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... happy spring everyone !!! to commemorate our favorite season (and to help* get this place back to some sort of workable condition)* we're having a "spring cleaning" sale !!! please visit the *spring (2013)* cleaning page to view a list** of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...

previous record label: anoema		there are 10 titles on anomalous in stock. they are listed below.		next record label: anticon

$13.44

back in stock as of
may 11th, 2010

first in stock on
february 6th, 2007

threads:
experimental-instruments
free-improvisation
sound-art

anomalous (usa) #nom not 1 cd

dave knott “natura naturans” compact disc

waking up is a good start / the future, pressing in / hear something / courteous bow / embracing held / the dawn of atoms / and the comtemplative return / with crossing bell and whiff / rumble (6:57)
its decay a sigh (0:37)
crinkles and dropped rock / hard plucked / walking the stick / found the rattles / a constitution begins / prjngow gow / repetition theme emerges / construction at the untaut ends - periphery sound / string ends and dry cleaning rack duet (8:55)
short walk (0:47)
very ripe / the rebellious response to meaningful music / and its obstinate but dedicated end / immediate reprise / looking / found / synchronos with evasive auto / a melodic suite of booweep / a dry cleaner runs through it / in helpless response / the ga (8:14)
the beginning of the low rumbles / siren with strings / thumbnail scratch tone / resolved to silence, a ding inspires return (4:05)
a daxophone prayer play / string pedal
stick melody / when a walk becomes a vibration / friction is beauty
tone follows (4:30)
the return of a future pressing / when a sniff enters the music (2:10)
stringboards want to sing / the autos b(e(l))ow / the idea of repitition returns / resonance revealed and plucking is inspired / breathing calms and helps me to live / phrased by nature, repetition proceeds / converting, it can / naive acting (6:06)
whiffle / rang and pop / intangled query / listening to harmonics from action / bridging and return / hyperactive cleaners did it / run the string / the waited response to (5:58)
stringboards in the air (0:54)
first stoll rhythm with multi harmonic and melodic mood (0:51)
return (1:35)
return
first glow (1:48)
return (0:31)
distal ring shimmer and glow
speak (0:51)
rhythm decay and final construct / little ring to change / breathing into it / a due perfecto (4:44)
dramatic imp / gracing phonomono / dropped doorknob / choruses, repetition (4:54)
goomeygow address with accompaniment (1:36)
fall dancingly (4:58)
bathroom oratorio (1:53)

anomalous press release...

dave knott
natura naturans

in 1997, dave proposed an 'installation' in the then store and performance space incarnation of anomalous records. his proposal was to mount various discarded strings (not just from guitars, but other instruments) onto scrap board, and then mount those onto the wall above the entry staircase. the strings themselves were often permanently prepared, and with the wall itself (or the banister in the case one) acting as a resonator, they produced a surprising diversity of sounds, much beyond their simple appearance.

many people trying them or hearing them played were surprised to hear tones like gongs and cymbals, along with others that sounded more like plunked instruments, albeit with a different bent. as they were in an unusual location that people didn't often use, the stringboards were free to stay up for longer than most things, and over the six months or so that they were up, dave altered and added to them (sometimes using things like rocks from the parking lot, sticks, door knobs, etc.).

plucked, strung and bowed by random visitors, they were used to full effect during jeph jerman's weekly improvisations with aaron wintersong, which dave was soon a regular member of. being as they had become a part of the environment for so long (dave even installed one in the bathroom in the end), we decided it would be wise to document them before anomalous left the space, especially as dave had decided to auction them off at the last show. so, dave and i spent an afternoon close mic'ing (no contact mics here, these needed to sing through the air around them) each stringboard in succession.

the playing varied much between very gentle playing letting the notes decay to cacophony of strings assaulted, though did seem to lean overall more towards the calmer side of things. through dave remained aware of his surrounding, the environment for so many past performances, and actually played along with many ambient elements such as noises coming from the dry cleaner below and the sounds of the street outside, which you can hear on this disc if you listen very closely or turn it up very loud.

the resulting 90 minutes we recorded lay for a while, but was in the end painstakingly listened and re-listened to by dave and edited down to this cd. in the listening back, dave made many mental notes and associations with all the sounds, which we preserved by marking several tracks with many index points (a feature very few cds seem to use) and giving each of those a title.

the package is completed by liner notes from jeph jerman and dave, photos of the stringboards, and a beautiful full color painting made for the project by russell w. gordon.

from dave's liner notes:

“at a woodshop i was renting i had been messing with attaching strings to collected throwaway(found) pieces of plywood. i had a collection of used strings of many types: guitar, bass guitar, cello, violin, dulcimer, harp, piano, along with some types of raw wire including brass and nylon monofilament. i had heard ellen fullman's long string instrument and wanted to experiment with making strings in long lengths. i enjoyed using two strings to make a longer combined length and found the results to be shimmering. my woodshop mate peter bonnell and i were bathed in this new sound unleashed - gongs or distant cymbals. some kind of defiance of visual representation - a piece of used plywood with some strings across it. what an anomaly!

even before the sessions, eric lanzillotta had asked me about making an installation with the boards, but i was no artist. installation. just the word would still a creative in the floodlight of expectation. this doe eyed doer needed a push. we agreed that i could put the boards up as i made them and this made the whole project seem possible. i began by installing a couple of the stringboards directly onto the wall making the entire wall a secondary resonator. while the wall changed shape weekly, flaunting a broken window frame with broken window and strings or some other momentarily invented musical object each week along with a perpetual recomposition of stringboards, the final installation consisted mostly of ~10 stringboards ranging in size from 1 to 8 feet in length with an additional two stringboards in the bathroom for potty play.

the stringboards were great fun for both myself and for others who came to the anomalous space. their somewhat dirty (rustic) appearance and illusory sound compels even the mildly curious to give it a pluck. i can't stress how meaningful the whole experience was for me - during and after. getting a glimpse of a music making not founded on "what we can make of this" was nothing short of enduring inspiration for not just those people, that place, that time, but all; it refreshed my appreciation for playing/living/loving. american philosopher suzanne langer talks about an exclamatory music, a music that comes from within and is essentially different than "discursive" music - our tradition of music. whatever the name, this constellation of musical experience sent me to willamette university to study music therapy and gave me practical ideas for projects working with homeless and at-risk youth in both seattle, wa and salem, or (sonic tools).”

$10.08

back in stock as of
may 11th, 2010

first in stock on
may 5th, 2007

threads:
sound-art
electro-acoustic-composition

best of 2007 !!!

anomalous (usa) #nom 28 ep

jeph jerman / leif elggren / ralf wehowsky “three aural interpretations of a drawing by eric lanzillotta” seven inch single record

jeph jerman "drawing" (6:01)
leif elggren "soundtrack for eric's drawing" (3:19)
ralf wehowsky "dreaming of / a french disco / sleep commodity" (3:04)

may 2007 release; this three way split single between jeph jerman, leif elggren, and ralf wehowsky, each contributing a realization in sound to one of anomalous head eric lanzillotta’s drawings ...

anomalous press release...

"three aural interpretations of a drawing by eric lanzillotta" 7" ep
anomalous records nom28

limited edition of 250 copies pressed on clear vinyl and packaged in double-sided 14.5" by 10.5" poster sleeve.

this 33 rpm ep include three sound artists playing a drawing by eric lanzillotta. each artist has a unique, though abstract take on the drawing, which is included in the inside of the poster sleeve. the sounds include the calm physical motions of jeph jerman, the static activity of leif elggren and noise music of ralf wehowsky (sounding a bit like p16.d4 here).

jeph jerman gained attention under the name hands to, but has created his most refined work under his own name. he performs mostly with natural objects (stones, plant parts, feathers, etc) and has collaborated regularly with wally shoup, greg davis, sean meehan, tim barnes, mike shannon, dave knott, eric lunde, and many others. he has had several previous releases on anomalous records, and a new cd of his work will be released by little enjoyer this year.

leif elggren is a pioneering sound, performance, book and installation artist from sweden, as well one of the two kings of elgaland-vargaland. in the last 30 years, he has released a great deal of material on labels such as radium 226.05, anckarström, flykingen, ash international, korm plastics, some, absurd, meeuw muzak, kning disk, ideal recordings, touch and his own firework edition, which has also published many of his book works, such as the legendary "experiment with dreams" done in collaboration with thomas liljenberg.

ralf wehowsky started making music in the neue deutsch welle period of germany history with his band p.d., which later became the group p16.d4. since the dissolution of these groups, he has been recorded largely as a solo artist, though in truth always incorporating collaborations with various friends. over the years he has worked with andrew chalk, bernhard günter, kevin drumm, lionel marchetti, bruce russell, david grubbs, jim o'rourke, and many others.

$13.44

back in stock as of
may 11th, 2010

first in stock on
february 6th, 2007

threads:
electro-acoustic-composition
musique-concrète

anomalous (usa) #nom 27 cd

rlw “views” compact disc

#1 (21:13)
#2 (9:43)
#3 (9:25)
#4 (10:30)

anomalous press release...

rlw
views

in the 25th year of ralf wehowsky's recording career, anomalous records presents his first truly solo release featuring four new compositions based on instrumental improvisations. using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. the disc opens with a 20-minute piece of mysterious and drifting electronic tones. other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. previous releases by rlw have seen him collaborate with such diverse artists as achim wollscheid, bernhard günter, andrew chalk, david grubbs, jim o'rourke, kevin drumm, and bruce russell. he is the founder of the now defunct group p16.d4 and the still active label selektion. other releases of his work have appeared on table of the elements, trente oiseaux, streamline, perdition plastics, swill radio, meeuw muzak, and metamkine.

after a recording career that already stretches over 25 years, involving collaborations with achim wollscheid, bernhard gunter, andrew chalk, david grubbs, jim o'rourke, kevin drumm and bruce russell, not to mention his own p16.d4 ensemble, ralf wehowsky finally presents his first solo collection. presented without titles but with detailed notes on the methods and practices behind each, the four tracks represent subtly shaded perspectives on studio performance and procedures.

spontaneous event and reconstruction shadow each other closely here. four self-programming occillators, controlled by wheels rather than a keyboard, interact to create a densely striated corridor or sound on the protracted opening composition. shorter, more understated but no less arresting, the next two pieces have the feel of secret rituals conducted in private. on the first, four spontaneous musical actions, mostly involving orff percussion instruments designed for children, are reworked into a profoundly meditative sequence, marked by the chiming of bells. the second, in which two music boxes are manipulated, squeezed and muted, transforms the mechanistic renderings of half-forgotten tunes into a series of encrypted memories. coming in on a single thin line of feedback, the fourth and final composition combines elements of the previous three, plus recordings of electric guitar run backwards and forwards into an uncluttered but complex series of structures and interactions....

views was conceived in january 2003.

recordings were done for track: 1 in january,
for track: 2 in february,
and for track: 3 and 4 in march 2003.

final mix: april 2003.

all 4 pieces are based on three or four instrumental improvisations by rlw, re-constructed by spontaneous mix afterwards.

track: 1 is recorded with tone-generator (tg 77) using self-programmed sounds. an early version of the sounds had been created for the cd" acht (1992). the programs have been designed to be controlled via wheels, not by keyboards. the tuning is in 1/8 tone, every sound consist of up to four sound-sources (oscillators), that respond in different ways to the controllers.

track: 2 is based on four spontaneous recordings of musical actions in the recordings room, mostly with orff percussions instruments (designed for children) plus some other tools lying around.

track: 3 uses two musical boxes, which were not used by playing along, but seen as instruments, for instance creating wahwah-sounds by squeezing the boxes. the only external instrument was an electrical toolbrush.

track: 4 is based on one feedback version each from tracks: 2 and 3, one tone-generator track from the recordings of track: 1, plus two additional recordings of electric guitar (played back and forth).

$15.12

new to stock as of
may 11th, 2010

threads:
concert-recordings
electro-acoustic-composition
electro-acoustic-improvisation
modern-composition

anomalous (usa) #nom 25 cd

biota / mnemonists “musique actuelle 1990” compact disc

movement 1 (25:39)
movement 2 (8:10)
movement 3 (10:02)
movement 4 (22:41)

february 2004 release ; first use of the mnemonists name (they’ve been wokring since the mid-80s as biota) since their early-80s string of self-released lps (of which “horde” remains an out-and-out unheralded classic of american electro-acoustic improvisation) from this many-armed colorado collective, here recorded at the 1990 montreal musiques actuelles festival in full audio-visual splendor ...

anomalous press release...

biota / mnemonists
"musique actuelle 1990" cd
anomalous records (u.s.) nom25

biota was founded in 1979 in fort collins, colorado, as the mnemonist orchestra. over the years, the mnemonist orchestra developed into biota (the musical contingent) and mnemonists (the visual contingent). both biota and mnemonists work as one on productions of musical and visual components. the group has released nine lps, one ep, and four cds in addition to several cassettes and compilation ventures, on both their own dys label and recommended records uk.

heard on this cd is the first live adaption of their studio-based recording techniques since 1981, as presented at montreal musiques actuelles - new music america 1990. for their live performance they composed a set of material specifically for the concert and virtually relocated their studio to the stage to properly recreate it. nine musicians playing only acoustic instruments (aside from electric guitar) were heard natural and unamplified from the stage while extensive electronic processing, heard through the speakers, rendered radical tonal, timbral and temporal modification creating an incredibly unique and strange sound world. for the first release of this music, biota have combined the best recordings from both the rehearsals and the concert itself. added to this, the two-dimensional graphic work that mnemonists have become so renowned for was transformed into stunning video projections - beautiful examples of which are now included in the full color booklet accompanying this cd.

$13.44

back in stock as of
may 11th, 2010

first in stock on
february 6th, 2007

threads:
electro-acoustic-composition
minimalism-drones

anomalous (usa) #nom 24 cd

andrew deutsch “lung cleaner” compact disc

nice day, some rain (13:33)
dizzy from the cold meds (8:04)
coughing the lung cleaner (20:36)
sleep fields (go to sleep) (14:46)

anomalous press release...

andrew deutsch
lung cleaner

i created lung cleaner for eric lanzillotta when he was sick with a serious lung infection which lasted for months. i hoped to help him recover by imagining a "sonic cure", an "art pill". the work continued after his illness and the notion of using metaphor as a compositional starting point has, at this time, formed the basis for all my sonic research and composition.

some other points of departure:
digital structuralism, modular systemic processing, solitary parameter based interactive performance, image drones, contextual music, glaze/kiln music, analog/digital hybrids, granular synthesis, headphones, time grafting, modular synthesis, micro tonal clusters, moment clusters, destructive improvisational editing, rate of change patterns, logarithmic processing, filters, time sweeps, restricted randomization patterns, iannis xenakis, merzbow, john cage, and gyorgy ligeti.

source materials included: wine glasses, baby toys, pure tones, bells, music boxes, gears, water, etc...track 2: "dizzy from the cold meds" contains samples of 3 unpublished early electronic works by pauline oliveros dating from around 1966.

track 2: "dizzy from the cold meds" contains samples of 3 unpublished early electronic works by pauline oliveros dating from around 1966.

sounds, images & design: deutsch
special thanks to eric lanzillotta, rachael jackson, jennifer dworak, and sawako kato.

edition of 1000 copies
please note: the cover and label wrongly show catalog number as nom26

$10.08

back in stock as of
may 11th, 2010

first in stock on
april 19th, 2008

threads:
electro-acoustic-composition
minimalism-drones
field-recordings

anomalous (usa) #nom 22 cd

fibrillation “my axis undone” three inch compact disc

my axis is undone (3:44)
qlipha (2:24)
huaca (4:50)
a.m. external (3:48)
narrow channel (4:50)
chimes (1:26)

anomalous press release...

fibrillation"my axis is undone” 3" cd

“holding a deep love of refraction in all things, luminescence at night, of childhood memories blurring with time... taking on their own significance through abstraction. becoming aware of the animistic nature of the landscape via dissociative episodes, paranoia mutating into awareness. a series of dreams etching strong images deep into the mind long after waking, floating in dark blue water while looking at a glowing gold sky. the feeling of absolute *now* during an electrical storm. using kirlian photography as postcards to communicate the vividness of a new space. all these things and more..”

this collection of six pieces is the first official release by fibrillation, following his appearance on the anomalous records compilation lp "electrically induced vibrations". constructed with great care, these will reveal many layers over repeated listening. though he works largely in the realms of electronic music, no source is considered outside of his realm, and in fact many fragments of sound important to his life are incorporated in the complex weave of aural communication. fibrillation aims to create a sound compliment to mental images and evoke important personal experiences. each sound is in the place where it belongs to create the desired whole. so while initially, one may be taken in by the beautiful swell of warm harmonic drone that opens the disc, you will eventually find that below the surface there lies much more.

packaged in mini-dvd case with full color cover and insert

$15.61

back in stock as of
may 11th, 2010

first in stock on
may 12th, 2008

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

anomalous (usa) #nom 20 cd

andrew deutsch “electronic garden” compact disc

untitled (1) (13:01)
untitled (2) (7:10)
untitled (3) (4:16)
untitled (4) (2:02)
untitled (5) (7:10)
untitled (6) (6:58)
untitled (7) (6:56)
untitled (8) (2:34)

2003 release from andrew deutsch ; lovely edition from anomalous - each copy has a unique gold-leaf watercolor print ; no two are alike ... extended musique concrète figures utilizing field recordings (of children) & music-boxes ... has a kind of nuno canvarro-esque charm to it ...

anomalous press release...

andrew deutsch "electronic garden" cd

"in his assessment of music, philosopher and mystic rudolf stiener attributes a major part of human perception to the experience of the ethereal body. the ethereal body is a form unknown to (so called) normal consciousness. it is obscured by worldly tasks and the experiences of everyday life. the ethereal body is only fully experienced during sleep, where it emerges slowly in stages over the course of the evening. once awakened, the ethereal bodies primary experiences is of light and tone and of being engulfed by a shimmering delicate tonal atmosphere. when the 'worldly body' awakens the ethereal body returns again to obscurity, diminished by daily routine. however, when in our daily routine and if we give time to it, we come in contact with music, or certain kinds of images or art, the ethereal body is touched, awakened inside the worldly body. this is why we are sometimes moved to emotion by music or images. the ethereal body is awakened within us and experienced by our worldly body. flowers open within us, a garden of experiences and emotion emerge and we can not help but yield to the needs of the ethereal body and its sensations. stiener proposes that a well balanced person is one who experiences the worldly body and ethereal body at the same time on a daily basis. listening to music and an involvement with art may be the only ways to establish this balance and unity, therefore, as suggested by joseph beuys we must expand the practice of art into every aspect of culture - especially daily routine.

electronic garden is a series of sound works constructed using broken music boxes, ring modulators and frequency shifters, i call these electro-mechanical loops. my interest in these works first developed out of early experiments with analog and digital tape loops and later extended into music boxes. music boxes are mechanical loops set into motion via spring compression and consequently have the character of winding down as they play. this compositional unfolding is most delightful as it destroys the often gebrauchsmusik quality of music box melodies. to further destroy this music of the home i explored the possibilities of working exclusively with broken music boxes as their melodic structures would be readymade destroyed. further, they often squeaked, squabbled, and burped as they played. additional deconstructions were performed with electronics.

i have made hundreds of these little compositions and the practice of making them occupies the greatest degree of my free time. electronic garden contains a special contribution by sawako kato of japan. exchanging files via mail and conversing through e-mail, sawako reconstructed parts of electronic garden resulting in 2 new tracks which deutsch later combined for release on electronic garden. the cover images for this cd were inspired by the notebooks and 'field drawings' of book artist john wood. each cd of this edition contains a hand made watercolor accented with gold leaf and his hand signed along with a photographic fragment verso." - andrew deutsch.

$15.12

back in stock as of
may 11th, 2010

first in stock on
may 12th, 2008

threads:
lafms
1980s-electronic

anomalous (usa) #nom 10 cd

points of friction “sackcloth and ashes” compact disc

vague resemblance of what it may imitate (2:12)
fastidious (2:46)
beneath the skin (4:37)
acid rain (3:30)
veering (4:23)
sackcloth and ashes (15:21)
skara brae (3:59)
rhomboid ladies (6:02)
in the realm of nothing whatsoever (3:15)
excel-o lady (4:35)
7.4.83 pianet loop (1:55)
enough air in the fire (8:05)
raking light (3:01)

2001 anomalous-label reissue of this 1984 cassette, originally issued on the lafms sub-label solid eye, featuring damian “agog” bisciglia, joseph hammer, kenny ryman, and tim alexander ...

twelve woozy / mis-shapen synth miniatures nestled tightly between nerve net noise lineage abstraction & almost ambient / berlin-school soundscapes ... underrated !!!

anomalous press release...

points of friction "sackcloth and ashes" cd

points of friction scrapes together a mind-bending menagerie of sound from the panorama of objects and equipment they work with. their process-oriented artistry invokes apparitions of the ear, with multi-dimensional sonic textures that span from quirky, seductive lullabies to revolting sensual assaults. points of friction made contact in the extremely beige but earthquake famous san fernando valley, a suburb of los angeles and home also to the infamous manson family. tim alexander and kenny ryman (paper bag) served together as psychedelic altar boys at the age of nine. kenny was from a musical family, so he had developed a set of ears from an early age. damian bisciglia (agog) and tim became acquainted in cub scouts around eight years old. becoming reacquainted among a few self-described social outcasts at los angeles pierce college around 1980, they gravitated to the art department where they encountered a cast of characters. among these were the profoundly talented jeannie cohen (sprout mountain) and the profusely bizarre joseph hammer (dinosaurs with horns, swan trove, solid eye). relieved and excited to discover other freaks, they soon evolved an excuse for converging: making noise. originally inclusive and spontaneous, their noise was extracted from everyday objects, and recorded with built-in condenser mics on primitive equipment. they soon adopted some recording gear and musical instruments but no musical training. when kenny replaced jeannie, pof was born.

inspired by free musics from beefheart to harmonia, they met in joe's or kenny's bedroom to exchange sound and interact in private naïve noise/rock ecstasy. originally released by the lafms offshoot label solid eye [who were also responsible for releases by doo-dooettes, the romans, tom recchion, dinosaurs with horns, and fredrick nilsen] on cassette in 1984, sackcloth and ashes is the most electronic and perhaps most polished incarnation of this multimedia collective. the unorthodox exploration of keyboards, guitars, toy instruments, the assemblage of field recordings, noise improvisations, and tape loops tantalize the senses with arousing emotive power. the opus title track is a compendium of improvisational soundings and field recordings that include a chorus of squeaky swings, a cat's purring, snapping shrimp, a diseased lung, and cacophony on a yard sale card rack. exquisitely abrasive and haunting tracks 1 through 6 yield to the perfumed machinery and melodious hypnosis of the remaining tracks. all were originally performed under cover of live film and slide projections with optical manipulations at alternative music venues in and around los angeles including al's bar, the anti-club, los angeles contemporary exhibitions (lace), etc., and aboard the u.s.s. cormerant ("noise at sea"), with bands such as the minutemen, the meat puppets, whitehouse, and the monique experience in the mid-1980's.

every piece on this album has such (currently archived) visual underscoring. re-released on cd, the disc is lavishly packaged in beautiful silver and black in an eye-rattling multi-paneled silk-screened die-cut cover that undermines perception in the friction manner. the low-key intensity of points of friction may affect heart rates and breathing patterns. it is probably best listened to in a darkened room.

$13.44

back in stock as of
may 11th, 2010

first in stock on
february 6th, 2007

threads:
electro-acoustic-composition
digital-musics
musique-concrète

anomalous (usa) #nom 09 cd

tetsu inoue / andrew deutsch “field tracker” compact disc

field tracker (23:13)
galaxy (2:55)
magic animal language (15:20)

... slept-on collaboration involving andrew deutsch & tetsu inoue’s digital processing(s) of acoustic source material ...

anomalous press release...

field tracker

andrew deutsch - bells, dsp, loops
tetsu inoue - guitar, dsp, bells

digital images - jennifer dworak
design - deutsch

produced at the institute for electronic arts, alfred, ny

"field tracker" was recorded at the institute for electronic art, alfred ny during the winter of 2000. inoue, utilizing his digital sound processing systems in combination with bells, guitar, and other odd sound making objects, constructed tiny improvisational sound moments each one having a shape and gesture of their own.

these "micro compositions" were at times highly abstract and noisy and at other times extremely melodic and calm. many of these micro compositions were used in the production of his recent release "object and organic code", the others (almost 2 hours worth) were handed over to andrew deutsch who was to construct another release combining sounds of his own.

being responsible for the overall "auskomponierung" or "compositional unfolding" of the work, deutsch combined synthesized sounds, drones, chatter, loops and other dsp techniques to produce what he hoped would be a kind of "gebrauchsmusik" or "useful music" that one might use in the home. the work has a notion of "ambitendency" built into it, that is, the tendency toward change combined with an equal tendency toward stasis. the work could be described as "meta-divisionism", 'baroque minimalism", or "expanded systemic digital minimalism".

sound works for our new recombinatory world.

$15.12

back in stock as of
may 11th, 2010

first in stock on
april 2nd, 2008

threads:
field-recordings
electro-acoustic-composition
free-improvisation
experimental-instruments
sound-art

anomalous (usa) #nom 06 lp

“an uncommon nature” long playing record

jeph jerman - tree w/rain + wind
mirror - calmahain
agog - water babies singing in a lily pool delight
climax golden twins - the card game
jonathan coleclough - gate
mike shannon - alki
monos - supernature
richard lerman - from the pribilof islands
dave knott - st. mary's county, maryland

... early anomalous release ; a comp. based around field recordings featuring standout work from jeph jerman, richard lerman, climax golden twins, jonathan coleclough, mike shannon, mirror, agog, monos, and dave knott ... a fairly essential document given that you’re a fan of prior / since work by any of the artists contained herein ...

anomalous press release...

"an uncommon nature" lp

coinciding with the 10th anniversary of anomalous records' existence, we are releasing a compilation album based around recordings from the outdoors, and featuring artists we release or are going to in the near future. featured on this lp are new recordings from: jeph jerman, mirror, agog, climax golden twins, jonathan coleclough, mike shannon, monos, richard lerman, and dave knott. throughout the packaging, and on four enclosed postcards, are beautiful black and white photographs taken by rachael jackson in the olympic national park in washington state.

while unified by a common theme, the tracks are quite varied including desert contact mic recordings of rain and wind on a tree [jeph jerman], processed sounds of a gate [jonathan coleclough], erhu played on a beach [mike shannon], mysterious singing 'water babies' [agog], a mixture of wild celery stalks, tundra grass, a cord made from sinew, a whalebone roof support and the seals [richard lerman], and the straight recording of an approaching thunderstorm [dave knott].

this attention to detail in audio is matched by the close up photographs of fungi, dripping sap, and trees which surrounds it.

previous record label:
anoema

...and that's everything on anomalous in stock.
(why not take a look at the previous and next labels?)

next record label:
anticon

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... this page was last updated on monday, may 20th, 2013 @ 8:08 am