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Sponsored content must be editorially independent content that is just as valuable, unbiased and reliable as all other Reuters news content. MR "For over four decades, Reiko Omura and Tori Kudo have endlessly woven themselves throughout the avant-garde and underground scene of Japan. Simultaneously tense and beautiful, echoes of Tenno can be found resonating in the work of their contemporaries and countless others spanning the past 40 years and an infinite amount more to come.
Just past it's 40 year anniversary, Moone Records is elated to announce the first edition of Tenno released outside of Japan as a LP in a limited first run of copies -- bringing the monumental release back into print on vinyl for the first time in 23 years. In fact it was the last residence of Charles Gocher who passed away in there only a few months after this session.
LP record follows the 10" called "Gitanjali". Despite the similarity in title, the two records contain completely different material from the same session.
From Alan Bishop's liner notes: "One night when I slept on the sofa, serenaded to sleep by the polyrhythmic purring of our guests, I dreamt that Lyndon Johnson sent this outfit into the jungle all alone to battle the Viet Cong.
After three or four days of producing slow burning sound signals curling in and around the foggy Mekong, Charlie fled en masse to Cambodia to do a photo shoot with Dennis Hopper. They have toured North America and Europe although have rarely played live in later years.
Limited edition of copies on gram vinyl pressed by RTI. Metalic gatefold sleeve. The fifth album by Nurse With Wound, originally released in Music and sleeve created by Steven Stapleton. The album is 'a step on from the Dadaist rock of 'Merzbild Schwet', with much use of tape manipulation and classical avant-garde techniques'.
The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track 'Astral Dustbin Dirge'.
This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the 'silver collection' of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original cut.
This inspired Nurse With Wound, which, as an illustration, gives us here a new piece of unpublished music. In Zurich, he animated the Cabaret Voltaire with Hugo Ball; in Paris, he then inspired some surrealists in the making.
Writer, poet and essayist of Romanian origin, Tristan Tzara Samuel Rosenstock, is one of the founders and the main representative of the Dada movement. Second edition French [language] edition, 10 x All the little shamanic stuffed deities inhabiting the carillon added their souls to the spirit of the reverberating songs, including a song in memory of Mika Vainio. Gatefold sleeve.
Includes liner notes French and English. A renowned member of the prestigious GRM Groupe De Recherches Musicales, the French equivalent of the BBC Radiophonic Workshop and frequent collaborator of Pierre Schaeffer, Iannis Xenakis, and Pierre Henry, among others, Bernard Parmegiani does what he does best with these two rare soundtracks: create moods with electroacoustic experimentation, elevating the weird and hypnotic with soundscapes from other dimensions, and cementing his status as a true innovator.
Compared to earlier recordings, Magnet Hill is rather minimal and mainly based on guitar, that "a murky sub-underground feel resembling South Island NZ pop played inside of an armored car" line may still be somewhat on point, but these two downer gems are deeply rooted somewhere else. Both sides ends with two short pieces ending up in locked grooves. 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 s 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. FKRLP "Within the elusive confines of this film awaits an unreleased album that defies categorization by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, krautrock, and pioneering synthesizer composition - not to mention sound design and art-house film scores.
Despite Druillet's large number of collaborations, it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.
Licensed with the full cooperation of composer Alain Pierre and remastered from the original master tapes. This release features two previously unreleased tracks.
Francis Plagne's work straddles songwriting, electronic composition, and improvisation and has appeared on Kye, Penultimate Press, Black Truffle, and Albert's Basement as well as his own Mould Museum imprint. His first for Horn of Plenty, 'Rural Objects' was recorded to tape at home in Melbourne between Plagne uses guitar, fretless bass, synths, keyboards, percussion, flute, bottle plus a guest turn from Joe Talia on drums to sketch 14 'objects' which glide from the bucolic to the ethereal.
NOM10 "Points of Friction scrapes together a mind-bending menagerie of sound from the panorama of objects and equipment they work with. Their process-oriented artistry invokes apparitions of the ear, with multi-dimensional sonic textures that span from quirky, seductive lullabies to revolting sensual assaults.
Points of Friction made contact in the extremely beige but earthquake famous San Fernando Valley, a suburb of Los Angeles and home also to the infamous Manson Family. Tim Alexander and Kenny Ryman Paper Bag served together as psychedelic altar boys at the age of nine.
Kenny was from a musical family, so he had developed a set of ears from an early age. Becoming reacquainted among a few self-described social outcasts at Los Angeles Pierce College aroundthey gravitated to the art department where they encountered a cast of characters.
Relieved and excited to discover other freaks, they soon evolved an excuse for converging: making noise. Originally inclusive and spontaneous, their noise was extracted from everyday objects, and recorded with built-in condenser mics on primitive equipment.
They soon adopted some recording gear and musical instruments but no musical training. The unorthodox exploration of keyboards, guitars, toy instruments, the assemblage of field recordings, noise improvisations, and tape loops tantalize the senses with arousing emotive power. The opus title track is a compendium of improvisational soundings and field recordings that include a chorus of squeaky swings, a cat's purring, snapping shrimp, a diseased lung, and cacophony on a yard sale card rack. Exquisitely abrasive and haunting tracks 1 through 6 yield to the perfumed machinery and melodious hypnosis of the remaining tracks.
All were originally performed under cover of live film and slide projections with optical manipulations at alternative music venues in and around Los Angeles including Al's Bar, the Anti-club, Los Angeles Contemporary Exhibitions LACEetc.
Every piece on this album has such currently archived visual underscoring. Re-released on CD, the disc is lavishly packaged in beautiful silver and black in an eye-rattling multi-paneled silk-screened die-cut cover that undermines perception in the friction manner.
The low-key intensity of Points of Friction may affect heart rates and breathing patterns. It is probably best listened to in a darkened room. Mainly LP made up of vocal-jaxx loops, dry breath and child chatter. It's the final four minutes of a longer live jam. No overdumps! An improvisation. An exploration of sharp pencil tap and wickedly pinched spools. Plays at 45rpm. Recorded in the composer's studio in Paris. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until Archival images included in the accompanying booklet.
He was also assistant to Harry Partch and performed in the Gate 5 Ensemble in the s. Throughout his extensive recordings and live performances, Ranta has furthered the trajectories of contemporary percussion composition alongside works for tape and electronics. His works are fully immersive which evoke vast spaces, ritual, and create an expansive presence for his accompanying multimedia commissions. This highly detailed composition for electronics, voice, percussion, and tape offers a massive drone-based accompaniment for Chen's stage presentation of the legend of Meng Jiangnu.
Yet, Ranta's composition also creates a fully formed soundtrack that stands beautifully on its own. The atmosphere is very much in the spirit of Kosugi's multimedia masterwork 'Catch Wave' and Jean Clade Eloy's large-scale production 'Yo-In' which also features Ranta.
An early version of this piece originally premiered as part of a multimedia installation at the summer Olympics in Munich. This powerful work for tape and electronics includes Ranta's field recordings documenting his travel in Laos during a lunar eclipse earlier that same year.
The piece is a haunting and equally frantic work where the local villagers are heard responding quite emotionally and viscerally to the celestial event of the day. This version is featured here in its entirety.
Packaged in a six-panel digipak with fully remastered and restored audio. Includes detailed notes by Michael Ranta and features new artwork by Timo van Luijk. SVLP "'Terminal Drive' is studio recording of a mythical piece of electro-acoustic music composed and performed in by Allen Ravenstine b. The single-sided LP is pressed on red vinyl and includes extensive liner notes written by Nick Blakey and never before published photos along with a free download card.
Different Colours For Me. OM RENTAL 01 "On an unassuming cassette, just labelled Robert Rental in green Dymo tape, these demos have lain unheard for years amongst his family's treasured possessions, cared-for artefacts of a life cut short far too soon. These songs, which Robert recorded in his council flat in Battersea inprovide an enticing glimpse into his all-too-infrequent solo work.
These are rough recordings, tape hiss still in evidence, but his creativity shines through the murk, like uncut diamonds. With these recordings Robert appears to be moving towards more recognizable song structures than most of his earlier work, which could be wildly experimental and would often involve found recordings taped directly off television. We know two of these tracks from their later re-recording for the Mute Records single 'Double Heart' late in Robert spoke to friends of his frustration at being unable to replicate his sound in a commercial studio - it was these demos' sound that he wanted to recreate.
Sometimes having only access to the most rudimentary of equipment can hone the creative talent into something sharper and more focused - necessity is the mother of invention, indeed. The basic recordings started inhowever the period of reworking and transformation to is more important. All vocal parts and general revisions were done during this period. Track 1 relies on George Antheil's 'Ballet Mecanique'; track 3 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.
Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P 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. Ltd to copies" packaged in mini-LP sleeve. NOM27 In the 25th year of Ralf Wehowsky's recording career, Anomalous Records presents his first truly solo release featuring four new compositions based on instrumental improvisations.
Using simple devices tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. Each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. The disc opens with a minute piece of mysterious and drifting electronic tones.
Other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. He is the founder of the now defunct group P D4 and the still active label Selektion. Spontaneous event and reconstruction shadow each other closely here.
Four self-programming occillators, controlled by wheels rather than a keyboard, interact to create a densely striated corridor or sound on the protracted opening composition. Shorter, more understated but no less arresting, the next two pieces have the feel of secret rituals conducted in private.
On the first, four spontaneous musical actions, mostly involving Orff percussion instruments designed for children, are reworked into a profoundly meditative sequence, marked by the chiming of bells. The second, in which two music boxes are manipulated, squeezed and muted, transforms the mechanistic renderings of half-forgotten tunes into a series of encrypted memories. Coming in on a single thin line of feedback, the fourth and final composition combines elements of the previous three, plus recordings of electric guitar run backwards and forwards into an uncluttered but complex series of structures and interactions.
Serious minded yet subtle, unhurried and unforced, Views is a work of deep coherence, vitality of content and unquestionable richness. ANO2 limited edition of copies of which only are for sale with unique hand made collages on every cover. A press release accompanying the cassette painted a picture of two pre-Raphaelite synthesizer knob-twiddlers who in between repatching their VCS3's went for long walks in flowing robes on Blackheath. Until they realized that all was not as it seemed.
In addition to running the label, Philip was one half of the DIY electronic group Storm Bugs, and regularly collaborator with a then unknown musician by the name of David Jackman one of these tracks they did together was recent issued on a 10" by Die Stadt. The first track Bright Waves an earlier version of the track on the Cherry red LP with its fragile wispy vocals that blow in and out on a tape delay breeze certainly adds credence to the Claire and Susan subterfuge.
However the rest of the music on the CD suggest that this was more than a Situationist prank. The description on the sleeve of the music as "a study in repetition and change using two different sources and two different treatments Recorded live, the VCS3 triggered by a sequencer feeds in a set of constantly chattering rhythms.
As the loops pass repeatedly over the tape heads the sound gradually degrades turning eventually into pure white noise. What starts out as a polyrhythmic perversity, somewhat akin to electronic tap dancing, builds into a wall of sound. Unlike the other tracks, this was done in collaboration with fellow Storm Bug Steven Ball. Using a low-tech five-minute answer-phone cassette loop with the erase head disabled, the two built up a montage of sounds which were fed through a home-made ring modulator.
The music of Reprint is a peculiar combination of academic rigor married to an inverted pop art aesthetic. For whereas pop art incorporated the cheap intoxication's of consumer culture into the supposed lofty rooms of high art, here was an attempt to incorporate the form or perhaps just the smell high art into the low brutality of DIY electronics. Fall into the ambient vastness, let yourself go It was played in the Kawaji hot spring's Ojika river valley, with 8 gigantic loudspeakers set up on hills surrounding the stream and connected to an octuple channel-tape system - thanks to a combined length of cables exceeding one kilometer -- while artificial fog rose from a ravine and laser beams shot up on the mountains.
Cinematic and resonating, this breathtaking piece from Somei Satoh is a transcending sonic experience. Deep deep deep into the abyss The Mandala Trilogy blends Somei Satoh's own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness.
It includes three pieces recorded separately. Included as a bonus is the minute "Mai", a composition commissioned by harpist Ayako Shinozaki and recorded at the Kioi Hall in Tokyo on November 11th, Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp's most beautiful tone, I attempted to bring out a mystical sound. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between andas well as an introduction by Joseph.
The two works presented here are powerfully mysterious, unsettling examples of Matt Shoemaker's prowess as a composer of details, of moods and tenses. The improbably relevant artwork for this picture disc consists of two collages utilizing Shoemaker's own hand-dyed paper. The images, as well as their meanings, are essentially abstract and yet remarkably familiar.
On the A side, the 'Isolated Agent' scuttles in a circular motion, forever locked in an endless search for the unknown element. This picture disc LP has been released in an edition of copies. He went on to finalize the material which would become 'Mercurial Horizon' in Though unreleased until some five years after completion, 'Mercurial Horizon' is undeniably a fully-formed declaration; a meticulously crafted display of layered grotesqueries, as elegant as it is disturbing.
This is classic Shoemaker at his most mesmeric: elongated metallic resonances, metamorphosed field recordings, expertly harnessed modular electronics These elements may seem familiar, but Shoemaker's strange magic lay in his ability to imbue these disparate pieces with a kind of natural tension, fusing them into a seamless puzzle.
The results are both startling and beautiful, and always with a tangible sense of unease. It is an assemblage to be explored, interpreted, and treasured.
Matt Shoemaker's probing and mysterious ice photography graces the six-panel digipak, inside and out. All the necessary elements are present: The enigmatic cover and interior images, the cryptic track titles, and of course the recordings themselves - densely packed and elaborately evolved aberrancies.
Shoemaker seems to have provided more than enough clues to the puzzles he offers in his works but, like the most effective tales, these subtle indications cannot quite account for all that happens. The rest is up to the astute listener who accepts this very inscrutability as the reward. Packaged inside an extra thick, full-color, matte finish, 6-panel Digipak featuring Shoemaker's beautiful photography, this compact disc has been issued in an edition of copies.
I had some very limited experience with tropical rainforests from travels in South East Asia, but nothing like the immersion that was central to what Francisco had organized: direct access to a staggeringly diverse bioacoustic environment unmatched anywhere else on Earth. Over the course of the two weeks we spent at Mamori lake exploring and recording, there was never a pause in the stream of curious animal sounds. Not even during sleep, as the nighttime would roar to life and pass into dreams.
I had come prepared with the equipment that I could afford to bring: a pair of condenser microphones, several homemade contact microphones, and a single hydrophone. With these I was able to capture all of the sounds used to make the three Tropical Amnesia parts.
While assembling the field recordings, I was immediately drawn toward the idea of imagining the rainforest, and the bodies of water contained within, as an unfathomable void of sorts, and something beyond thescope of enduring memory. Reflecting on my own memories from Mamori Lake and the surrounding area, I can of course picture the individual ant or frog, but it is the sheer multitudes and abundance of life that persists in my mind as a consuming, evolving abstract.
NOM30 Matt Shoemaker was a talented electronic musician and visual artist who sadly passed away in As a memorial tribute to him, Anomalous Records has been brought back to release this archival recording of Matt in collaboration with Eric Lanzillotta. This duet was recorded live at Matt's apartment and consists of one hour and fourteen minutes of reverberant cosmic music created with Moog synthesizer and other electronics.
The sounds are abstract and beatless, easily dissolving time in an atmosphere thick with tape echo. Pressed in a limited edition of copies and packaged in a cardboard wallet. Churning mantras and drukpa elegies for two erased darkside tree limbs: that of the Draconian in Khem, and of Drax Priory in West Yorkshire, which together with Bhutan are the Dragon Lands. The twilight language of flowers is spoken and wolves are raised, finally, Kali dances. For fans of Bathory and Popul Vuh.
Comes in a deluxe 6-panel outsized double-digipak with a page booklet. This growing collection contains audio-recordings of sleeping humans, friends, and animals in all places and states of rest, sleep and nap, captured during night- and daytime since It all started during my daily afternoon-naps when I observed my own body getting hyper-sound-sensitive on its way to sleep. In these situations my chest, my arms, my toes turned out to become my biggest ears.
It made me search for ways to share and reproduce these hallucinatory and enjoyable states of awake fatigue and airy interspace. Now, the two compositions on Mellow Toes are an attempt to do so. They contain parts of the snoring material that I collected during the last eight years, as well as some sounds of my prepared objects instruments.
The instruments noise may appear as the cheeping bird outdoors that pokes your sleepy mellow toe. All the snoring and sleeping rhythms here, they may help this bird to have a much stronger voice then commonly known. Originally released as two volumes inand with a third volume uncovered inthe landmark sessions recorded by Richard Alderson on April 20th and November 16,have been hailed as a ' Digitally remastered from the original tapes.
I then travelled to Berlin by car with Rolf Langebertels, the owner of Galerie Giannozzo who had driven to Bremen to hear me perform. I still remember very vividly the experience of passing through the checkpoint to enter West Berlin, a city that floated like an island in the middle of the still socialist GDR.
I had previously visited Berlin in to perform at Kunstlerhaus Bethanien at an event that Rolf had organized. This time too Rolf had organized a concert for me at the Technische Universitat. I owe Rolf a great deal of gratitude, as it was him who encouraged me by releasing my very first cassette tape, 'Zeitstudie von Akio Suzuki'. In recent years it has become difficult for me to carry heavy instruments around with me, and I have started to do simpler performances with objects assembled on site.
On 'Zeitstudie von A. The Analapos resembles the tin-can telephone that children used to play with: two metal cans, open at one end and connected by a coil spring. You play it by stretching out the spring horizontally and then projecting your voice into the open end of one of the cylinders. The second piece features a variation, where I would suspend several Analapos vertically and play them like a percussion instrument. The Suzuki-type glass harmonica is in a simpler form than the pre-existing glass harmonica, and consists of five long glass tubes of varying diameters suspended horizontally in a metal frame.
As well as rubbing the tubes with wet hands, I developed my own style of playing it using sticks. Once when I was practicing with it in the Netherlands, outside the window I was surprised to hear a bird imitating my sounds. However, later I discovered that the bird always sang that way, and as a token of my regret for having ever doubted it, I borrowed the bird's Dutch name, De Koolmees, and I still use it for my instrument With a penchant for long psychedelic jams some lasting 12 hours or more The Taj-Mahal Travelers lived up to their name.
Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15,would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended. With a grab bag of instrumentation electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.
Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, remains just as much a collective tone poem as psych workout.
These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses. This first-time vinyl reissue is limited to 1, numbered copies. Comes LP poster. The album cover was created by Toshimi Kamiya who published a photo book called 'Tokyo Kitan'.
A27 "Comes in an LP-style sleeve with 16 page booklet. A single, hour long work. Recorded on 18 January in Udine, the Red Room [Sound-source: Rattle-harp drift metal, string, wire, bells, bone, wood ]. The very occasional faint crackles are digital faults from the original recording; as part of the document they have not been erased.
They rehearsed time and again, then both composers conducted one performance each with their specific interpretation of the original score. Each session was recorded and finally brought home to be mixed by the authors. He is the brother of Giancarlo Toniutti who is best known for his dark ambient masterpiece 'La Mutazione' which was originally released on the Broken Flag label in the UK and later re-issued by Klanggalerie.
Massimo started working with sound when he was a teenager, collecting and playing recordings of all kinds. In the s he released four cassettes on his own label, all heavily influenced by the experimental music scene of that time. In the s, he began investigating radio, creating his own sound archive and producing unusual broadcasts. A documentation of his radio work can be heard on the CD 'Le Gabbiette Di Faraday', collecting radio pieces from to Klanggalerie asked Massimo Toniutti to re-issue this composition on CD to which he agreed.
After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. LP during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments — the human voice and bagpipes — to simple and glorious effect.
A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations The piece itself is an experiment with reeds and improvisational singing within the modal structure.
Amplified hands, bow, mouth, throat, air, etc. In chunky vinyl case with insert. Eight of these titles are being released on vinyl for the first time. There are only copies of each title in their stand alone form and they sold out from the label immediately when they were first announced back in October JBHLP "Incredible follow-up to the sold-out 'Tapes 1' JBH LP,this vinyl continuation takes you deeper into the sublime world of the cult Dutch director Frans Zwartjes' soundtrack tape archive; dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique.
Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from A unique talent, Zwartjes produced, directed, and edited his own films his last work was inbut more importantly he created and improvised the soundtracks too.
Zwartjes and his large body of work is only now being recognized by a wider, more international crowd with screenings at the NFT and other important art-house cinemas across the world. The recordings on 'Tapes 2' were mixed directly from the Zwartjes soundtrack tape archive.
They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and have never been issued before. The music and sound have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack you have heard. Includes download. Manifestos "An expanded 'double-pamphlet' with contributions from a range of key artists and poets of the period, 'Manifestos' was published roughly halfway through the arc of the Great Bear series, and as such stands as a kind of de facto centerpiece.
The contents are equal parts revolutionary intent and subversive wit, ranging from a call to arms by socialist youth organization the W. The series made uncompromisingly radical work maximally accessible, with slim, chapbook-like publications of a mostly uniform, pared down design.
Taken together, Album) pamphlets constitute a firsthand survey of the sixties avant-garde Higgins, Barbara Moore, and Emmett Williams all had a hand in the editorial process that is both sweeping and utterly unique, transmitting a still-vibrant signal of expanded possibility in art, music, and poetry.
Presented here in a facsimile edition, the Great Bears epitomize the utopian vision of Higgins and Something Else. Raw, ethereal, and cosmic - for fans of Bulgarian choir and Javanese Court Gamelan and Sundanese styles of vocal ascension. Although their name comes from a pejorative Chinese expression that means 'dog' or 'savage' - stemming from a legend that they were founded by a dog who saved the life of the daughter of a Chinese emperor and thus was rewarded with her hand in marriage - the largest branch of the Yao minority call themselves Mien, which means simply 'people'.
They number four million and are spread over the southern Chinese provinces of Guizhou, Guangxi, Yunnan, and also migrated to Vietnam, Laos, and Thailand over the last centuries. Part of the Miao-Yao Hmong Mien group of the Sino-Tibetan ethnolinguistic family, they have many subgroups, usually defined according to colors of their traditional clothes. Because of their Chinese origins, the Yao consider themselves to be culturally superior to other hill tribes, having incorporated elements of Taoism into their own beliefs as well as adopting the Chinese written system for men.
The Yao women produce wonderful embroidered cloth and that's the main reason why they're being noticed by outsiders. Recorded and produced in the field by Laurent Jeanneau Kink Gongthis limited edition LP comes with a two-sided insert of photos and liner notes with extended track descriptions by Laurent Jeanneau.
Kokay uses mostly xerox machines and transparencies to create sometimes mural-size collages, occasionally in real time at public places as a sort of performance. He relies heavily on physical source material, and doesn't use computers for his work at all. All proceeds from this release will go directly to Bradley Kokay. The style, known as a seni lungsuran, is part of the greater family of Javanese horse dances, originally known in their most famous forms of jathilan and kuda lumping.
The shows usually last up to nine hours, starting at nine o'clock in the morning and finishing between five or six o'clock in the afternoon.
As the one time romantic partner and artistic collaborator of sound poet Joan La Barbara later to be Miss Morton Subotnik and the stand-out session drummer for both Robert Mason's mutant synth Stardrive project and Gil Evan's legendary Jimi Hendrix tribute band, Ditmas is best savored as the first recorded solo artist to utilize Robert Moog's lesser-known Moog Drum controller - an instrument which over the course of two independent LPs 'Aeray Dust' and 'Yellow' would become synonymous with his blooming reputation.
Raised in Miami, nurtured in New York City, and willingly exploited internationally, Bruce's public life as a child prodigy-cum-world jazz crusader drawing similarities with the likes of France's Jacques Thollot has seen him spread his select discography over many imprints, including Joan La Barbara's own Wizard Label, Enja, and ECM - socializing with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley, and his long running collaborator Enrico Rava.
Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors, and theater groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction, and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualization. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, 'Visioni Sconvolgent'i provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio.
Artwork by Andy Votel. While the band's explosive live performances captivated audiences, extant recordings captured DNA's dynamic sound and savage economy in songwriting. Across the EP's six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay's guttural screams create a thoroughly personal semantics. As Marc Masters writes in the liner notes, 'A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends.
Alongside artist like The Haters and Merzbow, they helped carved out a space for experimental sound while constructing the networks through which those sounds would circulate. These recordings are like an archeological dig into the emergence of sounds we now take for granted, before micro-genres, before rigid formulas, before ready-made templates.
Jerman and Hudak were masters of the cassette tape, and their collaboration seamlessly blended their unique approaches into something that was more than the sum of its parts. An absolutely mandatory collection for anyone interested in the worlds of noise, industrial, and experimental sound. Each disc is housed in an individual slip-case that reproduces the original artwork.
The collection is contained in a hard clamshell case, and includes a large two-side poster insert that displays the letters, postcards, artwork, and other mail artifacts that Jerman and Hudak sent back and forth throughout their collaboration, a fascinating visual document of their artistic process. VCR "Arguably one of the most important experimental records to emerge from 20th century Ireland, 'Thalia', as featured on the Nurse With Wound list, is coveted for its inventive, unpredictable, near-psychedelic brilliance, yet has remained scarce due to major label politics, meaning listeners had to fork out a ton for a second hand copy.
Now readily available on its intended format, the keening, breezy logic and abstract theatric dramaturgy of Roger Doyle's work on 'Thalia' has been reshuffled to highlight its apparent surreality and frolicking apparitions. The three-part title track is the biggest attraction on 'Thalia'. Acting as a sort of shamanic extension of Gaelic bardic traditions, Doyle guides the listener through labyrinthine dimensions, vacillating tape FX with stark synth pulses, fragments of 'Danny Boy', and the unsettling sound of a woman wailing or even keening a lament for the dead in only the first minutes, the piece spirals over two sides between obtuse electronics and jump-cuts to melancholy strums, airborne melody, and rabid dissonance with the natural quality of Ireland's ever-shifting interplay of sun, rain, and clouds.
Originally released as an impossibly rare six record box set containing Dubuffet's first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early s recordings show a lesser-known side of this important artist's personality and stand up as a vital document in both fields of contemporary art and experimental music.
Finally released to a wider audience and presented complete with Dubuffet's signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu, and showcase what the two leading lights of modern art consider to be the best moments of this historic session. Recorded at Galleria del Cavallino in Venice Italy during the first months ofthese primary experiments with music followed over twenty years of Dubuffet developing his own unconventional artistic persona as an instantly recognizable pioneer of post-war artistic abstraction.
The recordings you will find within the grooves of this LP were created without any reference and in the artist own words 'without any discipline, without anything that would present the artist from expressing himself freely and for his own good pleasure'. Almost sixty years have passed since this sonic objet d'art was first realized, and with all the technology and the advanced science-of-sound, decades of so-called experimental musicians are still struggling to find that Brut energy within their creative endevors making this early example one of vital existence.
Mastered and cut at 45rpm by Noel Summerville. Lacquer cut, pressing on gramme vinyl. Sleeve is printed in reverse board with poly-lined inner sleeve. The duo Phillippe x and Philippe X, today academic scientists released dozens of cassettes, various flyers and Xeroxed booklets. Some collective concerts were organized at that time with Club Moral and Pseudocode. EB was released by Club Moral ina few years after the fact.
SV "Faust stand among the most influential creative forces to have emerged from Germany in the late '60s and early '70s. Along with Can, Agitation Free, Neu! As Dave Segal writes in the liner notes, 'There's no consensus about which Faust album represents their zenith. But a survey of the group's fans would likely find the collage-heavy messterpiece 'The Faust Tapes' triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.
This first-time domestic release of 'The Faust Tapes' on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley. This is the first English monograph on Luc Ferrari and includes writings, original compositions, notes, text scores, artworks and interviews.
Edited by Brunhild Ferrari. English translations by Catherine Marcangeli. Foreword by Thurston Moore. Preface by Brunhild Ferrari. Afterword by David Grubbs. Flexicover, 19 x NOM22 "Holding a deep love of refraction in all things, luminescence at night, of childhood memories blurring with time. Becoming aware of the animistic nature of the landscape via dissociative episodes, paranoia mutating into awareness. A series of dreams etching strong images deep into the mind long after waking, floating in dark blue water while looking at a glowing gold sky.
Using kirlian photography as postcards to communicate the vividness of a new space. All these things and more. Constructed with great care, these will reveal many layers over repeated listening. Though he works largely in the realms of electronic music, no source is considered outside of his realm, and in fact many fragments of sound important to his life are incorporated in the complex weave of aural communication. Fibrillation aims to create a sound compliment to mental images and evoke important personal experiences.
Each sound is in the place where it belongs to create the desired whole. So while initially, one may be taken in by the beautiful swell of warm harmonic drone that opens the disc, you will eventually find that below the surface there lies much more. Packaged in mini-DVD case with full color cover and insert.
Featuring solo electric violin and pre-recorded tambura, this sinuous performance elegantly brings together disparate vernaculars—Southern blues, modal jazz, Appalachian fiddle, North Indian raga—into a new and bracing whole. I imagined the genre as open, radiant improvisation…an open plain that could absorb anything.
French poet and chameleonic vocalist Brigitte Fontaine's career spans over four decades. Only a few years before her debut, 'Brigitte Fontaine Est…Folle', she moved to Paris to become an actress and took her prodigiously mature voice into the studio.
Rich in the drama she brought to theater, Fontaine synthesized chanson French pop song and world music, which eventually won her international acclaim as a performer and collaborator with a variety of artists from around the world Art Ensemble of Chicago, Sonic Youth and Stereolab, to name just a few. Vannier, best known for his work on Serge Gainsbourg's 'Histoire De Melody Nelson', is in fine form, using what would become his trademark stylings: lush strings, taut rhythms culled from across the globe and a healthy dose of whimsy.
Fontaine is adventurous and multi-dimensional with sophisticated lyrics, poignant melodies and enthralling delivery. Such artful handling of meter and rhyme or lack thereof is rare in pop song. Nantes trio Formanex celebrates 20 years of activism in experimental music with a 10 CD edition full of amazing collaborations with ONsemble contemporary music group from Nantes and Saint-Nazaire and composers they have worked with.
A rare collection of CDs, this box set represents a broad vision of experimental music from noise to electronic abstract composition, radical minimalism, contemporary and improvised music. Beginning in the s, he worked extensively with sound, especially the use of piano wires detached from their native instrument and anchored between opposing walls of the performance space.
The record would mark Fox's first attempt to realize his groundbreaking and visceral piece 'Berlin Wall Scored for Sound'. Side one links five ways of playing the piano wires: drumming, pulling, bowing, beating and scraping. The room itself acts as a type of natural resonator as Fox moves the wires with padded mallet, his bare fingers, violin bow, wooden shish kebab stick and rusted metal rod.
The effect of such plain arrangements can be utterly hypnotizing. A thirty-three meter long wire was held in contact with a sardine tin. Over the course of 20 minutes, pulsating drones dissolve into rhythmic patterns that sound almost synthetic in origin.
As noted in the original LP pamphlet, all these sounds were strictly acoustic; the only electronics involved was the recording equipment. The ultimate goal is to communicate as directly as possible, which finds its most concentrated expression in the artist's works with sound. Comes with booklet. This unique instrument of her own design is some 80 feet in length and played by literally walking through it.
The resulting sounds are beautiful gliding tones with a rich harmonic content. The CD presents two works from her time in Austin, Texas in the late 's which beautifully display a sound you can get inside of.
These long tracks envelope you in their cascading overtones. So hearing these gorgeous and important pieces from her archive is cause for celebration. Microtonal shifts in the coloring occur in a staggered fashion, traveling on an axis of Pythagorean intervals, the circle of fifths. There is a flatness in this drama, what I imagine it must be like in the middle of an ocean, continually moving yet appearing the same.
The four part score was plotted on a timeline. Each track was recorded and performed by myself. The fundamental tone is continually sounded, under chords constructed with pitches from the overtone series. The intention of the piece was to listen to the variations within each chord, as it is sounded continually while the performer walked the length of the instrument.
As the performer's position changes, one clearly hears a cascade of overtones. The original recordings were made direct to a PCM digital processor using a vintage AKG C24 stereo tube condenser microphone placed about 15 feet from the resonators. We can see the headlines now! Taking time to spit fury, often enveloped split-axe like inside a realm channeled through Shaeffer, Xenakis, Marclay, Q-bert and the like.
This disorienting duo practice an extreme exploration of their chosen tools. What becomes of such activities when they fold into one united, albeit fractured mass, is what makes this release so damn special! The Visual component 'u r the sony of my life' is a total audio-visual recombination.
Entirely generated from real time digital rearticulation of vinyl manipulation. The 'DJ' footage is taken and 'scratched' live to produce a hyperreal synchronization with the live music. BRD solo alto and soprano saxophone. His playing is as much reminiscent of the music of the Mediterranean islands such as his native Sicily as it is of European free jazz.
In fact, much of the inspiration for his circular breathing and rustic scales come from a little known Sardinian instrument called the Launeddas, which is capable of playing a number of tones simultaneously.
Gianni Gebbia builds on this principle and adapts it to his own saxophone work. Most of the writings that cover the pioneers of experimental, electronic, and improvised music have given them scant attention. In addition to this, their recorded output is slim, the main item being an out-of-print LP, featuring their interpretations of graphic scores by Cage, Earle Brown, and Christian Wolff.
Most of the existing Gentle Fire archive was kept privately by Hugh Davies. After Hugh died init was shared between various institutions. This release owes much to Hugh's meticulous record keeping as well as the archives at the British Library and Special Collections at Goldsmiths, University of London. Listening sessions at the British Library were a revelation, it was like discovering a missing link in the evolution of experimental music, but above all it sounded so undated and fresh.
The release is divided into three sections. The first CD, recorded between and contains four studio and two concert recordings of graphic and text scores: two parts of Stockhausen's 'Aus den sieben Tagen', and one piece each by Earle Brown, John Cage, Toshi Ichiyanagi, and Christian Wolff. Gentle Fire were active between and and were especially active during the early '70s, appearing at numerous European avant-garde festivals.
They even ended up in Iran playing in Stockhausen's 'Sternklang', and improvising at dawn at Hafez's tomb. The second and third CDs focus on their own works; disc two dates from and was recorded during a two-day residency at Radio Bremen.
The five pieces on this disc cover a wide variety of styles and include a minute version of 'Group Composition VI' which is their only text-based piece and uses processed and filtered speech. Disc three is a recording of their appearance at ICES 72, a legendary festival that took place at the Roundhouse in London. Over the course of two chaotic weeks a vast number of the world's experimental musicians took to the stage.
Miraculously, the whole of the Gentle Fire concert has been preserved. It consists of a performance of their 'Group Composition IV', centered around a large metal sculpture that all members of the group could play at the same time.
There are several photos of the event included in the booklet that accompanies the CDs. Greatly influenced by Native American music, her compositions are in turn rhythmic and meditative, ritualistic and serene.
Giteck's works strive to recapture the ancient musical attributes of ritual and trance, exploring ways in which music can be a truly healing experience. Released The ten 'Breathing Songs from a Turning Sky' there are no vocals are purely delicious. Cover artwork by Karen Constance. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33rpm.
Two parts of this one hour long suite are the partly presented in the program of Add Noise II festival on May 15th, Beginning in as the part of duo aptly titled CD-R, Nikita Golyshev quickly became the one of the most promising electronic musicians on the Russian underground scene.
His output progressed from rhythmic noise mayhem to diverse and heterogeneous experiments, ranging from machine improvisation through bleak drones to pure processed acoustic minimalism. After several stays in Lebanon, and having experienced the country's permanent tension, we wanted to address the complexity of representation that communities develop towards their own language when facing domination from an outside culture.
Through Isabelle's life, a Lebanese girl using Arabic speaking with all the distance of a foreigner's experience, we can recall the idea of a poetic phonography of intimacy with texts and culture.
Behind each of Isabelle's choices Khalil Gibran, Najib Mahafouz, or a popular tale like 'the heart of a mother' for instancelies a portrait, a souvenir, an emotion, a claiming, an Arabic memory in any case. For each piece, we carefully positioned the microphones to create the situation that would allow the necessary gap to the reception of this expression.
From a musical standpoint, we tried and built a sound dramaturgy to bring the listening on the course where the voice creates the movement. We hope to trigger off imagination, opening to a poetic interpretation of sense by overtly playing on the recognition of the sound sources that evoke both journeys and y our native language. Our music includes electro-acoustics and concrete aesthetics. We let sounds exist by themselves. The sounds and sequences were often played using our memory of our first stays there, adding an idealized perfume to it.
We tell of people whom ghettoized native language involves insecurity. It was then decided to use it as a training material Inter Service Migrant around this concept so 'Le luxe Switzerland hat now ART 10 avant-garde works performed by this Argentinean born composer with various friends from his new home of Chicago. His work defies easy categorization because it straddles a number of different genres, including experimental, noise, ambient and even classical music.
Various key events in the life of Verdi as concocted and imagined by Greif are interpreted musically. Greif admittedly has very little knowledge of Giuseppe Verdi's life or musical structures, and is basing all other imagined events around the only one he is aware-Verdi's alleged affair with the young Amadeus Mozart.
While Randy Greif's earlier interpretation of 'Alice in Wonderland' squeezed the actual text into its darkest corner and added a suitably psychotic soundtrack, here he dispenses with all but the merest notion of the original and takes a mighty leap into the mind's abyss. It's interesting, fascinating, captivating and weird, all at once.
However, he has primarily worked as a solo artist. He is truly a child of the cassette underground, rising out of the depths of obscurity through sheer hard work, persistence and originality. His first cassette releases were issued on his own Swinging Axe label beginning in These early solo works were soon followed by releases of indigenous recordings he made in Papua New Guinea, Amazonia, and Thailand.
Some of the material recorded in those locales were used as source materials for future Greif releases. Among these releases were his 5-CD set 'Alice In Wonderland' released on the Staalplaat label serially over a 4 year period. Due out sometime next year will be a CD by Drift, of which Greif is founding member and which includes vocalist Anna Homler.
There will also be some new solo material under the alias Shadowbug 4. The LP consists of a series of spoken statements that describe the problematic relationship between art and business, art and the military, art and class, art and community, and art and race.
To sell your painting, or help human beings? To exhibit in a museum, or to fight for the human rights of the oppressed? The group sought an artist model that could enact political and social change and they encouraged their fellow artists to follow suit by focusing less on aesthetic abstractions and more on direct personal experiences and expression.
They believed that artists had become dehumanized through their willingness to operate inside a racist and sexist cultural system that relied on corporate money while aiding and abetting a military that used art to distract people from wartime atrocities.
The group engaged in guerrilla performances, creating spectacles that drew attention to the moral failures of cultural institutions and the U.
The gatefold sleeve contains the complete text of the performance. They believed that the art world had been corrupted by private interest oftentimes with suspect ties to the war machine in Vietnam. The group carried out public actions and performances against museums and other cultural institutions, as well as the U.
Sounds combine and contrast, highlight and ignore, as Silverton's opus unfolds in all its glory. Mike Silverton will only say that 'At first blush, the alert listener detects a link between 'Analogue Smoque' and 'Madam Blavatsky'. The magi demur. Rather, they say, the text reveals its author's interest in cryptorchidistics, i. Rather than addressing traditional modes of presentation and observation, Hamilton prefers to explore interaction and simultaneity as aspects of 'present-time listening' on both the performers' and listeners' parts.
His work can best be described as 'sound finger-painting'. Recorded in February of and featuring Catherine Christer Hennix recitation, percussion, electronics and Hans Isgren bowed gongHennix's realization of Karlheinz Stockhausen's 'Unbegrenzt' German for 'unlimited' from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical recording issued by Shandar.
While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young's event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. Brouwer's Lattice. Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen's recording, Hennix's alternative realization of the 'Unbegrenzt' score's instructions to 'play a sound with LP certainty that you have an infinite amount of time and space' is based on her concept of 'Infinitary Compositions', the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young, and Terry Jennings scores to its repertoire.
Taking a mature, minimal iteration of Stockhausen's compositional method of 'moment-forming' to heart, her version's dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step.
Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen's score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.
Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz. The abstract soundscapes are obscured by intricate structures, acoustic phenomena and electronic effects, it's going to infinity and never repeat itself.
The finest harmony of soundfield is credited to the principles of intuitive simulation, realised through the system of computer-aided instruments. Texts are in Japanese and English, limited to copies.
Their voice is played by the two tape recorders with a little delay. The sound from the devices is picked up by the microphone and taken into the loop again with a delay. As this process repeats, the voices of the performers are, as it were, accumulated in the space.
As time goes on, the howling from the sound equipment becomes increasingly louder. It is a sign. The horizon which was revealed by such an idea of improvisation since the very beginning of AMM is entirely open.
By establishing new continuums in the functioning of the group and the flow of play, from within the music matter-but also from between its inside and its outside- this music calls forth new dispositions, new organic contiguities. The only relationship possible for us with this process is a vital and passionate experience which opens up to it.
What follows is no longer ours. SVLP "Never before released studio and live recordings of Cleveland's mythical prog rock improvisors. Cage's influence can be heard in the piece "Sapporo" which mixes sustained tones with sharply attacked sounds.
Each performer plays from a different page of lines and points with the only synchronization being in the form of notations to listen to or watch the other players. Eye Music is a Seattle based ensemble specializing in the interpretation of graphic and text scores.
The openness of these compositions allows Eye Music to draw its membership from a wide range of musical backgrounds, instrumentation, and musical skill. Members of the ensemble not on this recording are Amy Denio and Susie Kozawa. Inoue, utilizing his digital sound processing systems in combination with bells, guitar, and other odd sound making objects, constructed tiny improvisational sound moments each one having a shape and gesture of their own. These 'micro compositions' were at times highly abstract and noisy and at other times extremely melodic and calm.
Many of these micro compositions were used in the production of his recent release 'Object and Organic Code', the others almost 2 hours worth were handed over to Andrew Deutsch who was to construct another release combining sounds of his own. Being responsible for the overall 'Auskomponierung' or 'compositional unfolding' of the work, Deutsch combined synthesized sounds, drones, chatter, loops and other DSP techniques to produce what he hoped would be a kind of 'Gebrauchsmusik' or 'useful music' that one might use in the home.
The work has a notion of 'ambitendency' built into it, that is, the tendency toward change combined with an equal tendency toward stasis. The work could be described as 'meta-divisionism', 'Baroque Minimalism', or 'expanded systemic digital minimalism'. Sound works for our new recombinatory world. Field recordings and objects found on site.
Assembled at Studio Sonor. Dark grey home dubbed tape with Riso printed J-card. UNREAD crunchy and noisy with sections of warped tape sounds making you think the cassette is defective.
NF "Originally released on cassette by Apraxia in Since the 's Jeph Jerman has been a key figure in experimental music, from the textural noise of his legendary Hands To project, to more recent studies in field recording and acoustic sound recorded under his own name.
On 'Keep the Drum' Jerman explores what he calls 'concussion music', working with a pile of hubcaps, sheet metal and 'other bits of junk' to rethink the traditional drum kit. The sounds on this disc crackle, pop, and thud. Each tactile scrape conjures up the rusted edge of some bit of scrap-metal as the ambiance of the physical space hums in the background.
As Jerman tells the story, these recordings were a continuation of his interest in 'using things other than musical instruments to construct sound works… I think 'Keep the Drum' was also the very beginning of my interest in small sounds. One afternoon Darren Soule brought over a bunch of tiny metal pipe pieces which he had mounted on bent paper clips so that they could be played.
They rang like bells, but were very difficult to control. I loved that about them. The recordings have been remastered by Grant Richardson to bring them to life without sacrificing their individuality, making these extremely rare recordings once more available. Assembled at Estudio Sonor, October IDEA19 "On the second side of Versatile Ambience, Jeph Jerman utters an all too accurate observation of our overheated culture, describing us at 'the smithy's forge, replacing art with scrutiny.
Across a dozen years, the duo of Jerman and Barnes has offered powerful, minimal music rooted in a shared dedication to the creative act of listening. Jerman is a veteran of the creative music scenes in Denver and Seattle, and in more recent years has been thoroughly investigating the sonic possibilities of the desert southwest where he lives and works. Tim Barnes's resume as a percussionist, engineer, and curator is studded with all-star collaborators including Tony Conrad, Sonic Youth, Ken Vandermark who appears here as a guestRoyal Trux, and Tower Recordings.
Versatile Ambience is their second record in as many years, making this one of the most productive periods in the duo's history. The pieces on Versatile Ambience highlight the ingenuity and intense physical economy found throughout both artists' repertoires. What sonic and performative possibilities are held in these few found objects, in this environment?
What music is already here? What music is hidden in the subtly shifting motion of a hand? Explicitly or implicitly, Jerman and Barnes have spent their careers asking these questions.
The latest answers are found here, in creative percussive and electronic improvisation by the duo, in the minimal but impactful contributions of a handful of guests, and in field recordings ranging from the call of a stranded cricket to the roar of a distant airport.
The spoken section a first for the duo sounds as though it is a poetics being conceived, written, recorded, and edited as you are hearing it. But if at first it sounds like a cut-up, passages like 'and you, the anvil? Like a snake's path through the sand, if the duo's trajectory holds, Versatile Ambience will soon be seen as a remarkable point along a fascinatingly meandering line. TCR edition of copies. A prime example of dense and droning down-under ecstasy. Previous releases includes a classic self-titled album on Corpus Hermeticum and a collaboration LP with Omit on Fusetron.
This is the first new K-Group release sincethough there was a digital-only album titled "2" in Stamped white labels, postcard attached to the cover, insert. Mastered by Giuseppe Ielasi. NOT 1 vastly underappreciated in the world at large, Dave Knott is highly respected and enjoyed by those in the Seattle area that have come into contact with him and his sounds. But these unpretentious slabs of wood have a frank physicality and grounding in space that the guitar lacks, and this record of Knott's solo improvisations offers a highly personal vision.
Plucked, tapped, struck, bowed, rubbed, teased, it's easy to hear the unaffected thrill of invention and discovery as Knott pulls formless, unpretty pings and shimmers from the stringboards.
Natura Naturans is a motley, playful encyclopedia of strung-out tension, ranging from jittery rhythm through to soft, washed out, glinting tones. At once ugly and beautiful, the music is always open, unpredictable and rather marvellous. Two tracks of industrial DIY minimalism creating an organic sound world from broken rhythms and extraneous sound generated by modular synthesis with minimal bass figures and voice that is both an instrument and a cloudy narrative. His signature sound is vast, seemingly endless, which at first seems homogenous and infinite, but once exposed to it, when our senses calibrate to the fine nuances of changes, you discover and immerse into abundance of textures, richness of modulations, and almost infinite range of sonic titillations.
The experience of being exposed to the extreme cold, the heightening of our senses and ability to notice even the slightest changes in color, sound, light or density that creates this dangerously reductive environment, is like an immersion in the sonic world of this German artist, where masterfully crafted layers of sound open into colossal spaces, teeming with aural life, waiting to be discovered by those who venture into it.
Subdued and minimal at first glance, this album is brimming with low-end frequencies, shadowy resonances, and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting, like the tiny harbor existing in the sea of ice, it is named after.
Ned Lagin's 'Seastones' is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, 'Seastones' embodies the history of electronic music by taking full advantage of tape music, analog synthesizers, and computer technology.
Originally released by the Grateful Dead's Round Records in'Seastones' reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material.
This new LP presents two crafted 'Seastones' sets 'Sets 4 and 5', 18 tracks drawn from the entire 'Seastones' composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick, and Freiberg, and beautiful abstract instrumental passages by Lagin and all.
Lagin is considered a pioneer in the development and use of minicomputers and personal computers in real-time stage and studio music composition and performance. He was a touring, studio, and guest keyboard player with the Grateful Dead from to Inwith a minicomputer and an E-mu modular analog synthesizer, Lagin was able to play a polyphonic keyboard and hybrid computer-controlled instrument, as well as create simple generative musical processes.
The normal controls found on the analog synthesizer were customized to accept computer control and the system was large enough to input audio and control voltages from the other musicians' instruments.
This means that the synthesizer controls which were processing the incoming audio from the musicians could be controlled by what the artists were playing. These control voltages and timing signals derived from the amplitude envelope shapes of what the musicians played.
Each track on Seastones is what Lagin refers to as a 'moment form'. Each track is self-contained, like a sea stone on the beach.
Lagin: ' Like real sea stones, the 'Seastones' moment forms are each a placetime, a time island, a droplet of time.
Old Lady Rock - Swallow (4) - Town Mash Down (Vinyl, LP), Camel - Rain Dances (Vinyl, LP, Album), Watch It Burn - Katastro - Gentle Predator Ep (CDr), Cowboy Song - Thin Lizzy - Jailbreak (Vinyl, LP, Album), Hurtin For The Baby - Gene Vincent - Born To Be A Rolling Stone (Cassette), Stomp! - Various - Dance Collection 5 (CD), The Jimi Hendrix Experience - Electric Ladyland (CD), Su Democracia - Glory Boys - Su Democracia (Vinyl), Lee of the Stone: East - Cadillac Sky - Letters In The Deep (Vinyl, LP), The Sound Of Snow