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Search Result for Genre EXPERIMENTAL
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LP
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BT 074LP
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$29.00
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RELEASE DATE: 11/26/2021
The trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi return to Black Truffle with their tenth release, recorded live in Tokyo in February, 2017. While many of the trio's recent works have seen them focusing primarily on their core guitar/bass/drums power trio format, on Each side has a depth of 5 seconds A polka dot pattern in horizontal array A flickering that moves vertically these three multi-instrumentalists strike into new territory, utilizing an almost entirely electronic set-up, with Haino on electronics, drum machine and suona (a Chinese double-reed horn), O'Rourke on synth, and Ambarchi on pedal steel and electronics. Dedicated to the memory of legendary Tokyo underground figure Hideo Ikeezumi, founder of PSF Records and the Modern Music shop and a long-term collaborator with Haino, the LP, (recorded the night Ikeezumi passed away), begins in a somber, meditative space of rippling, burbling electronics and distant jets of white noise. Though much of the "Introduction" that occupies the record's first side is spacious and at times almost hushed, the performance is full of unexpected twists and turns, momentary events, and fleeting impressions. The trio conjures up a free-flowing surge of sound in which individual contributions are often difficult to distinguish, calling up echoes of vintage live-electronic sizzle like It's Viaje or the cavernous expanse of David Behrman's Wave Train. The LP's second side opens in a similarly reflective realm, before Haino's suona enters, taking the music in a more austere, hieratic direction, as the reed's piercing tones are accompanied by O'Rourke's uneasy, sliding synth figures and Ambarchi's shimmering Leslie cabinet tones. On the side's second piece, Haino's signature hand-played drum machine takes center-stage, at first sounding out massive, isolated strikes, before eventually building to a tumbling, Milford Graves-esque wall of thunder. As O'Rourke's synth squelches and stutters and Ambarchi's heavily effected pedal steel somehow begins to sound like a kind of hellish blues harmonica, this passage offers up one of the most electrifying and bizarre moments in the trio's catalogue to date. Containing some of the most abstract music the trio have waxed since their very first collaboration over a decade ago, this new missive from underground experimental music's preeminent power trio shows them restless and risk-taking, clearly enjoying their remarkable improvisational chemistry while also continuing to push themselves into new directions. Gatefold sleeve with artwork and design by Lasse Marhaug; inner sleeve with live pics by Ujin Matsuo.
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LP
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CREP 086LP
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$21.00
PREORDER
RELEASE DATE: 11/12/2021
In what seems like some sort of cosmic alignment bound to happen, the ever prolific and somewhat elusive Niagara make their way into the Discrepant catalog with 1807. Compiling tracks recorded between 2014 and 2018 that appeared scattered among very limited and long out-of-print self-released CDRs, the record feels as much out of time as deeply resonant with these times with no dancefloors. Stripping away most of the beat-based approach of early Príncipe releases and Ascender EPs, these 17 vignettes presented in the classic dance maxi 12" format dabble with escapism in a manner that projects them as potential DJ tools for lockdown. Deeply idiosyncratic, the trio from Loures shows an internal coherence that while not easy to grasp given their mutating creative impulses, weaves each different path into a sonic fiction all their own. Cobbled together from countless hours of jamming on warm spectral synths, field recordings, otherworldly textures or devious drum machines 1807 paints a vivid and dreamlike escape route that goes from the hypnotic arpeggios and rarefied synths of "Esc8" through the glowing tones and fragmented melodies of "Egyptiu" and into the malfunctioning swirl of the stark "Esc 10" or the polluted 4/4 thump and funky guitar line of "Mapas". Equally disruptive and inviting. All tracks composed by Niagara between 2014-2018.
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LP
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STLP 013LP
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$22.50
PREORDER
RELEASE DATE: 10/8/2021
Sine is one of the earlier works by renowned sound-artist, composer and sound designer, Radboud Mens. It was constructed in 1998 and released on CD by Staalplaat in 2000 who now reissue this on vinyl in 2021, featuring two new tracks updating the themes of the original material. Having forged out a unique path in music for many years this is a means by which to view the genesis of what would become "Radboud Mens music". Side A comprises the original Sine which is considered a minor masterpiece of the early 2000s click dub electronica. "Funkenkammer" launches proceedings through a measured gathering of elements; buzzes and hums traverse the rhythmic spikes that punctuate throughout. Already at this starting post one can acknowledge machine music with a human pulse. Machines lurch and growl gently amongst a tiny ping pong pulse on the next track "Steel". "Moi" attaches itself to the subconscious with its dizzying sinewy highs and bare bone bass shadowing an equal love for dub processes and experimental forms. With "Metal/Dub/Plate" a dark drone anchors the mischievous random play on the surface whilst "For Da" presents light clicks and woozy atmosphere. Here we enter the new chapter in the story of Sine. Radboud works on music that binds disparate forms together into one sound, as a result these new tracks incorporate all styles witnessed in the original, retaining the clicks and cuts mentality whilst incorporating a deeper ambient drone approach with a minimal dub influence sweeping throughout. Tape shifts gears into a deep haunted world consisting of a skittering beat and a repetitive melodic cloud of sound. Condition takes the experimental dub further into space leading into a remix if his own track "Circle of Fifths" which wraps up the release with an uplifting conclusion where ascension takes hold. Equally unnerving and enticing the original and updated Sine fit firmly together as a unique whole bringing together a sparse assured sound carefully crafted to ignite a transcendental mood in the listener. Color vinyl in special packaging; edition of 400.
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10"
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SP EPSILON
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$18.00
PREORDER
RELEASE DATE: 10/8/2021
Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings, and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions. In 2014, Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds, and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event. Noisephony of Lawn Mowers was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants. "Silver Meets Ted" is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results. 10" single; edition of 300.
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LP
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BT 079LP
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$29.50
PREORDER
RELEASE DATE: 10/8/2021
Black Truffle release Parampara Festival 13.3.1992, a stunning performance by Amelia Cuni captured live in Berlin almost thirty years ago. Milanese by birth and resident in Berlin for many years, Cuni lived in India for over a decade, studying the classical vocal style of dhrupad under masters of the form. Though perhaps known to many listeners primarily through her performances of the vocal music of John Cage and collaborations with Werner Durand and Terry Riley, she is recognized internationally as one of the great contemporary proponents of traditional dhrupad singing. These recordings document her performance at the 1992 Parampara Festival at the Haus der Kulturen der Welt, a landmark event celebrating the global spread of Indian classical music, bringing together Indian teachers with their international students. Accompanied by Gianni Ricchizzi on vichitra vina (a plucked zither played with a glass ball slide) and her own tanpura, Cuni stretches out for a languorous side-long performance of the late night "Raag Bageshri", the limpid tones of her vocal improvisations illuminating the droning strings like flashes of the moon revealed by rushing clouds. Initially working patiently through a series of subtle dialogues between Cuni's melodic extemporizations and phrases in response from Richizzi's vichitra vina, the performance builds to a series of strikingly beautiful, virtuosic held notes from Cuni at the beginning of its second half, before picking up some brisker rhythmic articulation on the way to its conclusion. On "Devino Amor", Cuni presents her own composition, a setting of mystical texts by the 13th century Franciscan friar Jacopone da Todi, elaborated through various traditional raags. Like the words used for most dhrupad compositions, the text Cuni has selected from da Todi praises divine love, thus linking her otherwise unorthodox use of Italian text to the dhrupad tradition. The result is a performance of a yearning intensity that communicates across any language barrier. On the final performance, Cuni and Ricchizzi are joined by Helmut Waibl on the two-headed pakhawaj drum for a piece using a 14-beat rhythmic pattern that sets in motion a cycle of tension and release, metrical dissolution and resolution, possessing a subtle grandeur. Illustrated with archival images of the performance and accompanied by new liner notes from Peter Pannke and Lars-Christian Koch, Parampara Festival 13.3.1992 invites listeners to lose themselves in Amelia Cuni's unique approach to ancient tradition.
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LP
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PING 073LP
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$32.00
PREORDER
RELEASE DATE: 10/8/2021
Cole Pulice is a saxophone player from Minneapolis. An improviser of ambient jazz who earned his merits touring with Bon Iver, working with Godspeed You! Black Emperor and releasing wonderful electroacoustic gems with the groups Iceblink (Moon Glyph) and LCM (Orange Milk). With Gloam -- his solo debut -- Cole Pulice offers six spacious audio holograms, one-take recordings of his saxophone entangled with live electronic hardware. You hear undulating pitch shifters, ring modulations, and spectrally rich harmonizers. Cole applies all signal processing live, augmenting the calm, serene melodies Cole plays on his saxophone. The electronics never serve as a mere effect here. Instead, Cole's fine-tuned setup functions as one whole instrument with which he effortlessly morphs shapes and colors, like fractals within a kaleidoscope or fragments of stained glass in a rock tumbler. Cole mentions the Synchromism visual art movement as an influence for this record, an American avantgarde style of the early 20th century in which color and sound were treated as equivalents. It's a spot-on analogy for these musical gems which serve to immerse listeners in imaginary prisms. Cole's sessions conjoin artificial processes with the vibrations of his breath to create electro-acoustic lullabies which reveal ever more timbral layers with each listen. Gloam was released on tape by the Moon Glyph imprint from Portland during the first lockdown in 2020 and has been licensed to Pingipung for this vinyl edition.
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LP + CD + 7"
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CREP 083S-LP
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$37.50
PREORDER
RELEASE DATE: 10/8/2021
Kamana is a multiformat release inspired by and channeling the culture and traditions of the Aeta, an indigenous group from the Zambales region in the Philippines. One of the oldest inhabitants of the region the Aetas are also some of the most fascinating and ancient nomadic and hunter gathering cultures. The release goes from the realms of the real to the imaginary, from transcription to syncretism, from concrete to abstract. An (un)real sonic exorcism filled with ancestral frequencies, haunted ghosts and other animistic spirits roaming the Pinatubo forests. The release features a series of materials released in different formats from the field recording digital only release, an LP and CD release to a special 7" vinyl featuring an interview with a bat hunter. Also includes download with additional material.
"Kamana is a long due homage to the Aeta community that hosted me a few years back, fascinated by the endurance of these people and their connection to their land, devastated by the eruption of the Pinatubo volcano in 1991, they continued to go back to their ancestral lands surviving on basic agriculture and hunting bats and wild pigs. Living with them for weeks, I managed to capture some essential field recordings and sounds that form and compose the basis for this release, from the more reprocessed and interpreted LP release to the pure field recording documentation of the digital release. It is meant to be accessible to all and provide a window to the livelihoods of these unique communities. For this reason, this release serves as both an archival document and a syncretic one, trying to channel memories and feelings of living in these jungles whilst listening to their stories as well as witnessing their lifestyles." --Carlos Casas, 2021
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LP
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EMEGO 301LP
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$24.00
PREORDER
RELEASE DATE: 10/1/2021
LP version. Editions Mego welcomes Powell to its roster with a bizarre and strangely emotive new album of synthetic computer works entitled Piano Music 1-7. Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the last year alone he has released four albums of hi-def abstractions, each inspired by a formalization of music proposed by Iannis Xenakis. As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. Piano Music 1-7, subtitled Music for Synthetic Piano and Assorted Electronics, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker. Recorded in late 2020.
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LP
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MORNING 008LP
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$23.00
PREORDER
RELEASE DATE: 10/1/2021
"There are constellations within the grooves of Cymbalom Solos. Innumerable points of light, rendered audible in glowing, radiant sound. There are entire worlds too - undiscovered, yet familiar -- both terrestrial and celestial. There are moments of quiet comfort and exultant discovery. And all of it conjured by one man with a handful of ancient and invented instruments, recorded mostly-live, with precious few overdubs. Michael Masley has been a fixture of Berkley, California, since he arrived from Michigan in 1982. Even today, he remains a common sight, working as a street performer -- catching the attention of passers-by as he summons otherworldly overtones from a coterie of arcane instruments. This is how he met fellow east-coast transplant and musical voyager, Barry Cleveland, in 1983. Cleveland was enraptured by the sound of Masley's wildly innovative bowhammer cymbalom. The cymbalom is an ancient instrument, similar to a zither or hammered-dulcimer -- originating in Eastern Europe in 1874, but with primitive early examples dating back as early as 3500 BC. Yet Masley's approach to the instrument was wholly original. Masley replaced the two traditional cymbalom hammers, with bowhammers -- an invention wherein he fitted each of his fingers with its own combination hammer/bow device, which allowed him to both strike the strings, and bow them like a violin. Outfitted with his bowhammers, Masley was able to wrest startlingly new sounds from a centuries-old instrument. In 1985, after performing together for a couple years, Cleveland produced Masley's first solo endeavor, Cymbalom Solos. With the help of Cleveland's timely production, Masley's technique reached its zenith. His complex and beautiful compositions combined elements of Eastern-European classical, new minimalism, and Celtic/folk music, yet the end result falls squarely within the world of new age kosmiche. Music of the spheres, conjured by earthbound strings. Masley estimates that he sold tens-of-thousands of cassette copies of Cymbalom Solos over his years of performing. And now, Morning Trip is distinctly proud to offer it on vinyl for the first time ever -- an album of startling, imaginative beauty, by a brilliant American folk artist."
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CD
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EMEGO 301CD
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$16.50
PREORDER
RELEASE DATE: 10/1/2021
Editions Mego welcomes Powell to its roster with a bizarre and strangely emotive new album of synthetic computer works entitled Piano Music 1-7. Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder [afolder.studio], Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the last year alone he has released four albums of hi-def abstractions, each inspired by a formalization of music proposed by Iannis Xenakis. As an extension of this intense period of work/research/play with stochastic functions [using probabilities to compose music], various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work. Piano Music 1-7, subtitled Music for Synthetic Piano and Assorted Electronics, consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. This interplay of the [artifical] acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker. Recorded in late 2020.
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LP
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KR 084LP
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$22.50
PREORDER
RELEASE DATE: 9/24/2021
The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble Konstrukt live on stage with Thurston Moore. #5 in a continuing series of Konstrukt collaborations on KarlRecords is a live document of the concert by the Turkish freeform group with Thurston Moore. Konstrukt, the Istanbul based free jazz/freeform group founded and led by Umut Çağlar and Korhan Futaci, are known for their openness to and interest in collaborations --and regularly meet up and perform with new partners that range from Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Alexander Hawkins, Ken Vandermark or Otomo Yoshihide. This latest release sees the quartet join forces with one of the indie rock icons: Thurston Moore, who besides his decade-long main band Sonic Youth always found time and inspiration for solo projects and collaborations of different kinds. Turkish Belly, recorded live at SalonIKSV in Istanbul in February of 2020, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of Konstrukt and those of Moore alike.
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LP
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AKU 1028LP
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$27.00
PREORDER
RELEASE DATE: 9/24/2021
Innéisme: The title alone sums up perfectly the eighth album of French artist My Jazzy Child. Inspired by Noam Chosmky's "universal grammar", it refers to man's innate ability to develop language. It is that English, Occitan, French patois, Hindi, Pygmy or French cohabit on this record, juxtaposing on rhythms and beats that appear as a fantasized primordial tradition. If My Jazzy Child, aka Damien Mingus, questions languages about Innéisme, he also questions musical languages, mixing Asian rites and free jazz, electronic wanderings and traditional percussions. A virtuoso and experimental collage that nevertheless knows how to remain melodic and, in the end, strangely pop.
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2LP
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ZORN 077LP
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$33.00
PREORDER
RELEASE DATE: 9/10/2021
British post-industrial/ambient group O Yuki Conjugate arrives on Aguirre Records with a vinyl run of their previously CD only 1995 release Equator. Coming four years after their lauded Peyote release, the group split and reformed into their Mk II phase with the two original members Roger Horberry and Andrew Hulme, along with Malcolm McGeorge, Dan Mudford, and Pete Woodhead. Making use of the emergent technology of the early '90s, Equator was one of the first albums to be mixed with digital equipment, weaving together a blend of studio, live and location recordings to create their own deeply immersive, enveloping soundscapes. Brooding atmospheres unfold underneath a wide range of ethnic percussion and deep, meditative basslines -- existing in a unique cross-section of Hassell-inspired 4th world mystery, Industrial landscapes and the rich middle-eastern projections pioneered by Muslimgauze. It's a deeply hypnotic work that joins the dots between the late 80's industrial scene and the smoked-out chill out rooms of the '90s, which should have received more attention at the time, were it not for the haphazard Staalplaat label who ensured O Yuki Conjugate remained a total obscurity in their home country. Now revisited, this expanded vinyl edition features an additional 30 minutes of material, together with new glorious artwork from artist and actor Frederick Schimmelschmidt. Instrumentation: tongue drums, bass, thunderegg, voice, keyboards, samples, wireless, stratus, airtubes, skin, percussion, marimba, digital edits, dharbouka, roto-tom, sholak, finger cymbals, rain stick. Mastered by Pieter De Wagter. Smokey clear vinyl; gatefold cover with insert; edition of 500.
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LP
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BT 078LP
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$32.00
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RELEASE DATE: 9/10/2021
Black Truffle announce the first-ever vinyl reissue of Alvin Curran's classic Fiori Chiari, Fiori Oscuri, originally issued in 1978 on Ananda, the cooperative label run by Curran, Roberto Laneri, and Giacinto Scelsi. Fiori Chiari, Fiori Oscuri (Light Flowers Dark Flowers) -- its title inspired by an intersection in Milan -- is the second in the series of four solo recordings Alvin Curran issued in the 1970s and early 1980s, preceded by Songs and Views from the Magnetic Garden (1975), followed by The Works (1980) and Canti Illuminati (1982). Each of these solo works combines field recordings with performances on synthesizer, various acoustic instruments, and voice, arranged in languorously paced, dreamy sequences. Far from the bracing pointillism of much musique concrete, the elements encountered on the meandering course followed by Fiori Chiari, Fiori Oscuri -- whether a frenetic piano improvisation, dense layers of Serge synthesizer and ocarina, or a monologue from Frederic Rzewski's five-year old son, Alexis -- often occupy the foreground of our attention for minutes at a time. As Curran explains, his approach is like that of a filmmaker in the editing process, working with "whole blocks of recorded time." The purring of a cat, toy piano, a child counting, plaintive synthesizer tones, the cacophony of exotic birds at the London Zoo -- each disappears into the next, until, on the LP's second side, a solo piano performance takes center stage, moving unexpectedly from percussive minimalist permutations to a halting rendition of "Georgia on My Mind". A subtle yet stunning work that more than forty years on still seems charged with possibility, Fiori Chiari, Fiori Oscuri arrives in a loving reproduction of the original sleeve, featuring Edith Schloss' beautiful cover painting, remastered audio and with new liner notes by Alvin Curran and Francis Plagne.
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Cassette
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IMPREC 471CS
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$11.50
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RELEASE DATE: 9/3/2021
Replica tape. Pauline Oliveros and Guy Klucevsek's Sounding / Way was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. The Sounding / Way concept was simple: Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's "Tremolo No. 6" performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition "The Tuning Meditation", also performed by both Pauline and Guy. This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.
Guy Klucevsek is one of the world's most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.
Pauline Oliveros, composer, performer, and humanitarian, was an important pioneer in American Music. Acclaimed internationally, for four decades she explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros's commitment to interaction with the moment was unchanged. She could make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." --John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." --John Cage
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CD
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IMPREC 473CD
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$15.00
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RELEASE DATE: 9/3/2021
"Deep Listening still sounds revolutionary. While drone, minimalism and ambient music have proliferated in the intervening decades, few albums in those fields are as rich texturally and harmonically or have such a clarity of vision. The salience of Deep Listening resides in its contrast to mainstream culture's riptide trajectory towards distraction and saturation, towards soloed media and political environments." --Pitchfork (9.2 Best New Reissue/#8 on "Top 50 ambient albums of all time")
To celebrate the 30th anniversary of Deep Listening, Important Records offer you a definitive edition of the album combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album The Readymade Boomerang. Recorded in a cistern, Deep Listening 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.
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Cassette
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SAUNA 063CS
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$11.50
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RELEASE DATE: 9/3/2021
Atsuko Hatano is a contemporary classical viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics. Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Important Records' Cassauna label. Cells #5 required three years to complete and the work features the artist's signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. When not playing solo, Atsuko is extremely active recording, collaborating and playing live with Jim O'Rourke, Eiko Ishibashi, Mocky, and many more acts. Atsuko Hatano- violin, viola, cello, contrabass, piano (track 1), xylophone, oscillator and chorus. Guest musicians: Eiko Ishibashi - piano, marimba, vibraphone; Yuko Ikoma - accordion; Natsumi Kudo - horn, flugelhorn; Icchie - trumpet, flugelhorn, piccolo trumpet; Tatsuhisa Yamamoto - snare drum. Composed and mixed by Atsuko Hatano. Mastered by Jim O'Rourke. Cover by Saskia Griepink.
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IMPREC 472CS
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$11.50
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RELEASE DATE: 9/3/2021
"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." --Charles S. Russell, Ear Magazine
Important Records present Pauline Oliveros' Tara's Room on cassette for the first time since 1987. This replica tape is available at the same time as Oliveros' collaboration with Guy Klucevsek titled Sounding / Way (IMPREC 471CS), also on tape for the first time since its original release. This tape features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch.
Pauline Oliveros, composer, performer, and humanitarian, was an important pioneer in American Music. Acclaimed internationally, for four decades she explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros's commitment to interaction with the moment was unchanged. She could make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." --John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." --John Cage
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IMPREC 473CS
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$11.50
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RELEASE DATE: 9/3/2021
Cassette version. "Deep Listening still sounds revolutionary. While drone, minimalism and ambient music have proliferated in the intervening decades, few albums in those fields are as rich texturally and harmonically or have such a clarity of vision. The salience of Deep Listening resides in its contrast to mainstream culture's riptide trajectory towards distraction and saturation, towards soloed media and political environments." --Pitchfork (9.2 Best New Reissue/#8 on "Top 50 ambient albums of all time")
To celebrate the 30th anniversary of Deep Listening, Important Records offer you a definitive edition of the album combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album The Readymade Boomerang. Recorded in a cistern, Deep Listening 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.
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2LP
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BR 138LP
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$43.00
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RELEASE DATE: 8/27/2021
Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the '60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Música Para Cinta Magnética (+) Instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay" (1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mastering: Alberto Cendra at Garden Lab Audio. Design by Martín Escalante. Includes photos and detailed information on the pieces; Liner notes by Mesías Maiguashca and Fabiano Kueva; edition of 300.
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BR 154LP
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$31.50
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RELEASE DATE: 8/27/2021
La Revolución Y La Tierra is a Peruvian documentary film that became an unprecedented success in Peru, after its premiere in 2019, turning into the most-watched Peruvian documentary of all time. Directed by Gonzalo Benavente Secco and produced by Autocinema, the film offers a vision of one of the defining chapters in recent Peruvian history: the Agrarian Reform, a law enacted by the government of Juan Velasco Alvarado in 1969 (within the context of the so-called "Peruvian Revolution"), which marked a before and after in a history of struggles for the land and citizenship in Peru. La Revolución Y La Tierra is a film about these struggles and the imageries built by Peruvian cinema throughout time. The soundtrack was made by Santiago Pillado-Matheu, a versatile Peruvian musician and sound artist, founder of the psychedelic rock group El Hombre Misterioso, and creator of sound installations having memory as theme. In this soundtrack, Pillado-Matheu develops a musical universe based on the use of Andean sounds, in evocative landscape pieces of melodic and ritualistic ambient and drone music, which progressively incorporate sound collages, using samples of peasant leaders' voices and footage from the film. You can also find electronic pieces that make a nod to the synthesizer music of the '70s, as well as psychedelic rock discharges and pieces of a hypnotic Afro-Latin lounge, which give unity to this sound mosaic that also greatly evokes the sound of an era, and that, having acclaimed Peruvian soundtracks such as Cholo, by El Polen, or Venas de la Tierra by Luis David Aguilar -- both released by Buh Records -- as a precedent, adds a new item to a series that seeks to disseminate milestones of film music made in Peru. La Revolucion Y La Tierra by Santiago Pillado-Matheu is released by Buh Records, with the support of Autocinema. Art by Goster. Edition of 300.
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BR 146LP
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$30.50
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RELEASE DATE: 8/27/2021
Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the '60s and '70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out-of-print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called "Plasticas Sonoras". Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album -- and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Álvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative -- anti-hegemonic and DIY -- forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene -- to which it precedes -- a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Edition of 300.
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2LP
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NMN 146LP
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$46.50
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RELEASE DATE: 8/27/2021
Capturing the four soundtracks conceived in 1975 for the multimedia/audiovisual performances at Galiéra Museum in Paris, the previously unreleased Labyrinthe de Violence stretching across two LPs represents a peek into Luc Ferrari's creations connected to his Atelier de Libération de la Musique experiences. Luc Ferrari was always keen to disrupt habits and engrained practices, to open his mind to new ways of apprehending the world of art, considering it not so much as a separate realm but as an inroad into society. In keeping with the spirit of 1968, he advocated taking part in daily life, casting a critical, but amazed, eye on the world around us, and always questioning the meaning of the occupations and preoccupations the world imposes. From the 1970s, Luc also wished to shed the solitary status of the artist, and to truly communicate with society. He thus gathered around him a group of people from different backgrounds with an aim to create, together, new ways of working and new forms of expression that would address unusual audiences rather than traditional concert audience. Having created his Studio Billig in Paris in 1973, Luc wanted to make the most of that place to promote exchanges with other artists, to share, think, and improvise together. This is what gave rise to the Atelier de Liberation de la Musique workshops, whose objective was to "Liberate music from the constraints of style and esthetics." The idea was precisely to free the artist from abstraction, leading him to perform accessible and intelligible actions; to promote the imagination; to use the dramatic dynamism of sound and image to trigger ideas; to ignore the sensational and instead to observe our social environment and daily life with an intuitive eye-ear; to invite the visitor to come up with their own analysis. This craving for collaboration led Luc Ferrari to create, in 1975, a collective of musicians with Martin Davorin Jagodic, Philippe Besombes, Alain Petit and David Jisse. That year, they worked at Labyrinthe de Violence, a looped audiovisual labyrinth which evoked the violence of contemporary society, and was a reaction to the political situation of the time. It was a multimedia work, spread across four rooms, on the following themes: Power/Profit/Violence/Pollution. Each side of this 2LP set reproduces the sonorization of one of the four rooms in the Museum, automatically mixing in the central space. The same recordings focus on questions of utopia through many of the same themes. As in the rest of his work, pleasure was also at the heart of these pieces. First press limited to 500 numbered copies; gatefold sleeve.
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AKU 1026LP
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Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theater were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock 'n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the '70s and '80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound-up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lizzy Mercier-Descloux, Lol Coxhill, Yvette Horner, and James Chance. In the '90s his protean achievements were celebrated on the Fatal Encounters compilation, but far from slowing down in the autumn of his life, Berrocal has maintained an extraordinary work-rate, keeping studio dates with Pascal Comelade, Telectu, and Jaki Liebezeit, among others. Now, Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings -- wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions -- for Berrocal's unmistakeable voice and breathtakingly lyrical horn sound to flourish. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin's Gagarin label, and he has also worked as a software developer at IRCAM, and played with Jad Fair, Tom Cora, Rhys Chatham, and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Planam/Alga Marghen and PPT/Stembogen. Exterior Lux is the third part in the series of albums and was again mastered by the legendary Noel Summerville.
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RS 009LP
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$23.50
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RELEASE DATE: 8/20/2021
Work presented during the personal exhibition of Pier Alfeo (well know also for his moniker Dubit) "Incisione su Silenzio" at the gallery Doppelgaenger of Bari, Italy (February 22-May 22 2019). Works produced and composed during the studies of electronic musical composition at the "N. Piccinni" Conservatory of Bari. The compositions have been realized through algorithmic programming using the Wolfram Language of the Mathematica and CSound software. The collection Works 2016-2018 includes the first three electro-acoustic compositions created during the academic years, a period in which the algorithmic computer programming technique was learned using the Wolfram language in the domain of the Mathematica software. This technique involves the construction of sound on a mathematical-computer level taking into account the structural parameters of the sound itself, such as: attack times, duration, intensity, height, envelope and spatialization, using granulators, additive synthesis and subtractive synthesis. The system consists in the creation of data matrices which are then appropriately interpreted by the CSound software which renders them in audio format, a material that was subsequently organized and edited for composition purposes. The intent during both programming and composition was to arrive at a sound that preserved a certain warmth, a certain organicity (contrary to the coldness of the technique itself), this was possible by intercepting a series of trends and classes of numbers that exhibit a fluid behavior, reflecting the internal motions of nature. The plays and influences that led to the creation of these works are by composers such as Karlheinz Stockhausen, Pierre Schaeffer, Luigi Nono, Bruno Maderna, Iannis Xenakis, Igor 'Fedorovic Stravinsky, Gyorgy Ligeti, R. Murray Schafer, etc. In "All That Fall" a single sample of origin was used, the recording of a crackling fireplace, while in "The Never Spoken Words" all sound generations were created by processing only recordings of voices and vocalizations. Written and composed by, performer Pier Alfeo. Mastered by Giuseppe Ielasi. Gatefold poster cover (oversized: 60x90) para-graphic score of the composition "All That Fall", including an insert. White vinyl; edition of 300.
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