ALVA NOTO + RYUICHI SAKAMOTO – SUMMVS CD Raster-Noton
ANTI-G – Presents Kentje’sz Beatsz 2LP/CD Planet Mu
CHRIS WATSON & MARCUS DAVIDSON – Cross-Pollination CD Touch
DIKOLSON – The Bear is Sleeping now LP Minority
FORMA – FORMA LP Spectrum Spools
FOURCOLOR – As Pleat CD 12k
HECKER – Speculative Solution Book+CD Editions Mego
JESSIKA KENNEY & EYVIND KANG – Aestuarium LP Soma
JOHN CHANTLER – The Luminous Ground LP Room40
KANGDING RAY – OR CD Raster-Noton
LUCIA MENSE – Electronic Counterpoint CD Satelita
LÜÜP – Meadow Rituals LP/CD Experimedia
M. OSTERMEIER – The Rules Of Another Small World CD Tench
MANUEL ZURRIA – Loops4Ever 2CD Mazagran
MARK FELL – Manitutshu 2×12″ Editions Mego
MIST – House 2LP Spectrum Spools
NOISEPOETNOBODY & VANCE GALLOWAY – Uranium 238 CD Lens
PHURPA – Trowo Phurnag Ceremony 2LP Soma
V.A. – Phlox: 1st Annual Report CD Phlox
ALVA NOTO + RYUICHI SAKAMOTO
CD Raster-Noton R-N 132
on may 09th, 2011, raster-noton. archiv für ton und nichtton releases alva noto and ryuichi sakamoto’s album summvs, the latest result of the unusual creative partnership between the oscar-prize honored film composer ryuichi sakamoto and the fine artist and electronic music pioneer carsten nicolai.
the name of the artists’ fifth collaborative release summvs refers to the latin word ‘summa’ (engl.: sum) and ‘versus’ (engl.: towards) serving as a metaphor for the work being oriented towards a collarorative whole. summvs is the last of a series of five releases that started with vrioon in 2002 and continued with insen (2005), revep (2005) and utp_ (2007).
passages of sparse yet emotionally charged and passionate piano solos are embedded in sine waves or reworked to establish new aesthetics of piano sound. sparse percussions and throbbing bass pulses hover above and below – the music being contemplative and minimal at the same time.
the tracks microon I-III contain recordings of one of the 15 pianos using a 16th tone interval tuning built by sauter, spaichingen/donaueschingen, germany. the original ‘piano metamorfoseador en dieciseisavos de tono’ was designed by julián carrillo trujillo. thanks to the music department of berne university of the arts for making this instrument available.
included in the album are two cover versions of the track ‘by this river’ originally written by roedelius, moebius and brian eno in 1977. in their instrumental versions of the song nicolai and sakamoto create and investigate the song’s appeal in both normal speed and slow motion.
the new album will host its world live premiere on may 12th, 2011 at the roundhouse in london, uk and will be followed by a european tour in may/june 2011 with stopovers in milan, perugia, rome, parma, brussels, eindhoven, leipzig, copenhagen, frankfurt, berlin, and barcelona. ryuichi sakamoto on piano and alva noto on electronics will present their fifth collaborative release with a unique style visualisation and an state-of-the-art technical setting and stage design.
Presents Kentje’sz Beatsz
2LP/CD Planet Mu Records ZIQ301
Release date: June 6
At a party in the late 80s in The Hague, a local DJ by the name of DJ Moortje accidentally dropped a dancehall twelve-inch at 45RPMs, causing chaos in the audience. Not the kind of negative heckling you get when a record is skipped, but the kind of excitement that happens when a movement has been started. This beautiful mistake resulted in Bubbling, a cultural expression of immigrants from The Dutch Antilles and Suriname, a genre that would take these communities by storm in Holland in the 1990s. Jamaican exports such as the Fever Pitch and Bam Bam riddims were double and half-timed, with Cutty Ranks on one hand sounding like a prepubescent chipmunk, the other hand sounding like an evil duppy. Its sound borrowed slave rhythms from Curacao (DJ Moortje’s origin), creating a new Caribbean style of music in Europe that ran parallel to London’s Jungle scene.
This excitement eventually died down in The Netherlands, and Dutch House became the dominant genre in the late 2000s. There was more money to be made, and bigger parties to be played when your music didn’t consist of pitched up dancehall, and bubbling became reserved exclusively for the black and Latin crowds, especially teenagers. However, House in Holland was littered with Caribbean influence, and eventually a new generation of DJs would pioneer a new sound, known as Bubbling House. A group of cousins, DJ’s Shaun-D, Master-D, Daycard, and Deschuurman who loved Dutch House but couldn’t shake their traditions created a new sound, with hyper Fruity Loop synths over pitched up Dem Bow drums. The sound could be found all over Youtube and regional social media sites, the same way the rest of the global youth were distributing their music from Chicago to Luanda.
Anti-G a.k.a. Kentje’sz Beatsz, an 18-year-old producer from the Dutch city of Delft is of the current Bubbling House generation, but his music often stabs at other realms. Like many of his peers, he takes in the popular styles of the black and Latin communities of Holland: Bubbling, Reggaeton, Dutch and American Hip-Hop, and House, and loads those influence into Fruity Loops on his PC. This often results in all of those genres crammed into 3 minutes of audio, though occasionally he singles one out. The atmosphere is cold and industrial, not-unlike the sound created by UK Grime producers, but with polyrhythms that swing like Funky House. His tracks often can’t decide if they’re for a rave or a rap show, but in the end sound like the soundtrack for someone getting stabbed in space.
Anti-G Presents ‘Kentje’sz Beatsz’ is a collection of material made between 2009 and 2010, showing all of the faces of his work. Bubbling Cause Trouble and Crack The Glass! tap into the current club scene of Holland, while tracks such as Reggaeton Man! are his own mutant Dem Bow riddims. It’s a trip through Dutch social networking sites such as Hyves, and an example of the experimentation brewing with the current digital youth of the Surinamese and Antillean communities of The Netherlands. These drums may come from the Caribbean, but the synths belong on a space station. – Dave Quam, 2011
CHRIS WATSON & MARCUS DAVIDSON
CD Touch # Tone 43
1. Chris Watson – Midnight at the Oasis 28:08
The piece is a 28 minute time compression from sunset to sunrise in South Africa’s Kalahari desert and features the dense and harmonic mosaic of delicate animal rhythms recorded in this remote habitat.”Midnight at the Oasis was first performed at the Marquee in Parliament Street, York, on 13th September 2007 as part of SightSonic’s contribution to the BA Festival of Science.
The Kalahari desert is a vast and open space where most of the wildlife is nocturnal. After sunset the dunes, grasses and thorn bushes are patrolled by an emerging alien empire – the insects.
‘Midnight at the Oasis’ presents an unseen soundscape from this beautiful and hostile environment.
2. Chris Watson & Marcus Davidson – The Bee Symphony 20:00
A project conceived by Chris Watson originally for ‘Pestival’ in 2009 to explore the vocal harmonies between humans and honey bees in a unique choral collaboration around and within the hives of an English country garden. Recorded live at The Rymer Auditorium, Music Research Centre, University of York, England on December 17th 2010 by Tony Myatt, using a Soundfield SPS200 microphone recorded onto an Edirol R4 (surround version), and 2 x Neumann U87 microphones via Grace Microphone Preamplifiers, recorded onto an Edirol R44 (stereo version).
Composed and arranged by Marcus Davidson using recordings made by Chris Watson & Mike Harding, and diffused through a 4.1 Genelec system by Chris Watson.
The Bee Choir: Dylan de Buitlear, Lisa Coates, Steph Connor, Lewis Marlowe and Shendie McMath.
With thanks to Peter Boardman (the event producer), Tom Emmett, Celia Frisby & Bridget Nicholls, who originally commissioned The Bee Symphony.
The Bear is Sleeping now
LP/DL Minority Records MIN27
There’s something lovingly sweet about FILIP MISEK’s vibrant debut solo album. Though his previous compositions for the defunct indie-electronic outfit Khoiba were always consistently strong, now that another fruitful chapter has opened, the area of more experimental layers gives emphasis on developing sonic structures where voice is not in the forefront and is much less used. New compositions were developed within three years into the complex of ten tracks of thoroughly engaging and uplifting electronic music with orchestral elements, variety of acoustic instruments and elegant resonance, presenting clear-cut picture through fractured and flawlessly enticing melodies.
Most impressive is the sheer scope and ingenuity of Filip Misek’s songwriting, building up songs from breathy and delicate fragments that do not follow the similar template, not easy to decipher with every listen.
Let’s explore one of the most ambitious projects of the year, providing compelling evidence that The bear is sleepingnow should be considered among Filip Misek’s strongest work to date, herewith finding him in the best shape and enjoyable form well worth investigating.
Filip Misek’s alter ego Dikolson is taking experiences from composing movie scores “Restart” (2005), “Day of the Dragon”(2010), dance and visual performance “Indefinite Kingdom” (2010, Tokyo, July 25th 2010), as founder member of widely popular indie-electronic outfit Khoiba with touring experiences across Austria, Germany, Finland, Poland, France, The Netherlands and sharing the stage with The Cure, Maximo Park, IAMX.
LP Spectrum Spools SP003
Release date: May 16
MARK DWINELL and SOPHIE LAM – Roland RS-09, Roland SH-1000, Roland RE-101,
Yamaha CS-15, Crumar DS-2, Oberheim SEM, DSI Morpho, Moog LP, FarÞsa Compact
GEORGE BENNETT – Roland TR-707, Alesis HR-16B
Recorded and mixed live at the Schoolhouse, Brooklyn, Summer-Fall 2010.
Photos by Mark Dwinell, 2009. Canyon de Chelly, Arizona.
Cover design by Zhanna Chausivskaya.
Cut at Dubplates & Mastering, March 2011.
FORMA (Mark Dwinell, Sophie Lam, & George Bennett) emerged on the NYC minimal synth scene in 2010 with a singular vision of cosmic Krautrock for a new age. On their eponymous debut LP, the Brooklyn-based electronics trio merges the melodic þow and primitive rhythms of their motorik predecessors with the hypnotic drones of Minimalism, creating an intricate work both addicting and rewarding with repeat listens. Like many of the LP’s eleven tracks, the churning and relentless FORMA237B draws its energy from a precarious equilibrium between structural rigidity and free improvisation, a dynamic at the heart of FORMA’s universe. With lush, distant soundscapes as interludes between these peaks, FORMA’s inaugural full-length is a harmonious and expansive expression of the enduring power of Kosmische musik.
Spectrum Spools released in association with Editions Mego
CD 12k 1065
Fourcolor is the solo project of KEIICHI SUGIMOTO (Minamo, Filfla) and should be well known to the 12k audience with his two previous releases, Air Curtain (2004) and Letter of Sounds (2006) both highly regarded and now out of print, which established him as one of the label’s leading roster figures.
As Pleat takes the familiar sound of Fourcolor and explores some subtle new sonic territory. It’s as tonal and warm as always but he expands on his style by including more fractured, accidental sounds and an obvious growth in experience and talent. What makes Fourcolor’s music so engaging is how Sugimoto manages to coax a lovely spectrum of sounds from his guitar without it ever sounding too over-processed or digital. From bubbling, low bass that provides a foundation to woven harmonies, pulses, and shimmers, there is a rich palette of sounds created. Add in a bit of careful, jittery skip-editing and implied rhythms and a groove starts to emerge from the ambience. Hints of his poppier Filfla project also come into play once again as Fourcolor brings in some guest-vocals courtesy of Sanae Yamasaki (aka Moskitoo) who lends her angelic voice to “Quiet Gray 1” and “Iris (Familiar)” adding further dimension to the works.
As Pleat is unquestionably Fourcolor, but there is a pillow-like quality to the sound, a softness that plays beautifully off of the more organic edits and sharper plucks that all combines to create the most engaging Fourcolor album to date.
CD+Book Editions Mego eMEGO 118
Release date: May 23
Written and produced by Florian Hecker, March 2009 – November 2010
Book edited by Robin Mackay; featuring essays by Elie Ayache, Robin Mackay and Quentin Meillassoux.
Typesetting by Tina Frank, Elvira Stein CD mastered by Rashad Becker
This sensation that you are in a world where there can be no physics, but only a chronics, of things. – Quentin Meillassoux in conversation with Florian Hecker and Robin Mackay, Paris, 22.07.2010
Editions Mego and Urbanomic are pleased to announce the release of ‘Speculative Solution’, a CD and book with contributions by Florian Hecker, Elie Ayache, Robin Mackay and Quentin Meillassoux. Originally commissioned by Urbanomic and developed over the last year, this collaborative project brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
In an apparent departure from Hecker’s previous release ‘Acid in the Style of David Tudor’ (eMEGO 094, 2009), the four titles featured in ‘Speculative Solution’ contain a series of micro-chronics and sequences of auditory contingencies, ranging from extreme stasis to the most dynamic intensities, crisp dramatisations of what Meillassoux calls in his text ‘extro-science worlds’.
As Mackay states in his contribution to the book, Hecker’s composition “participates in a circuit in which it, the accompanying texts, and diverse other objects, enter into a perpetual catalysis that must annihilate all priority, representation, reference, and even entity.’. Both ‘scripture and prescription’, ‘Speculative Solution’ invites its users to integrate its sonic and textual components, as they enter into an accelerative cycle, becoming “truly ‘literalist’ marks which have no reason to be as they are, and which could have been – and still could be, at every moment – otherwise”. With ‘Speculative Solution’ Hecker proposes that the concepts of absolute contingency and hyperchaos offer a rigorous new alternative to the employment of chance and randomness in avant-garde composition.
It is recommended to listen to ‘Speculative Solution’ on loudspeakers at high volume. Headphone use is not advised. Frequent recitation of the included texts is also indicated.
‘Speculative Solution’, is Hecker’s 13th release with (Editions) Mego. It comes in an embossed, deluxe box with a bilingual (English / French) 160 page book and 5 metal balls (ø 3,969mm). Available only in this format.
JESSIKA KENNEY & EYVIND KANG
LP SOMA 002
Release Date: June 21
Recorded, mixed and mastered at the Cove, Vashon Island, WA & Aleph Studios, Seattle, WA by Mell Dettmer August 2005.
Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin May 2011.
Jessika Kenney (voice)
Eyvind Kang (Viola)
Written by Jessika Kenney & Eyvind Kang (1, 3, 4) & traditional (2, 5)
Speculum Magorum by Giordano Bruno.
Jessika Kenney is a vocalist known for her haunting timbral sense, as well as her profound interpretation of vocal traditions. Eyvind Kang is a violist for whom the act of music and learning is a spiritual discipline.
Aestuarium is a meditation on a psalm of lamentation and the unary tone in the metaphor of salt and fresh water, inspired by Gaelic psalmery, Tibetan notational gestures, and the microtonality of the tetrachord. Recorded on the shore of Colvos Passage in 2005 by renowned engineer Mell Dettmer.
Stephen O’Malley comments: “Amongst many other amazing pieces Jessika & Eyvind collaborated on SUNN O)))’s “Monoliths & Dimensions” album, Jessika leading the choir on the piece “Big Church” and Eyvind composing the acoustic arrangements for “Big Church” & “Alice”. I learned an immense amount about music through these collaborations, speciÞcally the idea of Spectral music through research and discussion/reference points of composers such as Grisey and Murail. Aestuarium is a beautiful piece of minimalist spectral music which has brought great pleasure to my ears over the years.”
Originally released on CD by Endless Records 2005.
Ideologic Organ curation and art direction by Stephen O’Malley, manufactured and distributed by Editions Mego.
The Luminous Ground
LP/DL Room40 RMV442
Former Australian now London based musician John Chantler offers his second solo LP for Room40 ‘The Luminous Ground’ – his first solo outing in over seven years.
‘The Luminous Ground’ is just that – luminous. A pulsing and glimmering collision of oscillated tone, filtered texture and syncopated rhythm. It’s a record of densely joyous, hazily psychedelic, modular synthesis. A playful yet throughly composed exploration into the possibilities of patching.
Having gradually acquired a highly personalised modular set-up over the past 3 years, Chantler’s calculated experiments and adventurous patching techniques are brought to bear on this recording. Interested not only in the sound generation possibilities of the instrument, but also its abilities to auto-generate sound, Chantler coerces his instrument into all manner of self generation and feedback.
Inspired by the writings of Christopher Alexander, Chantler extrapolates Alexander’s ideas and develops a series of works based on the processes of creating something that has ‘life’, even if its made by machines. For Alexander, remarkable architecture has a sense of something profoundly human about it. In the same way, Chantler has created an album with that same sense by using the synthesizer in way that gives it life.
At its most intense The Luminous Ground is a visceral and sonically tactile experience – low bass gusts pounding underneath a flurry of melodious tonal clusters. At its most sparse the record hints at more pastoral (albeit electronically generated) sentiments – but at no point does the record’s movements stray. There’s a clear sense of trajectory here and Chantler rides it with an expert sensibility.
An omnivorous recording artist/musician, Chantler started out as a drummer and still keeps loose time for Outshine Family (Black Maps) and occasionally The Balky Mule (Fat Cat). He also convenes the Organ Octet – a massed organ ensemble of eight reed/chord organs and plays synth in a trio with Tujiko Noriko and Lawrence English and as Holy Family – a duo with Lawrence English. A former Japanese resident he maintains a close association with musicians there and has played drums and/or electronics for Tenniscoats and Maher Shalal Hash Baz.
Mastered by Andreas [LUPO] Lubich at Dubplates & Mastering, Berlin. Ltd Edition of 320. Screenprinted Sleeves.
CD Raster-Noton R-N 123
After the Pruitt Igoe E.P, Kangding Ray returns with his third album for raster-noton, pushing further his explorations on the edge of digital and analog sounds. With OR, Kangding Ray continues to blur the borders between experimental and bass music, and brings his signature sound to another level, somewhere at the darkest fringe of club culture.
With the massive metallic beats of «athem», the frightening distorded waves of «Mojave», the elevated groove of «Odd Sympathy», the modulated guitar walls of «Leavaila Scheme», or the low-bitrate Everest of «La Belle», KR creates deep atmospheres, loaded with echoes of collapsing economies, dysfunctional political systems, and corporate alienation.
In an abstract manner, OR depicts the desillusions of modern civilizations, while initiating a positive reflection on crisis as a creative state.
OR («gold» in french), as the only chemical element that seems to keep its value for eternity, refers to the cult of endless consumption and the absurdity of fluctuating currency valuations, while in english, as a logical operator or grammatical conjunction, OR represents the possibility of another choice, an «inclusive disjunction» which suggests that there might be another answer, a different path to follow.
Noticeable inputs have been provided by Ben Frost, who composed a keyboard line for «Or», Rose Tizane Merrill who lend her voice to the anarchist poem «Monsters», and Magne Mostue who wrote the words and sang on «Coracoid Process» as well as the vocal version of the prophetic electronic mantra «Pruitt Igoe».
CD Satelita 004
Release date: June 1
Lucia Mense plays compositions by Marc Sabat, Manfred Stahnke, Sascha Lino Lemke, Ulrich Krieger & Georg Hajdu. For recorder and live electronics.
“In principle there is nothing wrong with you writing for four recorders”, admitted Morton Feldman although he reserves little hope for the success of recorder music. His view on electronic instruments is similarly critical. With this in mind Lucia Mense’s program electronic counterpoint had a hard time of it, for the recorder player from Cologne dares the seemingly asynchronous feet on her new solo CD of uniting a wealth of diverse recorders with live electronics.
The musician, who is active in classical as well as contemporary music chose for her program composers who would write specifically for this combination. The recordings from the live recital now appear in May on satelita Musikverlag, the Cologne based label for experimental music. The results of this experiment are marked by hybrid forms; a fresh sound, humor and intensity. Sounds on the borderline between tone and noise, micro-tonal harmonics and algorithmic compositions meet real-time interactive computer-controlled processes.
Marc Sabat for example in his cycle “Erbsen” (trans. Peas). The composer manages to multiply the soloist so that one has the illusion of listening to a whole ensemble. This is a meeting of Baroque music with modern loop-based composition. Manfred Stahnkes “Impansion Expansion” on the other hand explores the sound of the instrument in an even more emphatic way. The voices follow on from one another, melt into surfaces, beats are broken with melodic parts. With [Re:re Record a:re] Sascha Lino Lemke enters into a complicated recording and resampling process involving memory. Overtone flute parts cross virtuous melody fragments, estranged sounds and wisp like phrases in an electronically powered continuum of flutes, recordings and playback. Ulrich Krieger’s “Black Smoker” surfaces as a soundscape with ghostly soundtrack qualities conjuring images of an ancient under water world, and with “Tsunami” Georg Hajdu manages to synthesize mathematical processes with artistic expression. Mense’s virtuosity is pushed to the limit through the use of computer editing, but without her playing ever becoming chaotic, mechanical or random.
This collection of recorder and electronic sounds might go some way to revoking some of those since kindergarten ingrained stereotypes towards a by all accounts underrated instrument.
LP/CD Experimedia explp015
Release date: May 17
CD in tall 6 panel deluxe custom sleeve.
Contains 1 additional piece not on the vinyl edition.
12inch vinyl LP limited to 500 copies worldwide and includes download coupon for album with 1 additional piece and a bonus remix ep in choice of mp3, flac, or studiophile quality 24bit wav format.
Foregoing traditional genre boundaries, defying categorization, and embracing the distinct talents of its 19 participants, Luup involves a reexamination of convention by a thorough exploration of the instrument. Led by flautist Stelios Romaliadis, whose direction of the musicians allows for shimmering folk tendencies to mingle with fragile string arrangements and uplifting voice, Luup combines disparate elements of modern musical tendencies to examine man’s primitive nature. Meadow Rituals presents 8 paeans to unite man’s overwhelming distance from nature and self and a celebration of the reunion. Lilting melodies mix with ambient and new age directions; propulsive swells of strings and effervescent electronics make way for profound vocal harmonies to create a universal and timeless experience.
Lüüp is: Stelios Romaliadis, Lisa Isaksson (Lisa o Piu), David Svedmyr (Lisa o Piu), Fotini Kallianou, Katerina Papachristou, Fotis Siotas, Lefteris Moumtzis (J.Kriste, Master of Disguise, Snakecharmer), Alex Bolpasis, Pavlos Michaelides, Andria Degens (Pantaleimon/Current 93), Giorgos Varoutas, David Jackson (Van Der Graaf Generator/Peter Hammill/Peter Gabriel), Elsa Kundig, Nikos Fokas, Nikos Papanagiotou, Greg Haines (Sonic Pieces), Georgia Smerou, Georgia Konstadopoulou, and Jennie Ståbis (Lisa o Piu).
The Rules of Another Small World
CD Tench TCH04
With The Rules of Another Small World, M. Ostermeier has arrived at an elegant voice – otherworldly and strangely beautiful, much like the desolate Taiwanese San-Zhr Pod Village gracing the album cover.
While elements of electroacoustic, modern classical, jazz, glitch, drone, ambient, and even lounge weave in and out of the record’s eleven compositions, The Rules of Another Small World is the converse of an eclectic collection of songs.
Instead, a cohesive album springs forth from the subtle commonalities in texture and structure etched into every song. These commonalities derive in part from the “rules” of the album title, a reference to M. Ostermeier’s self-imposed limitations adopted during the composition of these pieces.
Despite its minimalistic leanings, The Rules of Another Small World paints a melodic, freeform world full of detail. Slow melodic fragments dance in and out of focus, while small sounds both tinker about in the foreground and percolate curiously in the aural architecture underneath.
The striking superposition of unadorned piano melodies and unpredictable sonic microorganisms lifts the melancholic darkness M. Ostermeier explored on Lakefront (Hibernate, 2010) revealing a tone that is more optimistic – even playful (think Cluster, Benjamin Lew, Carpet Musics, Pawn, or Opitope).
Towards that end, most compositions are constructed in the three-minute pop-song format, blossoming with lives lasting only long enough to explore their environment before they metamorphoses into something new.
2CD Mazagran MZ001
Music by Alvin Lucier, William Basinski, John Duncan, Terry Riley, Pauline Oliveiros, Giancinto Scelsi among others. 2CD, 3 panels carton packaging with 12p booklet with exclusive interviews with the composers.
“[…] Foremost in my mind was the idea of being able to manipulate some compositions for flute, that were not original or were “extremely free ” in their conception, personalizing them to the extreme with the use of multitrace or electronics. Only a work conceived in this way has led me to reflect on this music from its inside, introjecting the point of observation in order to discover a new projection of the sound. In a certain sense the two discs represent the two ends of the repetitive element, Loops4ever is as valid as its homologous and antithetic Drones4ever. […]” M. Z. (from CD notes).
CD1 – 74’49”
1 Giacinto Scelsi CASADISCELSI – Maknongan (1976) for bass flute; Pwyll (1954) for flute,
with sounds recorded in Giacinto Scelsi’s house in Rome (11’52”)
2 Pauline Oliveros PORTRAIT (1993)
version for flutes, voice, electronics (10’22”)
3 Alvin Lucier ALMOST NEW YORK (2003)
for 5 flutes and pure wave oscillators (24’17”)
4 Alvin Curran MADONNA AND CHILD (1968-2009)
from Music for every occasion, version for bass flutes, sonic tubes and electronics (10’55”)
5 John Duncan THE CARNIVAL (2009)
for piccolo, laptop, loops station, electronics – John Duncan, laptop (17’05”)
CD2 – 75’13”
1 Jacob TV THE GARDEN OF LOVE (2003)
for flute and boombox (7’16”)
2 Eve Beglarian I WILL NOT BE SAD IN THIS WORLD (2009)
for bass flute and tape (6’30”)
3 Jacob TV LIPSTICK (1997)
for flute and boombox (9’43”)
4 Clarence Barlow ŠUNTILŠ (1981)
version #8 for piccolo and drone (8’18”)
5 William Basinski VARIATION#6: A MOVEMENT IN CHROME PRIMITIVE (2010)
version for flutes, temple bells and delays (12’09”)
6 Frederic Rzewski LAST JUDGMENT (1968-2009)
version for bass flutes and electronics (9’06”)
7 Terry Riley DORIAN REEDS (1964)
version for flute and delays (21’45”)
Manuel Zurria was born in Catania in 1962, and has lived in Rome since 1980. He has collaborated with some of the most important Italian composers among whom Francisco Pennisi, Adrian Guarnieri, Sylvano Bussotti, Aldo Clementi, Franco Donatoni, Luca Francesconi and Salvatore Sciarrino. Recently he has collaborated with Arvo Pärt, Philip Glass, Terry Riley, Gavin Bryars, Giya Kancheli, Toshio Hosokawa, László Sáry, Alvin Curran and Frederic Rzewski. During the last 20 years he has stimulated an entire generation of composers to produce new works that expand instrumental and interpretative possibilities: more than one hundred new works have been created for this purpose from composers like Yan Maresz, James Saunders, Caspar Johannes Walter, Maurizio Pisati, Fausto Romitelli, Gabriele Manca, Mario Garuti, Stefano Gervasoni, Yi Xu, Emanuele Casale, Rytis Mazulis, Stefano Scodanibbio and many others. Strongly attracted to minimalism, in the first months of 2008 he published on the Die Schachtel label a triple cd entitled Repeat! that included original works and works transcribed for flute and electronics made in collaboration with the musicians Arvo Pärt, Alvin Lucier, Louis Andriessen, Tom Johnson and others. He has played at the Bienniale Musica of Venice; the Pacific Music Festival, Sapporo, Japan; the Strasbourg Music Festival; at the Beethovenhalle in Bonn; Settembre Musica in Turin; De Yisbreker, Amsterdam; IRCAM Agora Festival, Paris; at the Rachmaninov Hall, Moscow; the Festival d’Automne, Paris; the Rikskonserter, Stockholm; Akademie der Kunste, Berlin; Maerz Musik, Berlin; the Archipel Festival, Geneva; NUMUS, Aarhus; ULTIMA, Oslo; Ensem, Valencia; Vienna Modern; Jauna Muzika, Vilnius; and the Huddersfield Contemporary Music Festival. In 1990 he was among the founders of Alter Ego. His discography includes recordings for BMG-Ricordi, BMC, Capstone Records, EdiPan, Stradivarius, Die Schachtel, Megadisc and Touch. In 2009 Hungarian label, BMC, published Niagara with music of László Sáry realized on multitrace. In 2010 the Belgian label, Megadisc, published his cd Musica falsa, a monograph of the Lithuanian composer Rytis Mazulis, with music elaborated, edited and played over the extended period of nearly 3 years. In the same year Die Schachtel published Joy Flashings, an adventurous project which was the fruit of a collaboration with the American composer Philip Corner.
2×12″ Vinyl Editions Mego eMEGO 116
Release date: May 27
In January 2011 Mark was invited by Erik Wiegand (aka Errorsmith) to make some presets for
his new software synthesizer which he was building for Native Instruments. After developing
about 40 sounds*, Mark decided to rework his UL8 project by extending the pattern generating systems used in its construction, which he then connected to the sounds produced in Erik’s synthesizer. The result is this double 12″ single, featuring 9 tracks and a remix from Mark’s friend and colleague Mat Steel.
The project ships with an A1 full colour poster.
Recorded Rotherham (UK) and ShefÞeld (UK) March 2011.
Mastered by Lupo at Dubplates and Mastering (DE) March 2011.
*unfortunately NI rejected all of Mark’s presets and none were used for the Þnal distribution.
A1 Acid In TheŠ thin razor, attack noise hat, Linn
A2 Acid In TheŠ primes version
A3 Manitutshu (A New Algorithm)Š LatelyBass and NewElectro, attack pulse hat
B1 Acid In TheŠ razor experiment
B2 Manitutshu… parameter set 2, Linn HI Tom, JazzOrg, vortex study performance overdub,
and synthesis reminiscent of Duet Emmo.
B3 Acid In TheŠ stochastic energy pause with thin razor, attack noise hat, Linn
C1 Manitutshu… First Algorithm Test
C2 OccultationŠ razor simple acid pause version with lfo to cutoff
C3 Materialisation epic razor chord and LatelyBass version with found voice
D1 Occultation of… Mat Steel Extended Remix
Total Running Time: 42 minutes
2LP Spectrum Spools SP004
Release date: May 16
Recorded January and February 2011 in Cleveland, Ohio.
JOHN ELLIOTT: Moog Voyager OS, Roland RS-101, Sequential Circuits Prophet 600, Roland SH-101, Phasers, Vocals
SAM GOLDBERG: Korg Polysix, Univox Minikorg, Multivox MX 202, Dave Smith Instruments Mopho
Mixed bx Mist and Andrew Veres
Mastered by James Plotkin
Cut at D + M Berlin by CGB, March 14th 2011.
Photography by Ashley Krantz.
“House” is the 2nd ofÞcial full-length offering by Cleveland, Ohio duo MIST featuring Sam Goldberg (of Radio People) and John Elliott (Emeralds, Outer Space, Imaginary Softwoods etc) after 2009’s self-titled debut effort on Amethyst Sunset.
A suite consisting of 7 complex, layered compositions shows new progression in composition and melody from the duo. From the lightning fast, bittersweet crescendo of “Twin Lanes” to the dramatic chord progressions of “I Can Still Hear Your Voice”, “House” is a certain expansion in execution and construction. Tracks like “P.M.” put a new take on the long-form Mist style with cryptic alien vocoder and humid pad sounds, while “Mist House” and “Dead Occasion” reveal new, complex territories that will most certainly please fans of the previous Mist recordings.
First copies available on pink vinyl. Subsequent copies available on black vinyl. Spectrum Spools released in association with Editions Mego.
NOISEPOETNOBODY & VANCE GALLOWAY
CD Lens Records LENS0119
noisepoetnobody: string board, loopers, analog modular synthesizer
Vance Galloway: electric guitar, custom software processing
Vance Galloway and noisepoetnobody first met back in 1998 when Vance was commissioned to master an album of a band that noisepoetnobody was in at the time. noisepoetnobody meanwhile began building his fanbase throughout the Northwest as both a solo performer and
an active member of the experimental music scene. Over the years, Vance was contacted for further album mastering when he had time away from his demanding schedule of working on some of the world’s most advanced audio visual installations. Occasionally Vance and noisepoetnobody would play on stage together. As improvisers they excelled at mutual listening skills and almost without effort captivated audiences as though all songs were rehearsed to perfection.
This album represents the duo’s second full length recording. Their 1st album – Summons The Porocora – self-produced by noisepoetnobody, was well received in the Seattle/Portland area as an epic descent into a disturbing and haunting retreat from reality. Upon receiving a grant from the Jack Straw Foundation to record and perform for the world famous KEXP.org Radio,
Vance and noisepoetnobody began a more regular schedule of recording and rehearsals in preparation. This album contains the recordings from the KEXP.org broadcast sessions as well as other works created in preparation for those sessions.
Trowo Phurnag Ceremony
2LP SOMA 001
Release date: June 21
Recorded in 2005 at Melodiya studio, mixed and mastered in 2007-2008 at Magihead studio.
Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin May 2011.
This voyage began in the middle of the 1990’s in Moscow, when a group of artists and musicians led by Alexei Tegin and based at the legendary Fabrique of Cardinal Art commenced their studies of traditional ritual music, drifting away from the Þeld of contemporary electroacoustic and industrial music with the intent to delve deeper into the ancient musical cultures of the ancient Egypt, Iran and Tibet.
The original 2003 lineup of the project that emerged as a result was dubbed Phurpa (one of the Þve tutelary deities of the Father Tantra in Bon tradition), and all the members have carried on with their research in the Þeld of Bon and Buddhist liturgies up to the present day.
Before Buddhism reached Tibet, local people had practiced involved shamanic rites derived from various ancestral cults. Later on, circa the VI-IX century AD, a conþict between the local tradition, namely, the pre-Buddhist religion of Bon (which originates from Central Asia) and Tantric Buddhism (hailing from the North of India) gave birth to a unique cultural phenomenon known as Tibetan Buddhism, which combines an extensive metaphysical corpus and an advanced philosophical system with pristine ceremonial practices that reach down through many centuries.
In the X-XI century AD the monastic ensemble came into being. It has got a lot in common with the Chinese court ensembles of the Tang dynasty; nevertheless, the Tibetan ceremonial ensemble has preserved its authenticity and kept a large number of primordial elements stemming from the ancient Tibeto-Burmanese music intact to this day. A typical ensemble usually includes a pair of nga drums, several rolmo cymbals and a pair of gyaling oboes, as well as telescopic dunchen horns, dunkar shells and short wandun horns.
One of the unique features of the Tibetan monastic choir is a speciÞc kind of overtone chanting, called “rgyud-skad”, or the Tantric voice, which is based on the principle of the singer’s transmogriÞcation during the so-called “chanting meditation”.
The ritual Tibetan instruments as used by the ensemble include the following: dunchen, gyaling, silnyen, bub, damaru, kanling, nga, shang.
The ensemble adheres to the rgyud-skad tradition of Tantric overtone chanting.
Stephen O’Malley comments: “Russian group led by the contemporary artist Alexei Tegin take on a traditional and ancient form of Tibetan ritual music by the name of Bon. While many familiar aspects will be revealed to the informed listener, the group PHURPA takes the polyphonic singing style to a lower key and a slower pace. Over the course of 4 LP sides this meditative listen unveils many spectral illusions and invigorating evolutions in sonic possibilities.”
Originally released on CD by Sketis Music, Russia, 2008.
Ideologic Organ curation and art direction by Stephen O’Malley, manufactured and distributed by Editions Mego.
Phlox: 1st Annual Report
CD Phlox 009D
Once again Austria and in particular Vienna finds itself the focus for new and creative sounds being heavily sought after worldwide. It’s been a little while but history of course has the uncanny ability to always repeat itself. Being Vienna too, it should come as no surprise that this nu-breed will be fashionable out of town long before they get their props and respect in town. Tastemakers such as Mary Ann Hobbs and Gilles Peterson have been quick out of the blocks to acknowledge the nu-breed of boy-wonders from these shores. The new sounds of Austria though offer a new heightened and elevated sound from those of the mid nineties. Experimental and courageous are definitely in, and safe and laid-back have been deservedly shown the door. Gone too is the notion that Austria and Vienna make the very best background and elevator music. Damn, that used to drive me mental hearing Viennese electronica in Starbucks.
And this is where Phlox comes in. A new label, a new identity with their own ideas of melodic subjects in musical composition! They bring much dissimilitude and unconformity. They prosper in the ‘absence of likeness’, their music policy is that they don’t actually have a music policy. The Viennese electronic music rule books of the mid nineties have all been torn up or burnt. – Alan Brown, Soul Seduction
01 Dmitry Mazurov – Nostromo
02 GDX – Aint Gonna Love You
03 Dibek – Thick Carpet Of Leaves
04 Otzim Lee – Le Routine
05 Taylor Caldron – A Flock Of Devils
06 Group Niob – Tangent
07 GDX and Dibek – Sky Is Falling
08 Aura Anthropica – Drummondii
09 Mstep – The Gap
10 Ian Dunstaple – Water Music
11 GDX – Want You
12 Dibek – I Wait, I Wait, I Wait
Thanks for reading & best wishes