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previous record label: expansive		there are 18 titles on experimental intermedia in stock. they are listed below.		next record label: expo norr

$33.61

new to stock as of
february 11th, 2009

threads:
digital-musics
sound-art
sound-installation

experimental intermedia (usa) #xi 133 dvd
xi records (usa) #xi 133 dvd

michael j. schumacher “five sound installations” digital versatile disc

room piece twenty-four
noema
steiner suite
unintending
scene

experimental intermedia press release...

michael j. schumacher
five sound installations

a dvd-rom (for mac and pc) that contains 5 sound compositions generated in ‘real time’ by a computer algorithm.

note: these compositions must be installed on a computer to be heard. instructions are enclosed. minimum system requirements: pc: windows xp, vista, 1 gig processor speed, 5 gig free disc space. mac: os 10.3 or higher, 1 gig processor speed, 5 gig free disc space.

sound art, algorithmic composition, chance operations, multi-channel sound systems, immersive installations, computer music; these terms all intersect at a point defined by the new xi release "5si" by mjs. schumacher is a composer, curator (he runs diapason, ny's only "sound art" gallery), and performer, and has been creating computer-generated installations for close to 20 years. his output includes 5 solo cds, but these were by necessity adaptations of works designed for more or less "permanent" listening situations, in which auditors could explore various modes of listening within sound environments. these works were composed with installation settings in mind, they had no "beginning-middle-end" (even out of order) in the traditional sense. for the cd releases, the pieces needed to be manipulated in various ways to accomodate the medium. a better way needed to be found.

schumacher has always been interested in creating algorithmic works that extend the boundaries of the genre, investing them with 100s of constituent parts that form sonic mobiles in space and time. now he presents the ambitious (and technically savvy) listener with a means to experience schumacher's installations in the home, through up to 8 separate speaker channels and for as long as the computer keeps running. no question, this is not an ipod experience! for some, just understanding the reason for such a project will be difficult. but the composer and xi believe that the time is apt for challenging a complacent public and industry.

this release, more than anything else, is a challenge to break boundaries in both content and distribution, a call for a new way of thinking about sound in the home, which is more than ever the predominant place for listening. think of the ipod shuffle: "life is random". cage said it (more or less), 50 years ago. the pieces on 5si are random as well, but within limits defined by the composer. each piece has its own character, exploring a group of sounds that interact both temporally and spatially, continuously recontextualizing each other. each piece is also quite distinct from the others, each an exploration of a particular mood, feeling, or soundscape. though not "interactive" in the narrow sense of the word, 5si makes considerable demands on the listener in terms of setting up and refining the sound system.

part of the reason for this release as a dvd, as opposed to a web release, is the size of the files. each piece contains, in addition to the algorithmic "instructions" that "play" the sounds, up to 1.5 gigabytes of high quality soundfiles. these include recordings of improvising musicians that are manipulated in real time, field recordings, and recordings of analog synthesizers, an obsession of the composer's. mjs was uncompromising about the soundfiles, many are long, so that no "looping" is apparent. they are all 44.1, 16bit, no compression. even so, given the increasing speeds of the internet, it is presumed that in the future, as operating systems are updated, that new versions of the pieces will need to be made available through download. already, an itunes movie is often 1+gigabytes.

so the key issue of updates is addressable. each time a piece is played it will be different. though the mood and sounds will be recognizable, the specifics will change. as the piece plays, more and more combinations of the elements will reveal themselves, more and more interesting and unpredicted simultaneities will occur. the listener will also discover new experiences, as different modes of listening become apparent. the pieces are at times ambient or immersive, and much in between. in short, they acknowledge the complexity of the listening experience. schumacher has created a page on his website devoted to 5si, where he will post, if necessary, answers to questions about installation and playback, as well as updates to the program as operating systems change.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 132 cd
xi records (usa) #xi 132 cd

david watson “fingering an idea” double compact disc set

dexter • music for highland bagpipe
sinister • music for acoustic and electric guitars

experimental intermedia press release...

david watson
fingering an idea

2 cds for the price of 1

i first heard david watson some 25 or more years ago at a small festival in tasmania. exotic location - and so was the music. i was astonished by a highly developed bowed guitar technique - up there with one of my favourite bowed guitar exponents, davey williams of alabama. the watson concert demonstrated a concentration and fascination with long tones and tuning. fast forward on some years, and i heard the same guitarist playing in downtown new york, where he had decamped, playing in an improvised guitar style very much indicative of the place and its cultural environment. that's not a negative assessment, just noticing a change of aesthetic values.

then at the end of the 1990s, we met again in berlin. david was there primarily to play in the exiles festival. and yes he had brought his guitar and yes also his bagpipes. somehow the haptic feedback of these two instruments seemed so far removed from one another, i couldn't imagine how they ended up in the same pair of hands; the physiological processes are so different for each instrument.

then there is this recording. although the forward velocity is purposefully restricted, there is plenty of tonal development - it's just that it jumps straight over the equal tempered system and into other notions of tuning and scale - notably and happily unavoidably the harmonic series remains central to this organization of tones. something akin to clanging church bells from hell - the overtones inherent in the basic chords being heavily accentuated. odd things happen on judgment day, as you would expect from a player as opposed to a composer; unexpected clonks, squeaks, clicks, scrapes, adjustments are continually being addressed to the sonic states of each tuning regime.

meanwhile back at bagpipe central, the bag is being squeezed mercilessly. simple integer intervals of 5/4 and 6/5 (major and minor thirds) are being messed with as the listener is lead to mecca but never quite allowed to enter the gates. the 3/2 interval and bastion of western music also wobbles under the wheezing strain. disciples of just intonation should probably avoid this album. -jon rose (from the liner notes)

fingering an idea (a phrase pulled from a chris mann piece) resulted from a phill niblock invitation to make a double cd for bagpipe and guitar. a bagpipe cd is a particular challenge. a high beam spatial explorer, it is the kind of unstable phenomena that is hard to enjoyably reproduce on your stereo player. the first pipe recording session was an ensemble piece, the score including walks around the concert hall. the second, a solo multi-track session. the third with rob ramirez, recorded material was played back in the concert hall through an eight-channel msp patch. a carnival of colliding pans, exits and entrances, re-recorded for stereo.

for "sinister", an old cassette recorded at amica bunker was the original germ. a sequence of re-tuning and de-stringing, starting with six strings pitched across a whole-tone and ending with an improvisation on one string. this old piece was dusted off and reworked through an image of bell-ringing, another outdoors vernacular. - david watson

$12.61

new to stock as of
february 11th, 2009

threads:
digital-musics
modern-composition
electro-acoustic-composition
electro-acoustic-improvisation

experimental intermedia (usa) #xi 131 cd
xi records (usa) #xi 131 cd

matt rogalsky “memory like water” double compact disc set

resonate (noise) (13:06)
resonate (tones) (26:04)
kash (violin) (22:48)
kash (guitars) (14:08)
sprawl (western magnetics) (22:44)
kash (radios) (24:38)
transform (31:19)

experimental intermedia press release...

matt rogalsky
memory like water

the six (or seven) pieces on these cds document live performance works which span 1996 to the present. most of the solo pieces are structured improvisations, in that they have a broad form which is repeated from performance to performance while the detail is always quite different. the collaborative pieces are less formalized and depend hugely upon the input of my co-performers. i am very grateful to have worked with them.

conceived as two halves of a single piece, resonate (noise) and resonate (tones) seamlessly crossfade from one to the other. both are sustained-sound pieces, the first exploring noise textures, the second exploring dense, quasi-orchestral harmonic territory. both pieces employ original software which generates sound using a type of granular synthesis, triggering sampled sources many hundreds of times per second.

the three works entitled kash are all related in that they employ the same original software instrument (of that name) initially developed in 2001 and still in use today. this software enables me to interact with live performers (or other sound sources) in fluid and lively improvisational situations, accumulating and processing fragments of low-level sounds (the "spaces between the notes"). the three performances with my kash instrument represented here show how very different the outcomes can be, depending on who (or what) my co-performers are. in each case, all the electronic sound is derived from their real-time input.

kash (vln) is a collaborative improvisation between myself and violinist jane henry, recorded live. jane is a composer-performer whose performance techniques involve, among other things, use of multiple violin bows made of different abrasive materials. kash (gtrs) is a live studio recording featuring my brothers benjamin and luke rogalsky on steel-string acoustic guitars. this performance was an improvisation based on a few suggestions as to overall structure. kash (radios) is a live recording made before an audience at experimental intermedia in new york city on march 8 2001. in this case, the "performers" with whom i am interacting are two radios, tuned to talk stations. the radios are faintly heard at the beginning of the piece, but soon the direct sound disappears and only the processed sound remains.

sprawl (western magnetics) is a document of a live solo performance. as with kash, sprawl is a software instrument still in current use, which i developed to be employed in many different improvisational situations. input from a live performer, or any other sound source, can be sampled and explored at the micro-level using a granular synthesis technique controlled by an computer graphics tablet. many textural layers of sound can be built up to a dense wall of sound but equally delicate melodic lines can be drawn out as well. on this occasion the input sounds were provided by my brother luke rogalsky.

transform is a manipulation of a live radio signal, tuned to any music station; the frequency content of the source radio program is brought out by a series of tunable delays which create strong harmonic resonances. these harmonies are constantly shifting throughout the piece, which is performed in two sections, the first relatively quiet and the second fairly loud, where the processing used causes the radio to take on the character of an electric guitar constantly on the verge of feedback. overlaid on the resonant radio in the middle and end sections are sounds of a quite different character generated with electronic feedback loops. the underlying radio signal may sometimes be heard emerging from the dense processed sound.

- matt rogalsky

$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
modern-composition
minimalism-drones
guitar-themed
concert-recordings
field-recordings
sound-art
plunder-phonic

experimental intermedia (usa) #xi 128 cd
xi records (usa) #xi 128 cd

alan licht “a new york minute” double compact disc set

double-disc set of alan’s minimalist / sound-art / guitar work !!

disc 1: studio

a new york minute (15:17)
freaky friday (19:23)
muhammed ali & the crickets (6:41)
another sky (5:31)

disc 2: live

14, second, fifth (37:21)
remington khan (hearing test mix/12-string version) (38:48)

... recent collection of long-form pieces by alan licht ; love how this runs the gamut from noisy, plunderphonic-style pieces that wouldn’t be out of place on his siltbreeze / corpus hermeticum sides (i.e. the raucous “muhammed ali & the crickets” - listen to the sound-sample) to plaintive, minimal pieces far more relevant to the company he’s now keeping over @ xi ... if you’ve only ever heard alan as a guitar / electronics improviser, check this out for another side of the coin altogether ...

experimental intermedia press release...

alan licht
a new york minute

alan licht wears many hats. over the years, he's been a curator of music as well as a tireless performer. and he's as well-known an author as he is a musician. it's one thing to have eclectic tastes; it's another to make a practice of them.

while licht's earlier records have seamlessly melded his improvisational guitar playing with extended plundered sounds, a new york minute takes things a few steps further. instead of fusing the many sides of licht into one monolithic mega-mix, this disc separates them into discreet compositions. there's a lot more at stake here: the guitar pieces are showcased as guitar pieces and the plundered works are just that. the conceptual tendencies in licht no longer hide behind his talent as a guitarist; likewise, the guitar pieces are no longer propped on hooky concepts that take our attention away from his fretwork. the good news is that both work: licht is as strong a conceptual artist as he is a composer. (kenneth goldsmith, liner note writer)

...

a new york minute lasts 2 cds long: the title track consists of compiled, multi-tracked weather-reports from everyday in january 2001 in the city. well, there we got our addictive quality of a repetition of the same but not quite the same. in the differences, those slots and gaps we fill in our desire, in that mood between active and passive in a sort of state of weakness lies sensuality, fluidity, moments of lust whatever. there is nothing we can do about the weather. but it is the most basic piece of information everybody takes in and processes all the time. and why not transformation in a minute or so, becoming part of it all.

"remington khan" the longest track of all, recorded live, functions as a purely musical companion to "a new york minute". it keeps going and going goes on and on till you feel the boundaries of consciousness, pushing you forward, softly. restrained, full of weird little moments, feelings, small sound patterns, that build up. somewhere in there a kind of singing. an odd kind of expression of a collective voice. a perfect deep deadpan moment.

"14 second fifth," the other live track, is a loop that lasts 14 seconds, of a perfect fifth (pitch internal).

"another sky" is pure calm, balm, yet within the realm of the unpredictable, causing a heightened attentiveness in the listener. patterns reversing patterns, very subtle shifts and balances, made out of multi-tracked chord organ (one of those portable organs with an electric motor). becoming organ. it ends on a very light note, but will resonate for a while. (jutta koether, liner note writer)

$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)

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)

$12.61

new to stock as of
february 11th, 2009

threads:
sound-art
electro-acoustic-composition
concert-recordings

experimental intermedia (usa) #xi 126 cd
xi records (usa) #xi 126 cd

gen ken montgomery “pondfloorsample” double compact disc set

static/hiss
father demo swears
radiator i (excerpt)
keystone model cc 16
egnekn's fridge - the beat of the refrigerator, freezer side (excerpt)
bath drain;
bird eating (excerpt)
crayoning around (excerpt)
laminator model 2291
egg slicer and...
fusebox - contemplating columbus
goafish breath
shortwave band
storage devices
rewinding shadowland
pondfloorsample and more...;
droneskiploopclick
the aquarium fishtank symphony
knäckerbröt action

experimental intermedia press release...

gen ken montgomery pondfloorsample these two discs represent some of gen ken montgomery's sound art and compositional work from 1981-2001. pondfloorsample is a collection of sonic explorations utilizing common devices meant to hold something other than sound. as with much of his sound work, the sonic material contains many sounds of everyday life. having composed extensively for multi-channels, pondfloorsample was specifically designed as a stereo audio piece enabling montgomery to reach a larger audience.

his work always begins with listening to the world. he works within processes, defining a set of conditions by which a piece will unfold itself. sometimes he takes the familiar - sounds of icebreakers, radiators, laminators, egg slicers, bath drains, etc. - amplifying their familiarity, all the time asking us to hear the world a little differently. other times he constructs a vapor of mesmerizing sound that is entirely disassociated with things that you know or instruments that can be visualized. these are sounds that you can see. he has a cage-ian appreciation of ambient noise.

although never a formal "student" of the academic "new york school" - the tradition of cage and tudor followed by lucier, behrman, mumma, collins, kuivila, demarinis and others - he is an influential artist in this field. he created his own school, so to speak, of do-it-yourself electronics, assimilating the works of the aforementioned artists and complementing them with his own inside experience of new york performance music. and then there is the bridge he makes to european techno roots; his longtime friendship with conrad schnitzler and frequent audio projects for german audiences and galleries. he listens, assimilates, creates, and paints new experiences with sound.

- thom holmes (from the liner notes)

gen ken montgomery (b. 1957) is a sound artist living and working in new york since 1978.

without formal training in music and art, montgomery has been deeply involved in the experimental music and art scene in new york city and abroad. with roots in mail art and cassette culture networking, montgomery has been involved internationally as a sound artist and as a presenter of sound art.

as an artist gen ken montgomery’s sound works have been heard on tape, vinyl and cd. he has composed sound for film, video, theater and installations. he has performed solo and collaborated with many other artists. of special interest has been the creation and presentation of multi-channel sound works performed or exhibited in total darkness. whether as an artist or as a presenter, montgomery’s greatest inspiration has been the creation of spaces for listening.

as a producer, montgomery was one of the original founders of generations unlimited and the pogus productions labels of experimental music, and in 1989, founded generator, the first sound art gallery in new york city. montgomery has been a guest curator and has assisted other curators for a variety of projects specializing in sound art and experimental music. presently he co-directs generator sound art inc., a resource for sound art.

montgomery has been selected for artist residencies at spritzenhaus in hamburg, germany and harvestworks studio p.a.s.s. in new york city. he was the recipient of experimental television center’s finishing funds grant in 2001, media alliance sound art fellowship in 2000, and the foundation for contemporary performance arts grant in 1992. he has performed in solo concerts and collaborations at the whitney museum, roulette, experimental intermedia foundation, the kitchen, and p.s. 122, among others.

$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
modern-composition
fluxus
sound-art

experimental intermedia (usa) #xi 125 cd
xi records (usa) #xi 125 cd

philip corner “40 years and one” compact disc

7 joyous flashes (3:45)
concerto for housekeeper (5:58)
short piano piece iv (2:51)
short piano piece ix (2:07)
short piano piece xiii (1:50)
flux & form no. 2 (solo) (4:01)
flux & form no. 2 (3 versions mixed) (4:39)
pulse: a ‘keyboard dance’/c major chord (25:43)
"perfect" (on the strings) (21:49)

experimental intermedia press release...

philip corner
40 years and one

“this man and his work represent the real "speculum musicae" of the past 40 years. the example of his music embodies a lifelong commitment to an integral radicalism. . . . this is a venerable tradition that philip has written so eloquently about, and continued in his music. a tradition that stems from "charlie" ives through john cage and lou harrison. all of these composers would ultimately admonish us to do one thing: to open our ears--and listen!” —peter garland

“perhaps the single most striking quality of corner’s piano music, beyond the pleasure of the music, is the crystal clarity of the concepts. corner moves purposefully from deep musical thought via these concepts to highly pianistic compositions with a broad range of affect, much as bach moves from his deep music via contrapuntal forms to the unfolding of his keyboard works. there is love for the piano, and in recording the works, and, in relationship to it, the choice mastering techniques for each work. there he was joyful.” —charlie morrow

“when philip plays the piano he always makes me imagine that music is a single great continuum, and that we always live in all of it. we may hear it a portion at a time, but we always live in all of it. i am moved by the ease with which he leads me from here to here to here, each different, always now, always familiar, always remembered, yet unexpected, like watching the change, return and passing of the seasons. in addition to making music, he shows me the reasons for making music.” —henry martin

“always there is the presence of touch as play upon, within, around the piano; his playing, the keyboard and frame of instrument singing, of fingers, palms, arms and body, whole... by touch releasing, through gesture sounding, and always mind/sense being one... the piano thereby is transformed, qualities of percussion and human voice all possible, extended and endlessly fulfilled with nuances of articulation and resonance.” — malcolm goldstein

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition
sound-art

experimental intermedia (usa) #xi 124 cd
xi records (usa) #xi 124 cd

ellen band “90% post consumer sound” compact disc

railroad gamelan (9:39) 1992
swinging sings (12:02) 1992
radiatore (19:38) 1998
closet bird (excerpt) (8:05) 1976
minimally tough (11:26) 1997

experimental intermedia press release...

ellen band
90% post consumer sound

excerpts from the liner notes by tim perkis:

ellen band’s work . . . lies in the path it takes, leading one from listening to recordings of natural sounds to, before one knows it, being immersed in a dense and complex field of sound which, though built completely from natural elements, is something quite transcendent and otherworldly.

band’s music seduces us into perceiving the sensuous properties of familiar sounds by building dense and complex sound environments out of these elements. by sheer sensory density we are brought face-to-face with the physical, vibrational reality of sounds, bringing us to a state of attention to what we perhaps have lazily ignored through over-familiarity.

the ever-active yet somehow static nature of some of these pieces, as they reach very rich sonic densities, start opening like rich noise sources, providing a field for auditory illusion and hallucination. it’s as if our perceptual apparatus, brought to a high state of awareness by the odd combination of familiarity and extreme density, begins providing its own guesses about the meaning of it all --aural hallucinations.

excerpts from the liner notes by brenda hutchinson:

at the end of each of ellen band's pieces, we return to the "real world" as it was heard in the beginning. the sounds are now full of memories with the residue of where they have been. it's hard to hear a simple, familiar sound again without imagining what it's "other life" is like.

$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
1980s-electronic
electro-acoustic-composition
field-recordings
musique-concrète
free-improvisation
sound-poetry
anti-music

experimental intermedia (usa) #xi 120 cd
xi records (usa) #xi 120 cd

malcolm goldstein “the seasons: vermont” compact disc

summer (16:26)
autumn (12:30)
winter (25:10)
spring (7:52)
soundings for solo violin (11:08)

... recent cd reissue of this landmark early 80s tape piece by malcolm goldstein (originally issued by folkways in 1983) , with a bonus “sounding” for solo violin ...

this piece was a recent discovery of mine, the track-down spurred on by the 2009 alga marghen survey of his early tape-music ; despite the pastoral theme here (i.e. vermont’s flowing green landscape) much of this piece gets into fairly visceral territories (listen to the sound-sample for a particularly active spot of euro-improv skronk and anti-music lineage scrabbling) ...

experimental intermedia press release...

malcolm goldstein
the seasons: vermont

the seasons: vermont (60:26) 1980-82

musicians:
robert black
mark steven brooks
joseph celli
malcolm goldstein
tom guralnick
brian johnson
kenneth karpowicz

soundings for solo violin (1997) 10:49

malcolm goldstein, violin

the seasons: vermont is a soundscape of vermont as charted through the changes of its yearly soundings. it is a composition in four parts (summer, autumn, winter, spring) for magnetic tape collage with an unspecified live instrumental/vocal ensemble. though the actual composing of the music was completed between 1980 and 1982, it is the realization of a ten-year composition project.

goldstein listened closely and became attuned to what was the particular sound quality of each season in vermont. he then took the sounds that he had recorded and made a tape collage which, for him, arrived at that particular, essential quality of each season. this recording is the complete, unedited premiere perfomance that took place on feb. 26 1983 at real art ways in hartford, ct. the booklet contains examples of the scores as well as excerpts from goldstein's journals from 1977-1982.

“there are recordings of everything here, from birdsongs and gushing brooks, to chainsaws and persnickity car motors: all are used to evoke the seasonal changes one may experience during a typical year in rural vermont. along with the literal reproductions of scrunching snow, crickets, and old-fashioned brass bands, we are treated to the largely improvised commentary of a fine array of experimental players.” - cadence

this disc also includes a recording of goldstein's soundings for solo violin. soundings are improvisations exploring the rich sound possibilities of the violin. melodies of sound (timbre/texture/articulation) are created that evolve out of the interplay between the resonance of the violin and the gesture of the violinist.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 116 cd
xi records (usa) #xi 116 cd

peter zummo “experimenting with household chemicals” compact disc

fresh batteries (6:57)
includes free information (17:33)
sung, played, heard (13:45)
rocket scientist (9:45)
in three movements (9:54)
peaceful transportation (10:50)

experimental intermedia press release...

peter zummo
experimenting with household chemicals

peter zummo has been composing since 1967 and has performed his works for solo trombone and ensemble worldwide. he was a significant early founder of the 1970s and 1980s musical movement that included integrating and reinterpreting various genres, including western classical-music experimentation, american popular music and jazz, and the indigenous music of non-western cultures.

zummo is a wind player whose own performance is an integral part of his compositions. he has pioneered extended trombone techniques and also uses the dijeridoo, euphonium, synthesizers, and his voice in performance. he has an affection for band music and has main tained ensembles in new york city since 1976, including the peter zummo orchestras, zummo labs, the environmental combo, and the intermediate combo. most of the original group members are working with him to this day. his compositions for ensemble typically build on original melodies and melodic fragments, generating interactive situations in which the musicians explore the boundaries of common and extended practice.

an important subset of his compositions has been the many works created for choreographers. in 1985 he won a bessie award for a score for lateral pass, by trisha brown; two years later he collaborated with visual artist donald judd to create the score for brown's newark.

zummo's recordings are available on loris records as well as xi.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 114 cd
xi records (usa) #xi 114 cd

mary ellen childs “kilter” compact disc

four of one another (11:27)
parterre (14:35)
the capacity of calm endurance (12:05)
whistling in the dark (9:35)
kilter (9:12)
night (3:49)

experimental intermedia press release...

mary ellen childs
kilter

when i'm asked, as a composer, to describe what i do, i usually say that my work follows two parallel tracks: instrumental music and visual-musical pieces. the second category is harder to define (it includes pieces for crash cymbal players on roller stools, pieces with lighting design, videowall pieces) but, ironically, it's easier to talk about. i can talk about the visual component, my un-composer-like working methods, the uniqueness of the forms. but it's the first category that comprises this collection.

musical language is abstract. that's one of the reasons i was drawn to it as a means of expression. which means that it's not easy to talk about my instrumental pieces. what do i say? they are conceived in abstract terms and constructed in musical thought. i can't say what they are "about." there are no stories, no literal themes.

there are no complex musical structures or procedure sense of balance, my own internal logic. i proceed from moment to moment asking myself "what seems to want to happen next?" "what next?" following my musical logic at any given ahead and making the details fit some overall scheme.

i use no unusual notation. there are no unusual working processes, though i have developed relationships with nearly all the musicians for whom i write. the capacity of calm endurance was written for anthony de mare four of one of another for the kronos quartet, and parterre for relache. i knew all of these musicians before i wrote pieces for them. guy klucevsek, for instance, i've been writing for and having dinner with for the last ten years. i'm convinced that something of my knowledge of someone finds its way into a piece, though i couldn't tell you what or exactly how that happens.

and so, in the spirit of kilter, that word that is used only in the pi its opposite, i'll let this no-description be a description of sorts, an telling you what i'm not, what my music is not, i've given you some information about both of us. the rest, i hope, is contained in those instrumental abstractions, and one song, that make up this collection.

- mary ellen childs

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 113 cd
xi records (usa) #xi 113 cd

daniel goode “clarinet songs” compact disc

whittling (11:04)
reed squeak and after image (3:59)
slendro drum (3:42)
clarinet drum (2:05)
slendro (9:41)
square wave walk (1:47)
stream flow with irregularities (10:39)
clarinet baby (5:00)
six new fractal fingers (3:14)
six fractal fingers (3:14)
clarinet trumpet (4:21)
#2 (3:25)
higher song (3:45)
long distance (2:57)
eine kleine (3:02)
reveille at night (1:10)

experimental intermedia press release...

daniel goode
clarinet songs

daniel goode's clarinet songs has long been a favorite on the new music concert circuit. it is a 75- minute suite for solo clarinet which goode began writing for himself in 1979, and reached its current form in 1991. it uses all of goode's virtuosic techniques distilled into sixteen "songs without words," a poetics of the new clarinet. it is made up of a series of individual pieces, each a sound world of its own, based on some unique material, perhaps a specific technical, poetic, or sonic idea, or some synthesis of these. most use circular breathing for continuity and use alternate fingerings which produce non-tempered intervals with unusual, striking timbres.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 112 cd
xi records (usa) #xi 112 cd

alison cameron “raw sangudo ” compact disc

raw sangudo (8:29) 1986
runa (16:42) 1990
gibbous moon (13:54) 1991
the chamber of statues (13:07) 1987
a blank sheet of metal (26:06) 1987

experimental intermedia press release...

allison cameron
raw sangudo

featuring:
sound pressure
les coucous bénévoles
arraymusic

allison cameron's compositions can be characterized as rigorous forms within which specific sound worlds are explored. she experiments with the physicality of sound on various instruments, using pithy material to exploit instrumental colours. most of her works to date have been written for a variety of chamber ensembles encompassing both traditional and unusual groups of instruments.

$12.61

new to stock as of
february 11th, 2009

threads:
concert-recordings
modern-composition

experimental intermedia (usa) #xi 108 cd
xi records (usa) #xi 108 cd

fast forward “same same ” compact disc

simultaneous music (27:32)
the yin-yang merger (20:26)
feeding frenzy (24:45)

experimental intermedia press release...

fast forward
same same

with:
takehisa kosugi
david moss
ben neill
ikue mori
david shea
james lo
yuval gabay
guy klucevsek
michelle kinney
alex tobias

fast forward is a composer and performer best known for his compositions for percussion, and music theatre works for diverse instrumentation. his compositions push the juxtapositions of structured rhythms and total chaos to their limit, delivering a sonically dense and theatrically gripping performance. same same is a collection of live recordings from three concerts which took place in new york city during the period 1990-1994.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 107 cd
xi records (usa) #xi 107 cd

mary jane leach “celestial fires” compact disc

bruckstuck (12:42)
feu de joie (8:51)
green mountain madrigal (8:44)
mountain echoes (11:04)
trio for duo (10:10)
ariel's song (10:50)

experimental intermedia press release...

mary jane leach
celestial fires

featuring
new york treble singers
shannon peet
barbara held
mary jane leach

the works of mary jane leach explore the physicality of sound, working very carefully with the timbres of instruments, creating combination, difference, and interference tones. space is also an important concern: how sound changes when it is moved around a room.

celestial fires features the new york treble singers, (virginia davidson, conductor) performing four 8-part pieces for a capella women's voices; shannon peet performing feu de joie for 7 bassoons; and barbara held and ms. leach performing trio for duo for alto flute and voice.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 106 cd
xi records (usa) #xi 106 cd

tom johnson “music for 88” compact disc

eighty-eights (5:20)
mersenne numbers (7:45)
multiplication table (7:08)
pascal's triangle (16:32)
euler's harmonies (5:35)
abundant numbers (17:50)

experimental intermedia press release...

tom johnson
music for 88

simplicity and clarity have always been among tom johnson's chief concerns as a composer. that concern led him to research number theory, particularly by pascal, fermat, and euclid, and these sources suggested musical structures somewhat more complicated than those that he had used before. music for 88 is the result of these researches. it contains nine sections (six of which are on this recording), each of which is a musical demonstration of a mathematical phenomenon.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 104 cd
xi records (usa) #xi 104 cd

guy klucevsek “flying vegetables of the apocalypse” compact disc

union hall (17:30)
fez up (3:59)
loosening up the queen (5:03)
waltzing above ground (9:14)
reprieve (4:07)
perusal (9:13)
flying vegetables of the apocalypse (3:59)
blue window (3:56)
the grass, if it is blue (ain't nothin' but a polka) (2:14)

experimental intermedia press release...

guy klucevsek
flying vegetables of the apocalypse

guy klucevsek is teaching the accordion to whoop and wheeze in strange new ways. once condemned to drunken requests for who stole the kishka and happy wanderer, this virtuoso now plays deconstructed, reconstructed art songs and dance tunes, translated into a metalanguage of his own making. his is a musical esperanto fashioned from hocketed melodies, giddy with arabesques; henry cowell-style tone clusters; the eerie difference tones of "acoustic phenomena" composer pauline oliveros; the hypnotic phasing and locomotive ostinatos of early minimalism; low register drones punctuated by high register yips, in a manner reminiscent of scottish bagpipe and bulgarian accordion music; dark, gyorgi ligeti-ish sound clouds, lit from within by lightning-like melodic flickerings; the metric modulations of elliot carter; a morton feldmanesque sense of grand gestures, and of microscopic movements; an appropriation aesthetic shared with john zorn and other new york avant-gardists; and a rollicking, roisterous energy borrowed from dance forms and folk music the world over.

in flying vegetables of the apocalypse, klucevsek gives us a postmodern conundrum: dance music informed by avant-garde styles designed to be listened to in a straight-backed chair, wearing starched duds and too-tight shoes; art music enlivened by dance musics best appreciated while slipping and sliding over sweat-slick floors. it is, refreshingly, a holistic postmodernism rather than an explosion in the toontown sounds effects department. the identities of the slavic, south american, and american idioms from which the composer draws inspiration are preserved, while the twentieth century classicism that is his anchor remains unshakable.

ensemble pieces for strings, percussion, guitars, and woodwinds on flying vegetables of the apocalypse feature bobby previte, tom cora, david hofstra, john king, laura seaton, and more.

$12.61

back in stock as of
february 11th, 2009

first in stock on
march 9th, 2007

threads:
modern-composition
guitar-themed
minimalism-drones

experimental intermedia (usa) #xi 102 cd
xi records (usa) #xi 102 cd

lois v. vierk “simoom” compact disc

go guitars (12:06)
cirrus (18:43)
simoom (20:34)

... have always loved the title track of this disc ; 12-minutes of punky overdubbed electric guitar coming from the same lower-east-side primordials that birthed glenn branca, rhys chatham, et.al ...

experimental intermedia press release...

lois v vierk
simoom

lois v vierk creates music whose distinctiveness flows from a mixture of the intense analytical disciplines of her composition teacher leonard stein, and the gentle admonitions of her japanese court music teacher suenobu togi to "just do it."

the influences of vierk's long study of gagaku (the imperial court music of japan) do not show on the surface. rather they are heard in knowing that what has happened and what will happen are part of a sure path toward fulfillment. gagaku unfolds with ceremonious slowness. time seems to be suspended before the taiko drum sounds its next musical heartbeat. but the drum does sound, and when it does, it divides the music that has just passed and that which is to follow, all part of an elegant musical order. the elegance and order of vierk's music, like gagaku, touch the heart of the person who listens, who takes time, who is open.

on simoom we hear three of vierk's works for "big instruments," that is, multiples of the same instrument, treated more like single entities than like groups of voices: go guitars for five electric guitars tuned microtonally around "e," cirrus for six trumpets, and simoom for eight cellos.

all three works employ what vierk describes as "exponential structure," which utilizes exponential relationships to control time, pitch movement and rates of change. within this system, vierk creates very directional compositions possessing high energy. as in gagaku, they unfold slowly. although clearly building on the work of minimalist composers, vierk's music is much more concerned with constant development and climax.

this disc offers virtuoso performances by david seidel, electric guitar; gary trosclair, trumpet; and theodore mook, cello.

previous record label:
expansive

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

next record label:
expo norr

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... this page was last updated on sunday, may 19th, 2013 @ 7:11 pm