|
Search Result for Genre EXPERIMENTAL
viewing 1 To 25 of 1761 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
WELLE 101LP
|
$25.00
PREORDER
RELEASE DATE: 6/11/2021
The Works -- one of the most famous pieces by brilliant American composer Alvin Curran -- was not created by will and direct purpose but, as the composer himself states, as a "providential accident" which is to say quite organically. Combining piano and voice with found sound and a custom-built Serge modular synthesizer, The Works is a slowly developing piece where space and ambient tape are eventually overtaken by raga-esque chanting and frenetic piano playing, where synthesizer washes become full-on workouts all leading to a coda where the listener is "finally carried off on the wheels of the Berlin U-Bahn." Curran -- whose initial training and musical education was as a pianist -- had been living in Roma, Italy, in the mid-70s returning to his roots and performing regularly in cocktail lounges on Via Veneto. It was this return to piano and vocals that became the genesis for The Works. In relearning the piano, a five-note "motive" took hold. Added to this was "a recording I had made of our 14 year old dachshund Caspar just before he died. It was, in fact, a love song which he persisted in singing all day after meeting a lovely bitch in heat in Piazza Navona. This I knew would be the beginning of the piece." As the piece expands further the listener will hear "cows munching grass, the Rome-Florence express train, a horse-fly caught against a window pane, my footsteps approaching a Roman fountain and later going up the steps of my old studio, cicadas, an Amsterdam calliope, a tin can being kicked, and a series of sounds from La Serra di Lerici." Though The Works has been performed in many incarnations over the years, it's this performance -- captured on February 24, 1980, and originally released that same year by the short-lived Italian avant-garde label Fore -- that is the definitive version, and one of the finest recordings ever made by the celebrated composer.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BNSD 058LP
|
$18.50
PREORDER
RELEASE DATE: 5/14/2021
"Led by composer Rishin Singh, this sublime ensemble fits neatly into the complex of Berlin musicians devoted to alternate tunings. Blending exquisite, enveloping long tones, the measured singing of Annie Gårlid and Stine Sterne, and stately, slowly unfolding melodies, Leider is an art-song combo that finds the commonalities in John Dowland, the Velvet Underground, and La Monte Young." --Peter Margasak
Leider is an ensemble that plays songs by Rishin Singh and hails from the city of Berlin. A Fog Like Liars Loving, their debut album, is fragile and delicate music that reflects the darker side of urban living -- themes of addiction, alienation, casual cruelty, and paranoia are present throughout -- while maintaining an understated gallows humor. Though difficult to categorize, they can reference the textures of musique concrète or the structures of Wandelweiser. They can also devolve into cascades of no-wave inspired noise and are almost always just at the edge of falling apart. These eight songs extend a patient hand to the listener, playing with chance and human idiosyncrasy: exposed instrumental playing where the hairs scraping across strings and the air required to produce a note are as important as the notes themselves. Hardly ever truly in tune or in time with one another, yet fully in conversation. Hardly a note that isn't broken or damaged in some way, both antidote and mirror to the disintegration of sedentary life. A Fog Like Liars Loving is an album that takes its time and trusts its audience to do the same, a Cagean unspooling of our "great expectations" that will keep you coming back for more, humming along all the while. Simultaneously unnerving and pleasantly tranquilizing, a path without a path, clear in concept yet deeply sensual, A Fog Like Liars Loving exists in a world of its own. RIYL: Olivier Messiaen, Eva-Maria Houben, John Cale, Nusrat Fateh Ali Khan, Jürg Frey, Morton Feldman, Alexander Scriabin, Nico (minus the racism), Richard Strauss, Scott Walker, Low, Carlo Gesualdo, Hariprasad Chaurasia, Yo La Tengo. Recorded in Summer 2018 at studioboerne45, Berlin. Recorded and mixed by Adam Asnan. Mastered by Rafael Anton Irisarri at Black Knoll Studio, New York. Design and photography by Anna Bernhardt.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 025LP
|
$23.00
PREORDER
RELEASE DATE: 5/14/2021
"Michèle Bokanowski's art is one of densities, much like the density of a given color, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds 'be', even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition." --François Bonnet, Paris, 2020.
"Rhapsodia" (two movements and one interlude) is dedicated to Marceline Lartigue. The piece was created in the composer's own studio; Technical collaboration: Jonathan Prager. "Battements solaires" is music for Patrick Bokanowski's film. Produced in the Kira BM Films studios; Production: Kira BM Films with ARTE France and CNC contributions. Mastered by Giuseppe Ielasi; Cut by Andreas Kauffelt at Schnittstelle, Berlin, November 2020; Translations: Valérie Vivancos; Layout: Stephen O'Malley.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REGRM 026LP
|
$23.00
PREORDER
RELEASE DATE: 5/14/2021
"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the '80s as, whilst composing 'Micro-climat', I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally. A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined." --Lionel Marchetti, 2011.
"Lionel Marchetti is a major figure of the 'third generation' of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves." --François Bonnet, Paris, 2020.
"La grande vallée": Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95; Original audio recordings in the Drôme and the Mont Ventoux areas "Micro-climat" is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90; Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2). Mastered by Giuseppe Ielasi; Cut by Andreas Kauffelt at Schnittstelle, Berlin, November 2020; Translations: Valérie Vivancos; Layout: Stephen O'Malley.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SLT 006LP
|
$23.00
PREORDER
RELEASE DATE: 5/14/2021
Saltern present the first-time vinyl edition of Yoshi Wada's The Appointed Cloud (1987), a work which Wada has often said is his favorite of his own. Staged at the Great Hall of the New York Hall of Science, The Appointed Cloud was Wada's first large-scale, interactive installation and featured a custom pipe organ, among other homemade instruments, controlled by a computer with a customized interface and software designed by engineer David Rayna, known for his work with La Monte Young. This recording captures the opening performance for which Wada brought together four musicians on bagpipes (Wada, Bob Dombrowski, and Wayne Hankin) and percussion (Michael Pugliese) to perform with the installation, operated by David Rayna. Remastered from the original master tape by Stephan Mathieu, and cut to vinyl via Direct Metal Mastering by Hans-Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a digital download of the album. Edition of 600.
In Wada's own words: "This performance [of The Appointed Cloud] was one of most memorable performances I've done. The space itself -- the Great Hall of the New York Hall of Science -- was incredible. The building was designed for the 1964-65 World's Fair and had spaceships hanging from the ceiling so people felt like they were traveling in outer space. It was an amazing experience with the sound of the pipe organ, sheet metal, pipe gong, and bagpipes all together. 60 minutes may seem like a long duration, but it didn't feel like it."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GY11 005LP
|
$25.00
PREORDER
RELEASE DATE: 5/14/2021
"Blod is the solo project of Gustaf Dicksson (Enhet För Fri Musik, Oroskällan), a prolific and crucial figure in the Swedish Underground scene radiating out of Gothenburg and centered around a number of independent labels and including bands such as Enhet För Fri Musik, Monokultur, Oroskällan, Loopsel, and Neutral. Blod has released various home-recorded cassettes and a handful of albums since 2014, all mercurial in nature, exploring various facets of Dicksson's preoccupations. The melodies borrow from tradition and possess a lonesome quality inspired by Swedish melancholy, close relations, and white trash culture. Combined with intentionally banal artwork, the experience can be beguiling and sometimes bleak but at the same time warm and humorous. Missväxt is Dicksson's greatest work yet, exploring the myth of ancient Swedish being and misery but with a sound that is uniquely ecstatic. Inspired by medieval folk music, it's reminiscent of Fairport Convention's marriage of traditional folk music and psychedelic rock. Missväxt features guest appearances by Elin Engström (Loopsel, Monokultur) on drums, Astrid Øster Mortensen on vocals and flute, Joakim Karlsson (Facit) on production and synth, and Magnus Jäverling on flute."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CSR 293LP
|
$29.00
PREORDER
RELEASE DATE: 5/14/2021
Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in The British Library collection. 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 072LP
|
$29.00
PREORDER
RELEASE DATE: 5/7/2021
Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterized by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie's sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic "Lumbering", which occupies the majority of the record's first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie's virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning "Slakes", where lugubrious chords in the organ's lowest register are joined by Guthrie's skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown's classic Afternoon of a Georgia Faun (1970). Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention. Artwork by Patrizia Bach; Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
TTW 138CS
|
$11.00
PREORDER
RELEASE DATE: 4/30/2021
The dusty streets of apartheid-era Soweto, July 27, 1987. The politically charged funeral of a young activist who fled South Africa to became a commander in the military wing of Nelson Mandela's African National Congress. Police await in armored cars. The funeral is restricted by specific government decree. The man being buried is Peter Motau, assassinated in neighboring Swaziland on the orders of South Africa's most notorious government-sanctioned killer, Eugene de Kock, orders carried out by his secret police unit in a bloody ambush. For De Kock and the apartheid government, Peter Motau was a terrorist. For the singing, chanting mourners at his funeral, he was a freedom fighter, a hero from the streets of Soweto itself. ZA87 is a raw audio document of one extraordinary day under apartheid. A father mourns, himself breaking the regulations declaring any political statements at the funeral illegal. Young activists, the "Comrades", sing in praise of the banned ANC's military wing, sirens blare, helicopters hover overhead, a police officer orders all television and photojournalists to leave. Nigel Wrench's microphone remains. Also there is Winnie Mandela, on behalf of the ANC's exiled leadership. Banned from speaking at the funeral, she speaks instead into Wrench's microphone and stages a remarkable intervention as the police seek to detain activists. The authorities sought to keep the events of that day away from the eyes and ears of anyone who wasn't there. ZA87 breaks that silence. Nigel Wrench is an award-winning journalist whose career began in South Africa under apartheid. He is the winner of a Sony Award for "Out This Week", BBC Radio's first national lesbian and gay news program, and a New York Radio Award for BBC Radio 4's "Aids and Me", chronicling his experience of living with HIV. "Few journalists have quite so intimately captured the essence of their era's great moral panics as Nigel Wrench" --The Quietus. ZA87 is the follow-up to Wrench's acclaimed first cassette on The Tapeworm, ZA86, "a remarkable documentation of South Africa under apartheid in 1986" (Boomkat), "chilling and at times stunningly beautiful" (The Quietus), "stylistically not dissimilar to Adam Curtis's 2015 documentary Bitter Lake, its hypnagogic float through the rushes feels curiously vivid, free of the dating or distancing effect further media packaging might bring" (The Wire).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
UE 299LP
|
$31.00
PREORDER
RELEASE DATE: 4/30/2021
The Norweigan wunderking of demented psychedelic song(de)struction is back with a fantastic collection of new songs. Gaute Granli is a one-man band, taking a complete stranger with thirsty ears by the nose, to leave him/her/them behind, confused and hungry for more recognizable hope. There's a constant form of recognition running through these eight stretched songs, these strange flirts with folk music you think you already know, vocals that don't sound like they consist of words one knows and pop parts that are destroyed with a loop peddler. Although everything magically works, and made into a song structure of sorts, a melancholic -- almost religious air of desperation sits uncomfortably on top of all these songs like a frog that already got licked on its back twice in one morning. Includes insert and download code; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DPROM 156CD
|
$14.00
PREORDER
RELEASE DATE: 4/30/2021
The common factor linking these recordings are projects that were never fully realized. The basic recordings started in 2005, however the period of reworking and transformation (2016 to 2017) is more important. All vocal parts and general revisions were done during this period. Agnosticism was the basic idea for the vocal/musical re-working of the pieces with the vocals implanted into the basic pieces, not just as simple overdubs, but inserted in a dialectical confrontation with the basic sounds and structures. "Le Ballet" relies on George Antheil's Ballet Mecanique; "For Gerald" on a co-operation with Anla Courtis using some sounds by Ovary Lodge planned for the Gerald Jupitter-Larssen series which stopped far too early. "Without M.B." includes RLW's parts for a collaboration with Marc Baron whilst "Monotype #6" includes vocals by Dylan Nyoukis, also used for a collaborative CD-r with him. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O'Rourke, Achim Wollscheid, and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact, it could be all of these.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
TTW 140CS
|
$11.00
PREORDER
RELEASE DATE: 4/30/2021
Patrick Shiroishi is a Japanese-American multi-instrumentalist and composer based in Los Angeles who is perhaps best known for his extensive and incredibly intense work with the saxophone. Over the last decade, he has established himself as one of the premier improvising musicians in Los Angeles, playing solo and in numerous collaborative projects including Upsilon Acrox, Corima, Oort Smog as well as improvising ensembles Danketsu 10 and Borasisi. Shiroishi may well be considered a foundational player in the city's vast musical expanse. Zachary Paul is a violinist and composer currently located in New York. His work explores the boundaries of perception, the invocation of trance states, and the juxtaposition of stasis and movement. Zachary has released solo work on Touch and Preserved Sound, and has performed with the Sonic Open Orchestra and the String Orchestra of Brooklyn. He is also a regular member of the band Nadoyel and a frequent improviser in a variety of musical idioms. These recordings capture a meeting between Patrick and Zachary, a few days before Zachary left Los Angeles and embarked across the country. The sounds of Garfield Park echoed while the San Gabriel mountains burned, and Patrick and Zachary intoned a prayer for our shared futures.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
TTW 141CS
|
$11.00
PREORDER
RELEASE DATE: 4/30/2021
Both tracks produced by Robin The Fog at The Sticky Shed, Penge during lockdown 2020. Side A features a recording of a wine glass. Side B is created entirely from closed input sounds of the tape machines themselves. One take, no edits, no overdubs, no artificial FX. Mastered by Steven McInerney. A.H.M.F. and long live the Wyrm. Robin The Fog is a sound designer, radio producer, audio archivist, educator and occasional DJ based in London. His work falls under the broad term "radiophonics" and includes composition, sound installation, field recording and documentary. Best known as founder and chief strategist of "tape loop quintet" Howlround, he also produces work alongside DJ Food and Chris Weaver as The New Obsolescents and with Ken Hollings as The Howling. Originally described as a "second wave hauntologist", his current obsession is attempting to use closed-input feedback loops to create primitive techno, which is quite a long way from where he started. His biggest fear is being swallowed by a python, but living in South London he appreciates the contingency is a remote one.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"+BOOK
|
|
UE 302BK
|
$31.00
PREORDER
RELEASE DATE: 4/30/2021
Catalog of Dennis Tyfus's exhibition "Skins, Brains & Guts" that took place at Mieke Van 'schaijk Gallery in The Netherlands between 11/07/2020 and 02/28/2021. The book contains a one-sided 10" of Miles Away (Milan W's sleazy late night jazz pseudonym)'s soundtrack to "Oi In Eupen". A film that was shown in the exhibition, with the painter Luc Tuymans as a detective and the most notorious Antwerp bartender (of Café De Kat and De Nor) Marcel De Cleer as a police officer playing the roles of their lives.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
TTW 142CS
|
$11.00
PREORDER
RELEASE DATE: 4/30/2021
Leif Elggren and Kent Tankred, September 3, 1999, Fylkingen, Stockholm -- a small chamber play where The Sons put the small animals on pasture and let them live their own lives, but under strict supervision and with a fixed eye so that no accidents may happen, so that no one is injured, so that no one is ill-informed, or how it might be if not everything is organized and supervised in a well-structured society. You can't just let things be without direction, then there would be nothing at all (or death!!!). No, The Sons give a taste of a well-balanced diet in this presentation, which is expected to take four hours, which will be beautiful and moist and will be able to give a much-needed sense of well-being in these difficult times. Maybe we need another clarification: The animals, here at the service of The Sons, give away their little sounds, The Sons, however, direct them with firm hands (and sometimes a little with force) to follow their wishes. The Sons simply get the cute little fellows to produce sound and together form a musical structure that is not of this world. We'll see how it goes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
RA 031-32CD
|
$20.00
PREORDER
RELEASE DATE: 4/23/2021
"It happened to be my birthday, that day in October 1992 when I had the great fortune of listening to the first incarnation of Frisque Concordance at the Ruhr Jazz Festival in Bochum (Germany), ingeniously curated by Martin Blume, who also played the drums in this quartet along with Hans Schneider on bass, offering his wonders . . . Here, on Distinct Machinery, Georg Graewe and John Butcher, the Concordance's core, team up with Wilbert de Joode and Mark Sanders, both another two constants in the wider Graewe universe for quite some time. Structurally the four-some and its two realizations is to be understood as a pars-pro-toto for how exactly this universe operates and evolves. Schneider was one of the very early members of this poly-centric bundle, dating back to the legendary FMP releases from 1976 and 1978 by Graewe's first quintet, a group the pianist had formed only a few days before his 18th birthday. Butcher, a collaborator for 30 years now, is (along with Frank Gratkowski) the most congenial horn counterpart to Graewe's fuid ways of sublime bridge-building. This is just a small sample of the ways in which Graewe develops his work: long-standing relationships perform expeditions into uncharted territories and then sometimes do it again, years later, offering Proustian moments of recognition plus, always, things never heard before. Continuities and disruption, known and unknown, frisque concordance and contenance angloise, as Martin Le Franc described the 15th century new distinctive style of Dunstable-English music. Distinct Machinery is just that. The combination of a studio and a live set very much distills all these qualities into diamonds, nuggets, and land-slides of sound ever unfolding. You buy one and you get two, but these two give you all. And it is not like these two are easily peg-holed sides of one coin. Listen to the drive and the dynamics of 'Hot and cold' in its two iterations here, studio- and live-setting, and you immediately realize this is not about simple dichotomies. There is a distinct romanticism in the abstract, there are planes of Ayleresk layers in the physical feel of Butcher's sometimes almost silent sound, there are distinct single-notes in Graewe's waves of still energy. There are the endless great plains of Sanders' roaring thunder filled with the warm hues of metallic star-breath-cymbal colors, there are de Joode's interstellar pulse-like sheets of legato, grounding and multi-mirroring it all..." --Markus Müller, Berlin November 2020
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BYR 030LP
|
$23.50
PREORDER
RELEASE DATE: 4/23/2021
Award-winning saxophonist and composer Binker Golding returns to Byrd Out with a new trio comprising giants of the experimental scene Steve Noble and John Edwards for an album of unparalleled instant creativity: Moon Day. The album plays with the post truth zeitgeist, using the first major moon conspiracy of 1835 as a launch pad, throwing a sly wink at Buzz Aldrin as the trio impart on their own musical odyssey. The sheer variety of pace, tone and texture across the record is breathtaking, from Golding's soft, almost weightless opening on "One Giant Step" through to the skittish re-entry of "Reflection" as the musicians ricochet off one another, the album bursts with ideas and energy, yet remains coherent and singular in its purpose. Recorded during a gap between the various lockdowns of 2020, you can sense the release from the musicians as they combine after enforced isolation with a telepathic sense of where to push each other: Noble interjecting both chaos and order from the drums; Edwards the rocket fuel propelling the unit on; and Golding soaring and cutting through on sax. You will not find a better showcase of these musicians' phenomenal abilities. This is free jazz at its most compelling and most engaging. Moon Day is undoubtedly a future jazz classic.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOD 125LP
|
$20.00
PREORDER
RELEASE DATE: 4/16/2021
Gyropedie, Anne Guthrie's third record for Students of Decay, takes us further into her hermetic practice, wherein expertly captured field recordings, French horn, and electronics are woven into potent and richly imagined electroacoustic environments. In Guthrie's own words, "Quite literally a record of pilgrimage from East to West. Remnants of Midwest and East Coast soundmarks, instruments sold to lighten the travel load, sketched out and then buried under the new. Winter birds and crunching snow, frozen playgrounds, broken synths -- I spent a year decoupaging over this, but of course it's still there. A second moon appears occasionally in the daytime, and there are frequent, murky transmissions. California has something alien about it I'm still trying to grasp. Primarily vintage, unabashed, corny, I find myself becoming an impressionist." Anne Guthrie is an acoustician, composer, and French horn player. She studied music composition and English at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she completed her Ph.D in 2014. Her music combines her knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics. Includes download code; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LAC 019LP
|
$22.00
PREORDER
RELEASE DATE: 4/16/2021
Alkisah Remix is the album curated by Les Ateliers Claus and Kiosk radio (both based in Brussels) and is created with the stems of the Alkisah album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each and to extend this collaboration Les Albums Claus decided to involve their musical family. Six artists were invited to tell Alkisah stories into different possibilities and produce unique speculative works. This remix LP brings a variety of musical genres and shines a different and surprising light on Senyawa's compositional works. Going from a musique-concrète approach, towards dub and dancefloor bangers highlighting the timelessness of Senyawa their music. Remixes are delivered by Sugai Ken, Celine Gillain, Sagat, Tolouse Low Trax, Dntel, Front de Cadeaux. Edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HG 1201LP
|
$26.50
PREORDER
RELEASE DATE: 4/16/2021
An unlikely meeting of two like-minded spirits, First Man in the Moon sees the former Swans guitarist and Hallow Ground regular Norman Westberg and the prolific double bass player Jacek Mazurkiewicz collaborate for five evocative tracks. The pair finds common ground beyond the boundaries of atmospheric drone, abstract jazz, and experimental music and blurs the lines between the acoustic and the electronic. The two first met when the composer Mazurkiewicz supported Swans with his solo project 3FoNIA on their 2014 European tour. "I really enjoyed his approach," says Westberg about the Polish musician's blending of the acoustic qualities of his instrument with electronically generated sounds. A decision to collaborate was made and when the US-American musician returned to Eastern Europe to support Michael Gira on his solo tour in late 2019, Mazurkiewicz reached out to him with the idea of booking some studio time before Gira's two concerts in Warsaw. "Recording was very fun and easy," remembers Westberg. "It was just two people enjoying hearing and reacting to what the other is doing." First Man in the Moon is not however a plain document of these improvised sessions, but also shaped by Mazurkiewicz's approach as a composer. Once the recordings were finished, he selected and edited the recorded material, refining the peculiar dialogue between the guitarist's meditative drones and bright chords and his own rhythmic yet subtle approach to playing the double bass, sometimes plucking the strings and occasionally using his bow to underscore Westberg's fleeting melodies, but also using the instrument in unconventional ways to generate sound. A feeling of weightlessness prevails throughout the aptly-titled First Man in the Moon. Even at their most abstract however, these five improvisations-turned-compositions remain tangible, lively, and joyfully explorative. It is a record that you wouldn't expect from either of these musicians, but the logical result of two idiosyncratic minds sharing not only space and time, but also their respective visions with each other.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
OXE 004LP
|
$27.50
PREORDER
RELEASE DATE: 4/9/2021
A journey back in time, maybe thousands of years ago, somewhere in the isolated islands of Melanesia. Here, just like a sound alchemist, Roberto Musci transforms organic nature elements into a unique sound performance of self-estrangement. In the artists' laboratory, you will discover a melting pot of ancestral ceremonial sounds collided with contemporary chamber music and experimental-electronic methods based on music research. Among these, ethnical music of the populations of Kanaki, Itamul, Kaluli, Niugini, Abelam, Huli, Enga unconventionally search for an intrinsic connection between humankind and music, part of life since the dawn of times. Several studies have highlighted in the DNA of the people of Melanesia genetic traits that trace their origins back to the man of Neanderthal and Denisova (about 70,000 years ago). Their isolation has preserved primitive culture and, perhaps, music. Roberto Musci composed Melanesia based on the Plunderphonics technique mixing traditional ethnic music with contemporary chamber music and concrete music. Cover artwork created by Giuseppe Lo Schiavo. Mastered by Kassian Troyer at Dubplates & Mastering. 180 gram vinyl.
Roberto Musci is an Italian music composer, performer, saxophonist and guitar player, born in 1956 in Milan, Italy. From 1974 to 1985 he traveled around the world to research African, Indian, Near East, and Far East music. During his travels, he recorded on-field music, studied and collected ethnic music instruments from across many countries and cultures. His LP Water Messages On Desert Sand composed and performed with Giovanni Venosta was Grammy-nominated in the UK in 1987. Roberto Musci released LPs and CDs with many European labels, including Raw Material, Island Records, Music from Memory, and Recommended Records. He collaborated with musicians and researchers from all over the world, composed and performed music for films, live soundtracks for silent movies, audio-video installations, poems, dance, and theatre. The artist puts together live recordings of tribal ethnic music of indigenous people from the Pacific islands of Melanesia, performed with the body and with archaic instruments. Along with these, contemporary chamber music collides with the sea, wind, rain, thunderstorms of the Melanesian islands, modified according to the techniques of concrete music, in homage to Pierre Schaeffer and Pierre Henry, two of the artists who shaped his way of experiencing sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IMPREC 487LP
|
$25.50
PREORDER
RELEASE DATE: 4/2/2021
Saturations is a composition by Danish multidisciplinary artist Niels Lyhne Løkkegaard, and features a clarinet choir consisting of 19 clarinet players. Niels Lyhne Løkkegaard (b. 1979) considers his work to be a basic research in realities working within the domains of imaginary and physical sound as well as other non-sonic media, and since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form by way of multiplication of sound. His work with multiplication of sound has led to numerous compositions in which one instrument is multiplied a number of times: One piece is written for nine pianos, another for ten hi-hats and yet another for countless triangles and so on. The multiplication brings out bodily timbral phenomena, interference of sound waves and vibrations, and brings out what Niels Lyhne Løkkegaard calls the sound's potential of transformation. He describes this as the quality in a musical piece, when you no longer hear recognizable instruments, but instead the individual sound, as well as the individual musician, is dissolved into the collective sound. A sonic as well as human synthesis. He explains the concept of this sound as follows: "Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you're close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to lose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, melts all the conversations together, and transform into a one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DSDM 003LP
|
$27.50
PREORDER
RELEASE DATE: 3/26/2021
Riding the razor's edge between rigorous experimentation, innovation, and tradition, London based, Italian composer, cellist, and electronic performer, Sandro Mussida, joins the Die Schachtel family with Rueben, his third solo LP. Active since the early 2000s, Sandro Mussida worked extensively with Mark Fell, Curl Collective, Lorenzo Senni, Oren Ambarchi, and Alessandra Novaga, among others, as well as a founding member of the interdisciplinary artists' group TQS Collective, before releasing his solo debut, Ventuno Costellazioni Invisibili, on Metrica in 2017 (MTR 001LP), followed by Eeeooosss, released by Soave in 2019 (GRA 005LP). Rueben, like its predecessor, deploys a microtonal vocabulary within a three-instrument sound palette and builds upon Mussida's long-standing investigations of active listening, augmented by a developing practice that challenges aural perceptions of historical, non-equal-tempered tuning systems. The third instalment of Die Schachtel's Decay Music series -- launched to highlight inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract music -- Rueben was recorded during 2018 in the church of St.Giusto in Volterra, Italy. Deeply inspired by Italian Renaissance paintings encountered by Mussida during the work's composition, and conceived at the intersection of acoustic and electronic aural fields, in careful response to the space itself, the sounds of electric guitar, bass clarinet, and cello -- treated as minuscule sound atoms, rapidly projected to form structures of evolving densities -- harmoniously enter into dialogue, forming a multi-layered, contemplative sonic landscape, within the interwoven complexity of their own reflections. Across the length of Rueben, bound to the work's inspiration in the visual realm, the interplay between the senses blur, presenting the act of listening as a mirror for the experience and legacies of seeing. In Mussida's hands, sound emerges as a trace or memory suspended in a non-linear conception of time, where imprint, movement, and event, as they relate to place and happening, are perceived by the ear, recalling the Russian theologian Pavel Florenskij's idea of "reverse time", that likens temporal condition activated by experiences with art as similar to that of dreams. Vast in scope and intricate detail, the nine discrete compositions that form Rueben unfold in a series of interconnected, shimmering landscapes of tone and texture, each, through the interplay of their elements, configuring a radically dense rendering of minimalist, ambient music that challenge the perceived boundaries of those historical definitions. An inspired and radically forward-thinking realization of electro-acoustic music. Cover features an original Sumi-e painting by Japanese artist and avant rock drummer Akihide Monna (Bo Ningen). 180 gram marble vinyl; one-time edition of 250.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SPGRM 003LP
|
$23.00
PREORDER
RELEASE DATE: 3/26/2021
"Statistique Synthétique" (2020) by Hecker is a computer-generated sound with resynthesized situated texture recordings. Statistique Synthétique draws as much from the history of computer sound synthesis as from its latest developments. But well beyond developing simply as a proof of concept, this piece aims to transcend the abstract status of synthetic sound objects and lead them to a properly hallucinatory state, that is to say to a meeting point where the object and perception dissolve into each other, in a sort of transcendental field. Beyond, also, hylomorphism, to reach the world of matter-form fusions, where perception knows how to see "shoulders of hills", as Cézanne wrote. Written and produced by Florian Hecker, 2019-2020. Texture analysis and resynthesis algorithm: Axel Röbel, Analysis/Synthesis Team, IRCAM, Paris. Mastered by Rashad Becker. Location Texture Recordings, using DPA 4060, DPA 4017B, DPA 4021 and DPA 4060 microphones to Sound Devices 702 recorder; except segment 4:31-5:37, recorded by Luke Fowler, April 2019 using Sony M10.
Okkyung Lee's "Teum (the Silvery Slit)" (2019) was performed, recorded, and composed by Okkyung Lee (ASCAP). "Teum (the Silvery Slit)" is, as the title suggests, an overture, an opening to the game of multiplications, fragmentations, duplications. But it is also the opening understood as the void that blossoms between two borders, a break from which escapes a double tension, both the pulling force of these two edges which move apart and the opposite force of reconciliation, of compression. Okkyung Lee invites us to a truly telluric moment, a rare moment of expression where tectonic movements and shear stresses become music. If the earthquakes were, as we thought in the 18th century, due to underground thunderstorms, there is no doubt that this piece of music, both celestial and continental, could have been their audible manifestation. Mixed by Lasse Marhaug; Mastered by Guuseppe Ielasi. Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 071LP
|
$29.00
PREORDER
RELEASE DATE: 3/26/2021
Black Truffle announce Backfire of Joy, a previously unheard recording from Phew, John Duncan, and Kondo Tatsuo, documenting a concert at Tokyo's Hosei University in 1982. Though the fertile exchange of 'zines, tapes and records between the Japanese underground and the Los Angeles Free Music Society meant the artists were familiar with each other's work, this performance (occurring on Duncan's first visit to Japan) was their first meeting and only performance as a trio. Duncan is heard on his signature shortwave radio set-up, while Kondo performs on synth, tape loops and echo-drenched piano, providing a spacious backdrop for Phew's astonishing performance of spontaneous, free-associative song moving between Japanese and English. A testament to the unhinged exploration of the 1980s experimental underground, the trio careen wildly between crashing percussive tape loops, deluges of shortwave noise, insistent piano figures and playful synth melodies. On the B side, you are treated to a remarkable ten-minute sequence moving organically from spaced-out synth and radio textures to a stunning finale of improvised balladry centered on piano and voice, unexpectedly broken up by electronic interjections. Beautifully recorded in crunchy vintage fidelity, Backfire of Joy arrives accompanied by archival photographs and newly authored liner notes from all three participants. Vinyl only; comes with printed inner sleeves.
|
viewing 1 To 25 of 1761 items
Next >>
|
|