.home..artists..labels..new..restocks..best..faq.
.soon.
previous record label:
 secretly canadian 
there are 24 titles on sedimental in stock.
they are listed below.
next record label:
 seer sound archive 
click the image above to
add this item to your
shopping cart
$8.41

back in stock as of
september 9th, 2010

first in stock on
december 22nd, 2008


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

 best of 2008 !!! 
sedimental (usa) #sed 07002 ep

bhob rainey / angst hase pfeffer naseain’t it grand b/w journey to the center of something or other” seven inch single record

  • bhob rainey - ain’t it grand

  • angst hase pfeffer nase - journey to the center of something or other
december 2008 release ; knock-your-socks-off split, offering a pair of action-oriented pieces by bhob rainey (clanking auto-feedback fizzle suddenly jumping about 12db into a swarm of buzzing time-stretch screech & spectral transmog grappling) and chris cooper (super burnt pause-button tape collage with the kind of synth / squeal moves more commonly associated with the ina-grm posse - listen to the sound-sample) ...

years-in-the-making (vaguely remember hearing rumor of this record’s pending existence back in 2007) ; glad it turned out so nicely !!! a perfect way to introduce yourselves to either’s work ...
sedimental press release...
bhob rainey - ain’t it grand
angst hase pfeffer nase - journey to the center of something or other
split 7-inch record (sed07002)

limited to 350 copies
artwork by jess goddard

proposed for sedimental as a glorious masquerade by boston based by bhob rainey (bsc, nmperign, and infinite collaborative scenarios) and including the opportunity to also release solo work by western, ma’s chris cooper (fat worm of error, xo4, buddies, bsc, etc.) in his angst hase pfeffer nase guise proved too devastating a proposition to avoid. so we did not…avoid it.

here we have a circular cover project, or a which came first, a who is whoconundrum. those who know the respective artists work well enough should be able to suss the jig, and despite a label-less disc there are other ways. so, what do we have here musically? densely collaged musique concrete-ism edited at a rather brisk pace, essentially. what matters, besides each artist’s specific musical means, is both the sensitivity and the breadth the artists bring to the project. concise. humorous. kick-ass. classic.

do we really need to discuss rainey’s importance on things experimental at this point? i hope not. chris cooper on the hand does deserve a bit more elucidation. though well enough known through the circles in the above mentioned projects, it seems that his particular genius through the discipline of his guitar work is still not wholly understood. he possesses notable music knowledge as well as theoretical approaches that are generally not employed in the lo-fi, experimental noise and punk worlds in which he operates. his contribution to this artifact is yet another important piece of evidence that continues to build an airtight case for his necessary-ness.

click the image above to
add this item to your
shopping cart
$13.44

back in stock as of
november 17th, 2010

first in stock on
september 9th, 2010


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

 best of 2010 !!! 
sedimental (usa) #sed 058 cd

corridorscorridors” compact disc

  • 1. (14:57)
  • 2. (12:04)
  • 3. part 1 (9:49)
  • 3. part 2 (12:04)
september 2010 release ; ... in the time between when this cd landed here @ mms (the 9th of september) and now (the 18th of october ; how’s that for lag ?) i’ve seen byron perform this material to a packed house @ brooklyn’s issue project room as part of an eliane radiguetributenight ...

... can’t think of a better venue / setting for this particular music ; concerned with pre-prepared chunks of sound, arranged spectrally into discrete layers, offering only the most gradual (i.e. patient) progression, slowly building into a climax of finely tuned intervallic shapes (i.e. the approach of his mentor / boss phill niblock) ... heard here on record, the effect is just as breathtaking ; slow swells of tonal information creep in & out of the matrix in varying degrees of density, with slight, almost imperceivable variances in tuning & fidelity from section to section ...

easily one of the best contemporary examples of the “long-form electro-acoustic” spec i’ve heard in a while ; highly recommended !!!
sedimental press release...

corridors: corridors
sedcd058 | released in 2010 | 500 copies

byron westbrook has been performing corridors live around the us and eu for the last four years, however this audio cd is the first physical release of the project and sedimental is ecstatic to be releasing this very committed young artist's debut.

since 2004 westbrook has been the technical coordinator for phill niblock’s experimental intermedia foundation. while assisting and collaborating with niblock and other luminaries of experimental music, westbrook began developing corridors as a multi-channel performance system for live guitar feedback. shortly after the completion of a month-long tour with rhys chatham’s essentialist, westbrook began performing the project.

corridors has since evolved to encompass the improvised performances of other musicians, recordings of which are processed into phrases or texture units for playback from ipod or minidisc players through the multi-channel system. the results are sweeping and fluctuating textures that place distinct frequencies in different parts of a room, creating an intense opening and closing of space over time for the listener. the pieces were recorded in large spaces (churches, concert and university halls) using a mixture of binaural and mid/side microphone techniques, to allow for the most accurate imaging in a stereo field.

the recording process spanned a three year period, during which many different performances of the works were documented. these recordings were carefully edited together, taking the most representative moments of each performance, to make this cd containing three frequently performed pieces. these pieces are loosely structured works, always performed in conjunction with single or multiple light projections. an element of improvisation exists within each performance in that every room is different and the sounds respond uniquely to different rooms. there is a beginning, middle and end that has been worked out, but where the sounds exist and for how long will change for each performance.

click the image above to
add this item to your
shopping cart
$13.44

back in stock as of
november 17th, 2010

first in stock on
september 9th, 2010


threads:
guitar-themed
field-recordings
modern-composition
musique-concrète
electro-acoustic-composition
minimalism-drones

sedimental (usa) #sed 057 cd

riccardo dillon wanketo r.s.” compact disc

  • theme and variations (9:44)
  • turtle (11:46)
  • joke (15:16)
  • finale (17:26)
september 2010 release ; second sedimental outing from italian composer / guitarist ricard dillon wanke, offering a gorgeous quartet of muted pieces for guitar drones & concrète sound that remind me a little of associates giuseppe ielasi & stefano pilia’s recent work, while retaining a unique sense & sensibility towards keeping things warm & womb-like ...
sedimental press release...

riccardo dillon wanke: to r.s.
sedcd057 | released in 2010 | 500 copies

wanke continues to amaze us with his sensitive, detailed and spacious sound works. "to r.s." follows up his lauded debut "caves" on sedimental with another stunner. for “to r.s.”,  wanke uses electric and acoustic guitars, acoustic piano, objects and natural sounds. the 53 minutes of this unique piece divided in four parts combine static compositions, drones and looped music. structurally viewed as a classical composition, the music takes shape with flat harmonic profiles and acoustic events that are layered and coupled together in elliptical and hypnotic loops and echoes. the piece is dedicated to and inspired by robert schumann's music.

 born in genova, italy in 1977, established in milan from 1982 until 2005, lives and works in lisbon. multi-instrumentalist and composer. he has been working in the experimental music field since 2000 (long term collaboration with giuseppe ielasi, stefano pilia, francesco dillon, renato rinaldi, david maranha, manuel mota, rafael toral among others). he is member of medves group and set up a trio with david maranha and manuel mota, "dru" and collaborate with italian classical cellist francesco dillon with whom he co-founded 'amuleto'-collective. his work with guitars, acoustic and keyboards (piano and rhodes) and sax has started from pure radical improvisation and has drawn to the investigation of drones sounds, static and looped music related to the minimalism.

click the image above to
add this item to your
shopping cart
$13.44

back in stock as of
september 9th, 2010

first in stock on
june 5th, 2010


threads:
electro-acoustic-composition
free-improvisation
electro-acoustic-improvisation
minimalism-drones
field-recordings
digital-musics
experimental-instruments

sedimental (usa) #sed 056 cd

linda aubry bullockray of dark” compact disc

  • ray of dark (11:12)
  • stage evil (8:39)
  • line's dead (9:41)
  • navigational madness (10:42)
  • the story of mike (3:23)
  • a specific gravity (4:52)
may 2010 release ; debut release from linda aubry bullock, a long-time fixture on the boston-area experimental music scene through her various groups (including, not mentioned below, the please, a trio with hubby mike bullock & brendan murray) ...

this set’s a neat mix of throbbing industrial electronics & sound-art-lineage mood pieces (such as the vibrating-plate mechanics of the segment in the sound-sample) all played by a revolving quartet including linda, mike, ericrambutanhardiman (proprietor of the excellent tape drift imprint) & ray hare (part of the ongoing burnt hills group, along with eric) all recorded in a mix of close-mic’ed and distant room-tone fidelities that recall this heat’s “cold storage” era experiments ...
sedimental press release...

linda aubry bullock: ray of dark
sedcd056 | released in 2010 | ltd edition 500 copies

 fifty-minute compact disc housed in our unique plastic-free four color panel card stock sleeve with spine. 

 linda aubry bullock’s subtle emergence on to the boston experimental music scene in 2002 was a smile inducing surprise for those of us who knew her solely as a visual artist. it was quickly apparent however, that this was no novelty as she excelled in a range of projects with her unyielding analog electronic contributions. after seeing bullock perform many times over the years and then hearing the menacing piece “ray of dark” on the rare frequency radio program in august of 2008, we were inspired to commission her to submit a full length’s disc of material for a long overdue debut release. while lab does fly solo, she truly thrives in collaborative settings, several with her partner the composer mike bullock, and he appears here with twilight of the century. what we love about her work is its directness and purity. her electronics recall certain bleak atmospheres and sensibilities of many mid-80s post industrial artists: menacing, pulsating, and droning. her work is not overt or obvious though, instead inserting its way into your system like a deadly parasite or virus. the order of material on the disc was skillfully assembled to work as a whole in this way and we recommend listening to it rather loudly with the shades drawn.

artist statement:

twilight of the century is a collaboration between century plants (eric hardiman and ray hare) and rise set twilight (linda aubry bullock and michael t. bullock). the first 4 tracks are our reaction pieces to this performance - material taken from twilight of the century's performance on july 31, 2008 in albany, ny.  the other two pieces on this album, while not directly involving totc are related to the time that the group was forming. i feel that a specific gravity is the shadow self of totc. it was recorded by michael t.bullock during a residency at steim in amsterdam, nl in june 2009.

if i drew a venn diagram, the center would contain the story of mike, the sets being friendship, family, and places. it was inspired by a recording of seth cluett and jennifer eberhart as they were conjecturing on the origins of mtb.

artist bio:

linda aubry bullock's earliest memories include being fascinated with the sound of humming transformers, birds, and the drone of the distant television. after music composition studies at berklee college of music (ma) and bennington college (mfa), she developed a career primarily in the visual arts: porcelain, and painting. she currently creates stop motion videos under the name orangecookie image and sound. linda also performs and composes electronic music via field recordings, harp, and other sources, and has played in many settings domestically and internationally. in addition to twilight of the century, linda is part of the multimedia duo rise set twilight with michael t. bullock. layering analog and digital feedback, phonography, and projections, rise set twilight creates immersive performance installations. rise set twilight has performed at cable# festival in nantes, france; empac in troy, ny; and free103point9's radio festival nyc.  she is also a member of the new england phonographers union, a group that performs using unprocessed field recordings.

...

fossils from the sun is ray hare
rambutan is eric hardiman
all tracks mastered by bhob rainey

photos by lab paris, 2008

thanks to susanna bolle of the radio program rare frequency (wzbc newton 90.3 fm) where the piece, ray of dark premiered on 08/07/08.

and thanks my totc bandmates, mike, ray, and eric .

click the image above to
add this item to your
shopping cart
$15.12

back in stock as of
september 9th, 2010

first in stock on
september 4th, 2009


threads:
modern-psych
guitar-themed
concert-recordings

sedimental (usa) #sed 054 cd

area c / black forest / black sea / eyes like saucers / mudboythe planetarium project” double compact disc set

  • area c + mudboy- the basin of the heavens (29:52)
  • area c + jeffrey alexander from black forest/black sea - messier object 45 (29:59)

  • area c + black forest/black sea - cassiopeia (30:13)
  • area c + eyes like saucers - lesser dog, greater still (31:36)
august 2009 release ; lovingly conceived / executed quartet of live collaborations between erikarea ccarlson and an array of his close-knit compadres in/on the providencescene,” all recorded in situ at the cormack planetarium ...

aside from the music (some of the best i’ve heard from erik, partly deviating from his usual “always sunshine” modus) this is really one of the mostly carefully considered cd editions i’ve come across recently, with each disc in a gorgeously screen-printed inner sleeve, all housed in something of an “accordion” fold-out jacket (c/o amy borezo) ... excellent stuff !!!
sedimental press release...

area c with bf/bs, eyes like saucers and mudboy: the planetarium project
sed2cd054 | released in 2009

double full length cd release limited to 500 copies housed in a stunning and uniquely designed handmade hand assembled letterpress cardstock sleeve by discerning artist amy borezo at her shelter bookworks studio in orange, ma.

 we have been fans and have closely followed providence’s area c project for several years. it was simply a matter of time before we would release something by this dynamic artist and these special recordings presented themselves as the obvious choice. area c’s work has always appealed in its ability to be at once hypnotically accessible balanced by subtle and brooding dark elements under the surface. it recalls both post-rock elements as well as the more experimental works of classic 70’s german space rock groups. the live collaborations with the other providence based artists push area c's distinctive sound in compelling directions. this document represents over two hours of carefully selected music taken from many evenings of performances.

 about the planetarium project:

in 2007, erik carlson of area c came up with the alt-space idea as a way to explore interactions between sound and space in environments that are not normally viewed or used as venues for art. its intent is to serve as a medium through which area c and other like-minded musicians could create new music that is inspired by and engages with unique architectural locations. an obvious first choice was the cormack planetarium, hidden within the slightly threadbare, victorian-era museum of natural history in providence, ri. these live performances – collaborations between area c and black forest/black sea, mudboy and eyes like saucers – became the basis of the planetarium project

 for each performance, area c and the collaborating artist composed a new, largely improvisational piece based on a visual score created by carlson that corresponded to the planetarium display that he had designed with the planetarium staff, utilizing the planetarium’s zeiss projector and some of their more antique equipment. recorded in almost total darkness, these live performances mix in a palette of live instrumentation with samples from of a range of cosmic phenomena, including whistlers, bow shock, and kilometric radiation: all forms of radio emission produced by the magnetic fields of planets and other cosmic bodies. the planetarium project weaves these sounds into a fabric that plays between three sets of extremes: analog+digital, electric+acoustic, high tech + low fi.

 the dome of the planetarium is filled with millions of tiny perforations. when projected light hits this surface, it produces a blurred effect, causing a slight optical shimmer: a low-fi way of mimicking the shimmer of distance we feel when viewing the real night sky.  the music composed for the planetarium project was inspired by the way this domed room warps the sounds and images created here, while also wrapping the audience and performers within them.

the alt-space performances were funded through a grant from the rhode island state council.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
december 22nd, 2008


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

sedimental (usa) #sed 053 cd

novi_sadjailbirds” compact disc

  • komdu! hvert? (21:08)
  • torched estates (19:40)
december 2008 release ; a pair of very nicely assembled electro-acoustic / drone-music suites from young greek composer thanasis kaproulias ...

thick, permeating drones rife with errant field-recorded events (heavy-stereo crickets & insects, clicks and whirrs from a roaring fire) are mixed with ear-piercing tones & borderline harsh-noise elements ... quite nice !!!
sedimental press release...
novi_sad jailbirds (sedcd053)

limited to 500 copies and housed in our plastic-free gatefold sleeves with spine, art design by cs08

novi_sad’s work came to our attention via our good friend susanna bolle (non-event and rare frequency) in boston. a superbly keen ear, bolle felt that his work and our label should connect. though nov-sad’s has only a few years of practice behind him, the quality and maturity of all of his efforts is striking. the proposed jailbirds material for sedimental was totally complete and not only of the highest quality but also of a truly unique vision. what is significant in his work is the multiplicity of its action on the listener. it is a density of sound, acting in three-dimensions, not as auditory sound effect but as music with depth both physically and in functionality. its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscape, microtones and overtones into unified whole. sedimental is truly excited to be an early anchor of this young composer and sound artist’s serious oeuvre.

novisad (thanasis kaproulias, b. 1980) is a graduate student from the economic university of piraues. he lives and works in athens, greece where he began generating sounds in 2005. his debut album misguided heart pulses, a hammer, she and the clock received worldwide critical acclaim. recently, novisad did a recording session at the prestigious vpro studios in amsterdam, for the dutch national radio which will be released by staalplaat [nl] in the mort aux vaches series. his latest piece dramazon is available on touchradio from the publishing house touch [u.k]. he is currently working on a project based on various methods of audio analysis called sirens in which he explores the aesthetics of information on sound by using quantitative data from major stock market crashes in history.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
july 14th, 2008


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

sedimental (usa) #sed 052 cd

kyle bobby dunnfragments & 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)
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.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
july 14th, 2008


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

sedimental (usa) #sed 051 cd

ricardo dillon wankecaves” compact disc

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

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
september 12th, 2007


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

sedimental (usa) #sed 050 cd

tim feeney / vic rawlingsin six parts” compact disc

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

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
february 21st, 2007


threads:
free-improvisation
guitar-themed
minimalism-drones

sedimental (usa) #sed 048 cd

michel doneda / giuseppe ielasi / ingar zachflore de cataclysmo” compact disc

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

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
october 17th, 2006


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

sedimental (usa) #sed 044 cd

olivia blockheave to” compact disc

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

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
july 11th, 2006


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

sedimental (usa) #sed 043 cd

gabriel paiukres extensa” compact disc

  • res extensa (stereo version/2005) 38:25
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.


click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
july 11th, 2006


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

sedimental (usa) #sed 042 cd

alan courtisantiguos dólmenes del paleolítico” compact disc

  • part i
  • part ii
  • part iii
  • part iiii
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)

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


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

sedimental (usa) #sed 041 cd

ekgno sign” compact disc

  • years
  • months
  • weeks
  • days
  • hours
  • minutes
  • seconds
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.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


threads:
free-improvisation

sedimental (usa) #sed 040 cd

david grossthings 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)
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).

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


file under:
electro-acoustic
sound-research
site-specific
 best of 2005 !!! 
sedimental (usa) #sed 039 cd

brendan murrayresting places” compact disc

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

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


threads:
minimalism-drones
electro-acoustic-composition

sedimental (usa) #sed 038 cd

seth cluettmy own thousand shatterings” compact disc

  • there is the fact of its bursting (21:42)
  • there is the fact of its pluging headlong (37:14)
  • there is the fact of its being torrential (15:10)
seth’s is a name that’s come up often, especially locally, in description of envelope-curving sound-artists, but until now i’d not heard a drop nor a lick of his work. accompanied, perhaps framed by henri michaux’s text (the package is devoid of information otherwise), “my own thousand shatterings” sets out on a voyage of gradually vaccilating organ-lineage tones, recounting (and here’s an obscure reference for you) zoltán pongrácz’s 1975 piece “egy cisz-dúr akkord tört´nete” (or “the story of a chord in c sharp major”.)

the second piece (at 37:14 the bulk of the album) flirts with audibility for quite a while before unsheathing some low-end psycho-acoustic phenomena in greater and greater number. by contrast, in the third segment rain-drenched environment comes to the fore, stays there until the album’s close.

again (much like brendad murray and a whole host of younger, contemporary sound research-assistants), eliane radigue seems to be a stepping-off point for cluett’s work (especially given the sound-set), although his approach seems to be more concerned with telling the story moment-to-moment as opposed to laying out the big picture in the liners, then having that be on your mind as you wade through the audio.

an evocative audio work that demands patience while offering a unique take on the drone-modus. fans of jim o’rourke’s early electro-acoustic music (i.e. “young person’s guide to drowning”, etc...) may find nirvana within.
sedimental press release...
sedimental is both honored and pleased to release this stunning work from new york based installation and sound artist seth cluett. we have been following seth's activity in live and in installation settings for many years now and though he is still of relatively tender age it is difficult to dismiss his vision and commitment. while it was never clear what material seth would present us despite two years of pestering on our part for the goods, one listen to this sublime cd confirmed our complete confidence. the material is in company with the finest electronic works on our label and will engage the devotees both olivia block and michael j. schumacher. this 75 minute cd is issued in a limited number of 500 copies with 8 page insert.

about the material:

my own thousand shatterings is a one hour and fifteen minute composition consisting of three sections. it is a document of my obsession with rain, though it may not be immediately apparent as to how. i love how rain varies infinitely, how the totality of it is a drone, how (much like white-noise) when it reverberates in our architecture, it pulls pitches out of the air.i love how thunder dwarfs the sound of everything for a moment, and how its sustained echo rolls spatially around us."

"the third piece is a stereo field recording, the second is a stereo documentation of a performance, the first was recorded in a studio to a mono reel-to-reel. the pitches for the first and second pieces came mostly from the rain of the third piece being played back in the resonance of my home, the speed of change in the first two pieces comes from my obsession with geological data about the kutiah glacial surge that happened in pakistan where a glacier decided to move twelve kilometers in two months. that is a very fast slow. the second piece is paced in performance by my memory of the data, the first piece is paced by my memory of the pace of the performance of the second piece. the combined pitches that came about by improvising with the frequencies originating in the field recording were then used to gently filter the field recording itself in the third piece.
"

seth cluett is an installation artist and educator living and working in troy, ny. his work has dealt primarily with the relationship between the body and sound or light as well as architecture as an extension of the body.his research focuses on the effect of sound and light wave propagation on space perception and cognition, but its not that fancy.

his work has been shown/performed at the icmc in habana, cuba and the acoustical society of america; the ica, mobius artist space, massart/nonpod in boston; the kitchen, diapason and engine 27 galleries, the knitting factory, and abcnorio in new york; the deep listening space in kingston, ny; and betty rymer gallery at the art institute of chicago, heaven, artemisia galleries and deadtech in chicago amongst others. seth's work is documented on errant bodies press, boxmedia, crank satori, and wavelet and an upcoming release on kissy records.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


file under:
rock-etc...
free-improv
guitar-themed
sedimental (usa) #sed 037 cd

empty house cooperativepainted 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)
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.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003


threads:
musique-concrète
electro-acoustic-composition

sedimental (usa) #sed 032 cd

michael j. schumacherfour stills” compact disc

  • 14:53 featuring charles curtis
  • 15:41
  • 13:39
  • 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.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003


threads:
free-improvisation
electro-acoustic-improvisation
experimental-instruments

sedimental (usa) #sed 030 cd

james colemanzuhitsu” 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'.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003


threads:
electro-acoustic-composition
musique-concrète

file under:
sound-research
sedimental (usa) #sed 026 cd

olivia blockpure gaze” compact disc

  • pure gaze (27:23)
sedimental press release...
pure gaze was composed, recorded and mixed by olivia block july 1997-may 1998.

additional musicians - j

eb bishop: trombone
kyle bruckman: oboe, english horn
mike flake: clarinet
mark fry: trombone
christie vohs: bass clarinet, clarinet

recorded at splinter group studio in chicago by rob drinkwater. field material recorded at black lake and in echo canyon amphitheatre, nm with seth nehil and in the upper peninsula, mi.

the debut release from the talented chicago-based composer olivia block. in the few short years of her re-location from austin, texas to chicago she has become a noted figure within its underground and experimental circles performing at the women's avant fest (lounge ax) in '97, the eye of the ear sound festival (links hall) in '98, and women mixing in sound festival(artemesia gallery) in '98, as well as playing trumpet for a palace bros. project and collaborating in live performance with pauline oliveros.

block is an electro-acoustic and modern instrumental composer whose recorded compositions combine layered, processed wind and string instruments with processed sounds from sections of field recordings she has collected from various natural landscapes. her performances include minimalistic scored musical sections played live by a quintet accompanied by taped material , often sounds of field recordings, or the same quintet previously recorded and electronically manipulated. block herself "plays" found objects and instruments (trumpet). the resulting surrealistic sonic landscape and the contrast between these elements create a paradoxical element to the work. in all of her recent works she emphasizes comparisons between organic or "real" sounds and electronic ones, and she demonstrates how electronic technology imitates natural evolution using similar sounds from both worlds. she also explores the difference between "sound" and "music" and the creation of experience through emotional, subjective or intellectual, objective means.

olivia block is self-taught, and began her process in the art-pop band the marble index, where she sang, played guitar, and created abstract tapes for parts of the songs. she left the band in 1995 and began concentrating on electro-acoustic compositions. soon after she joined alial straa, an improv-and experimental group with john grznich and seth nehil. the trio held site specific performances around austin using sounds that existed at the site and homemade instruments. among her influence she cites feldman, ligeti, conrad, g. toniutti, gagaku, baca, eric b & rakim, n. roeg, a. goldsworthy and non-academic intuitively minded artists and composers.

pure gaze is olivia block's first release and sedimental feels this work will clearly place her in the realm of composers to pay very close attention to heading into the next century.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003


threads:
modern-composition
modern-psych

sedimental (usa) #sed 024 lp

reynolswhistling kettle quartet” long playing record

  • i andante mogal
  • 22 moderato uno surido fermo
  • iii allegro repuliom lanidelo
sedimental press release...
a singularly brilliant work for baritone, tenor, contralto & soprano whistling kettles from this unpredictable argentinian collective reynols seems to be more active than ever. responsible for a bunch of highly conceptual projects such as the “10.000-chicken symphony”, “blantapes”, “fire music”, “reynols plays the eiffel tower”, etc. this sound-art piece redefines a traditional format in classical music the quartet in order to expand its boundaries and possibilities. through the three movements of this composition (andante mogal, moderato uno surido fermo and allegro repuliom lanidelo), the sound of the four whistling kettles create deep textures, ranging from minimal static drones to complex pitch counterpoints. if the string quartet has, for centuries, been a must for composers, what can we expect from the coming xxi century quartets? maybe this release starts eying in key an answer …

reynols started its activities in 1993 in argentina. since that date the work of the band has been basically oriented to improvisation, droning and deep experimental research, etc., employing diverse acoustic & electric instruments and no-instruments, tapes and electronics. the group integrates an amazing musician who suffers from down's syndrome, miguel tomas n, who plays drums, vocals and diverse instruments. the fact that reynols integrates a handicapped member is not casual, actually the band s forrays into musical experimentation are guided by the inmense freedom of tomas n s mind, giving a challenging and unique character to this project. the line-up is completed with robeto conlazo & anla courtis, who play electric guitars and many other instruments.

in 1995 reynols released the first dematerialized cd called "gordura vegetal hidrogenada". in 1996 they started releasing stuff outside their country. at the moment the band has more than 80 releases in europe, usa, new zealand and japan. during the years the band s activities has included: concerts for plants, tributes to dry ice, psychic energy refractions with toothbrushes, noise performances in public squares, etc. the band also has manofacturated selfdesigned electric guitars and other electric instruments.

during 1999 reynols has been involved in several collaborations projects with the acclaimed american composer pauline oliveros. the band remixed oliveros s live stuff in a cd called "pauline oliveros in the arms of reynols" and played an internet concert with her in 1999. in august 2000 oliveros & reynols played together some concerts in usa including a performance at the lincoln center on her "lunar opera" that was the begining of the reynols usa tour 2000. reynols also played with oliveros at the deep listening space during ocober 2001.

during the 2001 usa tour the band presented their new homemade intruments called electric pacalirtes in more than twenty cities and played them at the no music festival with musicians like lee ranaldo, alan licht, john oswald, michael snow, paul dutton and members of the nihilist spasm band.

click the image above to
add this item to your
shopping cart
$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003


threads:
electro-acoustic-composition
minimalism-drones

sedimental (usa) #sed 024 cd

francisco lópezuntitled music for geography” compact disc

  • untitled music for geography
sedimental press release...
composed and recorded at messor studios (madrid) and the dark room, yale repertory theatre (new haven), during the spring of 1997. sound engineer: rob gorton.

this work was commisioned by the ralph lemon company for geography, a dance theatre work directed by ralph lemon, commissioned and premiered by the yale repertory theatre, new haven, ct. geography was also commissioned in part by 651, an arts center, brooklyn, ny and the national dance project of the new england foundation of the arts. additional fnuding was provided by the multiarts production fund of the rockefeller foundation and by 651’s africa exchange program, which is generously supported by a grant from the ford foundation.


specially re-mixed material francisco created for the dance work, geography, by the the ralph lemon dance co. which premiered at yale in new haven. at the time francisco already had established himself as an important new composer working with huge pools of silence that then build in time stretching waves of sonic purity. this work is certainly in the vein but there’s also subtle percussive elements woven in, drawn from an african percussion ensemble that performed live during the performance. this is francisco’s seventh cd release.

click the image above to
add this item to your
shopping cart
$8.41

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005


threads:
free-improvisation

sedimental (usa) #sed 010 ep

david gross / liz tonneperforming sunday 7:30” ten inch single record

  • houston november 11 2001

  • atlanta november 14 2001
... saxophone/voice duos from these two prominent (ex) boston-area improvisers ...
sedimental press release...
a tour document highlighting two exemplary excursions by these leading boston improvisors. gross(reeds) and tonne(voice) teamed up in their hometown of boston in the spring of 2001 for their first ever duo performance. based on the success of this one date gross invited tonne to join him on the southern part of his two month tour across the us later that year. they gave six performances in as many cities. this 10" documents two exceptional and unedited improvisations from atlanta and houston.

labeled as "one of boston's steadfast explorers," by bob blumenthal of the boston globe, saxophonist david gross has been transforming the saxophone, for nearly a decade, into exactly what it is: a metal tube with keys, mouthpiece, and a reed. he has worked with a wide range of internationally recognized musicians including le quan ninh, eddie prevost, steve roden, john olson (of wolf eyes), gino robair, martin tetreault, kaffe matthews, glenn spearman, raphe malik as well as members of the boston free-improv scene including bhob rainey, greg kelley, and laurence cook. 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 (witchita, ks), big sur festival of experimental music (ca), high zero (baltimore, md), improvised and otherwise (nyc) and autumn uprising (ma) which he created in 1997.

liz tonne is a vocal artist inspired by the unorthodox use of the human voice. her work explores the infinite possibilities of the human voice, unmodified by electronic effects and typically without amplification. as an improviser, she deconstructs the traditional role of the singer as both story teller and “melodic center” using her voice purely as a sound source. removed from it’s historic context the voice begins to resonate hidden languages, passions, stories and emotions that are buried within our collective memories.tonne is originally from pueblo, colorado having moved to boston in 1985 where she became immersed in boston's underground rock scene. in the 1990's she joined mile wide, an eclectic art-rock ensemble. whose experiments in improvisation led tonne to collaborate with other improvisers, performing regularly with jonathan lamaster's saturnalia in the late 90’s. tonne is a member of the undr quartet, formed with james coleman, greg kelley and vic rawlings in 1998. she is also a member of the bsc, a group of boston improvisers directed by bhob rainey. liz tonne has been invited to perform in four seasons of boston's autumn uprising music festival, as well as steven drury’s sicpp summer institute series with the bsc, and has performed as a soloist at intersect six in austin texas.

tonne can also be heard on james coleman's sedimental recording "zuihitsu" and with the bsc on a forthcoming cd on grob.

previous record label:
 secretly canadian 
...and that's everything on sedimental in stock.
(why not take a look at the previous and next labels?)
next record label:
 seer sound archive 
.home..artists..labels..new..restocks..best..faq.
.soon.
... this page was last updated on saturday, february 11th, 2012 @ 5:10 pm