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previous record label: secretly canadian		there are 25 titles on sedimental in stock. they are listed below.		next record label: segerhuva

$12.48

new to stock as of
july 14th, 2008

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

sedimental (usa) #sed 052 cd

kyle bobby dunn “fragments & compositions” compact disc

miranda rights (13:23)
sedentary i (5:12)
tout voyeurs (5:08)
furthest from it (12:00)
an extension (7:57)
sedentary ii (3:21)

click the play button to hear an excerpt of "an extension"

june 2008 release ; a gorgeous set of drone pieces from composer kyle bobby dunn (whose “we all blinked / we all missed it” kning disk edition was quite nice) ... most of the pieces here have a kind of stars-of-the-lid-esque lean, from the reverb-bathed instrumentation (strings, piano) to the slow, languorous arc(s) ...

an impressive album from such a young pup (21 !!!) ; definitely someone to watch out for ...

sedimental press release...

kyle bobby dunn - fragments & compositions (sedcd052)

fragments & compositions is a collection of long-processed recordings that began at several universities and art centers visited frequently from 2005 to 2007. working with classically trained musicians recruited on a whim, dunn recorded the often awkward sounds of the sessions and sparse notes of the musicians as dunn dictated. the music addresses amongst other aspects: the pace of meeting people and their vanishing, the human condition, the nothingness of being, indifference, the ephemeral, the bleak and the misery of mid-winter and mid-summer. yet also the warmly humanist acceptance of these negative terms and things. sedimental has been following dunn’s sensitive and world-wise drone works closely for many years (keep in mind he is only 21 now), and with this brilliant new release we expect to expand his presence on many levels.

kbd was born in toronto, ontario in 1986 and active since 2000 as a minimalist composer and sound artist. as a sound artist, dunn has exercised his work in exclusive outdoor locations, generating sound from site-specific environments and processing them via analog setups and laptop. he’s also premiered his more musical works at various academic settings including the alberta college of art and design, the banff arts centre, cantos music museum, the university of north carolina, the bickett gallery, and the more typical indie-rock venue.

$12.48

new to stock as of
july 14th, 2008

threads:
free-improvisation
electro-acoustic-composition
site-specific
minimalism-drones
modern-psych
guitar-themed

sedimental (usa) #sed 051 cd

ricardo dillon wanke “caves” compact disc

e (13:17)
join (5:50)
caves (9:27)
jest (9:08)
old man (7:52)

click the play button to hear an excerpt of "caves"

june 2008 release ; a beautiful set of minimal instrumentals from medves member ricardo dillon wanke ...

sedimental press release...

riccardo dillon wanke - caves (sedcd051)

riccardo dillon wanke’s caves was composed and recorded in 2006 in alfama (historical district of lisbon, portugal) using acoustic and electric guitars, saxophones and natural sound elements starting from pure radical improvisation evolving into the investigation of drones and static and looped music related to minimalism. at the center of these works are the binaural beats in musical composition, the results lying between classical composition, minimalistic improvisation and a “folk”sensitivity. the five tracks of caves explore this in various ways. its music plays with the relation between different geometries: expanded drones and concrete sounds, acoustic melodies and looped music. the project is music with a sort of irrational tension within a composed piece, built as a musical space made with few elements. on the surface, its aura seems immediately knowable and known yet wanke has delivered a much more complex, nearly radical gesture.

wanke was born in genova, italy in 1977, was established in milan from 1982 until 2005 and now lives and works in lisbon. he began to study piano 1986, playing saxophone (tenor and alto) in 1994, and then guitar in 2001. he has been working in the experimental music field since 2000 (long-term collaborations with giuseppe ielasi, francesco dillon, stefano pilia, david maranha, renato rinaldi, christian alati, andrea belfi, margarida garcia). he is member of medves group.

$12.48

back in stock as of
july 14th, 2008

first in stock on
september 12th, 2007

threads:
electro-acoustic-improvisation
circuit-bending
minimalism-drones

sedimental (usa) #sed 050 cd

tim feeney / vic rawlings “in six parts” compact disc

1. (7:38)
2. (8:33)
3. (6:46)
4. (9:22)
5. (5:22)
6. (13:21)

click the play button to hear an excerpt of "2."

a continuous improvisation (presented... you guessed it :: “in six parts”) by boston’s vic rawlings (long the hidden jewel of our vibrant improvisation community due to his brilliant open-circuit playing/instrument designs and electronically-enhanced cello) and tim feeney (a younger entrant on percussion & electronics) captured at firehouse 12 in new haven, ct in december 2005.

a tense set of raucous hysteresis-laden electronics, post-lachenmann “extended techniques” (both players appear far more interested in the so-called “non-musical” properties of their respective acoustic palettes; nary a clean attack from feeney’s percussion array, nor a double-stop from vic) ; with the faint whisper of a dying capacitor/zener diode never far out of earshot... marvelous.

sedimental press release...

tim feeney / vic rawlings - in six parts (sedcd050)

vic rawlings is as careful and focused as any musician/improviser working today. over the years he has honed his prepared cello and electronic, open circuit ‘device’ performances down to sparse, tight, violent little assaults. his many collaborative projects run long and deep in boston (undr quartet, the bsc) and beyond (nra, mawja) and this (relatively) recent partnership with the youngster tim feeney has produced immediate and excellent results as well. this release also finally gets rawlings properly into the sedimental roster, something that is long overdue.

so what do we have here? feeney, a percussionist, is less a foil than a multiplier of the rawlings aesthetic. the first five parts are static, lean, and pinpointed explorations of high pitches, specific gestures of scrapes and buzzes. cold, but organic. sparse, but rich. feeney does provide a modicum of warmth as heard on part six, the final section of the disc, which acts an emotional counterweight to the previous five. a rhythm emerges, slowly unfolding, repeating, a know-able signpost amid the desolation, a way out, but not exactly towards home.

$12.48

back in stock as of
july 14th, 2008

first in stock on
september 12th, 2007

threads:
electro-acoustic-composition
minimalism-drones
musique-concrète

sedimental (usa) #sed 049 cd

brendan murray / seth nehil “sillage” compact disc

ebb/cess (3:07)
runs toward needles (3:29)
clothes tear (6:23)
underneath a portrait (4:38)
wake of scent (1) (2:48)
wake of scent (2) (3:17)
feet wrap around chair (9:59)
waving (9:11)

click the play button to hear an excerpt of "underneath a portrait"

superlative collaboration between brendan murray and seth nehil; combining their respective strengths as audio-conjurers into something that’s neither seth’s plaintive field-studies and concept-pieces nor brendan’s jet-plane roar/blissed-out drone...

...actually much of this feels closer to a radiophonic construct or “traditional” musique concrète; seth’s source material(s) (atmospheric events, percussion) isn’t so much blurred-out by brendan’s elongation techniques as magnified... hidden events & detail become motifs, the slight dynamic shifts become the form.

i’ll be spending much, much more time with this recording over the coming weeks; i suggest you do the same.

sedimental press release...

sillage - s/t (sedcd049)

sillage is brendan murray and seth nehil in collaboration

certainly amongst our most challenging releases, sillage is the mind-blowing collaboration of brendan murray and seth nehil and is the result of a first meeting in a live setting from 2004, a performance that was loud, powerful, and very successful. this event combined with knowing these electronic sound artists previous work as generally maximalist and full makes sillage both curious and nearly shocking in this light, as here the material is continually turning inward, trying to push out but always being submerged. this document takes many, many listens and can remain baffling and impenetrable. yet with patience one does get underneath it, and once this happens the sonic rewards are otherworldly and deep. followers of either or both artists work should recognize his particular contributions but this venture has provoked new and uncharted territory from both.

$12.48

back in stock as of
july 14th, 2008

first in stock on
february 21st, 2007

threads:
free-improvisation
guitar-themed
minimalism-drones

sedimental (usa) #sed 048 cd

michel doneda / giuseppe ielasi / ingar zach “flore de cataclysmo” compact disc

floating on the mass of blossoms (17:02)
one wing of matter (16:45)
run fingers over turquoise (11:58)

click the play button to hear an excerpt of "one wing of matter"

february 2007 release by the trio of michel doneda, giuseppe ielasi, and ingar zach, recorded in the studio, 2004, vandoeuvre-les-nancy.

somewhat contrary to giuseppe’s recent maximal work, this is sparse free-improvisation, each contributing their own array of extended technique-derived sounds. the music frequently touches down onto beds of tonality, with zach’s drum kit providing texture over pulse...

a gorgeous set providing clear evidence of a telepathic link between the players. highly recommended.

sedimental press release...

flore de cataclysmo

michel doneda : soprano and sopranino saxophones
giuseppe ielasi : guitar, electronics
ingar zach : drums, percussion

recorded by françois dietz t studio ccam,
vendoeuvre les nancy, january 25th 2004.
mixed my giuseppe ielasi in 2006.
collages by michel doneda.

...

this trio features very distinct musical personalities and caught us off guard simply by its appearance at all, but we sure did smile when we heard it as we knew it would pack the goods. both zach (percussion) and doneda (reeds) lay sturdy frameworks with ielasi (guitar) adding an almost alien warmth to the group sound.

intense sonic impact yet transparent and sparse enough to navigate with alert senses the whole disc has an ambitious arc that one may miss when caught in the web.

doneda's comments: "the music unfolds from known materials, offering clues. the fleeting nature of the colors, tones, dynamics and rhythm coalesce and then dissolve. often, the sound seems to dig in an invisible soil, and then the quest stop, often at a new place but then another layer appears. each musician weighing the sounds in the most real sense... perfectly independent in a unique and definitive community without specific roles or hierarchy."

all true.

$12.48

back in stock as of
july 14th, 2008

first in stock on
february 21st, 2007

threads:
electro-acoustic-composition
digital-musics
free-improvisation
musique-concrète
field-recordings

sedimental (usa) #sed 047 cd

bhob rainey / ralf wehowsky “i don’t think i can see you tonight.” compact disc

awaken elsewhere, unforeseen (8:37)
i don’t think i can see you tonight. (21:50)
re: hi! (9:10)

click the play button to hear an excerpt of "i don’t think i can see you tonight."

outstanding electro-acoustic work jointly composed by bhob rainey and ralf “rlw” wehowsky over a 5-year period.

sedimental press release...

2001
ralf contacts bhob to say that he is "ready" to begin a collaboration.

2002
i.k.k. emerges as the central theme of the collaboration. some preliminary sketches and transformations mode by bhob, most remaining private experiments.

early 2003
i.k.k. re-envisioned as multi-collaborative project. rainey/wehowsky project at something of a standstill.

april 2003
with some goading and inspiring suggestions by ralf, bhob records numerous saxophone excursions, most significant of which is a variation on ralf's "drunken walk" suggestion, where bhob plays saxophone, rolls around in an office chair, bounces a ring-pong ball with his feet, and generally causes distress in an already cluttered attic where he lives. ralf invokes sun ra's black forest myth, cecil taylor's tales from the black forest and brotzmann's schwarzwaldfahrt on his own journey through germany's dark woods: black field recordings by ralf.

december 2003/january 2004
bloodshot eyes and cortison contribute to overturning everyone's expectations. two early drafts for track 2 by rolf. bhob, along with chris cooper, jess goddard, and ginger hoffman finds a group of children skating on a fragile pond in western massachusetts. the four create a suspicious foreround to the childrens' play. a small prop plane stalls in the sky above. an old, broken music box plays silent night.

march/april 2004
bhob cuts & implements myth-ladden sounds for track 2. he sends ralf a piece composed originally for dance, along with the new draft of track 2, and track 3 begins to take shape. ralf sends bhob a cd-r with three suggestions for source material. bhob creates a horrible piece of new age trash from one of them, and a small, comic work, which will become the seed for track 1, from another. a parade of some sort; a group of obsessed entertainers shouting "hello!" ralf's pc crashes in a big way.

october 2004
ralf moils the first draft for track 3.

early 2005
track 1 undergoes major transformations, first from ralf, then bhob. a movement from silly to ominous to pretty damn dark. track 2 is tweaked here and there until it achieves solidity. track 3 sits quietly, labeled with a question mark.

mid 2005
bhob attacks track 3, cutting some things to bits, and adding a new ending.

late 2005
ralf is not comfortable with track 3's new ending. the first significant disagreement in the project arises. the resolution involves bhob composing another new ending for track 3. track 3 sits dejected for some time, labeled with on "x".

early 2006
a window of an idea opens for the end of track 3. bhob puts it together, leaving some gaps for rolf's finishing touches. rolf receives the new version and leaves the gaps untouched. the project is reviewed and deemed complete.

...

the bhob rainey/ralf wehowsky collaboration overcame many gruelling attempts, musical dead-ends and a five full years to realize its outcome and man, was it worth the wait!

both artists sit firmly in their unique and highly regarded (and earned) musical positions these days and are both truly fearless in attempting and pursuing new musical activities for themselves.

here are three powerful, often hair-raisingly intense pieces that allow no room for complacency on the part of the listener....at all.

$16.64

back in stock as of
july 14th, 2008

first in stock on
april 20th, 2007

threads:
printed-matter

sedimental (usa) #sed 046 cd
fo(a)rm (united states) #foarm 5 mag

“fo(a)rm no. 5 (autonomy)” magazine and compact disc set

barbara held : inmersión sonora [15:18]
jonas baes : wala [6:50]
jose maceda : udlot udlot (excerpt) [11:50]
arsenije jovanovic : white city [20:57]
michael j. schumacher : piece for 61 sounds [20:26]

click the play button to hear an excerpt of "arsenije jovanovic : white city"

spring 2007 issue of this increasingly excellent sound-arts journal, edited by seth nehil, matt marble, and michael j. schumacher.

again, this comes with a full-length compact disc containing music by arsenije jovanovic (a superb 20+ minute survey of field recorded events and instrumental drone...), jose maceda, michael j. schumacher, jonas baes, and barbara held.

sedimental press release...

fo(a)rm no. 5 (autonomy)
156 pp., 7 x 9”, perfect-bound, full-color cover
(with exclusive cd)

we are very excited to present fo a rm no. 5, a special sound-art issue with an exclusive full-length cd complimenting the writings. (autonomy) is an examination of sound and freedom, a look at how artists and audiences take responsibility for their place in the world. topic editor and composer michael j. schumacher asks - "how can we 'save' ourselves from the undermining forces of commercialization and homogenization by 'using' the system in place, but returning as little as possible to it?" from a variety of perspectives along the fringes, we probe this question and raise many others.

including a special section on the great filipino composer jose maceda, with rare writings and scores - an in-depth interview with serbian radio artist arsenije jovanovic - writings by sound artists giancarlo toniutti, francisco lopez, achim wollscheid and john duncan - notes on improvisation by michael bullock - a probe into musical autonomy in the armed forces - writings on a sound installation by physicist luis lopez with composer barbara held - a profile of diapason sound gallery (nyc) - a poetic essay by musique concrete composer lionel marchetti - the early scores of robert ashley examined by avant-garde cellist alex waterman - experimental poetry by paolo javier, steven zultanski and travis nichols - art by jan anderzen (of kemialliset ystävät) and sreshta premnath - and much more!

plus, in collaboration with sedimental records, an amazing 80-minute cd with music by jonas baes, barbara held, arsenije jovanovic, jose maceda and michael j. schumacher!

$12.48

back in stock as of
july 14th, 2008

first in stock on
october 17th, 2006

threads:
musique-concrète
guitar-themed
free-improvisation

sedimental (usa) #sed 045 cd

stefano pilia “the suncrows fall and tree” compact disc

the suncrows fall and tree (part 1) 18:39
the suncrows fall and tree (part 2) 21:30

click the play button to hear an excerpt of "the suncrows fall and tree (part 1)"

meditative work from 3/4hadbeeneliminated member stefano pilia, following closely on the heels of his recent last visible dog disc, yet castly refining his approach to guitar-themed electro-acoustic composition. of the new wave of guitar/electronics composer-performers, i rate stefano up there with the best...

sedimental press release...

the suncrows fall and tree bolsters stefano pilia's small but substantial and well received body of solo work (lvd, time-lag) along with his participation in the highly lauded 3/4hadbeeneliminated project with valerio tricoli and claudio rocchetti.

the new document contains two 20-minute long sound arcs that are sweeping and focused, essentially drone pieces. they are beautiful in their restraint but not "pretty" and are grounded in the subtle use of acoustic and natural sound elements.

the work was composed and recorded between 2003 and 2005 in bologna, milano, codroipo and arbatax using the following sound sources and devices: electric guitar, field recordings, microphones, piano, tape noise, instruments played by wind, sine waves, pvc tubes, filters with an additional contribution from andrea belfi of high frenquency synth.

besides the above mentioned projects, pilia is also a member of the medves project and a collaborator with black forest/black sea and has contributed to numerous installation and film sound works.

$12.48

back in stock as of
july 14th, 2008

first in stock on
october 17th, 2006

threads:
electro-acoustic-composition
musique-concrète
field-recordings

sedimental (usa) #sed 044 cd

olivia block “heave to” compact disc

heave to (part 1) 14:39
heave to (part 2) 11:26
make the land 9:20

click the play button to hear an excerpt of "heave to (part 1)"

sedimental press release...

olivia block's "heave to" is her fourth full release under her own name (her first two are on sedimental, the most recent on jason kahn's cut label) and marks both a new maturity in her compositional prowess and also a new confidence. "heave to", a composition in three movements, is an investigation into the deep structures of maelstroms. a roiling mixture of crashing waves and wind, jagged strings, clanging metal, complex electronic textures, and clusters of chamber instruments. in our opinion this is her strongest work since her debut, "pure gaze".

olivia block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. in the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are defamiliarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. block has released several cds, has performed live in festivals and tours throughout the u.s., europe and asia, and has created several installations for galleries and museums. she is currently expanding her interest into video work and orchestral compositions.

$12.48

back in stock as of
july 14th, 2008

first in stock on
july 11th, 2006

threads:
electro-acoustic-composition
musique-concrète
field-recordings
digital-musics

sedimental (usa) #sed 043 cd

gabriel paiuk “res extensa” compact disc

res extensa (stereo version/2005) 38:25

click the play button to hear an excerpt of "res extensa (stereo version/2005)"

sedimental press release...

res extensa is a tape piece based on the superposition and juxtaposition of different layers of sound “registers”. these registers are layers of sound materials related to our everyday sound environment and coming from different origins: marginal sounds from electric devices, analogue sources, field recordings, amplification of microsounds, recordings of machine noises, digital “errors” and “heard” musics.

these sounds do not carry a traditionally codified expressive meaning but rather an emotional register linked to our everyday experience, an affective and tactile charge related to what we are exposed to. within them, a great variety of articulations and nuances are connected to our feeling and understanding (of the world). the aim of the piece is to unfold, friction and break up this matters to expose them in their affective characters and our connection to them.

recorded sound can be though of as a specific kind of acoustic event. this, as well as the sounds of all kind of electric phenomena, have become part of our listening culture. the fragments used in “res extensa”, different levels of “recorded” sound, are not a representation of the world but rather extracts of our vibrational experience, of our shared surface of perception, feeling and thought. the idea is to create a musical event based on the assemblage of different modes of listening.

in “res extensa”, sound matters and their implied listening habits are put against each other. the idea is to build a dramaturgy of the grain of sound in which each layer unfolds an array of sensations, a plane of continuous movement stripped of the acquired mechanisms of perceiving “musical” sound. music as a language of matter, but language as an articulation of experiences rather than as a representative system.

gabriel paiuk, composer, pianist and improviser was born in 1975 in buenos aires. in 2004 the kammerensemble neue musik berlin premiered an ensemble piece at the berlin-buenos aires metropolenprojekt 2004 at the podewil, berlin. in 2003 he was composer in residence at the cetc (experimental centre of the colon theatre, buenos aires) at the “instantáneas” project and has presented pieces at the british arts centre, centro cultural ricardo rojas, museo de arte moderno de buenos aires and experimenta 2000 festival.

he has taken part in groups devoted to free improvisation performing regularly in buenos aires, europe and usa, together with andrea neumann, jason kahn, axel doerner, burkhard beins, rhodri davies, matt davis, ricardo arias, lucio capece, robin hayward, julia eckhardt, sean meehan, john russell, sergio merce, manuel mota and ernesto rodrigues.

he took part in keith rowe`s electroacoustic ensemble. the project, coordinated by keith rowe and organised by the belgian ensemble q-o2, focused on the performance of cornelius cardew`s graphic piece “treatise”. he is an stable composer of the "la otra" dance company since 2001.

$12.48

back in stock as of
july 14th, 2008

first in stock on
july 11th, 2006

threads:
circuit-bending
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments

sedimental (usa) #sed 042 cd

alan courtis “antiguos dólmenes del paleolítico” compact disc

part i
part ii
part iii
part iiii

click the play button to hear an excerpt of "antiguos dólmenes del paleolítico part iii"

sedimental press release...

antiguos dólmenes del paleolítico (“ancient palaeolithic dolmens”) is a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. it was created in early 2004 and is the first full-length solo cd from argentinian composer alan courtis, a founding member of the group reynols.

courtis currently lives in buenos aires, and has toured extensively in usa, europe, japan & latin america collaborating with artists such as: pauline oliveros, damo suzuki, toshimaru nakamura, makoto kawabata, k.k. null, rick bishop, thomas dimuzio, jason kahn, solid eye, birchville cat motel and lasse marhaug.

recorded and mixed at ?(?)? studios, buenos aires, argentina. january-march 2004

technical equipment employed : phonic 1002ª mixing desk,art sgx lt effects processor, digitech rp6 effects processor, dod fx55b supradistortion, tascam 424, pc (wavelab).

(no microphones, instruments or inputs of any kind were employed in this project)

$12.48

back in stock as of
july 14th, 2008

first in stock on
may 17th, 2005

threads:
electro-acoustic-improvisation
minimalism-drones
analogue-synth

sedimental (usa) #sed 041 cd

ekg “no sign” compact disc

years
months
weeks
days
hours
minutes
seconds

click the play button to hear an excerpt of "hours"

third album from the duo of ernst karel and kyle bruckmann following their “object series” entry on locust from last year.

the pair play oboe & english horn (kyle) and trumpet (ernst) through all manner of “analog electronics” (these days ernst uses a doepfer modular), yielding what amounts to a real-time musique concrète... not far from the whole erstwhile universe but retaining its own orbit (i find their music much less “scrabbly” and/or “droning” and more “through-composed” feeling, closer to contemporary classical music than to jazz per se.)

minimal, challenging, and ultimately quite rewarding... an excellent place to begin with the work of either artist.

sedimental press release...

kyle bruckmann oboe, english horn, analog electronics
ernst karel trumpet analog electronics

ekg is the duo of kyle bruckmann and ernst karel. ekg's music is situated between acoustic and electronic, improvised and premeditated, disruptive and meditative; it crackles and hums with precariously restrained potential energy. combining traditional and extended wind techniques with anachronistic (non-digital) electronic processing, they carefully sculpt a bizarre yet organic soundworld of shifting tones, sudden and creeping textures, elusive suggestions of possible melody, and microscopic noise.

no sign is their third release, combining sessions from makeshift studios amidst chicago snow and san francisco fog.

“during the late 1990s in chicago, bruckmann and karel found themselves repeatedly performing alongside each other on oboe and trumpet respectively, integral to the "horn section" of olivia block and within gene coleman's ensemble noamnesia. in such environments, they performed semi-improvised, graphic, and fully notated works by composers including guillermo gregorio, werner dafeldecker, cornelius cardew, john cage, and christian wolff. by 2000, they had begun working as an independent unit, processing, complementing, or replacing their wind instruments with extensive analog electronics. their first recording as ekg is shift or latch on crank satori (2001). 2003 saw the release of a full length album on locust music's object series, as well as tours of both the east and west coasts. their work continues despite bruckmann's late 2003 relocation to san francisco; 2005 will see further touring of the u.s. and europe.

as ekg, they have been joined on stage by bhob rainey, chris cooper, nicole bindler, vic rawlings, larry marotta, the jeffrey allport-tim olive duo, kurt johnson, ben bracken, matt ingalls, chris heenan, and david rothbaum. individually, their extensive collaborative credits include jim baker, jeb bishop, olivia block, blowhole, anthony braxton, cheer-accident, bobby conn,ernesto diaz-infante, djalma primordial science, tom djll, kevin drumm, gunda gottschalk, lance grabmiller, philip greenlief, david grubbs, boris hauf, robbie hunsinger, giuseppe ielasi, greg kelley, fred lonberg-holm, bob marsh, helen mirra, my name is rar-rar, toshimaru nakamura, tatsuya nakatani, negativland, dan plonsey, polwechsel, gino robair, scott rosenberg, aiko shimada, john shiurba, jason soliday, karen stackpole, tv pow, ken vandermark, weasel walter, jack wright, otomo yoshihide, and michael zerang.

bruckmann's ongoing projects also include wrack, his quintet with jeb bishop, tim daisy, kurt johnson and jen clare paulson; oakland air, a trio with aurora josephson and jacob lindsay; sfsound group, bay area new music specialists with whom he has so far performed his own compositions as well as those of berio, braxton, ingalls, stockhausen, webern, and xenakis; and long-standing experimental punk monstrosity lozenge.

karel's other ongoing projects include unclocked, his quartet with tim daisy, jason ajemian, and aram shelton; flockterkit, a quintet with fred lonberg-holm, aram shelton, jason roebke, and frank rosaly; television power electric, an occasional extension of tv pow; a collaboration with helen mirra; and solo performing and recording.”

$12.48

back in stock as of
july 14th, 2008

first in stock on
may 17th, 2005

threads:
free-improvisation

sedimental (usa) #sed 040 cd

david gross “things i found to be true” compact disc

partially buried woodshed (5:13)
the language of the blues is on my radar (b. kelley) (4:35)
a porcelain bowl with fruit (3:17)
carnival of souls (4:55)
dystonia (4:48)
things are different (3:17)
imagine the drama / magic thinking / narcissism spinning in the middle of nowhere believing god looks just like we do (1:54)
what music sounds like (3:34)
single (version) (2:56)

click the play button to hear an excerpt of "things are different"

spring 2005 solo unit from gddg, long a mainstay/agitator on the boston free-improv belt (going so far as to curate a yearly festival at the ica called “autumn uprising”) gross here works a saxophone in ways unbefitting mere labels like “jazz” or “improv”, approaching the instrument on a more sculptural level, resulting in some very far-out and inviting sonorities. on par with greg kelley’s solo acoustic output, less focus on sustained tones.

(an aside... mimaroglu music sales’ 2nd employee cleobold “gronis” plornulax was entirely convinced throughout this disc that a rodent, small or otherwise, has nested inside the right ns-10 of my home stereo unit, and thus devised ways to ascend the mms vinyl shelf to get closer to the source... if that gives any indication of what the music sounds like. he stopped the moment the disc ended and started howling that i let him into the backyard to eat some grass, which i did. it’s beautiful outside...)

sedimental press release...

before embarking on the seven week us tour that i did in 2001, i made a solo recording which i gave to rob (owner of sedimental recordings) and whose comment was "i don't know what you want me to do with it." i was a little dismayed but a big aspect of doing the tour was to see how far i could push my playing. to my surprise, at the end of the trip my playing had not really changed that much. it was more that my facility on the instrument was better and that my compositional ideas were more refined. it wasn't until a few months later, in a performance with james coleman and sean meehan that i noticed some things were really changing.

i come from a jazz background and the idea of "the continumm" and all of that, origionally being more interested in the ornette coleman and charles mingus end of things and soon after, albert ayler and charles gayle. i studied with yusef lateef in college and in my way became a bit too obssessed with what he often talked about: "having your own sound." "what the hell does he really mean?" i wondered, my brain throbbing. daunted but still prodding, after graduating i moved to boston and went to berklee school of music for a year. it was in boston that my musical world (aka jazz) was obliterated. twisted village opened up and i met greg kelley. these two sources introduced me to whole worlds of music which had been either alien or completely unknown to me. i had to face the fact that i could no longer have all my eggs (by any stretch of the imagination) in "the continuum" concept basket.

the cover of the cd is a painting by my grandmother of my father and his brother and on the cd itself is a picture of me with my grandmother from when i was four years old. with the packaging as it is, i am trying to present a work that is not of, what seems to me to be the traditional "monolithic modern art" school which in some fashion claims to be disconnected and "objective". while i'm of course simply trying to document aspects of the technical and compositional techniques i have been working on, i am also saying that as "abstract" as the sounds may seem they are indelibly linked to from where i have arrived. i also like having two people on the cover of a solo album and i am very fond of the painting... -david gross

“called "one of boston's steadfast explorers," by the boston globe, saxophonist david gross has been performing for nearly a decade. among a slew of others whose names are perhaps not as recognizable, mr.gross has performed with le quan ninh, eddie prevost, steve roden, john olson, gino robair, martin tetreault, kaffe matthews, glenn spearman, raphe malik and many members of the boston free-improv scene including bhob rainey, greg kelley, and laurence cook.currently, gross is transforming the saxophone into exactly what it is: a metal tube with keys, mouthpiece, and a reed. reviews of his recordings have been as varied as "the range of textured noise that he cajoles from his instrument is impressive" to "lengthy episodes of fingernails ripping at a blackboard". he has performed throughout the us including at festivals as diverse as the knob(wichita, ks), big sur festival of experimental music(ca), high zero(baltimore, md), improvised and otherwise(nyc), the no idea fest(austin, tx) and autumn uprising(boston, ma) which he created in 1997. future releases include a studio recording with james coleman(theremin), mike bullock(contrabass) and steve roden(electronics).”

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file under:
electro-acoustic
sound-research
site-specific

sedimental (usa) #sed 039 cd

brendan murray “resting places” compact disc

shore (10:29)
garden (second mix) (12:03)
bed (15:45)
tomb (16:40)

click the play button to hear an excerpt of "bed"

brendan is currently “the man” on the boston experimental music scene... a status duly attained by his precise concert-statements & overall quality in meticulous sound-gathering & organization. it’s ultra-gratifying to listen to this, arguably his “mass-market” debut (he’s had a couple of other things out that so far i haven’t seen outside of twisted village or at his shows.)

all four pieces here inhabit a similar space... there is no attack and much decay (elements are slowly introduced, become evident, then subside in their own time on their own terms.) while almost every sound is at least one octave lower than it occurs in air, there’s little of the nyquist murk that usually results from this (brendan has a certain knack for making pitch-treated material sound wholly natural, this is most likely his raison d’être.) instead, the details of captured environments are revealed, yielding beautiful, glacial clusters of hidden harmonics and spectra. this is “sound research” in its purest sense, executed in only the most musically pleasing manner, devoid of any of the “process as craft” trappings of the recent/just-prior to bubble-burst mille plateaux generation.

those finding accord with the work of slow-motion long-form composers such as eliane radigue and phill niblock will certainly want to let this album unfold, again, slowly, again and again, in their own private space(s). one of my sure contenders for album of the year (thusfar), the pick of the spring 2005 sedimental litter. super-inspiring.

sedimental press release...

“i composed resting places on and off over three years. it was originally conceived as four separate releases that could be heard in succession. after the first piece, “garden,” was completed and released as a cd-r on kissy records using a markedly different mix, idecided to force the structure on the listener and present all four pieces at once.

the pieces are all inspired by thoughts about sloth, leisure and expiration and how all of those things might inform one another. that simple, severerealization that we have when we are really young: 'we are dying from the second we are borne.' it’s not meant to be as weighty as it sounds, but i tried to use that perplexing and morbid thought to inform these pieces. the result is not a serious meditation on mortality by any means. these are not requiems or “drones of death”. i wanted to use these very vague (and overused) concepts that everyone has to contemplate as starting points for the tone that informs all of these pieces: how do specific locations help us to feel alive and confortable or confused and dying or both? what happens to the places we live and die in when we leave them? do they feel anything?

this cd is very different from my first one, not now, which was much more about tentative and suspended moments. it’s much louder and warmer and more succinctly addresses the musical concerns (repetition, drones, deliberate editing) that have interested me since i started making music on my own some 10 years ago.

from a technical perspective, almost everything on this cd was played live in some form or another. “garden” and “bed” were composed entirely on the computer from samples of instruments and cassette tapes. i then pared down the compositions into minute loops for live performance. “shore” and “tomb” were created in the opposite fashion. i created loops with the phrase samplers i use live from various sources (acoustic and electric guitars, cassette tapes of field recordings and sounds from transistor keyboards and radios) and played the pieces as a whole. i then edited those live recordings on the computer. these are pretty simple methods; however, it took me three years to make up my mind as to what should go where.”-brendan murray

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file under:
rock-etc...
free-improv
guitar-themed

sedimental (usa) #sed 037 cd

empty house cooperative “painted plane” compact disc

sun rising: great advancement (08:34)
setting: disappointed hopes (18:01)
early lilacs (05:19)
early violets (10:10)
eclipse: omen of worry and fear (05:16)
bright sunlight: discovery of secrets (10:00)

click the play button to hear an excerpt of "sun rising: great advancement"

late 2004 issue of an august 2000 radio session featuring codeine/come/pullman/the new year vet chris brokaw, with david michael curry and jonah sacks.

affiliations may make it one of the more high-profile sedimental releases, but the music is still exploratory (but quite lyrical in comparison) ...

sedimental press release...

sedimental is proud to announce the release of the ehc's first formal document. the ehc provided sedimental with many hours of sessions and performances with different configurations of performers but we were continually drawn to the spareness of this trio date.

the northeast based improvising collective features an extended family of musicians including members of molasses, thalia zedek, consonant, pullman, boxhead ensemble, willard grant conspiracy, godspeed you! black emperor, and the new year. though all of these artists are involved with significant other projects the ehc has taken on a unique life of it's own. the music is melodic and musical but the open-ended, extended pieces float and shimmer with a minimum of structure and are marked by a nuanced melancholy. closest musical parallels would include the dirty three and the boxhead ensemble(of which curry appears on one recording). "painted plane" features regulars chris brokaw on guitar and jonah sacks on cello, along with dmc on viola, loop samples, guitar & horn. it was recorded at mit's wmbr radio station studio august 28, 2000 by andy hong and mastered by jeff lipton at peerless mastering.

the empty house cooperative began in 1997 with casual gatherings for brunch and music at david michael curry's apartment in cambridge, massachusetts.the limits of a conventional band setting led dmc to explore ideas of improvised music with like-minded friends.operating with no formula, and featuring a floating lineup and flexible instrumentation, the group settled into a moody, meditative style drawing both from chamber music and avant-garde noise-rock.

the empty house cooperative has performed live soundtracks to silent films, improvised dinner music at restaurants, and transformed rock clubs. the group provided music for the american repertory theatre's 2003 production of highway ulysses, and provided the ambient musical score to a marathon reading at the 2001 jack kerouac festival in lowell, ma.

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electro-acoustic-improvisation
minimalism-drones

sedimental (usa) #sed 036 cd

axel dörner / greg kelley / andrea neumann / bhob rainey “thanks, cash” compact disc

track 1 was recorded in berkeley california by tom duff (12:33)
tracks 2 and 3 were recorded by bhob rainey in birmingham alabama (23:17)
and detroit michigan respectively (9:29)

click the play button to hear an excerpt of "detroit michigan"

terrific quartet date, featuring the boston-based nmperign duo of greg kelley and bhob rainey with berlin’s axel dörner on trumpet/computer and andrea neumann on innenklavier (”inside piano” - the soundboard and strings of a piano without the frame or body, perfect for travelling.)

the music is subtle, rich with microscopic inflections, mixing dörner’s digital synthesis & trumpet harmonics with bhob and greg’s approximations of the early-electronic sound-canon, with andrea’s scrapings. a very high level of communication and esp mind-link evident throughout... these guys are masters at their craft. a joy to behold...

sedimental press release...

axel dörner - trumpet, computer
greg kelley - trumpet
andrea neumann - innenklavier
bhob rainey - soprano saxophone

this long-awaited document of an historic tour marrying two of berlin's finest improvisers with boston's hometown sluggers has finally been released, and is sounding luscious. at the end of august, 2001, doerner and neumann arrived at boston's logan airport for a tour that would cover the continental united states and take up the entire month of september.

they started by recording with boston's bsc (released on grob records as 'good'), and then, faced with the challenge of how to fit all of their stuff into a luxury hyundai (courtesy of a free upgrade coupon from hertz), they embarked, with rainey and kelley, on what would normally be a significantly perception-altering tour of the u.s. it turned out to be more literally mind-melting, which brought out the bottomless magnaminity of each player and all of the characters encountered from new york to san francisco to bloomington to birmingham. the music lets light in through dark slats, and is filled with the richness of sound these musicians bring to their best projects. it retains a 'live' feel while apparently derived from a tattered, ancient score, reserved for especially confounding times.

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threads:
guitar-themed
electro-acoustic-composition
musique-concrète

sedimental (usa) #sed 035 cd

giuseppe ielasi “plans” compact disc

plans (30:50)

click the play button to hear an excerpt of "plans"

awesome solo electro-acoustic construct from giuseppe ielasi, recording-wise chronologically predating his recent (spring 2005) häpna-label solo record.

quite tonal (melodic, even), constructed mainly of processed guitar tones and occasional bits of muted, almost mike-ink-ish sub-bass thump & cool aleatoric cut-up percussion interspersed with instrument-body scrabbling and mego-lineage dsp.

an impressive and coherent sound-journey, very much in the musique concrète tradition, although filtered through contemporary, almost rockist chord structuring. superb.

sedimental press release...

a year and a half in the making, this remarkably dense and subtly musical effort marks a rupture/diversion in ielasi’s creative output. the intersection of electro-acoustic sonogrophies infused with fragments of melancholic melodies creates a near dizzying disorientation. in 1998 iealasi founded the well-respected fringes label, in order to document his own work as well as that of other artists. in addition to his work on fringes, he has recorded for such labels as leo and sonoris, erstwhile and absurd. he has performed live with taku sugimoto, jerome noetinger, dean roberts, thomas lehn, michel doneda and brandon labelle, domenico sciajno among many others.

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threads:
musique-concrète
electro-acoustic-composition
field-recordings
free-improvisation

sedimental (usa) #sed 034 cd

olivia block / seth nehil “sunder, unite” compact disc

sunder, unite
a. into
b. among - i. through
b. among - ii. within
c. under
d. beyond - i. around
d. beyond - ii. beside

click the play button to hear an excerpt of "a. into"

i’m a huge fan of both olivia block and seth nehil’s solo output, actually wasn’t aware until recently that they shared a project together (alial straa) all those years back...

this can be seen as something of a “reunion” - with guests kyle bruckmann of ekg, mnortham, and michael shannon (good to see mike on there, the animist orchestra member who is now an honorary “nightcrawler” after joining us for an evening’s music down in orlando last month.)

the music retains olivia’s random-feeling jump-cuts with seth’s particular methods of sound-construct ; this is certainly rooted in the collage tradition, although the two take liberties with materials, almost focusing on banal non-occurences within the collected sounds (as opposed to... say... always fading in before an attack.)

sedimental press release...

sunder, unite began with the destruction of musical sources through the insertion of silence and/or faulty connection. it continued with the playing of small objects, fire and grass on our tour of japan in 2000, being multiplied on many small speakers in each space and recorded in these situations. sources continued to be recorded in our locations, train stations, a market in kyoto... sounds were traded and holes punched in, surfaces distorted. transparencies of sound were overlaid and cut, residues remain. we followed an ever-shifting ground and rate-of-change. a skip and fade, an intuitive mix and then traded again. the crumbling recording of metal. a walking recording of creaking wood. speakers in a room.

composed 1999-2001. instruments and treatments by seth nehil and olivia block except: kyle bruckmann, oboe, chinese oboe; michael northam, objects; michael shannon, reeds. photograph by carmen resendez. drawing by bethany wright and s.n. with thanks to koji tano for assistance in japan.

olivia block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. in the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are defamiliarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound.

seth nehil (b. 1973) began working with sound around 1990 using found objects and instruments, old records, reel-to-reel machines, discarded magnetic tape and other detreitus. alial straa was formed in 1994 in collaboration with john grzinich as a studio projectinvolving grzinich's handmade piano-wire instruments and nehil's analog tape-treatments and objects. joined by olivia block, the group went on to perform as an electro-acoustic improvisational trio. seth nehil worked with experimental arts magazine n d as writer and artistic contributor from 1996-2000, and received a ba in studio art from the university of texas at austin in 1998. beginning with 1998's tracing the skins of clouds, seth nehil has pursued an interest in the sensual surface of found objects and materials, and the inner dynamics of their acoustical properties. without altering those properties, the possibilities of the studio are explored as a means of transforming sounds into dense interactions - meditations on physicality, germination and disorientation. recent work has included continued collaborations with john grzinich and olivia block in studio works as well as soundtracks for experimental theatre group hand2mouth

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threads:
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electro-acoustic-composition

sedimental (usa) #sed 032 cd

michael j. schumacher “four stills” compact disc

14:53 featuring charles curtis
15:41
13:39
23:01 featuring tim barnes

click the play button to hear an excerpt of "23:01 featuring tim barnes"

sedimental press release...

for this recording, tim barnes played percussion and charles curtis played cello. george bishop, jr. read a text by daniel schmid, gertrud aigner danced on a creaky floor, and the composer played electric guitar and midi grand piano. oberheim and yamaha synthesizers made additional sounds, and recordings of radio static, a steam heater, and e. e. cummings reading a poem were used. the music was executed in “real time”, direct to stereo, using algorithms written in max/msp software.

charles curtis’ cello recorded at regenbogenstadl, polling, germany, by uli schägger. tim barnes’ percussion recorded at quakebasket, new york city. midi grand piano recoded at avatar, quebec city, canada, thanks to jocelyn robert.

sedimental’s first release for 2002, four stills, is from new york composer/guitarist michael j. schumacher. schumacher has a strong presence on the experimental scene with his refined guitar “drone” compositions but parallel to this activity he has been working with number system applications of sampled material through electronics, a direct extension of his audio installations. schumacher is also internationally recognized along with his wife and artist ursula scherrer, who designed the artwork for this release, for the outstanding studio 5 beekman space (now diapason on 6th ave.) that provides a sympathetic environment for audio artists to execute installations. the participants in this project read like a who’s who of leading-edge composers and experimental musicians.

our reaction to material originally considered for four stills was nothing short of breathtaking. where as much digitally generated material succumbs to a hermetically closed world of glitches and electronic landscape schumacher’s work opens up this environment, despite the density of the material, into a breathing, organic spaciousness while still maintaining the intimacy inherent in the form.

“the four stills are expressions of the number system that i have used since 1989 in my electronic compositions. these numbers form the basis for dozens of rhythmic processes executed by the computer, from playing a midi grand piano, to deciding a range within a sample buffer to play, to determining larger structural aspects such as the alternation of sound and silence within a particular part. the fact that they are prime numbers prevents predictable patterns from emerging. the limit of six maintains structural coherence. the four stills were recorded direct to stereo in real time. though the sounds used in a given piece are predetermined, their interaction with each other over time is left to chance.

"these pieces are extensions of my installation pieces, which evolve over long time periods, and are also created in real time by generative algorithms. however, in contrast to the installations, which utilize distance as an important perceptual feature and employ as many as 16 independent channels of sound, allowing for meaningful variations in texture, these recordings, being limited to two channels, are more compact in their presentation of the sonic material. they therefore remind me of certain styles of painting, which present the spectator with a static field of color that is experienced in no particular order. though the music obviously unfolds over time, the analogy seems appropriate to me, since the dense textures (sometimes as many as 27 simultaneous parts) invite a contemplation of the many layers of sound and their relation, not in time, but in space.”

sedimental is honored to make available the rarely heard digital works of schumacher to a wider international audience-a dynamic composer who has provided a unique aesthetic forum for some many like-minded composers as well.

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sedimental (usa) #sed 031 cd

olivia block “mobius fuse” compact disc

mobius fuse [1] (28:56)
mobius fuse [2] (3:35)

click the play button to hear an excerpt of "mobius fuse [1]"

sedimental press release...

other musicians [many thanks!] jeb bishop: trombone. kyle bruckman: chinese oboe. english horn: oboe. ernst k long: trumpet. john robbins: sax. jason thor: trombone. [drum and cymbal sampled].

field material. fireworks recorded in wisconsin and new mexico. wind birds, ice, etc., recorded in big bend national park, texas. room, speakers recorded in chicago, illinois.

sedimental’s release of the second cd from chicago based electro-acoustic composer olivia block titled mobius fuse. this much anticipated follow up to her critically acclaimed debut pure gaze(sed cd028) continues her rich and unique exploration of both acoustic and electronic sounds reaching a depth and level of emotional intensity rarely heard in the field.

olivia block is a contemporary composer who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. in the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are de familiarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. her pieces are composed over long periods of time in numerous stages. she often prepares elaborate tape installations in natural sites for field recording sessions which she later integrates into her recorded compositions. in live performance, block introduces additional elements of paradox and tension: chamber musicians perform scores which accompany pre-prepared tape material, and improvisers (often including herself) interact with "lo-fi" speaker installations and digital recordings.

since its release, her debut solo cd, pure gaze (sedimental, 1998) has been consistently included on radio play lists throughout america and europe. it was included in blow-up magazine's "top releases" of 1999 and the wire magazine's top ten section, "charts"; and julian cowley, in the latter publication, described her as "a composer who demands serious attention." another of her works, piece for scrubbing tile, was featured in the modern museum of lyon, france in 1998, as part of the collage jukebox installation and festival (curator: jerome joy). her recorded works have been used as source material recently by achim wollscheid, in his shifts release (ritornell/evolution). her soundtrack work for natalia castro's short video piece, fire-fly, helped earn the project the undergraduate video award at the school for the art institute of chicago in 1997. she has recorded with such artists as jim o'rourke and jeb bishop, and has performed with artists including pauline oliveros and fred lonberg-holm. her radio appearances include wkcr's live constructions (columbia university), wluw's something else (loyola university), and others. she was a visiting lecturer at depaul university. she has toured extensively in japan and has europe.

olivia block is self-taught. she started her musical career in austin, texas, in the experimental rock scene in which she played electric guitar and trumpet, sang, and created abstract tapes for play during live performances in several bands. such tape work led her to her next trio, alial straa, an electro-acoustic and improvisational group including seth nehil ("tracing the skins of clouds," kaon records), and john grznich ("stomach of the sky," staalplaat; "absurd evidence," bobby j.) alial straa's cd, "tunnels/stairwell" is currently out on alluvial records. at present, olivia block lives in chicago. her next collaborative release, oil and water, an electronic composition with petra klusmeyer, will be released on boxmedia records.

note from olivia block:

"it is also important to me to make work that cannot so easily be marginalized within the larger context of the genre. extreme forms of music are often segmented, and collected as a fetish. artists have a certain method that they cannot, choose not to escape. i am a generalist, trying to link disparate elements together in meaningful way. i use quiet sounds and space now because i am interested in these elements, but my pieces will certainly change over time."

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threads:
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electro-acoustic-improvisation
experimental-instruments

sedimental (usa) #sed 030 cd

james coleman “zuhitsu” compact disc

this castle keeps me
burial of the combs
katydid
muddy kemaris
lady of the combs
flying water shrine
each spire an animal
events at the laurel pond
zwittering maschine
tsunekos’ dream
the singing sword
stick & stone i
sticks & stone ii
kokin mystery birds
released to the stars

debut album from james coleman; long boston’s sole creative improvising thereminist, also progenitor of the lowercase_sound mailing list.

sedimental press release...

james coleman: theremin 1-15
greg kelley: trumpet 4, 7, 11, 14, 15
tatsuya nakatani: drums, percussion, bowed percussion 1, 4-6, 8, 10-14
vic rawlings: amplified cello, aluminum cello, sarangi, electronics 2, 7, 15
bhob rainey: soprano saxophone 3, 9
liz tonne: voice 5, 7, 10, 15
the undr quartet appears on tracks 7 and 15.

in our continuing quest to bring you new and young talented experimental musicians, sedimental is proud to release the debut cd from boston improv heavyweight, thereminist james coleman. featuring bhob rainey, greg kelley, liz tonne, tatsuya nakatani and vic rawlings this dynamic cd not only sheds new light on an instrument historically relegated to novelty but also provides a superb forum for experiencing an aesthetic that can be heard in much of boston's underground. these improvisational settings and collaborations, carefully selected by james himself, reach a place beyond their instrument individually and do so with subtlety and elegance. we recommend listening to zuihitsu at several different volume levels to experience these qualities. this release also features the creativity of five other excellent improvisers (bios provided below).

james' intense involvement in the boston underground includes the six-piece free improvisatory group saturnalia, and the experimental chamber music group, the undr quartet. he has also performed with nmperign, joe mcphee, john voigt, peter kowald, eddie prévost, dan decellis, david gross, dave bryant (ornette colemans' primetime) and composer & pianist john thomas. he has presented lecture-performances and master classes at the berklee college of music, tufts university & the george eastman house archive of motion pictures. he is also list owner and moderator of lowercase-sound, an internet discussion group devoted to low volume/low velocity experimental music & associated media, director of autumn uprising-a three-day annual festival of improvisatory practice in the greater boston area, as well as producer of a weekly live contemporary music series at the zeitgeist gallery, cambridge, ma. before re-locating to boston, james wrote and recorded numerous electronic sound environments & installations in perth, western australia, including an architectural site/sound installation at gotham artists studio, and drone piano, a collaborative sound installation at the perth institute of contemporary arts with chris mann.

the music, the compositional strategies and origins of his work on this release are unique amongst current electro-acoustic improvisors in that it is very gestural. coleman is working from a position of electronic music making as an activity of the body. it strives to fuse the intricacy of experimental technique with clarity & simplicity along with a sense of narrative.

coleman draws inspiration from the unique spatial and timbral elements found in morton feldman, giancinto scelsi, john cage and the british improvisatory group amm; the stylistic and phrasing innovations of miles davis, traditional japanese music, minimalist art forms, fluxusism and the sounds and movements of birds and other animals. the artist has a long held interest in the austere compositions of feldman, which often display the slow, unfolding of a single note(s) in space, which in turn, relates to the 'quietness' & spareness inherent in traditional japanese art forms. the artist sculpted a particular theremin sound for the recording of the two undr quartet pieces, each spire an animal and released to the stars, incorporating japanese aesthetic concepts of wabi (rustic simplicity), and sabi (loneliness, weathered surfaces). the theremin in these two pieces has a burnt, irregular, grainy sound using amp noise to achieve this sensibility. this sound in combination with the sound of the undr quartet suggests vulnerability, beauty, potential of life, energy in transition, and epiphany.

zuihitsu means 'running brush,' 'miscellany' in japanese. zuihitsu is a particular school of traditional and classical japanese literature in the form of short paragraphs wandering from subject to subject. the title calls attention to the brevity of the tracks, as the artist sought to achieve compact, poetic forms and pieces for this release. he considers the 'running brush' description as being analogous with his personal improvisational practice as 'spontaneous composition'.

$16.64

back in stock as of
july 14th, 2008

first in stock on
december 1st, 2005

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

sedimental (usa) #sed 029 cd
fo(a)rm (united states) #foarm 4 mag

“fo(a)rm no. 4 (topography)” magazine and compact disc set

a magazine plus a full-length phill niblock cd !!!

compact disc:

phill niblock “ghosts and others”

magazine:

marc behrens
seth cluett
steven connor
rachel daley
david eckard
william fox
jean-luc guionnet
haleh hatami
jibade-khalil huffman
douglas kahn
san keller
eric la casa
phill niblock
shreshta premnath
andrè spears
tereza stehlikova
charles stein
julianne swartz
elliot weinberger

note: this magazine comes complete with sedimental 029, the otherwise unavailable phill niblock disc entitled “ghosts and others plus interview”

fourth issue of this arts journal with a decidedly strong “sound-in-the-arts” bent... comes with a full-length composition by phill niblock on a compact disc fastened to the inside of the back cover. writings cover topics ranging from . the niblock piece is fantastic and alone makes this a necessary object (said piece is only available here...)

sedimental press release...

fo(a)rm no. 4 (topography)
144 pp., 7 x 9”, perfect-bound, full-color cover
(with exclusive cd: ghosts and others by phill niblock)

fo(a)rm no. 4 (topography) treats the movement over, through or across a landscape and the act of documenting, utilizing or noticing an interaction with that landscape. it concerns a mapping of the points between self and space - traversing and/or transforming natural and urban environments. within these pages, intelligent perspectives find fertile soil.

included within are essays by sound theorist douglas kahn (noise water meat) on spherics and and cultural theorist steven connor (dumbstruck) on listening to sound-art, lengthy interviews with minimalist luminary phill niblock and whitney biennial artist julianne swartz, revealing articles on sound-installation projects by composers marc behrens and eric la casa, conceptual artist sreshta premnath’s carbon-paper traces of lived experience, public interaction and social sculpture by swiss artist san keller and portland-based sculptor david eckard, composer/improviser jean-luc guionnet’s series of “linescape” drawings, an historical essay on the holy wu-t’ai mountains in 11th century china by eliot weinberger, charles stein’s striking visual language works, poems by william fox, haleh hatami, andré spears, jibade-khalil huffman, and rachel daley and a delicately vibrational cover by sound-artist seth cluett.

(topography) also includes, in conjunction with sedimental records, the never-released and radically different sound-work by phill niblock, ghosts and others. this cd is only to be found in fo(a)rm....

i am happy to announce the long awaited issue fo a rm magazine 4 (topography issue) that includes an exclusive soundwork from phill niblock entitled "ghosts and others" pressed by sedimental. this release and expanded interview is the realization of a never completed project between sedimental and the now defunct publication n d. sound artist and composer seth nehil who is also 1/4th of publication fo a rm proposed completing this project and all parties agreed.

the material on the cd is a very different work that phill created for an installation at mj scumacher's studio five beekman series in march of 1998. because this material is much more of an audio collage/field recording than phill's typical composed droneworks he never felt comfortable for it to be released as a regular document but in fact it was his idea to include it with the interview i had conducted with him later that year in '98 to be published in n d.

phill has never allowed the document to surface expect for the free copies he has circulated over the past several years. this is the first formal, and only, release of the document. it is a full length cd.