“33 rpm • ten hours of sound from france” compact disc

• kasper t. toeplitz - purr#2 (2003)
  
• kristoff k. roll - zócalo masqué (2003)
  
• jean-claude risset - resonant sound spaces/bell brass metal (2002)
  
• jean-claude risset - resonant sound spaces/plectra (2002)
  
• jean-claude risset - resonant sound spaces/filters (2003)
  
• lionel marchetti - à rebours (1989)
  
• christophe havel - excerpt/metamorphosis (2003)
  
• laurent dailleau - it was too dark to hear anything (2003)
  
• mathieu chamagne - on sonne (2003)
  
• pizmo - nim (2003)
  
• jean-phillipe gross - gris épais (2003)
  
• mimetic - evolution (2003)

23five incorporated press release...

33 rpm: 10 hours of sound from france 23f/sfm 903, compact disc an exhibition companion compilation to sfmoma's 2003 listening room program 33 rpm: 10 hours of sound from france, curated by laurent dailleau. 33 rpm's compact disc companion features compositions from kasper toeplitz, kristoff k. roll, jean-claude risset, lionel marchetti, christophe havel, laurent dailleau, mathieu chamagne, pizmo, jean-philippe gross, and mimetic. comes with a 24 page booklet and original program details.

“variable resistance • ten hours of sound from australia” compact disc

• oren ambarchi - stactedit (2000)
  
• robbie avenaim - impulse control disorder (2002)
  
• philip samartzis - soft and loud (2001)
  
• david brown - were holes mended? (2002)
  
• jim knox (xonk) - never mind the ruddocks (2002)
  
• jim knox (xonk) - fuck to mandatory detention (2002)
  
• jim knox (xonk) - prophylactic liquidation of our pig government (2002)
  
• thembi soddell - violation (2002)
  
• darrin verhagen - p2 (2002)
  
• pimmon - steps gaps (flicker) (2002)
  
• délire - fxcr_2_r2 (2002)

23five incorporated press release...

variable resistance: 10 hours of sound from australia 23f/sfm 902, compact disc over the past three or four years, the australian experimental musical community has flourished, thanks in part to the tireless globetrotting from artists like oren ambarchi, pimmon, and philip samartzis. variable resistance — a co-presentation between 23five incorporated and the san francisco museum of modern art — originally celebrated this australian renaissance with a 10 hour ‘listening event’ in september of 2002. from those ten hours, curator philip samartzis distilled the best tracks to be featured on this cd compendium. variable resistance is a title that encapsulates the tone and extent of the work on hand, referencing not only the electronic gizmo (the variable resistor) as key to many of the featured homespun constructions filtered through state of the art dsp filters, but also as an applicable non-definition of those artists who “offer variable resistance in how they are defined and the positions they occupy in a broader cultural context, fragmented, and dispersed among remote cities and divided by enormous physical and psychological space.” within this disc, the australian aesthetic finds itself reflecting a number of ideas previously mined throughout the history of electronic music from mego’s fascination with the streaming micro-textures of digital fragmentation to metamkine’s conceptual riddles within their cinema pour l’oreille series to the brazen noise-junk collages from merzbow and otomo yoshihide. yet, variable resistance resolves its uniqueness by smashing these references with brutish noise and demonstrative force applied to the stereotypically delicate sensibilities of electro-acoustic composition. for instance, samartzis’ collages of environmental, plundered, and digitized sound meld into psychologically abrasive narrative scalded by toxic agents; pimmon transforms agitated chunks of granular synthesis into cybersonic lullabies; and david brown’s jarringly angular duet between a prepared guitar and a squeaking door stands as a steroid injected homage to pierre henry’s musique concrete classic variations pour une porte et un soupir. along with samartzis, brown, and pimmon, variable resistance also features exclusive compositions from oren ambarchi, robbie avenaim, philip samartzis, xonk, thembi soddell, darrin verhagen, and delire.

“ju-jikan • ten hours of sound from japan” double compact disc set

• tanami tono - dinergy 2 (1997)
  
• pain jerk - acid bath drip bones (1994)
  
• yasunao tone - trio for a flute player (1991)
  
• nerve net noise - thousand knocks (2001)
  
• otomo yoshihide - composition for two guitars (2001)
  
• atau tanaka - 28:33:23 (2002)
  
• i.d. - öô»..»..ßt (2001)
  
• masonna - love (2000)
  
• kozo inada - d[0] (2001)
  
  
• ichiro nodaira - neuf ecarts vers le défi (2001)
  
• hanatarash - 77up
  
• yuji takahashi - tori mo tsukai ka ii (2001)
  
• masahiro miwa - alleleuia (1998)
  
• ryoji ikeda - abstructures (2002)
  
• merzbow - electric for icc turn (1999)
  
• kazuo uehara - musique collage ii (1988)
  
• astro - apastron (2001)
  
• tetsuo furudate - der geist (2001)

23five incorporated press release...

ju-jikan: 10 hours of sound from japan 23f/sfm 901, double compact disc set in 2001, the san francisco sound-arts organization 23five and the san francisco museum of modern art co- presented ju-jikan — a ten hour ‘listening event’ documenting the past 50 years of japanese experimental music. the curators of ju-jikan; atau tanaka, ryoji ikeda, and shunichiro okada did not intend their exhibition to be a comprehensive encyclopedia of japanese experimentation; rather they sought “to trace the complex web of sonic style that constitutes the current japenese musical landscape.” tanaka, whose lucid writings are found within ju-jikan’s liner notes, takes great care in describing the contradictions and unspoken connections that linger not just within the niches of japanese audio experimentation but also throughout all of japanese culture. just as technology and electronics are the lone assimilating factors within the broad scope of ju-jikan, these same tools also gave the possibility for separation from the west and from each other to create a wealth of new languages. while the ten hour ‘listening event’ at sfmoma spanned 5 decades of historical recordings, the double cd centers upon the last decade, as a means to publish previously unreleased work from many of featured artists. all of the artists with ju-jikan (both the 2cd and the sfmoma listening event) draw from the recombinant power of electronic synthesis and the juxtaposition of disparate styles; which together have become a standard if elusively-defined musical vocabulary for japanese music. tanaka, ikeda, and okada offered convenient catagories (computer music, anti-academic movements, noise, anti-pop permutations, ambient fields, after improvised music, etc.) as ports of entry; however, they point out that many japanese experimental artists refuse to paint themselves into an aesthetic corner. ju-jikan’s cd companion features compositions from tamami toro, pain jerk, yasunao tone, nerve net noise, otomo yoshihide, atau tanaka, i.d., masonna, kozo inada, ichiro nodaira, hanatarash, yuji takahashi, ryoji ikeda, merzbow, kazuo uehara, astro, and testuo furudate. founded in 1993, 23five incorporated is a nonprofit organization dedicated to the development and increased awareness of sound works in the public arena, and to the support and education of artists working with and discussing the medium of sound. for the past 14 years, 23five incorporated has remained at the forefront in bringing the most adventurous elements of sound art to the san francisco bay area. 23five has served as an important benefactor to artists such as john duncan, christina kubisch, francisco lopez, achim wollscheid, matt heckert, zbigniew karkowski, atau tanaka, and many more.