tell “tonal - nagual” compact disc

• the eleventh hour (8:04)
  
• little black spiders (4:33)
  
• virus infection b-23 (12:38)
  
• replicant dance (4:34)
  
• new scientists (4:07)
  
• angry young men (6:40)
  
• perverted perambulation (5:02)

rossbin press release...

author: tell title: "tonal - nagual” label: rossbin format: cd catalog #: rs030  joke lanz - turntables, electronics christian wolfarth - percussion  recorded 20/21 june 2008 in berlin - kreuzberg

tim hodgkinson / milo fine “teshuvah” compact disc

• the renunciant (24:43)
  
• the remembering (20:59)
  
• the work to return (4:04)          

rossbin press release...

author: tim hodgkinson - milo fine title: "teshuvah” label: rossbin format: cd catalog #: rs028 tim hodgkinson: b flat clarinet milo fine: piano, drum set jr., b flat clarinet, voice two blokes finding sound in the midst of a sort of macrocosm insufferable and absurd. but, what else to expect? because we are (imagine ourselves to be?) sentient, or rather, due to the manner in which western "civilization", an infectious disease which has managed to inculcate almost every indigenous culture on the planet, has manifested this sentience, we are an utterly disingenuous species. our actions, in one way or another, are, for the most part (exclusively?) unintentional manifestations of what lurks beneath; unacknowledged, suppressed, repressed, willfully unknown. our behavioral watchwords? rationalization and justification. why? well, fear of course, knowing we will cease to exist, or, perhaps more accurately, lacking the ability to fathom the eternal (or what we imagine it to be), we turn to so-called power, material wealth, fame and the like as pathetically meagre compensation. now, there are those who would, in the current lexicon, argue that "it's all good", which is nothing but a rephrasing of essential tenets found in any number of belief systems/philosophies. and while there is no doubt that truly existing in the eternity of every moment, to treat what we generally separate into "good" or "bad"/ "positive" or "negative", as nothing but unified energy of which we are simply a part  -- to, in other words, maintain a sense of calm and "being" regardless of life's circumstances -- would likely be ideal, or close to it. but, given the essence of humanity's overall conditioning and wiring, this state is, sadly, more or less impossible to attain, never mind sustain. not to say that it isn't worth considering and attempting. but, in the meantime, let's drop the pretense; the state of the world -- inner and outer -- makes it clear that it is not all good, and to excuse our behavior is to propagate the missteps that personify humanity.  certainly a microcosm social gatherings are all, to one degree or another, insufferable and absurd. fraught with rampant hidden agendas and their manifestations -- positioning (hierarchal maneuvering) and networking (careerism) -- and underscored by insecurity and thinly veiled desperation (a bit thicker for those with truly sociopathic tendencies), how could they be otherwise? and, having such a gathering in the name of "art" only compounds the unbearableness, because the meaningful realization of the creative impulse should have at least something to do with transcendence. not "transcendence" as a marketing tool or an image mongering label, but transcendence. so, when a local academy hosted yet another insular affair -- in this case, a "festival of electronic music and arts" -- wherein the invitees ranged from graduate students to out-of-town guests (underwritten by their own academies to come and display their wares; that is to say, add yet another line to their curriculum vitaes), the resultant lack of transcendence can hardly come as a surprise. and, indeed, just on the surface, there's abundant evidence as to how brilliantly this event works at cross purposes. first, it's centered around technology, which, these days, as one knows, means lap top gimmickry (and slow downloads). second, there's a preponderance of hackneyed and merciless expropriation of indigenous musics, a clear sign of  wrong-headed political correctness. third, as part of ever elusive "audience development", there is much pandering to rock/pop influences. fourth, the programming style is all pastiche -- a little of this, a little of that -- catering to short attention spans. (and, do i need to mention how the curator and others high in the food chain, get to present their work in the better, more prestigious venues? i thought not.) in all, it's fascinating how an event so concerned with creativity is, for the most part, so utterly bereft of same.  tim and i first met when he came to town with konk pack (a trio which also includes roger turner and thomas lehn) in the fall of 2007. in addition to playing a duo set with roger that evening, i had served as a middle man of sorts in setting up the gig, which, due to the curator dropping the ball vis a vis communications, almost didn't happen. (and, even when it did, the evening itself was filled with an assortment of additional miscues, which tim  -- the group's de facto "tour manger " -- and i handled well, and, perhaps more importantly, with good humor.) tim and i didn't talk a lot that evening or at brunch the next day, but, as evidenced by our on-the-spot problem solving and the exchanges we did have, there was an obvious overlapping of sensibilities and interests. evidently, tim thought so too. i was, however, surprised and amused when tim let me know he was returning to participate in this, as we say in the states, "dog and pony" show (i.e., an empty showcase). (that he was a member of an ensemble not playing his music -- a hired hand, so to speak -- mitigated my surprise.) in his e-mail he expressed an interest in finding some time to hang out amongst the rehearsals and performances. i  countered by suggesting we get together to play. so, we elected to attempt both, but, naturally, given logistical concerns (schedules and transportation) the path to something simple was replete with small stumbling blocks. enter filmmaker/videographer mike yaeger. part of my unexpected and last minute middle man duties on tim's previous visit was to find  accommodations for konk pack. for several reasons, three people would have been a bit much at my place. particularly in the light of roger having opened his home to me for several days in 2003 while i was in england, his staying with me was a foregone conclusion. fortunately, in an inspired moment, i remembered mike had a long standing admiration for tim's work. so, i contacted him about the possibility of tim and thomas spending the night at his house. having met and had quite a long conversation with tim the preceding year, mike was delighted. this time around (late winter 2008), tim had already alerted mike to his return, but mike was unaware that i had suggested our getting together to play. this prospect was especially exciting for him, because, in addition to his abiding respect for tim's music, mike has expressed a deep appreciation for my work as evidenced by his recurring bursts of support. (that a virodha bhakti -- devotion by defiance -- undercurrent informs our relationship is not surprising, as it is a recurring theme in my interpersonal dynamics.) he was, therefore, very keen on videotaping our session. and, because the audio on his camera is of mediocre quality, he suggested, no, almost insisted that i record it with my dat equipment (consisting of a recorder, mixer and four microphones). i, on the other hand, just wanted to keep things simple and make some music. but, mike, in his unbridled enthusiasm, can be extremely persuasive, and so we compromised. i'd record it, but with a basic stereo mike set-up.  looking at the festival schedule, i noted the first day i was available to hear tim, and made tentative arrangements to meet and go out with him and mike. but that, of course, entailed the concerted effort of entering a domain that, despite my efforts to place occurrences in a broader context, nonetheless so irritates my nerve endings. thus, with as much of an accepting attitude as i could muster, and keeping open the option that there just might, might be something of interest to hear (which, as it turns out there was, but just barely), i entered the venue where tim would be playing and, once inside the performing space proper, immediately detected the pervasive stench of heightened self-importance and the politics of music as, first and foremost, a career path. a sort of existential nausea washed over me. with a demeanor of subtle defiance, i found a place to sit as some vacant post-modern design-form morphed on the stage's screen. within moments, i spotted an enthralled mike, who, for all his perspicacious opinions concerning artistic endeavor, can, in certain circumstances, be quite a, shall we say, forgiving listener; and viv corringham, one of my regular collaborators, whom i mercilessly (and, if i may be so bold, justifiably) tease for regularly showing up at these sorts of affairs. (however, as she actually participated in this event the previous year, her presence was de rigueur. moreover, given that viv has a genuine arts degree, one readily recognizes the force of habit extending from a good indoctrination, er, education.) during breaks between pieces, and almost trembling with displeasure, i asked mike when we could get out of there, phrasing it along the lines of, "when the fuck can we get out of here and get something to eat?". he seemed perplexed and annoyed, to the point where, a bit later, and subsequent to tim and i having warmly reestablished contact, mike indicated he wouldn't be able to give tim a ride to the session on saturday, because he didn't want to miss any of the concerts (and, additionally, would have his young daughter, alice, in tow). with no other viable options, i said i'd fetch tim and get him back afterwards. slight tensions aside, the four of us decided to get together for a meal prior to to tim's next appearance that evening. the dinner at a small indian restaurant  was lovely; the usual push-pull banter amongst new and old comrades (viv having known tim for quite some time). naturally, a fair portion of the conversation centered around the event at hand. and while mike would have loved to find an ally in tim concerning positive aspects of the festival, tim was having none of it, and even went so far as to regale us with some wonderful and revealing behind-the-scenes stories. as the evening went on, mike,  in particular, was concerned about getting to the next venue in time to get a seat. i was, of course, in no great hurry, never imagining, in the light of the afternoon event's modest audience, that the place would be filled to capacity. much to my chagrin, however, that was indeed the case, perhaps in part because it was a smaller venue. (despite his being a performer in the evening's second half, even tim wasn't allowed entrance.) thankfully, my companions forgave me for filibustering at the restaurant. and, as we were in good spirits, and the ushers a good audience for our persiflage, we enjoyed our time in the lobby. expectedly, some people left during the interval, so there were more seats to be had. i stayed to hear tim, and then beat a hasty retreat. encounter saturday. mike bringing tim after all. cart the smaller drum kit upstairs. set it up. open the piano. assemble the clarinet. set up the recording equipment. and, naturally, wait. chronicling via cell phone: delayed rehearsals, concerts predictably running late, the convolutions surrounding their finding a place for a quick meal before arriving, and mike's ongoing "negotiations" with alice. having a sense as to when tim had to be back "on the job", i started thinking we'd have no time to play at all. another call, they're almost here. arrival. mike and tim set up their equipment, and, given the time constraints, we eschew a sound check. then, without a word, the music starts. now, if i may back up a moment. previous to his hearing me play clarinets with roger the year before, tim knew fuck-all about my music. and my exposure to his work was limited; the early progressive/art rock, the raucous, improvised environs of konk pack (which didn't involve much woodwind playing), and the frugal bursts characterizing his contributions to the festival. so my expectations (like assumptions, a tricky business) were of a spare, lyrically-tinged aesthetic, perhaps informed by some "noisy" eruptions. but, when tim put his horn to his mouth, it was all technically sharp, inventive fire. and i was delighted, as much for the music that was there, that moment, and to come, as for the fact that my expectations had been wonderfully circumvented. improvisation. my lifework.  acknowledgments mike, thanks very much for all your help, and, particularly for suggesting, er, insisting that i record the session. (and, thank you to kevin cosgrove, whose serendipitous mentioning the word "renunciant" in a conversation just after my having essentially finished these notes, brought the track titles into focus.)  -- milo fine (july 2008) recorded by milo fine at his home in minneapolis, minnesota on march 1, 2008 mastered by tim hodgkinson

machine for making sense “the act of observation becomes the object itself.” compact disc

• observance 1 (5:54)
  
• observance 2 (4:47)
  
• observance 3 (4:34)
  
• observance 4 (4:32)
  
• observance 5 (7:47)
  
• observance 6 (11:58)
  
• observance 7 (5:08)
  
• observance 8 (3:22)
  
• observance 9 (5:17)
  
• observance 10 (11:38)
  
• observance 11 (4:46)

rossbin press release...

author: machine for making sense title: "the act of observation becomes the object itself.” label: rossbin format: cd catalog #: rs026 time: 59'71" stevie wishart - hurdy gurdy, vocals + electronics amanda stewart - voice + text rik rue - analog and digital manipulations jim denley - wind instruments + electronics recorded july 2001 at uws studio in sydney by emma stacker. edited, mixed and mastered by jim denley. thanks the university of western sydney, the nsw ministry of the arts, joan grounds, michael atherton and julian knowles.

enore zaffiri “la voce ed il sintetizzatore” compact disc

• usk > dai passaggi de eliot (1973) 2:58
  
• rannoch by glencoe > dai passaggi de eliot (1973) 4:16
  
• the dark lady > dai sonetti di sheakspeare (1973) 10:01
  
• i clearly saw > da kerouak (1976) 2:37
  
• 199º chorus > da lamantia (1976) 4:10
  
• put down > da kerouak (1976) 6:12
  
• omaggio a webern > da poesie di george (1976) 5:27
  
• pentaconta > capriccio per i 50 anni di vittorio (1976) 6:08
  
• cantico del cantici > da il cantico dei cantici (1981) 14:40

rossbin press release...

author: enore zaffiri title: "la voce ed il sintetizzatore” label: rossbin format: cd catalog #: rs023 time: 56'45" voce > ellen kappel sintetizzatori synthi a e arp2600 > enore zaffiri thanks to: associazione pietro grossi after almost forty years of creative activity, the name enore zaffiri still sounds "new", as his extraordinary artistic output has remained to a great extent unreleased. pioneer of multimedia, electronic and ambient music (he founded the turin studio of electronic music in 1964) zaffiri used the electronic instrument to find a new musical perspective based on a structuralist principle derived from euclidean geometrics. in this works, dated between 1973 and 1988 he approche the combination of the electronic music with the voice… the meeting of the newest instrument, at that time the arp synth, and the oldest one, the human voice. enore zaffiri was born in turin on march 29, 1928. he studied in turin at the "conservatorio g. verdi", taking a diploma in composition, choral music and pianoforte, and subsequently in paris at the "conservatoire national" with tony aubin. from 1954 to 1982 he held the chair of general music culture at the "conservatorio g. verdi" in turin. in 1964, he turned his interest to electronic music and founded smet (studio di musica elettronica di torino) which made its headquarters in turin at the conservatorio.zaffiri’s first objective was to overcome the historical elementary principles which coordinated the relationships between the sounds of traditional musical language for acoustic instruments and then concentrate his efforts on electronic means, searching for new sound perspectives originating from a structural principle based on the euclidian plane geometrical figure by which means the various sound parameters can be coordinated and the formal and spatial dimension extracted. in 1965, together with other operators in the visual field, he set up the studio di informazione estetica and started an interdisciplinary research into sound and visual phenomena. the main objective of the research was to generate the elements relevant to the sound and visual fields from a single basic structure. the extreme limit of the formal rigorism was achieved in 1968 with the project musica per un anno, the purpose of which was the sonorization of environments. from 1970, zaffiri turned his attention towards the live performance of electronic music. he combined electronic sound with the human voice - sometimes crossing the border into total theatre (il giuoco dell’oca from the novel by e. sanguineti and raptus based on a text by m. châtel). in the period, the first scores for synthesizers appeared, permitting the live performance of pieces specifically written for this instrument. at the end of the seventies, he extended his research into visuals to the video, maintaining the interdisciplinary process using the instruments that technology offered and which represented, for the author, the means and support for what he intended to express.

laura andel electric percussive orchestra “in::tension:.” compact disc

• part i : : noticias : . 6'53"
  
• part ii : : resonancias : . 4'19"
  
• part iii : : descuido : . 9'26"
  
• part iv : : caídas : . 6'55"
  
• part v : : puntos : . 10'19"
  
• part vi : : dos : . 8'51"
  
• part vii : : ecos : . 12'02"

rossbin press release...

author: laura andel electric percussive orchestra title: “i n : : t e n s i o n : .” label: rossbin format: cd catalog #: rs022 time: 58'50" about i n : : t e n s i o n : . since a very young age, i have always been attracted to journeys and traveling to places not known to me. last year, i watched a film from mongolia about a dog. once the dog dies, its soul is free to travel and wonder through landscapes and memories as a disembodied spirit. each part of i n : : t e n s i o n : . is part of a longer journey, where you can hear, sense and discover different memories that a wandering soul revisits. percussive, intimate, visceral, ritualistic and electrically charged, i n : : t e n s i o n : . explores tension points and internal pulses, glimpses and gestures in a non-narrative world. composer laura andel was born in buenos aires, argentina. after living and working in her native buenos aires and for several years in boston, ms. andel moved to new york city in 2000, where she currently resides. she has conducted her music in new york, boston, berlin, caracas, buenos aires and other cities. one of andel's strengths is her ability to assemble large ensembles to play her compositions. she enjoys exploring diverse combinations of instruments and formats for her orchestras, as well as working with musicians from different musical and cultural backgrounds. currently, she leads the laura andel orchestra in several formations. among the most recent are the 14-piece somnambulist orchestra and the 10-piece electric percussive orchestra. somnambulist, her previous extended work, was released by red toucan records (rt9322) in 2003. thanks to: roulette, jerome foundation, sacatar foundation, yaddo artist colony, valparaiso foundation, jim staley, elliott sharp, and all the musicians of the laura andel electric percussive orchestra. additional thanks to sofía, saúl, hernán, and carlos. i n : : t e n s i o n : . was commissioned in 2004 by roulette with funds from the jerome foundation. all music composed and conducted by laura andel (bmi ©2004) recorded live by mario diaz de león at the roulette concert series at location one in new york city on december 4, 2004. mixed and mastered by elliott sharp at studio zoar in new york city. performed by the laura andel electric percussive orchestra: kyoko kitamura voice & electronics taylor ho bynum cornet carl maguire prepared fender rhodes & accordion ursel schlicht piano & prepared piano kenta nagai electric fretless guitar & electronics joel harrison electric guitar & electronics khabu young electric baritone guitar & electronics david simons theremin & percussion andrew drury percussion harvey wirht drums laura andel composer & conductor

tania chen / steve beresford “ointment” compact disc

• gel (5' 20'')
  
• lotion (19' 19'')
  
• serum (5' 48'')
  
• ointment (6' 47'')
  
• balm (0' 51'')
  
• liniment (9' 05'')
  
• embrocation (1' 26'')
  
• demulcent (2' 57'')
  
• cerate (5' 26'')
  
• chrism (4' 03'')

ferran fages / ruth barberán / alfredo costa monteiro “atolon” compact disc

• weiur
  
• uyoti
  
• 98y2r
  
• weidfug

alvin curran / domenico sciajno “our ur” compact disc

• someone to watch over what (12:07)
  
• outer cities (19:27)
  
• anatolia centrale (19:04)
  
• rue de la gare 76 (3:57)

burkhard beins / dirk marwedel / michael vorfeld “misiiki” compact disc

• moja (14:01)
  
• oou (7:57)
  
• tune (2:09)
  
• chaar (4:29)
  
• pump (7:26)
  
• schist (5:39)
  
• nana (2:09)
  
• nyolc (6:03)

steve roden / tu m’ “broken. distant. fragrant.” compact disc

• details and ornaments (6:22)
  
• flowers drawn (8:16)
  
• fountain (8:36)
  
• geographies (8:24)
  
• paper bridges and small soft buildings (6:29)

hiss “zahir” compact disc

• wazifah (6:34)
  
• qalb (6:02)
  
• batin (6:54)
  
• zahir (12:36)
  
• khayal (14:03)

nmperign / günter müller “more gloom. more light.” compact disc

• more light. (15:47)
  
• and the gloom of that light (5:36)
  
• more gloom. (9:48)
  
• and the light of that gloom (7:16)

manuel mota “leopardo” compact disc

• 1.43
  
• 3.26
  
• 3.04
  
• 5.23
  
• 2.35
  
• 4.57
  
• 4.38
  
• 4.16
  
• 11.08

scott fields “from the diary of dog drexel” compact disc

• conflicted... (18.48)
  
• pissed... (08.23)
  
• bummed... (12.55)
  
• agitated... (14.12)
  
• medicated... (11.38)

assumed possibilities “still point” compact disc

• kett [3.28]
  
• tronig [5.09]
  
• related activity [12.12]
  
• still point [3.21]
  
• starwyte [9.35]
  
• needle [1.46]
  
• styrin [8.12]
  
• out [6.20]
  
• riwe [3.55]

utah kawasaki / tetuzi akiyama / jason kahn “luwa” compact disc

• luwa fabrik (21:59)
  
• zurich (24:46)

enore zaffiri “riverberazioni sonore” seven inch single record and magazine set

• riverberazioni sonore n° 31 (1) (5:26) 1998
  
  
• sonetto cxliv da the dark lady di shakespeare per voce e synthi a (2:37) 1973
  
• riverberazioni sonore n° 31 (2) (2:59) 1998

rossbin press release...

author: enore zaffiri title: "riverberazioni sonore" label: rossbin format: 7” + magazine catalog #: rsep001 time: 11:00 enore zaffiri was born in turin on march 29, 1928. he studied in turin at the "conservatorio g. verdi", taking a diploma in composition, choral music and pianoforte, and subsequently in paris at the "conservatoire national" with tony aubin. he perfected his piano studies with guido agosti in siena at the "accademia musicale chigiana". from 1954 to 1982 he held the chair of general music culture at the "conservatorio g. verdi" in turin. as a composer he won various awards. in 1964, he turned his interest to electronic music and founded smet (studio di musica elettronica di torino) which made its headquarters in turin at the conservatorio, and he also became a lecturer in this subject. zaffiri’s first objective was to overcome the historical elementary principles which coordinated the relationships between the sounds of traditional musical language for acoustic instruments and then concentrate his efforts on electronic means, searching for new sound perspectives originating from a structural principle based on the euclidian plane geometrical figure by which means the various sound parameters can be coordinated and the formal and spatial dimension extracted. in 1965, together with other operators in the visual field, he set up the studio di informazione estetica and started an interdisciplinary research into sound and visual phenomena. the main objective of the research was to generate the elements relevant to the sound and visual fields from a single basic structure. the extreme limit of the formal rigorism was achieved in 1968 with the project musica per un anno, the purpose of which was the sonorization of environments. from 1970, zaffiri turned his attention towards the live performance of electronic music. he combined electronic sound with the human voice - sometimes crossing the border into total theatre (il giuoco dell’oca from the novel by e. sanguineti and raptus based on a text by m. châtel). in the period, the first scores for synthesizers appeared, permitting the live performance of pieces specifically written for this instrument. at the end of the seventies, he extended his research into visuals to the video, maintaining the interdisciplinary process using the instruments that technology offered and which represented, for the author, the means and support for what he intended to express. at the end of the eighties, he produced the video l’arte nella storia published by cooperativa books and video in turin.