Search results for "asher"
"asher" entries in albums descriptions
||Price (incl. 19% VAT)
|V.A. (VARIOUS ARTISTS)
||excellent compilation on the theme "geography" with 11 tracks by ERIC LA CASA, STEPHEN VITIELLO, ASHER, JEPH JERMAN, T. TSUNODA, MARC BEHRENS, FRANCISCO LOPEZ, etc..
||Nach der hervorragenden “Mosquito Dream” mit James Plotkin endlich was neues vom TV POW-Mtglied: transzendentale gong-artige drones, vermengt mit merkwürdigen Geräuschen, sehr dicht und dunkel und amorph, drei lange Stücke....
“Brent Gutzeit has performed around the world as a solo artist and a member of laptop/power glitch group TV Pow, in addition to running the Boxmedia label. He has made himself a key player and organizer in the improvised and laptop music community in Chicago. Gutzeit is also a member of the Chicago chamber/supergroup Everyoned.
In 1997, kranky released Mosquito Dream, Gutzeit's collaboration with guitarist Jim Plotkin (Khanate, Phantomsmasher). Drugmoney is the logical continuation of that album's gradual apportionment of sound. Originally released as a limited CD-R on Boxmedia and sold at a Chicago record store whenever Gutzeit needed money for, uh, um... recreation; the album will now be widely available.
If you have a short attention span, if you lack the patience to listen to music that progresses deliberately and in minute increments; then don't listen to this recording. Drugmoney is three tracks of viscous, slow forming drones. These are not cotton candy clouds of bliss-out fodder. No, these are battleship chains, slowly dragged along rusty steel plates and then dropped onto the ocean floor, passing by plumes of chemical dust.
Given attention Drugmoney has a mesmeric effect: hypnotic, entrancing and powerful, it reveals itself at a painfully slow pace, dragging you deep into its dark murky waters as if it were determined to slowly drown you. For Fans Of: James Plotkin, God, Scorn, ICE, zovietfrance”. [press release}
same (SOLD OUT)
||“The LOTUS EATERS is a kind of droning trio of known musicians from the States, in which we find STEPHEN O’MALLEY [(SUNN O)): , BURNING WITCH, KHANATE], AARON TURNER [label founder of HydraHead-Records in Boston, member of ISIS], and JAMES PLOTKIN [one of the most creative & experimental underground – guitarists around, being member of O.L.D., SCORN, TRIFID PROJECT, and now ATOMSMASHER, and working currently in many solo- and collaboration projects] with only one 12” vinyl-release and few concerts to date. The two untitled pieces of this, their first 7” E.P. consists of concrete rumblings & ambience, something like accordeon–drones in the background, a voice/singing appears from the distance, and acoustic guitar-elements, added by some strange effects going on in the background.. the atmosphere is one of a melancholic, but in a way also mellowed “different state of mind”, a very unique melting plot of characters & music !” [press release July 2002]
WHITE VINYL WITH YELLOW SPOTS. PRINTED FULL-COLOUR COVERS DESIGNED BY SELDON HUNT. INNER-COVER IS YELLOW PRINTED. SECOND EDITION OF 300 COPIES.
Mind Control for Infants
||"Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Initially released on CD in 2002 by Neurot Recordings, Mind Control For Infants has been expanded, remixed and rearranged for this vinyl edition using alternate takes from the original recording sessions. Quietly subversive and contemplative, Mind Control For Infants features droning and silvery finger-picked guitars that conjure holy states, grumbling thunderclouds, and dark metal ambience that breathes in the stillness. This version also incorporates reconfigured material from "Marijuana," the group's contribution to The Ajna Offensive 4CD+book compilation, Infernal Proteus. This ultra-deluxe double LP release was cut direct to metal and pressed on 200 gram virgin vinyl. It comes housed in an old-style Stoughton tip-on gatefold jacket wrapped in foil-stamped brown linen with an 8x8" offset print mounted on the front cover. Heavy-duty printed innersleeves with flooded pockets are also included. Presented in a limited edition of 1000. Black vinyl." [label info]
||"Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Previously issued on CD, Plotkin has remixed, remastered and rearranged Wurmwulv for this vinyl edition using alternate takes from the original recording sessions. The 2LP also includes reworked material from Lotus Eaters' self-titled 7" released by Drone Records. 52 minutes and 29 seconds on 3 sides of direct metal mastered 200 gram virgin vinyl, the 2LP has a drawing by Turner etched on side D. Housed in a Stoughton tip-on gatefold jacket designed by O'Malley, Wurmwulv features Stephen Kasner paintings printed on linen-textured woven paper, a spot varnished interior and flooded pockets. The Kasner paintings and Turner drawings included were created specifically for this vinyl edition of 1,000. Reconfigured for vinyl, Wurmwulv is a solvent-soaked carpet ride into loose soil. Worms writhe over cilia as moist roots lick and graze skin. The dampened howls of wolves reverberate through water freezing into creaking crystals. When oxygen levels reach a critical low, a cacophony of clanging metal provides an inhalation of humid air." [label info]
All for the Terror that sings sweetly to you in the Night
||Drei Stücke mit tiefen, rauschenden, luftig-atmenden Drones, die immer wieder "gefüttert" werden durch field recordings, die erkennbar und in Loops auftreten, von rumpelnden Knirsch-, Knarz- & Reib-Geräuschen, unheimlich tönenden "schwarzen Vögeln" und anderen Tieren in der Nacht, das ist "dark drone ambient" der komplett ohne die üblichen Klischees auskommt und trotzdem bannt & fasziniert !
“Many of the sound tailorings used in these works were resultant from source material consisting of several recording sessions involving a flock of black birds that routinely roost within the building architecture in the downtown district of Kansas City at night. I found this series of recordings to be absolutely fascinating, as the chatter and cross talk between this rather charged group of birds seemed to assume a definitive dialogue, as they seemed to banter back and forth endlessly. Given this, I began manipulating them further and integrating them into other recordings. As I began to work more and more with these pieces, I felt there was a sense of almost primeval sophistication to the quality of these recordings; a direct contradiction however the notion of this became the source from which the names for the track listings emerged. Confidence, cunning and endurance: All for the terror that sings sweetly to you in the night.“
Christopher McFall, 2008, Many Thanks To God, Asher, Juan Jose Calarco and Gregory Buttner.
About the Artist:
Christopher McFall is a sound artist working out of Kansas City, USA. His primary methods of working involve the use of computer-based programming techniques, which are applied to art of processing sounds from field recordings and then re-combining them in a multitrack format. The main motivation behind Christopher’s workings revolve around the desire to manipulate/engineer recorded aspects of the macroscopic world around him into a microscopic mosaic. Christopher has released CD’s previously with Gears of Sand (GoS) Recordings, Entr’acte and online releases by labels like: Homophoni, and/OAR, Mandorla, Con-v, and many more.
Four Feels for Fire
||"Christopher McFall is a Kansas City-based composer. He works with field recordings and analogue tape, whereby the latter is physically treated prior to being processed on a computer. Four Feels for Fire was composed during the summer of 2006, and represents the seemingly endless heat, grit and turbulence that is typical of that season in the mid-western United States. First edition of 300 copies."
"This must be one of the most impenetrable albums that I’ve heard recently. After five tries, though, I feel able to pronounce its quality as superior, yet a proper description still eludes me. In between the various
acknowledgements we find Miguel Tolosa, Jos Smolders and Asher Thal-Nir. But there is nothing really associable to those artists in terms of sonority; on a purely conceptual level, a comparison could be made with Marc Behrens’ recent Architectural commentaries 4&5 on this very label. Still, Four Feels for Fire is obscure, muddy in a way, analog-sounding, often subaqueous in its ‘no-light-at-all’ character. It all starts from processed tapes of course, but what’s on them seem to perennially revolve around a poetic of no escape, like in a world populated by hunched entities born to perform their one and only task, lacking any ambition to look for a better future. An aesthetically uninviting mixture of hissing interferences, groaning parabolas, urban malaise and gliding sonic slime that works wonders as a complement to the uncertainties of our own rationality, a swamp that we can easily fall and drown into without no one caring, bordering on an engrossing nocturnal landscape which no human has been able to see until now." [Touching Extremes]
The Body as I left it
||"CD edition limited to 500 copies. This collection of works was assembled in 2009 and was composed using piano, a broken phonograph player, field recordings and sampled material. I think that this release embodies a certain diversity in terms of content because at the time I was recording these works I was experimenting with several different approaches to developing new compositions involving the use of a more melodic approach to things. Once the release was completed, I had several thoughts in reference to a title and the title 'The Body As I Left It' seemed the most appropriate to me given the circumstances that had occurred during the time of it's creation. (text by Christopher McFall) On this new series of recordings Christopher McFall enriches his personal urban ethnographic work with a palette of concrete musical materials and the sounds of failing playback equipment. This combination has yielded an album which succeeds in remaining a recognizable development in the work of this composer, while revealing a whole range of sensibilities which were previously not heard in his recordings. Once again Christopher has created a work of great subtlety which contains a sense of narrative while eluding any simple descriptives or conclusive understanding of its contents. (text by Asher Thal Nir)" [label info]
"Not much information on this new release by Christopher McFall. 'composed in Kansas City, MO 2008-9', 'untitled i-vii' and the title. Not even the website of Asher's label Sourdine is mentioned on the package. Let the music speak for itself. McFall has had already a bunch of releases on Gears Of Sand and Entr'acte, and also in the digital domain his work can be found. Up until now I believed his work was mainly based around the extensive use of field recordings and processing thereof. The empty land around Kansas City, the empty warehouses and silos, but here, perhaps for the first time, it seems that McFall also uses musical instruments, primarily, I think, piano sounds. These too are processed, and mingled with the field recordings and voice material. Its an interesting new phase McFall enters here. The overall musical touch brought to the table is gentle, quiet and altogether alters the music of McFall quite a bit. The sound is deepened, without losing its original focus. The musical elements are a great supplement to the field recordings, but perhaps that could also be said vice versa. An excellent work. This music indeed speaks for itself." [FdW/Vital Weekly]
||"Wenn es beim Vorgänger "Metals" darum ging, gewalttätige Rhythmen und Frequenzen zur Schau zu stellen, so lässt JON MUELLER diese Ideen in Vergessenheit geraten, wenn er mit "Physical Changes" Sounds erschafft, die nicht nur die Ohren, sondern auch den Geist erreichen. Zusammen mit dem intensiven Vorwärtsdrang von James Plotkin (KHANATE, KHLYST, PHANTOMSMASHER), dem strukturellen Chaos von Fred Lonberg-Holm (WILCO, PETER BROTZMANN TENTET, KEN VANDERMARK'S TERRITORY BAND), der Computerendzeit von Marcus Schmickler (PLURAMON), der fast schon surreal anmutenden Präzision von Dan Burke (ILLUSION OF SAFETY), dem glorreichen Panorama von Jim Schoenecker (COLLECTIONS OF COLONIES OF BEES) und den atemberaubenden Landschaftsfilmen von David Dinnel, greift "Physical Changes" nach der Idee des "Heavy Rhythm" und breitet sie über einen allumfassenden Release in drei Formaten (LP/CD/DVD) aus, der veranschaulicht, wie komplex und vielseitig Rhythmus sein kann. MUELLER bedient sich der fundamentalen Konzepte von Rhythmus und Percussion und verwandelt sie in eine völlig neue Erfahrung, die gehört, gesehen und gefühlt werden kann. In der Vergangenheit hat MUELLER mit Mitgliedern der SWANS, WILCO und RHYS CHATHAM'S GUITAR TRIO sowie mit Asmus Tietchens, Jason Kahn, Bhob Rainey, Hal Rammel und vielen anderen gearbeitet. "Majestätisch." [Pitchfork]
||Brilliant new recordings by the prolific cosmopolitan (currently residing in Berlin) MICHAEL NORTHAM. "Suhina" is a notion for the sound of the wind moving through the trees. Instead of doing field recordings of wind MICHAEL NORTHAM tried to capture this feeling & the essence of this process through instrumental recordings from Indonesian flute & keyboard. Nature phenomena seen as the true manifestation of the Unknown. Stunning full colour artwork by Indian artist ROHINI DEVASHER. White vinyl, edition of 500 copies, incl. inlay with text by M. NORTHAM.
"Das Thema der Platte hätte auch von der K Foundation stammen können. Michael Northam vertont hier den Wind zwischen den Bäumen, auf finnisch suhina genannt. Was sich als schöngeistiges Ambientexperiment versteigen möchte, ist in der Endsumme erstaunlich unesotherisch geworden. Northam zieht alle Register seines musikalischen Könnens und scheint zu den wenigen zu gehören , die eine Komposition über den Zeitraum mehrerer Jahre gedeihen lassen können ohne der Verlegenheit zu verfallen, nach wenigen Wochen den Abschluss herbeizuzerren.
Beide Vinylseiten wirken dabei sehr transluzent und klar abgegrenzt. Bisweilen hat man das Gefühl, die leisen Zwischentöne der Feedbacks und trudelnden Dronecluster reichern sich mit dem Knistern des Vinyls an, so fragil erscheinen die Zwischenbrücken der jeweiligen Komposition. Wie GAS ohne Beats, wohl aber um das 10fache am Pitchregler hochgeschraubt und mit einer majestätischen Würde, die man sonst nur in den leiseren Backgroundklangarien der frühen Tortoise und ihren »Millions Now…« wieder findet. Orgelähnliche Töne wechseln in malströmartigen Verschiebungen ihren Standort und verwischen auf diese Art und Weise Gefühl für Zeit und Raum, bilden auf diese Art und Weise den Soundtrack für den einsamen Spaziergänger im Wald ohne ein Klischee zu bedienen.
Das Northam sein Stück im Sommer für das Vinyl editierte kommt auch tiefenpsychologisch dem Material zugute. Selten hat eine so ausufernde Komposition eine so hohe Ereignisdichte aufgewiesen, ohne dabei zum Sturm zu mutieren. Auf diese Weise hört man den Wind weniger im Gebälk, dafür mehr im Gemüt." [Thorsten Soltau / AEMAG]
"Every once in a while you bump into a masterpiece, Suhina is one of those times.
The cover has amazing artwork by the Indian artist: Rohini Devasher. Bizarre beautiful flower lifeforms in full color on the front, and in black and white on the back. The vinyl itself is white and nice sturdy and thick.
The 10” is a Drone Records release and is part of the substantia-innominata series.
A concept that deals with concepts like” unknown / unthinkable / unidentifiable / unspeakable etc.
The story behind this record is very interesting. Michael Northam was camping in Finland in 2005 and a friend told him that the sound of the wind moving through the trees was called “suhina” in their language. From that moment Michael wanted to capture that feeling in sound.
Starting with field recordings what was difficult to do, and then moving to blowing on Indian flutes and the use of keyboards. While working on these two tracks Michael has been traveling through Belgium, Slovenia, India and France through 2006 and 2007. The final result was constructed in Berlin in the summer of 2008.
The record has two tracks, called “Through” and “Within”. Both are beautiful very carefully constructed pieces that run over ten minutes of playing time. Side A“Through” is distorted and blissful, full of harmony and truly uplifting and carrying you away with the wind, through forests and plains. It feels like there is lots of wind, gray skies and rain, but also lots of sun rays and rainbows. And total melancholic euphoria. The B side “Within” is a nice continuation. All i can say is that this release is a beautiful, carefully constructed emotional masterpiece." [Nil Pavlov / Hourglass Drops]
"These two tracks of hypnotizing dronemusik from the wandering sound artist Michael Northam originated from a night camping in the Finnish hinterlands, where he became fascinated with the sound of wind whipping through the trees. Field recordings have long been central to
Northam's work dating back to his tactile compositions of corroded ambience and titanic drone arcing; and even the aspects of wind had
featured heavily in work through the Aeolian harps he built in a bunker on a desolate Finnish island. Where those recordings were
attempting to harness to power of wind as something of an intersection between technology and the landscape, these two beautiful recordings of brightly shimmering ambience are more of a poetic response to the dynamics of wind. So those whispings and scatterings of summertime arctic winds introduce the first side of this 10" and quickly subside amidst Northam's billowing drones from his Indonesian flute and an overblown Casio keyboard. The resulting waving tones flicker with the
lingering glow of the sun arching toward the horizon at twilight, with golds, oranges, and reds radiating through each timbre. So striking are the colors that Northam gets through these tones, it can almost distract from his conceptual anchor. No matter, as he's creating one of his finest pieces in a long time. Nice!" [Aquarius Rec.]
||6 x CD-BOX
||"For the first time, all THEMES albums by PSYCHIC TV released together, in a sumptuous, matt laminate, spot-varnished box set. The music itself was designed not only as soundtrack but also for subsequent use by Initiates of The Temple Ov Psychick Youth in their rituals as Functional music intended only to aid in the process of making things happen. It is a practical tool. Thee essential collection of rare, archive and modern PTV ritual / esoteric musick!
Each CD has been carefully remastered and is presented in it's own matt laminate, spot-varnished mini-LP sleeve. The box also includes a 32-page booklet of rare photos and essays.
"Themes" was originally released in 1982 as a limited bonus LP with the first 5000 copies of the legendary PSYCHIC TV album "Force The Hand Of Chance". Musicians: Stan Bingo, Peter Christopherson (Coil, Throbbing Gristle, Soisong), Genesis P-Orridge, and David Tibet (Current 93).
"Themes 2" was originally released on LP in 1985 by Temple Records and subsequently reissued as an extended CD version by Cold Spring in 1997. Musicians: Genesis P-Orridge, Alex Fergusson, John Gosling (Zos Kia, Coil, Mekon). "Themes 2" is presented here as a 2 CD set, including the full vinyl version - plus the original "Unclean" 12" and it`s two B side tracks that were recorded in the same sessions.
"Themes 3" was originally released on LP in 1986 by Temple Records and is presented here for the first time on CD, completely remastered. Musicians: Genesis P-Orridge, John Gosling (Zos Kia, Coil, Mekon), Mark Sangerman, Monte Cazazza. "Themes 3" is presented here as a 2 CD set, with an unheard, yet legendary version performed in Boston, US by Genesis P-Orridge and John Gosling under the title of "Pagan Easter".
"Themes 4" is a brand new Psychic TV album, recorded by the late partner of Genesis P-Orridge, Lady Jaye and Psychic TV. Compiled by Genesis Breyer P-Orridge, Ryan Martin and Bryin Dall. Musicians: Lady Jaye Breyer P-Orridge, Genesis Breyer P-Orridge, Larry Thrasher, Bryin Dall." [label info]
"When you see see the line-up of Psychic TV, you know what to expect, even if you didn't know about this legendary project in the first place. The band was originally established by the true industrial-pioneering legend, Genesis P. Orridge of Throbbing Gristle, in company with Alex Ferguson from the early punk group Alternative TV in 1981. Shortly after the two some were joined by another Throbbing Gristle-member, Peter Christopherson who later has become an even bigger name thanks to his incredible Coil-project. Being a project that both dealt with audio and visual expressions, Psychic TV called itself a video group that create music rather than a music group creating videos. Considering the fact that Psychic TV was first of all exploring the sound world a human generation ago, a large number of experimental listeners of present time doesn't know anything about this important project. British label Cold Spring has dug into the historical archives of early industrial scene and assembled this amazing box of Psychic TV's Themes-series. The series consists of four inter-sections. First CD is exclusively based on acoustic sounds with a line-up counting Genesis P. Orridge, Peter Christopherson and David Tibet, another true legend known for his legendary project Current 93. As you might expect with a line-up including members of Coil and Current 93, there is a great ritual feeling on this first part. From the opening piece titled Part I : Piano and Clarinet being an almost classical piece of ritual piano to pieces based on various bell instruments. Also field recordings takes part of the show with among others recordings from Jonestown at the time where the infamous mass suicide ritual took place back in november 1978 led by Jim Jones. First part of "Themes" was originally released in 1982 as a limited bonus LP with the first 5000 copies of the legendary PSYCHIC TV album "Force The Hand Of Chance". Next part, "Themes 2" was originally released on LP in 1985 by Temple Records and subsequently reissued as an extended CD version by Cold Spring in 1997. The music on this double-disc album was composed to accompany the films and videos of experimental visual artist Derek Jarman. The music is slightly noisier with distorted guitars pushing drones into pieces that remains ritual in expression. "Themes 2" also contains the piece titled "The loops of mystical union". The piece was a dedication to classical composer Alexander Scriabin (1872 - 1915) who is considered as one of the important fathers to the contemporary avantgarde music scene. This piece was analogue looped edits from Scriabin's classic work "Poem of Ecstasy". The music is suggested to be heard painfully loud in a dark room. As is the case with most pieces in the box-set the tracks of "Themes 2" is lengthy giving plenty of room to develop a nice trance-inducing ritual character. "Themes 3" was originally released on LP in 1986 by Temple Records and is presented here for the first time on CD, completely remastered. Where the two first themes were studio recordings third theme was the only one recorded live. The album is suggested to be heard in a darkened room facing a TV with full contrast on a non-transmitting channel. The album was recorded live by Thee Temple Ov Psychick Youth Sunday 22 April 1984 & Monday 23 April 1984 Club 950, Chicago U.S.A and the 22nd April 1984 at 'Eventworks', Boston Massachusetts College of Arts, Massachusetts, USA. Last chapter in the "Themes" is a new album created by Genesis P. Orridge in collaboration with his new line-up consisting of among others his daughter Lady Jaye Breyer P-Orridge and Larry Thrasher and Bryin Dall. Musically "Theme 4" separates from the others with a more up-to-date style though still with the cut-up-based expression of Psychic TV. Overall the album is musically more accessible compared to the more demanding sounds of the earlier Psychic TV. Opening track "I'm making a mirror" draws associations towar
ds Coil's beautiful album "Queen of the circulating library" but overall the album sounds like a mixture between experimental electronics and cabaret sounds. As a bonus disc comes a live recordings from Nottingham in 1986. The box also includes a 32-page booklet of rare photos and essays. An awesome guide to the world of Psychic TV and for everyone familiar with this milestone project this box is a superb addition. Highly recommended!" [NM/Vital Weekly]
|V.A. (VARIOUS ARTISTS)
Anthology of Noise & Electronic Music Vol. 2
||“ This 2nd volume explores the early days of pre-electronic music (Percy Grainger, Johanna M. Beyer...) and proposes some rares
or unpublished pieces by main composers of electronic music (Wladimir Ussachevsky, Otto Luening, Tod Dockstader, Morton Subotnick, Hugh Davies, Luc Ferrari) as well as unreleased tracks by musicians who are cornerstones of the 90's electronic scene (Autechre, Aphex Twin, Scanner, Kim CasconeYoshihiro Hanno...),
acid movement (Woody McBride, Choose) or industrial (Laibach, SPK). Without forgetting some free-jazz (Sun Ra) or rare stuff
from Captain Beefheart, Daphne Oram, Alan R. Splet...
slow explorations of the past and the present
Given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period.
There may also be a preference for concentrating information rather than letting it pile up in disordered fashion. Over the past 40 years the same ten electronic music composers get mentioned again and
again (including in music dictionaries and histories). Yet behind them are many other names. Who are they? Second-raters? Not necessarily. For we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor
artist. Great pleasure can be derived from the works of minor artists. The case of Tod Dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? His name was never seen on the labels of top record companies. But he influenced quite a few people - Richard James quoted him, and others then referred to his work. Some of his records were reissued, and what one could call
the rehabilitation process continues. The same applies to many other composers. All such stories spell a passion for music, and weave myth.
At the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including Thaddeus Cahiel's Telharmonium in 1887 and the Dynamophone presented to the New York public in 1906; they generally played well-known
romantic or post-romantic pieces. After a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of Wladimir Ussachevsky and Otto Luening in New York's Columbia-Princeton Electronic Music Center.
When audiences of the 50's and 60's first heard Varèse, Pousseur, Stockhausen, Berio, Ussachevsky, Yuasa, Dockstader and Mumma, what did they feel? Perhaps a sort of break, an epistemological break, like it must have been for the first audience of Monteverdi's
Orfeo (in Mantua, Italy on 24 February 1607). They left the auditorium completely stunned,because they had never heard anything like it.
WHAT CONTAINS THIS SECOND EDITION ?
Wladimir Ussachevsky + Otto Luening > Incantation for Tape * 1953 02:35
Luc Ferrari > Visage V * 1958-59 10:33
Tod Dockstader - Aerial > Song * 2002 12:56
Johanna M. Beyer > Music of the Spheres * 1938 05:59
Morton Subotnick > Mandolin * 1962 07:02
Daphne Oram > Four Aspects * 1960 08:05
Robin Rimbaud / Scanner > Emily * 2003 04:46
Hugh Davies > Quintet * 1967-68 12:05
Alan R. Splet > Space Travel w/ Changing Choral Textures 04:02
Kim Cascone > Zephirum Scan * 2002 04:58
Autechre > Bronchus One.1 * 1991 06:01
Yoshihiro Hanno > On/Off Edit * 2001 09 :12
Meira Asher > Torture/Bodyparts * 2001 03'40
Woody McBride > Pulp * 1993 06:07
Lasse Steen / Choose > Purzuit ov Noize * 1994 05 :36
Arcane Devices > Lathe * 1988 05:54
Laibach > Industrial Ambients * 1980-82 09:54
SPK > Slogun * 1979 06:20
Percy Grainger > Free Music #1 (for four theremins) * 1936 01:22
Sun Ra > Imagination * 1965 02:04
Captain Beefheart > She's too much for my miror / My human gets me blues * 1969 05:32 “ [press-release]
John Barleycorn Reborn
||"A discovery of folk music from dark Britannica. 'John Barleycorn Reborn' explores seasonal birth, death and rebirth on this double CD. Our cycle begins at Lammas 2007 (1st August), a day traditionally known for 'the first fruits of the harvest'. Pre-orders begin on this day. All orders also receive a free complementary thirty-three track download only set of further music. This compilation explores the darker side of British folk music, evoking the mystery of our ancient past and peoples, the strangeness of their beliefs, arcane traditions and the remnants of this carried down the centuries as folklore. The set has an extended booklet with articles, essays and explorations of the album's concept. The album is a collaboration between Cold Spring and Woven Wheat Whispers, a folk music artist community and legal download service (where the third part complementary part will be available). Curated by Mark Coyle. Track Listing: Disc 1 1. The Horses Of The Gods - 'John Barleycorn' | 2. The Owl Service - 'North Country Maid' | 3. The Story - 'The Wicker Man' | 4. Damh The Bard - 'Spirit Of Albion' | 5. Mary Jane - 'Twa Corbies' | 6. Andrew King - 'Dives And Lazarus' | 7. The Triple Tree - 'Three Crowns' | 8. Sol Invictus - 'To Kill All Kings' | 9. Sieben - 'Ogham On The Hill (Remix)' | 10. Sharron Kraus - 'Horn Dance' | 11. Charlotte Greig And Johan Asherton - 'Lay The Bent To The Bonny Broom' | 12. Pumajaw - 'The Burning Of Auchindoun' | 13. Peter Ulrich - 'The Scryer & The Shewstone | 14. Alphane Moon - 'Where The Hazel Grows' | 15. English Heretic - 'Hippomania' | 16. Far Black Furlong - 'Icy Solstice Eye'. Disc 2 1. The Anvil - 'John Barleycorn Must Die' | 2. Tinkerscuss - 'To Make You Stay' | 3. The Straw Bear Band - 'Trial By Bread & Butter' | 4. Electronic Voice Phenomena - 'The Sorrow Of Rimmon' | 5. The Purple Maids Of Lazeron - 'Dragonfly' | 6. Sand Snowman - 'Stained Glass Morning' | 7. The A Lords - 'Summerhouse' | 8. The Kitchen Cynics - 'The Guidman's Ground' | 9. Quickthorn - 'PewPew' | 10. Clive Powell - 'Reed Sodger' | 11. Venereum Arvum - 'Child 102 Willie And Earl Richard's Daughter' | 12. Drohne - 'Nottamun Town' | 13. Stormcrow - 'Gargoyle' | 14. Doug Peters - 'Pact' | 15. While Angels Watch - 'Obsidian Blade' | 16. Xenis Emputae Travelling Band - 'John Barleycorn: His Life, Death And Resurrection' | 17. Martyn Bates - 'The Resurrection Apprentice'." [label info]
||BOOK & CD
||300 Seiten starkes, sehr schön aufgemachtes Kunstbuch (herausgegeben von BRANDON LABELLE und KEN EHRLICH) mit CD zum Thema „Kunst im öffentlichen Raum“ bzw. zur Frage des Ortes der Kunst, der Dialektik von Innen und Aussen, der Beziehung von innerem Wunsch und äusserem Raum... mit vielen Projektbeschreibungen & Essays, Fotos, und CD mit Klang- und Installationskünstlern: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka.
Super-Aufmachung & hochinteressante Musik & Projekte, mit diesem Buch kann man Stunden verbringen !!
"Edited by Brandon LaBelle and Ken Ehrlich. CD compiled by Stephen Vitiello. CD mastered and manufactured by Ground Fault Recordings. Published by Errant Bodies Press (300 page, 8.5"x11", book with compact disc)"
"Surface Tension aims to broadly explore the notion of Site by addressing questions of public space and the frictions and conversations that occur as intersections of the imagined and the real. Through investigating these interactions, Surface Tension will seek to make apparent connections between cultural production and the very spaces in which such work functions. As much as the rhetoric of globalization, virtuality, and digital networking dominates contemporary discourses of place and space, Surface Tension looks towards proximate space and experiences of locality to tease out the tensions between contemporary global communications and the site-specifics of everyday life. Rather than reinforce existing notions of an authentic alternative vs. a 'wired' culture, we hope to explore the cultural and personal investments made in technology in order to examine how social andpolitical space is inhabited and made manifest. This entails a consideration of the desires, impulses, and longings which occur within and against the contexts of social spaces and cultural arenas, and how this very interaction performs within the dynamics of spatial organization. Out of these relations comes the radically diverse ways space can be negotiated, manipulated, and traversed."
"From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces."
Essays/Writings: Kathy Battista, Jennifer Gabrys, Gordon Matta-Clark, Margaret Morgan, Paul Panhuysen, Lucy Lippard, Laurie Palmer, Brandon LaBelle, Ken Ehrlich, Jane Rendell, Juli Carson, Atau Tanaka, Michael Asher, Simon Leung Documentation of Projects: Concrete Steps, Jen Hofer/Melissa Dyne, Kim Abeles, Carol Brown, Wochenklausur, Christof Migone/Alex St-onge, Michael Rakowitz, Eyal Weizman, Rafael Lozano-Hemmer, Tanja Jordan, Lizzie Scott, Lize Mogel, Terry Fox, Lynn Kirby, Octavio Camargo, Colette Meacher, Valerie Trever CD: Bruce Nauman, Paul Panhuysen, Anthony Moore, Erik Nauman, Stuart Dempster, Frances-Marie Uitti, Undo, Yoko Ono, Terry Fox, Alison Knowles, Atau Tanaka."
Anthology of Noise & Electronic Music Vol. 6 (sixth a chronology 1957-2010)
||"So here is the 6th and penultimate installment in our series. As usual, it culls old historical pieces, little-known gems, and even a few previously unreleased tracks from the greatest Japanoise bands, a few representatives of the younger generations (from all around the world), some rare tracks from the '80s, and it all ends with a lull that lets transpire what may be felt as a kind of undefinable mystery.
The Avant-Garde - the possibility of a new music (think about it). Then it scattered into small communities whose best-known protagonists are totally unknown to people outside that particular circle. We are facing this fragmentation, and one form of avant-garde (you could say) ends up scattered into several (not exclusively musical) forms. It is not in Avant-Garde's nature to create one elementary form for each individual. Other phrases used include "forays," "breakthroughs," "pushing the envelope," and then of course "going too far"
The Sub Rosa compilations are dotted with a who's who of the electro-acoustic avant-garde
from the past century, tossed in with a smorgasborg of previously unknown (and often
very interesting) artists as well as contemporary musicians who are well on their way to establishing themselves within the canons of the institutional avant-garde. Sub Rosa has gone out of its way to compile a collection to scramble one's notions of the taxonomic rhetoric that may influence the perception of any of the artists present... (Aquarius)
WHAT CONTAINS THIS SIXTH EDITION
Israël Martinez - Mi Vida (2007) 06:59
Ata Ebtekar / Sote - Turquoise gas in Ice (2008) - unpublished 03:36
Joseph Nechvatal - Ego Masher (1983) 07:05
Oliver Stummer + Liesl Ujvary - Trautorium Jetztzeit #4 (1930 sound) 03:44
Henry Cowell - The Banshee (1925 > 57) 02:23
Dick Raaymakers - Piano-forte (1959-60) 04:55
Manuel Rocha Iturbide - Estudio Antimatierico No.1 (1989) 05:02
Tetsuo Furudate - (2008) - unpublished 06:26
Kohei Gomi / Pain Jerk - Aufheben (1993) - unpublished 06:28
Hijokaidan - Untitled (1994) - unpublished 11:54
Incapacitants - Shall we die ? (1990) - unpublished 06:25
Torturing Nurse - Yes or No (2010) - unpublished 04:49
Sachico M - 2808200 (2000) 05:32
Ultraphonist - How to practice scales (2000) 03:07
Z'ev - 12 november 1980, Melkweg, Amsterdam (1980) - unpublished 07:31
Daniel Menche - Fulmination (2009) - unpublished 12:00
John Wiese - New Wave Dust (2004) 02:25
Rico Schwantes / The Pain Barrier - Virus (2003) 05:29
Julie Rousse - Flesh Barbie Techno Fuck (2008) 04:45
Bird Palace / Cristian Vogel + Pablo Palacio - Phing (2009) - unpublished 04:23
Robert Piotrowicz - Lincoln Sea Ice Walic (2009) - unpublished 08:09
Tzvi Avni - Vocalise (1964) 05:18
Else Marie Pade - Syv Cirkler (1958) 07:05
John Duncan - The Nazca Transmissions #2 (2005) 08:10
Stephen O' Malley - Dolmens & Lighthouses (2009) - unpublished 06:53
Ilios / Dimitris Kariofilis - The continuum of emanation from the One (2009) - unpublished 06:06" [press release]
"Runde Nummero Sechs für die wohl beste und auch allumfassenste Übersicht der Avangarde mit all ihren Auswüchsen und Verstrickungen. - Natürlich kann man immer irgendwie "bessere" Tracks oder persönlich vorbelastetere Beispiele finden, aber eine Serie ist ja nach hinten hin offen, im Ergebnis unendlich und einen Anspruch auf Vollständigkeit wird hier erst gar nicht erhoben! - Was gerade interessant an dieser Serie ist, ist die Gegenüberstellung von wirklich alten, historischen Aufnahmen (An die man sonst fast überhaupt nicht herankommt!) und aktuellen Klangforschern. Sehr verwundert wird ein so mancher sein, wenn er sich die Jahreszahlen anschaut und auch verwundert feststellen, wie zeitlos diese Werke klingen und das so manches vermeintlich alte Stück die neuen Aufnahmen um Längen schlägt, auch in Bezug auf Klang, Extremität und Experimentierfreudigkeit. Das dazugehörige Booklet ist in Sachen geballter und sofort griffbereiter Basisinformation gerade auch in Zeiten des vermeintlich allwissenden Internets reines Lesevergnügen. - Immer wieder gerne genommen!" [Carsten Vollmer / Ox-Fanzine]
"Extrem löblich ist das Anliegen des belgischen SubRosa Labels, die Hervorbringungen der Geräuschmusik zu kontextualisieren und zu kanonisieren und ein einen Zusammenhang mit dem zu stellen, was man vor einigen Jahren noch mit “Avantgarde” bezeichnete. Gemeint sind die Granden der komponierenden Zunft, die sich ind er Geschichte weit aus dem Fenster lehnten; so waren auf vorherigen Edition u.a. Mauricio Kagel oder Helmut Lachenmann zu hören. Die Aneignung funktioniert aber nicht aus dem Blickwinkel der Hochkultur heraus, was ein weiterer schöner Pluspunkt der Sammlungen ist und weswegen ihre Willkür auch herzlich willkommen ist. Denn 80% der Doppel-CD Ausgaben sind mit Noise oder Geräuschartigem gefüllt, die Konzept- und Klassikfrickler bleiben in der Minderheit. Dies könnte aber für die Anhänger der Subkultur den Blick auf eben auch das zeitgenössische Komponieren lenken helfen – wer weiß, wozu dies alles noch gut sein wird…
Im vorletzten Streich der Compilationsserie gitb es einen starken Block mit japanischen Noise, der absolut crispy und fetzig klingt; gerade so, als wäre das Genre nicht schon seit mehreren Jahrzehnten über uns. Checkt die Beiträge von Incapacitants, Tetsuo Furudate oder Hijokaidan. Dazu brodelnde Digital/Hektik-Cruncher von John Wiese und Daniel Menche und doomige Schleifen von Stephen O’Malley. Historisches kommt von Z’ev. Dann wird der Bogen gespannt hin zu experimenteller Ensemblemusik von Henry Cowell und Klaviererweiterungen von Dick Raaymakers. Auch ein Urviech der elektronischen Musik, das Trautonium taucht auf und liefert bizarr schnalzende Glissandi. Und dann gibt es sogar bollernden Industrial-Gabba von Cristian Vogel udn Bird Palace. Schönster Moment der Sammlung ist auf Disc 1 wenn nach einem intensivsten Block mit harschem Lärm aus Japan und China plötzlich Sachiko M ihre Sinustöne tanzen läßt. Ah, diese Weite, ah diese Klarheit. Großes Kino!" [Zipo / Auf Abwegen]
"Z'EV is also on the sixth volume of Sub Rosa's anthology of noise and electronic music. I don't think we reviewed them all, but its surely growing to be one of the best series of this kind. If you are a starter in this kind of music, then all six volumes are a must have, both to introduce you to well-known names as well as some that even the initiated- your humble reviewer - has never of. Like Israel Martinez, Ata Ebtekar, Rico Schwantes, Tzvi Avni, Julie Rousse, Else Marie Pade, Olivier Strummer & Liesl Ujvary or Manual Rocha Iturbide. Cleverly divided into various areas of interest, such as section of Japanese noise (Tetsuo Furudate, Kohei Gomi/Pain Jerk, Hijokaidan, Incapacitants, Torturing Nurse, Sachico M), musique concrete from the early days (Cowell, Raaymakers, Iturbide), rhythm 'n noise (Z'EV, Menche, Wiese, Schwantes, Rousse, Bird Palace/Christian Vogel) and noise related drone music (Piotrowicz, Avni, Pade, Duncan, O'Malley and Ilios). Again: an excellent overview. May this series last for a couple of more volumes!" [FdW/Vital Weekly]
Anthology of Noise & Electronic Music Vol. 2
||3 x LP
||"slow explorations of the past and the present
Given the present system of production there are reasons, some of them identifiable,
why only a few names emerge in each period. There may also be a preference for
concentrating information rather than letting it pile up in disordered fashion. Over
the past 40 years the same ten electronic music composers get mentioned again and
again (including in music dictionaries and histories). Yet behind them are many other
names. Who are they? Second-raters? Not necessarily. For we then need to define
the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor
artist. Great pleasure can be derived from the works of minor artists. The case of
Tod Dockstader is instructive: when "for lack of academic qualifications" he was
denied access to the electronic music facilities he needed, was there not great beauty
in the pieces he nevertheless created and in his determination to make music without
those facilities? His name was never seen on the labels of top record companies.
But he influenced quite a few people - Richard James quoted him, and others then
referred to his work. Some of his records were reissued, and what one could call
the rehabilitation process continues. The same applies to many other composers.
All such stories spell a passion for music, and weave myth.
At the turn of the century there were efforts to find new sources of sound - a number
of machines were exhibited, including Thaddeus Cahiel's Telharmonium in 1887 and the
Dynamophone presented to the New York public in 1906; they generally played well-known
romantic or post-romantic pieces. After a few flamboyant skirmishes described in the
previous volume, the postwar period saw the arrival in 1951, of Wladimir Ussachevsky
and Otto Luening in New York's Columbia-Princeton Electronic Music Center.
When audiences of the 50's and 60's first heard Varèse, Pousseur, Stockhausen, Berio,
Ussachevsky, Yuasa, Dockstader and Mumma, what did they feel? Perhaps a sort of break,
an epistemological break, like it must have been for the first audience of Monteverdi's
Orfeo (in Mantua, Italy on 24 February 1607). They left the auditorium completely stunned,
because they had never heard anything like it.
tracklisting 3 x vinyl LP
01 Wladimir Ussachevsky + Otto Luening / Incantation for Tape / 1953 / 2:35
02 Luc Ferrari / Visage V / 1958-59 / 10:33
03 Tod Dockstader / Aerial > Song / 2002 / 12:56
04 Johanna M. Beyer / Music of the Spheres / 1938 / 5:59
05 Morton Subotnick / Mandolin / 1962 / 7:02
06 Daphne Oram / Four Aspects / 1960 / 8:05
07 Alan R. Splet / Space Travel w/ Changing Choral Textures / 1983 / 4:02
08 Robin Rimbaud / Scanner / Emily / 2003 / 4:46
09 Hugh Davies / Quintet / 1967-68 / 12:05
10 Kim Cascone / Zephirum Scan / 2002 / 4:58
11 Meira Asher / Torture/Bodyparts / 2001 / 03'40
12 Lasse Steen / Choose / Purzuit ov Noize / 1994 / 5 :36
13 Woody McBride / Pulp / 1993 / 6:07
14 SPK / Slogun / 1979 / 6:20
15 Yoshihiro Hanno / On-Off Edit / 2001/ 9 :12
16 Autechre / Bronchus One.1 / 1991 / 6:01
17 Arcane Devices / Lathe / 1988 / 5:54
18 Sun Ra / Imagination / 1965 / 2:04
19 Captain Beefheart / She's too much for my miror-My human gets me blues / 1969 / 5:32
20 Laibach / Industrial Ambients / 1980-82 / 9:54
21 Percy Grainger / Free Music #1 (for four theremins) / 1936 / 1:22" [press release]