mimaroglu music sales ☞ labels ☞ antiopic

.home.

.artists.

.labels.

.new.

.restocks.

.best.

.faq.

.blog.

previous record label: antifrost		there are 7 titles on antiopic in stock. they are listed below.		next record label: antiopic live series

$9.24

back in stock as of
february 19th, 2009

first in stock on
september 23rd, 2006

threads:
guitar-themed
free-improvisation
concert-recordings
electro-acoustic-improvisation

best of 2006 !!!

antiopic (usa) #an 009 cd
antiopic live series (usa) #ls 003 cd

tetuzi akiyama / oren ambarchi / alan licht “willow weep and moan for me” three inch compact disc

willow weep and moan for me (18:48)

click the play button to hear an excerpt of "willow weep and moan ..."

gorgeously subtle trio guitar / electronics set, jointly improvised by oren, alan, and tetuzi down in new zealand a few years back ... more than just a foot-note in the respective discographies of each, i’ve always found this a nice “transitional” piece as tetuzi’s blues-based playing got more abstract (eventually yielding “don’t forget to boogie”) & alan & oren’s more monolithic (ditto “a new york minute” & “suspension,” respectively) ...

antiopic press release...

tetuzi akiyama / oren ambarchi / alan licht
willow weep and moan for me

recorded 6 july 2004 at the bomb the space festival, wellington, nz

release date: 22 august 2006

an009 / ls003
running time 18:48

remove the chugging rhythm of the blues and you are left with the wail; that slow motion ghostly gasp of sorrow and bad omen. the high and lonesome sound of something wicked on the horizon is ingrained in this trio's shadowy and disembodied take on the blues. new york experimental music veteran alan licht, who has explored similar territory in his beautiful duo with loren connors, is joined by australian sound artist oren ambarchi and japanese improviser tetuzi akiyama at the 2004 bomb the space festival in wellington, new zealand.

using guitars the trio create an alien and minimal free-blues drone. akiyama and licht both revel in the spirit of blues guitar, intertwining high melodic lead lines and creating clusters of tense tone. ambarchi is a master at low end drift, and here the repeating low tones serve almost as a mutant version of a 12 bar anchor. all three players are deft at combining emotion with abstract playing (licht's rabbi sky, ambarchi's suspension, and akiyama's pieces for the wooden guitar series just to cite a few), and this set is an exemplary instance of engagingly emotive yet free playing.

$11.76

back in stock as of
december 19th, 2008

first in stock on
july 23rd, 2005

threads:
digital-musics
minimalism-drones

antiopic (usa) #an 007 cd

ateleia “swimming against the moments” compact disc

on all fours
every word spoken is a word that remains
production and poverty
adaj
f.t.p.
desero
to sell the ground from unborn feet forever...
tested by habit
strata and brine
total running time 39:54

click the play button to hear an excerpt of "on all fours"

2004 release from antiopic label co-head james elliot under the atelia moniker. huge bursts of noisy/granulated melodic/tonal digital-sound; as informed by mego/fennesz as the grand scope of late 60s minimalism and studio-as-instrument mythos of faust, this heat, et.al.

as youth trends in music divert us farther and farther away from forward progression in digital sound-construction, the full-frequency orchestrations of the solo bedroom computer music producer still capture a perfect utopian vision very accurately. a massive record, definitely one of the more powerful experimental computer music albums i’ve heard in some time.

antiopic press release...

sadek bazaraa: guitar, synth, electronic drums
bryan collins: sampler
david daniell: guitar, baritone guitar, synth, additional production on production and poverty
jon philpot: synth
need windham: electric piano, additional production on production and poverty

all tracks composed by james elliot, except f.t.p. composed by james elliot and david daniell. recorded in atlanta, ga, lexington, ky, and brooklyn, ny, 2003 - 2004. assembled at full faith and credit, brooklyn, ny, 2004.

“structurally founded on conscious allusions to "pop", "ambient", "electronica", but imbued with a high degree of critical distance, ateleia music destabilizes classic notions of form and process in pursuit of a unique idea of song. subtle melodies emerge snakelike from deep within floods of shimmering multicolored static; densely layered strata of interference rupture into moments of tonal clarity, only to be subsumed into the next span of shifting sound. incorporating source material from a host of collaborators, skewed and reconfigured into a framework of constantly changing and decisive movement, the debut album from ateleia (james elliott) reveals a developed sense of composition and pacing across a range of approaches and textures. all eight of these tracks focus on elements of structure—and the decay of structure—with both the formed and the formless vying for space. the resulting sound is dense, angular and hypnotic, like watching red thread slowly twitch in the pulse of the tide.”

$9.24

back in stock as of
december 19th, 2008

first in stock on
july 23rd, 2005

threads:
electro-acoustic-improvisation
minimalism-drones
concert-recordings

antiopic (usa) #an 006 cd
antiopic live series (usa) #ls 002 cd

sakada “never give up on the margins of logic” three inch compact disc

never give up on the margins of logic (17:33)

click the play button to hear an excerpt of "never give up ..."

the first widely available recording (following a few i still haven’t seen on mattin’s w.m.o/r label) from this electro-acoustic freely improvising ensemble co-led by computer-musician mattin and (former?) amm percussionist eddie prévost ; a transcription of a live-set (excerpt?) from the freedom of the city festival on may 3rd, 2003 ...

the 17.5 minutes go by in a whir of bowed cymbal harmonics, 12k sine tones, scrabbly contact-mic’ed elements, and the occasional guttural wail of a low-strung double bass. a highly successful mix of chance elements referencing the history of live electronic music from david tudor’s first experiments in the 60s through richard teitlebaum’s synth-processing getup of the early 80s right on through contemporary computer-based algorithms ...

antiopic press release...

rhodri davies: harp
eddie prévost: percussion
mattin: computer feedback
margarida garcia: double bass
mark wastell: amplified textures

for london's freedom of the city festival mattin's sakada materializes in a big band incarnation. unexpectedly, the larger the group, the smaller the sound. in contrast to sakada's dense previous recordings as the trio of mattin, prévost and rosy parlane, here the expanded sakada navigate a more restrained and open territory. droning passages rise and ebb in blocks, the sound folding over on itself, while minute textures dance on the edges. the emphasis on bowed sounds (prévost's cymbals, davies' harp, garcia's bass, wastell's objects and mattin's computer casing (!!!)) brings to mind the slow churning of a morton feldman composition, yet mutated further into the realm of the unexpected and abstract. this recording finds a group as attuned to the space in between as they are to each other. an intense document of precisely restrained improvisation.

$9.24

back in stock as of
february 19th, 2009

first in stock on
july 23rd, 2005

threads:
guitar-themed
harsh-noise
analogue-synth
digital-musics
concert-recordings

best of 2005 !!!

antiopic (usa) #an 005 cd
antiopic live series (usa) #ls 001 cd

carlos giffoni / lee ranaldo / jim o’rourke “north six” three inch compact disc

north six (18:58)

click the play button to hear an excerpt of "north six"

neat combo room/desk-recordings of an ad-hoc blast from the super group of carlos giffoni, lee ranaldo, and jim o’rourke ...

jim is especially “on”, delivering wave after wave of synthi-blasts; lee is buried slightly (his “wall of guitar” lacking the succinct peaks of the synth/computer envelopes) ; carlos’ dc-offset noises & synth-filtering occasionally climbing to the front ...

way too musical for mere “power electronics” (i.e., there’s a “form” at work here beyond the usual “plug in and rage” aesthetic of williamburgtronixxx.) ...

a nice one, often overlooked ...

antiopic press release...

carlos giffoni: computer, synth, guitar
lee ranaldo: guitar, fire bell
jim o’rourke: synth

recorded 31 august 2003, north six, williamsburg, brooklyn, ny. recorded by bob teagen (room) and dave curran (soundboard.) foh mix by dave curran.

a seething, screaming set of power electronics and guitar with hardly a moment's pause for air, this recording finds the trio of carlos giffoni (computer, synth, guitar), lee ranaldo (guitar, firebell) and jim o'rourke (synth) in devastating form. this is classic free bombast, alternately sounding like a "rock band" interpretation of merzbow's rainbow electronics or a punk update of a musica elettronica viva session. the instantly identifiable ranaldo / sonic youth guitar sound is joined by blurting digital scree and analog filter abuse, melding to create a heavy tidal rush of ecstatic cosmic noise. the bliss of the set is confirmed by the brooklyn audience's joyful reaction at the close.

$9.24

back in stock as of
december 19th, 2008

first in stock on
july 23rd, 2005

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

best of 2005 !!!

antiopic (usa) #an 004 cd

dion workman “ching” compact disc

ching (20:37)

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

detailed short-format epic from sigma label-head dion workman, released as a 3”cd molded into a 5” cd shell (ala the raster “20 to 2000” series.)

not too long ago (during the 2004 intransitive festival) i sat in a large pitch-black theater as dion slowly unfolded a variant of this piece, building it into a blast-furnace of all-frequency noise over the course on an hour. the slow-sweep odd-harmonic noise arc that makes up the first half of the recorded version here followed by gated mid-hi sine wave grit that closes it out sound no less impressive here at home with the lights on, played back at a comfortable volume. it will take a bit of patience to get into this, but you’ll be very glad you took the journey once its effects have settled in...

antiopic press release...

dion workman (of sigma editions) produces a confounding piece—terrifyingly intrusive yet completely subtle, deep with texture and layer although monochromatic in character. ching is a complex work of grey shadows and glaring light, an exemplar of aggressive digital minimalism. its harsh textures coexist with the open-ended pulsation of extended tones and overtones, playing with the listener's tolerance. what sets ching apart from simple noise is workman's attention to minute detail, as well as the piece's mesmerizing structure. this short (20 minutes 37 seconds) and exhilarating work builds with calculated motion, suddenly bursting into silence, only to reconfigure itself, similar but different, in a quiet dance of amassing sonic shards.

ching was awarded the max brand prize on april 26, 2003 by the austrian cultural forum in new york city.

$9.24

back in stock as of
december 19th, 2008

first in stock on
july 23rd, 2005

threads:
beat-research
digital-musics
field-recordings
site-specific

antiopic (usa) #an 003 cd

ultra-red “¡amnistia!” compact disc

amnistia (por nueva york)
amnistia (en mayday2k)
sin cargo (amnistia)
amnistia
total running time 19:50

click the play button to hear an excerpt of "amnistia (en mayday2k)"

i’ll admit to being somewhat baffled by dont rhine & co.’s prior output; this disc is no exception... on the one hand i love the concept of the audio documentary; going on-site and making field recordings of protests and other politically-charged events & situations, taking home the footage and saying something with it by weaving the signals & processes into a giant tapestry... on the other hand i’m not so amped about the vehicle that drives the message; in this case funky dancin’ computer techno music.

it could very well be that i’m missing the point; or part of it at least.... maybe my disdain for most kinds of dancefloor-oriented music is overwhelming my ability to see this record as an attempt to imbue the record-buying populus with a little bit of “cause”, certainly something i can stand behind.

for what it’s worth; the entire record isn’t a non-stop dance party; by the third track the beats disappear and a beautifully vocoded chordal section comes into the fore which slowly morphs into a beautiful section of musique concrète... a section which has much more of an effect on me than the repetitive rhythms of the first half.

all in all, the combination of reporting and sound-assembly is top-notch, very evocative, in the vein of the best cinema pour l’oreille and is worth hearing for this alone...

antiopic press release...

any battle for free speech is a battle for public space.

los angeles collective ultra-red (previous releases available from comatonse, mille plateaux, fat cat, and beta bodega) come forward with an intense, playful and urgent commentary on the rights of undocumented immigrant workers. using the may day 2000 rally which took place on wall street in new york city as the sound source from which the group craft this suite of compositions, this 20 minute ep energetically brings the immediacy of the workers' situation to the fore. ranging in style from finely detailed minimal house to precise and focused soundscaping, these recordings mark a stylistic departure for the collective while merging to create a seamless listening experience complete with repeating motifs, both verbal and musical, throughout the release. the use of field recordings of the rally (vocal house?) to create the sense of protest through atmosphere and rhythmic urgency is more effective and complex than to be found in ultra-red's previous works. includes an essay by ultra-red, presented in english and spanish, on the situation faced by undocumented workers in the usa.

$11.76

back in stock as of
december 19th, 2008

first in stock on
july 23rd, 2005

threads:
electro-acoustic-composition
musique-concrète

antiopic (usa) #an 001 cd

need thomas windham “employment patterns” compact disc

five untitled pieces (52:51)

click the play button to hear an excerpt of "fourth untitled piece"

the first release on the antiopic label, a solo recording from 2002 by the founder of table of the elements “act” presocratics (which i believe was a duo with jon philpot, now recording as “bear in heaven” on scott herren’s easter developments label.)

a razed landscape of shortwave radio crackle & hum, occasional eruptions of what sound like pine cone needles thrust skyward, their descent captured with light-sensitive diodes fed into white noise generators before landing on strips of wax paper connected kitted with contact microphones (although it’s most likely just shortwave static.)

antiopic press release...

need thomas windham: heathkit short-wave radio | rmi electric piano | tascam 388
brad kendrick: short-wave radio (1, 3, 4)
andrew burnes and jon philpot: brule tandem guitar (4)

“the debut solo release by need windham, founder of concrete agit-prop duo presocratics (ex-table of the elements). a subtle new tape work constructed solely from the critically hated and rejected parts of presocratics compositions, employment patterns places itself far from the reserved monochrome of its contemporaries, distinguished, with a sly nod to morton feldman, through terse probing of tonal degree and compositional identity. need windham's fluid pop sensibility glares through the work's structure; indeed, the piece positively emotes -- frustration, joy, shame -- a true political and personal agenda emerges in abstract.”

previous record label:
antifrost

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

next record label:
antiopic live series

.home.

.artists.

.labels.

.new.

.restocks.

.best.

.faq.

.blog.

... this page was last updated on wednesday, july 28th, 2010 @ 3:55 pm