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 best of 2008 !!! 

$27.15

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may 1st, 2009

first in stock on
april 4th, 2008

threads:
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sound-poetry
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alga marghen (italy) #alga vocson20 lp

charlemagne palestine “voice studies” long playing record

  • surrealistic studies i, ii, iii (3:03) (1:31) (0:46)
  • voice + piano study i, ii (5:48) (5:08)

  • voice study (11:09)
  • beauty chord + voice (6:20)
click the play button to hear an excerpt of "surrealistic studies ii"
awesome lp of zonked sound-poetry & real-time tape-music studies, and some blissed out chordal drone-singing by charlemagne palestine, recorded at home and in concert from the early 60s through the early 70s ... as always w/alga marghen vinyl - this record’s time-on-earth is finite ...
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e
voice studies
(cat no. plana-p 20vocson.072)
lp record
edition of 385 copies

the vocson series presents on limited editions lp records the most advanced international vocal experiments and is mainly dedicated to the documentation of sound poetry. this series includes now the new lp record by charlemagne palestine titled "voice studies".

charlemagne palestine introduction to music or sound was first with his own voice. he began at four years old to sing versions of popular songs and operas in his own way. later on, a director of a jewish sacred music choir auditioned him to sing with them, charlemagne was seven years old at the time and for the next seven years he sang all over the east coast of the us as a member of a choir that sang with many of the greatest european chazans (jewish sacred singers) who had fled europe during the rise of the anti-semitism and resettled in america. from them he learned to sing in a long chanting style with his own natural voice. at the same time he met pran nath the master of kirana style, singing and studied a short time with him as well as javanese singing with ki wasito di puro at cal arts. over the years charlemagne palestine have performed and recorded vocal works as an important part of his outputs as sonic artist.

this lp record includes the very early “surrealistic studies”, recorded in brooklyn in the beginning of the 1960s. using a webcor reel to reel tape recorder and discovering a technique of shouting into the microphone of the recorder and immediately pulling the microphone out creating an interior echo chamber where the sound would turn around on itself, changing and distorting. no other electronic sound manipulation techniques were used.

"voice + piano study i & ii" are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. recorded at cal arts, on september 29th, 1971.

“voice study” was recorded in manhattan in the mid-1960s. in this study charlemagne sing in a falsetto duet with himself on two separate tracks. sung in a resonant space reminiscent of a synagogue in the falsetto voice that he began to develop from jewish male sacred chant falsettos. he searches for intervals that resonate together and respond like electronic sound wave oscilators played against eachother.

finally the fantastic 6 minutes "beauty chord + voice" with charlemagne playing piano and singing.

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 best of 2008 !!! 

$20.38

back in stock as of
january 8th, 2009

first in stock on
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threads:
minimalism-drones
modern-composition
sound-art
live-electronic

alga marghen (italy) #alga nmn28 cd

charlemagne palestine “sharing a sonority” compact disc

  • charlemagne palestine & terry jennings - short & sweet (11:13) 1974
  • charlemagne palestine & robert feldman - electronic and flute (5:56) 1967
  • fundamental d flat group (palestine, conrad, & chatham) - db (32:05) 1974
click the play button to hear an excerpt of "db"
march 2008 release - fourth in alga marghen’s “golden” series / survey of charlemagne palestine’s work, including three pieces recorded in 1967 & 1974 - most notably the only available recording of the short-lived fundamental d flat group (charlemagne palestine, tony conrad, & rhys chatham) but also a mellow cale / riley-esque duet between palestine & terry jennings and an remarkable live-electronic duet with robert feldman ...

the “db” piece, recorded shortly after tony’s collaboration with faust, hits on a bunch of similar touchstones & is worth the price of admission alone ... highly recommended !!!
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e
sharing a sonority
with terry jenning, tony conrad, rhys chatham, bob feldman
(cat no. plana-p 28nmn.068)
digipack cd
edition of 1000 copies

alga marghen proudly presents a new chapter in the documentation series of charlemagne palestine historical works. this cd of previously unavailable recordings not only presents you charlemagne palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the new york loft scene and cal arts. but also features world premiere recordings of terry jennings and the fundamental d flat group.

"short & sweet" is the title of a breathtaking duo for piano and sax performed on april 24th by charlemagne palestine and terry jennings. the two composers happened to play together in very private concerts at cal arts, but never recorded those sessions, untill a special day when charlemagne happened to have a little taperecorder around. the recording was considered lost for more than 30 years when finally a copy was found thanks to tony conrad. the piano part reminds some of the early pieces by charlemagne palestine titled piano drones (as the one pre-dating of a couple of years this duo and presented on the "continuous sound forms" cd issued on alga marghen. the liner notes of the same cd mention this duo with terry jennings at the time considered lost). terry jennings’ soprano sax is very elaborated and decorative (reminding the only other recording ever issued by this important outsider and la monte young friend, or the sax and cello duo with charlotte moorman present in "cello anthology" 4cd boxset issued on alga marghen).

around 1967 charlemagne was experimenting mainly with voice and electronic. he also occasionally recorded piano and sax improvisations with his friend bob feldman. this cd featured a very special duo by palestine and feldman playing electronic and flute. the two artists met in 1961 when bob feldman worked in a jazz record shop in the times square subway station. palestine didn’t know much about jazz and feldman guided him through the new progressive jazz styles of the times. later at the intermedia center of nyu where they had a buchla synthesizer (you can listen to charlemagne palestine electronic music studies as presented in "in-mid-air" cd issued on alga marghen). charlemagne and bob feldman experimented there between jazz raga and electronic. very little was recorded. this is one rare duet that dates probably from around 1967 (bob feldman also plays with charlemagne palestine and tony conrad in the historic recording of "alloy" for wbai in 1969 released on golden1 cd on alga marghen).

the last track on this cd is the first 30 minutes recording from april 22nd, 1972 by the fundamental d flat group performing in db. during one trip back to nyc from cal arts, charlemagne palestine was invited by tony conrad (together with rhys chatham) to albright college in new jersey for a sunday afternoon concert. that was the first and last time the fundamental d flat group played in public (tony conrad: violin, horn, string drone. rhys chatham: flute, organ, string drone. charlemagne palestine: voice, pipes, snifter). although the piece lasted all afternoon the first 30 minutes were the only portion recorded during the performance. the fundamental d flat group invite you to listen and meditate in the mode of db. to hear one one is to enter the deepest realm of knowledge of the sound current. the ear, the understanding, and the core of the spirit resonate to the mode of the single tone and its harmonic family. you read, and hear, and feel the empathy of human spirit. the body will channel the knowledge of the single note stronger and stronger, the more you hear. welcome to the fundamental d flat group.

this cd is included in a beatiful digipack full colour sleeve with photos and liner notes. the edition presents some of the best recordings ever issued by charlemagne palestine, a highlight in the alga marghen catalogue and a unique chance to listen to the core of charlemagne palestine golden research real, unedited, original sonorites.

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$20.38

back in stock as of
january 8th, 2009

first in stock on
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threads:
1960s-electronic
minimalism-drones
modern-composition

alga marghen (italy) #alga nmn19 cd

charlemagne palestine “in mid-air (golden 3)” compact disc

  • sine wave study (1965) 03’44”
  • open-closing (1965) 03’37”
  • seven organism study (1968) 07’50”
  • negative sound study (1969) 23’47”
  • tymbral for pran nath (1970) 15’18”
click the play button to hear an excerpt of "seven organism study (1968)"
alga marghen press release...
late night recordings at the n.y.u. intermedia center. buchlas 100 & 200 systems.

“the first time i heard electronically generated sounds probably came from the machines that i encountered in ordinary daily urban life the refrigerator electric motor electrical generator and the hammond electric' organ but it was especially the sounds of motion race cars motor cycles war planes rocket ships that first excited my sonic imagination as a young teenager then i heard the electronic musics of tod dockstader alwyn nikolais pierre henry & schaeffer poeme electronique of varese and xenakis and gesand der junglinge of stockhausen

i immediately bought a cheap reel to reel tape recorder took a class on tape music manipulation and started to cut and paste recording tape making collage sound experiments and fooled with reverb tricks and bass / treble tone knob filterings trying to create already an electronicesque language of my own at first i used my own voice and the bells of my carillon and sounds i recorded around the house as my sound sources then one day i experienced at an electronic music studio what electronically produced sound waves looked and sounded like through an oscilloscope and began studying helmholtz's on the sensation of tone

i started to dream of an expressive continuous evermoving everchanging sound form an enormous sonorous 3-dimensional sculptural canvas in mid-air using electronically produced sounds at first i began experiments with simple sine tone generators emitting the purest sound waves without any overtones then gradually with access to moog buchlas and arps i constructed sounds using the sine / sawtooth / square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight

i experimented in this way from 1964 till 74 in nyc and then california finally i assembled my own drone machine of 16 ultra stable oscillators designed by serge tcherepnin and 4 band pass filters designed by donald buchla and began to travel presenting spectral continuum searches for the golden sonority day week month long journeis of harmonies and their overtones in constant evolution and transformation in space untill the late seventies when i stopped composing & performing for nearly 15 years

when i resumed in the nineties my jamaica heinekens soundscape was made using arp and rubery oscillators and filters in holland and performed many sonorities in progress these last years with several simple yamaha synthesizers and now i am constructing a small electronic studio at home in bruxelles around the analog oberheim matrix 12 and expander that i bought just before the end of analog in the late eighties electronic sound forms continue to have a major place in my compositional palette.”

...charlemagne palestine

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$20.38

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january 8th, 2009

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file under:
sound-research
minimal-drones
alga marghen (italy) #alga nmn14 cd

charlemagne palestine “continuous sound forms (golden 2)” compact disc

  • duo strumming for two harpsichords (1978) - three excerpts (25’25” - 6’45” - 10’40”)
  • piano drone (1972) 22’10”
click the play button to hear an excerpt of "duo strumming for two harpsichords (1978)"
alga marghen press release...
“elisabeth freeman and i met in 1971 at cal arts near los angeles. she was a disciple of the great harpsichord virtuoso fernando valenti and i was in residence there as assistant professor and graduate student in multi-media. immediately we had a great chemistry between us and the sound and clarity of the harpsichord perfectly fitted my sonic approach. i invented a strumming for her eventually in 1975-76 that premiered in london + ny afterwards to critical success. then in 78 we played together at a harpsichord factory of willard martin in pennsylvania and the 3 exceprts come from sessions at that time she is playing far away + me up close. they were magic moments.

in 1972 while still at cal arts terry jennings, visionary composer, wonderful woodwind player clarinet soprano saxophone always in another time sense in another world. he and i played together from time to time for the moment all recordings are lost but this piano drone played the first bosendorfer imperial that inventited my piano music styles to come is a rare and special moment. he left the room with this stuff and some years later he left this world totally for his other world.

this piano moment on the original imperial of california i dedicate to him as in those days time was different. time passes time elusive liquid time stood still all that at the same time. piano drone is from that time and for terry.”

nayastay charlemagne logo d’orta 9/2000

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january 8th, 2009

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threads:
early-electronic
file under:
minimal-drones
sound-research
early-electronic
alga marghen (italy) #alga nmn13 cd

charlemagne palestine “alloy (golden 1)” compact disc

  • holy 1 & holy 2 (1967)
  • alloy (1969)
click the play button to hear an excerpt of "alloy (1969)"
so the listing is a little misleading on this one... the first track is a full-on straight drone piece for 20 minutes, holy 1. the second track is the same drone with extra sonorities (aka holy 2) mixed in, thus holy 1+2. the third track is merely the holy 1 + 2 tape played in a large room (possibly the merce cunningham space?) with added accompaniment from tony conrad, robert feldman, deborah glaser palestine and cp himself. regardless of what the hell is actually on this cd, it sounds like: holy 1: the bones of a large whale being bowed from inside, holy 1+2: same whale, resisting, alloy: whale, now transplanted to chelsea piers, field documentation of whale on microcassette & accompaniment by a-list of factory hangers-on/”drone music.”
alga marghen press release...
holy 1 & holy 2
recorded in new york city n.y.u. intermedia center (1967)
late night electronic sonorities

alloy
tony conrad, robert feldman, deborah glaser palestine, charlemagne palestine
recorded live at free music store, radio station wbai, new york city (1969)

“holy 1 and holy 2 were both recorded in nyc in 1967 i was reading helmholz - and listening to a lot of ethnic world music but i was also very immersed in the late night new york soundscape

my friend saxophonist bob feldman and i would often take long long walks 2 or 3 o'clock in the morning from battery park at the lowest point in manhattan to where we lived on 87th street and riverside drive and absorb the spacial sound diversity and beauty that such a big city could only express very late at night then other nights when i composed i worked also at night.

from midnight to 7 or 8 in the morning with a mattress on the floor i would build up a sound oscillator by oscillator then add ever so slightly to the oscillators input tiny increments of white noise that would gr adually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees making all the room and objects in it resonate while outside all was quiet and sleeping i worked like a painter with a palette and a canvas and i mixed and added and mixed and added over entire nights

i played them very very loud mixing adding and then lying on the mattress and listening and fine tuning finally at a certain point after several nights the sonority seemed ready to record i'd put on the tape prepare the tape machine with the proper level as not to overload it and i'd record the texture. holy 1 & 2 were done in this way

later on i was asked by gus solomons a choreographer at new york university to create a texture for a new dance work he wanted to present and as he was a student of merce cunningham he had the same habit of asking a composer to create a work without ever hearing it until the performance we just agreed on how long it would be we chose something lik e 70 minutes and in 1968 i brought both holy 1 & 2 to the theatre to decide which one to use for the dance and found that for me at that moment each one was too thin played alone for such a big open space and finally tried the 2 sonorities together

they fit strangely but wellso i used them both and after that i played them sometimes separately together and sometimes and so holy 1 & 2 became a work itself

then in 1969 tony conrad asked me to make some carillon music for his: film "coming attr actions we were seeing each other regularly for that when the free music store of radio station wbai asked me to create a piece for an event they were preparing to broadcast live on radio 1 so i asked tony my saxophonist friend bob feldman my then-wife and sopr ano debor ah glaser to collabor ate on a workthat i would organise around an instrument that i invented at that time called an alumonium made from pieces of aluminium siding attached with fishing wire each a different length thus different pitch when you hit them and a spanning sound as well if you hit them a special way and they'd begin to spin

tony played an instrument that he invented the long string drone that was a long string attached to a long wooden structure and amplified bob played the chimes and a conch deborah sang and played chimes and i sang also played the chimes and some percussion instruments that we found lying around the hall where we played

the piece became alloy and the sound that begins played through loudspeakers in the hall 'were holy 1 & 2 from 1968”

...charlemagne palestine

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$27.31

new to stock as of
january 8th, 2009

threads:
modern-composition
minimalism-drones
concert-recordings
electro-acoustic-improvisation
digital-musics

alga marghen (italy) #alga gol pal lp
planam (italy) #planam golpal lp

gol / charlemagne palestine “pandamoniahbleeummm!!!!” long playing record

  • pandamoniahbleeummm!!!! • pt. 1 (17:54)

  • pandamoniahbleeummm!!!! • pt. 2 (14:12)
click the play button to hear an excerpt of "pt. 2"
december 2008 release ; second of two lps pitting the french gol ensemble against various musical avant-garde figures ; in this case minimalism giant & sock monkey enthusiast charlemagne palestine ...

as opposed the ensemble’s direct interference on the dumitrescu / avram set, here they seem to act mainly as augmentation to palestine’s swelling organ clusters, adding a thin layer of bass / guitar / flute / voice / electronic sonority to the rising sound throughout (listen to the sound-sample for an example) ...

lp in full alga marghen spec, comes with a single-sided insert with credits, dedications (one is to philips-prospective 21 siecle lineage composer jean guillou) and a fun panda-bear sketch (detail below) ...
alga marghen press release...

g o l  /  c h a r l e m a g n e   p a l e s t i n e
"pandamoniahbleeummm!!!!"
(cat no. planam golpal)
lp record

entering their twentieth year of existence, the gol orchestra, together with the label planam, celebrates and starts a new program of collaborations: the gollaboration series.

volume 2, "pandamoniahbleeummm!!!!" marks the encounter with charlemagne palestine, pionneer of strumming music and piano maximalism, in the st. eustache church in paris, known for its world famous church organ. the following battle, in form of a long incantatory improvisation, charlemagne palestine playing the church organ and gol doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual.

gol was formed in 1988 in paris by jean-marcel busson, frédéric rebotier, ravi sharda and samon takahashi. the quartet embodies, within a post-dada spirit, a lost rural tradition. gol plays flute, horns, guitar, violin, toys, selfmanufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. gol's first lp (gol lp 01), issued in 1993, compiles their first items (88-92) based on vinyl- record's scratching, tape's cut-ups and acoustic instruments. the issuing of this lp was followed by a 9 years long hibernation. since 2002, the band is back together to pursue its common research and play together of instinct and invention. their music, electroacoustic oriented, is partially improvised and partly tense. at the time of a collaboration with roumanian composer iancu dumitrescu, gol developped a score system knowned as « layer's leaf ». through this system, they could elaborate an hybrid music, between orchestral conduct and free interpretation of movements.

edition limited to 300 copies, also including a large insert with liner notes great graphics by jean-marcel busson who also design the front and back cover.

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$32.77

new to stock as of
january 8th, 2009

threads:
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analogue-synth
modern-composition
electro-acoustic-composition

alga marghen (italy) #alga 26 lp

charlemagne palestine “sound 1” one-sided long playing record

  • 2 separate chords • blending in space • sculptural (18:30)
click the play button to hear an excerpt of "sound 1"
december 2008 release ; single-sided lp featuring an 18-minute piece by charlemagne palestine, “published in collaboration with “vidéo et après” for the first “œuvres sonores” event, december 15th, 2008 nouveaux media dept, musée national d’art moderne, paris” ...

no word on when the piece in question was physically laid to tape (different reports / opinions range from the mid 60s / mid 70s to present day) ... regardless, you get a static wall of tremulous oscillator patternage that rivals/exceeds contemporary work in the field by such folks as eleh and damion romero ... charlemagne fans (esp. those of the “negative sound study” lp) will need this in their lives ...
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e
"sound 1"
(cat no. plana-p alga26)
1-sided lp record
edition of 500 copies
(only 200 copies available for sale)

as the title well underlines, "sound 1" electronic sonority is a starting point in charlemagne palestine researches for the golden sonority. previously unpublished, this radical and foundamental work has now been released on lp record in collaboration with the new media dept of centre pompidou (national museum of modern art) in paris for the first "œuvres sonores" event, december 15th, 2008.

charlemagne palesitne started to dream of an expressive continuous evermoving everchanging sound form; an enormous sonorous 3-dimensional sculptural canvas in mid-air, using electronically produced sounds. at first he began experiments with simple sine tone generators emitting the purest sound waves without any overtones. then, gradually, with access to moog and arps, he constructed sounds using the sine / sawtooth / square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. palestine experimented in this way from 1964 till 74 in nyc and then, in california, finally he assembled his own drone machine of 16 ultra stable oscillators designed by serge tcherepnin and 4 band pass filters designed by donald buchla. he would build up a sound, oscillator by oscillator, then add ever so slightly to the oscillator imput, tiny increments of white noise that would gradually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees. charlemagne played them very very loud, making all the room and objects in it resonate while outside all was quiet and sleeping. he worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, mixing adding and then lying on the mattress and listening and fine tuning. finally, at a certain point, after several nights, the sonority seemed ready to record. he'd put on the tape, prepare the tape machine with the proper level as not to overload it and record the texture.

this 1-sided lp was issued in an edition limited to 500 copies, and about 350 of those copies were offered to the audience partecipating to the first "œuvres sonores" event at centre pompidou. less than 200 copies are available for distribution.

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$67.71

back in stock as of
july 21st, 2008

first in stock on
august 2nd, 2007

threads:
printed-matter
minimalism-drones

alga marghen (italy) #alga 17 book

charlemagne palestine “sacred bordello” book and compact disc set

  • lecture at artnow centre in canada
  • multi-layer voice study of the early 1960s
alga marghen edition of charlemagne palestine’s recent monograph, bundled with a cd containing a 60-minute lecture / talk and an otherwise unreleased 60s “multi-layer voice study” ...
alga marghen press release...
as one of the most influential figures of experimental music and performance charlemagne palestine has remained an enigma. unlike his illustrious contemporaries terry riley, john cale, steve reich and phillip glass little has been written on palestine and his continuing influence. in his own right, he was and remains today a pivotal personality whose research in musical composition and performance has been characterized over the years by its incantatory repetitiveness, its flamboyance and its mysticism, but also by its violence.

born in brooklyn in 1947 his first musical experiences were as a cantorial singer in the synagogues of new york. through his contact with tony conrad palestine was soon introduced to the thriving experimental art scene of the late 1960s. the circles around andy warhol and la monte young provided a crucial backdrop for palestine's work which increasingly extended beyond the scope of music. his groundbreaking appearances, which combined violent piano playing, performance, video and installation, were considered to be amongst the most radical musical experiences, leaving a lasting impression on followers such as arto lindsay, glenn branca, sonic youth, and the sex pistols as well as tintin creator herge. his musical oeuvre escapes any ready categorisation.

palestine's epic durations, microtonal trembles and dense overtones are reoccurring features in contemporary industrial and electronic music. palestine's unique style of singing, indian singer prandit pran nath 'charleworld', were crucial influences on artists such as mike kelley and paul mccarthy. through recent collaborations with barcelona based techno duo pan sonic and david coulter (kronos quartet) palestine remains a crucial contributor to today's experimental music scene.

a wonderful full colour book (size cm. 23,50x18,50), with flexicover, 192 pages including essays, scores, original photos of both performances and installation. the most complete documentation on charlemagne palestine art. the compact disc will feature the 60 minutes recordings of a lecture that charlemagne palestine gave on march 7th, 1975 at artnow centre in canada. after the performance of a strumming music concert, the author freely speaks about his music, the philosophy beyond his composition techniques and art involving the students in some kind of magic ritual. starting as a question and answer conversation, the lecture develops into an intimate speech in which particularly private subjects are discussed. the lecture ends with a particularly touching suspended atmosphere showing how real communication in universities should be. the compact disc also includes a breathtaking multi-layer voice study of the early 1960s never published before on record, very similar in sound and structure to the electronic music studies just issued by alga marghen."

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$15.81

new to stock as of
july 24th, 2007

threads:
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modern-composition

cold blue (usa) #cb 0025 cd

charlemagne palestine “a sweet quasimodo between black vampire butterflies for maybeck” compact disc

  • [introduction] (4:03)
  • a sweet quasimodo between black vampire butterflies for maybeck (36:49)
cold blue press release...
a sweet quasimodo between black vampire butterflies for maybeck cb0025

a sweet quasimodo … is a piece for two pianos played simultaneously in a tremolo style that palestine calls "strumming," a technique that has defined his piano music since the late '60s. it spins out its sonic tapestry in surges and ebbs, and dense sonorities with hypnotically dancing overtones grow from its few opening pitches.

this live recording from the maybeck recital hall also contains palestine's short comments about his life in california in the '70s and, accompanied by a rubbed brandy snifter, his singing of a few very short "ritual" songs in his unique falsetto vocal style.

charlemagne palestine is a composer/performer/visual artist, who grew up in brooklyn, singing in his synagogue choir. at age 16, he became carilloneur at nyc's st. thomas episcopal church. in the early days of his professional career, he had important musical associations with tony conrad, morton subotnick, pandit pran nath, ingram marshall, simone forti, and philip glass. during the 1970s, he was active as a much-acclaimed composer-performer on new york's minimalist music scene. his performances, particularly his piano "strumming" events, have always embraced eccentric elements--extremely physical performances on pianos covered with stuffed animals while consuming prodigious quantities of cognac and clove cigarettes. in the '80s, he all but retired from music and turned to creating visual art, often involving animal and stuffed-animal imagery, which has been exhibited throughout the world. in the 1990s, he resumed his music career. today, his audience larger than ever, he tours throughout the world, performing his own music and creating installations. a large, illustrated book about his life and work, sacred bordello, was published in 2003.

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$56.89

new to stock as of
february 7th, 2009

shiiin (france) #shiiin 2 cd

charlemagne palestine “the golden mean” deluxe compact disc set

  • the golden mean (part 1) (26:12)
  • the golden mean (part 2) (14:25)
click the play button to hear an excerpt of "the golden mean (part 1)"
may 2007 release ; exceedingly nice edition from stephane roux’s shiiin imprint offering an otherwise unavailable 1979 recording of charlemagne palestine performing simultaneously on two bösendorfer imperial grand pianos at the sorbonne chapel in paris on november 2nd, 1979 ...

the music picks up right where “strumming music” left off ; palestine climbs the keyboard chromatically, pausing on each intervallic change to reveal endless variations of upper-harmonic activity ... as far as early recordings of his solo piano music go, this is one the best ; the ringing architecture of sorbonne emphasizes the swirling overtones drastically ...

now, back to the edition (as i’m sure you’re wondering why these are so expensive !!!) ; each copy comes as a digipack cd (with a poster in the booklet-sleeve, detailed below) with a varying-color chunk of crushed-velvet hand-glued to the “cover” ... this is then placed inside a separate slip-case (presumably to protect said velvet from any outside influence) ... it’s got “gallery-quality” written all over it (well, not literally) & i felt compelled to inaugurate a “deluxe compact disc set” category in the mms db to cover these sorts of painstakingly produced editions ...

ps. i received only a few copies of each color ; early adopters here are welcome to choose from ::

shiiin press release...

'the golden mean' for two bösendorfer imperial pianos. chapelle de la sorbonne, paris, november 2, 1979, festival d'automne.

recorded by radio france for a broadcast by daniel caux for france culture (atelier de création radiophonique). very luxurious object (which explains the price !) : each cd is hand-made, one by one, and each box is fully covered by the velvet material ! the first 1,000 copies will be a limited and numbered edition with a velvet cover specifically designed by charlemagne himself ! five different colours will be available, 200 cds for each colour.

part 1 : begins on middle c each piano every so slowly sounding this tone first one piano then the other soooo slowly then gradually gradually a little stronger a little faster but everever sooo gradually all the overtones ringing and singing amazing how just two repeated middle c's can have so many ever changing rich little cascading voices behind them then the middle c# is also added little by little creating the interval of a minor second between with beating and beating and overtones beating and beating then the middle d is introduced smoother less sharp and dissonant the major second rich and reinforcing one with the other and their overtones less strident than before a collaborative resonant interval a sing-song then the d# is introduced creating a minor third some say melancholy is the ringing of the minor third soon the middle e the major third arrives brighter more triumphant and jolts and battles with our minor third each pulls its sonic punches minor major minor major and finally major holds on and minor retreats and soon our old major second comes to greet major third and they dance the majors dance such a vibrant and victorious sound but soon the middle f arrives and gradually the majors give up their dancing to let the middle f and the interval of the perfect fourth clang in it's perfection and resolution but this perfection will not last and the devil arrives the f# brings the dreaded tritone the devil's interval is here and all balance and harmony are in confusion it clangs its famous dies irae and ends the first section.

part 2 : we begin with one piano that plays middle c while the other plays the c one octave higher this time the c is lighter and the 2 octaves have overtones that meet in the middle and rise upwards soon the upper c meets a b creating a higher minor second descending much different that the minor second of the first section but the middle c revisited the c# and we have ascending and descending minor seconds undulating together which leads to the higher minor second descending to a major second bb and the middle c ascending to the major second d creating a smoother and jollier high-low sing-song then 2 minor thirds one descending from above the a and the other ascending from below the d# a melancholy augmented chord feeling that continues until the majors arrive though this time one descending from above the ab and the other ascending from below the e again we feel an augmented chord feeling but this time brighter and sunnier and more optimistic and then from above we hear a perfect fourth the higher c with the middle g and from below the middle c to the middle f create a beautiful sonorous chord of cfgc' which gets to dance and sing for a very short luvly time because here comes 2 devils the tritone middle c –middle f# and the higher c middle f# who dance their devilous prance like little children hand in hand round and round singing dies irae dies illa solvet saeclum in favilla and then the devils fade away and fade away and fade away and fade away.

- charlemagne palestine 2006

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streamline (usa) #streamline 1026 lp

charlemagne palestine / christoph heemann “saiten in flammen” long playing record

  • saiten in flammen (1) (14:45)

  • saiten in flammen (2) (12:45)
click the play button to hear an excerpt of "saiten in flammen (1)"
march 2009 release ; “strings in flame” from christoph heemann & charlemagne palestine ...

so this is just about the perfect record ; starting in the lower registers of a (97-key !!!) bösendorfer imperial, palestine begins banging out a threnody of pulsing dread, which is immediately picked up & processed into a blur of impossibly deep electro-acoustic static by christoph ... the transparency of the collaboration is impressive ; rarely does this sound like two discrete components coming together, but instead a single monolithic work of epic proportion ...

easily one of the finest art-drone sets of the year thusfar ; that’s it’s housed in a gorgeous sleeve & issued at such an attractive price-point (drag city’s domestic manufacturing of all streamline issues these days certainly played a part in the record’s cost) is just icing on the cake ... i give this my highest recommendation !!!
streamline press release...
charlemagne palestine + christoph heemann saiten in flammen lp
march 17, 2009

saiten in flammen, a new album by charlemagne palestine and christoph heemann follows their collaborative work on palestine’s heavy-metal-piano workout “the apocalypse will blossom” with a more textural aproach. as on “the apocalypse...” the only sound source used throughout these two electro-acoustic explorations of the lower depths is the bösendorfer imperial grand piano, notorious for its unique resonant qualities. the title is a german translation of “strings aflame.”

... looking directly at the the cloud, he saw that it was not a cloud, although what it was he did not know. it was a massive wall of utter blackness that rose from where it met the surface of the downward sloping sand far into the sky, so that he was forced to crane his neck to see the top of it. lightning bolts still slashed across its face with devastating ferocity, and thunder crashed and rumbled. the wall, he saw or thought he'd saw, was a monstrous dam raised against the sky, and over the lip of it was pouring something that was not water, a gigantic waterfall of blackness that was not water, crashing down across the face of it, a waterfall so solid and unbroken that he did not see the actual falling of it, but only had the hypnotic sense of its falling. watching it, he realized that it was not only thunder he heard, but the deep, awful roar of whatever was falling over the lip of the dam, the niagara-like rushing sound of something falling down from great height, falling from the unknown into the unknown. it seemed to him that the very ground beneath him was trembling with the roar.


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 best of 2008 !!! 

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sub rosa (belgium) #sr 272 cd

charlemagne palestine “from etudes to cataclysms • for the doppio borgato” compact disc

  • super high tones (7:47)
  • tritone octave 5 (7:38)
  • tritone octave 4 (6:54)
  • tritone octave 3 (7:45)
  • tritone octave 2 (12:15)
  • tritone octave 1/1 (9:49)
  • tritone octave 1 part i (9:13)
  • tritone octave 1 part ii (3:41)
  • tritone octave 1 part iii (3:42)
  • tritone octave 1/2 (3:31)

  • cataclisma 1 (12:34)
  • cataclisma 2 (9:13)
  • cataclisma 3 (11:42)
  • cataclisma 4 (20:58)
  • cataclisma 5 (10:47)
click the play button to hear an excerpt of "cataclisma 5"
may 2008 release ; amazing double-disc set covering charlemagne palestine’s first recordings on the italian doppio borgato - a double-piano played both with the hands and the feet ::


... hard image to shake, isn’t it ? ... imagine both sides of “strumming music” played atop each other and you’re getting close ... much more in the way of dissonance and use of the very low registers than in previous outings ; sounds like the doppio is getting absolutely savaged in spots (listen to the claustrophobic harmonic burst highlighted in the sound-sample) ... one of the better, if not the single best post-millienial palestine record ; one which he was born to make. highly recommended !!!
sub rosa press release...
from etudes to cataclysms - for the doppio borgato
charlemagne palestine
sr272

 after the epiphany of an aural symbiotic mystery by charlemagne palestine and tony conrad (sr204) this is the first solo work by charlemagne on sub rosa - the first but probably not the last - because we would like not only to release some new important material like this one - but re-release too a series of his classic works (most of them, unfortunately, are unavailable).

from etudes to a cataclysms is one of the most important work 'till this day. an impressive composition of more than 140 minutes based on an unique instrument - a double piano on which one keyboard is played by the feet.

“several years ago martin kaufmann of kaufmann pianos in brussels told me he had seen and heard an amazing and unique instrument in italy a piano with 2 separate bodies ! one with a normal grand piano body having 88 notes to be played with the fingers, and below this piano was a second piano also with a grand piano body which could play simultaneously the lower 37 notes of a grand piano with pedals for the feet.

having known my music for years and that i had been a carilloneur where one plays with both fists and feet simultaneously martin kaufmann thought that the borgato would be perfect for my music the inventor of this unique instrument was luigi borgato from padua who developed this instrument with his wife paola. i was intriqued and through an intermediary, the italian pianist roberto posseda visited the borgatos in lonigo where they have their workshop and found that their instrument was perfect for my body and my music we immediately decided to organise recording sessions in a local church for one week and "from etudes to cataclysms" is the result !”charlemagne palestine
october 2007

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sub rosa (belgium) #sr 204 cd

charlemagne palestine / tony conrad “an aural symbiotic mystery” compact disc

  • an aural symbiotic mystery (51:32)
click the play button to hear an excerpt of "an aural symbiotic mystery"
this is the recording of the concert from october 2005 in brussels; the one at which i both opened (awful; one of the worst sets of my professional career due to hardware/software failure and that nagging “the show must go on” sensation...) as well as joined in an encore with these two minimalist heavyweights (which was about 2 minutes long; “a minuet” as charlemagne was kind enough to dub it...) which i’m kind of glad isn’t on here (considering all things; it wasn’t very good...)

at the concert, i had the strange feeling that something wasn’t right with tony’s violin sound (this was probably the 10th time i’d seen him perform over the past 15-odd years - i could tell that something was amiss as the volume of his violin kept dropping out; the gain-stage needed to send it into full-on distortion was never quite reached...) - but it sounds lovely on the disc here...

the night in question was, even with everything that went wrong, one of the highlights of the past few years for me (oh, did i mention that i met phill niblock that night as well?), especially charlemagne’s enebriated ranting at the post-show dinner. it’s nice to be able to revisit it whenever i need to via this disc...

while not exactly the best thing either has done; there’s a fair bit of synergy and shared tonal language that propels the music forward - definitely making it a succesful venture.
sub rosa press release...
an aural symbiotic mystery
charlemagne palestine + tony conrad
sr204

"more that 30 years had passed since our last experimental duet. tony arrived and decided he could stay for several days in brussels and we casually started to play together one afternoon aude, my wife, remarks about that special moment that in 5 minutes if not less she heard a natural musical chemistry of beauty and power that greatly impressed her yet. tony and i hadn't played discussed or conversed about sound or anything in over 30 years none the less the result were totally surprising dazzling and deeply satisfyingg so that we do some concerts together in paris, nantes, naples & brussels, the present recording made in october 2005 at the mercelis theatre in brussels on " luc ferrari day " (the day that pompidou center in paris presented an entire day in honor of the french composer luc ferrari who had jsut recently died in italy) our duet had no title though we were very conscious of luc ferrari's " presence in spirit " during that evening. how is it that tony and i can play so magically together without ever discussing or planning or or anything ? ? ? i have no idea ! ! ! it's an aural symbiotic mystery ! ! ! ! ! ! ! ! ! ! "

charlemagne palestine lago d'orta 7/2006

charlemagne palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. a composer-performer, he always performed his own works as soloist. his earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. he also performs as a vocalist. palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (indonesian clove cigarettes) and drinks cognac.

works/selected discography
four manifestations on six elements (barooni, 1974), strumming music (shandar, 1977) was revolutionary in that it turned "strumming" into an avantgarde technique, and minimalism into highly dynamic (and noisy) music. palestine improvised on a piano emphasizing otherworldly overtones. schlingen-blaengen (new world, 1998), karenina (durtro), recorded in 1997, jamaica heinekens in brooklyn (barooni, 2000), a symphony of drones and found sounds.

tony conrad is an avant-garde video artist, experimental filmmaker, musician/composer, sound artist, teacher and writer. along with john cale, angus maclise, la monte young, and marian zazeela conrad was an ealy member of the theater of eternal music, which utilized just intonation sustained sound to produce what they called dream music. this group performed compositions by la monte young in which the other performers would sustain certain harmonically related pitches determined by young for the duration of each piece. conrad continues to teach at the department of media study at university at buffalo.

works/selected discography
four violins (1964 - table of the elements, 1997), and his collaboration with faust - outsidethe dream syndicate (caroline, 1973 - table of the elements, 1996), works which, in his ownwords, explored the border "between pitch and rhythm". after leaving young's ensemble in 1965, he focused mainly on cinema, starting with "the flicker" {1966), fantastic glissando (1969 - table of the elements, 2003) was a performance of electronic music, while music and the mind of the word (1977), slapping pythagoras (table of the elements, 1995), recorded with a handful of post-rock musicians, is basically the logical continuation of outside the dream syndicate., early minimalism (table of the elements, 1997), thunderboy (table of the elements, 2002) is a typical avantgarde swindle: conrad recorded his son while the child was playing with turntables and other objects, bryant park (table of the elements, 2005)

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yesmissolga (italy) #olga 01 cd

charlemagne palestine / christoph heemann “the apocalypse will blossom” compact disc

  • the apocalypse will blossom (1) (1:24)
  • the apocalypse will blossom (2) (43:39)
click the play button to hear an excerpt of "the apocalypse will blossom (2)"
january 2008 release (yes, i know, i’m a little slow on the uptake w/this one) ; a devastating 45-minute “strumming” piano performance by charlemagne palestine, recorded in aachen back in 2000 ...

surprisingly, the disc begins with a short (1:24) “reworking” by christoph heemann, and i’m told that heemann’s slight transmogrifications of palestine’s powerful blast are there in the mix thoughout (you can really hear it in the sound-sample) ; making this more of a post-processed collaboration than a straight live-recording (as such, i’ve decided to list it dually under heemann & palestine’s names) ...

either way ; a really, really great disc. highly recommended !!!
yesmissolga press release...
the apocalypse will blossom by charlemagne palestine
(proccessed and remixed by christoph heemann !!!)
yesmissolga01

yesmissolga is proud to present her debut release with a stunning piano performance by charlemagne palestine. the apocalypse will blossom brings palestine's recorded work thundering into the 21st century. working in the lower registers of the piano, as he did in the late 70's, this intensely powerful live performance is unlike anything previously released by palestine. the apocalypse will blossom offers the closest experience you can have to hearing palestine live without witnessing one of his performances. 

the apocalypse will blossom was recorded by christoph heemann in aachen, germany at the ludwig museum in 2000 on the occasion of the 1200 year celebration of charlemagne. in 2007, christoph heemann, leaving the original recording intact, subsequently processed and reworked the original tapes leaving his distinct contribution. it was then beautifully (re)mastered by kevin spencer.

this recording is offered in a cd digipak printed in full color with a collage inspired by palestine's visual work representing the four horsemen of the apocalypse and an original collage detail of triomph de la morte by the french artist jacques brissot which is a "modernized version" of a bruegel painting. charlemagne, now!

yesmissolga records hopes you enjoy the apocalypse and looks forward to any enquiries you have.

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zelphabet (usa) #zelphabet c cd

charlemagne palestine / chop shop / contagious orgasm / c. spencer yeh “zelphabet • vol. c” compact disc

  • charlemagne palestine - oberlin college spectral continuum (10:57)
  • chop shop - retrofit (25:15)
  • contagious orgasm - heart station (14:34)
  • c. spencer yeh - three synthesizers march 2008 (15:40)
click the play button to hear an excerpt of "three synthesizers march 2008"
third volume ... here we get a 1974 recording of charlemagne palestine performing a static electric organ drone @ oberlin, an extended master-class in decay-oriented sonics from scott “chop shop” konzelman, a dense collage of found audio footage & live material from contagious orgasm, and a truly zonked synthesizer trio piece from spencer (srsly ; this could have lifted directly from any number of creel pones) ...

series is starting to heat up here ...
zelphabet press release...
zelphabet is a series of 26 cd compilations featuring: emil beaulieau, francisco lopez, the hanatarash, incapacitants, k2, kk null, the legendary pink dots, nocturnal emissions, quiet american, runzelstirn & gurgelstock, scott arford, small cruel party, sudden infant, thomas dimuzio, wolf eyes, zbigniew karkowski, z'ev, and many, many - many more!

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threads:
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electro-acoustic-composition
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idiosyncratics (belgium) #id 001 cd

“idioscapes” compact disc

  • janek schaefer : scarlett arrives - for scarlett schaefer
  • keith fullerton whitman : quest appartments, newcastle nsw
  • critikal : critically fluffy
  • rapoon : the moment screams
  • kk null : idioscape / decomposition
  • charlemagne palestine : la beauté et la bête
  • steffen bashô-junghans : the blue hour
  • sébastien roux : d 821
  • troum : fantauma
  • eve and the sickness : infected nature
  • jazkamer : ruido rosa 5 minutos
  • daniel menche : cadence
  • idiosyncrasia : filt_h
click the play button to hear an excerpt of "quest appartments, newcastle nsw"
spring 2007 compilation of “idiosyncratic” music curated by yannick franck... includes music by a pretty damn excellent selection of contemporary drone/repetition practitioners ranging from the minimalist swell of charlemagne palestine to the munged roar of lasse marhaug & jon hegre’s jazkamer to steffen basho-junghan’s ringing steel-string figures...

just about everything is exclusive to this reasonably priced and quite lovely set (featuring tatiana klejniak’s scribbled-out paintings...) with a nice blend of darker & lighter tonalities. something for every fan of long-form sound. properly chilled.
idiosyncratics press release...
idcd 001
various artists : idioscapes 2007
digipack / 1000 copies

“the idea was to ask some of our favourite sound artists to take part in a compilation... and, to our surprise, they accepted. the only concept was that they had to provide a specific / particular / idiosyncratic piece. qualified as a “drone paradise” by lasse marhaug (of jazkamer), the result is a fine and coherent whole, full of extended textures, contrasted acoustic surfaces, subtle and strong. idioscapes contains 70 minutes of authentic acoustic researches, with glitches, loops, noises, deep and glittering textures, subliminal frequences and narrative inserts, punctured with sensible musical moments. idiosyncratics is honoured to present these sound masters on idioscapes. infinite thanks to all of them.” y.f.

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sub rosa (belgium) #sr 270 cd

“anthology of noise & electronic music / fifth a-chronology 1920-2007” double compact disc set

  • rogelio sosa - vinylika (7:02) 2003
  • christian galaretta - maranon (part vi) (10:27) 2004
  • li chin sung aka dickson dee - shame (4:57) 1994-2007
  • francois-bernard mache - prelude (5:28) 1959
  • richard maxfield - pastoral symphony (4:01) 1960
  • wolf vostell - elektronicher de-colagge. happening raum. (3:00) 1968
  • charlemagne palestine - seven organism study (7:53) 1968
  • andre boucourechilev - texte 2 (4:36) 1959
  • helmut lachenmann - scenario (12:30) 1965
  • alireza mashayekhi - shur, op.15 (6:28) 1966
  • claude ballif - points, mouvements (10:14) 1962

  • mauricio kagel - antithese (9:21) 1962
  • vladimir mayakovsky - and would you? (0:32) 1920
  • raoul hausmann - fmsbw (recorded by henri chopin) (0:45) 1918
  • gil joseph wolman - megapneumies, mars 1963 (4:54) 1963
  • leo kupper - electro-poeme (5:54) 1963-1970
  • josef anton riedl - leonce und lena (2:17) 1963
  • sten hanson + henri chopin - tete a tete (5:08) 1973
  • dajuin yao - satisfaction of oscillation (9:27) 1997
  • pere ubu - sentimental journey (7:01) 1978
  • ground zero - live 1992 (1:01) 1992
  • masonna / yamazaki "maso" takushi - spectrum ripper (part i-ii-iii) (3:32) 1996-1997
  • sutcliffe jugend - blind ignorance (5:39) 2007
  • club moral - l'enfer est intime (6:32) 1985
  • dub taylor - lumiere (part i) (17:11) 1972
click the play button to hear an excerpt of "francois-bernard mache - prelude"
january 2008 release ; the fifth volume of this ongoing series of double-disc compilations collecting newly unearthed/discovered/licensed gems from the assorted back alleyways of early electronic music with contemporary offerings from a current crop of like-minded electronic music practitioners ...

for this volume the (many) highlights include françois-bernard mâche’s “prélude,” wolf vostell’s “elektronicher dé-collage,” helmut lachenmann’s “scenario,” and from the more recent end of the spectrum a particularly nice blast from maso yamazaki & a bit of gristle from legendary early uk noise act sutcliffe jügend ...

given the purview of mms; these compilations are becoming something of a yearly festival - much in here to be excited about, thanks to the hard work of sub rosa’s guy-marc hinant. highly recommended, of course; and not just this most recent volume (the prior four all contain a veritable king’s ransom in early electronic music gold...)
sub rosa press release...
an anthology of noise & electronic music vol. 5 - fifth a-chronology 1920-2007

charlemagne palestine, père ubu, sutcliffe jügend, li chin sung aka dickson dee, alireza mashayekhi, rogelio sosa, christian galaretta, françois-bernard mâche, richard maxfield, wolf vostell, andré boucourechliev, helmut lachenmann, claude ballif, mauricio kagel, vladimir mayakovsky, raoul hausmann, gil joseph wolman, léo kupper, josef anton riedl, sten hanson + henri chopin, dajuin yao, ground zero, masonna, club moral, dub taylor

digipack 2 cd + 50 pages booklet
sr270

here i am, for the fifth time, facing this impossible task no one has asked me to do. how can one bring together the history of electronic and concrete music to the history of noise music? for this volume, i want to highlight pieces illustrating a technique (claude ballif's points,mouvements), a country (shur, op. 15 by alireza mashayekhi), a studio (helmut lachenmann at the ipem), there are also historic (françois bernard mâche's prélude), and radical (spectrum ripper by masonna) works that have ripped apart ancient definitions. all this organized with internationalism in mind and, for once, a focus on the voice - not as sung words, their traditional facet in music (from pop songs to lieder and operas), but as the word itself, recited, distorted, rendered abstract or disaggregated and screamed (the incantation so often a part of rock and noise music).

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