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previous record label: sub pop		there are 58 titles on sub rosa in stock. they are listed below.		next record label: sublight

$16.01

new to stock as of
november 7th, 2008

sub rosa (belgium) #sr 289 cd

henri pousseur “electronic, experimental, and microtonal 1953-1999” compact disc

prospection (4:59) 1953
racine dix-neuvième de huit-quarts (18:51) 1975
at moonlight, downland's shadow passes along ginkaku-ji (12:38) 1989
ex dei in machinam memoria (20:35) 1972
figures enlacées (5:23) 1999

click the play button to hear an excerpt of "ex dei in machinam memoria"

october 2008 release ; fifth in this authoritative series covering the complete works of belgian composer henri pousseur ... this volume features a few stand-outs, most notably the 1972 “ex dei in machinam memoria” for oboe & live-electronics (listen to the sound-sample for a nice bit of distorted reeds & circuit-bent crackle) & a piece performed by the arditti (and, briefly, amm)’s rohan de saram ...

sub rosa press release...

henri pousseur
electronic experimental and microtonal 1953-1999
sr289

this is the 5th part of the complete experimental and electronic music by the composer - after liège à paris (1977), eight parabolic studies (1972), four parabolic mixes (1972-2001), mixed music (1966-70) and before narrative voices and electronic (1960-1982), paraboles-mix avec leçons d'enfer (1972-1999) and experimental electronic and noise (1954-61)

5 rare pieces that come from 5 decades and performed by rohan de saram (quatuor arditti), evert van tright (who played mainly stockhausen), brigitte foccroulle, danielle dubosch, isabelle schmit (three great belgian pianists) sumila goto, mikoto jakahata, shuzan morita (from the japanse yonin no kai trio) and last but not least and for the only time: henri pousseur himself.

short biography

pousseur studied at the academies of music in liège and in brussels from 1947 to 1953. he was closely associated with pierre froidebise and andré souris. he encountered pierre boulez, karlheinz stockhausen and luciano berio and thereafter devoted himself to avant garde research. beginning around 1960, he collaborated with michel butor on a number of projects, most notably the opera votre faust (1961-68). pousseur has taught in cologne, basel, and in the united states at suny buffalo, as well as in his native belgium. from 1970 until his retirement in 1988 he taught at the university and conservatory of liège where he also founded the centre de recherches et de formation musicales de wallonie.

generally regarded as a member of the darmstadt school in the 1950s, pousseur's music employs serialism, mobile forms, and aleatory, often mediating between or among seemingly irreconcilable styles, such as those of schubert and webern (votre faust), or pousseur's own serial style and the protest song "we shall overcome" (couleurs croisées). his electronic composition scambi (exchanges), realized at the studio di fonologia in milan in 1957, is unusual in the tape-music medium because - it is explicitly meant to be assembled in different ways before listening. when first created, several different versions were realized, two by luciano berio, one by marc wilkinson, and two by the composer himself (sabbe 1977, 175, n. 86). since 2004, the scambi project, directed by john dack at the lansdown centre for electronic arts at middlesex university, has focussed on this work and its multiple possibilities for realization.

$16.58

back in stock as of
july 21st, 2008

first in stock on
october 1st, 2007

threads:
electro-acoustic-composition
1960s-electronic
1970s-electronic
modern-composition
musique-concrète
digital-musics

sub rosa (belgium) #sr 277 cd

alireza mashayekhi / ata ebtekar / sote “persian electronic music: yesterday and today 1966-2006” double compact disc set

alireza mashayekhi - shur, op.15 (1966)
alireza mashayekhi - mithra, op.90 (1982)
alireza mashayekhi - development 2, op.24 (1970)
alireza mashayekhi - east-west, op.45 (1973)
alireza mashayekhi - chahargah 1, op.75 (1979)
alireza mashayekhi - panoptikum 70, op.27 (1970)
alireza mashayekhi - stratosphaere 1, op.46 (1973)
alireza mashayekhi - yaad, op.66 (1970)
ata ebtekar / sote - miniature tone
ata ebtekar / sote - nashid
ata ebtekar / sote - saint homayun
ata ebtekar / sote - synthetic overture (satan's lullaby)
ata ebtekar / sote - micro tuning
ata ebtekar / sote - breadth digit (glass lung)
ata ebtekar / sote - robot radif
ata ebtekar / sote - tahrir (love-birds drowned in sorrow)
ata ebtekar / sote - picture of a whisper
ata ebtekar / sote - cry
ata ebtekar / sote - lovaz
ata ebtekar / sote - niaaz
ata ebtekar / sote - plainsong

click the play button to hear an excerpt of "development 2, op.24"

december 2007: repressed & back in stock !!!

killer collection of classic tape-music from the persian composer alireza mashayekhi; whose “shur” (the first track here) is prob. my single favorite piece on the titanic “electronic panorama” box on philips prospective 21e siècle (arguably the most coveted set of early electronic music...)

it’s remarkable that there’s never been a survey of masayekhi’s work until now as, in my opinion, it successfully bridges traditional persian/iranian modes (already a fascinating area of music) with the 60s/70s electronic music vocabulary (of which i’m quite enamored...) - much massed tar/sehtar playing run through ring-modulation and other electronic treatments, much full-gain synthesizer hysteresis; all masterfully assembled into dense, edit-heavy etudes...

the mashayehki set is here augmented by a bonus disc of contemporary music by ata ebtekar (known to some of you for his single on warp under the name sote) - very much indebted to mashayekhi’s melding of persian instrumentation/tunings and electronic manipulation/synthesis a few decades prior... while i’m on record for not being the biggest supporter of “old meets new” collections (especially when they deal in the work of two completely different composers), ebtekar’s music is inarguably good; very abstract (i.e. non-beat-oriented) digital cutups using similar source material, and, for the most part, quite noisy/overloaded...

this feels like the historical electronic music reissue of the year; just so much insanely detail-oriented synth/tape work that it’s almost impossible to take it all in over one sitting... highest recommendation.

sub rosa press release...

persian electronic music : yesterday and today 1966-2006
alireza mashayekhi - ata ebtekar/sote
sr277

from alireza mashayekhi to ata ebtekar/sote, the quantum leap of the very unknown electronic music composed in iran from the sixties till today. two iranian music masters who work (mainly) on ancestral structures to create something radically new, who travel around the world to finally live and work in their country - two vivid creators through the hazards of history.

alireza mashayekhi : a short biography

alireza mashayekhi was born in 1940 in tehran, iran. he is one of the pioneers of modern music in iran. mashayekhi's works have been performed in iran and abroad for more than 35 years. mashayekhi believes that contemporary composers should create music in wide range of styles. his own compositions have tended towards three major direction: pieces that are directly inspired by iranian music (e.g. symphony no. 5, persian suite and shahrzad) and compositions that are not directly related to iranian music (e.g. symphony no. 6, concerto for violin and orchestra, sonata for piano) and multicultural compositions (e.g. symphony no. 8 and the electronic composition east-west). at the time of stalin in the ussr, many pieces were composed with predetermined identities in honor of marxism and leninism by the request of the governmental authorities or by the artist's own wishes. among these pieces those with artistic rightfulness remained and they were honored in both east and west, but the political weight of the other ones did not succeed to help them survive. - alireza mashayekhi

alireza mashayekhi is regarded as a pioneer iranian avant-garde composer whose ideas and works, which have been performed in iran and abroad for more than 35 years, have greatly influenced the contemporary music in iran.. - hooman asadi of the university of tehran, iran

ata ebtekar aka sote : a short biography

ata ebtekar aka sote is an electronic composer, sound artist and recording engineer who was born on september 2nd, 1972. his goal is to create unique and timeless pieces of music that are not available anywhere except in his mind. sote is interested in keeping the tuning of persian classical scales (radif) and melodies from old persian folk songs within a new electronic framework. since he has a firm conviction that rules and formulas have to be deconstructed and rethought, he alters some of these modal systems from their original tonality and rhythm (tradition). he has released several cds and vinyls on dielectric/rlr, spundae and especially on warp.

$18.91

back in stock as of
october 3rd, 2008

first in stock on
june 4th, 2008

threads:
minimalism-drones
experimental-instruments

sub rosa (belgium) #sr 272 cd

charlemagne palestine “from etudes to cataclysms • for the doppio borgato” compact disc

super high tones (7:47)
tritone octave 5 (7:38)
tritone octave 4 (6:54)
tritone octave 3 (7:45)
tritone octave 2 (12:15)
tritone octave 1/1 (9:49)
tritone octave 1 part i (9:13)
tritone octave 1 part ii (3:41)
tritone octave 1 part iii (3:42)
tritone octave 1/2 (3:31)
cataclisma 1 (12:34)
cataclisma 2 (9:13)
cataclisma 3 (11:42)
cataclisma 4 (20:58)
cataclisma 5 (10:47)

click the play button to hear an excerpt of "cataclisma 5"

may 2008 release ; amazing double-disc set covering charlemagne palestine’s first recordings on the italian doppio borgato - a double-piano played both with the hands and the feet ::

... hard image to shake, isn’t it ? ... imagine both sides of “strumming music” played atop each other and you’re getting close ... much more in the way of dissonance and use of the very low registers than in previous outings ; sounds like the doppio is getting absolutely savaged in spots (listen to the claustrophobic harmonic burst highlighted in the sound-sample) ... one of the better, if not the single best post-millienial palestine record ; one which he was born to make. highly recommended !!!

sub rosa press release...

from etudes to cataclysms - for the doppio borgato
charlemagne palestine
sr272

after the epiphany of an aural symbiotic mystery by charlemagne palestine and tony conrad (sr204) this is the first solo work by charlemagne on sub rosa - the first but probably not the last - because we would like not only to release some new important material like this one - but re-release too a series of his classic works (most of them, unfortunately, are unavailable).

from etudes to a cataclysms is one of the most important work 'till this day. an impressive composition of more than 140 minutes based on an unique instrument - a double piano on which one keyboard is played by the feet.

“several years ago martin kaufmann of kaufmann pianos in brussels told me he had seen and heard an amazing and unique instrument in italy a piano with 2 separate bodies ! one with a normal grand piano body having 88 notes to be played with the fingers, and below this piano was a second piano also with a grand piano body which could play simultaneously the lower 37 notes of a grand piano with pedals for the feet.

having known my music for years and that i had been a carilloneur where one plays with both fists and feet simultaneously martin kaufmann thought that the borgato would be perfect for my music the inventor of this unique instrument was luigi borgato from padua who developed this instrument with his wife paola. i was intriqued and through an intermediary, the italian pianist roberto posseda visited the borgatos in lonigo where they have their workshop and found that their instrument was perfect for my body and my music we immediately decided to organise recording sessions in a local church for one week and "from etudes to cataclysms" is the result !”charlemagne palestine
october 2007

$18.91

back in stock as of
august 22nd, 2008

first in stock on
january 25th, 2008

threads:
1950s-electronic
1960s-electronic
1970s-electronic
electro-acoustic-composition
musique-concrète
digital-musics
sound-art
sound-poetry

sub rosa (belgium) #sr 270 cd

“anthology of noise & electronic music / fifth a-chronology 1920-2007” double compact disc set

rogelio sosa - vinylika (7:02) 2003
christian galaretta - maranon (part vi) (10:27) 2004
li chin sung aka dickson dee - shame (4:57) 1994-2007
francois-bernard mache - prelude (5:28) 1959
richard maxfield - pastoral symphony (4:01) 1960
wolf vostell - elektronicher de-colagge. happening raum. (3:00) 1968
charlemagne palestine - seven organism study (7:53) 1968
andre boucourechilev - texte 2 (4:36) 1959
helmut lachenmann - scenario (12:30) 1965
alireza mashayekhi - shur, op.15 (6:28) 1966
claude ballif - points, mouvements (10:14) 1962
mauricio kagel - antithese (9:21) 1962
vladimir mayakovsky - and would you? (0:32) 1920
raoul hausmann - fmsbw (recorded by henri chopin) (0:45) 1918
gil joseph wolman - megapneumies, mars 1963 (4:54) 1963
leo kupper - electro-poeme (5:54) 1963-1970
josef anton riedl - leonce und lena (2:17) 1963
sten hanson + henri chopin - tete a tete (5:08) 1973
dajuin yao - satisfaction of oscillation (9:27) 1997
pere ubu - sentimental journey (7:01) 1978
ground zero - live 1992 (1:01) 1992
masonna / yamazaki "maso" takushi - spectrum ripper (part i-ii-iii) (3:32) 1996-1997
sutcliffe jugend - blind ignorance (5:39) 2007
club moral - l'enfer est intime (6:32) 1985
dub taylor - lumiere (part i) (17:11) 1972

click the play button to hear an excerpt of "francois-bernard mache - prelude"

january 2008 release ; the fifth volume of this ongoing series of double-disc compilations collecting newly unearthed/discovered/licensed gems from the assorted back alleyways of early electronic music with contemporary offerings from a current crop of like-minded electronic music practitioners ...

for this volume the (many) highlights include françois-bernard mâche’s “prélude,” wolf vostell’s “elektronicher dé-collage,” helmut lachenmann’s “scenario,” and from the more recent end of the spectrum a particularly nice blast from maso yamazaki & a bit of gristle from legendary early uk noise act sutcliffe jügend ...

given the purview of mms; these compilations are becoming something of a yearly festival - much in here to be excited about, thanks to the hard work of sub rosa’s guy-marc hinant. highly recommended, of course; and not just this most recent volume (the prior four all contain a veritable king’s ransom in early electronic music gold...)

sub rosa press release...

an anthology of noise & electronic music vol. 5 - fifth a-chronology 1920-2007

charlemagne palestine, père ubu, sutcliffe jügend, li chin sung aka dickson dee, alireza mashayekhi, rogelio sosa, christian galaretta, françois-bernard mâche, richard maxfield, wolf vostell, andré boucourechliev, helmut lachenmann, claude ballif, mauricio kagel, vladimir mayakovsky, raoul hausmann, gil joseph wolman, léo kupper, josef anton riedl, sten hanson + henri chopin, dajuin yao, ground zero, masonna, club moral, dub taylor

digipack 2 cd + 50 pages booklet
sr270

here i am, for the fifth time, facing this impossible task no one has asked me to do. how can one bring together the history of electronic and concrete music to the history of noise music? for this volume, i want to highlight pieces illustrating a technique (claude ballif's points,mouvements), a country (shur, op. 15 by alireza mashayekhi), a studio (helmut lachenmann at the ipem), there are also historic (françois bernard mâche's prélude), and radical (spectrum ripper by masonna) works that have ripped apart ancient definitions. all this organized with internationalism in mind and, for once, a focus on the voice - not as sung words, their traditional facet in music (from pop songs to lieder and operas), but as the word itself, recited, distorted, rendered abstract or disaggregated and screamed (the incantation so often a part of rock and noise music).

$16.01

new to stock as of
october 3rd, 2008

threads:
sound-art

sub rosa (belgium) #sr 269 cd

“groupe surréaliste révolutionnaire, dotremont et broodthaers (1939-1978) • avant-garde in belgium vol.3” compact disc

achille chavée - etant à tout jamais lié de par mes gestes oubliés (being forever tied by my forgotten actions) (1:57)
achille chavée - angoisse (angst) (1:53 )
achille chavée - dictée (dictation) (1:20)
achille chavée - aphorisme comme système d'auto-défense (the aphorism as self-defense system) (0:48)
achille chavée - 3 aphorismes (3 aphorisms) (0:26)
pol bury - de la peinture à la sculpture en mouvement (from painting to sculpture in movement) (11:26)
christian dotremont - en laponie, livre de bord (in lapland, a logbook) (11:10)
andré blavier - avec odette blavier ubu rwè mètou è lîdgwès (ubu in liégeois) (0:48)
andré blavier - les fous littéraires (literary jesters) (1:00)
théodore koenig - propos sur marcel havrenne (words on marcel havrenne) (1:51)
marcel piqueray - l'étrange histoire du grand chien saintongeois (the strange story of the grand saintongeois dog) (3:20)
marcel mariën - l'entrevue du 29 janvier 1973 (interview from 29 january 1973) (7:55)
andré balthazar - la fondation du daily bul (the inception of daily bul) (3:28)
andré balthazar - la langue (mise en son par gabriel séverin) (1:20)
marcel piqueray - manu loûrik (lu par gabriel séverin) (read by gabriel séverin) (2:06)
marcel broodthaers - apprentissage et filiation (apprenticeship and filiation) (4:58)
jean-pierre verheggen - monsieur panurge (mister panurge) (0:48)
jean-pierre verheggen - avec jacques bonnafé toutes les langues (ma langue de fond) et commentaires (all the languages (my background tongue) and comments) (9:02)

sub rosa press release...

groupe surréaliste révolutionnaire, dotremont et broodthaers (1939-1978)

achille chavée - pol bury - christian dotremont - andré blavier - théodore koenig - marcel havrenne - marcel piqueray - marcel mariën - andré balthazar - marcel broodthaers - jean pierre verheggen
sr269

this is the ultimate collection of archives of all the avant-garde in belgium from magritte to broodthaers, from james ensor to christian dotremont. 220 minutes of rare documents published in three parts / 3 volumes - 3 x cds (sr225 / sr242 / sr256) this third volume talks about:

the groupe surréaliste du hainaut, 1939
(with achille chavée, fernand dumont, pol bury, andré simon, marcel lefrancq …)
the groupe surréalisme révolutionnaire, 1948
(with christian dodremont, marcel broodthaers, paul colinet, achille chavée …),
the revues : temps mêlés, 1952 (with andré blavier), phantomas 1953 (with marcel havrenne, joseph noiret, théodore koenig, gabriel et marcel piqueray),
les lèvres nues, 1954 (with marcel mariën),
daily bul 1957 (with andré balthazar, pol bury, marcel havrenne, paul colinet, gabriel et marcel piqueray)
and the two outsiders: marcel broodthaers and jean-pierre verheggen.

...

hennuyerian extensions …

from this vantage point (hainaut), surrealism was a slow blinding light. seen from the industrial landscapes, so close to the french borders, it has a different colour than what can be seen in the capital. these surrealists remained rather faithful to the methods preached by breton (automatic writing, against which nougé became strongly opposed early on). hennuyer, magritte, scutenaire, and souris were too, but they quickly moved to brussels, where things began to crystallize. in 1936, achille chavée joined the international brigades (drombrowski section) to defend the spanish republic. in paris, he bid farewell to breton and aragon, who "fraternally supported him" - though chavée was the only one to leave.

$15.13

back in stock as of
june 4th, 2008

first in stock on
january 25th, 2008

threads:
folk

sub rosa (belgium) #sr 264 cd

bokar rimpoché “teaching, sacred chants and tibetan rituals” compact disc

mountain soundscape (facing mount everest) (0:36)
taking refuge by lama tcheupel (monk at the monastery of mirik) (2:00)
excerpt from "the hundred thousand songs of milarepa" by kyabje bokar rimpoche and a young monk from the mirik forest (2:17)
four-voice song: "calling the lama from afar" by kyabje bokar rimpoche, yangsi kalou rimpoche, khempo donyeu rimpoche and lama tcheupel (12:41)
tibetan bowls (01:39)
the "tsok" offering (excerpt from the songs of immortality) performed by lama tcheupel (monk at the monastery of mirik) (6:51)
teachings on meditation (excerpt from "the hundred thousand songs of milarepa") (1:26)
teachings on meditation (0:55)
praise mantra for milarepa (2:25)
dedication of the mahamudra meditation (1:12)
mahakala ceremony (25:29)
teachings on meditation (1:15)
a river in the mirik forest (1:20)

sub rosa press release...

teaching, sacred chants and tibetan rituals
bokar rimpoche
sr264

recorded in mirik monastery (in the northeastern india) with the total collaboration of bokar rimpoche - all the pieces were edited by the filmmaker guy maezelle (bokar rimpoché : meditation master).

bokar rimpoche

acknowledged as a great master of tibetan buddhism, bokar rimpoche (1940-2004) devoted his whole life to meditation. having fled tibet in 1959, he lived in exile, isolated in a little monastery in the mountains. the spiritual son of kalou rimpoché, a close relation of the dalai lama and meditation master of the 17th karmapa, bokar rimpoche was the heir and representative of an ancestral knowledge (of the kagyü line) passed along from generation to generation and holding wisdom that still enlightens us today. these recordings match guy maezelle's film bokar rimpoche: maître de méditation and feature sacred chants recorded by bokar rimpoche himself and ritual music from the mirik monastery (himalayan mountains in northern india, between bhutan and nepal).

a message from bokar rimpoche

"we, practising buddhists, must understand that all that we accomplish in this life results originally from our mothers goodness. for it is first thanks to her that we are able to survive. it is her that fed us, clothed us, and who took care of our education. but in reality, our whole life depends on all the other beings and their activities. for example, meat, milk and butter are given to us by the animals. our food, our clothes, our home depend on the work and effort of many other beings. in other words, on this earth, every day of our lives is lived depending on an infinite number of other beings for no one, since their birth, can survive alone. they would have no food and no clothes. so we must be aware that our life depends on the contribution of many other beings who show goodness towards us . therefore it is all beings, without exception, that we should hold dear ! even without referring to the word of buddha, this interdependence between all beings is easy to understand".

birth ends in death
accumulation ends in exhaustion
construction ends in destruction
union ends in seperation
everything, by its very nature,
is marked by impermanency
nothing and no-one remains eternally

$13.67

back in stock as of
june 4th, 2008

first in stock on
june 22nd, 2007

threads:
modern-composition
electro-acoustic-composition

sub rosa (belgium) #sr 259 cd

luc ferrari “didascalies (and other pieces for viola, piano and memorized sound)” compact disc

rencontres fortuites (23:14)
tautologos iii (21:19)
didascalies (15:07)

sub rosa press release...

didascalies (and other pieces for viola, piano and memorized sound)
luc ferrari
performed by jean-philippe collard-neven and vincent royer
sr259

the story of the last part of a trilogy.

the idea of bringing together rencontres fortuites, didascalies and tautologos iii - two recent works for piano, viola and electronics, and one open-ended work - imposed itself at a concert at the boendael chapel in brussels, where collard-neven and royer performed didascalies, with ferrari attending.

a few months later, we found ourselves in the legendary brème studios, having to deal with the waiting, the tonmeister's mood swings, and luc, sick, having a hard time with long commutes and schedule changes.

and so the last work was finally developed at la muse en circuit, the studio luc already knew so well, in a suburb of paris. on the 9th of july 2005, we were getting to know the surroundings; luc, brunhild and christophe hauser were already there. the musicians were on a train back from a concert in germany. while waiting for them to arrive, we started filming the empty studio. a film perhaps, and a new album.

we were with luc in early july 2005, when he was working with jean-philippe collard-neven and vincent royer on what would become his last recorded piece: a new version of tautologos.

we were there, insisting, filming the whole session. luc: "the tape is 21 minutes long and there are three rules," and the piece got woven, piano and viola breaking down, starting anew in the opposite direction, discreetly stepping out, bandoneon, dx7, building themselves back as the night crept in. the air displacement of books being closed every two and a half minutes…the musicians in the darkness of the studio, absorbed, counting, luc in the control room, not seeing the scene, simply focused on listening "while making mostly silence…"

a month later, we learned the news.

luc ferrari
(1929-2005)

$16.58

back in stock as of
june 4th, 2008

first in stock on
october 1st, 2007

sub rosa (belgium) #sr 255 cd

ben baruch “the complete recordings 1949-50” double compact disc set

zol noch sain schabbes [zol nokh zayn shabbes]
dos lempl
rouah [ruakh]
el molé rakhamim [eyl mole rahamim]
shalom
arzenu [artseynu]
kol nidrey
kaddish
kadisch fin barditschev
eli eli
wie ahin soll ich gehn [vu ahin zol ikh geyn]
s'wet geschehn [es vet gesheyn]
zochrenou lachaim [zohreynu lehayim]
zechor [zehor]
yehi rotzon [yehi rotson]
shabbes beim shalosh sudos [shabes baym shalesh-shudes]
elou devorim [elu devorim]
menashe
veoulai [veulay]
bearvot haneguev
oifn pripetshik [oyfn pripetshik]
kinderyorn [kinderyorn]
fartweiflung [fartsveyflung]
haben yakir

sub rosa press release...

the complete recordings 1949-1950
ben baruch
sr255

this box set reissues the complete recordings of yitshak jacques zaludkowski (ben baruch) published on 78-rpm picture discs by "saturne" in 1950. nine discs were recorded under rené cloërec's direction, the other two under léon algazi's. also included are "yehi rotson" and "shabes baym shalesh-shudes," two songs found on a non-picture disc record released by "le disque folklorique yiddish." this singer's repertoire is diversified: synagogal-like religious songs in hebrew ("kaddish," "kol nidrey"), yiddish songs ("kinderyorn"), songs about religious topics in hebrew ("haben yakir," dedicated to his father) or yiddish ("zol nokh zayn shabbes"), and songs in hebrew about the inception of the state of israel ("artseynu," "vu ahin zol ikh geyn").

yitshak jacques zaludkowski aka ben barukh : a short biography

born on september 20, 1914 in stawiszyn, to a religious family of eight children. his father, chaoul barukh zaludkowski, was a cantor and composer in stawiszyn (near kalisz). his father's older brother, noah zaludkowsky, was also a cantor. in 1920, his oldest brother elias zaludkowski moved to belgium and eventually helped his parents and siblings immigrate. jacques studied at the charles buls community school and later took evening singing classes at one of brussels music academies. he attended the synagogue on lenglentier street. between 1937 and 1940, jacques worked part-time in zionist leader léon kubowitzki's law firm and part-time in the latter's comité d'action economique in brussels, which worked toward a boycott of german products and would eventually become part of the brussels council of jewish organizations. in october of 1950, the saturne record company released a series of picture discs of jewish music. in all, 18 records featuring berland and ben baruch would be produced (11 with ben baruch). all the recordings are orchestrated. rené cloërec is the musical director on nine records.

$13.67

back in stock as of
june 4th, 2008

first in stock on
june 22nd, 2007

threads:
outsiders-deviants

sub rosa (belgium) #sr 254 cd

“musics in the margin” compact disc

jacques brodier - extrait du "filtre de réalité" (6:07)
anton et quentin - sans titre (6:42)
wesley willis - singing (0:19)
wesley willis - trama hell ride (2:57)
wesley willis - composing a song (0:51)
wesley willis - wesley willis and the dragnews (2:47)
wesley willis - selling a cd (0:43)
andré robillard - batterie (3:51)
andré robillard - changer sa vie (2:19)
mc speedy - improvisations pour l'emission implosief sur un truc de dd ... (8:14)
konstantin raudive - radio stimme + microphone stimme (3:25)
daniel johnston - premarital sex (3:04)
daniel johnston - fly eye (2:00)
reinhilde tastenoe - dikke trom (0:15)
reinhilde tastenoe - dikke meneer (0:09)
marcella dumarey - zweden (1:28)
dagboek - lentegedichteden (0:44)
dagboek - aaaaaavalon (2:36)
david - pépère (2:53)
david - la mer (1:10)
chantal robette - l'amour est belle (1:39)
martha grunenwaldt - sans titre (2:00)
martha grunenwaldt - sans titre (6:15)
oscar haus - sans titre (4:21)
galaxia - the revolution starts now (12:12)

sub rosa press release...

musics in the margin
v/a - daniel johnston / wesley willis / martha grunenwaldt / oscar haus / andré robillard / jacques brodier / anton & quentin / marcella dumarey / chantal robette / collectif dagbook / david (projet bôkan) / konstantin raudive / reinhilde tastenoe / mc speedy / galaxia / steve wallis
sr254

a project made in co-production with art en marge.

outsider art music has unfortunately not had a harry smith or an alan lomax to discover unpretentious talent, those two 'folksong hunters' who had realized the importance of making recordings to serve collective memory. one of them gave us the essential anthology of american folk music (1952), an absolute reference for the folk movement, while the other made recordings all over the world and became an absolute reference for world music. and that is why the sound of adolf wölfi blowing into a cardboard tube to play his enigmatic scores, or the threnodies of arthur k. ferris played on his giant violins with their insides covered with writings and holy texts, will never be heard again.

however, thanks to recent developments in technology and a growing interest in outsider music, a few of these unusual performers are beginning to be recorded. we have taken this opportunity to include several such sound pieces in our compilation. the composers live in highly individualistic worlds. faithful to our precepts, we search out self-taught musicians. that means people who make contemporary music outside the customary production and distribution channels and with the determination and creative gifts that stem from unmistakable artistic talent. some of these musicians operate in mental or social isolation and make their music in special workshops while others can be classified with the spiritualist or visionary artists. others again, like daniel johnston and wesley willis, have become cult figures, a reference for underground and alternative musicians. like the surrealist and expressionist artists, who were amazed by the strangeness and authenticity of work made in asylums, many members of today's music scene get inspiration from such 'outsider' music and feel it comes from another world. the recordings are of several kinds. in some cases less than 100 copies were pressed, or even just one copy, and they have never been distributed outside the circle of family and friends. in any case they were never intended to be listened to by a wider, impersonal audience. the process is more important than the result. in fact some authors, like konstantin raudive, have never claimed that their experimental sound pieces are to be regarded as music. this particular relationship with the creative process is a fundamental characteristic of outsider art.

sound is an energy, a power. the ability to handle that power is perhaps what so many musicians, artists and writers lack - they are too referential, have no universe of their own, are pushing to get their particular insights recognized (through art-historical criteria). whereas here, everything is marked by the spirit of a chaotic intelligence. artists spurning all method, going too far, being excessive: isn't that just what we are looking for ?

never released before: an anthology that links daniel johnston and the great wesley willis with a dozen outsider artists from around the world - digipack + booklet includes short bios and drawings including unreleased and rare tracks - 6 pages digipack + 12 pages booklet

$13.67

back in stock as of
june 4th, 2008

first in stock on
october 19th, 2006

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

sub rosa (belgium) #sr 252 cd

luc ferrari “son memorise” compact disc

presque rien no 4: la remontée du village (1) (7:25)
presque rien no 4: la remontée du village (2) (8:55)
promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (1) (5:51)
promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (2) (5:24)
promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (3) (6:59)
promenade symphonique dans un paysage musical ou un jour de fête à el oued en 1976 (4) (6:45)
saliceburry cocktail (1) (5:21)
saliceburry cocktail (2) (7:18)
saliceburry cocktail (3) (3:28)
saliceburry cocktail (4) (4:48)
saliceburry cocktail (5) (8:28)

sub rosa press release...

son mémorisé
luc ferrari
sr252

right from the start, the idea had been to release three very different cd's: one hörspiel, concrete music (new and older pieces) and instrumental works. les anecdotiques was the first step: the first work he played for me at his post-billig workshop. i was so stunned that i wanted to preserve the magic of the moment and release it immediately. it is a unique logbook with the traveling couple he formed with brunhild always there in filigree.

the instrumental works - three recent compositions for electronics, piano and viola - were more complex to put together. we started recording at the imposing studios of the bremen radio and carried on at la muse en circuit in alforville. recorded under luc's supervision, the three pieces have not been mixed yet. that will be our third and final volume, since the last piece was recorded in july and luc passed away in august. we will get back to these recordings when we will be ready to release them.

this album is the central step, the one that offers both a retrospective (the previously unreleased promenade symphonique dans un paysage musical from 1976-78, the final presque rien #4) and a fresh reflection dating from the last months of 2002: saliceburry cocktail, a large-scale composition exploring the idea of hideout, scrambled listening, a tortuous entanglement of concrete and electronic. and that will be the end of our middle step.

walking into sound
luc ferrari : here is how the story goes, and this is an actual symphonic walk across a landscape.

it is morning. a stroller, his wife, their algerian friends, and his tape recorder, come out of the desert. the air is silent, but the acoustics are very much alive. a nomad's tent peaks out between dunes; women weaving a rug invite him in for coffee. the stroller resumes his walk and enters the city. since his purpose is to listen and walk, he does just that. among other places, he visits the market, where a symphony of voices takes shape and rhythms are sketched.

luc ferrari : the re-build pass
even if his art is historically linked to the musique concrète school, luc ferrari (1929-2005) is above all a man with a freedom of spirit rarely equalled in the history of music, who has repeatedly left what he excelled at for new territory still unexplored; thus he is par excellence the composer

of new fields of investigation. ferrari joined the groupe de musique concrète in 1958 and remained a member until 1966; he collaborated with pierre schaeffer in setting up the groupe de recherches musicales (1958). by 1963-4 he had begun hétérozygote, an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. he was professor of composition at cologne's rheinische musikschule from 1964 to 65. in 1965 and 1966 he produced les grandes répétitions, a series of television documentaries with gérard patris on the subject of contemporary music, specifically olivier messiaen, edgard varèse, karlheinz stockhausen, hermann scherchen and cecil taylor.

$15.13

back in stock as of
july 21st, 2008

first in stock on
february 22nd, 2008

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

sub rosa (belgium) #sr 251 lp

michel chion “requiem” long playing record

requiem aeternam (5:26) [grant them eternal rest]
kyrie eleison (1:35) [lord, have mercy on us]
epître (1:09) [o death, where is your victory ? (i corinthians, 15)]
dies irae (5:53) [on this day of wrath, what will i say ?]
domine deus (1:48) [we offer you victims and prayers]
evangile (3:27) [he will rise (john 11, 21-27)]
sanctus (2:25) [holy, holy, holy, lord god of hosts]
pater noster - agnus dei (2:15) [lamb of god, who takes away the sins of the world]
lux aeterna (1:38) [the eternal light]
libera me (11:00) [set me free]

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

amazing ... first vinyl from sub rosa in ages - the format brought out from its respective closet to properly do justice to this piece; inarguably one of the canonical pieces of musique concrète - michel chion’s 1978 “requiem” ... immaculately conceived edition; european gatefold lp (which even partially recreates the original ina-grm artwork in the gatefold - see below !!!) - at $15 an absolute steal ... highly recommended !!!

sub rosa press release...

requiem
michel chion
srv251

michel chion
born in 1947 in creil, france, michel chion is a composer of experimental music. he teaches at several institutions within france and currently holds the post as associate professor at the université de paris where he is a theoritician and teacher of audio-visual relationships. after studying literature and music he began to work for the ortf (french radio and television organisation) service de la recherche as assistant to pierre schaeffer in 1970. he was a member of the groupe de recherches musicales (grm) between 1971 - 1976. his compositional pieces elaborate on schaeffer-ian theories and methodologies which schaeffer referred to as musique concrète. he has also written a number of books as well as essays expounding his theories of the interaction between sound and image within the medium of film.

requiem
the form of this music was not meant as an excuse to deploy refined geometry over a time frame seen as space. and if requiem as a whole is built on a system of echoes and correspondences that seem to be symmetrically organized (see graphism) around an axis represented by the work's middle point, it is not my fault. the form was developed in the course of the process, as a dramatic scheme that played off the listener's memory and premonitions, since once the listener has heard the work more than once, they can predict as well as recall. the musical analysis i came to perform, and of which i am disclosing a few pieces here, i did long after composing the work and for my own enjoyment. it should be understood as a game, not as the key of dreams, and it is surely not essential.

echoes and correspondences of what ? themes, musical motives, ranging from the most elemental (a loop, raw matter) to the most elaborated (a musical development), and which are reprised, quoted or announced at various moments of the work - some are easily identifiable as "leitmotivs" (theme-chorus from the dies irae quoted in the finale), while others are accompanying motives, matter that does not need to be memorized at a conscious level. an extreme case of such echo effect is found in the short movements 2 & 9, which use almost the same "music" cast under completely opposite sound lighting.

the centre of the work, the axis of that symmetry, is the 6th movement (evangile), where happens a symbolical tear in the magnetic tape, a crack in the work itself, opening in the timeline a breach of eternity that lets us glimpse "something else." this figure illustrates that breach as a sawtooth line, while the vertical line illustrates the pasted point, the moment (at the beginning of sanctus) when the mass itself, like a broken reel of film at the cinema show, resumes. within this large form in two parts, we find the small forms of each movement: forms with choruses and episodes, litanies, recitativo, levelled crescendos, etc. there is also another formal course delineated by the succession of several vocal characters, their timbre, intonation, and relation to the libretto. without giving more details, it is worth mentioning that the only time a well-assured, peremptory voice is clearly heard is, once again, at that central moment in evangile ("il va ressusciter" or "he will rise"), where its irruption seems to spread panic throughout the whole system and provoke the breach…

like the great requiems of the classical era, this requiem's text is taken from the funeral mass, to which are added an epistle, a gospel and a pater noster. the texts are mostly said in their original language (latin or greek) and in french, in some rare cases.

the requiem was composed whilst thinking about the troubled minority of the living, rather than the silent majority of the dead. also, i tried to turn this oratorio into a "great sonic show," cinemascope music. one can detect the obvious (at least to me) influence of a few filmmakers and films, more in the way of playing with forms, time and space, than through realistic evocations. thomas mann's docteur faustus was another influence, again acknowledged after the fact; the pages spent describing the imaginary works of adrian leverkühn might have inspired the megalomaniac dream of carrying bits and pieces

of them into the sound world. with requiem, my intention was not to deliver a message or a manifesto, whether pro- or anti-religious. instead, this work is a personal testimony, into which listeners are invited to project their own self, if they care to inhabit it with their own experience and sensibility.

michel chion

$16.58

back in stock as of
july 21st, 2008

first in stock on
june 22nd, 2007

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
psych-prog
modern-composition
minimalism-drones
harsh-noise
sound-art

sub rosa (belgium) #sr 250 cd

“an anthology of noise & electronic music / fourth a-chronology” double compact disc set

halim el-dabh - wire recorder piece (2:01)
györgy ligeti - pièce électronique #3 (2:15)
jean-claude risset - mutations (10:32)
beatriz ferreyra - demeures aquatiques (7:20)
maja s. k. ratkje - vox (13:23)
laurie spiegel - sediment (9:16)
steve reich - pendulum music (7:27)
stephen vitiello - marfa mix (4:15)
erikm - ressac (4:41)
wang changcun - sea-food (4:49)
chlorgeschlecht - unyoga (2:40)
gottfried michael koenig - funktion grau (10:15)
milan knizak - broken music composition (3:28)
les rallizes denudes - fucked up and naked (8:33)
vibracathedral orchestra - weaving the magic (4:45)
andy hawkins - river blindness (10:11)
alvin lucier - still and moving lines of silence in families of hyperbolas: voice (11:39)
the loop orchestra - circa 1901 (8:00)
john watermann - still warm (3:00)
françois bayle + robert wyatt + kevin ayers - it (3:40)
william s. burroughs - present time excersises (2:23)
james whitehead - air attack over kabul airfield (4:14)
vivenza - simultanéité aérienne (8:52)
olivier messiaen - oraison (7:42)

sub rosa press release...

an anthology of noise and electronic music vol.4 - a fourth a-chronology 1937-2005
gyorgy ligeti, alvin lucier, jean-claude risset, beatriz ferreyra, maja ratkje, olivier messiaen, steve reich, vibracathedral orchestra, françois bayle + robert wyatt + kevin ayers, james whitehead, the loop orchestra, halim el-dabh, laurie spiegel, stephen vitiello, erik m, wang changcun, chlorgeschlecht, gottfried michael koenig, milan knizak, les rallizes denudes, andy hawkins, john watermann, william burroughs, jean-marc vivenza
digipack 2 cd + 40 pages booklet
sr250

we keep goin' on our adventure with this fourth volume of our anthology. this installment is the pivoting axis of a seven-piece set. we developpe here some other tendancies includings new creations from china, brazil, norway,hongria and of course some classics and (un)published material from main composers (ligeti, lucier…). some very rare documents too as robert wyatt + françois bayle. more than 3/4 of the tracks are unpublished.

in the previous three anthologies, we mentioned the historical axes at the heart of the advent of concrete and electronic music: pierre schaeffer's workshop studio (in vol. 1), the wdr studio in cologne (vol. 3) and the princeton electronic music center in columbia, new york (vol. 2). quickly though, the development and creation of electronic studios became a priority, with new facilities popping up around the world: throughout europe and america, but also in brazil, mexico and japan, countries where there was a will to create music that was radically new. as important as it was, the technological wave was not big enough, as tod dockstader's case testifies: because of his technician's background in sound editing, he was prevented from pursuing his art in the studios, which remained the musicians' turf.

$13.67

back in stock as of
august 22nd, 2008

first in stock on
january 25th, 2008

threads:
1960s-electronic
digital-musics
plunder-phonic
electro-acoustic-composition
beat-research

sub rosa (belgium) #sr 249 cd

l-r / radiomentale “i could never make that music again” compact disc

l-r - i could never make that music again (20:53)
radiomentale - thousands of records (11:43)
l-r - turn left (0:12)
radiomentale - cool noises (4:57)
l-r - toy box (0:45)
l-r - never got a job (0:15)
l-r & radiomentale - soulmates (8:58) -

sub rosa press release...

i could never make that music again
l-r & radiomentale

with the voices of derrick may, stacey pullen, autechre, matmos, alec empire, a guy called gerald, mad mike (underground resistance), coldcut, mixmaster morris, dj shadow, kid koala, steve reich, claude lévèque, rioji ikeda, richie hawtin, richard james (aphex twin), thomas brinkmann, mantronix, christian fennesz, squarepusher, the residents, tony morley, david toop, matthew herbert, simon begg, andrea parker, pole

sr249

i could never make that music again is a choral album, a sound collage crafted out of interviews,where artists, musicians, djs and sound makers talk openly about their work, their visions, their hopes, their moments of doubts and their regrets in a loosely constructed narrative. even though most of the people interviewed here have just met on a few occasions, they have all participated in the making of the history of electronic music; from the early tape experiments in the 1950s to the latest trends in techno.

derrick may and stacey pullen, the pioneers of detroit techno, reply to an audio letter recorded in 1966 at the phillips research laboratory in holland by fred judd talking to a certain tom dissevelt about the lack of commercial interest in electronic music. thirty five years on the musicians of today air their thoughts on the subject. steve reich and the residents swap anecdotes, dj shadow chats to coldcut, rioji ikeda to richie hawtin. autechre reflect on the beauty of machines, a guy called gerald ponders on the cosmic realms of sound, aphex twin remembers his dreams, and mad mike from underground resistance marvels at the forces of nature.

the musician and author david toop reflects on the act of listening, and matthew herbert plays around with everyday sounds. the music that accompanies, underlines, perturbs and enrichs this flow of words, mirrors the sonic environment that surrounds us. everyday sounds, samples from hit records, disturbing frequencies and banging machines converse with this polyphonic chorus of voices and memories.

co-written by jean-yves leloup, eric pajot and jean-philippe renoult, i could never make that music again begun as a series of interviews made between 1990 and 2004 for the french music press (the magazines coda and trax) and were an integral part of the book 'global tekno' ( co written by renoult and leloup). they were also aired on the infamous parisian electronic music station, radio fg and on the public radio station france culture.

over the past fifteen years leloup and pajot have been working together as radiomentale (originally a radio-art show on fg) and in 2000 renoult launched 'sonotales', an experimental radio workshop originally broadcast on france culture.

this double approach is what makes this album unique and original. historical archive, articles, sound creations and musical fragments intertwine and form a hybrid work that could be remind some people of the heyday of radiophonic creation on both the bbc and radio france. i could never make that music again is a radio-art piece that remixes musical criticism and sound innovation and places all the ideas born out of the late 20th century cultural and technological revolution on an equal footing.

$13.67

back in stock as of
june 4th, 2008

first in stock on
november 22nd, 2006

threads:
modern-composition

sub rosa (belgium) #sr 248 cd

horatio radulescu “intimate rituals” compact disc

das andere opus 49
agnus dei opus 84
lux animae opus 97
intimate rituals opus 63

sub rosa press release...

intimate rituals
horatiu radulescu

performed by vincent royer & gérard caussé
sr248

horatiu radulescu : a sound icon
horatiu radulescu born in bucharest, 1942, is a noted composer, having developed his spectral technique of composition in the late 1960s. this technique "comprises variable distribution of the spectral energy, synthesis of the global sound sources, micro- and macro-form as sound-process, four simultaneous layers of perception and of speed, and spectral scordaturae, i.e. rows of unequal intervals corresponding to harmonic scales."

the first work to result from these new ideas was credo for nine cellos, composed in 1969. radulescu developed these ideas further in a large catalogue of works (now spanning more than 100 compositions), including six string quartets, five piano sonatas, a piano concerto, and many works for unconventional ensembles. in 1974, radulescu became a citizen of france, having lived in paris since 1969. he presently lives in switzerland.

"in 2003, i composed intimate rituals xi (a work for viola) using the tape of the pre-recorded sound icons with a viola in a spectral scordatura, a very special tuning-chord; the open strings simulate the 3rd, 4th, 13 th and 20 th harmonics of an f monesis, giving c half-sharp, f half-sharp, a slightly lower d, and a half-sharp. with this scordatura you have also the presence of the 7th harmonic in the air; the 3rd and 4th harmonics in sum give 7, and the 13th and 20th harmonics in difference also give 7. so the 7 th is there too, in the subconscious, even though it is not directly present. the piece is dedicated to vincent royer; it was composed in clarens / montreux, in 2003 and premiered by him in chicago. the timing is very strict; the techniques are those already known from das andere and lux animae but otherwise activated; the macro-form is also directed by the fibonacci proportions. the viola is in a constant dialogue with the sound icons (i don't like to think of the piece as viola and tape; ideally the sound icons would be live). the viola and the sound icons are dependent on each other, sometimes crossing, sometimes not. there are very intense moments as the sound icons describe a high register climax at the golden section; the viola attains its highest sounds there too and then decays, very strangely, reaching again in the low the richest timbres. intimate rituals are very private, maybe even erotic, situations. from the original recording of the sound icons in the lucero studio in versailles in 1986 to the premiere of intimate rituals xi with the viola in 2003 is a big span of 17 years, but the same atmosphere should be achieved, a sort of spiritual intimacy."

horatiu radulescu, amsterdam

...

works/selected discography

- byzantine prayer for giacinto, hommage à scelsi, pour 24 flûtes, 1988
- "infinite to be cannot be infinite, infinite anti-be could be infinite" opus 33,pour quatuor à cordes et viole de gambe imaginaire à 128 cordes 1976-1987 (edition rz 4002 )
- practicing eternity, for string quarte 1993 lucero print stuttgart
- incandescent serene, pour contrebasse et bande 1982
- radulescu: inner time ii (disques montaigne)

vincent royer & gérard causse

gérard caussé is known as one of the best musicians of his generation : conservatoire de paris, quatuor via nova, (1969-971), intercontemporain (direction pierre boulez), he has released more than 35 cds.

vincent royer (born in 1972) is the new generation, he has created pieces written especially for him (luc ferrari, david shea…), plays in duo with jean-philippe collard-neven.

$13.67

back in stock as of
november 7th, 2008

first in stock on
june 22nd, 2007

threads:
sound-poetry
art-punk
concert-recordings

sub rosa (belgium) #sr 247 cd

brion gysin “live in london 1982” compact disc

live in london 1982

sub rosa press release...

live in london 1982
brion gysin
with ramuntcho matta
sr247

autumn 1982, brixton, london, brion gysin, the eternal accomplice of william burroughs, renews the methods of performance by reciting texts, hastily brought together:

tessa, a member of slits,
steve, of rip, rig and panic,
gile, of penguin café orchestra,
and ramuntcho matta on guitar.

ramuntcho, in the style of brion, called this session 'white funk'.

most of the texts were written upon meeting burroughs, at the time of the invention of the cut-up. the influence that brion gysin has had on contemporary music may never be taken fully into account, particularly when he introduced brian jones, of the rolling stones, to the shepard's music of joujouka. those times were still audacious: the music was created during the sound-checks ! musically, the choice of traditional instruments expresses the desire to be free of machines (because, as burroughs says, 'we ourselves are machines.').

this recording is evidence of the extraordinary creativity and spontaneity of the musical and artistic scene at that time. it hasn't aged a bit. beyond the nostalgia inspired by the invocation of that bygone cultural scene, there is a call for a creativity of which it is difficult to find examples today.

$13.67

back in stock as of
june 4th, 2008

first in stock on
august 2nd, 2007

threads:
modern-composition
minimalism-drones

sub rosa (belgium) #sr 246 cd

morton feldman “for bunita marcus” compact disc

for bunita marcus (71:12) 1985

sub rosa press release...

for bunita marcus
morton feldman
performed by stephane ginsburghsr246

morton feldman was born in new york on january 12, 1926. in 1949 the most significant meeting up to that time took place - feldman met john cage, commencing an artistic association of crucial importance to music in america in the 1950s. cage was instrumental in encouraging feldman to have confidence in his instincts, which resulted in totally intuitive compositions. he never worked with any systems that anyone has been able to identify, working from moment to moment, from one sound to the next. his friends during the 1950s in new york included the composers earle brown and christian wolff; painters mark rothko, philip guston, franz kline, jackson pollock and robert rauschenberg; and pianist david tudor. he is today considered as one of the most important composers of the century.

“my past experience was not to 'meddle' with the material, but use my concentration as a guide to what might transpire. i mentioned this to stockhausen once when he had asked me what my secret was. 'i don't push the sounds around.' stockhausen mulled this over, and asked: 'not even a little bit ?'” (morton feldman)

"morton feldman's own words are as valuable for the composer as they are for the performer. his music slowly draws you towards silence by a process of atomization or repetition -- as do some of beethoven's or schubert's late compositions. you realize therefore how useless it is to try to act, to push his music against its own will. you will experience something about interpretation: question the music and then use your concentration. playing or listening to morton feldman leads you to very unique moments, like those you feel when you look at a starry summer sky, unable to measure its dimensions because this is beyond your understanding. a sense of infinity within a finite space."for bunita marcus (1985) 71 minutes 12
performed by stephane ginsburgh on a bösendorfer 225, during a sunny day.

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threads:
sound-art
field-recordings

sub rosa (belgium) #sr 245 cd

stephen vitiello “listening to donald judd” compact disc

#1 (4:11)
#2 (6:58)
#3 (12:04)
#4 (10:23)
#5 (12:24)
#6 (8:15)

sub rosa press release...

listening to donald judd
stephen vitiello
sr245

this piece is a work in progress evolving from the numerous recordings vitiello made of the sculptures of american artist donald judd in marfa, texas. high-precision microphones are placed directly on the surface of judd's "specific objects." they capture a subtle combination of sounds resonating through the artwork and ambient sounds. indubitably, i see this work as a tribute (and what better form for a tribute than a new work of art) to one of the greatest american artists of the 20th century.

these recordings were created during an impromptu residency sponsored by the marfa theater and the chinati foundation. the results were a performance (with and without tetsu inoue) and two fairly large sound installations. i was there to somehow record the elusive marfa lights that appear almost nightly in the sky. they were easy to see but impossible to record with my small photocell and borrowed telescope. sounds were captured in and around the donald judd installations at chinati, in a glider, in fields of grasshoppers and along some unknown street. marfa is a very quiet town. the most significant sound event is when the train comes through each day which can happen at any time of day or night. 3 years after my visit, most of what i experienced in marfa has probably been modified by memory. the sound of the train is the only recognizable source sound that has been left fairly unhurt by time-stretching and other forms of electronic and mental processing.

stephen vitiello
since 1988, stephen vitiello has collaborated with artists, musicians and choreographers, including pauline oliveros, tony oursler, constance de jong, nam june paik, eder santos, scanner, andrew deutsch, yasunao tone, and frances-marie uitti. dara birnbaum, jem cohen, etc.

(selected) discography
whitney biennial, compilation (whitney museum of american art, 2002) bright and dusty things (new albion records, 2001)floating foundation v.1, compilation (sub rosa, 2001)bitstreams, co-producer and contributor (jdk productions/whitney museum, 2001)nam june paik: works 1958-1979, producer (sub rosa, 2001)sounds building in the fading light, 10" vinyl, (creamgarden, 2001) fantastic prayers, cd rom in collaboration with constance de jong and tony oursler(dia center for the arts and prop foundation, 2000)the light of falling cars (jdk productions, 1998);from the world trade center…
i have found that i approach an installation by looking to create a soundtrack for that space. in the case of the world trade center residency, i found that the sounds already existed but were inaccessible - the sound of thunder, wind, airplanes, helicopters, the sway of the building had all been expertly shut out by thick windows that would not open. it became my task to bring those sounds back into the room and in a sense, to bring it to life. i am interested in the physicality of sound and its' potential to define the shape, feel and colour of a room. i am also interested in exploring how people receive sound and to what extent i may create a work, with no visual component, and offer an environment in which a gallery or museum viewer will be enticed into listening with the attention that they would give to a visual or audio-visual work.

… to marfa, texas
i was there to somehow record the elusive marfa lights that appear almost nightly in the sky. they were easy to see but impossible to record with my small photocell and borrowed telescope. sounds were captured in and around the donald judd installations at chinati, in a glider, in fields of grasshoppers and along some unknown street. marfa is a very quiet town. stephen vitiello

donald judd : a short biography
donald judd was born june 3, 1928, in excelsior springs, missouri. he registered at the art students league, new york, in 1948 but transferred a few months later to the college of william and mary, williamsburg, virginia. in 1949, he moved back to new york to study philosophy at columbia university while he took art classes at the art students league. judd challenged the artistic convention of originality by using industrial processes and materials-such as steel, concrete, and plywood-to create large, hollow minimalist sculptures, mostly in the form of boxes, which he arranged in repeated simple geometric forms. in 1971, he participated in the guggenheim international award exhibition at the solomon r. guggenheim museum, new york, along with other minimalist and conceptual artists. judd moved to marfa, texas, in 1972. . during his lifetime, judd publisheda large body of theoretical writings, in which he rigorously promoted the cause of minimalist art; these essays were consolidated in two volumes published in 1975 and 1987. the artist died february 12, 1994, in new york.

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electro-acoustic-composition

sub rosa (belgium) #sr 244 cd

israel quellet “oppressum” compact disc

pour frappes sur citerne, percussions, voix / for tank strokes, percussion & voice (7:29)
pour percussions et saturation, bruits de gorge / for percussion, saturation & throat sounds (4:46)
pour frappes sur citerne, percussions / for tank strokes & pecussion (7:22)
pour percussions, jouets sonores / for percussion and sound toys (6:06)
pour orgue, voix / for organ & voice (2:28)
pour frappes sur citerne, percussions / for tank strokes & percussion (7:08)
pour voix et rire, percussions, orgue / for voice, laughter, percussion & organ (4:39)
pour percussions, ponceuse, frappes sur clavier de téléphone / for percussion, sander & telephone keyboard strokes (4:59)
pour seaux traînés à terre et saturation / for buckets dragged on the ground & saturation (5:55)
pour voix, orgue et saturation / for voice, organ & saturation (7:50)
pour percussions et saturation / for percussion & saturation (5:31)

sub rosa press release...

oppressum
israel quellet
sr244

introduction to israël quellet - his life born in neuchâtel, switzerland, 1972. he worked in the psychiatric field for several years. at 16, he discovers on his own some different soundworlds, such as miles davis's electric era, sun ra, dub, german cosmic music, magma, zappa and many more. in 1997, he stepped into the action and, following the advice of a sound engineer friend, bought microphones, a digital mixing board, and studio monitors. basically, he turned part of his basement into a soundsmithing studio. that is when he started to create, out of his immediate surroundings, sound works that have little to do with what is "normally" being done. appreciated by composer jorge e. campos, quellet is supported by the centre pierre schaeffer in paris. in 2003, he contacted sub rosa. now, three years later, he is releasing his first public recording.

introduction to israël quellet - his sound quellet's music is not really outsider sound art, but it shares strong similarities with it. it explores a debarred universe almost impossible to escape. a minute - albeit extreme - exploration of sound (particularly through saturation), mystical discourse and excesses. however, the composer is also pictured as a regular guy living in a swiss town, a guy who likes to toy with the local church's organ, accompanied by his wife…

sound materials come from a number of sources: the local church's organ, rented or borrowed percussion instruments (bass drum, timbales, gong, djembe), various objects being struck (his oil tank at home struck with hammers and iron rods), pipes, faucets, telephone touch pads, power tools, sound-producing toys, voice, mouth sounds, throat sounds, and wheelbarrows.

israël quellet's sound, in his own words i made the sounds while i was recording, either alone or with the help of my wife. once a piece has been edited together, the final mixing is performed live, without automation. in order to retain the original dynamics, i do not use compression or any other specific mastering technique designed to equalize the sound or spatialize the stereo image. however, the heavy saturation used in some pieces limits the range of dynamics. the diverse sounds and the diverse means used to capture them give each piece a different overall sound and stereo image. therefore, the pieces are not standardized or calibrated systematically; they do not all sound the same.

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threads:
folk

sub rosa (belgium) #sr 243 cd

the master musicians of joukouka “boujeloud” compact disc

boujeloud al boudadi (7:42)
boujeloud featuring mujehid mujdoubi (4:30)
boujeloudia/ joujouka ei calihoun boujeloud/joujouka black eyes (13:32)
mali mal hal m'halmaz everyone is together (5:48)
boujeloud solo drums (0:59)
boujeloud (9:06)
allah a mohamed el hub tenani allah and mohamed kiss my heart (3:23)
boujeloud (5:34)
joujouka ei calihoun/ t'werkia d'boujeloudia: aishi h'liba bab dar joujouka black eyes / boujeloud / wait while i open the door of the house (8:20)
jewash halal/tweka miserisa (3:52)

sub rosa press release...

boujeloud
the master musicians of joujouka
sr243

musicians:
mohamed el attar (rhaita and lira)
mustapha el attar (drummer)
ahmed el attar (drummer)
ahmed el bouhsini (rhaita and lira)
abdeslam boukhzar (drummer)
abdeslam errtoubi (rhaita and lira)
el khalil radi (drummer)
mohamed mokhchan (rhaita and lira)
mujehid mujdoubi (lira)
abdellah ziyat (rhaita and lira)

background
the master musicians of joujouka are often credited with being the first "world music" group. the joujouka music for boujeloud, or the father of skins, is frantic and has several movements which would equate to a symphony or the score of an opera if it were european classical music. the festival and ritual originate in the worship of the god pan. pan was evoked in the springtime to ensure the fertility of both the crops and the people. the people of joujouka have kept this ancient tradition alive to this day. in 1968 brian jones the lead guitarist and founder of the rolling stones recorded the master musicians of joujouka in their village in the ahl srif mountains in northern morocco. jones was introduced to joujouka music by the beat generation painter and inventor brion gysin and the moroccan painter mohamed hamri, who was from the village. the lp "brian jones presents the pipes of pan at joujouka" (rolling stones records) was released in 1971 and was the last project jones worked on before his death in 1969. in 1994 frank rynne began a two year long project recording the master musicians of joujouka in their village. sub rosa released two cds from these recordings, joujouka black eyes (sr87) and sufi (sr97) to critical acclaim in 1995 and 1996 respectively. this is the third and final cd from these intimate recordings to be released by sub rosa.

boujeloud
in the mythology of the village of joujouka, boujeloud is a half-man/half-goat creature who bears a great resemblance to the ancient god pan. each year for a week following the islamic festival of aid el kebir (the big feast) the musicians enact the pagan-like ritual of boujeloud. a man sewn into black goat-skins dances wildly while the musicians play a suite of music to both calm the beast and to scare him away. joujouka music is played on either small bamboo flutes called liras or on the loud oboe-like rhaita and is backed by their primal drumming. the masters musicians utilise circular breathing to play long notes over which the lead pipers play melodies and solos. this cd demonstrates the trance inducing sounds of joujouka.

ritual music "the rites of pan"
boujeloud (sr243) contains several different renditions of the ritual music boujeloud. each version has a widely different character which is determined by the combination of musicians and the spontaneous improvisation of the lead players. tracks (tracks 1, 2, 6, and 8) are flute versions from various combinations of the masters while track 3 features the intense sound of the massed rhaitas playing the ritual. there are also songs which are used in lead up to the ritual allah a mohamed el hub tenani allah and mohamed kiss my heart and mali mal hal m'halmaz everyone is together. the song joujouka ei calihoun joujouka black eyes is played after the musicians have used their music to drive boujeloud/pan out of the village.

the musicians recording on this cd span four generation of joujouka masters.

master musician mujehid mujdoubi was 83 years old when he recorded boujeloud (track 2) and joujouka ei calihoun (track 9). though he had lost the ability to play the double-reed rhaita mujehid's lira playing fully demonstrates the musical dexterity which seventy years playing honed to perfection. these were the last recordings he made before he died in 1998.

the core group who still live and play in the village are widely represented on this cd.

rhaita player abdelslam errtoubi's soloing on track 10 shows demonstrates his wild virtuosity. master drummers ahmed el attar and el khalil radi play on all tracks. the masters massed sound can be appreciated on track 3 performing the boujeloud ritual in the centre of the village, the shouts of the villagers can be heard combining with climaxes of beat and tone.

the different versions of boujeloud and the related songs like joujouka ei calihoun allow the listener to experience the melodies and the improvisational nature of joujouka music played live in its natural setting. these recordings are an intimate and unique experience.

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june 4th, 2008

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threads:
digital-musics
beat-research
electro-acoustic-composition

sub rosa (belgium) #sr 241 cd

nodern “nodern” compact disc

nodern loves you (1:29)
the meat in the street (3:10)
fidelity guards (0:56)
cool it (3:03)
lockerbroom rumble (3:08)
johnny 123 (3:21)
bleak purple (4:34)
thomas d playing synth (2:08)
the coal mine worker (4:33)
sharkface (1:26)
letter puncture pnx pass (5:10)
national republic of harelip (6:59)
not down that alley (1:46)
slave news (7:52)
crutch receiver (1:22)

sub rosa press release...

nodern
nodern
sr241

with his debut full-length album, nodern blasts us into an introspective and apocalyptic world. nodern has an uncanny ability to create dark brooding and carefully constructed electronic music, which shuttles with great ease from fractured poly-rhythms to menacing noise, interspersed with desolate ambient soundscapes. produced over two-years, and in three cities, nodern's signature sound has its grip firmly on the pulse of the sprawling urban settlements across the world. the album guides us through the relentless procession of industrial rhythmic structures to the suburban wastelands drenched in melancholy. nodern's music seem to inhabit a perpetual twilight world where familiar spaces are swallowed in shadows, creating an ominous and sublime landscape. nodern's confident album firmly establishes a unique sound in the ever-growing field of electronica.

"i recorded everything on the album. i wanted it to be pure and deliberately created opportunities for mistakes, - everything needs a bit of ugly. i've used cheap sounds and big sounds and other opposites which will hopefully attract a diverse group of people with confusing emotions."

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electro-acoustic-composition

sub rosa (belgium) #sr 240 cd

pierre-yves macé “circulations” compact disc

1st movement for percussion / tape (14:45)
2nd movement for electric guitar / tape (15:57)
3rd movement for harp / tape (11:29)
4th movement for clarinet / tape (10:17)

sub rosa press release...

circulations
pierre-yves macé
sr240

the 2nd cd of the french musician pierre-yves macé (following faux-jumeaux released on tzadik) pushs faraway the limits of contemporary and electronic music. he developed the auto-sampling process around the concept of the double or replica, creating correspondances between the instrumental part solist (percussion, electric guitar, harp, clarinet) and his electroacoustic futur.

following faux-jumeaux, where i developed the auto-sampling process (composing a piece of music using only samples of the instruments appearing in that piece of music) around the concept of the double or replica, i chose with circulations to push the same method much further by approaching it from a more pragmatic angle. its composition, developed in residency at euphonia/grenouille, went through 4 separate stages:

* before the residency, i first wrote - in the traditional sense and with a certain level of indeterminacy - 4 movements for solo instruments, having only a vague idea of their possible correspondences.
* upon my arrival at the location of the residency, we rehearsed the four solos and i recorded them immediately.
* then, the work consisted of using these recordings as the source material for the composition of an electroacoustic accompaniment for each initial solo.
* afterwards, the musicians rehearsed their solos (which, in the meantime and following step 3, had undergone some changes) and tailored it to the tape part.

therefore, the performance falls halfway between mixed concert music (referenced by the instrument + tape device) and live electronics (judging from the "indexed" relation between electronics and instrument). even though the musicians never actually play together, they are nonetheless virtually brought together by the presence of the tape, which blends and fuses their instrumental sounds as a whole. by putting side by side in a near-didactical way several compositional stages, two types of writings ("abstract" and "concrete"), this process invites from the listener a cross-reading of the work, matching each instrumental part to its electronic evolution: a sequence of vibraphone arpeggios elsewhere becomes a click'n'cut gimmick, a guitar melody transforms into an ambient loop, and a sustained note on the bass clarinet gives birth to a rumbling in the subfrequency range. so many potentialities comprised in the abstractly written material, but also in the accidents of its recording, its "mise en son."

if this correspondence is not entirely rigorous, it is to leave enough room for the endlessly stretchable feedback interplay - or circulation - between abstract and concrete. this album represents one moment in the mutation generated by this movement. pierre-yves macé