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$13.65

new to stock as of
august 23rd, 2007

threads:
modern-psych
free-improvisation
film-video
electro-acoustic-improvisation
concert-recordings

a silent place (italy) #asp 16 cd

text of light / my cat is an alien “cosmic debris, vol. i” compact disc

  • text of light - "033103 paris"
  • my cat is an alien - "everything falls like cosmic debris"
a silent place press release...
asp16
text of light / my cat is an alien: 'cosmic debris, vol.i'
cd digisleeve

cd re-issue of the first instalment in the new "cosmic debris" split art-lp series set up by maurizio and roberto opalio, aka my cat is an alien. this volume i sees the two space brothers from torino, italy, alongside lee ranaldo (sonic youth) and his all-star ensemble text of light* (here featuring alan licht, dj olive, ulrich krieger and tim barnes).

their track "033103 paris" has been recorded live at centre georges pompidou in 2003 and mixed in dual mono by ranaldo & licht at nyc echo canyon studio. mciaa's piece entitled "everything falls like cosmic debris" is a conceptual ouverture to the whole series, performed in april 2006 at their secret recording space called alien zone, located up the italian western alps.

the five-volumes series "cosmic debris" features my cat is an alien alongside text of light, steve roden, keiji haino, mats gustafsson, loren connors & his haunted house band. each cd cover artwork reproduces the full image and details of the acrylic paintings created by roberto opalio for each copy of the original vinyl edition on mciaa's own opax records. cd comes in a digi-sleeve textured cardboard cover.

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$90.78

back in stock as of
november 12th, 2009

first in stock on
august 3rd, 2009

threads:
modern-psych
concert-recordings
free-improvisation
lo-fi

alt.vinyl (uk) #av 013 cs
blackest rainbow (uk) #brr-120 cs

mv&ee “road trips • live road 2002-2009 • mv & ee’s anti-temperance bands! • born to jam • grand excursions from the garden heroine” dodecatuple cassette boxed set

  • the mv & ee medicine show 'citybillies'
    brooklyn, ny 5/23/02 (unreleased)

  • mv & ee with the bummer road 'the suncatcher blossoms a novatone'
    tonic, nyc 7/18/2005 (unreleased)

  • mv & ee with the bummer road 'abstarct blues and egyptian mud'
    campfire sounds, acr, ny 7/15/06 (unreleased)

  • mv & ee with the bummer road 'pastis king'
    paris, november 11th, 2006 (unreleased)

  • mv & ee with the golden road 'barn joint'
    red barn, amherst, ma, 10/16/07 (feat. j mascis and tom carter) (1st official release)

  • mv & ee with the golden road 'lobstora vs tone crabs'
    floristree auditorium baltimore, md, 6/14/08 (unreleased)

  • mv & ee with the wolfpack 'yurt aspects/rural centrifuge'
    wickermania festival, the yurt, goshen, ma 8/2/08 / tinderbox, brattleboro,  vt,  8/3/08 (unreleased)

  • mv & ee with jeremy earl '"he's on tonight, saddleback"/"multiple gravitrons"
    cakeshop, nyc, 1/20/09 (unreleased)

  • mv & ee with the wolfpack 'mamma zooed'
    the triple, richmond, va, 1/23/09 (unreleased)

  • mv & ee 'smoked bossier'
    art space, shreveport, la, 1/29/09 (unreleased)

  • mv & ee with the golden road 'sequential circuits'
    vintage by the pound, toronto, on, canada, 2/7/09 (unreleased)

  • mv & ee 'pete's pix vol. 2'
    2004 - 2006 (tracks from cambridge uk, colour out of space,  thurston's atp, oxford,  london, and more. features nemo, chris corsano,  samara, willie, jiggs, sparrow,  simoes) (unreleased).   
click the play button to hear an excerpt of "barn joint"
july 2009 release ; frankly ridiculous 12-tape “bible” of live recordings from matt valentine & erika elder, recorded over the past 7-odd years by the duo, in cahoots with pretty much a who’s who from their extended orbit / family / genealogy / lineage :: tim barnes, samara lubelski, willie lane, nemo bidstrup, tom carter, j. mascis, sloow bart, jeremy “woods” earl, chris corsano, and many others ...

the whole thing is presented in an “audiobook” style fold-out vinyl case ; each tape is silk-screened with the relevant dates / info, and there’s a four-page legend explaining who played on what, where it was recorded, and who by ... entirely impressive both as a group effort / hug from the band to / from their “taper’s pit” and as a documentary of the pair’s musical evolution ... highly recommended !!!

ps. note to domestic (i.e. us-based) customers - these are already here in the states - shipping will only be a scant $4 or so via media mail. just thought i’d point that out. been seeing these out for sale in the u.k. for around £47 / $80 (yep, that’s the exchange rate right now !!!) - but always with a shipping tariff of £12 / $20 to the states ... something to think about ...
alt.vinyl press release...

mv & ee - road trips 12 x cassette box set
blackest rainbow/alt.vinyl

limited to 250 copies. pro-dubbed cassettes in presentation case.

the box set documents the mv & ee live experience in various incarnations between 2002 and 2009. the music is entirely unreleased material (with the exception of guitar barn featuring j mascis and tom carter, which was issued as a bootleg cdr in the heroine style, but was actually unofficial). highlights include a 2002 mv & ee medicine show performance, the guitar barn jam with j mascis and tom carter, a new band, mv & ee with the wolfpack, a recent set with jeremy earl of woods, as well as classic bummer road and golden road jams.

the box set will be presented chronologically and culminates in a pete's pix vol. 2 featuring 7 tracks from various dates mainly in the uk (including tracks from the thurston moore curated atp in 2006, and dylan nyoukis' 2006 colour out of space fest - both of which feature chris corsano).


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$10.14

new to stock as of
april 30th, 2007

threads:
electro-acoustic-improvisation
concert-recordings

confront collectors series (uk) #ccs2 cd

tim barnes / mark wastell “the scotch of st. james - live at amplify 2004” compact disc

  • addition (36:45)
confront collectors series press release...
tim barnes & mark wastell
the scotch of st. james
(confront, ccs2) (uk) (cd)

tim barnes: prepared (snare) drum + amplification
mark wastell: amplified textures, tuned metal

recorded live by christoph amann at labor sonor, berlin, may 17, 2004, as part of the festival amplify 2004: addition

released in 2005

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$14.85

back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

drag city (usa) #dc 202 lp

jim o’rourke “insignificance” long playing record

  • all downhill from here (4:59)
  • insignificance (5:12)
  • therefore, i am (4:53)
  • memory lame (5:57)
  • good times (4:04)
  • get a room (6:57)
  • life goes off (6:21)
drag city press release...
jim o’rourke
insignificance
dc202 lp/cd

hot damn! we’d heard this new o’rourke was going to be great. but nobody told us it was gonna rock us so!

yeah, jim’ll rock ya — and once you too have heard insignificance, there will be no argument about that. and whether the opener, “all downhill from here,” is a “message number,” of one kind or another, its raucous nature alone pops a hilarious pie into the face of your average o’rourke follower’s expectations, don’t it? it’s a red herring too of course. because in jim’s hands, the screaming love of rock n’roll is still not just “only rock ‘n’ roll.” instead, insignificance consists of rock plus: multiple musical allusions, layers of discreet noises, great playing from all the players and, to top it all off, funny pop tunes laced with lyrical arsenic. as the moving finger of o’rourke points (and clicks...just kidding! insignificance is an all analog affair), moments will come and go — to remind you of other moments. moments will arrive that have no precedent. and different, conflicting emotions will flash within you. he’ll have total control of you, the helpless listener.

and we like it like that!

and that’s just for starters. elsewhere, insignificance widens the screen of the o’rourke sound — whatever that is. as mentioned above, along the way, you’ll find a riff or two that one can truly ride. there’s more than one classic invitation for the lead vocalist to sneer and shout over it all — but of course, our jim prefers instead more to murmur and moan quite melodically, to a most — shh! — sensual effect. there’s a spacious ballad to cool you down, then another one of those sick love songs in the mold of “halfway to a threeway,” as well. it’s all in the name of fun, jim, we know! and it sounds great.

cut quickly with a skeleton crew after two years of indecision, insignificance brims with a newfound — we can’t really call it maturity — it’s more like a newfound immaturity, actually. the man is finally emancipated, speaking out, and telling it like it is. which guarantees not just a view to a bleeding heart of love, but also a more flinty soul of scorn. prettiness — and bitterness — abounds throughout the album. they go together like some loving confection, don’t they? however it may taste to you, insignificance clearly signals a new day for us all.

as a bonus while listening to insignificance, one can reflect upon how often catchy little tunes can be extended to, well, extended length — five to seven minutes per pop song is a lot, if you think about it — without resorting to needless jamming (or even mindful jamming). instead, o’rourke and co. take the option to extend the construction of whatever great song is at hand, leading to the thing we call “further development” (as opposed to “furthur development,” which has it’s time and place as well). time gets compressed, and before you know it, insignificance has sprung all sorts of moves on you and moved on out. it’s a vital, breathless experience that leaves all wondering where we’re going to be the next time o’rourke comes out with it. until then, the truth of insignificance hurts a little bit.

still, you’ll have to admit — insignificance is another triumph!

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$13.41

back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

drag city (usa) #dc 202 cd

jim o’rourke “insignificance” compact disc

  • all downhill from here (4:59)
  • insignificance (5:12)
  • therefore, i am (4:53)
  • memory lame (5:57)
  • good times (4:04)
  • get a room (6:57)
  • life goes off (6:21)
drag city press release...
jim o’rourke
insignificance
dc202 lp/cd

hot damn! we’d heard this new o’rourke was going to be great. but nobody told us it was gonna rock us so!

yeah, jim’ll rock ya — and once you too have heard insignificance, there will be no argument about that. and whether the opener, “all downhill from here,” is a “message number,” of one kind or another, its raucous nature alone pops a hilarious pie into the face of your average o’rourke follower’s expectations, don’t it? it’s a red herring too of course. because in jim’s hands, the screaming love of rock n’roll is still not just “only rock ‘n’ roll.” instead, insignificance consists of rock plus: multiple musical allusions, layers of discreet noises, great playing from all the players and, to top it all off, funny pop tunes laced with lyrical arsenic. as the moving finger of o’rourke points (and clicks...just kidding! insignificance is an all analog affair), moments will come and go — to remind you of other moments. moments will arrive that have no precedent. and different, conflicting emotions will flash within you. he’ll have total control of you, the helpless listener.

and we like it like that!

and that’s just for starters. elsewhere, insignificance widens the screen of the o’rourke sound — whatever that is. as mentioned above, along the way, you’ll find a riff or two that one can truly ride. there’s more than one classic invitation for the lead vocalist to sneer and shout over it all — but of course, our jim prefers instead more to murmur and moan quite melodically, to a most — shh! — sensual effect. there’s a spacious ballad to cool you down, then another one of those sick love songs in the mold of “halfway to a threeway,” as well. it’s all in the name of fun, jim, we know! and it sounds great.

cut quickly with a skeleton crew after two years of indecision, insignificance brims with a newfound — we can’t really call it maturity — it’s more like a newfound immaturity, actually. the man is finally emancipated, speaking out, and telling it like it is. which guarantees not just a view to a bleeding heart of love, but also a more flinty soul of scorn. prettiness — and bitterness — abounds throughout the album. they go together like some loving confection, don’t they? however it may taste to you, insignificance clearly signals a new day for us all.

as a bonus while listening to insignificance, one can reflect upon how often catchy little tunes can be extended to, well, extended length — five to seven minutes per pop song is a lot, if you think about it — without resorting to needless jamming (or even mindful jamming). instead, o’rourke and co. take the option to extend the construction of whatever great song is at hand, leading to the thing we call “further development” (as opposed to “furthur development,” which has it’s time and place as well). time gets compressed, and before you know it, insignificance has sprung all sorts of moves on you and moved on out. it’s a vital, breathless experience that leaves all wondering where we’re going to be the next time o’rourke comes out with it. until then, the truth of insignificance hurts a little bit.

still, you’ll have to admit — insignificance is another triumph!

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$10.85

back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

drag city (usa) #dc 178 cd

jim o’rourke “halfway to a threeway” compact disc single

  • fuzzy sun (2:35)
  • not sport, martial art (6:51)
  • the workplace (7:42)
  • halfway to a threeway (4:14)
drag city press release...
bookend to jim o's acclaimed eureka lp that finds the maestro in a slightly less conceptual scenario, just playing and singing some great songs, like that's all you ever need.

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$13.41

back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

drag city (usa) #dc 162 lp

jim o’rourke “eureka” long playing record

  • prelude to 110 or 220 / women of the world (8:46)
  • ghost ship in a storm (3:54)
  • movie on the way down (7:37)
  • through the night softly (4:47)
  • please patronize our sponsors (3:04)
  • something big (3:13)
  • eureka (9:11)
  • happy holidays (1:36)
drag city press release...
jim o'rourke's reputation as an inaccessible avant-garde music boffin is shattered by the beguiling charm of eureka. after more than a decade of abstraction, experimentation, and improvisation, o'rourke unleashed this playful curveball as if to prove he was human after all. lush and complex arrangements decorate these slightly bizarre songs. the nearest comparison is probably van dyke parks's 1968 magnum opus song cycle. both albums are richly rewarding if you're prepared to persevere beyond the initial strangeness.

nimble acoustic guitars dominate the trance-like opener "women of the world" (written by deadpan scottish absurdist ivor cutler). o'rourke is a classically trained multi-instrumentalist, and his playing is imaginative and full of rich texture, but there's nothing po-faced about eureka. a light and happy mood is sustained throughout the album. the latin-flavored "something big" takes its cues from the exotic pop of esquivel, and is a joyful highlight.

...

eureka is an album by american musician jim o'rourke. it was released on drag city in 1999. it is named after the 1984 nicolas roeg film of the same name. it is one of three albums recorded by o'rourke that are named after roeg films.

"women of the world" is an ivor cutler song and "something big" is by burt bacharach. "prelude to 110 or 120", "movie on the way down" and "through the night softly" are named after chris burden performance pieces.

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$13.41

back in stock as of
august 25th, 2008

first in stock on
november 20th, 2007

drag city (usa) #dc 162 cd

jim o’rourke “eureka” compact disc

  • prelude to 110 or 220 / women of the world (8:46)
  • ghost ship in a storm (3:54)
  • movie on the way down (7:37)
  • through the night softly (4:47)
  • please patronize our sponsors (3:04)
  • something big (3:13)
  • eureka (9:11)
  • happy holidays (1:36)
drag city press release...
jim o'rourke's reputation as an inaccessible avant-garde music boffin is shattered by the beguiling charm of eureka. after more than a decade of abstraction, experimentation, and improvisation, o'rourke unleashed this playful curveball as if to prove he was human after all. lush and complex arrangements decorate these slightly bizarre songs. the nearest comparison is probably van dyke parks's 1968 magnum opus song cycle. both albums are richly rewarding if you're prepared to persevere beyond the initial strangeness.

nimble acoustic guitars dominate the trance-like opener "women of the world" (written by deadpan scottish absurdist ivor cutler). o'rourke is a classically trained multi-instrumentalist, and his playing is imaginative and full of rich texture, but there's nothing po-faced about eureka. a light and happy mood is sustained throughout the album. the latin-flavored "something big" takes its cues from the exotic pop of esquivel, and is a joyful highlight.

...

eureka is an album by american musician jim o'rourke. it was released on drag city in 1999. it is named after the 1984 nicolas roeg film of the same name. it is one of three albums recorded by o'rourke that are named after roeg films.

"women of the world" is an ivor cutler song and "something big" is by burt bacharach. "prelude to 110 or 120", "movie on the way down" and "through the night softly" are named after chris burden performance pieces.

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$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
modern-composition
minimalism-drones
digital-musics
sound-art

experimental intermedia (usa) #xi 127 cd
xi records (usa) #xi 127 cd

michael j. schumacher “room pieces” double compact disc set

  • room piece xi (2002)

  • piece in 3 parts (2002)
  • still (2002)
  • untitled (1999)
  • still (2002)
click the play button to hear an excerpt of "still"
experimental intermedia press release...
michael j. schumacher
room pieces

much music has been written to guide listeners through the course of a preconceived form. although michael j. schumacher's music is distinctly his own it has been inspired by david tudor and morton feldman as well as la monte young. like their music it is about hearing sounds in themselves, about allowing the ear to register sonorities and then the hearing imagination may go to work, navigating amongst temporal realities and imaginary spaces, negotiating between a sense of control and perceived randomness, stasis and movement, finitude and limitlessness, schumacher thrives on those creative tensions. at its most personal and expansive his singular music has the capacity to convey "intimate immensity." (julian cowley, from the liner notes).

room piece provides a unique solution and musical experience in reference to "the room." generated by a specific method and possessing a decidedly emotional character, room piece is not merely "ambient music" but creates a bridge between the "eventfulness" herad in cage-ian and serial music, and the new american drone music that has arisen intuitively to create the sound of a vibrant universe with rich interior activity.

piece in 3 parts uses two 30-second samples of violinist jane henry improvising and a 40-second sample of percussionist tim barnes playing a gong. the samples are then processed by computer. part i is a dense and passionately executed body of layered mutations of the source string sounds. variations on the gong source begin part ii with bass tessitura resonances that fold into each other. the sounds gradually accumulate into a surreal polytextured mobile. the first still is an exquisite and static density with interior movement, a quiescent and serene soundscape that "the listener can explore in his/her own rhythm." the second still presents wonderfully crafted sounds compacted of different internal rhythms as constant and and fixed and thus ultimately "still" in their effect.

untitled offers a musical image where the "still" is now a drone consisting of multiple frequency-modulated sine tones beating against each other to create a richly dynamic rhythmic counterpoint. ("blue" gene tyranny, from the liner notes)

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$11.59

back in stock as of
september 16th, 2008

first in stock on
january 17th, 2008

threads:
modern-psych
minimalism-drones

jagjaguwar (usa) #jag 046 cd

nagisa ni te “feel” compact disc

  • the new world
  • song about a river crossing
  • we
  • strength of the wind
  • piho
  • morning glory
  • speed of the fish
  • strength of the waves
  • song for malo
  • stars
jagjaguwar press release...
nagisa ni te
feel cd (jag046, released: 04/02/02)

feel, the new record by the osaka band nagisa ni te (aka shinji shibayama and masako takeda) is now available for the first time outside of japan, the first in a series of nagisa ni te records to be released in the united states and europe by jagjaguwar. nagisa ni te ("on the beach" in english) are on the vanguard of the burgeoning psych-avant-folk movement in japan. their contemporaries include maher shalal hash baz and naoki zushi, artists who also have work on the inspirational osaka-based label org (founded by nagisa ni te’s shibayama.)

the songs within feel bring to mind the very best of sixties' and seventies' psychedelic, progressive and folk rock (i.e. early to middle-era pink floyd or george harrison) while steadfastly remaining in the modern by introducing to the mix avant touches ala' eric dolphy, derek bailey or robert wyatt. soaring gilmour-esque guitar solos abet the colliding forces of heaven and nature. and that is where shibayama and takeda reside, either on their way towards or in the process of departing the garden of eden. on feel they sing about love, light, stars and the sea, words about both the spiritual and visceral worlds that the poet pablo neruda would be proud to call his own.

david grubbs may put it best when he states that "nagisa ni te are possessed of a beatific quality in which they come across as a gentler, more otherworldly confident crazy horse..." according to maher shalal hash baz's tori kudo, "nagisa ni te's naked, progressive rock-based worldly songs, which are sung not so much deliberately as seriously, on their love beach, now fill a blank somewhere between underground hi-fi and overground lo-fi."

shinji and masako are joined on several of feel's tracks by guests including seiichi yamamoto (of boredoms/omoide hatoba/rovo) and tim barnes (tower recordings).

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$9.61

new to stock as of
november 28th, 2006

threads:
harsh-noise
electro-acoustic-improvisation
digital-musics
minimalism-drones

little enjoyer (usa) #le 07 cd

mattin / tim barnes “achbal al atlas” compact disc

  • untitled (8:58)
  • untitled (13:49)
  • untitled (13:14)
click the play button to hear an excerpt of "untitled (2)"
impressively harsh free-improv blasts from mattin & tim barnes (with tony conrad guesting in spots) - all over the map from the pounding “power electronics” of the opening piece (reminds me of a lasse marhaug sets ca. 2004) to the twitching full-freq. overload of the second, to the high tones of the last.

those expecting a delicate, pointilist micro-improv set from the pair (with mattin toned down) will be... shocked to say the least - to instead get the opposite (barnes turned up). an excellent disc, the best mattin i’ve heard on record as-of-yet, and nothing like barnes’ recorded output to date...
little enjoyer press release...
all music by mattinbarnes
additional music on track ___ by the fucked syndicate!
recorded in stereo from our touring mono soundsystem
baltimore•pittsburgh•columbus•chicago•detroit•buffalo(w/tony conrad)•newyork

tim barnes -prepared drum & effect pedals, analog feedback, gong
mattin - gnu/linux computer feedback

art by nyc

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$13.65

new to stock as of
july 24th, 2007

threads:
modern-psych
digital-musics
electro-acoustic-composition
electro-acoustic-improvisation
free-improvisation
analogue-synth

north east indie (usa) #nei 36 cd

chuck bettis “community of commotion” compact disc

  • playful moaner (5:14)
  • mood orifice (4:37)
  • bleeding orphan (2:21)
  • deathmetal dancehall (4:41)
  • atheist revolt (1:48)
  • angry rainbow (2:30)
  • holographic universe (6:51)
  • doumbek chanter (1:52)
  • sleep terets (3:53)
  • motion narcolepsy (3:42)
north east indie press release...
chuck bettis and friends:
community of commotion
release date: january 18 2005

chuck bettis - laptop on all track/vocals on trks 4, 5, 6

with

ikue mori - laptop trk 2
toshio kajiwara - turntables and electronics trk 2
audrey chen - cello & vocals trk 6
tom boram - synth and electronics trk 4
chriss sutherland - vocals, flute, & hand-drums trk 8
aaron brenner - midi & analog synth trk 10
melissa ip - spoken poetry trk 3
colleen kinsella - vocals trk 1
caleb mulkerin - zither, xylophone, & wine bottles trk 1
jerry lim - beats trk 5, synth trk 7
mick barr - guitar trk 5
tim barnes - percussion trk 6

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$14.96

new to stock as of
june 22nd, 2007

threads:
modern-composition
minimalism-drones
electro-acoustic-composition

quecksilber (germany) #qs 08 cd

michael j. schumacher “stories” compact disc

  • still (13:42)
  • two
  • three and four part inventions (13:13)
  • room pieces new york (16:13)
  • pulse (32:01)
quecksilber press release...
artist: michael j. schumacher
title: stories
format: cd
cat. #: quecksilber 8
release date: 04.10.04

the new album by composer, performer and installation artist michael j. schumacher from new york city after the critically acclaimed "room pieces", on the xi label, which was rated best of 2003 for "modern composition" by the wire magazine. feat. guest musicians tim barnes, charles curtis, donald miller, peter zummo, george bishop and many more.

"stories" refers to the idea of layering, the process of building a structure by stacking things on top of each other. this procedure is particularly evident in "room pieces new york", in which as many as 23 parts play simultaneously. in general, schumacher's interest is to develop a contemporary form of counterpoint, where each voice maintains its integrity while contributing to a total sound. listeners are invited to create their own melodies by letting their ears follow the sounds moment by moment, allowing spontaneous pathways linking the various voices to emerge effortlessly.

michael j. schumacher works predominantly with electronic and digital media, specializing in computer generated sound environments which evolve continuously for long time periods. his sound installations have been heard at apex art, ps 1, the queens museum and the kitchen in new york city, at the technical university and podewil in berlin, at the museum for applied arts in frankfurt, at the museum of modern art in lyon and many others.

schumacher has composed extensively for traditional instrumentation, including numerous works for solo piano, pieces for a variety of chamber ensembles, song cycles, and two symphonies for full orchestra. he is also a noted guitarist and improviser, having published music for prepared electric guitar, both as soloist and with donald miller. with miller and cellist charles curtis, he has released an lp as the donald miller trio. as a pianist he has given solo piano concerts of his own music, as well as the music of la monte young, terry jennings and morton feldman.

in november 2002 schumacher founded the group strata, with tim barnes, percussion, kato hideki, bass, toshio kajiwara, turntables, and schumacher on piano and electronics. the group's premier concert, at diapason gallery, lasted six hours. the group has continued to evolve and presented four 6 hour concerts at diapason in february 2004. performers included joan la barbara, "blue" gene tyranny and peter zummo.

schumacher has been a close associate of the ground breaking composer la monte young since 1989 and has worked as a producer of events at the dream house, young's and marian zazeela's installation space in tribeca. he has also worked as technical director of the dream house and as a recording engineer at dream house events.

since 1996, schumacher has pioneered, first at his downtown gallery studio five beekman and, since 2000, at diapason gallery located in midtown, sound art in new york city, by giving over 100 artists the opportunity to present, in environments with high quality multi-channel sound systems and free of outside noise, cutting edge installations with sound as their focus. he has produced premieres by david behrman, david first, tetsu inoue, ron kuivila, steve roden, marina rosenfeld and stephen vitiello, to name a few.

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$16.49

new to stock as of
december 3rd, 2008

threads:
concert-recordings
film-video
modern-psych
electro-acoustic-improvisation
free-improvisation
guitar-themed
playback-music
plunder-phonic

room40 (australia) #edrm410 cd

text of light “rotterdam.1” compact disc

  • rotterdam.1 (19:24)
click the play button to hear an excerpt of "rotterdam.1"
2006 release ; raucous blast of electric free improv from alan licht, lee ranaldo, ulrich krieger, tim barnes, and dj olive ...
room40 press release...
text of light
rotterdam.1

recorded at the rotterdam international film festival in january 2005, this explosive piece from text of light typifies their abilities as a vivid freeform improvisational unit. ranaldo and licht’s measured guitar work sets a basis on which kreiger’s blaring saxtronics, barnes’ percussive explorations and dj olive’s swirling turntable incursions can intertwine and augment one another. this piece ebbs and flows, each of the players listening intently and guiding the proceedings with disarmingly sublime yet focused intensity.

like all their recorded works to date, this piece was delivered in tandem with a live film projection – this interaction between 20th century abstract and experimental film and live improvised performance at the very core of the unit.

text of light on rotterdam 1 are:

alan licht: guitar
lee ranaldo: guitar, electronics
ulrich krieger: sax, sax-tronics
dj olive: turntables, powerbook
tim barnes: drums, percussion

recorded by martin van rappard and edited by lee ranaldo and alan licht.

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$12.61

back in stock as of
september 4th, 2009

first in stock on
may 18th, 2003

threads:
musique-concrète
electro-acoustic-composition

sedimental (usa) #sed 032 cd

michael j. schumacher “four stills” compact disc

  • 14:53 featuring charles curtis
  • 15:41
  • 13:39
  • 23:01 featuring tim barnes
click the play button to hear an excerpt of "23:01 featuring tim barnes"
sedimental press release...
for this recording, tim barnes played percussion and charles curtis played cello. george bishop, jr. read a text by daniel schmid, gertrud aigner danced on a creaky floor, and the composer played electric guitar and midi grand piano. oberheim and yamaha synthesizers made additional sounds, and recordings of radio static, a steam heater, and e. e. cummings reading a poem were used. the music was executed in “real time”, direct to stereo, using algorithms written in max/msp software.

charles curtis’ cello recorded at regenbogenstadl, polling, germany, by uli schägger. tim barnes’ percussion recorded at quakebasket, new york city. midi grand piano recoded at avatar, quebec city, canada, thanks to jocelyn robert.

sedimental’s first release for 2002, four stills, is from new york composer/guitarist michael j. schumacher. schumacher has a strong presence on the experimental scene with his refined guitar “drone” compositions but parallel to this activity he has been working with number system applications of sampled material through electronics, a direct extension of his audio installations. schumacher is also internationally recognized along with his wife and artist ursula scherrer, who designed the artwork for this release, for the outstanding studio 5 beekman space (now diapason on 6th ave.) that provides a sympathetic environment for audio artists to execute installations. the participants in this project read like a who’s who of leading-edge composers and experimental musicians.

our reaction to material originally considered for four stills was nothing short of breathtaking. where as much digitally generated material succumbs to a hermetically closed world of glitches and electronic landscape schumacher’s work opens up this environment, despite the density of the material, into a breathing, organic spaciousness while still maintaining the intimacy inherent in the form.

“the four stills are expressions of the number system that i have used since 1989 in my electronic compositions. these numbers form the basis for dozens of rhythmic processes executed by the computer, from playing a midi grand piano, to deciding a range within a sample buffer to play, to determining larger structural aspects such as the alternation of sound and silence within a particular part. the fact that they are prime numbers prevents predictable patterns from emerging. the limit of six maintains structural coherence. the four stills were recorded direct to stereo in real time. though the sounds used in a given piece are predetermined, their interaction with each other over time is left to chance.

"these pieces are extensions of my installation pieces, which evolve over long time periods, and are also created in real time by generative algorithms. however, in contrast to the installations, which utilize distance as an important perceptual feature and employ as many as 16 independent channels of sound, allowing for meaningful variations in texture, these recordings, being limited to two channels, are more compact in their presentation of the sonic material. they therefore remind me of certain styles of painting, which present the spectator with a static field of color that is experienced in no particular order. though the music obviously unfolds over time, the analogy seems appropriate to me, since the dense textures (sometimes as many as 27 simultaneous parts) invite a contemplation of the many layers of sound and their relation, not in time, but in space.”

sedimental is honored to make available the rarely heard digital works of schumacher to a wider international audience-a dynamic composer who has provided a unique aesthetic forum for some many like-minded composers as well.

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new to stock as of
april 29th, 2008

threads:
modern-psych
electro-acoustic-improvisation
film-video
guitar-themed
concert-recordings

syr (usa) #syr 6 cd
sonic youth (usa) #syr 6 cd

sonic youth / tim barnes “koncertas stan brakhage prisiminimui” compact disc

  • untitled (1) (24:16)
  • untitled (2) (14:13)
  • untitled (3) (27:02)
click the play button to hear an excerpt of "untitled (3)"
blasted recording of sonic youth playing to the films of stan brakhage w/tim barnes from this event ::

syr press release...

sonic youth the syr series

having completed construction on their manhattan studios in 1996, sonic youth suddenly found themselves in a position to create unadulterated by the tyranny of time and space. as a result of their natural writing process, whereby collective improvisation congeals over time into song structures, they began to amass a small mountain of tape, most of it containing raw, wild, spontaneous music they reckoned wouldn't be "commercial" enough for geffen to release.

yet the material seemed just as essential and true to their mission, and showed an important side of the band and their process that was usually inacessible to their fans. so instead of a problem, sy saw an opportunity — they decided to release these secret sonic glimpses themselves. sonic youth recordings was born.

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$16.72

back in stock as of
november 20th, 2007

first in stock on
august 30th, 2006

threads:
electro-acoustic-improvisation

improvised music from japan (japan) #imj 506 cd

“meeting at off-site vol. 2” compact disc

  • sean meehan (percussion)
    tetuzi akiyama & toshimaru nakamura (15:23)

  • mark wastell (cello)
    taku sugimoto (guitar)
    tetuzi akiyama & toshimaru nakamura (13:01)

  • aki onda (cassette recorder)
    tetuzi akiyama & toshimaru nakamura (10:50)

  • aki onda (cassette recorder)
    tetuzi akiyama & toshimaru nakamura (7:11)

  • kaffe matthews (computer)
    andrea neumann (inside piano)
    tetuzi akiyama & toshimaru nakamura (8:14)

  • tim barnes (percussion)
    tetuzi akiyama & toshimaru nakamura (7:56)

  • dj peaky (turntables)
    tetuzi akiyama & toshimaru nakamura (9:55)
improvised music from japan press release...
improvised music from japan / imj
meeting at off site vol. 2

(improvised music from japan, imj-506)
released in may 2003

toshimaru nakamura and tetuzi akiyama, with guests as indicated in the track list below
liner notes in english and japanese by toshimaru nakamura
recorded live by taku sugimoto and tetuzi akiyama at off site in yoyogi, tokyo, december 2001-may 2002
compiled and produced by toshimaru nakamura and tetuzi akiyama
cd edited and mastered by toshimaru nakamura
packaged in a cardboard jacket
cd and jacket design by tattaka (bit rabbit)

tetuzi akiyama plays amplified acoustic guitar on all tracks except #2 (turntable and air duster), and #7 (electric bass).
toshimaru nakamura plays no-input mixing board on all tracks except #7 (tabletop guitar).

(15:23) sean meehan (percussion), tetuzi akiyama, toshimaru nakamura. december 5, 2001
(13:01) mark wastell (cello), taku sugimoto (guitar), tetuzi akiyama, toshimaru nakamura. january 19, 2002
(10:50) aki onda (cassette recorder), tetuzi akiyama, toshimaru nakamura. february 16, 2002
(7:11) aki onda (cassette recorder), tetuzi akiyama, toshimaru nakamura. february 16, 2002
(8:14) kaffe matthews (computer), andrea neumann (inside piano), tetuzi akiyama, toshimaru nakamura. march 16, 2002
(7:56) tim barnes (percussion), tetuzi akiyama, toshimaru nakamura. april 6, 2002
(9:55) dj peaky (turntables), tetuzi akiyama, toshimaru nakamura. may 3, 2002

gallery off site in yoyogi, tokyo--one of the world's most well known venues for performance of the new improvised music. off site's core event is the monthly improvisation series meeting at off site, established and still hosted by tetuzi akiyama and toshimaru nakamura. following the critical success (both domestic and international) of vol. 1, released 2002, this second cd of live recordings documents the period between december 2001 and may 2002. like the first volume, it consists of excerpts from concerts by the two meeting hosts, plus one or two guest musicians. the difference is that here, the excerpts are fewer and longer, allowing the listener to better appreciate each musician's unique style. this cd documents the musical evolution--which one might even call the off site sound--characterized by extreme quietness and sparsity of sound. this is an indispensable record of the improvised music avant-garde currently gaining worldwide attention.

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