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previous artist: minn minn lights		there are 4 titles featuring phil minton in stock. they are listed below.		next artist: mira calix

$15.75

back in stock as of
january 24th, 2008

first in stock on
march 13th, 2003

threads:
1960s-electornic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition

bvhaast (netherlands) #bvhaast 9011 cd
acousmatrix (netherlands) #acousmatrix 5 cd

konrad boehmer “acousmatrix - history of electronic music v” compact disc

aspekt (15:03) 1966-1968
cry of this earth (15:06) 1977-78
apocalipsis cum figuris (37:59) 1984

click the play button to hear an excerpt of "aspekt (1966-1968)"

another overview, this one of series-curator konrad boehmer, featuring pieces recorded at the instituut voor sonologie from the mid-60s through the mid-80s. contains boehmer’s classic piece “aspekt.”

bvhaast press release...

the 'acousmatrix' history of electronic music series on bvhaast...

konrad boehmer - aspekt, cry of this earth, apocalipsis cum figuris (bvhaast 9011 / acousmatrix 5)

svem - studio, instituut voor sonologie, den haag

$14.41

new to stock as of
june 22nd, 2007

threads:
electro-acoustic-improvisation
circuit-bending

for 4 ears (switzerland) #for 1551 cd

poire_z / phil minton “q” compact disc

w oder q (39:02)
q oder z (4:40)

click the play button to hear an excerpt of "q"

for 4 ears press release...

cd 1551

poire_z + phil minton – q

phil minton - voice
norbert möslang - cracked everyday-electronics
erikm - 3-k.pad system
andy guhl - cracked everyday-electronics
günter müller - ipod, mds, selected perc, electronics

cover artwork by alex hanimann

released 1.4.2004

$19.44

new to stock as of
february 14th, 2008

threads:
electro-acoustic-improvisation
modern-composition
sound-poetry

matchless (uk) #mrcd16 cd

amm / tom phillips “irma” compact disc

irma

matchless press release...

irma - an opera by tom phillips. (1988)

amm plus soloists.

lol coxhill, voice, soprano saxophone
elise lorraine, voice
phil minton, voice
ian mitchell, clarinets
birte pederson, voice
tom phillips, voice
eddie prévost, percussion
keith rowe, guitar, radio, tapes, cello
john tilbury, piano, radio

artwork and text by tom phillips.

mrcd16

...

irma : the score

the general score of irma comes from treated fragments of a victorian novel, a human document, by w.h.mallock. in that i originally bought this book for threepence in 1966, irma is thus, authentically, a threepenny opera.

irma was composed in 1969, completed in fact on the day a man first walked on the moon. it was first published in a small french avant-garde review (ou; ed. henri chopin) in 1970. the score exists as an autonomous artwork and is in the altmenn museum in vaduz, leichtenstein. in a more recent screenprint version it has been internationally exhibited and will be featured in a forthcoming show, art as word and music, at the guggenheim museum, new york in 1989.

the score takes the form of a large sheet with prose directions (each a treated fragment of the novel) for the libretto, the mise en scene and the sound vocabulary of the piece, together with instructions, performance suggestions and a group of melodies. it is to be thought of as the surviving elements of a lost work whose performance tradition is unknown. realisation of the opera involves the ordering and piecing together of these fragments to a performable work; as an archaeologist might reconstruct a possible coherent pot from scattered shards.

irma: performance history

the opera was first produced at the bordeaux festival in 1970 as a concert work. it was first staged by the ceolfrith arts association at the university of newcastle in 1972. an ambitious second performance in 1973 was the result of a performance project for the postgraduate students of the music department at york university, where realisations of irma and the mediaeval play of daniel (which poses many similar problems of interpretation) made up an imaginative double-bill under the direction of richard orton. except for one recorded version and the odd performance by a student group the opera became a sleeper until its first london performance in 1983 when it formed part of adrian jack's enterprising musicica series at the ica: on that occasion it was presented as a double bill with itself in two contrasting versions, one a spare chamber performance by jean yves bosseur and the french group intervalles (in which i sang the part of the narrator) and the other an augmented revival of the original york version, lavish and erotic, in which elise lorraine created the role of irma. thus two performers from wildly divergent productions come together in this present recording. irma is now part of the repertory of intervalles and of amm and has thus been performed all over europe. amm gave a london performance at the serpentine gallery in 1986. phil mouldycliff who assisted in the production of this recording (and who opened the batting at my 50th birthday cricket match) has also developed a performance which stresses the visual and scenic elements: this version was first staged at the corner house in manchester with maurice watson as narrator and with ingenious costume designs based on various paintings of mine, by the students of blackburn college of art, who performed the work.

irma: performances on record

the opera's first appearance on record was in 1975 when the chorus 'love is help, mate' as performed by the york group in 1973 was featured in tom phillips' words/music, a disc produced by hansjorg mayer in the selten gehorte musik series. a complete version was recorded for brian eno's obscure records label in 1977. the realisation here was by gavin bryars with a libretto, which, for all that it completely consisted of quotations from a humument, claimed to be by fred orton. although there are some haunting moments in the performance the music seems to have lost some of its character, smoothed out as it is to fit the bryars aesthetic. the slightly patronising tone of the sleeve note and the fact that bryars billed himself (in defiance of the normal practice in modern music performance) as 'the composer', did not help me to avoid the impression that this irma, alone, was somehow 'inauthentic'. since it followed the general rules of the score this recording (for all that i participated in it and despite its featuring musicians as distinguished as howard skempton) led me to the regretful. conclusion that, among the infinitude of feasible irmas, versions might occur which were simultaneously correct and unfaithful. i was therefore doubly pleased to encourage (and to perform the role of narrator in) this recording by amm, the pioneering interpreters of open-score ensemble music. if the score grew out of a tradition it was certainly that which i had explored via cornelius cardew and amm, as well as the scratch orchestra of which both they and i were members. john tilbury was the first musician to perform works of mine and his endorsement of my first visual prescriptions for music was crucial. one of the aspects of the irma score is that it can be viewed as a predictive paraphrase, the account, so to speak, of an event that has not yet taken place. the verbal elements were much indebted to the example of christian wolff's prose pieces whose first edition i published, yet, despite the example of wolff's lucidity, i seem to have made a piece whose constraints no more guaranteed appropriate and germane stage and musical behaviour than do those million-dotted classics of opera which are daily traduced by careless megalomaniacs.

this performance is in someway 'definitive', which does not of course mean that any other version should resemble it in the slightest: it is an instance of what irma is like as opposed to not like. it is as if to point to a particular cat and say, this is a cat: you learn that it is not a dog but this does not preclude the existence of a multitude of varieties of cat or individual cats. any too close resemblance to this realisation of irma would in fact contravene the very instructions of the score.

one element that has crept into recent performances (it appeared spontaneously in both the versions by intervalies and that of the blackburn group under phil mouldycliff) has been the use of lesbia waltz (op. xv) as a dance interlude. it used to be obligatory for operas to have a ballet, and irma should be no exception. i would like this now to bethought of as part of the available scored music, for use in part or whole or fragmented or dispersed as melodic units. here it is used for the central chorus section.

$2.32

back in stock as of
november 3rd, 2008

first in stock on
february 19th, 2008

threads:
printed-matter
modern-psych
minimalism-drones
field-recordings
sound-poetry

ri be xibalba (usa) #bixobal 2 mag
bixobal (usa) #bixobal 2 mag

“bixobal number 2 • january 2008” magazine

uncle jim’s “foggy lake of swill”
rob millis’ talking machine
sir richard bishop
nothing lost is nothing gained
the tip of the iceberg
phil minton
robert haigh
partick marley’s “nickles and dimes”
reviews

second issue of the bixobal ‘zine, published by ri be xibalba (aka anomalous records founder & recording artist eric lanzillotta) ... can you believe this? an experimental music (fan) zine that keeps a regular, quarterly publication schedule? far-out ...

this time around we’re treated to article by & on the sun city girls, no-neck blues band, climax golden twins, charlie nothing, robert haigh / sema, phil minton, and jesse paul miller - plus tons of reviews of relevant music(s) ... and of course classified ads. again, the whole’s thing’s a joy to behold, from cover to cover, and is as essential a printed-word document as the sound projector. highly recommended !!!

note: the dimensions of this magazine are roughly 8.5” x 5.5” - i.e. a piece of letter-paper folded in half. it would be nice if you ordered this along with something of equal or larger dimensions; say a 10” or lp, just for convenience’s sake. not a problem if you don’t...

ri be xibalba press release...

bixobal is a magazine published by ri be xibalba.

issue 2 is out now and features:

uncle jim setting everyone straight on what words not use in record reviews
the second installment of climax golden twin rob millis' column "talking machine" in which he talks about 78 rpm records
part two of former sun city girl sir richard bishop's indian travelogue from this summer
keith nnck's charlie nothing obituary
an interview with robert haigh of sema, fote and the truth club
an interview with phil minton by canadian writer allan macinnis
jesse paul miller on his habit of collecting "bad" records
former muckraker publisher patrick marley talking about his latest listening in the column "nickels and dimes"
reviews of vinyl, cassettes, compacts discs, books and dvds, both new and old: angelblood, at jennie ritchie / vertonen, the beast, the beautiful schizophonic, sir richard bishop, adam bohman, karl bösmann, olivia block, carpet floor, christina carter, sylvain chauveau, the christian family underground, climax golden twins, comet iii, crappy nightmareville, dialing in, morton feldman, kon ichikawa, jackie-o motherfucker, jason kahn, keijo, mike khoury & will soderberg, goh lee kwang, mb | hue | fhievel, joe mcphee, alfredo costa monteiro, aaron moore, norbert möslang, mudboy, brendan murray & seth nehil, the nihilist spasm band / john chambers, opitope, gabriel paiuk / jason kahn, the pitchshifters, christian renou, replicock, ruth and marvin sackner, sarin smoke, michael shannon, steven r. smith, sun city girls, supersilent, tabata, tarantism, tashi lhunpo monastery, yoshi wada, walter & sabrina, trevor watts & jamie harris, zashiki warashi, @c & vitor joaquim, "danny dark records audio & video taster", "the great koonaklaster speaks: a john fahey celebration”, "molam: thai country groove from isan vol. 2", "proibidão c.v", "the u.s. vs. john lennon"
classified ads

56 pages, 5.5" by 8.5", 20 lb. paper, b&w; approximately 750 copies printed

previous artist:
minn minn lights

...and that's everything in stock featuring phil minton.
(why not take a look at the previous and next artists?)

next artist:
mira calix