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previous record label:
 erstsolo 
there are 12 titles on erstwhile in stock.
they are listed below.
next record label:
 esp-disk’ 
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erstwhile (usa) #erstwhile 061 cd

michael pisaro / taku sugimoto2 seconds • b minor • wave” compact disc

  • 2 seconds (20:00)
  • b minor (20:00)
  • wave (20:00)
november 2010 release ; interesting, challenging disc of discretehappy accidentrealizations of compositions from wandelweiser’s michael pisaro & improviser taku sugimoto (discrete as in pisaro takes one of the stereo channels, sugimoto the other) recorded on different continents then combined w/o each players’ knowledge of the othersperformance ...
erstwhile press release...

michael pisaro/taku sugimoto - 2 seconds / b minor / wave

erstwhile 061
total time: 60:04

michael pisaro and taku sugimoto are not generally closely associated, but have quite a bit in common. both are composers whose primary instrument is the guitar, both have close ties to the wandelweiser collective (pisaro is a longtime member), and both have pursued their unique paths without much concern as to how the rest of the world will perceive them. 2 seconds/b minor/wave marks their first collaboration, but these aesthetic overlaps allow their independently conceived recorded parts to fit together remarkably naturally.

michael pisaro has been associated with the wandelweiser collective since just after their formation in the early nineties. the departure points for his music were john cage's ideas of the durational frame, ben johnston's work with alternate tunings, christian wolff's opening of the relationship between composition and performance, and alvin lucier and james tenney's use of scientific hypotheses to explore sound phenomena. pisaro has spent much of the last decade making field recordings, and occasionally using them in his work. much of his recent composition, and especially the work with his primary collaborator, percussionist greg stuart, has concerned the massing and then the spatialization of sound to create 'homemade' environments. pisaro lives in southern california, teaching at the california institute of the arts, running the experimental music workshop, and curating his own recently launched recording imprint, gravity wave. this is his first recording for erstwhile.

currently sugimoto's interest focuses on composition and its performance, rather than improvisation. with taku unami and masahiko okura, sugimoto organizes the almost-monthly chamber music concert at loop-line and the irregular taku sugimoto composition series at kid ailack art hall, both in tokyo. he runs the label slub music, which in addition to sugimoto's own recordings has released cds by other japanese musicians as well as wandelweiser mainstays radu malfatti and antoine beuger. he has just issued the first four discs compiling the abovementioned composition series, a strong statement on two double cds documenting his work over the past few years. this is his second recording for erstwhile after 2000's seminal the world turned upside down, and he also took part in the amplify 2002 festival in tokyo and is featured on the box set of that event.

2 seconds/b minor/wave is a long distance collaboration, with each musician composing and recording their own parts, before hearing what the other had done. pulse, pitch and wave were the three areas they wanted to explore on the three pieces, and  loose rules/guidelines were agreed on beforehand, as follows: '2 seconds' was a unit of pulse, either as a basic unit or a point of departure; 'b minor' was a key, with sugimoto playing harmony and pisaro playing melody: and 'wave', with no further details, simply whatever that word brought to mind. this was the extent of the specific discussion between the two, and thus the entirely fluid melding of the results is a testament to their deep understanding of the other's aesthetic/s. yuko zama's intuitively empathetic design is a perfect symbiotic fit for the music contained within. 

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threads:
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erstwhile (usa) #erstwhile 060 cd

radu malfatti / keith roweΦ” triple compact disc set

  • exact dimension without insistence (frey) (20:14)
  • solo with accompaniment (cardew) (26:09)

  • nariyamu (malfatti) (39:23)
  • pollock '82 (rowe) (18:00)

  • improvisation (1) (6:18)
  • improvisation (2) (43:54)
april 2011 release ; four compositions (by jürg frey, cornelius cardew, radu, and keith, respectively) and an improvisation from these two leading lights of the contemporary improvised music sphere, expertly captured over three days in vienna by christoph amann ...

given malfatti’s involvement, the pieces are expectedly spare, with a lingering sense of anticipation marking the proceedings herein ... some of keith’s feistiest, most keening playing in years (listen to the central section of the sound-sample, to your left) to boot ...
erstwhile press release...

radu malfatti / keith rowe φ

erstwhile 060-3
total time: 157:04

keith rowe and radu malfatti are two of the most influential experimental musicians in recent decades, each with extensive bodies of highly distinctive work and a combined 80+ years at the forefront of their respective areas of exploration. on φ, their first meeting ever is documented via one disc of selected compositions (frey and cardew), one disc of their own compositions, and one disc of improv.

radu malfatti has been a major presence in the european free improv scene since the early seventies. he's been a member of such stellar bands as the brotherhood of breath, the london jazz composers' orchestra, and the king ubu orchestra, as well as countless small groups. malfatti's recent focus on developing a unique style of superspare, tranquil music led him to join the wandelweiser collective, a group of like-minded composers, in 1994. since 2006, malfatti has been releasing recordings spanning the past 12 years of his compositions on his own b-boim label, which cumulatively are one of the important bodies of work of recent times. φ is his third release for erstwhile, following 2001's groundbreaking dach and 2009's gorgeous imaoto (recorded at amann studios like φ) .

keith rowe was in the forefront of the initial wave of european free improvisation, co-founding the amm collective in 1965 and originating the tabletop guitar. the tabletop guitar has remained at the center of his ever-evolving table of electronics and gadgets ever since, becoming increasingly stripped down and minimal in recent years. having mostly performed within amm until the late 90s, he’s since been involved in a wide range of projects, including a slew of the most prominent erstwhile releases. he’s the cornerstone musician of the label, and his wide range of releases over the last decade stands with the strongest bodies of work of the last century in improvised music.

malfatti and rowe met in vienna in november 2010, their first musical meeting of any kind, for three days of recordings at amann studios. they began with jürg frey's exact dimension without insistence, selected by malfatti, then proceeded onto cornelius cardew's solo with accompaniment, selected by rowe. next was malfatti's nariyamu, then a version of rowe's pollock '82, and lastly an extended improv. almost all of the recordings are included on φ in the order in which they were made, and three of the four compositions (excluding the frey) only required one take. the playing order allowed the two musicians to gradually build a rapport of sorts, finding a remarkable amount of common ground despite their widely differing perspectives. the progression over the three days and the connections between the pieces are quite evident, leading to an improvisation meeting that is both confident and thoroughly uneasy.

φ is housed in a stunning eight panel digipak, the four outside panels contain original paper on paper artwork by rowe and the inside panels contain photos of the scores and a photo of the musicians with recording engineer christoph amann.


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erstwhile (usa) #erstwhile 055 cd

radu malfatti / klaus filipimaoto” compact disc

  • oto (30:55)
  • ima (19:28)
october 2009 release ; lovely set of decidedlylowercase” improvisations pairing radu malfatti’s metal-tube resonance(s) & assorted “extendedinstrumental sonorities with klausllooppfilip’s pure-tone synthesis (often working with difference tones ; listen to the segment in the sound-sample) ...
erstwhile press release...

radu malfatti/ klaus filip imaoto

erstwhile 055
total time: 50:23

radu malfatti trombone
klaus filip sinewaves

since the early nineties, vienna-based radu malfatti has been investigating the edges of ultraminimalism in both his composed and improvised work. on imaoto, he is joined by empathetic explorer klaus filip to create an instant classic.

radu malfatti has been a major presence in the european free improv scene since the early seventies. he's been a member of such stellar bands as the brotherhood of breath, the london jazz composers' orchestra, and the king ubu orchestra, as well as countless small groups. malfatti's recent focus on developing a unique style of superspare, tranquil music led him to join the wandelweiser collective, a group of like-minded composers, in 1994. since 2006, malfatti has been releasing recordings spanning the past 12 years of his compositions on his own b-boim label, which cumulatively are one of the important bodies of work of recent times. imaoto is his second release for erstwhile, following 2001's superb and influential dach.

klaus filip has been involved in the experimental music world since the early nineties in a wide range of capacities. he invented the open-source software lloopp, which is used by many prominent laptop improvisers, including christian fennesz and christof kurzmann. filip only has a handful of releases, most notably aluk (w/toshi nakamura), los glissandinos - stand clear (w/kai fagaschinski), and building excess (w/malfatti, mattin, and dean roberts). filip's music has become increasingly minimal in recent years, searching for the limits of perception, in loudness and movement. imaoto is his first release for erstwhile.

malfatti and filip have performed a handful of duo concerts over the years, with the first in 2003. in 2006, they played a remarkable set in maria chavez's houndstooth store in nyc, a very memorable show for the couple of dozen listeners in attendance as well as for the musicians themselves. in october 2008, they spent a day at amann studios and recorded the two pieces that make up imaoto. the results are undeniably gorgeous, musical, and impeccably recorded. the ultraminimalist aesthetic of the music is echoed in yuko zama's sparse design.

this is probably the most beautiful radu malfatti's trombone has ever sounded on a recording. it is deep but not heavy, attaining, in christoph amann's studio, a very personal, nearly vocal presence. klaus filip works miracles of intuition with his sine tones, seemingly knowing the precise harmonic answer even before the question is asked. the two are exploring a world of hidden contours and curves, quietly, step-by-step; never hurried, never tedious.

- michael pisaro


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threads:
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guitar-themed

erstwhile (usa) #erstwhile 054 cd

keith rowe / sachiko mcontact” double compact disc set

  • square (41:22)
  • oval (28:04)

  • rectangle (31:21)
  • circle (20:00)
august 2009 release ; complete transcription of keith& sachiko’s set at the “amplify 2008: light” festival, plus a series of three additional pieces recorded at kid ailack art hall during the same stretch ...
erstwhile press release...

keith rowe / sachiko m contact

erstwhile 054-2
total time: 120:46

keith rowe guitar, electronics
sachiko m sine wave (1.1, 1.2, 2.1), contact microphone (2.2)

keith rowe and sachiko m are two of the most pivotal and crucial musicians in experimental music today. contact marks their first meeting as a duo, consisting of their complete unedited sessions, both live and studio.

keith rowe was in the forefront of the initial wave of european free improvisation, co-founding the amm collective in 1965 and originating the tabletop guitar. the tabletop guitar has remained at the center of his ever-evolving table of electronics and gadgets ever since, becoming increasingly stripped down and minimal in recent years. having mostly performed within amm until the late 90's, he's since been involved in a wide range of projects, including a slew of the most prominent erstwhile releases. he's the cornerstone musician of the label, and his wide range of releases over the last decade stands with the strongest bodies of work of the last century in improvised music. contact contains the third of his four live sets from the amplify 2008: light festival in tokyo, with two previously released in the erstlive series and the fourth to come later this year, a duo with toshimaru nakamura, completing the tetralogy.

sachiko m is best known for her innovative use of the sampler, extracting pure, piercing sine waves from the device's built-in test tones and forging an original and much-imitated sound. more recently, she has expanded her palette through the use of contact microphones. sachiko has worked extensively as a solo artist, as well as in groups such as cosmos, filament, and i.s.o., and in duo with toshimaru nakamura. she shared the 2003 prix ars electronica with ami yoshida and utah kawasaki, and founded the groundbreaking amoebic label. this is her sixth record for erstwhile, and she has an erstsolo release in the works for 2010.

rowe and sachiko have primarily travelled parallel paths over the last decade, occasionally intersecting. they both recorded crucial duo cds with toshi nakamura in 2000-2001, first sachiko with 'do', then keith soon after with 'weather sky'. in 2004, they both took part in the 230 minute long quartet set documented on erstlive 005, along with nakamura and otomo yoshihide. in september 2008, rowe played four sets in three nights in the amplify 2008: light festival in tokyo. the festival marked rowe's fourth trip to japan in his 40+ year career, and the primary purpose behind his visit was to record in duo for the first time with sachiko.

contact contains the full unedited sessions from these two widely admired musicians who have deeply respected each other for the last decade. the two cds include the full amplify 2008: light performance, along with three additional pieces recorded in the same room two days later. contact covers a range of approaches over its two hour length, with the common factor being the always impeccable touch of these two gifted artists. the outside three panels of the digipak are a white on black drip painting from rowe, one of a series of six, two others of which can be seen on the cds themselves.

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 best of 2006 !!! 
erstwhile (usa) #erstwhile 046 cd

the four gentlemen of the guitarcloud” double compact disc set

  • perfect grass (23:47)
  • deformed veil (38:15)

  • yellow cloud (62:25)
just a superb set from the penultimate eai “super-group” of oren ambarchi, christian fennesz, toshimaru nakamura, and keith rowe; each invited to the table on account of their prior association with the electric guitar (with nakamura, the wrench-in-the mechanics that he is, defaulting here to his main instrument; the “no-input mixing board.”)

moments of fennesz-ian wash and bits of oren’s bass-heavy sine-bursts peek out from between the cracks, but for the most part the set is a veritable festival of micro-detail; those fond of rowe and nakamura’s duo work will be in familiar ground, albeit with a much fuller range and a near-constant ground-hum of tonal blur.

of the 50-odd erstwhile titles yet, this is most likely the best bet for getting your initial toe wet... the others will come naturally ...
erstwhile press release...
the four gentlemen of the guitar are:

keith rowe: guitar, electronics
oren ambarchi: guitar, electronics
christian fennesz: guitar, computer
toshimaru nakamura: no-input mixing board

keith rowe, oren ambarchi, christian fennesz and toshimaru nakamura are four of the most prominent and influential musicians in experimental music today, each with extensive discographies and distinctive styles. in mid-2004, they formed the four gentlemen of the guitar (4g), and played a series of shows in europe and canada, three of which are contained on cloud. the underlying concept of 4g is to unite four artists who each began their musical explorations as guitarists, keeping that mindset as a crucial underpinning of their work as they've each explored increasingly abstract territory, both with and without guitars.

rowe's history has been well documented at this point. having mostly performed within amm until the late 90's, he's since been involved in a wide range of projects, including a slew of the most prominent erstwhile releases. he's the cornerstone musician for the label, and the 4g grouping was his idea.

ambarchi is making his erstwhile debut (except for the 7 guitar disc in the amplify 2002 box set). born in sydney in 1969, he has been performing live since 1986. his recent work as a solo artist on touch is very well known and respected, and he's been working with rowe in various small groupings since 2000. ambarchi is also co-organiser of the what is music? festival, australia's premier annual showcase of local and international experimental music.fennesz, known to a wider audience for his studio-constructed records like endless summer and venice, is also a superb collaborative improviser, as documented on projects like fenno'berg (w/ jim o'rourke and pita), wrapped islands (w/ polwechsel), live at the lu (w/ rowe), and erstlive 004 (w/ sachiko m, otomo yoshihide, and peter rehberg).

since 1998, nakamura has been exploring the possibilities of his "no-input mixing board" in contexts ranging from solo to collaborations with rowe, günter müller, sachiko m, andrea neumann, john butcher and sean meehan. nakamura was a prominent presence throughout the amplify 2002 box set, appearing on five of the seven cds, an integral part of the good morning good night and erstlive 005 releases, and will be releasing the much-anticipated follow up to the highly acclaimed weather sky cd with rowe in early 2006.there have been two larger group releases featuring three of these four musicians, afternoon tea (ritornell) has rowe, ambarchi and fennesz, and the 7 guitar disc on the amplify 2002 box has rowe, ambarchi and nakamura, but the 4g project is the first time all four have performed together. cloud contains three performances (from vand'ouevre, paris and victoriaville) from their seven city tour in may/june 2004, totalling over two hours of music. the widely differing aesthetics of the four musicians meld fluidly, forming hovering, delicate masses of sound. the packaging meshes rowe's striking cover painting with friederike paetzold's eyecatching design.

|| the four gentlemen of the guitar ||

at the centre of this project is the guitar, perhaps the world's most ubiquitous instrument. here we are looking at its extended possibilities - that is to say rather than summing up guitar-ness in a picasso-like way, we would be more interested in mondrianesque extensions.

christian and toshi, although both guitar players, have performed in public mostly on instruments that have become physical and musical extensions of the guitar. in my case, along with oren, we preserved the basic form of the guitar, obviously exploring its "non-guitarlike" possibilities, but always maintaining its essential "guitar-ness".

how might a japanese, an australian, an austrian and an englishman with very different musical and artistic personalities explore in real-time the world's most global instrument, incorporating boomerang loop stations, digital effects, mixing boards, computers etc.?

the quartet form "at first was a medium that allowed four gentlemen amateurs to converse musically"*, and from haydn's time became the appropriate medium that produced music of the deepest personal expression and contemplative profundity.so here we have four gentlemen, the guitar, a conversation between the analog and the digital, the north and the south.

keith rowe

* "the string quartet" a history, paul griffiths

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erstwhile (usa) #erstwhile 019 cd

greg kelley / jason lescalleetforlorn green” compact disc

  • man on the outside   (9:00)
  • conquest of the earth   (27:00)
  • tight spot   (8:00)
  • autumn leaves   (10:00)
erstwhile press release...
greg kelley: trumpetjason lescalleet: tape loops, computerover the last few years, the boston/cambridge improv scene has emerged as potentially the most exciting in the us. greg kelley and jason lescalleet are two of the most compelling figures in this scene.kelley, a stunningly original trumpeter, graduated from the peabody conservatory of music in 1995. he has since garnered much praise for his unique vocabulary of extended techniques and timbral manipulation. in 1998, kelley began a pattern of dedicated touring, performing throughout the united states, europe, and japan. these travels have led to numerous collaborations, including ones with anthony braxton, paul lovens, keiji haino, eddie prevost, kevin drumm and john butcher. kelley is best known for his work in the duo nmperign with bhob rainey and for his breathtaking solo record on meniscus, simply titled trumpet.lescalleet has been working with different styles of music for over a decade, focusing on the use of tapes for much of that period. in live performance, he uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. he blends layers of ambient tapeloops, moving through levels of silence and white noise, all transformed through cheap microphones and trashed speakers. for his studio work, lescalleet uses the computer as a processing and organizational tool. he has worked with such wide-ranging artists as francisco lopez, donald miller, achim wollscheid, and john hudak.kelley and lescalleet first met in early 1998. the following year, lescalleet joined nmperign for the first in a series of collaborations culminating in the release of a split cd ‘in which the silent-partner director is no longer able to make his point to the industrial dreamer’ (intransitive). eventually, the duo project documented here materialized: the outcome of three years of enthusiastic aesthetic discussions, performances containing near silences one night or (literal) showers of sparks on another, countless phone calls and emails, and endless listening. forlorn green is the end result of four recording dates, two live collaborations, one recording of kelley solo, and one recording of kelley under lescalleet's direction, employing uncommon recording equpment and unconventional techniques. forlorn green merges a remarkable variety of neo-industrial rumbles and incisive interruptions, all flawlessly fused and integrated, creating a lo-fi concréte masterpiece.

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erstwhile (usa) #erstwhile 018 cd

keith rowe / toshimaru nakamuraweather sky” compact disc

  • weather sky #1   (40:32)
  • weather sky #2   (5:02)
  • weather sky #3   (27:26)
erstwhile press release...
keith rowe: tabletop guitar, electronicstoshimaru nakamura: no-input mixing boardkeith rowe and toshimaru nakamura are two of the most important musicians in the world today. fans of each other’s work, they began to collaborate in early 2001, and have created in weather sky a timeless work of art.rowe, who is best known for his groundbreaking work with amm (the seminal improvising collective he co-founded in 1965 with eddie prévost and lou gare), also currently leads the music in movement electronic orchestra, an all-star group featuring many of europe's premier electronic musicians. over the last few years, rowe has also been pursuing numerous projects outside of his two primary projects, releasing superb records with burkhard beins (grain, on zarek), günter müller/taku sugimoto (the world turned upside down, on erstwhile), as well as his solo work, most recently documented on the difficult to digest but very strong harsh (grob).nakamura plays the "no-input mixing board", connecting the input of the board to the output, then manipulating the resultant feedback. since 1998, he's been exploring the possibilities of his instrument in contexts ranging from solo to collaborations with sachiko m, andrea neumann, and the duo project repeat with drummer jason kahn. nakamura is also a co-founder of the improvisation meeting at bar aoyama, a monthly concert series in tokyo, which recently changed its name and location to meeting at off site, and has toured europe quite frequently over the last few years, to widespread acclaim.weather sky was recorded in saint-etienne, france in june 2001, and consists of three live improvisations totalling 73 minutes. both musicians almost entirely sublimate their egos throughout, creating a pure abstract feedback, with occasional flecks of sound jumping to the foreground, coalescing to produce a sense of eternity.

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erstwhile (usa) #erstwhile 011 cd

otomo yoshihide / voice crackbits, bots & signs” compact disc

  • @@@ 1   (16:53)
  • @@@ 2   (6:35)
  • @@@ 3   (14:03)
  • @@@ 4   (8:51)
  • @@@ 5   (11:44)
erstwhile press release...
otomo yoshihide: electronicsnorbert möslang: cracked everyday-electronicsandy guhl: cracked everyday-electronicsotomo yoshihide has explored the nature of sound in many different ways during his career. otomo formed the hugely influential group ground zero in 1990, leading the project through numerous incarnations until its conclusion in 1998, as documented on the epic last concert (amoebic). over the last few years, otomo has become increasingly interested in minimal wave-based electronics, as heard in his filament and i.s.o projects. other projects which he is currently involved in include his new jazz quintet, who play standards from composers such as ornette coleman, gerry mulligan and eric dolphy, as well as original tunes by otomo, all refracted through his unique sensibilities. otomo has also composed numerous soundtracks for movies, and has written numerous articles and essays for japanese music publications.swiss duo voice crack (norbert möslang and andy guhl) have been playing together since 1972. in 1977, they released the then underappreciated deep voices lp (fmp, reissued on cd by urthona), which they created largely with acoustic instruments. since 1983, they've been exclusively working with "cracked everyday-electronics", modifying and/or abusing numerous small household machines in order to produce extreme, unique noises. voice crack's current projects include their longstanding collaborative partnership with borbetomagus, poire_z with günter müller and erik m., as well as their solo work, well documented with such superb recent releases as below beyond above (uhlang) and shock_late (entenpfuhl). they also have a collaborarative disc in the works with jérôme noetinger and lionel marchetti, which will be released on grob in 2001.bits, bots and signs documents the long overdue first meeting of these pioneers, recorded in march 2000 in st. gallen, switzerland, although as möslang says, "from the beginning, it was as if we had played together for a long time." the three musicians generate gently pulsing rumbles, piercing whistles and lingering whines, fusing these varied sounds into a series of expansive panoramas. the striking cover drawing was created by swiss artist alex hanniman.

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erstwhile (usa) #erstwhile 009 cd

dean roberts / werner dafeldeckeraluminium” compact disc

  • rock and roll part 4   (10:34)
  • rock and roll part 5   (30:03)
erstwhile press release...
dean roberts: guitar, electronics and percussionwerner dafeldecker: guitar, electronics and percussiondean roberts and werner dafeldecker seem unlikely collaborators at first glance.roberts, who originally hails from new zealand, began his career delving into guitar drones and feedback, both in the trio thela and on his own, under the name white winged moth. he founded the label formacentric disk in order to document a wider range of his work, and released four projects in two years. in 1998, he began working with the influential german label mille plateaux, who put out his much acclaimed all cracked medias, and earlier this year, and the black moths play the grand cinema, on their more experimental sublabel ritornell.dafeldecker, a lifelong resident of vienna, is probably best known for being an integral member of the improv supergroup polwechsel, as well as for founding and running the influential label durian. he's composed numerous pieces for various classical ensembles, and also appears on two recent notable cds, printer (durian), and martin siewert's komfort 2000 (charhizma). originally primarily a bassist, dafeldecker has been working more with guitar and electronics recently, both of which he plays to great effect on aluminium.aluminium was recorded during a marathon studio session in vienna in april, and was brilliantly mastered by tim barnes. both musicians play guitar and electronics, along with occasional percussion on a hi-hat placed between them. on the first track, dafeldecker's sine wave electronics intersect with roberts' rough guitar textures, priming the listener's aural palette for the marathon track which follows. this half hour long piece is a atmospheric exploration fusing the legacy of amm with the spirit of rock and roll.

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minimalism-drones
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 best of 2007 !!! 
erstwhile (usa) #erstsolo 002 cd
erstsolo (united states) #erstsolo 002 cd

toshimaru nakamuramaruto” compact disc

  • maruto (46:14)
september 2011 release ; ... 46 minutes of deep feedback arcs, slowly accruing in an analog maze of cheap bias-mismatched op-amps, occasionally erupting into blasts of static & crackle ... all from the man who invented the technique & subsequent language associated with “no-input xxx” ...

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 $13.44

new to stock as of
september 18th, 2012


threads:
concert-recordings
modern-composition
minimalism-drones

erstwhile (usa) #erstlive 009 cd
erstlive (usa) #erstlive 009 cd

antoine beugererstlive 009” compact disc

  • s'approcher s'éloigner s'absenter (51:38)
september 2012 release ; ... a live-recorded performance of “wandelweiser” composer antoine beuger’s pain-staking composition “s'approcher s'éloigner s'absenter” by the trio of ben owen, barry chabala, and dominic lash ...
erstwhile press release...

erstlive 009: antoine beuger - s'approcher s'éloigner s'absenter

in september 2011, erstwhile producer jon abbey was invited to curate two weeks of shows at john zorn's legendary manhattan venue the stone, which he used as an opportunity to invite many of his favorite musicians from japan, europe and the us to perform. a second three night festival at issue project room was later appended onto the end, making the amplify 2011: stones festival a 35 set, 17 night extravaganza in all.


this world premiere piece, written by german composer (and wandelweiser founder) beuger specifically for this festival and these musicians (ben owen, barry chabala and dominic lash, l to r) and dedicated to abbey, opened the first night of the festival, setting a fantastic tone and high standard for the weeks of music to follow.

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 $13.44

back in stock as of
september 18th, 2012

first in stock on
february 7th, 2009


threads:
electro-acoustic-improvisation
concert-recordings
guitar-themed
plunder-phonic

erstwhile (usa) #erstlive 007 cd
erstlive (usa) #erstlive 007 cd

keith roweerstlive 007” compact disc

  • (36:32)
december 2008 release ; keith rowe’s solo set from the amplify 2008: light festival ...

picking up where “the room” ‘s meticulously crafted patterns left off, this set is an improv concerned largely with scraping, nail-file guitar scrabble & plundered / re-used radio broadcasts (largely of afternoon “light” classical) ; the occasional beds of needle-thin ground-hum & bias-altered hysteresis largely go un-noticed until they’re suddenly removed, revealing an onion-skin array of sharp particles & dust ...

always a pleasure to hear the man work ...
erstwhile press release...
keith rowe
erstlive 007
total time: 36:32

keith rowe guitar, electronics

erstlive is a series of releases from erstwhile records, documenting notable live sets associated with the label. the discs are designed to simulate a concert experience, each in the same template design using two colors chosen by the musicians involved, with a photo of the concert on the back cover.

erstlive 007 is a solo set from keith rowe, and took place on the second night of the amplify 2008: light festival in tokyo in september 2008. this was rowe's first ever solo set in tokyo in his 40+ year career.

previous record label:
 erstsolo 
...and that's everything on erstwhile in stock.
(why not take a look at the previous and next labels?)
next record label:
 esp-disk’ 
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... this page was last updated on wednesday, october 22nd, 2014 @ 11:07 am