environment, and light. Musica Nova Contemplativa was composed in 1964 as a graphic score, then it was interpreted and recorded by Mühlum-Pyrápheros on violin and Johann Georg Ickler on organ three years later in a Franciscan church in Bensheim as is a logical extension of the artists broader concerns: seeking further territories of inclusive and expansive environments of experience. Intended as acoustic extensions of his paintings, the collective contents of the album are a metaphysical and esoteric rising in sound. Out-of-print for almost 50 years, this edition represents its first ever reissue in any form, complete with an interview between Winfried Mühlum-Pyrápheros and Stefan Bremer conducted for the occasion of this reissue, and newly commissioned liner notes by Bradford Bailey. Includes printed inner sleeve and an original insert that functions as obi; Edition of 300.
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3CD
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DPROMBX 666CD
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$26.50
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RELEASE DATE: 8/30/2019
Originally recorded and released in 1988, Nurse With Wound's ambient opus was years ahead of its time, a ground-breaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months. Originally a limited-edition, three-album set housed in a handsome 12-inch gold and black foil embossed box, this new edition, a CD facsimile of the original vinyl set, contains the entire album, plus 40 minutes of superb quality, previously unreleased music from the original sessions that did not appear on the vinyl. A green foil blocked cover and new parchment insert makes this one of Dirter Promotion's most elegant and desirable releases to date.
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TMR 324LP
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$19.00
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RELEASE DATE: 8/30/2019
2015 release. "Having eschewed the 'noise' moniker to describe their sound in favor of the self-proclaimed 'Trip Metal', Wolf Eyes are at the forefront of a wide-ranging, experimental, impossible-to-categorize world. With over 500 releases since their inception in 1997, the group has been lauded by Thurston Moore, Henry Rollins and countless other stoned basement malcontents. With previous full-lengths on labels like Sub Pop and Troubleman, I Am a Problem: Mind in Pieces is their debut release for Third Man Records and signals an ever-so-slight shift with the appearance of guitar and even drums. I Am a Problem is as much a classic Wolf Eyes record as no one would've ever predicted such a pulverizing left-turn at this juncture of their career. This is social audio dissent. LP Packaging: 150-gram vinyl, direct-to-board jackets, Download code included."
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CD
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DCLP 010CD
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$18.00
PREORDER
RELEASE DATE: 8/30/2019
Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.
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2LP
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TTTT 003LP
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Trailblazing Japanese composer Ryuichi Sakamoto is joined by revered electronic musician Taylor Deupree on this live recording, documenting their collaboration at St John-at-Hackney Church in 2014, part of ThirtyThree ThirtyThree's flagship concert series St John Sessions. The two musicians develop a kinetic understanding over the recording, entering a sparse musical dialogue -- flourishes of prepared piano give way to bursts of noise and sculpted synths. Totally improvised, the performance follows their collaborations on record -- as a duo on 2013's Disappearance, and in a trio with Illuha on 2014's Perpetual. Ryuichi Sakamoto has had an extraordinary career, from his founding of revolutionary electronic trio Yellow Magic Orchestra, to his remarkable film scores, notably Merry Christmas, Mr. Lawrence (1983) and the soundtrack for Oscar-winning film, The Revenant (2015). Taylor Deupree, meanwhile, spent his career devoted to his label, 12k, and an intricate form of ambient minimalism. Originally released in 2015, ThirtyThree ThirtyThree's inaugural record, the album has been remastered by Deupree. Features new artwork; Comes in a gatefold sleeve; 180-gram, transparent blue vinyl; Includes 24" photographic print.
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2LP
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GODREC 053LP
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Another five years were necessary for Kajkyt to destroy old and develop completely new musical concept. III explores territories of complete alienation, abstraction, degradation. A four-part process of pulses that increase to complete reduction and secession. Personnel: Kajkyt - voice, electronics.
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LP
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IMPREC 452LP
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Important Records announces Vibe, the new LP from Extended Organ, the Los Angeles-based quintet associated with the Los Angeles Free Music Society (LAFMS). Vibe, Extended Organ's first full-length studio LP since 2000's XOXO was recorded in April 2016 by members Joe Potts, Fredrik Nilsen, Paul McCarthy, Tom Recchion, and Alex Stevens. The album consists of two side-long tracks, "Hate" and "Vibe", recorded live at LACM Studio in Pasadena, California by acclaimed engineer André Knecht. On Vibe, the band employs prepared piano, junk percussion, Joe Potts' Chopped Optigan, electric guitar, voice, Rheem organ, various electronics, and homemade instruments. Each track is improvised, then assembled and edited without overdubbing in studio. The music moves with velocity and direction revealing surprises at every turn. The resulting sound is ominous, humorous, harmonious, chaotic, and at times quietly erotic. This is abstractly powerful music. The highly provocative cover image, created collaboratively by Joe Potts, Fredrik Nilsen, and Tom Recchion, is shrouded inside a unique laser-cut outer sleeve. Like the music contained within, the cover reveal is a beguiling experience in and of itself. This intriguing package was art directed and designed by Tom Recchion.
Formed in 1994, Extended Organ produces a dynamic otherworldly ambience which can be simultaneously hilarious and frightening. Joe Potts lays down a carpet of sound using and his self-engineered drone instrument, the "Chopped Optigan", over which Paul McCarthy performs vocal and guitar improvisations channeled and processed by Alex Stevens. Alex also adds his own keyboard triggered synthesized sounds. Tom Recchion, renowned as an inventor of homemade instruments, a free improviser, and an accomplished composer of acoustic, electronic and tape music, performs an array of sounds folding lush beauty and horror sensibility into the matrix. Fredrik Nilsen plays an antique Rheem Mark 7 organ along with electronic sound and recordings created by Mike Kelley. Kelley was a member of the group from 2000 until his death in 2012 and continues to be a contributing member by virtue of sound recordings he provided before his death; "In case I can't make a gig, I can still play." The LAFMS formed in the early 1970s around a loosely knit group of like-minded musical improvising sound experimenters in eastern Los Angeles who discovered their mutual interest and banded together to design modes of self-production and distribution of recordings and publications, helping to develop and propel the DIY movement.
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CD
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BISON 002CD
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$18.00
PREORDER
RELEASE DATE: 8/16/2019
After 11 albums and unknown quantities of cassettes, compilations, and split releases, Sound Of Turning Earth is the first release outside of Japan for one of the most original figures in Japanese music, Kumio Kurachi. Recorded by Jim O'Rourke at his home studio, Sound Of Turning Earth is Kurachi solo on vocals and guitar, mixing surreal lyrics and theatrical vocal personas with unorthodox tunings inspired by Japan's national instrument, the koto. Lyrically, Kurachi draws life from the small events of life, the hira, the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow. Set to his own brand of progressive folk in the Hirajōshi scale and laced with winding melodies which can be hard to forget, Kurachi maps his own territory for the people who inhabit his every day. As much a visual artist as a musician, Bison present Sound Of Turning Earth in the form of a deluxe CD accompanied by three double-sided art cards by Kurachi, a four-panel fold-out poster, and full translation of his poetic lyrics. These striking songs speak for a liberated imagination. Kumio Kurachi has performed actively in Japan since the '80s, and still plays shows in Fukuoka regularly. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. He has played with Tenniscoats, Kazuhisa Uchihashi, Katsura Yamauchi, Tori Kudo, Jim O'Rourke, and Eiko Ishibashi.
"The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can't escape from." --Midori Ogata
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BRAWL 015CD
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Debut vocal album by composer/performers Laura Cannell and Polly Wright. Re-voicing the voices of the lost, forgotten, and hidden people who have lived, worked and loved through the centuries, through the seasons, through the air and in the Marshlands. Sing as the Crow Flies is a set of nine vocal tracks re-voicing the rural landscape, surrounding reed beds and marshes on the Norfolk/Suffolk border. Growing up on either side of the River Yare, with a common love of the area, Laura Cannell and Polly Wright are musicians, composers, and creators with deep roots in the marshes and traditions of this rural area. Frustrated by the lack of women's voices represented in the rural landscape writings of East Anglia and further afield, the duo decided to add their own voices and experiences of living and working in rural surroundings in the 21st century to the male dominated discourse of rural life in the past. The music is created through different means -- heterophonic improvisation, Hildegard von Bingen-inspired call-and-responses, and taking words from the 18th century tome Norfolk Garland, A Collection of the Superstitious Beliefs and Practices, Proverbs, Curious Customs, Ballads and Songs, of the People of Norfolk. Together with their own writings and wordless inventions, Sing as the Crow Flies was created as a site-specific sound installation for the 2019 Waveney Valley Sculpture Trail on the Norfolk/Suffolk border, UK. The installation sits around the trunk of a 30-year-old walnut tree in a cherry orchard where five telephone handsets hang from the tree ready to be picked up by passers-by...
"There are voices at the end of this line. They are inside Raveningham Church just over 1000 metres as the crow flies from where you stand. Inside the stone walls of the 11th century church two women are moving, singing, separately and together. Every harmonic conversation is improvised, they are moving between the stone and wood, in light and shadow, calling and responding in and out of focus. Footsteps, birds and air can be heard. These new voices are part of the rural landscape, they are using their surroundings as inspiration along with their personal musical traditions & folklore. They are finding a common tongue, their native tongue of the marshlands, two people living, working and creating here in the 21st century. Tapping into vein-like branches, links and marshes. Private voices are woken, then laid again to rest."
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KR 068LP
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Following 2018's Şeb-i Yelda EP under the R.A.N. moniker (KR 054EP), Hüma Utku delivers Gnosis, her debut full-length album under her own name. A blend of abstract electronics and ritualistic throbbing beats with field recordings and ambience. With Şeb-i Yelda, Hüma Utku introduced her musical style to a broader audience -- storytelling through elements of industrial, techno, and abstract electronics, blending in field recordings and traditional instruments from the Middle East. A sonic journey that now continues on Gnosis that owns the signature sounds of the Istanbul-born/Berlin-based electronic artist and pushes them further. The Greek word "Gnosis" meaning "knowledge reached through intuition and individual experience" has been used throughout history by various schools of esotericism and thought, to signify gaining insight on workings of the universe. Coherently the album follows the hermit-like, truth-seeking traveler on a path through various times and geographies, through different forms of human experience. Merging field recordings that Utku did in Greece, Egypt, and Turkey with ambient soundscapes, abstract electronics, and ritualistic throbbing beats, Gnosis is an intense sonic travelog where the storyline exceeds the borders any specific musical genre. Mastered by Rashad Becker at Dubplates & Mastering, Berlin. 180 gram vinyl; includes download code.
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