Sub Rosa is the home of "out-of-range" artists that share a passion for music, in every form possible. They may hail from Japan, UK, USA, Germany, from all over the world, but they all share a common taste for experimentation -- not necessarily in a radical way, but often closer to some level of "abstract" forms of expression. The proof that besides the commercial circuit and the deep underground movements... there is life! The label creates connections between past, present and future. The perfect example would be the Noise Anthology series, which reaches back into the past and unlocks the vaults that offer a selection of rare and unreleased "early-electronicians," as well as presenting contemporary artists who are well ahead of their time but who are thinking in the same ways as their elders did, trying to push forward both art and music. Other releases from Luc Ferrari, Martyn Bates, Eyeless In Gaza, Stephen Vitiello, Brion Gysin, Winter Family and a fantastic release of Persian electronic music.
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SR 508LP
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$23.50
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RELEASE DATE: 4/16/2021
British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (EDRM 427CD, 1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson, and Hussein Chalayan, amongst many others. Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life. The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3). Each of the films is realized through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square meters in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera. Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic. Introspective and lyrical, Staging Silence offers listeners a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many feel disconnected from the surrounding world. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.
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SR 504LP
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$15.50
PREORDER
RELEASE DATE: 4/9/2021
Rawfrücht's classic 1996 album, available for the first time on vinyl. Recorded in late 1996 and released in early 1997, this first album from the power trio Rawfrücht (two guitars plus percussions), defies and questions the definition of genres, eras and musical movements. Ranging from minimal meditative dronish soundscapes, perfect for introspective journeys, to more "groovy" moments, from noise rock to free rock-but-not-post rock unstable patterns -- sometimes even within a single track -- this album is a ride on undefined roads, no maps allowed, just instinct and the energy to always go further and deeper into charting new sonic territories. After the release of this first untitled album, names like those of Marc Ribot, Sonic Youth, or King Crimson were frequently associated to it. But this doesn't really define what this album, released for the first time on LP, really is about. Two guitars and drums. Swell Maps meet Parliament, shades of Hendrix. Can-erisms catching up with the ramblings of Gastr Del Sol. Secret and reserved side in the best tradition of the Chicago School: Tortoise, Rome, etc. Rawfrücht was a powerful trio from Brussels, based on two guitars: Hugues Warin and Teuk Henri (Sharko, Juniper Boots), and a drum: Thomas Van Cottom (Cabane, Venus).
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SR 513LP
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$15.50
PREORDER
RELEASE DATE: 2/5/2021
Hastings of Malawi release their third LP. In this bleak vinyl mid-winter, the sleigh bells have been replaced with twelve handsaws, two motors and a dustbin, a duet between a walrus and an autistic child on an airplane, a chorus of pigs and Tasmanian devils, sounds from Japan, China, Africa, Italy, India, and Hawaii, digital voice synthesis, sound sculptures, randomly generated music, Geiger counters, free improvisation, and a rocket engine. As with their first two albums this record continues to explore themes of communication and communication breakdown. Is communication possible? What is the message? What is sound? What is on the surface of a record? What is beneath the surface of a record? Hastings of Malawi provide the answer to these questions in the form of a 38-minute poem called Axial Incidents. Marbled purple vinyl.
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SR 484CD
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Palo Alto's tenth album was born from two ambitions: to pay tribute to Soft Machine's Third (1970) on form (four sides/four titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The four long pieces of this double concept album were developed over two years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto. Difference and Repetition features Richard Pinhas, Thierry Zaboitzeff (Art Zoyd), Alain Damasio, and Rhys Chatham.
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with ten albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox), and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox...) Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll, or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule...
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SR 484LP
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Double LP version. Gatefold sleeve. Palo Alto's tenth album was born from two ambitions: to pay tribute to Soft Machine's Third (1970) on form (four sides/four titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The four long pieces of this double concept album were developed over two years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto. Difference and Repetition features Richard Pinhas, Thierry Zaboitzeff (Art Zoyd), Alain Damasio, and Rhys Chatham.
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with ten albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox), and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox...) Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll, or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule...
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SR 502CD
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The Fall is a deconstruction of November by Dennis Johnson. Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66-minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduce Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echoes November, but with further resonance. Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France. Double-LP version comes on white vinyl.
Lustmord, active since 1980, was born of the original "industrial" scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television, and commercials. Recently, Lustmord scored the music for Paul Schrader's movie First Reformed (VAULTWORK 331CD/LP, 2019). While Lustmord is often credited for creating the "dark ambient" genre there is much more nuance to its work than what that label implies. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park, and Robert Rich.
Nicolas Horvath, an unusual artist with an unconventional résumé, pianist, and electroacoustic composer is known for his boundary-less musical explorations. Horvath is both an enthusiastic promoter of contemporary music -- he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran, and Valentyn Silvestrov -- and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.
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SR 486CD
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Since the early '90s, the Belgian duo Silk Saw has pioneered nearly unclassifiable electronic music at the forefront of experimental and avant-garde. Their 12th album is a contiguous expansion of the universe created in Imaginary Landscapes, the previous album published on Kotä in 2015, blending sweet and bitter in languorous and enigmatic melodies that float on intriguing pounding polyrhythms. With the release of Nothing Is Finished / Everything Starts on Sub Rosa, Marc Medea and Gabriel Séverin are back home, since their very first trial, Musique du garrot et de la feraille -- under their strange "modern dada" alias, Jardin d'Usure -- was released in 1994 (followed by the first two Silk Saw albums from 1996 and 1997). Now more than ever, without compromise, the duo makes full use of complex tools like frequency modulation, granular and morphing synthesis. In an array of delightful to jarring surprises, a sinuous ballad will be troubled with remote blasts, or abruptly interrupted by a collapse of the base. While the tracks resonate fundamentally with a feeling of falling, failing, decay, the sleeve picture conveys that destruction is in fact where everything starts. Broken rhythmics, deliquescent soundscapes infiltrated in fragmented rooms and corridors... When the roughness of some deflagrations meets the accuracy of textures. Russell Haswell meets Autechre.
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SR 502LP
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Double LP version. White vinyl. The Fall is a deconstruction of November by Dennis Johnson. Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66-minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduce Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echoes November, but with further resonance. Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.
Lustmord, active since 1980, was born of the original "industrial" scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television, and commercials. Recently, Lustmord scored the music for Paul Schrader's movie First Reformed (VAULTWORK 331CD/LP, 2019). While Lustmord is often credited for creating the "dark ambient" genre there is much more nuance to its work than what that label implies. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park, and Robert Rich.
Nicolas Horvath, an unusual artist with an unconventional résumé, pianist, and electroacoustic composer is known for his boundary-less musical explorations. Horvath is both an enthusiastic promoter of contemporary music -- he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran, and Valentyn Silvestrov -- and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.
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SR 486LP
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Since the early '90s, the Belgian duo Silk Saw has pioneered nearly unclassifiable electronic music at the forefront of experimental and avant-garde. Their 12th album is a contiguous expansion of the universe created in Imaginary Landscapes, the previous album published on Kotä in 2015, blending sweet and bitter in languorous and enigmatic melodies that float on intriguing pounding polyrhythms. With the release of Nothing Is Finished / Everything Starts on Sub Rosa, Marc Medea and Gabriel Séverin are back home, since their very first trial, Musique du garrot et de la feraille -- under their strange "modern dada" alias, Jardin d'Usure -- was released in 1994 (followed by the first two Silk Saw albums from 1996 and 1997). Now more than ever, without compromise, the duo makes full use of complex tools like frequency modulation, granular and morphing synthesis. In an array of delightful to jarring surprises, a sinuous ballad will be troubled with remote blasts, or abruptly interrupted by a collapse of the base. While the tracks resonate fundamentally with a feeling of falling, failing, decay, the sleeve picture conveys that destruction is in fact where everything starts. Broken rhythmics, deliquescent soundscapes infiltrated in fragmented rooms and corridors... When the roughness of some deflagrations meets the accuracy of textures. Russell Haswell meets Autechre.
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SR 501CD
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$15.50
PREORDER
RELEASE DATE: 12/11/2020
"The end sounds like the angels opening up heaven... Should we say euphoria?" This is Julius Eastman himself, speaking about Femenine, a piece that remains as a big and slow breathing, with something informal driving the listener to a near-hypnosis state. J.E. (1940-1990): There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic -- undoubtedly also one of the most powerful. And it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy. Performed by ensemble 0: Variable geometry group created in 2004. It interprets the compositions of its members and pieces by other composers. The group works with many regular and invited collaborators, being able to change, increase or reduce its lineup at will according to each project. Ensemble 0 has now become one of the most significant ensembles of a new sound vision. For this piece, ensemble 0, including this time Melaine Dalibert (piano), Sophie Bernado (bassoon), Cyprien Busolini (viola), Jozef Dumoulin (Fender Rhodes, synthesizer), Céline Flamen (cello) Stéphane Garin (percussion, artistic co-direction), Ellen Giacone (voice), Jean-Brice Godet (bass clarinet), Amélie Grould (vibraphone), Alexandre Herer (electronics), Tomoko Katsura (violin), Julien Pontvianne (saxophones, orchestration, artistic co-direction), and Christian Pruvost (trumpet).
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SR 500CD
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The Acid Lands, created by the Prague-based Opening Performance Orchestra, was first heard in public in 2014 at the Movement-Sound-Space festival in Ostrava, to mark the centenary of William S. Burroughs's birth. The piece was performed live by Opening Performance Orchestra and their guests, the theremin player Martina Potucková, and the poet, musician, and performer Pavel Z as the narrator. The studio version of The Acid Lands was made in late 2019/early 2020 in collaboration with Bill Laswell and Iggy Pop, who undertook the role of the narrator. The piece, which pays tribute to William S. Burroughs, features fragments from the novels The Western Lands (1987) and Junkie (1953). In addition to the title composition, The Acid Lands, the record contains Bill Laswell's instrumental remix, as well as the collective piece "Naming Seven Souls", featuring samples of William S. Burroughs reading his own work.
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SR 500LP
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LP version. Gatefold sleeve. The Acid Lands, created by the Prague-based Opening Performance Orchestra, was first heard in public in 2014 at the Movement-Sound-Space festival in Ostrava, to mark the centenary of William S. Burroughs's birth. The piece was performed live by Opening Performance Orchestra and their guests, the theremin player Martina Potucková, and the poet, musician, and performer Pavel Z as the narrator. The studio version of The Acid Lands was made in late 2019/early 2020 in collaboration with Bill Laswell and Iggy Pop, who undertook the role of the narrator. The piece, which pays tribute to William S. Burroughs, features fragments from the novels The Western Lands (1987) and Junkie (1953). In addition to the title composition, The Acid Lands, the record contains Bill Laswell's instrumental remix, as well as the collective piece "Naming Seven Souls", featuring samples of William S. Burroughs reading his own work.
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SR 497CD
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Brussels-based string quintet BOW celebrates musical freedom. Juggling between their own written music and pure improvisation, the ensemble has worked since its creation on a personal and modern approach, digging into their instruments' capabilities and blending a large scope of influences. Its debut eponym album, due to be released on Sub Rosa, gathers five instantly-composed pieces that were recorded live by Christine Verschorren in the Echo Collective studio in Brussels. During the day, BOW repeated musical concepts, textures, and interactive games. Then, during the night, with the machine already well-oiled and the musicians free of all expectations, the ensemble embarked out into the unknown, discovering with wonder unexplored sonic territories, delivering a deep and profound music woven with five strands of yarn. Over the years, BOW has collaborated with artists such as jazz singer Melanie De Biaso, composer Laurent Plumhans, VJ Dirty Monitor, Théâtre de l'Ancre, and most recently with the gypsy guitarist Myrddin De Cauter as well as Aidan Baker. A first EP was released in 2019 on Icarus Records, a live radio session duplicated on limited cassette edition. BOW is an ensemble made up of the musicians Margaret Hermant (Echo Collective) and Benoit Leseure on violin, Jean-François Durdu on viola, Marine Horbaczewski on cello, and Cyrille de Haes (Otto Lindholm) on double bass.
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SR 497LP
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LP version. Brussels-based string quintet BOW celebrates musical freedom. Juggling between their own written music and pure improvisation, the ensemble has worked since its creation on a personal and modern approach, digging into their instruments' capabilities and blending a large scope of influences. Its debut eponym album, due to be released on Sub Rosa, gathers five instantly-composed pieces that were recorded live by Christine Verschorren in the Echo Collective studio in Brussels. During the day, BOW repeated musical concepts, textures, and interactive games. Then, during the night, with the machine already well-oiled and the musicians free of all expectations, the ensemble embarked out into the unknown, discovering with wonder unexplored sonic territories, delivering a deep and profound music woven with five strands of yarn. Over the years, BOW has collaborated with artists such as jazz singer Melanie De Biaso, composer Laurent Plumhans, VJ Dirty Monitor, Théâtre de l'Ancre, and most recently with the gypsy guitarist Myrddin De Cauter as well as Aidan Baker. A first EP was released in 2019 on Icarus Records, a live radio session duplicated on limited cassette edition. BOW is an ensemble made up of the musicians Margaret Hermant (Echo Collective) and Benoit Leseure on violin, Jean-François Durdu on viola, Marine Horbaczewski on cello, and Cyrille de Haes (Otto Lindholm) on double bass.
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SR 487LP
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Ars Subtilior (14th Century) and the Noise: the two inspirations of Christophe Guiraud which are like two rivers which are woven in a writing of great power. The young French composer is the link between the most accomplished scholarly music and some radical aspects of noise. Born in Toulouse mid-seventies, he settles in Brussels -- which becomes the crossroads of a continuous creation. He currently works and has been collaborating since several years with numerous European ensembles and musicians such as Ensemble Ictus, Phønix16, Tom Pauwels, Timo Kreuser, Ensemble 21, Sturm und Klang. His most recent pieces intimately mix instrumental timbre and sound hybridization, cultivating a certain secrecy around this alchemy. On Kutra Bégulma * Unfinished Altar more than everywhere else, Christophe Guiraud's compositions create a dialog between the times, from the polyphony of Ars Nova to Spectralism, while integrating his noise heritage. Resolutely an-historical, the last pieces presented here unfold in a trembling stagnation. The ensemble of the pieces creates coherence across a wide range of musicians coming from different places and traditions and from different ensembles -- everything is woven together towards a rather spectacular conclusion: Tarentule Ensemble (Paris), Phønix 16 Ensemble (Berlin), Laps Ensemble (Brussels) with the support of Bernard Sberro (Tel Aviv), Julien Boutonnier (Toulouse) Pauline Claes (Brussels), Jessica Constable (London), and Iris Terdjiman (Napoli). Green vinyl; includes insert.
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SR 499CD
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From Mille Plateaux to Leaf, Staubgold, and Raster-Noton, ~scape, among others, or on his own label Ripatti, the Finnish artist Sasu Ripatti, aka Vladislav Delay, has been exploring various iterations of the "dub culture vs. electronica", since 1997. His sonic crafts and unique signature sound have been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective, or AGF. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar, and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing, and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the "dub spirit", but in a very personal way, far beyond any influence or "the obvious". 500-Push-Up is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments -- for instance -- such as Lee Perry's Scientist Rids The World Of The Evil Curse Of The Vampires (1981) or the On U-Sound productions. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being influenced, Vladislav Delay is building a drifting and coherent sound enigma. Personnel: Vladislav Delay - electronics, sampling, percussion; Sly Dunbar - drums; Robbie Shakespeare - bass. CD version includes two additional tracks.
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SR 499LP
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Repressed; LP version. From Mille Plateaux to Leaf, Staubgold, and Raster-Noton, ~scape, among others, or on his own label Ripatti, the Finnish artist Sasu Ripatti, aka Vladislav Delay, has been exploring various iterations of the "dub culture vs. electronica", since 1997. His sonic crafts and unique signature sound have been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective, or AGF. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar, and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing, and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the "dub spirit", but in a very personal way, far beyond any influence or "the obvious". 500-Push-Up is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments -- for instance -- such as Lee Perry's Scientist Rids The World Of The Evil Curse Of The Vampires (1981) or the On U-Sound productions. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being influenced, Vladislav Delay is building a drifting and coherent sound enigma. Personnel: Vladislav Delay - electronics, sampling, percussion; Sly Dunbar - drums; Robbie Shakespeare - bass.
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SR 469CD
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Through Experimental & Parametric Music 1976-2017, more than 40 years of composer Joris De Laet's work is unveiled. The collection discovers for the first time the great coherence of this work: from "Signalisations" (1976) to "Mnemosyne Pour Une Acousmaman" (2017). The compositions are annotated and explained in detail by the composer, as well as a kind of wild autobiography. Released in Sub Rosa's Early Electronic series.
Joris De Laet was born in 1947. Belgian by birth, self-taught by definition, parametric music and art video composer by choice. Founder of the S.E.M. (Studio voor Experimentele Muziek) in Antwerp, 1973. Internships at the IPEM (Instituut voor Psychoakoestiek en Elektronische Muziek) in Ghent, 1972-1975, under Karel Goeyvaerts, Lucien Goethals, and Dr. Herman Sabbe. De Laet is the founder of the SEMensemble, a group of musicians-composers specialized in performing experimental music and live electronics. From 1975 until 1990, he gave concerts with this ensemble throughout Europe (Germany, France, The Netherlands, Austria, Poland, Croatia, etc.) and in Canada (Montreal, Kingston, Toronto). Inspired by the deep control on electronic sonics, De Laet has been defining his work since 1979 as "Parametric Music", music where composition is based on transformation flows of one or several parameters, selected by the composer, that form, through their converging (or diverging) processes the main characteristics of the regulated sonics of the composition. Double-CD version comes in a digipack; includes 20-page booklet.
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SR 469LP
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Double LP version. Includes insert. Through Experimental & Parametric Music 1976-2017, more than 40 years of composer Joris De Laet's work is unveiled. The collection discovers for the first time the great coherence of this work: from "Signalisations" (1976) to "Mnemosyne Pour Une Acousmaman" (2017). The compositions are annotated and explained in detail by the composer, as well as a kind of wild autobiography. Released in Sub Rosa's Early Electronic series.
Joris De Laet was born in 1947. Belgian by birth, self-taught by definition, parametric music and art video composer by choice. Founder of the S.E.M. (Studio voor Experimentele Muziek) in Antwerp, 1973. Internships at the IPEM (Instituut voor Psychoakoestiek en Elektronische Muziek) in Ghent, 1972-1975, under Karel Goeyvaerts, Lucien Goethals, and Dr. Herman Sabbe. De Laet is the founder of the SEMensemble, a group of musicians-composers specialized in performing experimental music and live electronics. From 1975 until 1990, he gave concerts with this ensemble throughout Europe (Germany, France, The Netherlands, Austria, Poland, Croatia, etc.) and in Canada (Montreal, Kingston, Toronto). Inspired by the deep control on electronic sonics, De Laet has been defining his work since 1979 as "Parametric Music", music where composition is based on transformation flows of one or several parameters, selected by the composer, that form, through their converging (or diverging) processes the main characteristics of the regulated sonics of the composition.
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SR 496CD
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The composition Radio Music Extended, performed by Opening Performance Orchestra, draws upon the concept John Cage brought to bear in his piece Radio Music from 1956. In collaboration with the Tesla Museum in Trest, whose collections include unique exhibits of radio electronic and audio-visual devices, the 72-minute piece Radio Music Extended came into being during a private live performance in July 2018. The seven members of Opening Performance Orchestra and two alternating guests operated 13 historical radio sets, dating from between 1935 and 1961. Over the past 60 years or so, the content of the broadcast band of the airwaves has significantly changed, yet the acoustic environment has remained highly variegated, providing a novel quality of sound. Used radios at eight workstations for the performers: Empo Radio, Major 413 (1940) Tesla Jalta 28063 'T61' (1961) Bezdra Special 47 (1947) Philips 450 A-14 (1938) Tesla 420U (1956) Iron Brno, Penta (1941) Blaupunkt Ideal Radio, S6640 (1940) Microphona MK304 (1935/36) Philips BA21 1U Grandezza (1954) Tesla 306U Talisman (1954) Tesla 406U Vlatva (1952) Resla Copélia 1107A (1961) Resla 409U (1954).
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SR 066LP
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For many, the first traces of the Raudive Tapes were in William Burroughs's fictions and articles. The fact is, these mysterious magnetic tapes, which capture the voices of the dead, and were recorded by the Baltic scientist Konstantin Raudive, are not a fiction but a reality (in this case, not judging their scientific objectivity). These tapes, as rare as H.P. Lovecraft's Necronomicon, are now in Sub Rosa's archives.
What you'll find in this record: 1. Two introductions by Konstantin Raudive and a large session of examples from his archives (July 1965); 2. Nine extracts from the Gerhard Stempnik experiments -- a musician of the Berlin Philharmonic and close friend of Raudive (tapes from 1980); 3. A Raudive celebration including unpublished material by Paul D. Miller, aka DJ Spooky/That Subliminal Kid, David Toop, Lee Ranaldo (Sonic Youth), Calla, and Carl Michael von Hausswolff. They have all composed an exclusive piece of music based on the Raudive material. It goes from a close examination of the material itself to a more evocative mood.
Who was Doctor Raudive?: Dr. Konstantin Raudive, a student of Carl Jung, was a Latvian psychologist who taught at the University of Uppsala, Sweden, before devoting the last ten years of his life to electronic voice phenomenon (EVP). He published in his book Breakthrough in 1971. His early collaborator F. Jurgenson, whom he met by the very beginning of 1965, awakened Dr. K. Raudive's interest in EVP research. Raudive spent endless hours for the thorough study of Jurgenson's books (Voices from Space, 1964 and Radio-Link with the Dead, 1967). From an overwhelming database (ranging about 72000 samples!), Raudive's mother seems to be statistically the most frequently reported contact personality. She usually addressed her son in the Latgalian dialect. Includes color insert.
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SR 494LP
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LP version. Orange vinyl; includes poster. Tlamess (Sortilège) is Oiseaux-Tempête's first original soundtrack composed for the second feature film by critically-acclaimed Tunisian director Ala Eddine Slim (Festival de Cannes' 51st Quinzaine des Réalisateurs, BFI London, ADF Argentina, Geneva GIFF, Rome Medfilm Festival, Marrakech International Film Festival). Combining hypnotic feedbacks and synthesizer orchestral work, drifting ambient with shamanic beats, the Tlamess (Sortilège) original soundtrack was entirely improvised while watching the movie's rushes. On those sessions that took place between Mikrokosm recording studios in Lyon and Magnum Diva home studio in Paris, you find Oiseaux-Tempête's quartet core team: Frédéric D. Oberland, Stéphane Pigneul, Mondkopf, and Jean-Michel Pirès (Bruit Noir). Fully instrumental, including extended versions, and unreleased tracks, this immersive film score is also their most electronic album to date. "S, a young Tunisian soldier, has been told that his mother has died, and is given a week's leave. Instead of returning to his military base, he starts to drift and locking himself away in his parents' house. This passive form of desertion culminates in a manhunt through the outskirts of the city. In the second part of this hypnotic diptych, a young woman, F, is also fleeing an oppressive situation. Married to a rich man and pining away in a luxury solitude she decides to flee the golden cage and disappears into the nearby woods. Eventually the two characters will meet inside the strange forest." In his second feature, director Ala Eddine Slim presents an intriguing juxtaposition of raw realism with a hypnotic allegory of contemporary Tunisia, held together by an intense, powerful, and grating soundtrack. Regularly pairing with cinema and photography since their debut, Oiseaux-Tempête also accompanied the work of video/filmmakers As Human Pattern (KHAMSIN, best documentary at Torino Film Festival), Hinde Boujemaa (Noura's Dream, Golden Tanit & Best Actress prizes at JCC Carthage), Léa Fehner (Les Ogres, best film at Cabourg Film Festival), Stéphane Charpentier (The Divided Line, Athens French Institute), Karel Doing (Palindrome Series, International Film Festival Rotterdam), Clément Cogitore (Braguino exhibition at Le BAL), and the Temps Zero live screenings (in Berlin, Paris, Toulouse with photographers Michael Ackerman, Gaël Bonnefon, Adam Cohen, Damien Daufresne, Alisa Resnik, Gilles Roudière, Yusuf Sevincli...)
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SR 494CD
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Tlamess (Sortilège) is Oiseaux-Tempête's first original soundtrack composed for the second feature film by critically-acclaimed Tunisian director Ala Eddine Slim (Festival de Cannes' 51st Quinzaine des Réalisateurs, BFI London, ADF Argentina, Geneva GIFF, Rome Medfilm Festival, Marrakech International Film Festival). Combining hypnotic feedbacks and synthesizer orchestral work, drifting ambient with shamanic beats, the Tlamess (Sortilège) original soundtrack was entirely improvised while watching the movie's rushes. On those sessions that took place between Mikrokosm recording studios in Lyon and Magnum Diva home studio in Paris, you find Oiseaux-Tempête's quartet core team: Frédéric D. Oberland, Stéphane Pigneul, Mondkopf, and Jean-Michel Pirès (Bruit Noir). Fully instrumental, including extended versions, and unreleased tracks, this immersive film score is also their most electronic album to date. "S, a young Tunisian soldier, has been told that his mother has died, and is given a week's leave. Instead of returning to his military base, he starts to drift and locking himself away in his parents' house. This passive form of desertion culminates in a manhunt through the outskirts of the city. In the second part of this hypnotic diptych, a young woman, F, is also fleeing an oppressive situation. Married to a rich man and pining away in a luxury solitude she decides to flee the golden cage and disappears into the nearby woods. Eventually the two characters will meet inside the strange forest." In his second feature, director Ala Eddine Slim presents an intriguing juxtaposition of raw realism with a hypnotic allegory of contemporary Tunisia, held together by an intense, powerful, and grating soundtrack. Regularly pairing with cinema and photography since their debut, Oiseaux-Tempête also accompanied the work of video/filmmakers As Human Pattern (KHAMSIN, best documentary at Torino Film Festival), Hinde Boujemaa (Noura's Dream, Golden Tanit & Best Actress prizes at JCC Carthage), Léa Fehner (Les Ogres, best film at Cabourg Film Festival), Stéphane Charpentier (The Divided Line, Athens French Institute), Karel Doing (Palindrome Series, International Film Festival Rotterdam), Clément Cogitore (Braguino exhibition at Le BAL), and the Temps Zero live screenings (in Berlin, Paris, Toulouse with photographers Michael Ackerman, Gaël Bonnefon, Adam Cohen, Damien Daufresne, Alisa Resnik, Gilles Roudière, Yusuf Sevincli...)
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3CD
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SR 478CD
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Wall of Sound is a music of sonic sensations. It is a physical and sensual approach to the phenomenon of thick sound worlds. Sound waves become physical objects, four-dimensional sonic sculptures to be experienced, bodily and mentally. Ulrich Krieger's Wall Of Sound is a series of CDs about music that invites the listener to indulge themselves in sound. It doesn't guide an audience through a narrative, like a song, but offers the listener slow changing and developing soundscapes, acoustic sculptures, to immerse themselves in. How listeners move in and through these sounds is up to them: meditative drifting along, focusing on certain small details of sounds, letting themselves be taken away by emerging psycho-acoustic phenomena or going back and forth between listening attitudes. Wall Of Sound features compositions by: James Tenney, John Cage, Alvin Lucier, Phill Niblock, Philip Glass, Steve Reich, Terry Riley, Lee Ranaldo, Boris Hegenbart, Zbigniew Karkowski, Ulrich Krieger, John Duncan. 3CD set comes in a digipack; includes 16-page booklet.
Ulrich Krieger is well known as a saxophone player in contemporary composed and free improvised music as well as a composer of chamber music and electronic music. His recent focus lies in the experimental fields and fringes of contemporary pop culture: somewhere in the limbo between noise and heavy metal, ambient and silence. He also arranged works by Merzbow, Throbbing Gristle, Deicide, Terry Riley, Henry Cowell, and others for chamber ensemble. He collaborates with: Lou Reed, LaMonte Young, Phill Niblock, Text of Light, Lee Ranaldo, John Duncan, Zbigniew Karkowski, Thomas Köner, DJ Olive, Christian Marclay, Kasper T Toeplitz, Antoine Beuger, Radu Malfatti, Mario Bertoncini, Michiko Hirayama, Miriam Marbe, Hans-Joachim Hespos, Ensemble Modern, Berliner Philharmoniker, Soldier String Quartet, zeitkratzer, just to name a few. Krieger has received prizes, grants and residencies from: Kunststiftung Baden-Württemberg, Villa Aurora Los Angeles, Deutsches Studienzentrum Venedig e.V., Akademie der Künste Berlin, "Meet-the-Composer" Forum New York, DAAD, Darmstädter Ferienkurse für Neue Musik, and many others. Since 2007 he lives in Southern California, where he is associate professor for the composition faculty at the California Institute of the Arts in Los Angeles.
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SR 094LP
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25 years ago, David Shea released a crafty piece of complex philosophical and narrative audio collage: The Tower of Mirrors. Composed and produced in New York City, during September-October 1995, it includes 24 tracks, and features guests such as David Morley on analog synthesizer programming, Dave Douglas on trumpet, Zeena Parkins on piano and prepared piano, and Jim Pugliese on percussions. This is what David Shea had to say about it in 1995: "In 1994, I wrote a work based on the Hsi-Yu Chi novel for a large ensemble and sampler which used the 100 chapters as a map for creating an independent musical work. The Tower of Mirrors is a work that began as a collection of pieces for sampler solo and for sampler and solo instrumentalist. A series of 'mirrors' for solos and duos based on parts of the novel. Also, a collection of tributes to composers in ambient dance music, exotica, easy listening film music and experimental music formed separate points of entry. In particular, many of the great arrangers and composers of the period from 1955-64 who were the pioneers of stereo recording such as: Esquivel, Marty Gold, The Three Suns, André Popp..." 2019, looking into the (in)side mirror, David Shea says more about this particular experiment: "I'm reflecting today on the period of my life where I was immersed in the Chinese mythological Taoist/Buddhist stories of the Monkey King - Sun Wu Kung - titled, in English, The Journey to the West. I was also lost in sea of Hong Kong films and living in New York working in many of John Zorn's projects (Elegy being one of many high points) . . . Tower of Mirrors became a defining cross into to the last 20 years of my life. I felt thrown into the ethersphere during the years of 94-95 myself and I could not be more grateful to have created during and survived that time. I collaborated with so many during my travels and the credits are full of the people I was so lucky to have crossed paths with. I began a different path soon after this, with my interest in exploring Italian and Irish roots and reflecting on my teenage years of studying Taoism, Chan Buddhism, meditation, and martial arts and what followed was a long period of influence from Giacinto Scelsci and Luc Ferrari to traditional Chinese and Buddhist music..." The Tower of Mirrors was the third album of David Shea released by Sub Rosa.
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