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previous record label: pnl		there are 46 titles on pogus in stock. they are listed below.		next record label: polyfusia

$18.91

new to stock as of
january 6th, 2011

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

best of 2011 !!!

pogus (usa) #p 21057 cd

alvin lucier “almost new york” double compact disc set

twonings (26:33)
almost new york (24:18)
broken line (12:21)
coda variations (1) (6:47)
coda variations (2) (6:40)
coda variations (3) (6:43)
coda variations (4) (7:00)
coda variations (5) (7:05)
coda variations (6) (6:50)
coda variations (7) (7:41)

january 2011 release ; utterly fantastic collection of pieces by alvin lucier, heard here working in his classic “crossings” mode (the title track is especially awe-inspiring / ear-cleansing - listen to the sound-sample) via expert-level realizations by charles curtis, robin hayward, joseph kubera, and others ...

highly recommended !!!

pogus press release...

21057-2, 2 cds

alvin lucier

almost new york

cd 1
twonings: charles curtis, cello; joseph kubera, piano
almost new york: robert dick, flutes
broken line: robert dick, flute; danny tunick, vibraphone; joseph kubera, piano

cd 2
coda variations: robin hayward, tuba

pogus is extremely delighted to release this 2 cd set of recordings of works by alvin lucier. he is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. a unique and individual artist: no one sounds quite like alvin lucier.

lucier writes about the genesis of the works on this release:

since the early 1980's i have made a series of works for conventional musical instruments. before that time i had been mainly occupied with the exploration of such phenomena as echolocation, brain waves, room acoustics and the visual representation of sound. often these works required special equipment-hand held pulse wave oscillators (vespers), differential amplifiers (music for solo performer), horseshoe magnets (music on a long thin wire). then players began asking me for pieces. now i needed to find a way of achieving the same poetry with acoustic instruments as i did with electronic means.

one of the things i discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. often, to get continuous motion, i have one or more voices sweep up or down at various speeds against fixed sustained pitches. as a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. almost new york employs slow sweep pure wave oscillators, broken line, flute glissandi. in twonings two different tuning systems collide and in coda variations slight variations in pitch are heard chronologically.

recorded by charles curtis, joseph kubera, robert dick, danny tunick, and robin hayward - some of the leading new music performers of our era, these works are essential additions to the alvin lucier oeuvre, as well as satisfying anyone interested in great experimental music.

$10.92

back in stock as of
january 6th, 2011

first in stock on
october 20th, 2009

threads:
musique-concrète
plunder-phonic
electro-acoustic-composition
field-recordings
film-video

pogus (usa) #p 21052 cd

lionel marchetti / olivier capparos “eqqus • grand véhicule” compact disc

eqqus (1) (6:56)
eqqus (2) (16:41)
eqqus (3) (9:28)

september 2009 release ; once again, the inimitable lionel marchetti (working with recent partner-in-crime olivier capparos) unleashes an impeccable 33’33” suite of musique concrète (composed at the ina-grm during 2001-2002) drawn from “presences sonores et voix” by john oswald, pierre henry, pierre schaeffer, jean-luc godard, henri chopin, hans bellmer, charley patton (?), ingram marshall, charlton heston (?!?), alfred hitchcock (!?), and “divers hasards radiophoniques” ...

while the sliding, sub-low-end figures remind me a little of the recent/excellent g*park “reuters” lp, i don’t even have a framework for the austere, plunderphonic organizations the two get up to herein, with snatches of familiar foley & dialogue interwoven into the running narrative ... highly recommended !!!

pogus press release...

21052-2, 33 min. cd

lionel marchetti & olivier capparos
equus

equus is a collaborative work of musique concrète recorded in 2001-02 on a commission from the ina grm it is truly a delight for pogus to add this title to our catalog. as capparos notes:

equus guides us through human memory and history. it may sound a bit strange that sound & music would appear as a "vehicle", or as we had cast a lead into a labyrinth. this brings us to the question of whether we are alive or not; travelling the path throughout these soundings would drive us down and up our consciousness and our listening, not to mention that we are dead or alive.

olivier capparos is an instrumental and electro-acoustic composer whose work encompasses philosophy and literature as well as music. many of his compositions are focused on voice and its interpretation through loudspeakers. capparos was composer in residence at the ina-grm in paris (2001), the studio national des arts contemporains du fresnoy (2002 3), and at the argos center in bruxelles (2004). he has composed and conducted works for chamber orchestra, voice (soprano), violin, and piano, and has co-produced many other recordings and radio broadcasts with lionel marchetti throughout their long association.

lionel marchetti was born in france in 1967. his interest in music resides in the qualities of sound. he started to experiment by himself and later discovered the rich french corpus of musique concrète through xavier garcia. he is one of a handful of artists who in the mid- to-late 1990s took electro-acoustic music out of academic studios and into the free improvisation ring. a scholar who worked at the cfmi (lyon) and ina-grm studios and published a book on acousmatic composer michel chion, marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared cds, motors and radios. he often refers to his instruments as an “electro-acoustic contraption”. his musique concrète studio work incorporates sound collage and academic electro-acoustic composition, though the level of poetry and refusal of genre boundaries in his music puts him closer to kristoff k. roll and luc ferrari than pierre henry or bernard parmegiani. following his encounter with metamkine label owner and fellow sound experimentalist jérôme noetinger in the early 1990s, a series of live and improvisation-based projects would run parallel to his more academic career. the marchetti-noetinger duo was the first of such projects and remains the longest lasting one. they are also involved in the audio- visual project le cube. in addition, marchetti performs with the influential improv collective archipel (with emmanuel petit, sophie agnel, fabrice charles, pascal bathus, and werchowski).

$12.61

back in stock as of
january 6th, 2011

first in stock on
october 20th, 2009

threads:
electro-acoustic-improvisation
guitar-themed

pogus (usa) #p 21051 cd

tom hamilton / bruce eisenbeil “shadow machine” compact disc

dusting off dada
dryer mouth
shadow machine
dot dot dot
mars fell on alabama
walleye spawn
the salt eaters
little left on the left
silver through a straw

march 2009 release ; nord modular & electric guitar duets between tom hamilton & bruce eisenbeil ...

while eisenbeil’s playing rarely gets beyond a sort of post-derek scrabble, hamilton’s crackly, keening pointillism keeps a few tricks up it’s sleeve, dotting the pavement with stray blobs of discordant oscillator spazz-out & some fine, crispy dc-offset ...

pogus press release...

21051-2 cd

tom hamilton / bruce eisenbeil
shadow machine

nord modular synthesizer / guitar

shadow machine is the first cd by tom hamilton and bruce eisenbeil, who began playing music together in 2007. coherence without predictability, speed without tempo, direction without a roadmap - an unlikely foray into the world of out-jazz and free improvisation.

it's a duo that thwarts expectations of its specific instrumentation. the artists hybridize the language of electronic sound through eisenbeil's guitar and hamilton's virtual analog synthesizer, and the live-in-the-studio tracks insure that the performances impart maximum physicality and spontaneity.

their aim is to generate new forms, new ways of listening, new definitions of music. equal rights for all sounds is one goal, and since each musician is a maximalist, a dizzying array of sounds and techniques are employed to sustain a visceral experience. contrasting sonic elements are played one against another, simultaneously and successively. modern jazz and improvised music have just now begun to really embrace the language and sounds of electronics; these two artists are positioned on the forefront of a trend that aims to subvert orthodoxy and challenge old assumptions.

tom hamilton has been composing and performing for over 40 years, and his work with electronic music originated in the late-60s era of analog synthesis. he often explores the interaction of many simultaneous layers of activity, prompting the use of "present-time listening" on the part of both performer and listener. hamilton appears on synthesizer in his own ensembles, and has participated in groups led by peter zummo, david soldier, and michael schumacher. he has recently performed with thomas buckner, lisle ellis, chris mann, al margolis, and jacqueline martelle. hamilton was a 2005 fellow of the civitella ranieri center in umbria, italy. his cd london fix received an award in the 2004 prix ars electronica. he is a longtime member of composer robert ashley's touring opera ensemble, and his work can be found in over 60 cd releases of new and experimental music.

composer/guitarist bruce eisenbeil was born in chicago in 1963 and grew up in plainfield, nj. he began playing the guitar when he was four and performing professionally since he was 15. throughout the 1980’s he played jazz and r&b. since then he has performed and/or recorded with: cecil taylor, david murray, evan parker, ellery eskelin, karl berger, perry robinson, milford graves, badal roy, andrew cyrille, edgar bateman, nasheet waits, lukas ligeti and many others. he has twelve cd's released on a variety of labels, including: esp, nemu, konnex, cadence, c.i.m.p., and nine winds. recent recordings include totem, inner constellation, and home again.

$37.81

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
modern-composition
1960s-electronic
1970s-electronic
analogue-synth
circuit-bending
live-electronic
minimalism-drones
electro-acoustic-composition
electro-acoustic-improvisation

best of 2009 !!!

pogus (usa) #p 21050 cd

“source records 1-6 • music of the avant garde, 1968-1971” triple compact disc set

robert ashley - the wolfman (15:36)
david behrman - wave train (15:37)
larry austin - accidents (17:12)
allan bryant - pitch out (17:43)
alvin lucier - i am sitting in a room (15:19)
arthur woodbury - velox (10:13)
mark riener - phlegethon (5:11)
larry austin - caritas (15:09)
stanley lunetta - moosack machine (15:06)
lowell cross - video ii (b) / (c) / (l) (15:28)
arrigo lora-totino - english phonemes (14:58)
alvin curran - magic carpet (15:04)
annea lockwood - tiger balm (10:26)

february 2009 release ; astoundingly great collection of some of the classic pieces from the 60s avant-garde / live electronic music wave presented here as originally issued (in chronological order) by larry austin & stanley lunetta via their “source: music of the avant garde” magazine & 10” record series between 1967 and 1973 ...

given the covetable / legendary nature of the original issues, the appearance of this set is highly welcome ; aside from the alternate versions of such classic pieces such as robert ashley’s “the wolfman” and alvin lucier’s “i am sitting in a room,” i found myself leaping out of my seat more often than not to check the credits of pieces with which i wasn’t already familiar ; in fact at the tail-end of the 1-2-3-4 punch of the second disc’s arthur woodbury - mark riener - larry austin - stanley lunetta quadfecta (listen to the sound-sample for the lunetta) i wondered out loud if i had the input-selector switch wrong & was instead listening to the new hanson tape ...

this is a major reissue project ; no follower of mid 20th century composition / sound-art practice and or the historic origins of noise should be caught dead without it ...

pogus press release...

21050-2 3 cds

source records 1-6
music of the avant garde, 1968-1971

the digital reissue of the source lp's on 3 cds

pogus is extremely proud to reissue the recordings included in the seminal new music journal, source: music of the avant garde, vols. 1-6, issues 1-11, source records 1-6, 1967-1973. the original six ten-inch lp source records contained some of the most important experimental music of the nineteen-sixties to mid nineteen-seventies and they have now been reissued as a 3 cd set. source ended publication in 1973, having published, since 1967 , contemporary musical materials, scores, articles, interviews, photo essays and recordings over seven years, with up to 2000 subscribers to the semiannual journal: the subscribers avidly anticipated receiving two new and critically acclaimed issues each year during that period.

most of the original tape masters for the records, after over forty years, have vanished or have seriously deteriorated; hence, we have carefully transferred, noise-reduced, and crackle-removed all the actual lp record tracks to the digital medium, then mastered to the compact disc format for this reissue: the result is an authentic recreation of the original lp, characteristic sound.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

pogus (usa) #p 21049 cd

noah creshevsky / if,bwana “favorite encores” compact disc

noah creshevsky - mari kimura redux (5:46)
if, bwana - xyloxings (10:53)
noah creshevsky - shadow of a doubt (15:06)
if, bwana - scraping scrafide (10:38)
noah creshevsky - intrada (3:46)
if, bwana - cicada #4: version barnard (10:06)
noah creshevsky - favorite encores (6:46)

pogus press release...

21049-2 cd

noah creshevsky / if,bwana
favorite encores

a split cd of works by noah creshevsky (4 tracks) and if, bwana (3 tracks). while on the face of it this may seem a somewhat odd pairing, the pieces recorded here comment on and highlight each other. and as the above quotes suggest, an aural adventure is indeed in the offing.

trained in composition by nadia boulanger in paris and luciano berio at juilliard, noah creshevsky has taught at juilliard, princeton university, and brooklyn college. he was director of the center for computer music (1994-2000) and is currently professor emeritus at brooklyn college of the city university of new york. his musical vocabulary consists largely of familiar bits of words, songs, and instrumental music that are edited but rarely subjected to electronic processing. the result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities. creshevsky's most recent hyperrealist compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. moments suggest musical environments of indeterminate ethnicity--simultaneously western and non-western, ancient and modern, familiar and unfamiliar.

hyperrealism is an electroacoustic musical language constructed from sounds that are recognizable parts of our shared environment ("realism"), handled in ways that are exaggerated or excessive ("hyper"). hyperrealist music exists in two basic genres. the first uses the sounds of traditional instruments that are pushed beyond the capacities of human performers in order to create superperformers--hypothetical virtuosos who transcend the limitations of individual performance capabilities (e.g., mari kimura redux, intrada, favorite encores). hyperrealism of the second genre aims to integrate vast and diverse sonic elements to produce an expressive and versatile musical language. its vocabulary is an inclusive, limitless sonic compendium, free of ethnic and national particularity (e.g., shadow of a doubt). hyperrealism celebrates bounty, either by the extravagant treatment of limited sound palettes or by the assembling and manipulating of substantially extended palettes.

al margolis has been working under the musical pseudonym if, bwana since new year's day 1984. there are often collaborators in this project‹both knowingly and unknowingly. both are represented on this recording. xyloxings was a concept-based work that in the end had the concept discarded for compositional considerations. lisa barnard's vocals were recorded with her direct knowledge. scraping scrafide uses a portion of tony scafide's piano part from a prior work of mine3 out of 4 ain't bad and processes it. cicada #4: barnard mix is part of my "discipline" series - an open set of works - and uses barnard's vocals from other sessions to create one of many possible versions of this work.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
modern-composition
electro-acoustic-composition

pogus (usa) #p 21048 cd

simon wickham-smith “love & lamentation” compact disc

sandokai (18:38)
the kin-kindness of beforehand (12:29)
love & lamentation

i. (15:52)
ii. (12:47)
iii. (14:01)

pogus press release...

21048-2 cd

simon wickham-smith
love & lamentation

simon wickham-smith was born on the south coast of england in february 1968 and graduated from king’s college, london in 1990 with a degree in english literature. whilst at university, he met richard youngs and from that meeting developed a friendship which has produced more recordings than he cares to remember. as a solo performer, he has played in australia, belgium, finland, france, holland, lithuania, the uk and the us and his work has been released on labels in australia, new zealand, the uk, and the us. not satisfied with making music, he has also been a buddhist monk in the tibetan tradition, and is also a translator and scholar of mongolian and tibetan literature.

the sandokai ("the harmony of difference and equality") is a prayer written by the eighth century japanese zen teacher sekito kisen. the basis for this piece was a tape given to wickham-smith by a nun of a recital at her monastery. he wanted to create of this sample a prayer without borders, a follow-up to an earlier work, ave regina caelorum (2000, released on extreme bukake [vhf65]), in which he used the latin plainsong of a prayer to the virgin mary in much the same way. the organ sample at the end is from a piece by erik satie, whose spirituality was equally strange and eclectic. all the samples have been stretched and pitch-shifted beyond (immediate) recognition; to the ears they have melded into something that seems at once both ethereal and solid.

the kin-kindness of beforehand grew out of his "multiple tongues" project, a series of pieces in which wickham-smith exposed the spoken word in many different languages to a series of digital manipulations. the kin-kindness of beforehand is divided up into several distinct sections, each of which took on a particular persona during its creation. for the composer, this was the most complex of all the "multiple tongues" works, because he wanted to use specific strings of words and the quality of writer rachel becker’s voice somehow to comment on each another.

love & lamentation started life as a setting for voice and electronics of part of the biblical book of lamentation, but it quickly became clear that the literal setting of words was not going to convey the melancholic intimacy that needed to be expressed. as a teenager wickham-smith had heard alain gheerbrant’s wonderful ethnomusicological recordings of a blind turkish troubador and had fallen hopelessly in love with his voice and exquisite playing of the saz. about the same time, through his friend richard youngs, he had discovered also the ex tempore psalm singing of the scottish isle of lewis. fifteen years later, he decided that these two could be made somehow to work together to show the love and lamentation which he felt they both held in their deeper recesses, and which he wanted to present in this new piece. the result is a strange melée of feelings, repetitions and textures. from time to time we hear a somewhat bizarre percussion sample, which he had first worked on in 2000. part 3 opens with an offcut from an unreleased (and now never-to-be-released) piece from 1999 called deaf piano. veysel’s voice starts the piece and revolves through part 2 in a kind of hippy trance love-in fashion. the congregation from lewis sing their melancholy in a sparser and maybe wilder way and die slowly away into the distance at the close.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
modern-composition
sound-poetry
electro-acoustic-composition

pogus (usa) #p 21047 cd

kenneth gaburo “lingua ii: maledetto • antiphony viii” compact disc

maledetto (45:14) 1973
antiphony viii (14:28) 1984

pogus press release...

21047-2 cd

kenneth gaburo
lingua ii: maledetto / antiphony viii

the work and thought of the american composer kenneth gaburo (1926-1993) exhibited many striking changes during his lifetime. in fact, while the world of commercial endeavor still insists that artists develop a recognizable personal "style," gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. some of these changes are beautifully illustrated by the two works on this cd, maledetto, for seven speaking voices, from 1967-68, and antiphony viii (revolution), for percussionist and electronic tape, from 1982-3. both are intricate and powerful works, both take their inspiration from "non-musical" materials, and both require virtuosity of a most uncommon order. however, beyond that, the two works could not be more different.

maledetto is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. it is one of the earliest of gaburo's works where his concern for holistic thinking and art-making comes to the fore. this sort of thinking was in the air, of course many works were written at this time that were multi-layered in their meaning and intent, but maledetto seems unique. it's combination of profundity and what might be called adolescent sniggering, and almost every emotional state in between, seems unprecedented. the subject of the piece is the word screw, in all its connotations, from the sexual to the mechanical, from the mildly obscene to the boisterous, with diversions along the way into topics such as perfume manufacture, printing, classical design, and structural linguistics, all of which connect with the small ridged, groovy object of attention.

speaking voices also figure in antiphony viii, but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. this work was created at least 15 years after maledetto, and the boisterous energy of the sexual revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various anti-nuclear movements of the 1980s. gaburo's attitude has also changed. if maledetto is a celebration, antiphony viii is a wake, and a wake-up call. not content merely to protest, or to document people's reactions, the percussion, electronics, concrete sounds, and voices in this piece each embody within them gaburo's analysis of the most common attitudes people have to the problem of governments treating them as expendable - helplessness, indifference, anger, uncertainty, and presents them all to us as a summary, and a questioning of our own attitudes to the problem. gaburo the deep analyst of phenomena is still here, but now his analytical mind is dissecting not just a problem, but the wide variety of people's responses to that problem both as a structural resource, and as a means perhaps of intuiting the way forward. - warren burt (from the liner notes)

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
electro-acoustic-composition
musique-concrète
modern-composition
minimalism-drones
analogue-synth

pogus (usa) #p 21046 cd

al margolis / if,bwana “an innocent, abroad” compact disc

an (10:52)
innocent (9:28)
, (11:54)
abroad (11:09)
issue (13:52)

pogus press release...

21046-2 cd

al margolis / if,bwana
an innocent, abroad

the new al margolis/if, bwana cd is comprised of issue, for electronics and multi-tracked voice, and an innocent, abroad, a 40 plus minute work for electronics, vocals, and flutes. an innocent, abroad can be best described as a sonic oratorio: an assemblage, a construction of an event that never happened or will happen. a live installation for radio, perhaps.

there is no "meaning" to the text. all parts were drawn or are inter-related to the original vocal track, recorded by lisa barnard, which is no longer present. the text/voice part has been multi-tracked and now represents five "separate entities". the electronic parts have been extracted and processed from the original vocal track. the five flute parts were performed by jane rigler and jacqueline martelle, and was be improvised by them. they recorded to the separate voice tracks. none of the performers heard the entire piece that they worked on.

lisa barnard is a vocalist and performance artist. most noted work is her interpretations of her dreams into original performances for deep listening institute's annual dream festivals. jacqueline martelle is a flutist and arts administrator, living in new york city since 1996. she performs new music and has recorded on the mode and centaur record labels. jane rigler, flutist, composer, educator and producer is an active featured performer in contemporary music festivals throughout the u.s. and europe as a soloist as well as within chamber ensembles

al margolis was one of the prime movers in the cassette underground scene of the 1980s (between 1984 and 1991 his sound of pig label released over 300 cassettes of music by the likes of merzbow, costes, amy denio, john hudak and jim o'rourke) and is the éminence grise behind twenty-three years of music under the name if, bwana. he is the man behind the pogus label, as well as label manager for deep listening, xi records, and mutable music.

the cd cover, vixen de milo, is a 20 year ongoing work by dan & detta andreana.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

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

pogus (usa) #p 21045 cd

annea lockwood “thousand year dreaming • floating world” compact disc

thousand year dreaming (1990)

breathing and dreaming (5:19)
the chi stirs (10:40)
floating in mid-air (9:55)
in full bloom (part 1) (10:10)
in full bloom (part 2) (6:52)
floating world (1999)

part 1 (6:02)
part 2 (14:08)
part 3 (15:55)

pogus press release...

21045-2 cd

annea lockwood
thousand year dreaming/floating world

performers on thousand year dreaming:

art baron, conch shell, trombone, didjeridu
libby van cleve, oboe, english horn
jon gibson, didjeridu
annea lockwood, voice
j.d. parran, clarinet, contrabass clarinet
michael pugliese, tam-tam, clapping sticks
n. scott robinson, conch shell, frame drums, pod rattle, tam-tam
john snyder, didjeridu, waterphone
charles wood, tam-tam, stones
peter zummo, trombone, didjeridu

thousand year dreaming (1990) was commissioned by essential music and was written with the musicians on this recording, their particular strengths and inclinations, very much in mind. it grew out of an improvisatory piece, nautilus, which art baron, scott robinson and lockwood realised in 1989. they found that the sound of conch shell trumpets, didjeridu and frame drums really flowered in the resonant spaces they were using for the piece. lockwood started imagining the sonorities possible with four didjeridus, gongs, conches and trombones and frame drums, all shaped by the penetrating and sensuous edge of oboes and clarinets.

four sections emerged to which she gave the subtitles: breathing and dreaming; the chi stirs; floating in mid-air; in full bloom. while most of the work is fully scored, it contains two improvisations: a duet for john snyder (didjeridu) and scott robinson (frame drum), and a section for all four didjeridus. in performance, at this point the four players wander amongst the audience, exploring the space’s acoustics, playing into a listener s shoulder here, a foot there - sonic massage.

when close to completing the piece lockwood realised that its underlying, generative idea was the gradual awakening and release of sonic energy, energy which i think of as coiled and latent, in breathing and dreaming, but with an embedded power which will nourish when summoned.

floating world (1999) is an immersion in place and transience. the composer invited friends who work with environmental sounds themselves, and who have a strong sense of place, to make recordings for her in places of personal, spiritual significance to them, so it is a collaborative work. from their field recordings (edited but not processed), and other sounds lockwood wove the slowly shifting texture forming floating world.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
modern-composition
guitar-themed

pogus (usa) #p 21042 cd

nick didkovsky “tube mouth bow string” compact disc

she closes her sister with heavy bones (6:41)
machinecore (4:17)
tube mouth bow string (12:27)
what sheep herd (21:07)
just a voice that bothered him (2:49)

pogus press release...

21042-2 cd

nick didkovsky
tube mouth bow string

she closes her sister with heavy bones, for electric guitar and string quartet; machinecore, for solo electric guitar and computer; tube mouth bow string, for string quartet, talkboxes, and harmonizer pedals; what sheep herd, for string quartet and computer; just a voice that bothered him, for string quartet

nick didkovsky electric guitar, tabletop guitar, homebrew software

sirius string quartet:
gregor huebner, meg okura, violins
ron lawrence, viola
dave eggar, cello

special guest barbara benary - chung hu on what sheep herd

these pieces are about the details of musical evolution that emerge from rule-based compositional systems. using electric guitar, string quartet, electronics, and computer software, we explored territories held together by systems of agreements, forms specified in software, real-time musical choices, and notation.

two of the compositions here, she closes her sister with heavy bones and what sheep herd, are process pieces whose scores fit very economically on one page. each score specifies melodic material and a short set of rules. the music precipitates from the interaction between the score’s specifications and the decisions that the musicians make during performance. by contrast, tube mouth bow string is a through-composed piece which notates foot pedal movements, vocal behavior, and bowed string performance, overflowing very uneconomically onto many pages which we pasted onto large poster boards and set before each player. though this piece leaves no real-time performance decisions to the ensemble, tube mouth is a process piece in a very real sense, as the process was first specified, executed, and auditioned in software, and finally transcribed to common music notation for live performers.

improvisation (simultaneously the easiest and the most difficult of all real-time process pieces to perform) is included here as well, with a solo machinecore performance providing a bridge between she closes and tube mouth. closing the cd, just a voice that bothered him sounds like it could have been composed systematically but evades rules instead, being composed intuitively by ear. the piece emerged in opposition to one vividly frustrating weekend of fruitless systematic composition, and for that, gets the last word.

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field-recordings
electro-acoustic-composition
sound-installation

pogus (usa) #p 21041 cd

“montreal sound matter • montréal matières sonore” compact disc

hélène prévost - la voix dans le sac / the voice in the bag (8:06)
steve heimbecker - sunday msm (8:02)
louis dufort - materio_ (8:00)
tomas phillips - white.gray (7:57)
chantal dumas - s/t w/t (7:00)
a_dontigny - in memoriam jane jacobs (4:49)
francisco lópez - untitled #188 [excerpt] (7:28)
mathieu lévesque - nouvelle maternite (5:32)

compilation of sound installation pieces & musique concrète based around a workshop given in montréal by francisco lópez.

pogus press release...

21041-2 cd

montreal sound matter / montréal matières sonore

works by francisco lópez / louis dufort / steve heimbecker / hélène prévost / mathieu lévesque / a_dontigny / chantal dumas / tomas phillips

montreal sound matter / montréal matières sonore brings together eight canadian and international sound artists. the project began with a workshop on environmental sound collecting by francisco lópez and led to the development of a collective sound project including an album, a sound installation, and a concert. this is the recording.

the artists create an immersive sound installation made up of fragments of montreal, which propose a reflection and a questioning on the city. far from being a postcard, these sound portraits suggest an abstract view of montreal made up of fragments modeled or transformed to the liking of the artists. through these places turned non-places and thus more or less unrecognizable, the pieces present an interesting variety of aesthetics, constructions and creative processes. - esther bourdages

...

“yet it is not about the city as a conglomerate of soundmarks or stereotyped symbolic elements--it does not aim at making a sound portrait or a representational creation. my proposal to all the participating artists involved in the project was to foresee the city --both outdoors and indoors, both the public and the private spaces-- as a constantly-changing generator of sound matter. the original source environmental recordings were carried out by the participating artists in montreal during april 2006, and we all shared the common pool of sound matter thus generated to create the individual pieces. i believe this is an interesting way of setting up a challenging situation in which we are dealing with a limited and intentionally restricted universe of sonic extractions of reality, and also -and more importantly-a straightforward way of proceeding to reveal the creative individual substance of each one of us.” - francisco lópez

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musique-concrète
electro-acoustic-composition
sound-poetry
analogue-synth
minimalism-drones

pogus (usa) #p 21040 cd

anla courtis “tape works” compact disc

asma de tía de alga (10:27) 1994
rastrillo-termotanque (3:01) 1995
jarabe de llanura (5:12) 1996
respiré un cordero (2:42) 1994
reducido a hemorragia de merluzas (11:32) 1995
studio for wire plugs (2:26) 1991
invisible clown sonata (2:52) 1998
encías de viento (16:27) 1996

killer disc of lo-fi tape music & electronic studies from reynols’ anla courtis; completely all over the map, from the electric-guitar based musique concrète of “asma de tía de alga” to the almost pietro-grossi-esque bleep-fest of “invisible clown sonata” (what a title!) to the epic closer “encías de viento.” highly recommended.

pogus press release...

21040-2 cd

anla courtis
tape works

anla courtis continues to produce music and was even quite prolific during his time in reynols. it goes without saying that courtis learned a thing or two from his experience in reynols; and there's a fundamental constant to all of his work: the cassette. one of reynols' most infamous albums blank tapes was pieced together from the endemic hiss from, you guessed it, blank tapes. far from being an empty album of silences, blank tapes is extraordinarily dynamic, amplifying the magnetic energy of the tape hiss into undulating fluctuations that mirror the somatic patterns of the human body. reynols' tapes have a heart beat, blood pumping through their veins, and oxygen rushing through their lungs.

this crudely built anthropomorphism continues in courtis' work today, as the cassette and the tape deck remain primary tools in his compositional sensibility. courtis himself explains: "well to be honest for many years the cassette was the only medium i had to record music. maybe this is because argentina is always a bit behind in technology, or because i was never interested in having "the new thing." it might sound ridiculous but mainly my overdubbing work until now has been basically in a portastudio. maybe, this is just an old friend i don't think is necessary to leave; but on the other hand, there is a lot you can do with 4 channels... i mean there is no sense to discard old technology because you have a new one. a pen is technology; you don't need to kill the pen because now you have a mouse! in fact there are some things you can do with my old reel-to-reel that you cannot do with a disk drive, i mean pushing the tape, changing the aleatory speed... there are a bunch of unpredictable irregular things you can do with this old machine. in this sense, i think we should find a way to make different technologies live somehow together."

it is in this context that anla courtis presents tape works, a collection of material that dates back to the early '90s. here, courtis splatters dense slabs of petrified tones with spasmodic algorithms, dissembodied vocal samples that spiral into a electric chorale, and hot-wired musique concrete techniques, all buried under the weight of the mighty distortion pedal. once again, all things are possible for anla courtis.

- jim haynes (from the liner notes)

...

talking about a tape-works record in the 90s might sound rather anachronistic but, be it because of argentinas technology lag or for some other mysterious reason, i did not get hold of a computer to work with sound until 1999. thats why the sound experiments ive worked on throughout the last decade are mainly tape explorations. this cd contains a selection of re-mastered tape-works dating from the period 1991-1998. anla courtis

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playback-music
experimental-instruments

pogus (usa) #p 21039 cd

crawling with tarts “ochre land, blue blue skies • grand surface noise opera nr. 7: the decadent opera (rococo)” compact disc

ochre land, blue blue skies (33:52) 1996-97
grand surface noise opera nr. 7: the decadent opera (rococo) (35:02) 1994

pogus press release...

21039-2 cd

crawling with tarts
ochre land, blue blue skies/ grand surface noise opera nr. 7

long overdue, long promised release. this may be the last tarts track (and opera) and one of the first solo composed gendreau recordings. or i could be making that all up. anyway, wonderful music and sounds - it is a crawling with tarts opera and olbbs is a killer.

a musician since age 6, gendreau went along to work with several group organizations, culminating in crawling with tarts (1983-1998), and using this group as a medium (along with the various uses made of it by co-founder suzanne dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis.

these final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in gendreau's studio using a decrepit lathe. more recently, in composition and performance, gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician-primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions.

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pogus (usa) #p 21038 cd

al margolis / if, bwana “rex xhu ping” compact disc

natraj (9:02)
frog field (12:04)
tattooed love muffins (10:56)
oy vey, angie (12:53)
cicada #5: version bohman (10:02)
quaderni (10:19)

pogus press release...

21038-2 cd

if, bwana
rex xhu ping

new al margolis release features margolis’s compositions for tapes, electronics, voice, drones. rex xhu ping (pronounced rex shoe ping) features margolis (tapes, electronics, clarinet, and sundries), laura biagi (vocals), dan andreana (speaker, tapes), detta andreana (tapes, bowed cymbals), and orchestre de fou.

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modern-composition

pogus (usa) #p 21037 cd

hans otte “minimum: maximum • orient: occident” compact disc

minimum: maximum (41:11) 1973
orient: occident (14:28) 1977

pogus press release...

21037-2 cd

hans otte
minimum:maximum / orient:occident

minimum:maximum (1973): texts / sounds / pictures. an environment (simultaneous concert in stockholm and bremen) for two organists: karl-erik welin and gerd zacher, keyboard instruments

orient:occident (1977): for two woodwind-players and tape: ingo goritzki, oboe; hans-wilhelm goetzke, clarinet

perhaps best known for his piano work book of sounds these two works by german composer hans otte were composed in the 1970s. in that decade his aesthetic creed became increasingly clear: "the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. the composer understands the dialogue with sounds as the discovery of their nature." (ute schalz-laurenze)

while hans otte was an enthusiastic, one might say visionary promoter of fellow composers, such as john cage and david tudor, whose impacts had registered to the general public long after their force reached the surface, he nevertheless remained deeply committed to his own music.

otte's writings, simple lines that say: "words are just something added on"; "all great things laugh"; "when something is reminiscent of nothing"; and, "it's really something - that voice that was once in the mouth," all direct us to his music, because: "everything always happens: now." it is otte's music that betrays his particularity of thought to what (is everything), how (it happens), and when (is now). words are just something added on.

collectively, these aphorisms reflect an aesthetic that dispenses with words which may address themselves to an understanding of the world. here, however, the world to be understood is indescribable. what is everything? when is now? how does it happen? the message is that words tell, music is. listen.

the titles of these works: "orient:occident" and "minimum:maximum," suggest a relationship between seemingly disparate things to remind us of otte's adage: "it is the gardener who owns the garden." (from daniel rothman's liner notes)

born december 3, 1926, hans otte studied in germany, italy, and the usa (yale university). numerous composition awards and fellowships. director of the music department at radio bremen from 1959 to 1984. active internationally as pianist. in addition to his compositional works - vocal and instrumental music in many styles - numerous experimental performance pieces giving new articulation to sounds, spoken word, image and gesture, as well as various projects using objects, spaces, and environments to make the experience of sound even more direct.

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pogus (usa) #p 21036 cd

“d.i.y. canons” double compact disc set

kyoko kobayashi - cat canon (3:12)
bruno ruviaro - entrei pelo canon 1a (2:46)
mike swinchoski - canon no 1a (3:12)
mike swinchoski - transmissions (3:12)
mike swinchoski - freez dried canon (6:24)
mike winter - filter iv - p.i.x.l. study no 1 (7:55)
ross craig - barbie's phone canon (1:53)
giulano lombardo - 00 (1:38)
giulano lombardo - 01 (2:39)
giulano lombardo - 02 (0:48)
giulano lombardo - 03 (0:33)
giulano lombardo - 04 (2:26)
giulano lombardo - 05 (5:33)
simon wickham-smith - kullankeltaiset päivät (larry-iie) (11:15)
steven m. miller - twin canon (9:43)
steven m. miller - pulse canon (3:20)
masaki kubo - pizzicato canon (1:35)
drew krause - canon for lp (10:35)
george zelenz - thermohaline (6:01)
stefan tomic - ringtone canon (3:55)
bo bell - metrocard canon (1:41)
philip corner / mike winter - mens 5/4 (7:03)
philip corner / mike winter - mens 9/8 (7:03)

pogus press release...

21036-2 cd

diy canons

simon wickham-smith, curator

okay. really cool, kind of fun, double cd compilation based on a work of larry polansky's. pieces are constructed from the sounds of cats, screams, midi instruments, computer, barbie phone, samples, wooden flutes, piano, bass clarinet, ringtones, metro cards, contrabass, and more. i have some of my favorites - which keep changing each time i listen to the discs. perhaps you will too. read on too get a "real" description from the curator of this project.

"the pieces on this cd are all based on the ideas in larry polansky's four voice canons, a series of pieces he began in 1975. these canons are usually "mensuration canons," which means that the tempi of successive voices is proportional to their start times, so that the voices end together. they also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. a set of polansky's canons was produced on cold blue records as four voice canons (cb0011).

polansky described these ideas in four voice canon #13 ("diy canon"), a kind of open-source meta-canon score. he distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." - simon wickham-smith, curator

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sound-art
live-electronic

pogus (usa) #p 21035 cd

ellen band / david lee myers “two ships” compact disc

ualen lagoon 1 (4:22)
ualen lagoon 2 (3:51)
ualen lagoon 3 (5:32)
cape uiqven 1 (4:21)
cape uiqven 2 (5:30)
cape uiqven 3 (2:50)
cape uiqven 4 (2:45)
laventyia bay 1 (3:33)
laventyia bay 2 (2:54)
laventyia bay 3 (5:25)
laventyia bay 4 (5:53)
laventyia bay 5 (3:25)

pogus press release...

21035-2 cd

ellen band and david lee myers
two ships

performances by ellen band and david lee myers blend sonic environments and specialized electronic circuitry. myers generates his signature 'feedback music' using custom-built devices that 'sing their own songs'. the resulting sounds represent nothing other than the free circulation of electrons within, prompting one observer to describe them as arising 'from the ether'. band carefully builds swirling layers of sonorous, textural, tone/noise clusters by mixing and processing lengthy samples from her field recordings of real-world sounds. though their individual working styles are very different, their combined effort yields lush sonic densities that continually pulse and morph while complementing and contrasting each other's sonic expression.

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field-recordings
electro-acoustic-composition
modern-composition

pogus (usa) #p 21034 cd

chris brown “talking drum” compact disc

rumba quinto, havana, cuba (3:15)
invention #3, headlands, sausalito, california (2:25)
cremation procession, bali (3:26)
tennis court, cnmat (5:39)
hammering, hagia sophia, istanbul, turkey (0:53)
honda bay, palawan, philippines (2:40)
invention #2, iear/rpi, troy, new york (1:41)
rumba kata, havana, cuba (1:31)
invention #5, headlands, sausalito, california (5:55)
quiapo market district, manila, philippines (6:29)
invention #2, calarts, valencia, california (1:41)
mariwo chant, havana, cuba (3:54)
talking drum, beanbender's, berkeley, california (2:35)
cremation procession downbeat, bali (6:51)
invention #1, headlands, sausalito, california (2:57)
talking drum, groningen, netherlands (0:44)
chango, havana, cuba (1:24)
fireworks, ilolio, philippines (0:39)
hawaii bird park, hawaii (1:14)
frogs in irrigation canals, champuan, bali (3:36)
vultures and muezzin, istanbul, turkey (1:15)
rooster, boracay, philippines (0:13)
mouth full of fire, market st., san francisco, california (1:18)
talking drum, isea '95, montreal, canada (1:39)
invention #4, univ. of illnois, champaign-urbana (2:54)
invention #4, headlands, sausalito, california (3:25)
cremation flame, bali (2:18)

pogus press release...

21034-2 cd

chris brown - talking drum

binaural motion recordings composed as a dialogue of distances. live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. made in bali, the philippines, turkey, europe, cuba and america 1991-99.

this compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. talking drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. while the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. each station in the space "grows" its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. the musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets.

this recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. electronic music is normally thought of as a medium emphasizing unlimited access to timbre - i think this is often over-emphasized, and that, at its best, it changes our experience of space. the traditional african talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. the changing pitches and rhythms imitate patterns of the tonal languages of west africa, and can be used like musical telephony to communicate over long distances. this recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale.

...

chris brown (b. 1953), composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. born and raised in chicago, he moved to california to study electronic music with gordon mumma and composition with william brooks at univ. of california/santa cruz, and with david rosenboom at mills college. he was active early in his career as an inventor and builder of electroacoustic instruments; he has also performed widely as an improvisor and pianist with such groups as "room" and the "glenn spearman double trio". in 1986 he co-founded the pioneering computer network music ensemble "the hub". he is also known for his recorded performances of music by henry cowell, luc ferrari, and john zorn. he has received commissions from the berkeley symphony, the rova saxophone quartet, the abel-steinberg-winant trio, the gerbode foundation, the phonos foundation and the creative work fund. his recent music includes the poly-rhythm installation "talking drum", the "inventions" series for computers and interactive performers, and the radio performance "transmissions" series, with composer guillermo galindo. his 1992 epic electroacoustic work "lava", for brass, percussion, and electronics is also available on tzadik. he teaches composition and electronic music at mills college in oakland, where he is co-director of the center for contemporary music (ccm).

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pogus (usa) #p 21033 cd

tom johnson / daniel kientzy “kientzy plays johnson” compact disc

kientzy loops (11:43)
tortue de mer (3:03)
narayana's cows (15:31)
infinite melodies no. ii (4:58)
infinite melodies no. iv (9:14)
infinite melodies no. iii (11:16)
infinite melodies no. i (18:24)

pogus press release...

21033-2

tom johnson
kientzy plays johnson

daniel kientzy, saxophones
meta duo
tom johnson, narrator

it is a great pleasure for pogus to present this recording of daniel kientzy playing the works of tom johnson. the following is drawn from the liner notes:

in kientzy loops, the accompanying loop is a mix of six alto saxophones played in continuous blowing, while the principal lines are played on alto saxophone, except for the third section, played on baritone. the piece, premiered at the auditorium of the adac in paris, was awarded a french national prize in the victoires de la musique as the best piece of contemporary music for the year 2000. we are indebted to our friend marc chemillier for la tortue de mer. as a mathematician chemillier became interested in the unique geometry of drawings made in the sand by the people of vanuatu in the south pacific. this (turtle) drawing, and there are many others, consists of a single line with a total of 103 turns, and one must draw the sequence so that the symmetrical form comes out just right. the drawing is systematic, and it also makes a lovely logical form when translated into music.

we decided the sequence would sound best played on the contrabass saxophone, tuned an octave lower than the baritone, a rare instrument with heavy notes that seem to mimic the embarrassing slowness of these giant sea creatures. narayana's cows, inspired by an indian mathematician of the 14th century, and playable on any combination of instruments, is written on three staves: the complete melody, the reduced bass melody, and the drone. the present multi-track saxophone version is probably as rich and energetic as any of the large ensemble versions. the melody is played by three overdubbed sopranino saxophones in unison, the bass line is played by three baritones, and the drone is played by three altos. in each of the four infinite melodies the music follows a logical sequence requiring each subsequent phrase to become longer and longer, reaching out toward infinity. since the four melodies are independent pieces, it is not necessary that they be played in the written sequence. in this case the interpreter ordered his four interpretations according to their contrast and durations, so that the cd ends with infinite melody no. 1. here the music contains longer and longer silences, finally ending with a silence so long that it seems to dissolve into infinite silence as the cd player stops turning.

tom johnson, born in colorado in 1939, received degrees from yale university, and studied composition privately with morton feldman. after 15 years in new york, he moved to paris, where he has lived since 1983. he works with simple forms, limited scales, and generally reduced materials, but proceeds more logically than most minimalists, often using formulas, permutations, and predictable sequences.

daniel kientzy is an international avant-garde artist, dedicated to contemporary music, exploiting the potential of all seven saxophones and the musical power of the electronic as well. prior to his 25 years dedicated to this work, he participated professionally in almost all genres of western music, playing instruments as diverse as bass guitar, double bass, viola da gamba, recorder, bagpipes, and crumhorn.

meta duo is a classical chamber music duo of a unique sort, bringing a natural instrument and an electronic instrument together into an expressive world called enneaphonie, an artistic mode and a technical means created by the artists of the duo for interpreting electro-acoustical music.

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pogus (usa) #p 21032 cd

roger reynolds “process and passion” double compact disc set

kokoro (1992)
focus a beam, emptied of thinking, outward ... (1989)
process and passion (2002)

pogus press release...

21032-2

roger reynolds
process and passion

mark menzies, violin
hugh livingston, cellothis is a recording that explores the "extra" -ordinary potential of the cd not only as a carrier of traditionally recorded instrumental sound (cd 1), but also offering a different view through binaural encoding of the same materials spatialized (cd 2).

first you are presented with two solo compositions - kokoro and focus a beam, emptied of thinking, outward… - and the duo process and passion, in an acoustic recording, albeit with each instrument deliberately confined to one side of the stereo field. then all three pieces are presented with extravagant sound processing, using spatialization concepts and binaural encoding, revealing unsuspected depths and energies within the sound of each of the pieces' ideas and unfolding.

"architectures of sound" - meaning how things sound-form the shape of the compositions' emotional traversal. for the two solo pieces, this is a relatively simple idea: kokoro (the violin solo) has twelve sections that are in every way timbrally/sonically/articulatively unique from one another. focus a beam, emptied of thinking, outward… (the cello solo) provides an organic unfolding, nevertheless revealing the dynamic potential of its basic material development-contrast grows out of the unfolding. but the duo process and passion draws further complexity to this world, partly by being a stated collage of the two solo pieces' worlds, but also by having an outside, visceral-even scary-narrative gravitational pull. poetic text excerpts are drawn from reynolds' explorations of the oresteia, but they are left out of the final score.

it is hoped that the binaurally encoded disc included in this set will suggest to the solitary listener, in the comforts of his or her own headphones, how powerfully a choreographing of musical lines and gestures can dimensionalize musical experience. this realm and its satisfactions are only now coming into reach.

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electro-acoustic-composition
electro-acoustic-improvisation

pogus (usa) #p 21031 cd

tom erbe / chris mann / larry polansky / douglas repetto / christian wolff “trios” compact disc

track one (10:54)
track two (2:56)
track three (15:09)
track four (14:26)
track five (4:27)
track six (6:26)

pogus press release...

21031-2

tom erbe, chris mann, larry polansky, douglas repetto, christian wolff
trios

tom erbe - recording, editing, processing
chris mann - voice, texts
larry polansky - fretted and fretless electric guitars
douglas repetto - computer, electronics, recording
christian wolff - piano, bass, percussion, melodica

"it's organized sound! (re)assembled improvisation!!"

trios is a collaboration between five musicians, over time, and over space. it combines instrumental and electronic improvisation with non-real-time computer processing and editing. chris mann, douglas repetto, and larry polansky recorded several hours of live improvised material in one session. months later repetto, polansky, and christian wolff recorded some more. the recordings were then sent off to tom erbe, who culled interesting sections from both sessions and then processed, edited, and mixed them to form the six tracks on the cd.

or: organized sound. (re)assembled improvisation.

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1970s-electronic
electro-acoustic-composition
sound-poetry

pogus (usa) #p 21030 cd

beth anderson “peachy keen-o” compact disc

torero piece
tower of power
peachy keen-o
ocean motion mildew mind
country time
yes sir ree
i can't stand it
joan
ode

pogus press release...

21030-2

beth anderson
peachy keen-o

this cd has pieces with an auctioneer, a kentucky farm with birds & clover, a jazz dancer, a quivering, vibrating, sexually tinged piece full of women saying supplication, a saint dying in flames, a drum piece about frustration, mother/daughter miscommunication, a pipe organ, and punk rap with overtones of yoga. many of anderson's compositions from 1973-1979 use words or parts of words to make either all or part of the music. sometimes the music is derived from the words. some of it is considered to be part of the genre known as text-sound.

(the following is edited from beth anderson's liner notes)

peachy keen-o (1973): this electro-acoustic piece is for female voices, organ, electric guitar, vibraphone, large membranophones & metalophones, improvisatory dancers, peach light and pre-recorded tape. it is what my mother called "haunted house music". tower of power (1973): this organ piece is a graphic score. the recording on this cd is the first performance. the ideal playback of this piece would be "as loud an amplitude as possible, using both your ears and your equipment to decide". torero piece (1973): the phonemic part of this text-sound piece was derived from a paint-by-numbers scroll found in a used clothing store. the vowels and consonants were chosen because they exist in the spanish language. (i had just heard zaj perform and i was very enthusiastic about them). the instruction for the reading part is to describe the most dramatic event or relationship in your life. each performer writes his/her own speech.

joan (1974; 1977): in 1974 i made an oratorio about joan of arc using the translation of the text of her trial as the basis. i decoded the text into pitches and used a modulating coding system with instructions and free rhythm. the concert performance was amazing…. however i was not able to hear my modulating coding system clearly in all this, so i made the version of that piece that is on this cd. this fifteen-track all piano version of only the pitches was made in 1977. ode (1975): "ode" was created and mixed at the queen's college and wesleyan electronic music studios. i can't stand it (1976): when i first moved to new york i had a hard time getting used to how things were here and this piece is a direct response to that frustration. it was conceived for voice and drum set. yes sir ree (1978): this text-sound piece is based on phrases used by richard levy and things his students mumbled about him. he used to scream various encouraging words and compliments at his students in the process of teaching his class and his philosophy seemed to be that dancing was to be enjoyed massively.

ocean motion mildew mind (1979): this is a punk realization of "ommm". the words begin "ocean, motion, mildew, mind" and continue "wishin', titian, swishin', swine." country time (1979): this piece is a cut-up of an additive description of a walk around my family's farm in kentucky in early summer with a poem i wrote about other experiences in kentucky. it is for voice and percussion with or without birdcalls.

beth anderson (b. january 3, 1950, lexington, kentucky) is a composer of avant-garde works that have been performed all around the world and that have brought her much acclaim; she is also active as a critic, pianist and vocalist. ms. anderson earned half a phd at new york university, majored in piano performance at the university of kentucky from 1966-68 and earned her ba in music from the university of california in 1971. she studied further at mills college in oakland, california and earned her mfa in piano performance, 1973 and her ma in composition, 1974. she was co-editor of the publication ear from 1973-79 and is currently a teacher at the greenwich house music school, new york. over the years, ms. anderson has studied with robert ashley, larry austin, john cage, and terry riley, among others. she is a pioneer in the field of text-sound music, which uses words and phonemes to make a kind of vocal-percussive music.

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pogus (usa) #p 21029 cd

tom hamilton / mike silverton / al margolis “analogue smoque” double compact disc set

a rift in the ceiling (6:30)
a keyhole for peeking (3:16)
laundering butt floss (3:47)
asbestos abatement, that closer to health (4:59)
fire and ice and a reliable chronometer (3:05)
the enchanted kielbasa (9:45)
yanking anchors, shoulder dislocations (11:17)
exchanging anvils
broken toes (6:38)
the clouds, to whom do they belong? (7:53)
he can't take you with him (6:47)
a cozy place by the crevasse (4:56)
if a tree falls on a conscript... (8:16)
five, alive and thriving (4:35)
but absent a spleen (12:05)
terminal euphoria (7:47)

pogus press release...

21029-2

tom hamilton, mike silverton, al margolis
analogue smoque

tom hamilton - sounds, assemblage
mike silverton - text, voice
al margolis - sounds

"analogue smoque's deportment owes much to dada, which positions it some 85 years late for lunch. the work's disjunct, shard-like character looks in significant measure to the manner in which it came together as a pastiche of youthful bits." -- mike silverton

a surreal stew of story and sounds, analogue smoque joins poet and la folia honcho mike silverton's non-transactional prose with music, electronic and otherwise, by tom hamilton and al margolis. sounds combine with, highlight and ignore silverton's ramble, which in turn ignores the rational world.

...

tom hamilton has composed and performed electronic music for over 30 years. rather than addressing traditional modes of presentation and observation, hamilton prefers to explore interaction and simultaneity as aspects of "present-time listening" on both the performers' and listeners' parts.

mike silverton will only say that "at first blush, the alert listener detects a link between analogue smoque and madam blavatsky. the magi demur. rather, they say, the text reveals its author's interest in cryptorchidistics, i.e., states of non-descent."

al margolis has been working with electronics/sounds since new year's day 1984. his work can best be described as "sound fingerpainting."

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pogus (usa) #p 21028 cd

warren burt “harmonic color fields” compact disc

portrait of erv wilson (13:10)
portrait of john chalmers (10:25)
adjacencies (a drone on breaking my kneecap) (13:00)
11:21:23 (a drone on mom and felix's birthdays) (16:10)
48=>53; 53=>48 (15:30)

pogus press release...

21028-2

warren burt
harmonic colour fields

"harmonic colour fields is a set of five computer pieces which explore static microtonal harmonic fields. this means that once a piece begins, harmonically, it's going to stay pretty much the same for it's entire duration. the pieces are descended from the 1970s "drone" pieces of such composers as la monte young, charlemagne palestine, hal budd, and myself, but they make greater use of slow harmonic progressions to make more varied musical surfaces.

i wanted to make pieces where the quality of the harmony was the primary focus, and so used very simple rhythms, plain electronic timbres, and a minimum of melodic structuring. in fact, in these pieces, any sense of melody is simply the result of how the harmonic material is articulated. that is, change in harmony, and not construction of melody was my aim in making these pieces. the title refers to the "colour field" minimalist painters of the 60s and 70s. i thought of these pieces as analogous to those paintings, in that the explore the varieties and shades of one particular harmonic musical colour."

warren burt attended the state university of new york, albany (ba, 1971) and the university of california, san diego (ma, 1975) before moving to australia in 1975. in australia he has worked in academia (la trobe university, nsw conservatorium, victorian college of the arts, australian national university), education, and radio (freelance and commissioned productions for abc and pbaa), and as a composer, film maker, video artist, and community arts organizer.

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pogus (usa) #p 21027 cd

jorge antunes “savage songs • early brazilian electronic music (1961-1970)” compact disc

pequena peça para mi bequadro e harmônicos (3:54) 1961
valsa sideral (3:12) 1962
música para varreduras de freqüências (2:30) 1963
fluxo luminoso para sons brancos i (2:37) 1964
contrapunctos contra contrapuntus (4:23) 1965
três estudos cromofônicos: i estudo para verdes e vermelhos (2:56) 1966
três estudos cromofônicos: i estudo para azuis e laranjas (3:32) 1966
três estudos cromofônicos: i estudo para amarelos e violetas (1:48) 1966
canto selvagem (3:00) 1967
movimento browniano (4:06) 1968
canto do pedteiro (4:17) 1968
cinta cita (4:58) 1969
auto-retrato sobre paisaje porteño (14:47) 1969/1970
historia de un pueblo por nacer or carta abierta a vassili vasilikos y a todos los pesimistas (16:34) 1970

2003 release ; fine disc of pieces by the brazilian composer jorge antunes... the only things i’d heard prior to this were a series of lps and 3” cds on the composer’s own sistrum label, of which there is little overlap here ...

largely excellent musique concrète stylings with a more prolonged sense of time/space than his french forebears ... plus, the liners would claim that young jorge was inspired to create such racket after witnessing a david tudor performance of ‘kontakte’ in 1961. not a bad cue ...

pogus press release...

21027-2

jorge antunes
savage songs (works from 1961-1970)

jorge antunes (b. 1942, rio de janeiro) studied violin, composition and conducting at the university of rio de janeiro, as well as studying physics at the same institution. he further studied composition with alberto ginastera and luis de pablo.

from 1970-71 he attended the university of utrecht (gotfried m. koenig). from 1972-73 he worked with groupe de recherches musicales (grm) in paris. in 1962 he began his research in electronic music thus becoming a pioneer in the development of this field in brazil. he is the director of the electronic music laboratory and the conductor of orquestra da universidade de brasilia.

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pogus (usa) #p 21026 cd

david dunn “four electro-acoustic compositions” compact disc

...with zitterings of flight released (in memoriam kenneth gaburo) (13:55) 1993
simulation 1: sonic mirror (15:03) 1986
wildflowers (14:17) 1994
ennoia 2 (10:10) 1999

pogus press release...

pogus 21026-2 cd

david dunn - four electro-acoustic compositions

composer and sound artist david dunn was born in 1953 in san diego, california. from 1970 to 1974 he was assistant to the american composer harry partch and remained active as a performer in the harry partch ensemble for over a decade. he has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research.

"...with zitterings of flight released" (in memoriam kenneth gaburo) was composed over an intense and continuous five-day period (including nights). while working on the piece i had in mind various images and metaphors for the drama of the spirit's separation from the body as described by a variety of shamanic and spiritual traditions. it is a memorial for my teacher, kenneth gaburo. "gaburology" led him to state that he preferred knobs to terminals.

simulation 1: (sonic mirror) was an attempt to model a utopian project yet to be built. the original concept was conceived as a stationary cybernetic sound sculpture capable of processing acoustic data within an outdoor environment. eventually the sculpture might function as an autonomous system structurally coupled to its surrounding environment in a manner that might allow for "learning" between components. this initial modeling was generated from a soundscape recording of the cuyamaca mountains of california.

wildflowers is a bit of nostalgia for the 20th century composer's search for the unique sonic and expressive attributes of electronic technology, an ideal mostly out of fashion. i wanted to compose a reclamation of the sounds of circuitry as material substance, those "sci-fi" clichés and glissandi now banished to the video game parlors.

ennoia 2 is a computer-generated composition that explores the time-domain synthesis algorithms created by arun chandra's wigout program. these algorithms generate continuously changing waveforms with unique structural behaviors over time. the resulting sounds have continuously changing interdependent parameters that are controlled by very few variables.

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pogus (usa) #p 21025 cd

roger reynolds “all known, all white” compact disc

… the serpent-snapping eye (20:18) 1978
ping (21:51) 1968
traces (23:30) 1969

pogus press release...

21025-2 cd

roger reynolds - all known, all white

i have loved these 3 works ever since i first heard them and pogus is delighted to be reissuing these 3 long out-of-print works.

from the liner notes: ...the serpent-snapping eye (1978) was composed for trumpet, percussion, piano and 4-channel tape. the work is twenty minutes long, divided into three roughly equal sections. in the first, the primary aim of the performers is to match, submit to and intensify the taped sounds. the second, in which the synthesized sounds are sparse, introduces a felling of independence as the performers respond, reflecting on models provided by the tape. in the final section, the live performers complement and elaborate upon -- they attempt to augment -- the synthesized sound. ping and traces were composed to complement one another. ping represents a continuing interest in theater and intermedia running through reynolds' compositions since the emperor of ice cream (1961-62). in live performance the three strands of events occur simultaneously but are not synchronized. as a recorded performance, ping is a self-sustained composition of instrumental improvisation over taped and electronic music. traces was written for the composer-pianist yuji takahashi. scored for solo piano, with flute, cello, ring modulator, signal generator, and 6 independent channels of taped sound, this work is concerned not only with events but their residues (traces).

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pogus (usa) #p 21024 cd

if, bwana “i, angelica” double compact disc set

furry (6:34)
satind farms far piano (19:19)
the railway station fire (14:50)
quad or knee? (10:20)
hoffman, bored (5:00)
guitars by al (7:01)
fantastic literature 3 (16:02)
walking der dog (12:06)
day back (16:04)
goo pond (13:23)

pogus press release...

21024-2 2-cd set

if, bwana - i, angelica

"into the rackets are ya, punk?" "yeah, that's my story and i'm sticking to it." "get outta here, ya punk." i headed down the steps and out the front door. "!@#$%^&* nogood goddamn !@#$%^&* noisemaker," i heard them mutter behind my back. (wow - i always wanted to write one of these). yeah, i'm one of them.so there you have it. i, angelica, the noisy loud new double if, bwana cd - trying to clear a backlog of recordings out - at a not double cd price. i, angelica should be played loud. real loud. works for computer, electronics, voice (?), guitars, synthesizers.

oh. so what else is there to say when a new if, bwana cd comes out other than: "aaaaaaaaaahhhhhhhhhhhhhhhhhhh..."

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pogus (usa) #p 21023 cd

pauline oliveros “no mo” compact disc

no mo (17:51) 1966
something else (13:51) 1966
bog road (33:11) 1967

... second disc on pogus covering pauline oliveros’ early electronic music ...

right off the bat, the noise-addled thunderclaps of “no mo” strike me as possibly the most patently aggressive piece of music in pauline’s canon (listen to the sound-sample), especially when compared to the minimal, ghostly tone-float of “something else” (especially odd seeing as both of these were completed in the same studio-stretch back in 1966) ... the extended “bog road” is, in my mind, one of her finest moments, working the newly-completed buchla music box 100 through a series of constantly mutating figures, culminating in a zap-heavy climax ...

equally essential as the “alien bog • beautiful soup” set ...

pogus press release...

pauline oliveros - no mo

"in the summer of 1966 i worked in the classical electronic music studio at the university of toronto for six weeks. the system i used to create no mo and something else consisted of layfette tone generators, noise source and tape delay.

in the fall of 1966 i was the newly appointed director of the mills tape music center formerly the san francisco tape music center and now the center for contemporary music at mills college.

bog road was created at the mills tape music center in the summer of 1967 with the buchla series 100 box. the studio overlooked a pond where frogs were singing a chorus that inspired a series of bog pieces."

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pogus (usa) #p 21022 cd

david rosenboom “invisible gold” compact disc

portable gold and philosophers’ stones (18:36) 1972
on being invisible - part i (23:47) 1976-77
on being invisible - part ii (21:44) 1976-77

david rosenboom’s other classic album, makes an excellent pair with the recently reissued brainwave music disc on em ... “portable gold” is one of the classics of swirling electronic stasis (not far removed from kosugi’s “catch wave,” actually) ... the two “on being invisible” takes (listen to the sound-sample for an excerpt of part i) are much fiercer, hedging some fine variable-pulse fm bleep with an oddly constructed internal logic (reminiscent of sun ra’s solo moog bleat) ...

pogus press release...

david rosenboom - invisible gold

david rosenboom (b. 1947) has been widely acclaimed as a pioneer in american experimental music since the 1960's. he is a composer, performer, conductor, interdisciplinary artist, author, and educator having explored ideas in his work about the spontaneous evolution of forms, languages for improvisation, new techniques for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multi-media, compositional algorithms, and the structure of the brain and nervous system.

these two works, "portable gold and philosophers stones" (1972) and "on being invisible" (1976-77), are classics of live electronic music involving extended musical interface with the human nervous system.

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pogus (usa) #p 21020 cd

kenneth gaburo “tape-play” compact disc

fat millie’s lament (4:34) 1965
the wasting of lucrecetzia (3:43) 1964
for harry (4:47) 1966
lemon drops (2:51) 1965
dante’s joynte (6:00) 1966
re-run (6:08) 1983
mouthpiece ii (9:09) 1992
hiss (8:40) 1992
few (in collaboration with henri chopin) (6:04) 1985
kyrie: orbis fact/or; a very odd do (10:00) 1974

pogus press release...

kenneth gaburo - tape play

over his career, kenneth gaburo (1926-1993) produced a lot of electronic music. however, works for tape alone are fairly rare in his output. over about a thirty-year period, ten works for solo tape were produced. of the ten tape pieces, five were created in the mid-1960s at the university of illinois, one was created in 1974-5 in his home studio in la jolla, and four were made in the studio at the university of iowa, iowa city, which he directed during the 1980s and early 1990s.

not surprisingly for a composer whose stated aim was to blur the distinctions between language and music, six of the ten pieces feature an overt use of the voice, while two of the "purely electronic" pieces use timbres that are so vocal in character that one is constantly thrown back onto a consideration of kenneth's main obsession, the voice.

only two of the pieces, both from the illinois period, seem to not deal with the voice in any way.

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pogus (usa) #p 21019 cd

if, bwana “clara nostra” compact disc

clara nostra (62:54)

pogus press release...

21019-2 cd

if, bwana (al margolis) - clara nostra

the rumbling continued. matt slowly opened his eyes, then getting out of bed (hopefully remembering to put on some underwear) wandered into the common area of the loft. "what the !@#$%^&*() is that!" "clara nostra" matt (his roommate and not his deranged alter ego/split personality) replied. "that tells me alot." "new if, bwana disc" matt blurts out, somewhat embarrassed by his obvious poor taste in listening habits (not to mention his rather lax attention to personal hygiene). "well that does explain a lot," matt says as he heads back to his room. "no wonder it doesn't go anywhere. kind of annoying isn't it?" matt looked at matt just before matt disappeared out of sight. "i like it."

al says "if 62 minutes of 156,000 clarinets rumbling and grumbling slowly through your speakers with no destination home is for you, well you're home. on the other hand if that sounds like something to drive you up a wall, well, be seeing you."

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pogus (usa) #p 21018 cd

leo kupper “ways of the voice” compact disc

rezas populares do brazil (15:39) 1998
anamak (16:31) 1996
amkea (20:27) 1984
annazone (8:51) 1985

pogus press release...

leo kupper - ways of the voice

rezas populares do brasil, anamak, amkéa and annazone, are vocal works. all the sounds on this disc originate with the brazilian singer anna maria kieffer.

two works, anamak and amkéa, have an "orchestral accompaniment", composed of tropical bird songs. making use of elements of electroacoustic music and sound poetry, the music expresses wonder at brazil's tropical beauty and, ultimately, an intense love of the abstraction of words and musical forms.

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pogus (usa) #p 21017 cd

robert rutman “1939” compact disc

tabla and buzz chime (8:55)
steel cello and bow chime (7:42)
chant bow chime and horn (4:59)
three bow chimes (16:37)
song of the steel cello (20:02)

... reissue of this former pogus lp of sound-sculptor robert rutman’s howling steel constructs ...

pogus press release...

robert rutman - 1939

this release reissues robert rutman's pogus lp (p201-1) and includes an additional track.

rutman (b. 1930) has been building and performing on his homemade metallic instruments for many years. this recording features his buzz chime, steel cello, and bow chime, along with tabla, tibetan horn, and rutman's vocal chants.

rutman caresses the metal, drawing out eerie drones and overtones that buzz and trumpet. the music in turn can be as fragile as glass or reach the depths of resonance, as if one has just come upon singing whales at sea.

beautiful music and long overdue on cd.

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pogus (usa) #p 21016 cd

matthew ostrowski “vertebra” compact disc

i (10:38)
ii (10:23)
iii (12:35)
iv (13:21)

pogus press release...

21016-2 cd

matthew ostrowski - vertebra

former wfmu dj, denizen of new york's a mica bunker scene, former krackhouse (not head) member, and arp whiz – now living in the netherlands, having studied elektronische musik in utrecht. at last, his long overdue first cd.

matt says: “my music runs without stopping, and at a vertiginous speed. the architecture is simultaneity. …not to perceive noise as music, but music as noise. this is a recording of a live performance: one member of a set of possible solutions. vertebra is a computer program, an environmental construction, a scaffold, in which the activity of making sense and it's suspensions are not merely illustrated, but actually taking place.”

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pogus (usa) #p 21015 cd

“travels of the spider • electro-acoustic music from argentina” compact disc

daniel schachter - tiempo quebrado (14:03) 1993
ricardo dal farra - ...due giorni dopo (3:15) 1988
martin alejandro fumarola - callejuelas (8:18) 1996
alejandro iglesias-rossi - ascencion (10:39) 1998
ricardo dal farra - ashram (9:23) 1991
teodoro cromberg - marimbagenes (8:03) 1996
martin alejandro fumarola - el peregrinar de la arana (4:10) 1995

pogus press release...

21015-2 cd

travels of the spider - electro-acoustic music from argentina

seven electroacoustic works by five young argentinian composers: daniel schachter, tiempo quebrado (1993) ; ricardo dal farra, …due giorni dopo (1988) and ashram (1991), with joseph celli on mukha veena ; martín alejandro fumarola, callejuelas (1996) and el peregrinar de la araña (1995) ; alejandro iglesias-rossi : ascención (1998) ; and teodoro cromberg, marimbágenes (1996), with angel frette, marimba.

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pogus (usa) #p 21014 cd

rune lindblad “objekt 2 • electronic & concrète music (1962-1988)” compact disc

objekt 2 (op. 25) (9:28) 1962
plasibenpius (op. 30) (8:15) 1968-69
hälften av någonting (op. 38) (6:39) 1970
frage (op. 59) (6:25) 1972
tora (op. 67) (5:43) 1972-73
maskinlandskap (op. 122) (7:30) 1975
innan konsert (op. 190) (11:49) 1985
lagun i uppror (op. 197) (9:02) 1987
dimstråk (op. 203) (3:23) 1987-88

second disc of rune lindblad’s early electronic music, composed from the early 1960s through the late 1980s & released for the first time in 1988 on c.m. von hausswolff’s radium 226.05 label ... essential early bleep, processed string-scrape, & voice cut-ups of little compare ...

pogus press release...

21014-2 cd

rune linblad - objekt 2

volume 2 of the music of rune lindblad (1923-1991). this cd consists of the remainder of the long out of print radium double lp. these works cover the years 1962-1988. lindblad, a swede began composing music in 1953. ignored by the musical establishment in stockholm, rune went his own merry way, composing over 200 works of electronic music. limited in the early years to often primitive equipment, he carved out his own musical niche. the sounds were often raw, occasionally scary.

“musique concrete was scratched, scraped, howled and pounded last night in the community building. the audience consisted of about forty people, amongst which a few visitors voluntarily payed their admission… the ”works of art” then underwent a structural analysis by mr epstein. he addressed interesting phenomenon in the noise, according to different ways of acting woodpecker on sheet iron.”

”two youngsters were officially pronunced composers. a few whistles and scrapings were percieved as interferences in the tapemachine, but it actually was the first composition, with the literary title ”essay”… of course it is embarrasing to recommend a visit to gotaverken (a ship-yard in gothenburg), but such a visit would greatly simplify the preparatory work of the noise process”.

those were citations from two reviews; the first by ake engfeldt in goteborgs-tidningen, and the second by bjorn johansson in goteborgs handels- och sjofartstidning (main newspapers in southwestern sweden). they were published on 15 february 1957, as a reaction to the first concert in sweden with concrete and electronic music, which took place the night before in gothenburg. the composers presented were bruno epstein and rune lindblad (1923 – 1991).

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

pogus (usa) #p 21013 cd

if,bwana “tripping india” compact disc

3 out of 4 ain't bad (18:03)
pr-dr (16:19)
tripping india (26:33)

pogus press release...

21013-2 cd

if, bwana (al margolis) - tripping india

consisting of 3 compositions, tripping india is the 3rd if, bwana release on pogus. on this recording if, bwana is joined by, among others, paul marotta (styrenes / electric eels / mirrors) on 3 out of 4 ain't bad, a conceptual work for 3 different pianists, playing 3 different pianos at 3 different times to the same tape. the final version is for 3 pianists, no tape. pr-dr is an electroacoustic work for processed/manipulated percussion. the title piece combines audio "snapshots" of a wandering through india with multiple tracks of manipulated and processed drums and percussion. the end result is an "audio travelogue for 2 (highly) manipulated percussionists."

$12.61

back in stock as of
january 6th, 2011

first in stock on
april 3rd, 2007

threads:
1960s-electronic
electro-acoustic-composition
analogue-synth
sound-poetry

pogus (usa) #p 21012 cd

pauline oliveros “alien bog • beautiful soop” compact disc

alien bog (33:15) 1967
beautiful soop (27:49) 1966

two fantastic pieces from pauline oliveros’s early days running the san francisco tape music center ; both centered around the buchla music box 100 & her own tape-delay setup ...

on a pure bleep-per-measure scale, “alien bog” is my favorite of her early electronic pieces; it’s an immense tapestry of high-end synth-squiggle that lingers for just the right amount ... “beautiful soop” incorporates spoken texts, but in an unobtrusive way (the electronic materials shine through) ... an essential disc.

pogus press release...

pauline oliveros - alien bog / beautiful soop

during her year as first director of the tape music center at mills college (now center for contemporary music - ccm) in oakland, california, pauline oliveros completed beautiful soop (1966) and alien bog (1967) utilizing the original buchla box 100 series created for the tape music center by don buchla and her tape delay system. the take up reel was on tape machine i and the playback reel on tape machine ii. through patching the playback signals from tracks 1-4 were re-routed back to the recording head of machine i in a variety of configurations controlled by the composer. an excerpt of alien bog was released on an album music from mills - produced by david rosenboom in 1986. beautiful soop is released for the first time.

“i was deeply impressed by the sounds from the frog pond outside the studio window at mills. i loved the accompaniment as i worked on my pieces. though i never recorded the frogs i was of course influenced by their music. since that time many other composers have also been influenced the sounds from the pond. sadly, the pond will soon give way to a new building to expand the quarters of the ccm. it will no doubt be haunted by ghost frogs!” - pauline oliveros

pauline oliveros, now living in kingston ny, has devoted her life to music and to helping others. she has established a worldwide reputation as a composer, accordionist, author, teacher and humanist. her ground breaking work in electronic techniques, teaching methods, classical improvisation, myth and ritual, meditative and physical consciousness-raising is a large influence in american music. since leaving the university of california at san diego in 1981, at the rank of full professor, she has established the pauline oliveros foundation, inc. and directs the music program to support itir creative projects, ideas and collaborations with other artists and emerging artists.

in 1961, she was co-founder of the improvisational group sonics, with ramon sender and morton subotnick, that became the nucleus of the san francisco tape music center, now the center for contemporary music (ccm) at mills college. oliveros was the first director of ccm (1966-67). since then oliveros has taught composition at mills college in 86 and served as darius milhaud professor in 1996 and 1997. she was one of e first composers to use live electronic music as a composition medium. her eletronic piece bye bye butterfly (1965) was included in the new york times critic john rockwell's list of the ten most significant musical works of the 60's. the roots of the moment (1987) was included as the best of 1988 again by rockwell in his year end review.

her revolutionary work in the use of tape delay and heterodyne techniques, coupled with the experimental use of combination tones and supersonic frequencies, presaged techniques now being explored digitally. her more than thirty years of work with delay techniques is embodied in the expanded instrument system (eis) documented in leonardo music journal, the deep listening web site and on the compact discs crone music (lovely music ltd.), sanctuary (mode records), tosca salad (deep listening). her dear. john: a canon on the name of cage (commissioned by west german radio in 1986 in celebration of cage's seventy fifth birthday) was completed using ccm's high-level hmsl (hierarchical music specification language) controlled by an oliveros-designed program realized by larry polansky.

all of her work emphasizes attentional strategies, musicianship and improvisational skills. oliveros' compositions have been performed worldwide, and in 1985 she was honored by a retrospective of her work at the j.f.k. center for the performing arts in washington, d.c. her written work was anthologized in 1984 in software for people (smith publications), the roots of the moment in 1997 (drogue press) and her recorded work and scores are available from deep listening publications.

$12.61

back in stock as of
january 6th, 2011

first in stock on
april 3rd, 2007

threads:
1950s-electronic
1960s-electronic
electro-acoustic-composition
musique-concrète

pogus (usa) #p 21011 cd

rune lindblad “death of the moon • electronic & concrète music 1953-1960” compact disc

party (op. 1) (9:33) 1953
månens död (death of the moon) (op. 2) (8:30) 1954-55
fragment 0 (op. 3) (9:10) 1955
fragment 1 (op. 4) (11:33) 1955
fragment 2 (op. 5) (9:56) 1956
evening (op. 7) (8:11) 1956
nocturne (op. 10) (6:19) 1958
optica 1 (op. 16) (10:13) 1959-60

essential collection of 1950’s musique concrète and electro-acoustic pieces by the swedish composer rune lindblad ... crude, lo-fi, and quite noisy ; the best of all possible worlds. this should be in your collection right next to discs by other early iconoclasts such as tod dockstader, jørgen plaetner, and erkki kurenniemi ...

pogus press release...

21011-2 cd

rune linblad - death of the moon

this disc is a reissue of lps on pogus and radium.

rune lindblad (1923-1991) was an early pioneer in electronic and concrète music. lindblad did not see these genres as mutually exclusive. important and wonderful works by a composer who represented no institutionalized school of thought. at a concert in 1957, the critics called his music "pure torture." with a recommendation like that, what are you waiting for?

rune lindblad, who was an engineer and a painter, and also a single father with a son in the late 1950:s, started his sounding experiments as early as the first years of the 1950’s, without prior knowledge of similar experiments being conducted in france and germany.

he kept on composing against the wind all the years up to his premature death in 1991. he also served as a teacher of electronic composition, and some of the most renowned swedish composers of electroacoustics have had him as their primary teacher and guru.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
electro-acoustic-composition
modern-composition

pogus (usa) #p 21010 cd

if,bwana “breathing” compact disc

breathing (22:15)
r.ism v.2pf (28:20)
barump poe (19:38)

pogus press release...

21010-2 cd

if, bwana (al margolis) - breathing

"breathing" is for two didjeridus, cello, oboe, and tapes. "r.ism v.2pf" is for tape, two pianos, sampled flute, and electronics. "barump poc" is for winds, organ, chorus, tapes, etc., etc., etc. the "orchestral" piece.

assisting bwanettes on this disc are jane scarpantoni, dave prescott, brian charles, dan and detta andreana, danielle reddick, paul richards, and debbie goldberg.

$12.61

back in stock as of
january 6th, 2011

first in stock on
april 3rd, 2007

threads:
electro-acoustic-composition
musique-concrète
1970s-electronic
1980s-electronic

pogus (usa) #p 21009 cd

leo kupper “electro-acoustic” compact disc

electro-acoustic santur (1989)
guitarra cubana (1988)
inflexions vocales (1982)
le rêveur au sourire passager (1977)

collection of later pieces by belgian composer leo kupper, one of the pioneers (along with henri pousseur) of electronic music at the studio apelac ni belgium from 1962 on ...

a nice complement to his igloo label lp or the recent sub rosa collection ...

pogus press release...

21009-2 cd

leo kupper - electro-acoustic

leo kupper was born in belgium in 1935. he worked with henri pousseur at the first electronic music studio in belgium and is founder and director of the "studio de recherches et de structurations electroniques auditives" in brussels.

the works on electro-acoustic are "electro-acoustic santur" (1989), for 2 santurs, 4 micro-processors and electronic sounds. "guitarra cubana" (1988) is presented in the form of 3 sequences. the first two sequences combine guitar sounds and phonetic sounds, the last one uses only guitar sounds. "inflexions vocales" (1982) with françoise vanhecke (soprano) is a vocal composition for soprano with accompaniment by a stereo tape. the final work is "le reveur au sourire passager" (1977) with jean-claude frison (reciter).

la composition, à travers le poème, décrit un monde obscur, profond, incompréhensible et mystérieux.

$12.61

back in stock as of
january 6th, 2011

first in stock on
october 20th, 2009

threads:
modern-composition
minimalism-drones

pogus (usa) #p 21008 cd

nick didkovsky / steve maclean / c.w. vrtacek “flies in the face of logic” compact disc

steve maclean - piano drop (recording of a piano dropped from a 100' crane)
steve maclean - piano 1
steve maclean - piano 2
steve maclean - piano 3
steve maclean - piano 4
c.w. vrtacek - penguin pulling a cart
c.w. vrtacek - please stop now
c.w. vrtacek - all these fine ideas disappearing
c.w. vrtacek - he thinks only a little at a ime these days
c.w. vrtacek - don't drop those coins in the soup
c.w. vrtacek - look! out on the pond! ducks!
c.w. vrtacek - my decision
c.w. vrtacek - there is no hope for people like that
c.w. vrtacek - it's like a goddamn crazy house in here
c.w. vrtacek - first there were three eggs, then four oranges
c.w. vrtacek - i wish i was in st. remy
c.w. vrtacek - a man shaking hands with a squid
c.w. vrtacek - why buildings fall down
nick didkovsky - the twittering machine
nick didkovsky - dance, you monster, to my soft song!
nick didkovsky - death and fire
nick didkovsky - a young lady's adventure
nick didkovsky - little jester in a trance

pogus press release...

21008-2 cd

flies in the face of logic - piano music by nick didkovsky, c.w. vrtacek and steve maclean

nick didkovsky (dr. nerve), c.w. vrtacek (forever einstein) and steve maclean fly in the face of their "usual" musical situations. this is music surrounded by blurry boundaries: indistinct borders between technology, human invention, fixed composition, and indeterminate processes. the cd opens by dropping a piano on the face of traditions and expectations, and the twenty-two remaining tracks are dedicated to reconstruction.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
electro-acoustic-composition
electro-acoustic-improvisation

pogus (usa) #p 21007 cd

if,bwana “33 birds went” compact disc

mal air (9:30)
ellensbirds (11:28)
pi = sinbad (15:11)
debtetc (14:25)
flute thang (7:21)

pogus press release...

21007-2 cd

if, bwana (al margolis) - 33 birds went

al margolis (electronics, tapes, etc.), ellen christi (vocals), brian charles (oboe, bass clarinet, soprano sax).

special guest appearances by jane scarpantoni (taped cello), and kevin sparke (percussion).

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

threads:
free-improvisation
modern-composition

pogus (usa) #p 21006 cd

trigger “all these things” compact disc

l'homme amme
something you are
windows
bang: 448,2345
some other things you are
none of the things you are
walker mcgriff
a few things you are
openen
more things you are
s d
fugalities
fugalities 2
paul's theme
l'homme amme 2
velocities
sum total of things you are
gross total of things you are

pogus press release...

21006-2 cd

trigger - all these things

featuring fred lonberg-holm on cello, paul hoskin on contrabass clarinet and leslie ross on bassoon. these 3 excellent musicians tread the fine line between composition and improvisation. and to be quite honest, they often cross over that line - in both directions. their unique instrumentation often leads them to the dark end of the street.

$12.61

back in stock as of
january 6th, 2011

first in stock on
april 3rd, 2007

threads:
plunder-phonic

pogus (usa) #p 21005 cd

big city orchestra “greatest hits and test tones” compact disc

arms and legs
go (mixed by john duncan)
have you seen me
the door must be stuck (mixed by brook hinton)
middle class
strange experience (mixed by monte cazazza)
pedestrian beat
hearing mud dry (mixed by gx jupitter-larsen)
fiend
master freak
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pogus press release...

21005-2 cd

big city orchestra - greatest hits and test tones

five of bco's greatest performed by das, robo, daevid allen, brook hinton, mic gendreau.

four test tones specially mixed by john duncan, monte cazazza, g. x. jupitter-larsen.

previous record label:
pnl

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

next record label:
polyfusia

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... this page was last updated on thursday, february 9th, 2012 @ 5:43 pm