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viewing 1 To 20 of 20 items
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ERST 077CD
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"Kawaguchi, previously on Erstwhile with Taku Unami (Teatro Assente), is captured here in his first duo meetings with longtime synth virtuoso Utah Kawasaki, making his long-awaited Erstwhile debut. The two recorded in the summer of 2015, combining a sense of 'object' performance with an improv/noise aesthetic, all impeccably documented by the aforementioned Taku Unami, and not even slowed down by a massive earthquake in the midst of their session. 'The first recording day was at Ftarri, an open live recording. Although there was a big earthquake during the recording session, we kept recording our performances while the room was shaking badly. On the second day, we recorded at pool, creating the atmosphere of an organic reverb driving through the underground drainage tank like a motorbike runs through a mountain path aggressively. The heavy bass sounds of analog synthesizer made the metal walls of the ditch sound amazing. Everything was recorded perfectly by the wonderful engineer Taku Unami. After the session, we went to eat ramen at Maruyoshi Store. I am a kind of person who listens to anything from improvisation, experimental music, hip hop to J-pop of idol singers, but I can recommend this album as something that anyone will find interesting with some strange impression.' --Takahiro Kawaguchi"
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ERST 078CD
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"These two titans of noise/improv return for their second release, following 2014's highly acclaimed The Abyss (Erstwhile 073-2). This time they confine themselves to a single disc, making for a very focused and intense listen that will certainly please their fans as well as any fans of immersive and overwhelming dense yet thoughtful sonic explorations. 'This album is a meditation on the inner mental environments that one encounters and endures during times of work-related travel. The music contained herein should be well suited for headphone distraction in airports, bus stations, train stations, subway terminals, and in the confines of the sears related to these methods of mass transportation.' --Jason Lescalleet"
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ERST 076CD
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"I'm really happy to have Taku back on Erstwhile after the stellar motubachii and Teatro Assente, and of course to have Éric make his Erstwhile debut. Parazoan Mapping documents the initial duo meetings of these two long-time friends and collaborators." 15 tracks, 48 minutes. The great photography is by Éric Coisel.
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ERST 075CD
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"Schwarze Riesenfalter, a project Graham Lambkin and I worked on throughout the last year, is now available. One of the darkest, funniest, strangest projects in which I've ever had a part. Black butterflies, fragmented mouths, dead kings: you get the idea. Fantastic cover art by Graham as well" --Michael Pisaro. Five tracks, 49 minutes, mastered by Jason Lescalleet.
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ERST 074CD
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"I'm really excited to finally have Jeph and Tim on Erstwhile, as I have long been inspired by both. In July 2004, I saw a night of solos and duos by Jeph, Tim, Sean Meehan, and David Daniell at Clemente Soto Velez in Manhattan, and that night inspired me to start the ErstQuake series with Tim, which we kicked off a few months later, also at Clemente Soto Velez. So in a way this has been in the works since then, although all of the material was newly recorded in 2014." Five tracks, 68 minutes, recorded by Barry Weisblat along with Jeph/Tim and mastered by Jason Lescalleet.
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ERST 069CD
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"5 tracks, 55 minutes. 'Parrots and tigers take a hacksaw to your automobile and then attempt to drive the remaining parts around with defective radio controls. (Whatever is actually happening, this record rocks.)' - Michael Pisaro"
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ERST 072CD
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"2 CDs, each containing one piece lasting just over an hour, each performed by the duo and recorded (remarkably as always) by Christoph Amann in Vienna, CD 1 is 'shoguu' by Radu, CD 2 is 'instruments, field recordings, counterpoints' by Jurg, design and photography by Yuko Zama, much of it around Amann Studios. 'shoguu' features Jurg on clarinet and Radu on trombone, 'instruments, field recordings, counterpoints' features Jurg on field recordings/electronics and Radu on trombone."
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ERST 073CD
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"2 CDs, just over two hours of material, including the 33:33 title track and the 49:49 'The Echo of Your Past' (the latter takes up all of CD 2). 'After 13 months of creative effort between us, Kevin and I were finally able to call this project complete. 120 minutes of music spread over two discs, The Abyss sometimes feels you've been listening to it for an entire day. It's like staring at the whirlpool of the drain of your bathroom sink, a meditation on circling the drain that we know as The Abyss.' - Jason Lescalleet"
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ERST 068CD
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"The work begins in very un-Wandelweiser fashion, with a strong note played on, I think, a harpsichord (prepared spinet?), quite forthrightly. After several identical notes, a recording of an interior space enters and a surprising sequence of chords occurs, four of them, very romantic in nature. Four more follow, belying the first quartet, somewhat sour, then three more, ambiguously between the first two sets in feeling. So begins This Place/Is Love, a kind of quiet epic (76 minutes in length) that, as with much or Pisaro's recent work, resists easy encapsulation or structural grasp. For listeners familiar with the work of either creator, especially Pisaro, the various sounds employed will be familiar: smoothly modulated sine tones, nondescript (but fascinating) field recordings, single, pristine guitar notes, extended silences; that harpsichord is the one that stands out as unusual. But of course it's not about audio novelty but the sequencing and layering of those sounds and, here especially, their resonance with [Beuger's] text. To my ears this is brilliantly accomplished, in a, for lack of a better term, poetic manner that's next to impossible to quantify." -- Brian Olewnick, Just Outside
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EL 012CD
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"This was the 10 PM set on 9/11/11, and makes for a perfect pair with the Rowe solo -- two very different extremes. Where the Rowe set is in your face visceral, Unami and Malfatti created a gentle atmosphere within the pitch-black room (lit solely by Unami's visuals) and an overarching cumulative feeling in the listener. The too-perfect-to-be-scripted intro and outro frame a set that's almost not there, a radical recording even by ultra-minimal standards."
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EL 009CD
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"In September 2011, Erstwhile producer Jon Abbey was invited to curate two weeks of shows at John Zorn's legendary Manhattan venue The Stone, which he used as an opportunity to invite many of his favorite musicians from Japan, Europe and the US to perform. Four of those thirty-five sets will now be available in the ErstLive series. This world premiere piece, written by German composer (and Wandelweiser founder) Antoine Beuger specifically for this festival and these musicians (Ben Owen, Barry Chabala and Dominic Lash) and dedicated to Abbey, opened the first night of the festival, setting a fantastic tone and high standard for the weeks of music to follow."
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EL 010CD
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"In September 2011, Erstwhile producer Jon Abbey was invited to curate two weeks of shows at John Zorn's legendary Manhattan venue The Stone, which he used as an opportunity to invite many of his favorite musicians from Japan, Europe and the US to perform. Four of those thirty-five sets will now be available in the ErstLive series. This set was the first ever full-length duo set from these two longtime masters, bringing Rowe together with one of his early influences, New York School stalwart and John Cage collaborator Christian Wolff. This show coincidentally occurred on September 4, ending after 11 PM, so almost precisely one year before Cage's 100th birthday."
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ERST 063CD
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"For this album Greg Kelley plays trumpet and Olivia Block plays electronics and piano."
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ERST 064CD
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"Jerome Noetinger plays tape machine Revox, and electronics; Will Guthrie plays drums, percussion, microphones, and electronics."
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ERST 055CD
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"Since the early nineties, Vienna-based Radu Malfatti has been investigating the edges of ultraminimalism in both his composed and improvised work. On Imaoto, he is joined by empathetic explorer Klaus Filip to create an instant classic. Malfatti and Filip have performed a handful of duo concerts over the years, with the first in 2003. In 2006, they played a remarkable set in Maria Chavez's Houndstooth store in NYC, a very memorable show for the couple of dozen listeners in attendance as well as for the musicians themselves. In October 2008, they spent a day at Amann Studios and recorded the two pieces that make up Imaoto. The results are undeniably gorgeous, musical, and impeccably recorded. The ultraminimalist aesthetic of the music is echoed in Yuko Zama's sparse design. 'This is probably the most beautiful Radu Malfatti's trombone has ever sounded on a recording. It is deep but not heavy, attaining, in Christoph Amann's studio, a very personal, nearly vocal presence. Klaus Filip works miracles of intuition with his sine tones, seemingly knowing the precise harmonic answer even before the question is asked. The two are exploring a world of hidden contours and curves, quietly, step-by-step; never hurried, never tedious.' - Michael Pisaro."
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ERST 057CD
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"Burkhard Stangl and Kai Fagaschinski both are masters at fluidly combining melodicism and abstraction. Musik-Ein Porträt in Sehnsucht showcases their work as a duo, carefully composed pieces intertwined with judiciously placed field recordings and meticulously sequenced to create a record that is more than the sum of its parts. Stangl and Fagaschinski first met in the summer of 2002, when Christof Kurzmann suggested Kai should join the ensemble performing Stangl's opera Venusmond in Berlin. They clicked both musically and personally and decided to work as a duo in the future, with their initial concert being part of the mammoth AMPLIFY 2004: Addition festival. Over the next three years, they sporadically worked together, playing two concerts in Vienna and one in NYC (in the ErstQuake 3 festival), and in 2007, recorded Musik-Ein Porträt in Sehnsucht in two separate sessions at Amann Studios in Vienna. The record occupies a unique area between composition and folk music, classical and jazz/improv, tension and serenity. The design is again from Berlin designer Marion Gerth, previously responsible for the two ErstPop releases."
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EL 008CD
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Keith Rowe's concluding set, with longtime partner Toshimaru Nakamura, at the AMPLIFY 2008: Light festival, recorded on September 21, 2008 by Taku Unami. "AMPLIFY 2008: Light was an intense and deeply immersive experience for all who were lucky enough to be present, and quite a bit of that was attributable to Rowe's four sets, which are now available for all to hear."
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ERST 032CD
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"Arising from these intensive rehearsals was a new group aesthetic and a shift in focus from acoustic to electronic based material. By this stage, Durrant had developed a personal language using software synths and treatments and Wastell had begun investigating a sound source comprising what he refers to as 'amplified textures', into which Davis' newfound interest in field recordings and electronics fit perfectly. open documents this exciting period in the group's evolution, with enough groundwork having been laid to develop a strong and unique musical identity but without the all-too-identifiable sound of a group overfamiliar with itself. Open was recorded in two sessions at LMC sound in March and May 2003, both superbly engineered by Tom Wallace. It represents the first recording of Durrant exclusively using a computer, and points to a new direction for the London scene, one more organic and less directly rooted in the free improvisation of the 1980's. open largely consists of tiny, connected events, never drifting into excessive caution, always taking risks and ceaselessly pressing against the overhanging silence." Matt Davis: (field recordings, electronics, trumpet); Phil Durrant: (software synths and treatments); Mark Wastell: (amplified textures).
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ERST 024CD
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"Sachiko M and Ami Yoshida, both from Tokyo, met in 1997 and formed the duo of Cosmos the following year. Sachiko M has developed a unique style utilizing a memory-free sampler, creating pure, piercing sine waves with the device's built-in test tones and noise. Ami Yoshida strives to create a pure sound, abstracting her voice until it becomes almost completely unrecognizable. Though both women reside in Tokyo, Cosmos only perform together occasionally, so each meeting is very special. Tears is taken from two of those rare encounters, in September 2001 and February 2002. Sachiko and Ami incrementally build an atmosphere of fragile, yet deeply focused, intensity, forging a symbiotic fusion between human and electronic expression."
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ERST 019CD
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"Kelley and Lescalleet first met in early 1998. The following year, Lescalleet joined nmperign for the first in a series of collaborations culminating in the release of a split CD In Which the Silent-Partner Director Is No Longer Able to Make His Point To The Industrial Dreamer (Intransitive). Eventually, the duo project documented here materialized: the outcome of three years of enthusiastic aesthetic discussions, performances containing near silences one night or (literal) showers of sparks on another, countless phone calls and emails, and endless listening. Forlorn Green is the end result of four recording dates, two live collaborations, one recording of Kelley solo, and one recording of Kelley under Lescalleet's direction, employing uncommon recording equipment and unconventional techniques. Forlorn Green merges a remarkable variety of neo-industrial rumbles and incisive interruptions, all flawlessly fused and integrated, creating a lo-fi concréte masterpiece."
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