Goth Rock, Avantgarde, Experimental, Prog Rock
Modern Classical, Industrial, Experimental
Musique Concrète, Noise, Experimental, Ambient
Multitracked violin improvisations. Rare.
Field Recording, Musique Concrète, Monolog, Experimental
Modern Classical
The first release from the ICES concerts from August of 1972 in London. The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey "Job" Matusow (1926-2002). Jumping off from his associations with Source magazine, Harvey brought together over 300 artists from over 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound - specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house, and recorded by John Lifton and his assistants. Now, for the first time in 30 years, these recordings can be heard. AMM was formed in 1965 by Lou Gare, Eddie Prevost, Keith Rowe, and Lawrence Sheaff. The line-up swelled to also include Cornelius Cardew and Christopher Hobbs, and sometimes composer Christian Wolff. From 1971 up until 1976, AMM found itself stripped down to the duo of Prevost and Gare. After that time, Rowe replaced Gare, and Eddie and Keith have continued making AMMusic ever since, mostly with the help of John Tilbury, and occasionally others, and are still a powerful force. The aesthetic of AMM is that of improvised music freed from the constraints of musical style. Their sound is ever evolving and free from the ego of individual players. "Music from half a lifetime ago - that was a very good creative time musically and maybe a new generation will appreciate what we were doing then and still are doing now. Playing with Eddie in that format, just the two of us, was my most rewarding musical experience after the break up of the AMM quartet. When Eddie and Keith tried to get it together again with the four of us I could not go back to that after the freedom of the duo." - Lou Gare.
Art Rock, Avantgarde
contemporary / electro-acoustic music of Brazilian Electronic pioneer
electronic music
contemporary / electro-acoustic music of Brazilian Electronic pioneer
Avantgarde
Soundtrack, Musique Concrète, Audiobook, Experimental
Soundtrack, Musique Concrète, Audiobook, Experimental
side 1 pure tape-music
Modern Classical, Symphonic Rock
Including Textsheet with all the lyrics. Bruno Canino: Piano and Cembalo. Works by Monteverdi, Debussy, Cage, Bussotti, Weill, McCartney/Lennon, Gershwin and herself.
Modern Classical, Experimental
Musique Concrète, Ambient
modern orchestral work performed by Klangforum Wien.
Abstract, Avantgarde, Experimental, Art Rock
Abstract, Avantgarde, Experimental, Art Rock
Free Jazz, Avantgarde, Experimental
Piano,Synthesizer,Percussion,Vocals
For Piano and Organ
"Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99. This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space 'grows' its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets. This recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. Electronic music is normally thought of as a medium emphasizing unlimited access to timbre - I think this is often over-emphasized, and that, at its best, it changes our experience of space. The traditional African talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. The changing pitches and rhythms imitate patterns of the tonal languages of West Africa, and can be used like musical telephony to communicate over long distances. This recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale."
Free Jazz, Abstract, Musique Concrète, Modern Classical, Contemporary Jazz
Vocal music by Thomas Buckner (known for his work with Robert Ashley and as founder of the 1750 Arch label). Electronic music and voice processing by Tom Hamilton. "Thirty-five years ago when I began to explore solo and group improvisation the idea was to make improvisations that sounded like compositions. Iíve evolved away from this idea gradually to the point where I want my improvisations, both solo and group, to sound (and be) unpredictableóto take me, my fellow improvisers and the audience to places we havenít been before. For this piece Tom Hamilton and I decided to carry independence as far as we can. Each part is developed independently, and the goal is not to modify our independent ideas in the act of putting them together. The 'wild card' in this practice is the live electronic processing of the voice, for which Tom has developed a system that guarantees unpredictability while integrating the voice into the electronic soundscape. The result is an organic whole with independent but integrally connected parts." - Thomas Buckner.
Electronics and groovy DJ stuff
Features Cage's "Cartridge Music" and Wolff's "Duet for Violinist and Pianist," "Summer," and "Duet II."
Modern Classical
Fucked up Plunderphonics
Works by Earle Brown, John Cage, George Crumb, Jacob Druckman, Morton Feldman, Lejaren Hiller, Leon Kirchner, Christian Wolff, Stefan Wolpe
ambient avantgardish electro-acoustics
b&w promotional poster from first release of the box set with "History is like music - completely in the present". 12" x 17.5", folded once.
Krautrock, Avantgarde, Minimal
Contempory meets jazz with ao. Daniel Humair, Jean-Pierre Drouet, Sylvio Gualda,…
4 records in a beautiful boxset
Modern Classical, Experimental
experimental plunderphonics
Modern Classical, Downtempo
Rare 2nd LP following their debut on Vanity Records
Art Rock, Goth Rock, Avantgarde
Modern Classical, Experimental
Downtempo, Avantgarde
Surf, Avantgarde, Indie Rock
Alternative Rock, Avantgarde
new music
Previously released on tape by Guy Schraenen éditeur.
Classical, Electronic, Rock
Arbeiten: ein Stück für Alle recorded 1973 & originally as a tape on the S Press. Cudrefin (minuit): found music no.1" recorded 1973 & previously unreleased. Limited edition of 500 with first 250 copies with bonus 7". Don't you may be previously issued in Futura: poesia sonora (Cramps Records, 5204-001, 1978).
text-sound avantgarde from 1973
abstract experimental music with electronics
abstract experimental music with electronics
Folk Rock, Modern Classical, Ambient
His rarest LP, 500 copies
musique concrete
Modern Classical, Industrial, Experimental
Abstract, Musique Concrète, Experimental
Modern Classical, Experimental, Prog Rock
Modern Classical, Ambient
july 1989
Over the last two decades, Ellen Fullman has been perfecting her Long String Instrument. 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 1980's which beautifully display a sound you can get inside of. These long tracks envelope you in their cascading overtones. Even though she has performed widely in the United States and Europe, this is only Ellen's third solo CD, following previous releases on XI Records and New Albion. So hearing these gorgeous and important pieces from her archive is cause for celebration.
Modern Classical, Ambient, Neofolk
an early vocal quartet [SATB a cappella] piece written in 1957 and dedicated to Luigi Panzeri. this uses text taken from the Gradual Romanum, the offertory for Christmas and specifies "in no case should there be a perceptible break in sound." traditionally notated with a few additional except for a few signs for muted singing. original 1966 publication, 8 pages, 7" x 10" format.
Ambient, Modern Classical, Industrial
different cover from Re-Issue
Their first and best, Great experimental avant prog.
Abstract, Musique Concrète, Noise
Early tape experiments, cut-ups and hippie psych from 1967
minimal music
Modern Classical
Contemporary, Post-Modern
Minimal violin solo
From DG's Avant Garde box set series.
Modern Classical, Experimental
Modern Classical, Experimental, Abstract
Musique Concrète, Poetry, Experimental, Avantgarde
with booklet
Noise, Avantgarde, Experimental, Ambient
tape music piece from 1995. the work would seem to focus on the extension of sounds, drawing them out into waves, slowly moving and enveloping. "Tide: a composition for an eight-channel recording tape. The audience is surrounded by eight loudspeakers. The 'granularsynthesis'-technique incorporates the spatial spread in the composition. The music is made from a small amount of basic sounds: sentences spoken in a staccato-like manner, music for flutes from Suwa and Guadalcanal, chime players from Ebensee, the sound of a demolated musical clock, and the first bars of two madrigals by Gesualdo."
Strange Acid Folk
computer electronic music ensemble of Mark Trayle, Phil Stone, Scot Gresham-Lancaster, John Bischoff, Chris Brown, and Tim Perkis with guests Alvin Curran (M.E.V.) and The Rova Saxophone Quartet. recorded live in Seattle, Brussels, Berlin, Berkeley, and Oakland. "The Hub is a computer network band. Six individual composer/performers connect separate computer-controlled music synthesizers into a network. Individual composers design pieces for the network, in most cases just specifying the nature of the data which is to be exchanged between players in the piece, but leaving implementation details to the individual players, and leaving the actual sequence of music to the emergent behavior of the network. Each player writes a computer program which make musical decisions in keeping with the character of the piece, in response to messages from the other computers in the network and control actions of the player himself."
Avantgarde, Experimental
Modern Classical, Experimental
Avantgarde, Experimental
Modern Classical
Box 1 of 3 in the JacobTV trilogy set. The 2 CD’s contains heavenly orchestral works, performed by The Arnhem Philharmonic Orchestra and the North Netherlands Orchestra & Concert Choir, conducted by Jurjen Hempel and Alexander Liebreich, featuring soprano Claron McFadden, tenor Thomas Allen, saxophonist Arno Bornkamp, cellist Marien van Staalen and percussion duo Lorenzo Ferrandiz & Gustavo Gimeno. The DVD contains the tv documentary "So Heavenly It Hurts" by Jan Willem Looze, ...NOW.. for symmetrical orchestra with videos by Jaap Drupsteen, Short Cut, the choreography by Hans van Manen by the Nederlands Danstheater on string quartets by JacobTV, 2 pianoworks performed by Kees Wieringa, Postnuclear Winterscenario No.12 for orchestra and a preview of box 2. Audio and video samples at: http://www.jacobterveldhuis.com/box_1.htm
Box 2 of 3 in the JacobTV trilogy set serie; This box contains his so called boombox music - a new musical style: Music for one or more instruments combined with a soundtrack, to be reproduced simply by a boombox, aka ghettoblaster. The soundtracks are based on audio samples from human speech from every day life, turned into groovy patterns with a dramatic impact. A colourful mix of high and low culture, of classical music, rock, pop, rap, rhythm & blues and jazz. By freely combining avant garde with American popular music easthetics, he creates his ‘Avant Pop’ music, played on this album by a European-American team of distinguished musicians and ensembles. Contains 16 audio tracks and 8 video clips with visuals by Jan Willem Looze, Kristien Kerstens, Michiel Zegers and Danielle Kwaaitaal. audio and video samples at: http://www.jacobterveldhuis.com/box_2.htm
Box 3 in the JacobTV box set trilogy: contains his best works for stringed instruments: violin, viola, cello and piano in various combinations, performed by The Netherlands Quartet, Monica Germino, electric violin, René Berman, cello, Kees Wieringa, piano, Roeland Gehlen, violin, Benjamin Schmid, violin and Frank Peters, piano audio and video samples at: http://www.jacobterveldhuis.com/box_3.htm
"In 1999, after twenty years as cellist of the Kronos Quartet, I chose to leave the group and began a metamorphosis of sorts in my musical development as a solo artist. During residencies in Hawaii and San Francisco, I was able to freely explore the directions my interests were leading me at this pivotal point in my career. During this time I continued working with composers. I began to improvise, arrange and compose music myself, as well as research, produce and present muti-media and performance arts. I became interested in not only the visual and conceptual presentation of music but also the sound world my instrument could inhabit. Increasingly I became fascinated with the layering of sound and the versatility of the cello in this exploration. 'Metamorphosis' is much of the music that resulted from this phase, being the soundtrack to the staged musical theatrical production of the same name." - Joan Jeanrenaud. includes pieces by Steve Mackey, Hamza El Din, Joan Jeanrenaud, Karen Tanaka, Philip Glass, and Mark Grey.
Avantgarde, Experimental
Avantgarde
Modern Classical, Minimal, Ambient
Modern Classical, Minimal
new music
Modern Classical
text-sound weirdness
Jazz-Rock, Avantgarde, Experimental
Modern Classical, Goth Rock
Modern Classical, Industrial, Experimental
Second edition with different cover. Piano, Electric Piano, Electric Organ, Flute, Synthesizer, Percussion, Magnetic Tapes)
Modern Classical
8 Tableaux for soprano solo, 3 male voices, instrumental ensemble. Live electronics and tape / Clair Obscure: Electronic composition
experimental contemporary music
Modern Classical, Downtempo, Experimental
experimental music
Abstract, Musique Concrète, Experimental
Abstract, Noise, Experimental, Musique Concrète
Modern
Re-issue Originally released by Cramps Records in 1975 as CRSLP 6111.
Autographed by Ralph Lundsten. Very rare 7". Some clicks at the start of the 7". Great music
"517 pages with 284 illustrations and contributions by Louis Aragon, Isser Aronovici, Dore Ashton, Erje Ayden, Gregory Battcock, Herb Brown, Al Brunelle, Iris Clert, Fielding Dawson, Allen D`Arcangelo, De Hirsh Margules, Dov Or-Ner, Erro, John Fischer, Stanley Fisher, Gerard Gassiot-Talabot, Dorothy Gillespie, Ester Gilman, Augustus Goertz, Sam Goodman, Thomas B. Hess, Marcel Janco, Elmer L. Kline, Seymour Krim, Yaoi Kusama, Jean Jacques Lebel, Boris Lurie, Jack Micheli, Brian O`Dorothy, Lil Picard, Herold Rosenberg, Barry N. Schwartz, E. & R. Schwartz, Arturo Schwarz, Paul Simon, Gertrude Stein, Michelle Stuart, Jean Toche, Wolf Vostell, Stella Waitzkin, Ray Wisniewski and Tom Wolf. Text in English and German. Edition of 3000 copies, size 14,5 x 20 x 2 cm"
Abstract, Musique Concrète, Modern Classical
Avantgarde, Experimental
Abstract, Modern Classical, Minimal
sound poetry of fragmented words and similarly disjointed compositions for instruments. "Open Secrets features Mac Low and Anne Tardos performing works for multi-track voices; and Robert Bethea, Andrew Bolotowsky, Daniel Goode, and Gabriela Klassen performing instrumental pieces. Winds/Instruments for flute, clarinet, trombone, violin, and narrator, could well become a classic of new music, not only being beautiful, but also displaying Mac Low's witty use and love of words. Jackson Mac Low was first published in 1942. His multifaceted career covers music, poetry, painting, performance, radio, and multimedia. Widely recognized for his work in the 1960's Fluxus movement, Mac Low has continued to produce musical works that meld aspects of several disciplines. In 1954 he adopted nonintentional procedures, including chance operations, indeterminacy, and related methods, but has also written and composed extensively by intentional methods. His many 'simultaneities' include musical, verbal, and visual elements, usually involving guided improvisation and indeterminacy." - label description.
droning music made with duochords, spring strings, musical bows, guitars with tails, and tubular aluminum monochords. the group was founded in 1968 by Paul Panhuysen and Jan van Riet. this 1993 release features recordings made from March 1988 and November 1990 with a quartet filled out by Leon van Noorden (joined 1971) and Mario van Horrik (joined 1982). a limited edition of 1000 copies; packaged in a three-panel Digipak with enclosed 12-page booklet explaining the various instruments made by the ensemble.
gentle shifting mysterious drones complementing the singing of birds. very delicate and strange. features Paul Panhuysen and company improvising on their unique instruments. "Here, each Maciunas musician performs on an aluminum strip (about 200 cm long, 3 cm wide and 0.2 cm thick). The material is suspended from a rubber band which, among other things, allows for pitch shifting. The aluminum instruments are bowed, stroked, tapped and caressed into producing a remarkably broad palette of textures and pitches. The resonant characteristics of piezo transducers are particular and provide for a certain timbral unity. ... The studio where the recording is made is the same room where the birds live in their aviary. The birds were so inspired by the sound of the aluminum strips, that they immediately joined the music as improvising musicians and continued to play with us in an often very loud and competitive way for more than an hour."
"A collection of tape works composed by David Mahler between 1972 and 1986. The compositions are 'Cup of Coffee', 'The King of Angels', 'Rising Ground', 'The Voice of the Poet', 'For Thom Miller', and 'Wind Peace', all of them based on field and radio recordings, some of them containing synthesized sounds and sounds processed with an early Buchla synthesizer. This is West Coast musique concrËte, with loops, quick cuts, overlays, speed changes.... One of the unsung heroes from the early days of minimalism, Seattle's David Mahler has been making music since the early 1970s. His music is noted for its humor, eclecticism, and deep beauty." - label description. includes voice collages, a tribute to Elvis and James Tenney's treatment of him, and sound studies with objects like coins, metal washers and an aluminum hoop.
Psychedelic Underground recorded by Jef Gilson in 1972
Chris Mann is an Australian 'poet' with an unmistakable style. once you've heard his rapidly spoken stream of consciousness, perhaps with Machine for Making Sense, you won't forget it. the words run together and almost become sound themselves in their strange enunciation which is constantly varying. here is helped by a few others, such as Christian Marclay.
"Nei mari del Sud may be regarded as the 'epitome' work of all his recent musical output. Firstly for it represents the original re-elaboration of a former work achieved in 1982; Secondly, the manipulation techniques here applied rise in the same principles formerly developed for recording the 'Antibarbarus' set of pieces, a cycle to which the new work therefore refers in terms of an ideal continuity, though it preserves some peculiar characters strictly connected with the source of its basic music material. The former version of Nei mari del Sud was originally conceived as an environmental music or, more properly, as a piece of 'acoustic theatre' to accompany an installation staged on June 9, 1982, during the international contemporary music festival Musicalia at Teatro Carcano, Milan. In this stage installation, Marchetti expanded for the first time on a larger scale the same figurative scheme that usually marks his major work in progress: a series of installations invariably entitled Musiche da camera, where the 'icon' of a piano defines its role in a seemingly paradoxical context. In the scenery of Nei mari del Sud, as shown in the photographic sequence reproduced on the CD fold-out, the black carcass of a grand piano appeared on the surface of a large expanse of sea, artificially re-created with a shapeless heap of bluish tissue-paper. In the background, the slow, progressive unsticking of the blue paper-curtain, accidentally caused by the floodlight's heat, configured the impeding threat of a gigantic wave on the point of completely submerging the scene. The acoustic dÈcor projected for this installation invaded the whole stalls through twelve loudspeakers set in a semicircle in the rear of the audience. This equipment simultaneously played the tracks of six magnetic tapes, whose signals were displaced out-of-phase by inverting the two poles of each loudspeaker and by means of the reciprocal crossover of each mixed channel. Perhaps, an even more calligraphic adherence to the same 'subject' inspired the version of Nei mari del Sud now subtitled Musica in secca. Not being possible to reproduce with absolute fidelity, in a studio recording, the acoustic design originally conceived for spreading the six sound sources in a theatre space, Marchetti chose to create, using the same material, a new work that could express the relationship with its archetype transposing the same 'icon' on a more pregnant metaphorical axis. Answering to an always implicit exigency in Walter Marchetti's oeuvre - and coherently investigated by the composer with more and more penetrating awareness - the same processing techniques efficaciously employed in Antibarbarus revealed themselves extremely suitable for raising to the highest degree the critical and metalinguistic reflection stated by this metaphorical axis. A piano englouti in the abysses of that process of reification in which the heritage of musical thinking is irrevocably sunk. Finally, Walter Marchetti has touched the bottom of music. Presented on digipack compact disc, in a first pressing of 1000 copies, including a foldout with photo documentation, an essay by Gabriele Bonomo, a testimony by Robert Ashley and a poster." - label description.
Breaks, Ambient, Ragga HipHop, Avantgarde
Modern Classical, Goth Rock
Neun Meditationen fur Orgel. Almut Rosslor on the Rieger-Organ der Neanderkirche Dusseldorf. Lamination peeling off. FOC, attached insert with 3 language text
Orchestre Symphonique de Radio Tele Luxemburg. Cond. Louis de Fromont. Yvonne Loriod Piano, Jeanne Loriod Ondes Martenot!
Soundtrack, Ambient, Avantgarde, Contemporary
Noise, Avantgarde
experimental avantgarde
experimental avantgarde
Contains: CD1: For Brass excerpt (1957) 21'02 / Poems for Chairs, Tables, Benches, etc… excerpt (1960) 15'46 / Day of the Antler (The obsedian Ocelot) excerpt (1964) 25'08 / CD2: Well tuned piano excerpt (1964) 10'58 / Bb Dorian Blues 28th/63 excerpt (1963) - 18'49 / Early Tuesday Morning / Blues excerpt (1963) 14'14 / Tortoise's Dreams and Journeys...excerpt (1966) 19'28. / CD3: Drift Study VIII68 excerpt (1968) 4'04 / Map of 49's / Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental lightyears Tracwey excerpt (1966) 35'25 / Vogadelta 23 excerpt (1959) 21'38. / CD4: Raga by Ravva excerpt (1960) 35'09 / Soundtone installation 27/72 excerpt (1972) 24'53 / 13/73 excerpt (1973) 5'03
Musique Concrète, Psychedelic Rock, Avantgarde, Experimental, Parody
New Wave, Avantgarde
Musique Concrète. Hand-numbered limited to 150 copies. Etching B side: "Not a porky prime cut".
originally released in 1974, all tracks recorded between 1968 - 1970
Modern Classical
Avantgarde
Electro, Ambient, Modern Classical
a verbally notated theater piece from November 1971 for a city, college, or university environment. the intention is to subtly subvert perception so that the whole city or campus becomes a theater, and all its inhabitants become players. 8 pages plus card cover.
4" x 6" gloss postcard with "Art is a means for Survival y.o. 2001" in hand written script. "Produced as a fundraiser for Art Metropole, this item reproduces the title in the artists' handwriting. Discussing September 11th in a recent interview with Now magazine, Ono stated 'I understand that other people are angry - I feel for them. But somewhere we have to stop the dialogue of violence. Art is the way to do that'."
Modern Classical, Musique Concrète, Experimental, Minimal. Recordings of prepared piano, voice and objects of which most material previously unreleased. Hardboard linen CD box contains 4 CD's with separate covers and a 78 page booklet with notes and photos from B.O. Signed and numbered edition of 500 copies.
Modern Classical, Musique Concrète, Experimental, Minimal. Recordings of prepared piano, voice and objects of which most material previously unreleased. Hardboard linen LP box contains 4 LP's with separate covers and a 34 page booklet with notes and photos from B.O. Signed and numbered edition of 300 copies.
art record with insert
Abstract, Musique Concrète, Modern Classical, Experimental
Acoustic, Abstract, Field Recording, Avantgarde
abstract art-record
extremly rare art-record
"Paul Taub performs solo flute music from the Pacific Northwest. Taub has a beautiful tone and fluid technique, well suited to the new works on this CD, which span a broad range of aesthetics and influences. The compositions include James Knapp's 'Oo-ee', Roger Briggs', 'Trailblazers', Bun-Ching Lam's 'Bittersweet Music III', Julian Priester's 'Equanimity', Roger Nelson's 'Stalks in the Breeze', David Mahler's 'One Banned Man', Bern Herbolsheimer's 'Ashik Dances Before His Love', Robin Holcomb's 'Shiloh', Stuart Dempster's 'Alternate Realities', Jarrad Powell's 'The Moon and Sun Are Eternal Travelers', Vincent Plush's 'The Little People of Mount Rainier', and Janice Giteck's 'Agrarian Chants'." - label desription.
Modern Classical, Minimal
Leftfield, Modern Classical, Ambient
Awarded the Grand Prix International Du Disque
Avantgarde, Experimental
Musique Concrète
Modern Classical, Noise, Psychedelic Rock, Experimental
tantric overtone chants
Asian abstract sounds
collaborated with Takehisa Kosugi & Toshi Ichiyanagi
A sensational aural experience for Expo 67 conducted by Louis Applebaum. Very rare and unusual record of intimate and filmic orchestral music with environmental sounds.
Industrial, Classical, Avantgarde, Big Beat, Art Rock, Ambient
minimal abstract soundscapes
With Joan labarbara, Cornelius Cardew,Glenn Velez,...
Modern Classical
Modern Classical, Abstract, Ambient
new music
Modern Classical, Spoken Word, Experimental
Modern Classical, Electro, Ambient
Features Jan Garbarek, Terje Rypdal, Manfred Schoof, Red Mitchell and Jon Christensen playing against electronic tape by Russell.
New Wave, Industrial, Avantgarde
Very heavy to ship! More than 5 KG!
performed by Annette Stricker, Otto Katzameier, Kai Wessel, Simon Jaunin, Klangforum Wien, and Beat Furrer. "The content of the 70-minute chamber opera by Salvatore Sciarrino is the real story of the composer and renaissance prince Gesualdo - who, driven by passion and a thirst for vengeance, murders his wife and her lover in dramatic manner. Distant and inaccessible. Fascination between eroticism and death." - label description.
"Scodanibbio travels the world with his double bass and performs for spell-struck audiences. He is recognized as the leading proponent of his instrument for contemporary composition and was for many years the colleague and collaborator of Giacinto Scelsi and Luigi Nono. Dozens of works have been written for him by such composers as Bussotti, Donatoni, Estrada, Xenakis, et al. He has written over 30 works for strings, and his quartet was recorded by the Arditti for Auvidis Montaigne. He tours extensively with Terry Riley and is equally at home in classical and improvised music. This disc represents a suite of compositions that he has been performing for ten years, and it will redefine what people consider to be the double bass. This recording was made direct to two track on November 18-19, 1997 in Modena, Italy." - label description.
Modern Classical, Industrial, Experimental
a collection of four electroacoustic pieces which present a dialogue dealing with the French Revolution, and in particular some of the French colonies and their slaves. this works in some slave songs, and various other musical elements.
new piano (& violin) music
new piano & violin music
traditionally notated score for mixed chorus a cappella written in November 1967 using text by Walt Whitman. at the time, Shallenberg was teacher of composition and theory, as well as director of the Electronic Music Studio at the University of Iowa. this score is part of Cincinnati based Apogee's Series I, which includes the music of young American composers such as Donald Andrus, Morgan Powell, Harley Gaber, Burt Levy, Donald Erb, Donald Martino, and Henry Weinberg. 10 pages, plus card covers at 11" by 14.5".
Breakbeat, Modern Classical, IDM
Modern Classical, Industrial
the first CD by Japanese Fluxus member and founder of Group Ongaku. to celebrate the 40th anniversary of Fluxus, she has composed eighty short musical pieces for eighty Fluxus friends (from Dietrich Albrecht to Marian Zazeela). the pieces are performed solo on the synthesizer, and in some cases have amusing nods the person's style of work. for example, the piece dedicated to George Brecht uses sounds that resemble dripping water; the one dedicated to Philip Corner sounds like one of his piano pieces. the full list of artists with pieces dedicated to them is: Dietrich Albrecht, Eric Andersen, Ay-O, Michael Berger, Joseph Beuys, RenÈ Block, Luigi Bonotto, George Brecht, Stanley Brouwn, Jean Brown, John Cage, Giuseppe Chiari, Henri Chopin, Henning Christiansen, Christo, Francesco Conz, Philip Corner, Jacques Donguy, Jean Dupuy, Esther Ferrer, Robert Filliou, Henry Flynt, Ken Friedman, Allen Ginsberg, Ludwig Gosewitz, Al Hansen, Geoffrey Hendricks, Jon Hendricks, Juan Hidalgo, Dick Higgins, Davi Det Hompson, Armin Hundertmark, Alice Hutchins, Joe Jones, Allan Kaprow, Bengt af Klintberg, Milan Knizak, Alison Knowles, Arthur Koepcke, Takehisa Kosugi, Shigeko Kubota, Vytautas Landsbergis, Jean Jacques Lebel, George Maciunas, Jackson Mac Low, Gino Di Maggio, Walter Marchetti, Jonas Mekas, Larry Miller, Barbara Moore, Peter Moore, Charlotte Moorman, Hermann Nitsch, Serge Oldenbourg, Pauline Oliveros, Yoko Ono, Nam June Paik, Ben Patterson, Willem de Ridder, Dieter Roth, Harry RuhÈ, Gerhard R¸hm, Takako Saito, Gianni Sassi, Tomas Schmit, Carolee Schneemann, Mieko Shiomi, Gilbert Silverman, Gianni-Emilio Simonetti, Hanns Sohm, Daniel Spoerri, Yasunao Tone, Endre TÛt, Ben Vautier, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, La Monte Young, and Marian Zazeela.
Musique Concrète, Free Improvisation, Experimental
"The snare drum is quite finite in its sonic potentials. Because of this a listener can quickly learn its timbral range. Once the listener is acclimated to the sound of an instrument, the focus of the listening experience is in the actual playing (touching) and the 'music', which is far more than the mere sound of an instrument." - from the liner notes. this collects 8 of his percussion pieces, the last of which uses flute and trumpet and another with voice, otherwise all instrumentation is percussive in various sizes and types from solo drumset to vibraphone trio. the works span from 1981 to 2001 and include among them some subtle works.
Modern Classical, Neofolk
Modern Classical, Neofolk
astonishing good electro-acoustic sound-collage
performances of Christian Wolff "Edges" (1969), John Cage "Six" (1991), Pauline Oliveros & Ione "Six For New Time For Sonic Youth" (1999), Takehisa Kosugi "+ -" (1987), Yoko Ono "Voice Piece for Soprano" (1961), Steve Reich "Pendulum Music" (1968), James Tenney "Having Never Written a Piece For Percussion" (1971), Christian Wolff "Burdocks" (1971), John Cage "Four 6" (1992), George Maciunas "Piano Piece #13 (Carpenter's Piece) For Nam June Paik" (1962), Nicolas Slonimsky "Piece Enfantine" (1951), and Cornelius Cardew "Treatise, page 183" (1967). with guest players William Winant, Jim O'Rourke, Takehisa Kosugi, Christian Wolff, Coco Hayley Gordon Moore, Christian Marclay, and Wharton Tiers. includes enhanced CD bonus of video of the band performing the Maciunas piece.
Abstract, Avantgarde, Ambient
Enrique Raxach: Soiree Musicale, Tristan Keuris: Concertino, Joep Straesser: Fusion A Six
Enrique Raxach: Soiree Musicale, Tristan Keuris: Concertino, Joep Straesser: Fusion A Six
Booklet limited electro-acoustic sound sculptures
"When music gives us space, leaves us time, we notice how our perception of music changes. A sensitization to music is formed through differentiated, repeated structures that do not force the listener to mere rehearsal of the composerís preconceptions but rather allow the listener the possibility to participate, to bring about resonance in the fullest sense." - Ernstalbrecht Stiebler. performed by Teodoro Anzellotti (accordion), Marianne Schroeder (piano) and Huub Ten Hacken (organ). edition of 2000.
Black Metal, Avantgarde
Aloys Kontarsky,piano
in reaction to hearing what he considered amateurish free music played at the World Expo 1970 in Osaka, Stockhausen returned to traditional notation and a relatively closed form to compose "Mantra", which was premiered in autumn of that year at Donauesching. this pieces arms two piano players with sine wave generators and ring modulators. as the two players go through the "musical-miniature of the unified macro-structure of the cosmos" on the piano, they also slowly adjust the sine waves (which remain largely inaudible) and combine both signals in the ring modulator, which does lead to an audible distortion of the piano sonorities, as well as a few purely electronic sounds. this version was recorded in 1993 by Hessischer Rundfunk in 1993 by pianist Andreas Grau and G–tz Schumacher with technician Brian Wolf.
Swedish bassoon player Knut S–nstevold takes on Stockhausen's "Solo" (1966), "Spiral for Soloist" (1968), "Tierkreis" (1975-76), and "In Friendship" (1977); the last with his wife Kina S–nstevold joining him on piano. throughout the pieces S–nstevold alters his sound the specially built "Svensson Box" built for him by G–ran Svensson of Swedish Electronic Music Studios (a.k.a. EMS]. most interesting on here is the inclusion of "Spiral" in which the instrument is combined with sounds from short wave radio, which are imitated, transformed and transcended, to this are added spacial effects, which are this recording are done by Erik Peters.
including Stockhausen's "Am himmel wandre ich.." and Dusapin's "Red Rock" (from the opera Romeo et Juliette) plus 9 Native American Songs performed by Voxnova. "The Native American songs at the beginning of this disc were chosen for their variety and the musical interest. An artistic osmosis takes place on this CD beginning with the oral tradition of the music, poetry and stories. Transcriptions by the researchers of the Smithsonian Institute documented interpretation, written word and musical notation (including timbres and microintervals). Now we have a musical score and a book of poetry. The process is taken further when the composers use these transcriptions as seeds for a work using their own musical languages. Finally, the singers interpret the transcriptions and the end result is this CD. 'In the Sky I am Walking (American Indian Songs)' is an important work in Karlheinz Stockhausen's oeuvre from the 1970s. It receives its only commercially available recording here aside from Stockhausen's private label edition. Scored for a male and female singer, this long song cycle uses texts by Native Americans and incorporates the use of 'unusual vocal sounds' from a palette of vocal timbres developed by the two singers in their years of experience performing new music and meeting singers from around the world, including Native Americans. Stockhausen closely prepared the piece with the singers. Pascal Dusapin is one of France's leading composers. 'Red Rock' is an excerpt from Dusapin's opera Romeo and Juliet scored for vocal quartet playing Native American instruments. Isherwood became aware of this piece when he sang the role of Romeo in 1989. One would expect nothing to remain from the playing, singing and reciting which took place many years ago in the wilderness, and yet somehow there is a musical and spiritual thread running through the elements of this voyage. One can hear the common source of these works gushing forth." - label description.
1965 version featuring Alloys and Alfons Kontarsky on pianos and Martina Arroyo, soprano.
a collection of pieces for saxophones, live electronics and tapes including works by Bo Rydberg, Rolf Enstr–m, Marie Samuelsson, ‰ke Parmerud, Christer Lindwall, and Dror Feiler. features Sven Westerberg, J–rgen Pettersson, Leif Karlborg and Per Hedlund on saxophones.
"Carl Stone builds his electronic music from natural sounds and acoustic instruments, sometimes using fragments of familiar musical pieces, electronically reproduced. He is a sonic purist who rarely introduces distortion or otherwise tampers with the sound, but relies on transformations to create what Mark Swed of the Los Angeles Herald Examiner calls 'Stunning cathedrals of contrapuntal synthesized sounds,' entirely new and never heard before, the aural equivalent of an Escher etching. Stone and his Macintosh computer operate the musical equipment in performances that are as fun to watch as to hear." - from the back cover.
Please watch http://www.mortonsubotnick.com/
Modern Classical, Musique Concrète
a reissue of Subotnick's 1969 LP "Touch" which was composed on the Buchla 100 synthesizer. this is gloriously active experimental electronic music of the old type. added to this is "Jacob's Room", a composition from 1986 which combines digital synthesis with the acoustic sounds of Morton's wife Joan La Barbara [soprano vocals] and Erika Duke [cello].
Free Jazz, Modern Classical, Experimental
"Other Places is an exploration of Svard's interest in new concepts and ideas in music. This disc features works written for her by composers Elodie Lauten, Jerry Hunt and Kyle Gann. Lois Svard has received enthusiastic acclaim internationally for her performances of contemporary piano music. Critics have praised her for her 'lucid interpretations of unusual and seldom-heard repertoire,' and for the 'extraordinary musicianship' of her playing. She has performed extensively throughout the United States and Europe, commissioning and premiering several works by such American composers as Robert Ashley, William Duckworth, Annea Lockwood, Alvin Lucier, 'Blue' Gene Tyranny, Stephen Scott, Kirk Nurock and David First. The three works on Other Places share the ability to expand the performer's and listener's musical parameters in unique ways. Elodie Lauten's Variations on the Orange Cycle is a richly-textured combination of transcribed improvisation and intentional notation that creates lush, ever-changing tapestries of sound. Jerry Hunt's Trapani (stream) is a contemplative work exploring different facets of sound through a progression of tremolo chords played with a variety of voicings, dynamics and pedalings. Trapani's slowly-changing harmonies are serene in their simplicity, yet mesmerizing in their unfolding. Kyle Gann's Desert Sonata is based on his unique rhythmic language developed from the multi-tempo structures of Conlon Nancarrow and the dances of the Hopi, Zuni and other Pueblo Indians. Gann's juxtaposition of widely divergent musical ideas creates an atmosphere that is both compelling and enchanting." - label description.
a collection of alphorn performances recorded in June 1997 in Manhattan at various locations: Times Square, Subway Station at 81st, Central Park, Under the Brooklyn Bridge, Coffee Shop Excelsior, Subway Station at 34th, on top of World Trade Center, Clock Tower roof, Hotel Lobby Excelsior, Rotunde Guggenheim Museum, Loft Party at 22 Center Street, Swiss Institute on Broadway and Manhattan Subway Network. for good measure, garden hose and conch shell were also played on two tracks. "Like its predecessor this second album of our d'c Alphorn Trilogy The Complete Alphorn is much more than an entertaining, 'tongue-in-ear homage to the complex simplicity in our simply complicated world,' for the fascinating recordings produced for this CD - here made accessible to a non-scientific public for the first time - form part of the extensive research into a question of fundamental importance which has been the focus of serious investigation by the Bremen siDCo (Sonographic Institute of the d'c records company) ever since the mid-1990's under the direction of Professore Gino el Mash. The sound recordings for the present CD d'c 9 evolved in the early summer months of 1997 during a siDCo expedition led by Mike Svoboda, the Professore and myself into the bizarre mountain area of Manhattan." - label description.
electronic psychedelics
Modern Classical
Very rare japanese experimental psych no wave
works for guitar by Sir Michael Tippett, Steve Reich, Peter Maxwell Davies, Roberto Sierra, and Toru Takemitsu. "As a collection, these pieces reflect some trends for guitar music in the 80's - a freedom from the influence of the Spanish tradition; individual and disparate languages of composition; the blurring of stylistic divisions; and the increased incorporation of the guitar in chamber music settings. These five pieces incorporate, in turn, a painting, a Central African horn theme (Reich's 'Electric Counterpoint' -- recorded here in its first entirely acoustic rendition), an abstract form, the nocturnal sounds of the Carribean, and a poem that was inspired by a painting. Three generations of composers are represented here. Of the five, only Takemitsu plays guitar. Tippett and Reich first turned their attention to the solo guitar in the 1980's, as many composers did, while Davies and Takemitsu continued career long associations with the instrument. Sierra had written for both guitar and string quartet when I decided to commission him to enrich the chamber repertoire." - label description.
great abstract electronic sounds
"Currently director of the Paris-based GRM (Groupe de Recherche Musicale) Teruggi follows in the footsteps of GRM's illustrious founders Pierre Schaeffer, Pierre Henry, FranÁois Bayle, and represents the next generation of electroacoustic explorers. 'The Shining Space' includes works written between 1997 and 1999. Each composition uses a single instrument, piano, electric guitar, voice, etc., as original sound source which is then transformed by the GRMís own processing tools (GRM tools). Teruggiís in-depth metamorphoses of the raw sonic materials reveals his inventiveness and mastery of the acousmatic vocabulary. The listener is surrounded by sonic 'trompe l'úil', sensual disorientations and mirages. In 'Crystal Mirage', UK virtuoso pianist Philip Mead leads the listener through a labyrinth of mirrored sounds where piano and tape are endlessly intertwined. 'Fugitives Voix' features actor Jean Bollery and Brazilian singer Anna Maria Kieffer who lend their voices to Teruggi's manipulations. Other sonic 'guinea pigs' include Teruggi's own son on electric guitar in 'The Shining Space' and a full symphony orchestra in 'Images Symphoniques'. Going beyond the technological and cerebral aspects of a lot of electroacoustic music, the listener cannot help being drawn-in by Teruggi's unique emotional personality. The Shining Space is a soulful and luminous dimension in which to investigate Teruggi's musical territories." - label description.
Modern Classical, Industrial
Private Dutch DIY like the Homosexuals
a strange shifting eletroacoustic atmosphere with a running French text (an English translation is included in the 16-page booklet) and occasional blasts of percussive fury. with Quatuor HÍlios (percussion), Ali N. Askin (sampler), Eric Houzelot (voice), and Jean Lambert-wild (text). "A Drumlike is a cadaver that has been excommunicated and possessed by a 'demon'. It find itselves in the same category as a few saints that have been absolved from the natural laws of decomposition; his tightened and blown skin is like the skin of a percussion, which when struck, gives a similar sound to that of a drum."
"Un Cirque Horrifique and Le PoËme Vorace comprise a diptych inspired by Rabelais's writings, as well as by similar sound material treated and organized differently." - from the liner notes. the first suite of pieces mixes voice, piano, guitar and electronics creating a work much in the traditional of French electroacoustic music. the second pairs electric guitar with heavy effects and electronics and vears more into the territory of psychedelic guitar solos and improvisation. both pieces feature Jean-Louis Clot of guitar. the first also has BÈnÈdicte Bebilly (voice) and Hugues de Nolly (piano).
Psychedelic Rock, Industrial, Goth Rock, Avantgarde, Experimental
Psychedelic Rock, Avantgarde, Experimental
Art Rock, Avantgarde, Experimental
Krautrock, Abstract, Avantgarde, Experimental
"Timbre Hollow is the debut album by Threnody Ensemble - a new chamber group founded by guitarists Erik Hoversten, Dave Cerf and Dominique Davison. Incorporating elements of improvisation into their composition, what is most striking about their music is their use of non-Western instrumentation and techniques (hocket, drones, etc.) in combination with more typical chamber instruments. Indian, Indonesian and Cuban elements are all apparent but not overt. The effect complicates the ideas of musical identity and authenticity, and to discomfort lazy 'classical vs. folk' distinctions. But above all, the use of steel-stringed acoustic guitars and cello, with a variety of instrumental guests, creates a shimmering soundworld that is at once beyond instrumentalist ego and at home on the concert stage - chamber music in the new era." - label description.
Modern Classical, Experimental
"Formed in 1993 in a residency at the Pauline Oliveros Foundation, the musicians of Timeless Pulse make music together through listening and responding in the moment. Artists include Thomas Buckner (baritone). George Marsh (percussion), Pauline Oliveros (accordion) David Wessel (computer realized sound), and Jennifer Wilsey (percussion). This CD is an unedited recording of a concert at CNMAT on Sunday, March 10, 2002. Pauline Oliveros (accordion) is an important pioneer in American music. For four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and eludes many who try to write about it. David Wessel (electronics) is currently Professor of Music and Director of The Center for New Music and Audio Technologies (CNMAT) at the University of California Berkeley. His focus is on live performance electroacoustic music where improvisation plays a central role. George Marsh (percussion) lives, teaches, composes, and performs in Santa Rosa CA. His influences include Shelly Manne, Will Parsons, David Wessel, Allaudin Mathieu, Fred Kaz, Jiddu Krishnamurti, John Cage, Pauline Oliveros, and other deep listeners. Jennifer Wilsey (percussion) teaches, composes, and performs as a percussionist and pianist." - label description.
New Wave, Avantgarde
Avantgarde
Cycle of four electronic pieces inspired by the I Ching incorporating improvisational interaction between recorder and tape (East wind) and marimba and tape (Nightwatch). Recorded at Simon Fraser University, Canada except Nightwatch recorded at the Music Gallery, Toronto, Canada.
Recommended Japanese Avantgarde
Musique Concrète
"Classic electronic masterworks by Dutch master-composer. Using sound sources like electronic pulses, sine waves, or material borrowed from other people (from records or scores), Gilius' music is often a journey from one sound world to another. In his pieces he presents something recognizable, something with historical or stylistic implications, and then frustrates their expectations by sending the music off in a completely unanticipated direction."
"Öthere are two major characteristics of Van Bergeijk's work that have been present from his earliest compositions, and that have remained important in his music up to the present day: first the idea of sound as sound, a thing of interest and beauty in its own right, as opposed to being merely the medium for portraying other aesthetic notions; secondly the idea of transformation between one object or state and another, usually as a result of a systematic process of destruction. With this in mind it is not hard to see why the composer is attracted to mechanical musical instruments, and especially to the whirring, huffing and puffing of the barrel or street organ, a contrast to the refined grandeur of a church variety. Ö On the present CD you will hear his earliest and his most recent works for mechanical instruments, and a work that uses the conventional organ in an unconventional manner, as a trigger for other sound sources." - from the liner notes by Richard Ayres. includes "Via Crucis" (1998/2000), for barrel organs; "Over de Dood en de Tijd, een hommage aan Franz Schubert" ["On Death and Time, A Homage to Franz Schubert"] (1980), for tape; and "BAC" (1968-1970), for barrel organ - "The Busy Drone".
Soundtrack, Modern Classical, Ambient
Modern Classical, Synth-pop, Ambient
Robert Craft conducts woodwinds, brass and percussion
"Three extraordinary works are recorded here for the first time, each connected to one of the greatest exponents of the avant-garde pipe organ, Gary Verkade, and one of the most important experimental composers and electronic pioneers, Kenneth Gaburo (1926-93). All three challenging, emotionally powerful works are closer to the quasi-electronic sound worlds of Cage, Ligeti, Nono and Feldman than to the conventional repertory of the instrument, having more in common with the worlds of electronic music or linguistics than with those of Bach or Messiaen. Gaburoís Antiphony X (Winded) is a work in which the composer wanted to get out of the organ everything that was left after many centuries of organ composition and context-loading. Every last wheeze was to be coaxed, and if incapable of being coaxed, forced out of it. The organ as instrument and the organist as player were to be placed in a high-energy performance situation which would inevitably lead to utter exhaustion of both (not to mention the listener!). Where was the organ and organ playing to go from here? This was also Gaburoís last major work. After Gaburoís death, Verkade asked a number of former Gaburo students to write organ pieces in memory of their mutual teacher and friend. It is fitting that two of them responded with pieces which incorporate Gaburoís own voice, for he was very much concerned with the voice as expressive instrument: Warren Burt takes a spoken text of Gaburoís to generate both a tape and an organ score, both of which follow the spoken contours of Kennethís voice. Philip Blackburn uses a letter recorded by Gaburo upon hearing of the illness of his own teacher, Goffredo Petrassi, and a recorded voice-lesson session between Philip and Kenneth shortly before Gaburoís own death to create a tape. On a par with this end-of-life drama, the organ-organist entity is disembodied: the organist plays from a writing desk, separated from the organ keyboards by a good distance, but connected to the keys and stops by strings which are alternately pulled to change what is sounding from the instrument."
very textural music which tends towards sustained sounds, though contains many smaller ones as well, and which stays too active to really be called drone music but should appeal to people who enjoy that field. features Lothar Fiedler (guitars, electronics); Michael Vorfeld (percussion, stringed instruments); and Michael Walz (sampling, electronics); with guests: Boris D. Hegenbart (live-electronics) and Aleks Kolkowski (violin, electronics). "The three musicians, all of whom live in Berlin, began working together for the MontagsMusik concert Stagnation und Stimulanz (1999) at Podewil. These recordings, which include collaborations with Aleks Kolkowski and Boris D. Hegenbart, were made in 2000. vestige vertical blends vertical layers of acoustic, electro-acoustic, and purely electronic sound output. Constantly changing, delicately textured levels of sound are the result." - label description.
"Vierk's music explores texture and microtonality in highly structured pieces that build to swirling high energy intensity. Influenced by minimalism, Japanese Gagaku and Appalachian folk music, Lois Vierk is one of America's great originals. Her first CD for Tzadik is an exciting collection of compositions for string quartet, brass sextet and a dynamic piece for electric guitar, percussion, cello and synthesizer. Definitive performances of some of Vierk's greatest works." - label description.
Avantgarde, Experimental
Modern Classical, Neofolk
"The character of Surrealism had been crystallizing over the previous five years when, in 1924, AndrÈ Breton issued the first Surrealist Manifesto. As conceived in those early days, Surrealism was not so much a formal movement as a spiritual orientation, embracing ethics and politics as well as the arts. Recourse to dreams, to the unconscious, to chance factors, to automatism dictated the Surrealist mode, and the long list of artists associated with the movement includes Ernst, MirÛ, Duchamp, Magritte and DalÌ. Patrick Waldberg incorporates a collection of key documents in his invaluable survey of Surrealism from its beginnings to the present time." - cover copy. 128 pages, paperback; 197 illustrations, 8 in color.
compositions from the cellist of the Th¸rmchen Ensemble, including three cello trios, a short piece for choir, a duet for flute and bowed percussion, and a piece for trumpet, 2 cellos, and speaker. this is the second collection of his compositions, following a disc on Wergo. "Ö His conspicuously highly developed personal style is based upon careful listening. The audible influences of John Cage and Morton Feldman on the spiritual side and Helmut Lachenmann and Mathias Spahlinger on the material level - although one can scarcely separate the two - oblige many of his pieces to the aesthetics of silence, to the refusal of tumultuous mental and constructional concepts. Their effect calls for a change in perception. In their best moments, the compositions themselves even assist in achieving this Ö but Walter's pieces, which sometimes last only a few seconds, do not necessarily live from a narration, or a process, but from a gesture, which is, as a rule, formed in a completely logical manner and which is as open as it is closed. Caspar Johannes Walter's imaginative use of the instruments' scraping, scratching and stroking sounds is never violent, but always conveys respect for the instrument Ö" - Ute Schalz Laurenze, Bremer Weserkurier, 20.4.94. performers featured on this disc are Ulrike Zavelberg (cello), Tobias Moster (cello), Casper Johannes Walter (cello), Neue Vokalsolisten Stuttgart (choir), Astrid Schmeling (flute), Matthias Kaul (perucussion), Reinhold Friedrich (trumpet), and Manos Tsangaris (speech).
For Piano Tape and Orchestra
John White was a member of the Scratch Orchestra during which time he began a long association with Christopher Hobbs in groups such as P.T.O. and the Hobbs-White duo. later White's music was documented on a split LP with Gavin Bryars, which was part of Brian Eno's Obscure series of LPs, as well as the "Miniatures" compilation LP. though keeping busy composing and performing, the next recording of his own compositions did not appear until this 1990 disc, which shows a slightly different aspect of his work. as White describes it, this is "electronic chamber music played on cheap equipment". these are parodies of the simple music played at fashion shows, yet filtered through White's sensiblities. this leaves us with something that somewhat kitsch which is also informed by the minimalism and process music which makes up White's "serious" body of work. as the cover and liner notes put it, "This music is top-quality trash produced by the cheap-sound scene. We kindly ask the users of this CD to play it at the volume of a suburban Paris soundmachine or a London underground discman earphone as used by the kid next door." performed by John White [little machines] with guests Ian Mitchell [clarinets] and Jamie Crofts [keyboards, voice].
"Christian Wolff came to prominence in the 1950s as an associate of John Cage, Morton Feldman, Earle Brown and the other American experimentalists of that period, later working with Cornelius Cardew and Frederic Rzewski. His work has gone through many transformations, including minimalism (the early 1950s), indeterminancy, open form and works connected with political issues. The recent set of piano works on this record stem from his 'political' period, often drawing on material from popular song and other politically connected musics. 'The Eleven Preludes' (1981) are a wonderful collection of self-contained pieces, each representing one principal idea or process. 'Bread and Roses' (1976) is based on a song of the same title (Sally Pinkas includes the original song on this disc) written during the great mill strike of 1912 in Lawrence, MA. The song caught the voices and aspirations of the women who took part in this infamous strike. 'Piano Song (I am a Dangerous Woman)' (1983) is based on Joan Cavanaugh's fierce anti-war poem. The last work, 'Hay Una Mujer Desaparecida' (1979) is a set of variations on a song by Holly Near which was a lament for the women who 'disappeared' in Pinochet's junta in Chile during the 1970s. Most of these works are recorded here for the first time. This disc is also important as one of the first all-Wolff recitals to be issued." - label description. performed by Sally Pinkas on piano.
includes "Battle Piece" by Wolpe, "Palais de Mari" by Feldman, "W¸stenwanderung" by Zimmermann, and "Nacht-st¸cke" by Seel, all performed by Seel on piano. "It is only fitting that the coda to this recital of most demanding 20th century piano music should only be a quiet epilogue, a sparse and subtle probing of single piano sonorities, but also a creation of the brilliant young pianist who manages to do justice to music as different as those of Wolpe, Feldman and Zimmermann. For Daniel N. Seel is not only a of renown, but a prodigious composer, whose oeuvre includes, apart from numerous piano pieces, orchestral music, an opera, scores of various instrumental groupings and performance-oriented pieces. And since Seel is a former student of Walter Zimmermann, this pianissimo finale is also another link in the many aesthetic and biographical strands joining Stefan Wolpe, Morton Feldman, Walter Zimmermann and Daniel N. Seel, in spite of all obvious differences between those representatives of four musical generations." - Peter Niklas Wilson. edition of 3000.
Director: Constantin Simonovitch. Ensemble Instrumental de musique Contemporaine de Paris
Contemporary
Modern Classical
vintage postcard of La Monte's birthplace photographed by Marian. 4.75" x 6.875" full color.
Academie Charles Cros Grand Prix du disque 1969
performed by Julie Moffat, Eva Furrer, Katrina Emtage, Andreas Lindenbaum, Benedikt Leitner, Roland Schueler, Johann Leutgeb, Annette Bik, Florian M¸ller, Donna Wagner-Molinari, Klangforum Wien, and Hans Zender. includes detailed booklet with texts by Frank Gerhardt and J–rn Peter Hiekel. "Music to hear and Litanei available on CD for the first time. The four pieces constitute Zender's 4 central, representative compositions from various creative periods. Characteristically, Zender's compositions draw upon literature for musical and structural ideas as well as soloist vocal parts. In this he achieves a remarkably broad spectrum of representational forms and splendid wealth of color nuances." - label description.
Noise, Blues Rock, Avantgarde, Free Jazz, Art Rock, Thrash
Industrial, Avantgarde, Experimental
Contains mainly unreleased works in a digipak sleeve with a 40-page booklet, which is fixed to the cover, and an enhanced CD. The enhanced CD (CD 2) contains the video of track 2.11 by Captain Beefheart (5:31)
Alternative Rock, Industrial, Avantgarde, Experimental
Very rare Belgian early electro compilation with Absolute Body Control, Vita Noctis, Somnabullist, Nightmare Reality
Classic compilation of early electronic works from the famed NY studio.
Sonata for computer, Andromeda & L'aube des flammes composed 1984 and recorded at Electronmusikstudion (EMS) in Stockholm, Sweden. Harmonics II composed 1983 ; Parta con moto composed 1984 recorded at Elektronisches Studio in der Technische Universität (Berlin, Germany).
Features works by John Cage, Henry Cowell, Lou Harrison, Amadeo Roldan, and William Russell. Conducted by John Cage and Paul Price.
"Concert series of Japanese contemporary music after WWII at Kioi Hall in Tokyo. This issue includes unpublished theater pieces under the influence of first experience of John Cage concerts." includes: Toshi Ichiyanagi "Music for Piano #4" (1960), "Music for Piano #6" (1961) and "For Strings #2"; Toshiro Mayuzumi "Metamusic for Piano, Violin, Saxophone and Conductor" (1961); Toru Takemitsu "Blue Aurora for Toshi Ichiyanagi" (1964/2001); Mieko Shiomi "Disappearing Music for Face" (1964), "Falling Event for a Grand Piano" (1963/1991), "Wind Music" (1963), "Passing Music" (1964), and "Falling Event=Spatial Poem Version for Narration, Contrabass, Soprano and Piano" (1963/2001).
With Kagel, Stockhausen, Berio, Ligeti, Mayuzumi, Globokar, Bedford ao.
With Stockhausen, Kagel, Cage, Koenig, Zimmermann, Gruppe Nuova Consonanza ao.
With Brown, Ferrari, Kagel, Kayn, Nono, Stockhausen ao
With Bussotti, Cardew, Evangelisti, Frison, Globokar, Küpper, Stockhausen ao.
an excellent survey of contemporary electroacoustic music with Ned Bouhalassa, Ian Chuprun, Francis Dhomont, Daniel Feist, Michel Frigon, Gilles Gobeil, Monique Jean, Kathy Kennedy, Frank Koustrup, Daniel Leduc, Robert Normandeau, Er Polen, Laurie Radford, Jean Routhier en collaboration avec Christof Migone et Michel F. CotÈ, FrÈdÈric Roverselli, Claude Schryer, Pascale Trudel, John Winiarz, Egils Bebris, Gustav Ciamaga, Janet Cross, Rob Cruickshank, Bruno Degazio, Robert Del Buono, Markos Lekkas, Andra McCartney, Sarah Peebles, Randall Smith, E C Woodley, Wes R D Wraggett, Mara Zibens, Bentley Jarvis, Chris Meloche, Sergio Villarreal, Gregory Jay Lowe, Diana McIntosh, Gordon Fitzell, Garth Hobden, Shawn Pinchbeck, Steven R Heimbecker, Daniel Scheidt, Darren Copeland, Martin Gotfrit, Fred Semeniuk, Barry Truax, Barbara Golden, Yasuhiro Ohtani, Christian Calon, Thomas Gerwin, Francisco LÛpez, Daniel Zimbaldo. with booklet.
Double CD compilation based on a work of Larry Polansky's. Pieces are constructed from the sounds of cats, screams, MIDI instruments, computer, Barbie Phone, samples, wooden flutes, piano, bass clarinet, Ringtones, Metro Cards, contrabass, and more.
Noise, Abstract, Musique Concrète, Experimental, Ambient, Minimal
this 70 minute collection from 1991 features stereo mixes of four-channel tape pieces commissioned by and produced in the studios of The Danish Institute of Electro-acoustic Music. the piece range from rhythmic (think Tangerine Dream) to more abstract pieces in the classic electroacoustic vein (think INA-GRM or empreintes DIGITALes). the featured composers are Wayne Siegel, Ivar Frounberg, J¯rgen Plaetner, and Fuzzy. also has a cover art by Asger Jorn.
Please watch http://electroshock.ru for a description
early electronic avantgarde highly recommended!!!
Modern, Romantic, Classical
with Sharon Kivland, Vlastimil Marek & Roman Benda, James Fulkerson & Phill Niblock, Jaroslav Stastny, Tibor Szemz– & Martien Groeneveld, Peter Cusack, Pavel Fajt, Jo Truman, Ann LeBerge & David Dramm, Irena & Vojtech Havel, Richter Band, Mario van Horrik, Sarah Fraser, AGON, Nico Parlevliet, and Orloj Snivcu.
a collection of acousmatique works sharing a common thread of style, theme and association with the GMVL group. all tracks recorded at GMVL studio, with the exception of "Peur dans l'escalier", which was done at INA-GRM. track listing: Jean-FranÁois Minjard "Peur dans l'escalier" [7:50], Marc Favre "Le beau corps d'Èther" [15:13], Marc Lauras "Quel carnage!" [4:40], Bernard Fort "Le jardin de la reine" [8:22], Xavier Garcia "6 regards sur L" [15:10], and Pascal-Florian Mutschler "Haute tension" [11:00].
Side 1: : Recherche (Research): exemples sonores (sound examples). Side 2: Création (creation): extraits d'oeuvres (composition excerpts recorded at IRCAM). Stria, for tape. Songes, for tape. Mortuos plango, vivos voco, for soundscapes digitally treated. Soft morning, city!, for soprano, contrabass and tape. Fmelodies for ensemble and tape. The double life of amphibians, for ensemble and live electronics. Repons, for Ensemble intercontemporain and tape. Program notes by Jean-Baptiste Barrière.
Modern Classical, Experimental
with Miyazaki Shigru [side long piece for solo organ], Hayakawa Kazuko, and Arima Reiko [for shinobue and piano]. with insert.
4 Jeunesses Musicales Canada records + 2 double LPs from Eastern Europe about young musicians + 2 other LPs from elsewhere regarding these festivities
with Twerk, Terre Thaemlitz, Tim Hecker, Cordell Clier, John Harding, Taylor Deupree, Alva.Noto, SND, Frank Bretschneider, Bizz Circuits, and Marvin Chlada / Markus S. Kleiner. "Klangmaschine (translates as Soundmachine) is the companion CD that compliments the book of the same title written by Marvin Chlada and Marcus S. Kleiner. Klangmaschine attempts to demonstrate that the entire history of the so-called popcultural subversion is to be written in a totally new way. Sound vs. Pop? Since popculture has become the ideology of the 21st century, there have been countless attempts to subdivide the phenomenon pop in a discursive way. What is talked about, when is pop discussed? Chlada and Kleiner answer in a scandalous way: About a zombie! The artists featured on this compilation are some of electronic music's finest players. From Twerk's intricate techno meddlings to Taylor Deupree's microscopic sounds, these artists reflect on the ideology that these theorist's rationalize in the book. The main thesis of this CD is to imply that pop is dead. Here's to the pure sounds of tomorrow!"
Alternative Rock, Folk Rock, Trip Hop, Contemporary Jazz, Avantgarde, Future Jazz, Hip Hop, Experimental
the fourth release from INA GRM recording artist Denis Dufour's label is lavishly packaged, coming in 108 page, jewel case sized, hardback book with texts (in French with English translations) and photographs. the audio is a collection contemporary music for flute and piano composed by Bertrand Dubedout [previous release on Metamkine], Denis Dufour, Philippe Leroux, Daniel Tosi, and Bruno Giner as performed by Duo EphÈmËre. though these are instrumental works, they are written by artists schooled in the ways of electronic music (four of the five being former students of the great Ivo Malec). from the liner notes: "Although only revealed by instrumental sources, each work shows a high degree of cross-practice and invites a 'relaxed' mode of listening, appropriate to capturing the evolution of sound material and the richness of its 'morphological' characteristics. As in acousmatics, it is here an issue of projected images, clear-cut or progressive contours, deformations, stretchings, contractions, breaks in the temporal continuum, explosive displacements and somewhat Promethean recompositions of materials: Material / Motion / Music."
Art Rock, Avantgarde, Experimental
Folk Rock, Alternative Rock, Noise, Indie Rock, Dub, Avantgarde, Big Band, Minimal, Ambient,Industrial, Experimental
Experimental, Modern Classical, Abstract
Paul Lansky - Idle Chatter, Curtis Roads - Nscor, James Dashow - Sequence Symbols, Michel Waisvisz - The Hands (Movement 1), Michel Waisvisz - The Hands (Excerpt of Movement 2), Clarence Barlow - Relationships for Melody Instruments
Seminal early release of electronic landmarks: Come Out by Steve Reich, Night Music by Richard Maxfield, and I of IV by Pauline Oliveros.
Musique Concrète, Minimal, Experimental, Ambient
Folk Rock, Classic Rock, Synth-pop, Indie Rock, Ambient
Modern Classical, Movie Effects, Contemporary
IDM, Experimental, Avantgarde, Indie Rock
Modern Classical, Electro, Goth Rock, Industrial
Radioplay, Musique Concrète, Spoken Word, Experimental
Industrial, Modern Classical, IDM, Ambient, Electro, Experimental
"edited by Brandon LaBelle and Christof Migone. An anthology that focuses on the relationship between language and sound, writing and music, and brings together a highly diverse collection of essays, interviews, meditations, visual projects, text-sound scores and audio by some of the leading individuals in the field of cultural and performance studies, experimental music and contemporary art. Through such a diversity of contributions 'Writing Aloud' suggest relationships between disparate practices and stimulates conversations between disciplines, one which follows the line where text and sound meet, speaking and music collide, and theory and writing converse." with texts by Nicholas Zurbrugg, Achim Wollscheid, GX Jupitter-Larsen, Fred Moten, Brandon LaBelle, Bart Plantenga, Terri Kapsalis, Norie Neumark, Lionel Marchetti, Sean Cubitt, Arthur PÈtronio, Allen S. Weiss, Vincent Barras, Christof Migone, Vito Acconci, Alvin Lucier, Robert Ashley interview with Elizabeth Slavet, Alexandre St-Onge, Kim Dawn, Charles Amirkhanian, Jocelyn Robert, David Dunn, and David Merritt. CD includes pieces by Marina Abramovic, Alexandre St-Onge, Jocelyn Robert, Yasunao Tone, John Duncan, Gregory Whitehead, Michel Chion, Christof Migone, David Dunn, Randy H.Y. Yau, Achim Wollscheid, Arthur PÈtronio, and Vito Acconci. 280 pages.
March 1997 issue with Megumi Hashiramoto on concerts in Arizona, Masahiro Nakatani, Douglas Kahn on Bob Ostertag, the opening of the NTT Inter Communications Center, and an interview with Masahiro Miwa. 20 pages. Japanese and English.
June 1997 issue with art space report, sound art of the Asia Pacific region and new world music, Hiroshi Nakagawa on Shichiseikei (part four), Japanese Kotatsutop computer music, and an interview with Charles Amirkhanian (part one). 20 pages. Japanese and English.