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to celebrate the release of the new failing lights "s/t" disc on intransitive, we are running a "4 for the price of 3" incentive on all in-stock intransitive cd releases !!! simply place an order for any 3 intransitive discs, making sure to mention in the comments field which title you want as your 4th and voila, we'll include it free of charge !!! act fast, as the incentive is limited to the inventory on hand ...

previous record label:
 sub pop 		there are 48 titles on sub rosa in stock.
they are listed below.		next record label:
 sublight 
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$16.01

new to stock as of
may 4th, 2009

threads:
modern-composition
electro-acoustic-composition
digital-musics
live-electronic

sub rosa (belgium) #sr 284 cd

alireza mashayekhi / ata ebtekar / the iranian orchestra for new music “ornamentalism” compact disc

  • pearly gates (5:38) 1999
  • little tales 4point5 (2:03) 1993
  • ornamental (9:51) 1995
  • little tales 3 (3:17) 1993
  • broken silence cmpd (3:20) 2002
  • turquoise gas in ice (3:35) 
  • aural blue (0:24)
  •  phonata opus 11 remod. (6:35) 1999
  • little tales 2 (2:02) 1993
  • meta xy (12:58) 2001
  • pattern logic (0:21)
  • little tales 1 (2:25) 1993
  • tonus (3:02) 2006
click the play button to hear an excerpt of "broken silence cmpd"
april 2009 release ; cd version of the recent isounderscore lp, covering a collaboration between venerable iranian electro-acoustic composer alireza mashayekhi & his iranian orchestra for new music and younger computer musician ata “sote” ebtekar (the two were previously paired-up on sub rosa’s excellent “persian electronic music: yesterday and today 1966-2006” set) ...

echoing much of the “live electronic” work that dots the 60s / 70s compositional landscape, the raw acoustic timbres of mashayekhi’s writing are rarely heard herein ; ebtekar’s unfettered electronic processes (including much use of classic modes such as ring modulation, along with contemporary granular & spectral reductions) render the sparse writing a constantly mutating stew of gained squawks and fizzing, gauzy drones ...

it’s rare to hear such a project come from anything other than the academic label-system these days ; highly recommended !!!
sub rosa press release...

ornamentalism
ata ebtekar & the iranian orchestra for new musicperforming works of alireza mashayekhi    
sr284

 an organic electrocution

perfect follow-up to the highly acclaimed persian electronic music (sr277), this new persian music album involves a cast of seasoned musicians performing works written by legendary iranian composer alireza mashayekhi ; in which ata ebtekar (aka sote) was granted complete creative freedom by mashayekhi himself to transform these compositions into fully realized pieces using his techniques of synthesis and electronic manipulation.it's an organic electrocution without sacrificing the beauty of the performance. these sound sources and compositions were metamorphosed via electronic processing, rearranged and decomposed using sound generators, effect boxes, modular synthesizers and samplers. finally, ebtekar programs synthetic sounds and adds new electronic harmonies, melodies and soundscapes to the sonic palette of western classical music and persian instrumentation for a unique musical experience. sote unites the grace and symmetry of noise and silence inside the magic circle of electronic music composition.

the tehran contemporary music group

cofounded in 1993 by farimah ghavensadri and alireza mashayekhi. in 1995 mashayekhi established the iranian orchestra for new music as a performing entity. the tehran contemporary music group's main goal is the presentation of new music in order to promote young composers and performers. the group has also helped to establish the biannual for composing and performing of contemporary music in iran.

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 whishes. 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

aka sote is an iranian-american electronic composer and sound artist. he was bornin germany to iranian parents, spent the first eleven years of his life in iran and the next six years in germany. at the age of seventeen he moved to the united states and lived inthe bay area for fifteen years. he has spent the last few years living in tehran and workingon several projects. one of these projects was released in 2007 as a double disc set called 'persian electronic music - yesterday and today' (sub rosa sr277) for which he compiled early electronic music from alireza mashayekhi who had created these compositions forty years ago. disc two features ebtekar's own electronic compositions to present a timeline in modern iranian music history. sote's compositions are sonic tales synchronously decoding and regenerating customary patterns of thought in nature; aural designs of crisis and harmony where contempo meets folklore, orchestrating an artificial saga with a variety of illuminations and analysis. he believes that music is a cultural habit of sound and anti-sound (silence). therefore, he generates music without a specific culture, which he believes to be 'the other sound'.

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threads:
folk

sub rosa (belgium) #sr 283 cd

asad qizilbash “sarod recital / live in peshawar” compact disc

  • raga darbari (27:22)
  • raga bihag (13:49)
  • raga piloo (13:32)
click the play button to hear an excerpt of "raga darbari"
april 2009 release ; lovely set of sarod & tabla ragas performed by “the only sarod player in pakistan”, asad qizilbash & mustafa khan (respectively) ...
sub rosa press release...
sarod recital / live in peshawar
asad qizilbashsr283

asad qizilbash / sarod
mustafa khan / tabla

 asad qizilbash is the only sarod player in pakistan since 1992, keeping this traditional instrument and its music alive. asad was born in 1963 to the famous violinist k.h. qizilbash, who was responsible for closing the gap between western and eastern classical music. after attending a concert performed by his future master, ustad amjad ali khan, asad decided to devote himself to the instrument. today, asad qizilbash has the honour to perform regularly at his president's house where head of state representatives, monarchs, diplomats and guests from all around the world have witnessed and appreciated his unique style of classical narration.

peshawar is the capital of the north-west frontier province in pakistan. the city, once called purushapura, city of flowers, was the capital of the ancient greco-buddhist centre of gandhara. over the centuries, it has been the entry point to invaders, conquerors andrefugees. it remains an important military crossroad today. asad qizilbash' sarod recital in peshawar was carried out under extremely perilous and rather singular circumstances. an outstanding performance, a moment of freedom from war.

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$16.58

back in stock as of
may 4th, 2009

first in stock on
october 1st, 2007

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

 best of 2007 !!! 
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.

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threads:
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field-recordings

sub rosa (belgium) #sr 273 cd

ibimeni “garifuna traditional music from guatemala” compact disc

  • wadabuaguei marine snail trumpet call (0:50)
  • aguhuya nidugueñu / my family has gone / hüngünhügü (2:50)
  • vinu niguirayali / i:ll quit liquor / parranda with guitar (4:31)
  • chagachaga / pororo (4:55)
  • ñunsu garifunaou /spoken word (0:49)
  • adari labugana / livingston boyfriend / parranda (2:14)
  • ahurahali wadunari / the water has boiled / chumba (3:00)
  • wala diru lumala / the cricket has sung / abeimahanei (4:13)
  • came beyedana / why did you lie to me ? / punta (3:34)
  • tari edna golu / edna:s gold tooth / pororo (4:08)
  • chülüya ñunsu / news have arrived / hüngünhügü (4:09)
  • wasanriaha / union / religious chant (2:26)
  • nati conde / brother conde / punta rock (3:10)
  • baroumuga / sleep / lullaby (2:18)
  • lidan misiñeba / when someone doesn:t love you / parranda with guitar (3:03)
  • monderubadina hama hara / i won:t join them / parranda (4:18)
  • laguñeda / it:s getting dark / wanaragua (3:14)
  • dodo fafa / sleep fafa / lullaby (1:03)
  • san francisco / processional march (2:34)
  • naluwahañadibu inina / i:m looking for you / abeimahanei (4:01)
  • bonus track wanaragua (2:47)
click the play button to hear an excerpt of "baroumuga / sleep / lullaby"
sub rosa press release...
garifuna traditional music from guatemala
ibimeni
sr273

the garifuna musicians & dancers from livingston, guatemala ibimeni a term associated with childhood and youth, means honey or sweetness in garifuna. ibimeni is also the name of a group of garifuna musicians and dancers from livingston, guatemala, who interpret their traditional sounds in this album. this collection includes lullabies, festive chants, processional marches, and songs of religion and labor. livingston is a small region located on the caribbean coast at the river mouth of rio dulce, guatemala. it is accessible only by boat or airplane. this isolation allows the conservation of many cultural elements, such as music and dance.

ethnogenesis and location of garinagu

a series of villages inhabited by the garifuna (plural, garinagu) are located throughout the coasts of the gulf of honduras, (belize, guatemala, honduras and the laguna de perlas -nicaragua-). the garinagu are the afro-amerindian people with the most transnational presence in central america. with a particular ethnogenesis, produced by the encounter of caribs and arawaks in the lesser antilles, they remained throughout the conquest period, due to the race mixing with black slaves. constituted as "maroons", as a clear resistance against the english, they were the protagonists of the so called "caribbean war" during 1795 and 1796 in saint vincent island, from where they were defeated and later deported to central america in april 1797. after being abandoned in roatán (bay islands) soon they negotiated with the spanish crown to be transferred to puerto trujillo, in continental lands, where they started to scatter to the east and west. they established their own lands through the edge of the coast of the honduras gulf. halfway through the twentieth century they began their migration to the united states. today it is hard to explain and understand the configuration of social and cultural relations of garinagu without incorporating the relationship that they hold with their ancestors.

garifuna's music and the dancing expressions

music and dancing -vehicles of religiosity- are central in the garifuna culture. this musical expression is based on the group of two, three, and even four drums "garaon" (primera -the high pitched- and segunda -the lowest-) and sonajas "sisiras" that interpret rhythms accompanied by a solo singer and a choir that repeats a verse. the relationship between the primera drum-rolls and the dancer is that the dancer responds to the movements made by the drum as if it was a dialogue.

jointly to the polyrhythmic universe of garifuna drums, they cultivate another intense field of musical expressions that plays an important role in society, most of the time of ludic and recreational character.

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$18.91

back in stock as of
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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

 best of 2008 !!! 
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).

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first in stock on
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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.

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first in stock on
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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

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first in stock on
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threads:
electro-acoustic-composition
modern-composition
film-video

sub rosa (belgium) #sr 261 cd

luc ferrari “didascalies” compact disc and digital versatile disc set

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

  • dvd: luc ferrari facing his tautology: two days before the end (52:50)
sub rosa press release...
didascalies
luc ferrari 
performed by jean-philippe collard-neven and vincent royer
sr261

 luc ferrari facing his tautology: two days before the end

luc ferrari takes out an old score, tautologos iii, to record it at la muse en circuit in the summer of 2005. the "score" is actually a set of three rules:

1. each musician freely decides on a theme an length of silence to be repeated for 21 minutes
2. each musician can fanatically stick to his choice or change it according to what the othermusician is playing
3. well, there is no third rule.

the whole thing is to be recorded several times in a row, in layers, and supported by a tape part consisting of the stupidest sounds possible, in order to beef up the sound mass of the piece, for no particular reason. sounds easy, right ? well it was not. the first layer was successfully recorded during the first 21 minutes of recording, but it took almost two days for luc and the musicians - jean-philippe collard-neven and vincent royer - to record the second one. the third layer, like the cherry on top of a sundae, will consist in books forcefully closed every two and a half minutes. luc died a little over a month after this experiment. it turned out to be his last game.

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 s tepping 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.

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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.

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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

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

 best of 2007 !!! 
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.

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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.

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threads:
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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threads:
sound-art

sub rosa (belgium) #sr 242 cd

“magritte, le groupe surrealiste de bruxelles, rupture : 1926-1938” compact disc

  • louis scutenaire - l' inimitié, la brouille, l'exclusion. (1:25)
  • marcel mariën - aspects de l'éthique surréaliste (4:02)
  • rené magritte et paul colinet - 48 heures (5:50)
  • louis scutenaire - de la violence (1:24)
  • elt mesens - a la base du surréalisme… (1:02)
  • marcel mariën - pour un surréalisme apatride (3:32)
  • andré souris - musique, ready made, expérimentation (4:02)
  • marcel lecomte - la revue distance et la découverte de scutenaire (1:45)
  • louis scutenaire - mes inscriptions (3:10)
  • elt mesens - poème (:38)
  • louis scutenaire - de maranzac, le comte de la permission, le curé meslier (5:36)
  • rené magritte - le surréalisme et les questions (1:50)
  • louis scutenaire - magritte (3:08)
  • paul delvaux - travaux de peinture en 1923 (1:28)
  • constant malva - un écrivain prolétaire (2:25)
  • achille chavée - commentaire sur le groupe rupture (5:34)
  • achille chavée - poème non intitulé (à ma mère) (1:14)
  • achille chavée - la brigade internationale (1:44)
  • fernand dumont - xxv tiré du recueil "a ciel ouvert" (2:10)
  • fernand dumont - la grande nocturne (1:50)
sub rosa press release...
magritte, le groupe surrealiste de bruxelles, rupture : 1926-1938
avant-garde 1917-1978 : volume 2 - marcel mariën, rené magritte, rené magritte, paul colinet, louis scutenaire, elt mesens, andré souris, marcel lecomte, paul delvaux, constant malva, achille chavée, fernand dumont.
sr242

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 rares documents published in three parts/3 volumes 3 cds (sr225 / sr242 / sr256)

2nd volume

in this second volume you could hear rare documents including the voice of magritte explains why it's impossible to answer to the questions of journalists…

brussels surrealist group, 1926
as a nucleus started forming in 1924 around magritte, nougé, lecomte, etc., dissension arose, spawning correspondance (1924-26) - extensively documented in volume 1 - and the editorial activities of magritte and mesens: the only issue of œsophage (1925), obviously influenced by dada (schwitters was a contributor), and then marie (1926-27). distances (1928) will finally bring together all the main forces from brussels and abroad….

surrealist territories…
the avant-garde is necessarily stateless, but i must carry on with this classification in order to make it heard. there is an urgency to do so. things are fading out… i am limiting myself toa geographical space comprised between france, germany and the netherlands, where the main language is french. this region's experiments and discoveries are missing in french and international anthologies. we will have to take care of it ourselves. this essay, believe me, has more to do with an ultimate, almost desperate attempt than with waving the flag of a region or country (in an advanced state of decay anyway). again, i am aware of the flaws inherent to any such endeavour. but i could not and would not proceed differently. that is simply how it is.+ booklet(translation in french and english)01 louis scutenairel' inimitié, la brouille, l'exclusion. (01:25)02 marcel mariënaspects de l'éthique surréaliste (04:02)03 rené magritte et paul colinet48 heures (05:50)04 louis scutenairede la violence (01:24)05 elt mesensa la base du surréalisme… (01:02)06 marcel mariënpour un surréalisme apatride (03:32)07 andré sourismusique, ready made, expérimentation (04:02)08 marcel lecomtela revue distance et la découverte de scutenaire (01:45)09 louis scutenairemes inscriptions (03:10)10 elt mesenspoème (0:38)11 louis scutenairede maranzac, le comte de la permission, le curé meslier (5:36)12 rené magritte le surréalisme et les questions (01:50)13 louis scutenairemagritte (03:08)14 paul delvauxtravaux de peinture en 1923 (01:28)15 constant malvaun écrivain prolétaire (02:25)16 achille chavéecommentaire sur le groupe rupture (05:34)17 achille chavéepoème non intitulé (à ma mère) (01:14)18 achille chavéela brigade internationale (01:44)19 fernand dumont xxv tiré du recueil "a ciel ouvert" (02:10)20 fernand dumontla grande nocturne (01:50)

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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 238 cd

mitchell akiyama “small explosions that are yours to keep” compact disc

  • strategies for combatting invisibility (5:37)
  • but promise me (4:07)
  • full then felt (6:27)
  • your distance kept (4:42)
  • through fall and flicker (1:54)
  • small explosions that are yours to keep (7:18)
  • suggestions for walking alone (2:54)
  • contrapuntal lung apparatus (4:24)
  • overhead then exit (6:15)
  • with her shadow cast in doubt (4:42)
  • ghost storms (5:34)
sub rosa press release...
small explosions that are yours to keepmitchell akiyama
sr238

akiyama's fourth and most ambitious solo recording is a sprawling work that bristles, burns and slouches with emotion. 'small explosions that are yours to keep' came into being at the twilit edges of composition and digital manipulation and sets billowing strings drifting around household gamelans while shimmering guitars drown in saxophone waves.

montreal-based musician and media artist mitchell akiyama is perhaps best known for his electronic deconstructions of traditional instrumental music. since his debut recording on alien8 recordings, hope that lines don't cross, he has emerged as one of canada's premier electronic composers and has recorded for internationally renowned labels such as german minimalist label raster noton ( temporary music, 2002) and belgian sound art innovator sub rosa (if night is a weed and day grows less, 2004).

akiyama's music is a study in fiction and texture. he records compositions and improvisations for piano, strings, and other instruments, and restructures them in his studio in a post-facto montage. playing on the distortions in causality that recording technology can effect, akiyama creates music that lays claim to a moment of creation that never happened. imperfections - fingers scraping strings, breaths and other signs of humanity - are underscored resulting in a digital simulacrum of performance. located somewhere in the interstices of classical, electronic composition and post-rock, his works vacillate between delicate melodies and confrontational bursts of noise.

akiyama has performed extensively in north america, europe, japan and australia at festivals such as sonar (barcelona), mutek (montreal), futuresonic (manchester), sintesi (naples) and this is not art (newcastle, australia). his works have been broadcast by the cbc, vpro (dutch national radio) and several other radio stations from vancouver to tokyo.

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folk

sub rosa (belgium) #sr 236 cd

fanfare savale “speed brass of the gypsies” compact disc

  • ciobnasul (1:26)
  • hrpeasca (1:17)
  • dansuursului (1:57)
  • suita lui ernoe (2:54)
  • ciocarlita (2:47)
  • cantecul mirelui (3:58)
  • sarba basilor (1:55)
  • iahabibi (1:50)
  • suita a lunelu (1:46)
  • iuteala cprii (2:00)
  • hora lunea mihai (2:21)
  • hora lusofia (1:48)
  • rumba lugeorgel (2:07)
  • polca pe furate (1:05)
  • petricuta (2:51)
  • ce frumoasa esti (3:33)
  • sarba de la chisinu (2:38)
  • ruseasca ludrgoi (1:51)
  • sarba lutractor (1:56)
  • pe drumul romanului (1:58)
sub rosa press release...
speed brass of the gypsies
fanfare savale
sr236

 gypsy speed-brass band from romania !

a tiny eastern romanian village, called "zece pr_jini", having less than two hundred gypsy inhabitants, where any male can play at least one brass instrument and having probably the largest number of bands in europe - this is the place where the fanfare savale gypsy brass band comes from. it would be difficult to follow back in time their vast musical heritage as they have been playing music ever since they can remember and the gift of music and the instruments are passed from one generation to the other.

from three years old kids to seventy years old grandpas, each person is a skilled and fully trained musician here. these romanian gypsies earn their living by working their lands and playing music at various feast, weddings and funeral services. usually they gather and play music only to cheer themselves up. on the other opportunities, e.g. on the so called "green gypsy thursday" hundred of brass players come together from different villages, to demonstrate their skills, compete and party "in private", without entertaining any audience.

these traditions have been preserved for centuries and the fanfare savale are playing something peculiar in this romanian region: gypsy music that combines the traditions of ancient gypsy music at a breathtaking speed - up to 200 beats per minute - with those of the balkan area, producing wonderfully rhythmic tunes played. these ten musicians know extremely well the various music styles and although, most of them are barely a ble to play music by notes, can play any tune after hearing it only once.

the fanfare savale had a large number of performances in romania. hey were invited too, for most important world music festivals in europe like sfinks or candela - belgium, sziget or mediawave - ungary, music unlimited or linzfest - austria, balélec or estiv'alpe - switzerland, bam '02 - spain, festa della mùsica or riva del garda - italy, carnivals and various events. have played several times on world or rock music clubs in hungary, austria, belgium, france, germany, switzerland, italy, spain or slovakia and recorded a few tunes for a german studio.

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electro-acoustic-composition
electro-acoustic-improvisation
plunder-phonic

sub rosa (belgium) #sr 235 cd

dj olive / jean-paul dessy “scories” compact disc

  • walking slowly (9:55)
  • along the line (4:24)
  • ghost groove (2:06)
  • terra alba (2:31)
  • pass the potatoes (1:46)
  • scories (8:12)
  • comprovisation à ixelles (16:47)
sub rosa press release...
scories
dj olive vs jp dessy
sr235

 "scories" is the result of these various confrontations and convergences. these scoriae, solid residue from the smelting and refining processes of musical metals, provide the second volume in the "electro-contempo" series, the driving force of new sonic continental drifts.

dj olive bio

dj olive was raised in boston, nova scotia, trinidad, rhode island and australia. he was an active member of the infamous brooklyn williamsburg scene ('90-'93). in '91 he co-founded lalalandia entertainment research corporation. lalalandia made many of the most memorable brooklyn warehouse after- hours environments of that period.

in 1994, he started up multipolyomni and we. we's '97 release "as is" can be considered a classic. we opened for the orb that spring. their 3rd release, "decentertainment" landed them at barcelona's sonar '99. multipolyomni's '97 new york production of the solar drama from their opera quark soup, projected a massive live view of the sun perpetually rising for 24 hours, broadcast live from 127 consecutive locations as the world turned around once. it hosted 77 live performers and artists on two floors... ffffew (i think thats the guinness book record ..no?). and the early aquatic episode, '96 at the brooklyn bridge anchorage, also from quark soup, was hailed by the new york times art critic roberta smith as "the only work in scale with the anchorage". in 1999, he and toshio kajiwara founded phonomena audio arts & multiples, a weekly event as well as a record label. also in '99, he and james healy started the agriculture.

in 2003, after many years of collaborating with musicians, live and on recordings, olive finally released his debut solo cd, "bodega," an ass shaking continuous mix tape of rough down home dance party beats.

in 2004, room40, from brisbane put out his "buoy" composition. a 60-min voyage of beat-less warmth olive call's "a sleeping pill". he has also been included in many exhibitions including: treble, brooklyn sculpture center 2004, city sonics 2004, mons, venice biennale 2003, whitney biennial 2002, bit streams and whitney 2001.

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threads:
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field-recordings

sub rosa (belgium) #sr 234 cd

simon keep “interview with the eggs” compact disc

  • hokkaido (parts 1-13)

    snow powder dust (3:44)
    snow glitch (0:58)
    recording silence (0:56)
    treated silence (2:25)
    snow drone: one (2:32)
    snow drone: two (2:32)
    snow cracks one (0:35)
    snow cracks two (1:09)
    snow cracks three (0:35)
    snow crunch bit (0:38)
    night outside cabin (3:40)
    cold wind (1:40)
    distant kushiro lights (1:59)

  • zazen, listening to the room

    bell waves (1:05)
    bell two (1:55)
    zazen bell one (2:28)
    zazen bell two (1:05)
    untitiled process (0:56)
    listening to the room (3:53)

  • interview with the eggs

    low eggs (0:48)
    treated steam (0:11)
    steam wheat one (0:28)
    steam wheat two (0:14)
    interview with the eggs (3:20)
sub rosa press release...
interview with the eggs
simon keep
sr234

 in confine of silence
"the original sound installation consisted of three headphones playing back three different sounds. though the first set of headphones the sound of snow was heard, close up and sounding like dust or sugar. the second was the sound of a buddhist monk meditating in an empty room. the last was the sound of volcanic steam seeping out of the sides of a mountain. alongside the headphones were one thousand origami cranes. the paper was made from photo snapshots of japan and when made the cranes were hung in ten rows of one hundred. to make one thousand origami cranes is a japanese symbol of health and longevity. sound pieces produced from mini disc recordings i made in japan 2002. the audio has been extracted from hokkaido's volcanic snow-covered landscape. the composition and patterns of the sound are based on the way i heard these sounds; they are inspired by my xperience of listening. one of the recordings was made inside a temple. during "zazen" meditation the sound of an empty room was opening out to me and i was hearing sounds deep into the room. one evening i recorded the sound of an empty midnight landscape, again i was listening into the silence and into the distance. sounds would ring out from the distance, then a split second later i would hear silent space again." - simon keep

simon keep aka holkham

simon keep is a young londoner, composer, involved in a series of sound installations. more recently, out of a desire for people to hear/think about sound in a more conscious way, he has been working on a public arts project with vital arts at the royal london hospital. he has also been working with sound outside of the human audibility, mainly radio waves. over the summer of 2002 he created a sound triptych for an exhibition in memphis called "life/afterlife", (based on this inaudible sound.) his up-coming project is working again with why not associates on a sixteen-channel sound installation at the "cultural institute of macau" in china, a video piece filming the sound of moths and a recording project collecting sound samples from england's least noise polluted spaces.

silence as poetic system
“walking through snow, my feet crunching on the snow and ice, kicking the snow, sounding like sugar, snow dust. night-time recording, the silence outside the cabin, red, green and yellow stars, the flashing lights of city. hearing emptiness, no sound then sound, the imprint of sound in my mind, reverberations of sound in my head and the contemplation of sound. zazen, the sound of an empty room, listening deep into a room for inherit sound volcanic eggs, the sound of steam seeping out of a mountainside and poaching eggs.”

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threads:
electro-acoustic-composition
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 best of 2006 !!! 
sub rosa (belgium) #sr 233 cd

tod dockstader “aerial #3” compact disc

  • mutter
  • wave
  • descent
  • dissent
  • voicetrain
  • howl
  • surge
  • wheeze
  • cq
  • jam
  • bounce
  • whisper
  • oh
  • stomp
  • harmonic
  • din
  • pressure
  • serious jig
  • stream
  • steam
  • wait
  • woo
  • finale
click the play button to hear an excerpt of "din"
at last - the final piece in dockstader’s massive contemporary trilogy !!!
sub rosa press release...
tod dockstader's forced silence

in 1955, tod dockstader leaves st. paul's, minnesota - where he has studied arts and psychology - for hollywood. he is 23 years old when he starts as an apprentice in a recording studio. in 1958, he becomes a sound editor and engineer at gotham recording studios. he gets his first ideas for compositions while manipulating thousands of extremely diverse sounds - at the time, he is hard at work on the sound effects for mr. magoo and gerald mcboing boing. thrilled by pierre schaeffer's musique concrète and edgar varese's recent poème electronique, dockstader attempts a synthesis between electronics and musique concrète. he completes his first pieces in 1960, released by folkways a year later as eight electronic pieces (fellini will select a few excerpts to include in his satyricon in 1969).

while still working as a sound editor, dockstader his putting more and more urgency in his composing career, reaching within five years a level of activity few composers have managed to match. in 1966, just as he leaves gotham studios, owl records releases four albums. the first one includes luna park (1961), apocalypse (1961) and traveling music (1960). the second one has drone (1962), water music (1963) and two fragments from apocalypse (1961). the third presents the complete quatermass (1964), while the last one is devoted to omniphony, a collaborative work with james reichert, in which musique concrete, electronics and orchestral work are combined.

sadly, these extraordinary beginnings will be abruptly brought to an end. by dockstader is looking for an electronic studio to develop new compositions, but none would accept him, on the count of his purely technical background. one must remember that these studios, which cost a fortune to build, were.usually created by the state. like exclusive gentlemen's clubs, they were designed by technicians for composers with the necessary cursus. a radically new field was developing at the time - a new form the institutional bureaucracy could not grasp. even otto luening and vladimir ussachevsky (at the columbia-princeton electronic music center) turned down dockstader's request. every studio door remained shut. facing the impossibility to push his art further, the composer turned to school-related audiovisual production.

time passed. as his sixtieth birthday grew near, dockstader returned to composition. meanwhile, things had drastically changed: the mythical studios of yore were mostly all gone, and the better part of the interesting music was being created outside academic institutions. the possibilities offered by home studios sealed the deal.

in the meantime, starland reissues most of dockstader's works on two cd's released in 1992 and 1993. these two albums make a strong impact on the electronica scene, especially in england. aphex twin and autechre mention them as key influences. a decade later, rer would reissue omniphony in 2002 and release two collaborative works with david lee myers: pond (2004) and bijou (2005). locust would add eight electronic pieces in 2003.

after a silence of 25 years, dockstader finally came back to composition in 1990. he wants to start anew with a clean slate. this shall be his second creative cycle: aerial, a large-scale celestial composition over ten years in the making. "i started collecting source-sounds from short-wave radio - not the broadcasts, but the sounds in between the stations". in 2002, he completes the definitive mix of song, the first fragment of the aerial cycle, which will eventually include 59 of them. it would be released as part of the second volume of the anthology of noise & electronic music. song illustrates the composer's new approach. gone are the tape manipulation and profusion of the '60s. instead, the music revolves around frequencies and drones, with a computer leading the way. unlike his first cycle, all about sudden shifts, complex accretion effects and acceleration/deceleration phases, the new compositions explore a minimalistic slowness, where the tiniest incident sets forth unexpected turmoil. slow, penetrating pulses that explore every corner with celestial thrills. a four-hour continuum revealing itself solely in the inner space. la nuit remue [the night moves], as henri michaux would say. was this spell of silence necessary to conceive a work that seems without precedent or posterity?

and so tod dockstader works every day from his wooden house in westport, massachussets, silently, with headphones on, while keeping a watchful eye on his wife who needs him so much. he is looking into abstraction for sliding movements, ruptures, a meeting point between what he is building and what cannot be said.

guy marc hinant, april 2006

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 best of 2006 !!! 
sub rosa (belgium) #sr 231 cd

henri pousseur “mixed music 1966-1970” compact disc

  • crosses of crossed colors (1970)
  • jeux de miroirs de votre faust (1977-67)
ah, excellent... here we have the “jeux de miroirs de votre faust” lp (originally released on wergo) that i mentioned in reference to the pousseur / butor set on alga marghen; making its debut on compact disc ...
sub rosa press release...
mixed music 1966-70
henri pousseur

with michel butor - joy blackett - ensemble musiques nouvelles, pierre bartholomée - marcelle mercenier - basia retchitska - cathy berberian - louis devos - jules bastin
sr231

we come back to our exploration of henri pousseur's works with a four-cd series which, along with what has already been released, will cover all his electronic music and his most radical works between 1953 and 1988 - 35 years of research and experiments.

these recordings are a continuation of our earlier releases, namely: liège à paris (a piece composed thanks to luciano berio and premiered at the grand opening of the centre georges pompidou in paris, in 1977 - sr117, 2000), the 8 études paraboliques box set (over 220 minutes of music realised in cologne, 1972, at the wdr's studios - the last étude featuring stockhausen's participation sr 174, 4 cd's, 2001), and 4 parabolic mixes, four takes on the work by henri pousseur himself, robert hampson (main), philip jeck and markus popp (oval), these variations moving gradually away from the original (sr199, 2 cd's, 2002).

crosses of crossed colors:
joy blackett + ensemble musiques nouvelles
pianos: robert leuridan, francette & pierre bartholomée

jeux de miroirs de votre faust :
marcelle mercenier, piano et basia retchitska, soprano, cathy berberian, louis devos & jules bastin.

the two pieces featured on mixed music (voice, pianos, various electro-acoustic devices) are magnum opuses in pousseur's body of work, though they are seldom heard - jeu de miroirs de votre faust has been unavailable for a long time, while crosses of crossed colors is released here for the first time ever.

already for couleurs croisées (crossed colors, 1967), my initial idea was to add an amplified voice to the orchestra, a voice that could stand up to it and would clarify and explain the meaning of the piece, in the form of a black baptist minister-style preach. so, besides the voice ("black," if possible), we have: 5 pianos, whose assembled parts reuse almost all the harmonic-rhythmic contents of the orchestral piece. henri pousseur

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sub rosa (belgium) #sr 230 cd

“tibetan and bhutanese instrumental and folk music” compact disc

  • song with lute self-accompaniment
  • song with lute self-accompaniment
  • tuning of bhutanese lute
  • lute solo
  • whistle flute, played by gete dope
  • folk-songs sung by droma, of talo
  • folk-songs sung by droma, of talo
  • folk-songs sung by trin lem, of tongsa
  • folk-songs sung by trin lem, of tongsa
  • pawo, oracles' dance and song, with pellet-drums
  • tibetan dramnyen, 6-stringed lute, played by amanul, of lhasa
  • ho-chin, 2-stringed fiddle, played by amanul
  • tibetan minstrel, with small son, singing folk-songs from eastern tibet, self-accompanied by pi-wang, 2-stringed fiddle
  • tibetan minstrel, with small son, singing folk-songs from eastern tibet, self-accompanied by pi-wang, 2-stringed fiddle
  • folk-song sung by men from chhokhor in bumthang district, eastern bhutan
  • uragi ache lhamo, women from ura in bumthang district, song with drum accompaniment.
  • folk-song by men from nub, in tongsa valley
  • folk-song by women from nub, in tongsa valley
  • folk-song sung by tsewang lhamo, of paro
  • ache lhamo, dance of goddess, from the drama, the life of king norzang, song with cymbal and drum accompaniment
sub rosa press release...
tibetan and bhutanese instrumental and folk music
recorded by john levy
sr230

recorded by john levy in 1971

this is the second part of the whole levy 's enterprise : to capture not only the sacred music of the tibetan ritual in bhutan but all the aspects of folk music too.

john levy, an englishman in bhutan early seventies
released by lyrichord in mid-70', all the people who have listen to these vinyls know that it does'nt exist something more powerful, more prodigious and pure than them. john levy was a london ethnomusicologist who took refuge in tibetan buddhism. so he had all the possibilities to record - with his nagra-stéreo - all the rituals and folk music.

after "the great power of the rituals of the drupka and nyingmapa order" our double cd box (sr222 / 2005) here is tibetan and bhutanese instrumental and folk music

the second volume features performances on both tibetan and bhutanese lutes and fiddles, beautiful folksongs, and a part of a drama of tibetan origin performed by a troupe of yak and cow herdsmen of eastern bhutan. the latter is particularly compelling, the standout performer being go-te do-pe, who sings and accompanies himself on the dramnyen, a bhutanese lute. his two songs bear an eerie resemblance to the blues of junior kimbrough and other mississippi hill country musicians… a real blues of the top of the world.

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 best of 2006 !!! 
sub rosa (belgium) #sr 228 cd

tod dockstader “aerial #2” compact disc

  • approach
  • omaggioa fellini
  • pipes
  • orgal
  • babbel
  • yaya
  • ba loon
  • clocking
  • wail
  • bottom
  • feeder
  • spindrift
  • surfer
  • low roller
  • still
  • beating
  • piccolo
  • wire
  • knock
  • wah
  • aah
click the play button to hear an excerpt of "wah"
behold! the second disc in dockstader’s awesome “aerial” trilogy... despite not reaching completion in 2005; i have placed this series at the very top of my “best of 2005” list (thusfar.) in my mind no other early electronic pioneer has kept as surprising and vital as mr. dockstader in the contemporary era. these new recordings rival anything he’s done in the past 40 years while sounding completely fresh...

interesting and funny to see an honest to goodness quote from mimaroglu music sales on the cover of a record!!! also interesting to see a reference to fellini in the track-titles (its long been rumored that dockstader, along with mimaroglu and andrew rudin, worked on sound design & the score for fellini’s epic “satyricon”)
sub rosa press release...
a few biographical facts

tod dockstader was born in 1932 in st. paul, minnesota. after studying psychology and art at the university of minnesota, dockstader went . . on to study painting and film, earning money by drawing cartoons for local newspapers and magazines. in 1955, married, he moved to hollywood and worked as an apprentice film editor: he cut picture and sound for animated cartoons including 'mr magoo'. after working with cartoonist jules feiffer and director ralph bakshi, in 1958 he was hired by the gotham studio where he spent most of his free time experimenting with musique concrete.

in 1960 he began a cycle of very powerful works: dockstader's radical construction and ,manipulation of audio fragments . eschew the harmony and rhythm which typically define music,yet their flow, balance and spatial dynamics suggest an artistry far beyond the noisy experiments of his peers. he composed 'traveling music' (1960), 'luna park' (1961), 'two fragments from apocalypse' (1961), 'apocalypse' (1961); revolutionary projects like 'drone' (1962) and 'water music' (1963) followed. by the time he had completed his masterpiece 'quatermass' in 1994 dockstader had accumulated a sound library of about 300,000 feet of tape, equalling 125 hours of source material. the final piece is 46 minutes long. in 1966, tod dockstader made 'omniphony' with james reichert. he left the gotham studio in 1967 and moved to montreal where he worked in air canada's pavilion for expo 67, making dozens of soundtracks and slide-shows. but because he did not have the proper academic qualifications he was denied grants and access to electronic music facilities, at the columbia-princeton center among others. he therefore returned to audio-visual. work full time. he worked in westport on audio-visuals: films, filmstrips, slide shows, tv films and videotapes for a variety of publishers - most notably a series on american history for american heritage. in the nineties his name started to be heard among the new generation of electronic music, and his work gradually began to be re-released.

in 1990 he returned to 'aerial', a second cycle of very intense works: 'i started collecting source-sounds from short-wave radio - not the broadcasts, but the sounds in between the stations.' and a quote from an unknown source: 'airwaves allow for a silence that is not dead, representing a presence even without a signal.' in 1994 tod dockstader made and mixed the first piece of the 'aerial' cycle. in 2005, his complete work of four hours is published in three parts on sub rosa.

the realisation of 'aerial' was helped by a grant from the connecticut commission on the arts. .

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sub rosa (belgium) #sr 225 cd

“dada pansaers and correspondance 1917-1926” compact disc

  • james ensor - speech given for his retrospective exhibition at the palais des beaux-arts in brussels 1929. (01:35)
  • pierre bourgeois - clément pansaers 191 red roses (00:48)
  • albert lepage - clément pansaers at diable au corps (rue aux choux) (00:46)
  • pascal pia - clément pansaers and james joyce (02:15)
  • louis aragon - i think of clément pansaers (02:57)
  • philippe soupault - clément pansaers in paris (01:27)
  • paul neuhuys - a letter by clément pansaers
  • the opposition of the french dadaists (01:10)
  • clément pansaers jr - clément pansaers my father (01:15)
  • paul neuhuys - clément pansaers
  • the last letters (02:25)
  • paul neuhuys - about founding ça ira (03:36)
  • franz hellens - tous les vents me traversent and testament (02:16)
  • robert guiette - henri michaux and camille goemans (02:12)
  • gabriel séverin - ecce homo by henri michaux (01:13)
  • marcel lecomte - toward extra-literature (00:56)
  • andré souris - correspondance (05:41)
  • marcel lecomte - 1923 (02:08)
  • marcel mariën - paul nougé
  • his opposition to andré breton (02:49)
  • andré souris - letter from paul nougé to andré breton (01:45)
  • marcel mariën - a possible definition of paul nougé (01:03)
  • paul nougé - correspondance (02:14)
  • salvador dali - impressions on nougé and goemans (01:13)
  • robert guiette - camille goemans (01:38)
  • andré souris - camille goemans
  • the surrealist man (07:50)
  • marcel lecomte - aspects of surrealist aesthetics (00:58)
  • andré souris - the event at the mercelis (11:02)
sub rosa press release...
dada pansaers and correspondance 1917-1926avant-garde 1917-1978 - volume 1 : james ensor, clément pansaers, paul neuhuys, franz hellens, robert guiette, henri michaux, camille goemans, marcel lecomte, andré souris, marcel mariën, paul nougé, pascal pia, louis aragon, philippe soupault, salvador dali.
sr225

this is the ultimate collection of archives of all the avant-gardein belgium from magritte to broodthaers, from james ensor to christian dotremont. 220 minutes of rares documents published in three parts/3 volumes 3 cds (sr225 / sr242 / sr256)

1st volume

including the crazy lecture by james ensor in 1929, many testimonies around the dadaist clément pansaers by his own son but too by louis aragon, philippe soupault, pierre bourgeois, pascal pia… paul neuhuys speaks about the foundation of ça ira (henri michaux' publishers among others), poetry by franz hellens, early memories about henri michaux and camille goemans by robert guiette, gabriel séverin reads henri michaux all the fuse around the correspondance groupe ( 1924-1926) with paul nougé, camille goemans, marcel lecomte, andré souris, paul hooreman direct testimonies of the facts (a parallele movement to the french surrealism) the opinion of salvador dali about them

+ booklet (translation in french and english)

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 best of 2005 !!! 
sub rosa (belgium) #sr 223 cd

tod dockstader “aerial #1” compact disc

  • song
  • om
  • rumble
  • shout
  • raga
  • dada
  • tremblar
  • lala
  • myst
  • aw
  • march
  • harbor
  • swell
  • pulse
  • second song
click the play button to hear an excerpt of "shout"
contemporary work from the master !.

you have no idea how excited i was to hear about this entirely ambitious three-album series... sitting here now, listening to the first installment i am completely bowled over by the staggering quality of these pieces, all of which reside in the same hoth-frozen wasteland mapped out on everything from dockstader’s own early 60s ouput on through the contemporary work of composers such as thomas köner, gilles gobeil, and troum.

which is to say... yes, it does live up to my somewhat unreasonable expectations. i honestly can’t think of another composer whose 60s/70s work resonated at such uncharted depths that has continued to make relevant singular music with current technology (most get lost along the way: see pierre henry, stockhausen, even our beloved mimaroglu)

unequivocally awesome... grand in scope, colossal in sound. let’s start holding our breath now for the next two installments...

note - the slipcase 3cd-blank-jewelcase version is sold out. this is simply a compact disc w/artwork in a jewelcase...
sub rosa press release...
notes on aerial

i've written before of my interest in shortwave radio, in the notes to the quatermass cd. also, in the notes to the omniphony cd (which has my first 'aerial' mix, 'past prelude' in it), i mentioned 'the aerial etudes', which was my working title for what became the three cds you have. and, at the end of an interview with chris cutler (which can be found in the 'unofficial td website'), the piece i mentioned i was starting to work on at the time became 'aerial'.

when i was very~young, people got most of their entertainment from radio. they called it 'playing the radio', as if it were a musical instrument. that's what i've tried to do in this piece.

the mixing of the work began in 1990. before that, i'd been collecting the sound-materials from an old shortwave radio i had. i worked at night because that's when the best reception occurs; during the day, short-wave sounds are limited and scarce - at least the kind i was listening for: the kind that occur when there are so many stations on the air, they over-ride each other and something strange emerges from the conflict.

because shortwave am radio is of the lowest possible fidelity (little better than a telephone), i recorded on ordinary audiocassettes. it was also for economy, because i knew i'd have to do a lot of recording to capture the momentary events i was looking for. periodically, i would transfer the best (most potentially useful) of these recordings to 1/4 inch tape, turning them into 'hi-fi stereo' as i did, with a variety of techniques.

slowly, eventually, i made a library of 72 reels of tape and 35 dat cassettes, for a total of about 90 hours of sound. each track was given a descriptive name, and catalogued.

i found that many of the tracks, . though they were 'electronic' by nature, sounded not unlike the sounds i'd used before in my work: bells, voices, drums, strings, trains, water, wind... and, in the mixing, i went for that physical sound.

i began mixing in october of 1994. for this, i had two old ampex 2-track tape machines and two, newer, dat decks - giving me the possibility of eight tracks of feed. (this is the same amount i had for my 'quatermass' and 'apocalypse' lps.)

everything was sent, analogue, to a third dat: my first digital pieces (or parts of pieces). eventually, i had 580 2-track mixes, on 16 dats, and i was facing transferring the best of these back to analog tape, for final, physical editing - the old razor-and-splicing-tape technique, which was all i knew.

about this time, a few people encouraged me to look into using a computer for this work.i’d never used one, but i saw it would allow me to keep my mixes digital - no more transfer losses. so, at the end of 2001, i got a computer and an editing program for it, and spent what seemed a long time learning it. i began selecting mixes and loading . them into the computer in late march, 2002.

out of the 580, i selected 90 'best' mixes - eventually reduced to 59, the ones on the cds.

i found the computer program i was using allowed me to deepen and expand the surprisingly 'acoustic' sound of many of the mixes: even 'choirs' emerged, shouting voices, calliopes, detonations, whispers. so that the sound, as before in my work, dictated the form of each piece.

finally, in assembling the cds, i followed david myers' suggestion to allow each piece to flow into the next - making a continuous journey to the end.

tod dockstader, 14 september 2003

the realisation of aerial was helped by a grant from the connecticut commission on the arts

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1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

 best of 2005 !!! 
sub rosa (belgium) #sr 220 cd

“an anthology of noise & electronic music / third a-chronology 1952-2004” double compact disc set

  • bernard parmegiani de natura sonorum : matières induites (1975) 3:44
  • hugh le caine short presentation of the 1948 sackbutthe sackbut blues (1953) followed by a noisome pestilence (1958) 3:25
  • keith fullerton whitman / hrvatski stereo music for serge modular prototype (2003) 5:30
  • ilhan mimaroglu the last largo (1989) 9:33
  • michael j. schumacher room pieces excerpt (2003) 4:41
  • justin bennett ovipool (2003) 3:25
  • scott gibbons / lilith stone : reciprocal (1992) 3:30
  • fred szymanski / modular flume (2003) 6:41
  • francisco lopez untitled #148 (2003) 10:03
  • zbigniew karkowski execution of intelligence (2004) 8:20
  • masami akita / merzbow birds and warhorse (2004) 11:30
  • michel chion requiem : dies irae (1973) 6:00

  • erkki kurenniemi sähkösoittimen ääniä #4 + #1 (1971) 5:26
  • carsten nicolai / alva noto time..dot (3) (2000) 4:26
  • peter rehberg / pita early work 6 (1984) 3:00
  • herbert eimert + robert beyer klangstudies ii (1952) 4:43
  • günther rabl eve (1987) 6:00
  • asmus tietchens teilmenge 35 c (2004) 4:40
  • michael rother feuerland (1976) 7:20
  • faust the faust tapes: untitled #16 + #17 (1973) 2:55
  • to rococo rot contacte (2004) 4:30
  • rune lindblad till zakynthos (op. 205) (1988) 13:39
  • cm von hausswolff + erik pauser / phauss eternal love #3 (1993) 13:07
third volume in this series... as always a great way to learn about the splendour of the early electronic music construction modus while being tipped off to the present-day candle-holders; all while not interrupting too many of the butterflies nestling in your wallet. i’m both psyched and mortified to have a piece on here alongside my idols; parmegiani, mimaroglu, le caine, eimert + beyer, faust, etc... just about everything is unreleased or an alternate version/mix/out-take to the previously available. quality all around...
sub rosa press release...
an anthology of noise & electronic music vol. 3 - third a-chronology 1952-2004
bernard parmegiani - hugh le caine -faust - to rococo rot - keith fullerton whitman aka hrvatski - ilhan mmaroglu - michael j. schumacher - justin bennett - scott gibbons aka lilith - fred szymanski - francisco lopez - zbigniew karkowski - masami akita aka merzbow - michel chion - erkki kurenniemi - carlsten nicolai aka alva noto - peter rehberg aka pita - herbert eimert + robert beyer - gunther rabl - asmus tietchens - michael rother - cm von hausswolff + erik pauser > phauss - rune lindgrad
digipack 2 cd + 40 pages booklet / sr220

this 3th volume continue to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of american tape music (columbia university) with a special focus on all the electronic music from germany - wdr early works - krautrock - electronic from 90's...

featuring too some recent work of the greatest noise artists + several unsung electronic pioneers ....

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modern-composition

sub rosa (belgium) #sr 218 cd

“early american minimalis: walls of sound ii” compact disc

  • phillip glass - music in fifths (11:24) 1969
  • steve reich - pendulum music (7:28) 1968
  • terry riley - dorian reeds (32:02) 1964
  • phillip glass - 1 + 1 (4:42) 1968
  • steve reich - reed phase (14:26) 1967
sub rosa press release...
early american minimalim - walls of sound 2
steve reich / terry riley / philip glass
sr218

ulrich krieger - soprano-, alto-, tenor-, baritone saxophone, table, microphones

walls of sound' is about what i call: 'static music' - music that isn't semantic, gestured, or narrative, that doesn't move or change atmospherically, and isn't dramatic or has a development in the traditional european sense. if it changes it does it very slowly. the emphasis lies on the 'aural sculpture' in which one enters not just with the ears, but also physically with the whole body, and eventually with your mind, altering your perception. inside the sculpture, inside the static, there are endless changing details, variations and microcosms. in a certain way it is a modern form of trance or ritualistic music without a pre-fixed ritual.

this work is about 'pattern music', general mostly referred to as 'minimal music'. a music that uses as its main technique repeated (modal) patterns, which get varied or shifted against each other, generating 'audio walls', taking the emphasis and attention away from the original melodic pattern material towards the aural sculpture, the acoustic phenomenon. this is true for the early american minimalism before 1970, which still was very conceptual,and did hold a strong influence from fluxus ('1+1', 'pendulumn music'). riley and lamonte young had been active in the fluxus scene. also conceptual art, minimal art and op art were somehow related to and an influence for minimal music. often the early minimal music pieces were just pure concepts (pendulumn music). this new music, which saw it's light in the 60ies in america, was anti- or at least non-european. young american composers were trying to find alternatives away from extremely intellectual european 'new music' aesthetics, techniques of serialism, ultra-expressionism and accademia. the main influences were non-european and non-american: mainly indian classical music (riley, glass) and african music (reich).

ulrich krieger

ulrich krieger is well known as a saxophone player in contemporary composed and free improvised music as well as a composer of chamber music and electronic music. his recent focus lies in the experimental fields and fringes of contemporary pop culture, his old love. his works were performed by: oh-ton ensemble, ensemble united berlin, zeitkratzer, ensemble experimente, kontratrio, seth josel, matias de oliveira pinto, soldier string quartet, and many others.

he worked with: lou reed, lamonte young, phill niblock, lee ranaldo, elliott sharp, alan licht, david first, nick didkovski, butch morris, joseph celli, dj i-sound, dj olive, thomas koener, christian marcley, witold szalonek, mario bertoncini, miriam marbe, hans-joachim hespos, john duncan, zbigniew karkowski, merzbow, john white, dietmar diesner, and many more

recent projects include:
text of light (with lee ranaldo, alan licht, dj olive and others)
zerfall_gebiete (with thomas köner)
intersax (saxophone quartet)

he has made various recordings as saxophone and didjeridu player, interpret and improviser, also several of his own compositions are available on cd.

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sub rosa (belgium) #sr 215 cd

sebastien meissner / ran slavin “presence/absence : : : into the void” compact disc

  • sebastian meissner - into the void: traces in snow (0:40)
  • sebastian meissner - kazimierz: the making of a ghetto (5:29)
  • sebastian meissner - virtual jewish space (5:18)
  • sebastian meissner - night and fog (0:27)
  • sebastian meissner - presence/absence: die stadt ohne juden (2:04)
  • sebastian meissner - kazimierz: empty and ghostly place (5:08)
  • sebastian meissner - (the larger the distance from kraków is the more) kazimierz is sexy (2:56)
  • sebastian meissner - ...1988199019921994199519961997199819992000200120022003... (4:16)
  • sebastian meissner - radical jewish culture (3:09)
  • sebastian meissner - barszcz z pierogami u polakowskiego (4:10)
  • sebastian meissner - outro (batteries on ice) (0:12)

  • ran slavin - segments from the snow (0:21)
  • ran slavin - into krakow on the night train / melting snow tracks / quiet town (8:01)
  • ran slavin - -12 north / night particles (5:34)
  • ran slavin - interior / nova huta (4:51)
  • ran slavin - foreigner / snow tracks (1:24)
  • ran slavin - klezmer pimp / etch (4:53)
  • ran slavin - light movement / nova huta (2:59)
  • ran slavin - memory gaps (0:20)

  • eran sachs - mute (5:02)
  • eran sachs - crackle (10:10)
sub rosa press release...
presence/absence : : : into the void
sebastian meissner - ran slavin - eran sachs
sr215

presence/absence:::into the void is a reflection upon the history and the recent changes in the krakovian neighbourhood of kazimierz. the center of this meditation is the seemingly contradictory development of the last few years, which is showing that the attempts to re-animate jewish culture.

the piece is working on the basis of an attempt of reversing the seasons: from summer to winter… the 700-year-old jewish district of krakow. what struck meissner at first sight, was the glaring contrast between the rich though often neglected presence of the material culture and the dreadful absence of the community exterminated during the nazi days.

four months later, on 26 june 2003, at krowoderska52 club in krakow, sebastian meissner, ran slavin and eran sachs offered the final effects of their research in the form of series of pieces. they carefully crafted crunchy steps, freezing wind, cracking ice and conversations into a mesmerising film for ears. the imaginative power of the music was reinforced by slavin's video impressions - equally apt in conjuring up desolate though meaningful a digital environment referring to nowa huta the empty large defunct metal industry zone.

sebastian meissner
works as music composer, sound designer and photographer in vienna. over the years his audio-visual works has been presented by curators of prestigious festivals and exhibited in international galleries such as transmediale, sonic square, podewil, portikus frankfurt, schirn kunsthalle frankfurt, goethe institute buenos aires, kulturhuset stockholm and forsythe ballet. his music and sound compositions - as random inc. - are released on music labels mille plateaux, ritornell, kompakt, crónica and beta bodega.

ran slavin
works as film-maker and as audio-visual artist from tel aviv. his last opus in video is one of the most brilliant films that came from israel during the last years : insomniac city. premiering with the first part at the venice biennial of architecture in 2004 and continuing with part 3 at the tel aviv cinematheque and international venues. working with experimental cinema, digital and acoustic music, video art and live video/sound performances. operating between contemporary art and new music, his visual work has been described as intense urban surrealism.

his audio visual work is a culmination of balanced relations between sound and video, their interconnections. his work has been shown at the pompidou, jeu de paum, transmediale, istanbul biennial, cinematheques in israel and paris, festivals in berlin, slovenia, amsterdam, austria, new york, china, israel, london, ukraine. his music and videos released on the music-media labels mille plateaux, cronica, sub rosa.

eran sachs
works as composer, improviser, sound-artist and curator in jerusalem. he plays this machine regularily in the doom-dub-noise outfit lietterschpich and john zorn's "cobra" improvising ensemble in israel. his works have been released on mille plateaux and various labels in israel. as a sound-artist his works tend fuse the sonic with the political, as in the case of "yannun yannun", which portrays the harrasment of palestinian villagers by fanatic settlers. he founded and managed the yad-vashem bookstore - the only holocaust dedicated bookstore in israel.

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sub rosa (belgium) #sr 214 cd

zbigniew karkowski “one and many” compact disc

  • one and many (40:50)
sub rosa press release...
one and many
zbigniew karkowski
sr214

just : one and many

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sub rosa (belgium) #sr 213 cd

merzbow / kim cascone “rondo / 7phases / blowback” compact disc

  • rondo (32:26)
  • 7phases (16:28)
  • blowback (1:48)
sub rosa press release...
rondo / 7phases / blowback
merzbow + kim cascone
sr213

in the 80's, masami akita, asmus tietchens and kim cascone collaborated on a cd called 'grav' which was eventually released on silent records in the early 90's. having gone their separate ways, masami and kim reestablished contact in the late 90's. after email address were exchanged, kim received a copy of the 'amlux' cd from masami, and later heard about a remix project on important records paying tribute to the japanese industrial/ noise-maker.

cascone started his own remix based on extracts from 'amlux' cd. the new track was based on new editing techniques cascone developed which were experiments in time compression by combining tape editing techniques commonly used in musique concrete with simple algorithms developed in max/msp.

the track 'blowback' - the prototype track using this editing style - was completely constructed by hand using a software sound editor. '7phase' puts these editing techniques under algorithmic control in max/msp. by using each others published work as raw material for their collaboration. they then sent each other tracks via cdr to be used as either new source material or finished work. after choosing the best of the collection of tracks they had developed, kim and masami titled the pieces, sequenced the tracks and then designed a cover graphic for it using jitter (graphic library for max/msp).

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sub rosa (belgium) #sr 207 cd

luc ferrari “les anecdotiques” compact disc

  • ronda : spain : june 2001.
  • plaza de toros : ronda. rebuilding of an arena.
  • saint jean d'angélys : france. jully 2001. french actors try their clothes
  • toscana sky : italy. august 2001
  • superstrada n°2. toscana.
  • a cyprès at sunset. toscana.
  • mer d'eze. france. september 2001.
  • les vendanges. saint-laurent d'eze : france.
  • the ranch. texas usa : october 2001.
  • chicago usa. octobre 2001. rehersal for a concert.
  • harley davidson. texas. sunday ballad in a village.
  • l'estaque : france. juillet 2002. sounds from lafarge cimentery.
  • sea hole : trou de mer : l'estaque. juillet 2002
  • la joliette. port de marseille. france. the works of the harbour
  • the rove gates : les portes du rove. l'estaque.
luc ferrari’s final composition - a large-scale concrète work utilizing field recordings made throughout the world between 2001 and 2002.
sub rosa press release...
les anecdotiques
luc ferrari
sr207

luc ferrari : i have made works that more or less depart from purely musical concerns. some of them call for a meeting between different branches of what may be the same tree. the problem is to express in different ways the passing ideas, feelings and intuitions, to observe daily life in all its realities whether they be social, psychological or sentimental. these could come out in the form of texts, instrumental works, electro-acoustic compositions, journalism, films or shows.

luc ferrari : the re-build pass
even if his art is historically linked to the musique concrète school, luc ferrari (born in paris in 1929) 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.

les anecdotiques
luc ferrari's diverse work and aesthetics continue to have a singular impact on the young generations of electronic musicians and artists. the corpus of his work is immense and includes hundreds of compositions of all kinds. les anecdotiques - his last composition - is a vast sound-film of more than an hour who explores in 15 steps the intensity of re-composed sounds from his continual travel around the world - with electronic additional structures

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sub rosa (belgium) #sr 206 cd

christophe charles “undirected 1992-2002” compact disc

  • next point (hommage à henning christiansen) (21:15)
  • deposition (45:45)
sub rosa press release...
undirected 1992-2002
christophe charles
sr206

 works & collaborations

undirected 1992-2002 is an "exploration" through music, texts and photographs, an echo from earth and its inhabitants.

composed in tokyo where christophe charles uses to live (he is now associate professor at musashino art university, tokyo), this release is a follow-up to'undirected 1986-1996' (1997 mille plateaux). charles also remixed microstoria in reprovisers (1997 mille plateaux) and yoshihiro hanno in april remix (2001, sub rosa). he also appeared on oval's 'dok' album (1997 thrill jockey). and worked on several occasion with ikeda ryoji on installations in japan.

...

undirected 1992-2002 features two compositions.

1

"next point - tribute to henning christiansen", is a performance given at the manca festival in 1992, it is an extension of "media opera" organized by yamaguchi katsuhiro in october 1992 on awaji island to celebrate the foundation of his "village of the arts". one can hear the rain falling in the south from majorca, the voices of salesmen of coffee and boiled eggs of the station of howrah, beside calcutta, the chants of the monks of todaiji in nara, and the calls of the merchants of ice cream of hangzhou (recorded by martina diestel). other sounds were sampled among the works of henning christiansen: sporadic chords of the piano of the cave of penthesilea, the very particular sound of the long pipe which christiansen hits more or less regularly on one end, "in order to give a certain feeling of time", or the bells and the tuba of the "garden of the yellow mountain" where low frequencies make almost inevitably vibrate the ceilings of the rooms where it is played.

2

'deposition' contains ten episodes of various lengths which are connected according to a dynamics of tension and relaxation. there is no particular narrative dimension, but "scenes", featuring soundscapes from various cities and countrysides, as well as musical (instruments) sounds: voice, flutes, or percussions, which reflect an interest for the fundamental actions of breathing, or hitting objects with the body - rather than praising the mastery of a particular technique. the sounds generally come from an action which does not have any musical claim, for example, the senegalese women who crush the millet. the voices are those of the salesmen from the fischmarkt of hamburg, the children of calcutta, italian dogs howling in the night, or insects of japanese mountains. other sounds come from a collaboration with ryoji ikeda, from "in memoriam gilles deleuze" and from the music of the two permanent sound installations of osaka and tokyo-narita international airport.

photographs

"photographs & cover : mobiles floating in the space" some photos (like the back cover) are stills from the permanent installation located in the central atrium of terminal 1 at the international airport of tokyo-narita, accompanying by the illuminations of osaka takuro and satoshi hasegawa and revealing the sounds of the environment. every thirty minutes, the ceiling darkens and a short spectacle (4-minute) of sounds and spots floodlighting translucent mobiles floating in the space of the atrium takes place. the compositions are a mixture of musical sounds, voices and urban or marine soundscapes, which suggest displacements and voyages.

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 best of 2006 !!! 
sub rosa (belgium) #sr 204 cd

charlemagne palestine / tony conrad “an aural symbiotic mystery” compact disc

  • an aural symbiotic mystery (51:32)
click the play button to hear an excerpt of "an aural symbiotic mystery"
this is the recording of the concert from october 2005 in brussels; the one at which i both opened (awful; one of the worst sets of my professional career due to hardware/software failure and that nagging “the show must go on” sensation...) as well as joined in an encore with these two minimalist heavyweights (which was about 2 minutes long; “a minuet” as charlemagne was kind enough to dub it...) which i’m kind of glad isn’t on here (considering all things; it wasn’t very good...)

at the concert, i had the strange feeling that something wasn’t right with tony’s violin sound (this was probably the 10th time i’d seen him perform over the past 15-odd years - i could tell that something was amiss as the volume of his violin kept dropping out; the gain-stage needed to send it into full-on distortion was never quite reached...) - but it sounds lovely on the disc here...

the night in question was, even with everything that went wrong, one of the highlights of the past few years for me (oh, did i mention that i met phill niblock that night as well?), especially charlemagne’s enebriated ranting at the post-show dinner. it’s nice to be able to revisit it whenever i need to via this disc...

while not exactly the best thing either has done; there’s a fair bit of synergy and shared tonal language that propels the music forward - definitely making it a succesful venture.
sub rosa press release...
an aural symbiotic mystery
charlemagne palestine + tony conrad
sr204

"more that 30 years had passed since our last experimental duet. tony arrived and decided he could stay for several days in brussels and we casually started to play together one afternoon aude, my wife, remarks about that special moment that in 5 minutes if not less she heard a natural musical chemistry of beauty and power that greatly impressed her yet. tony and i hadn't played discussed or conversed about sound or anything in over 30 years none the less the result were totally surprising dazzling and deeply satisfyingg so that we do some concerts together in paris, nantes, naples & brussels, the present recording made in october 2005 at the mercelis theatre in brussels on " luc ferrari day " (the day that pompidou center in paris presented an entire day in honor of the french composer luc ferrari who had jsut recently died in italy) our duet had no title though we were very conscious of luc ferrari's " presence in spirit " during that evening. how is it that tony and i can play so magically together without ever discussing or planning or or anything ? ? ? i have no idea ! ! ! it's an aural symbiotic mystery ! ! ! ! ! ! ! ! ! ! "

charlemagne palestine lago d'orta 7/2006

charlemagne palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. a composer-performer, he always performed his own works as soloist. his earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. he also performs as a vocalist. palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (indonesian clove cigarettes) and drinks cognac.

works/selected discography
four manifestations on six elements (barooni, 1974), strumming music (shandar, 1977) was revolutionary in that it turned "strumming" into an avantgarde technique, and minimalism into highly dynamic (and noisy) music. palestine improvised on a piano emphasizing otherworldly overtones. schlingen-blaengen (new world, 1998), karenina (durtro), recorded in 1997, jamaica heinekens in brooklyn (barooni, 2000), a symphony of drones and found sounds.

tony conrad is an avant-garde video artist, experimental filmmaker, musician/composer, sound artist, teacher and writer. along with john cale, angus maclise, la monte young, and marian zazeela conrad was an ealy member of the theater of eternal music, which utilized just intonation sustained sound to produce what they called dream music. this group performed compositions by la monte young in which the other performers would sustain certain harmonically related pitches determined by young for the duration of each piece. conrad continues to teach at the department of media study at university at buffalo.

works/selected discography
four violins (1964 - table of the elements, 1997), and his collaboration with faust - outsidethe dream syndicate (caroline, 1973 - table of the elements, 1996), works which, in his ownwords, explored the border "between pitch and rhythm". after leaving young's ensemble in 1965, he focused mainly on cinema, starting with "the flicker" {1966), fantastic glissando (1969 - table of the elements, 2003) was a performance of electronic music, while music and the mind of the word (1977), slapping pythagoras (table of the elements, 1995), recorded with a handful of post-rock musicians, is basically the logical continuation of outside the dream syndicate., early minimalism (table of the elements, 1997), thunderboy (table of the elements, 2002) is a typical avantgarde swindle: conrad recorded his son while the child was playing with turntables and other objects, bryant park (table of the elements, 2005)

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sub rosa (belgium) #sr 192 cd

“experience de vol” triple compact disc set

  • kasper t. toeplitz - biel
  • david shea - chamber symphony number 2 (extract)
  • jerome combier - noirs
  • giovanni sollima - casanova
  • gerard hourbette - danses mecaniques
  • jean-luc fafchamps - t
  • jean-christopher feldhandler - elargissement de ciel
  • fausto romitelli - flowing down to slow
  • horatio radulescu - khufu’s serpent iv
  • gualtiero dazzi - ...en bordure d’espaces
  • jean-paul dessy -fable ineffable
  • atau tanaka - dscp
  • ryoji ikeda - opus 1
very interesting concept album pitting rio demi-gods art zoyd against some rather challenging contemporary classical repertoire (with a few analogue transcriptions of quite digital music thrown in for good measure).
sub rosa press release...
experience de vol
ryoji ikeda - atau tanaka - horatio radulescu - david shea - jean-luc fafchamps - jean-paul dessy - kasper t. toeplitz - jerome combier - giovanni sollima - gerard hourbette - jean-christophe feldhandler - fausto romitelli - gualtiero dazzi
performed by art zoyd & musiques nouvelles
sr192

an experience… unexpected
at last, we are happy that this vast enterprise is finally released. basically, it was a challenge : ask to 13 composers around the world to create a piece for ensemble musiques nouvelles – directed by jean-paul dessy (but founded by henri pousseur in 1962). from europa, usa or japan, try to explore the compositional frame of today's creators and not only in the well-known 'comtemporary scene' but to push further the boundary and discover the unexpected result of some of the greatest names of the today's electronic world.

art zoyd & ensemble musiques nouvelles
for the realisation of this big project, many forces were necessary : two regions between two countries - belgium and france - two ensembles - musiques nouvelles (20 musicians) and art zoyd (6 musicians) and their high-tech studios - and two years of work. the result is contained on a 3 cd box - 172 minutes of music - and a 40 pages booklet that explains you all.

new compositions and unpublished work
opus #1 by ryoji ikeda is the first piece that he even wrote for non-electronic instruments - and paradoxally one of his most accomplished work. atau tanaka 's composition is for chamber orchestra, theremin and infrared ! horatio radulescu, the founder of the spectral technique of composition is, for sure, one of the greatest composers alive, this is his last opus (#64). david shea is well-known by his many collaborations with sub rosa and tzadik. jean luc fafchamps has just published his second complete cd on sub rosa a few months ago, jean-paul dessy questions the mermaids's voices and kasper t. toeplitz organizes a glenn branca revival, jerome combier tries to impulse black light in music, giovanni sollima mixes baroque chamber orchestra and techno rhythm, gerard hourbette continues art zoyd's expressionist legend, jean-christophe feldhandler organizes a space in constant change, at the threhold of its widening, fausto romitelli opposes string quartet and a single mixer, and finally, gualtiero dazzi creates a tragic cinematographic space…

13 compositions - 13 unpublished works and 13 ways to combine electronic music and classical instruments.

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sub rosa (belgium) #sr 191 cd

“floating foundations vol.2” compact disc

  • disjecta - bad day for wasps (10:22)
  • david toop - tricyrtis latifolia (9:40)
  • scanner - weightless (8:51)
  • hardsleeper - ends > circle walks (10:29)
  • carl michael von hausswolff - with the flow against the current (10:10)
sub rosa press release...
floating foundations / vol. 2
disjecta :: mark clifford / david toop / scanner :: robin rimbaud / hard sleeper :: peter maybury / carl michael von hausswolff
sr191

continuing story this second volume marks a continuity and a change - a continuity because, like the first volume, 5 musicians wrote a 10 minutes electronic piece exclusively for the project. and a change because, this second attempt is more varied and explores other domains. the approach of mark clifford (ex-seefeel), for exemple, amends the deal - it's more immediate, less meditative. it was good to work with him again. we had already collaborated with him with his first band - seefeel (highly underestimated in our point of view), david toop gives us a brand new piece too including electronics and guitars (a good choice after his complete cd "37th floor at sunset" sr163). happy too to meet again robin rimbaud (after many collaborations and 3 complete cd since 1995). first try and first succes for hard spleeper aka the designer peter maybury (who just finishes the design of "our first electronic anthology" sr190. fine conclusive piece by cm von hausswolff (first collaboration after his complete cd "rays of beauty" sr88). all in all, the whole is more like a strong energy (the beginning) who little by little goes to a deep and intelligent drone.

disjecta : : mark clifford some great records for warp as disjecta, the founder of seefeel - their "succour" stays as a perfection of the electronica, give us here a complex and sampled work only based on his own guitar. one of the stronger piece ever written by him.

david toop avant guarde musician, brilliant journalist writer and sound curator. david toop is still for us (and not only for us i guess) a klandmark in the vivid music. to be noted an unpublished text written recently by him which complete the notion of 'floating foundation 2".

scanner : : robin rimbaud the active companion in our thoughts and in action for several years, now. after a break, it's already his first pearl for a new beginning.

hard sleeper : : peter maybury well knowned as designer and typograph, it's the first time that peter publishes a musical work on a label - if we except his book (including a cd) published by the famous "immigré" typography company.

carl michael von hausswolff in few words : he was here before many others - more involved now in art /sound installation around the world (venise, sydney, sao paolo…).

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sub rosa (belgium) #sr 188 cd

tone rec “demo pack demoli” compact disc

  • sprang capel (4:06)
  • giroflex (4:42)
  • hi pie (2:33)
  • trend (3:49)
  • to rococo rot (to rococo rot mix) (5:09)
  • dat politics (dat politics mix) (5:32)
  • dat politics (dat politics mix) (2:48)
  • fennesz (fennesz mix) (3:43)
... aka dat politics, in their pre-dat politics post-rock guise ...
sub rosa press release...
demo pack demoli
tone rec
sr188

remixes by
to rococo rot
christian fennesz
das politics

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sub rosa (belgium) #sr 178 cd

nam june paik “works 58-79” compact disc

  • prepared piano for merce cunningham - 1977 - 28’33
  • hommage à john cage - 1958.59 - 4’10
  • simple - 1961 - 0’21
  • duett paik/takis - 1979 - 25’46
  • etude for pianoforte - 1959.60 - 2’49
brilliant collection of early audio-work from the pioneering multimedia artist. essential listening ...
sub rosa press release...
these three audio recordings were uncovered in 1999, while going through more than two thousand undocumented or uncatalogued film, video and audio tapes in nam june paik’s mercer street loft, preparing for the artist’s exhibition at the solomon r. guggenheim museum, new york. these tapes were among the original audio playback materials for paik’s legendary performances, held in germany after meeting john cage at the 1958 international summer course for new music in darmstadt. while the audio tapes may arguably be looked at as works in themselves, it is important to note that they were presented along with theatrical and often violent actions, as described in calvin tomkins article. the tapes are hand-spliced collaged. sound elements include a prepared piano, paik screaming, a baby crying, a sample of stravinsky’s petruschka. art shiffrin in new york performed the physical restoration, hand cleaning the tapes and repairing splices. stephen vitiello was responsible for overseeing the research and the restoration.

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sub rosa (belgium) #sr 170 cd

gerard malanga “up from the archives” compact disc

  • gerard malanga - to the young model, name unknown (1:21)
  • iggy pop - untitled (4:46)
  • gerard malanga - the recording of couch (4:41)
  • angus maclise - cloud asylum (1:56)
  • gerard malanga - the recording of couch (second part) (4:45)
  • peter hartman - spontaneous classical piano routine (4:44)
  • willard maas - his image in the snow (1:53)
  • gerard malanga + dj olive - the 3rd avenue el (3:18)
  • gerard malanga - the life and death of a photograph (6:28)
  • gerard malanga + 48 cameras - leaving new york (4:37)
  • charles henri ford - 3 haiku (0:58)
  • paradise now - the silk process [the unknown girl] (2:46)
  • gerard malanga + erwan szabo* - the young mod (3:28)
  • gerard malanga + william burroughs* - william burroughs + gerard malanga (5:02)
  • thurston moore - untitled (5:49)
sub rosa press release...
up from the archives
gerard malanga
sr170

gerard malanga: his legacy
new york poet, photograph, performer with the velvet underground, gerard malanga, was andy warhol' s close friend and his first assistant in the golden age of the 60' factory (paintings: red jackie, brillo box, mao, flowers... all the films - including sleep, empire, chelsea girls... - the velvet underground era...what we present here, is really his unique legacy.

from andy warhol to william burroughs...
first hand documents from the pesonal archives of malanga - it contains rare documents with voices of andy warhol, allen ginsberg, the american poet gregory corso, jack kérouac, willard maas ... some come from unknown documents recorded by malanga himself during the shooting of warhol 's films...

other great document: gerard malanga, poetry reading at leo castelli gallery, l964... for the first exhibition of warhol s'famous "flowers"

all begin with a conversation between william burroughs and malanga, about "dreams"...

unpublished music for gerard
this record contains too unpublished music by angus mclise (... velvet underground before velvet underground and la monte young orchestra with john cale and tony conrad) and new pieces by iggy pop and thurston moore (sonic youth). it ends with gerard and dj olive, live at the "cooler" of new york, last year... the loop is looped.

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sub rosa (belgium) #sr 163 cd

david toop “37th floor at sunset: music for mondophrenentic” compact disc

  • 21st floor discotheque at 4 a.m. (1:44)
  • dream cargoes (8:21)
  • nocturnal service shaft (8:55)
  • empty mall (1:00)
  • automatic security procedures (2:40)
  • disposal chute inoperative (7:48)
  • 37th floor at sunset (5:11)
  • brand new (2:22)
  • virtual pet #1 (0:28)
  • air-con function (5:47)
  • ventilation shaft (1:16)
  • watchtower data (7:49)
  • connection not enabled (0:59)
sub rosa press release...
37th floor at sunset: music for mondophrenentic
david toop
sr163

the invitation to create music for the cd-rom installation - mondophrenetic - came from the belgian team of producer rony vissers, artist/photographer els opsomer and writer/theorist herman asselberghs. loosely inspired by jean-luc godard's 1967 film, deux ou trois choses que je sais d'elle, the installation takes els opsomer's photographs of high rise apartment blocks, shot in many different countries, as the focal point of explorations of globalism at the end of the 20th century, the beginning of the 21st century.

creating a soundtrack for mondophrenentic raised a number of new challenges for me. the first of these was focussed on the issue of non-linearity. music composed for a multi-media setting such as mondophrenetic relinquishes control. questions as to when it is used or in what context are decisions governed in the first instance by the programmer and designers, then ultimately by the user, whoever he or she may be. different pieces of music may appear in unforeseen juxtapositions, be disrupted, or may be heard in unpredictable visual and textual contexts as the user navigates. such outcomes have to be accepted and, to some extent, anticipated by the composer and built into the nature of the music. the second challenge was to create a kind of soundtrack that was not so far forward to demand attention as music in its own right, yet not so far in the background to be peripheral sound design. i wanted to create atmospheres suggestive of buildings as living organisms, creatures with nervous systems, without reducing the soundtrack to a catalogue of sound effects.

in his novel, highrise, j.g. ballard described the subtle relationship of an apartment block's nervous system to the disintegrating ecology of the mini-society of its inhabitants. apartment blocks look much the same, whether in china or the suburbs of paris, yet the lives within them are very different. the sounds of lift shafts, ventilation and heating systems, the murmurs of human activity, radio and television, have a universality that becomes specific only in the finest details, a moment in time at the right place, maybe through the walls of the 37th floor at sunset. i also wanted to create music that suggested globalism and the absorption of global cultures into an environment of signs, a kind of easy listening or aetherial mix that is detached from any recognisable source other than the perpetual movement of hybridised culture in the 21st century. information is a kind of architecture, though like music, its walls are intangible.

david toop june 2000

...

david toop is a musician, composer, writer and sound curator. he has published three books: rap attack (now in its third edition), ocean of sound, and exotica (selected as a winner of the 21st annual american books awards for 2000). he has also released five solo albums since 1995 - screen ceremonies, pink noir, spirit world, museum of fruit and hot pants idol - and curated five cd compilations for virgin records - ocean of sound, crooning on venus, sugar & poison, booming on pluto and guitars on mars.

in 1998 he composed the soundtrack for acqua matrix, the outdoor spectacular that closed every night of lisbon expo '98 from may until september. he has recorded shamanistic ceremonies in amazonas and worked with musicians including brian eno, john zorn, prince far i, jon hassell, derek bailey, talvin singh, evan parker, max eastley, scanner, ivor cutler and witchman. as a critic he has written for many publications, including the wire, the face, the times, the sunday times, the observer, arena, vogue, spin, gq, bookforum, pulse, urb and the village voice.

he has curated sonic boom, an exhibition of sound art showing at the hayward gallery, london, from april to june, 2000. other projects currently in progress include the composition of a soundtrack for mondophrenentic (cd to be released by sub rosa, august 2000), a cd-rom installation created in belgium, and 'needle in the groove', a collaborative album with novelist jeff noon, released on scanner's sulphur label in may 2000. in january 2000 he exhibited the sound installation 'dreaming of inscription on skin' with max eastley at icc in tokyo. he is currently a visiting research fellow at the london media school.

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sub rosa (belgium) #sr 142 cd

brion gysin “one night @ the 1001” double compact disc set

  • disc one: one night @ the 1001

  • disc two: dilaloo - from brion gysin's archives vol. 1
sub rosa press release...
1 night # 1001
brion gysin
sr142

one cd is rare recordings by brion gysin himself in his club in tanger, mid-‘50s.
the other is a long monologue about sufi rituals.

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sub rosa (belgium) #sr 120 cd

“water & architecture” compact disc

  • directions - encode
  • atom heart - space is sanity
  • bisk - circular sound
  • bisk - sewing thread
  • bisk - vague recollection
  • seefeel - is it now?
  • seefeel - ripley
  • aer - radio siberia
  • aer - take off your clothes
  • aer - requiem for a globe
sub rosa was known to me for years as ‘that belgian label that did all of those loosely themed post-rock compilations’ & split guitar discs’ (this was before their contemporary makeover as kunst-welt darlings). there really were a lot of them back in the 90s, mostly average, some good, a couple of great ones.

here’s one... a ten track collection of music about... water & architecture i’d assume. beautiful jon wozencroft photography graces the object (could very well be a touch title, aesthetically, were it not for the music itself).

all tracks are exclusive, so seefeel completists (like me) need it. slightly more ‘table-music’ than you’d expect from the lineup (even uwe’s track is fairly subdued for him). but worthy...
sub rosa press release...
water & architecture
atom heart - seefeel - bisk - directions (bundy k. brown & doug scharin) - aer
sr120

nature, cities, water, concrete... water eating rocks, shores. cities eating landscapes, life. those two elements are interconnected, though fighting. in between there are humans, needing both elements to survive. a shelter to protect the close to 70% of water a body is made of.what is the connection, the dialogue, the potential of construction/destruction? what is the impact of architecture on water, what is its influence on modern cities?

featuring unreleased material from:

directions
post-rock with electronica flavours,featuring bundy k. brown (tortoise,bastro,gastr del sol...) and doug sharin (june of 44, him, rex...) recorded in tortoise studio, chicago.

seefeel
too pure, warp... seefeel was some unique act in the pop-electronica scene. somewhere in between folk-dub-intelligent electro. these two tracks are mixing natural rhythms, minimal electronica...

atom heart
it was the first track released by atom tm in his new studio located in santiago. it starts assome german techno groove to end into some electro-'limbo'. amazing.

bisk
the osaka post drum'n' bass wizard "desturcturer", naohiro fujikawa, in a three piece suite of sounds, strange, odd, bisk...

aer (alpha echo romeo)
aka jon wozencroft, british designer, co-founder of the touch label composer these tracks with sounds collected worldwide. architectural experimentation.

including 29 notes on water & architecture by guy-marc hinant. photos and design by jon wozencroft.

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$13.67

back in stock as of
may 4th, 2009

first in stock on
june 22nd, 2007

threads:
folk

sub rosa (belgium) #sr 087 cd

the master musicians of joujouka “joujouka black eyes” compact disc

  • joujouka black eyes
sub rosa press release...
joujouka black eyes
the master musicians of joujouka
sr87

the master musicians of joujouka
the master musicians of joujouka come from the rif mountains of morocco. they are one of the best sufi music players of the world. frank rynne & joe ambrose were there for months. the result is two unique records with the real thing. this first is something to do with the day-by-day life - a very intimist mood. the second - released in 1996 will be about the (almost pagan) ritual of boujeloud.

brahim jones (very stoned)
here - the musicians play a lot on small bamboo flutes and finger tap their drums for practice, for pleasure and to relax after food. this is very a different sound from the one usually expected from joujouka. all the circular breathing techniques, drum and melody patterns are used but the sound is trance, mellow, and incredibly uplifting. one of the great moment is an incredible track called brahim jones (very stoned) - written by their master of ceremonies hamri in the praise of the last coming of brian jones...

a tale by joe ambrose
“once a strange boy from the greatest rock’n’roll band in the world visited joujouka. he proved to be the catalyst for the ongoing interest in the music of the village. hamri brought him there because he hoped something positive and serious would come of it for the master musicians and for the village.those adventures lead to the album “brian jones presents the pipes of pan at joujouka”. the album is lasting testimony to a mass collaboration between a motley crew of delinquent artists: bowles, burroughs, hamri, gysin, jones, and the individual musicians of joujouka. the rock remains. the music of joujouka is still one of the most liberating of musics, a secret message to the soul at a time when the soul has been effectively discredited by conservative forces. the time for the music of joujouka has assuredly arrived.”

"this is the purest music i've never heard and maybe the funkiest too!" (frank rynne)

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first in stock on
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threads:
sound-art

sub rosa (belgium) #sr 057 cd

marcel duchamp “the creative act” compact disc

  • the creative act (1957) 7.28
  • some text from à l’infinitif (1912-20) 4.02
  • erratum musical 1.40
  • an interview (1959) 11.04
  • an interview (1959) 21.24
  • erratum musical 1.38
collection of speeches, papers, and interviews with the great hoch-kunst ikon with short musical interludes from duchamp’s instruction-set “erratum musical”. booklet reprints interview fragments in english and french. die-hards unite ...
sub rosa press release...
the creative act
marcel duchamp
sr57

marcel duchamp
edited by marc dachy, this first cd devoted exclusively to marcel duchamp brings some 50' of very rare documents, all of which are crucial not only in to understand duchamp 's work bur also to gasp the rebellious, unconventional, anticonformist spirit that has always been there but in the zurich of 1919 took the absurd name of dada. including 12 pages booklet with an unpublished interview. a luminous texte that set the listener free.

lectures, interviews & music

the creative act - lecture in houson, texas, april 1957
some texts from a l'infinitif (1912-20) - lecture in new york, shortly before his death.
erratum musical (la mariée mise à nu par ses célibataires, même) performed by jean-luc fafchamps (pedal harmonium). long before john cage, the first aleatory composition and the only piece which is never twice the same.
an interview by george heard hamilton - recorded in new york in 1959.
an interview by richard hamilton - recorded in london in the same year.
erratum musical (a score for 3 voices) - the only score by marcel duchamp written for his two sisters and himself. performed by marianne pousseur, lucy grauman and jean-luc plouvier.

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may 4th, 2009

first in stock on
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threads:
concert-recordings
psych-prog

sub rosa (belgium) #sr 040 cd

charles hayward “switch on war” compact disc

  • crying shame (11:18)
  • strong-arm dead-line (10:47)
  • pinpoint (11:31)
  • sweetheart (13:51)
  • never before (12:39)
live set by this heat drummer/vocalist charles hayward, recorded at the morgue, lewisham academy of music, london february 23, 1991.
sub rosa press release...
switch on war
charles hayward
sr40

13 years later, post-gulf war 2 and the situation seems even worse, more far reaching, the stalemate re-configured and therefore more convenient for certain interests, the hypocrisy of our politicians and "free" media even more shameless and blatant, what is really happening even less clear and yet staring us in the face.

perhaps now is as good a time as any to listen again.

music for the armchair theatre of war. a unique and entertaining souvenir for you to treasure and keep

'switch on war' a dream state synthesis of nights watching live tv coverage of the 1st gulf war, the reduction of colours to an electron midnight blue, the long periods of nothing really happening, the contrasting landscapes, (the desert, the city at night, the newsroom), the sudden hurtling through space, through a doorway, a camera on the nose of a missile, the bearing of silent witness slowly turning into complicity and mute acquiescence. at the back of the mind the thought that all this would soon be reduced to snapshot memories, archive, newsreel, history.

originally devised as a performance for the club integral, in south london, at the height of the military activity, 'switch on war' was a harsh and brutal response to the media coverage of the conflict informed by a grotesque and disconcerting anti-music aesthetic heavily influenced by the disorientating, overloaded sound world of space invaders arcades.

the cd version was recorded binaurally some weeks later, live in a disused morgue, as the war came to its stalemate close. by this time the anger had a bleak streak of sadness, a distorted expressionist requiem.

this cd had the life expectancy of a magazine article or some such, no more than a year and it would be archive, a mere souvenir.

charles hayward

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$16.01

back in stock as of
may 4th, 2009

first in stock on
november 25th, 2008

threads:
plunder-phonic
sound-poetry
field-recordings

sub rosa (belgium) #sr 008 lp

william s. burroughs “break through in grey room” long playing record

  • k-9 was in combat with the alien mind-screens (13:29) 1965
  • origin and theory of the tape cut-ups (3:43) 1976
  • recalling all active agents (1:25) 1960
  • silver smoke of dreams (4:50) 1960s

  • junky relations (2:56) 1961
  • joujouka (1:30) 1973
  • curse go back (1:12) 1960s
  • present time exercises (2:18) 1971
  • joujouka (0:43) 1973
  • working with the popular forces (2:37) 1960s
  • interview with mr martin (2:59) 1963
  • joujouka (1:26) 1973
  • sound piece (2:14) 1960s
  • joujouka (2:39) 1973
  • burroughs called the law (1:34) 1960s
click the play button to hear an excerpt of "working with the popular forces"
november 2008 release ; deluxe, gatefold vinyl issue of this essential archive of william burroughs’ early tape cut-up experiments, as cued by brion gysin and ian sommerville as early as 1960 ...

i’ve long been a fan of not only burroughs’ message/methods but his actual delivery (a more droll recitation i would be hard pressed to name - listen to the sound sample for a taste) ... an essential document.
sub rosa press release...

break through in grey room
william s. burroughs
sr08

cut up tapes
officially re-released - one of our absolute classics, back in print at last!. extraodinary cut-up voices recorded during the mid-60's in hotel rooms in new york, paris, london... it's impossible not to recognise the writer's voice - the sonority of this voice - a sonority also present in the silence of every text he wrote. an explosion of styles -a blasting of borders - the silence after a gunshot - the overtaking of the fetishized word - from the exploded painting to the cut tape. this record starts with a piece of more than 13 minutes, recorded around 1965 with ian sommerville somewhere in new york and london - k-9 was in combat with the alien mind-screens, including various monologues, radio short waves and music...tapes, cut and cut and cut up to the limit of sense - emerged new structures of communication... and senses . words gain power when loosing the boundaries of semantics. including too joujouka music recorded by ws burroughs in the hills of morocco with ornette coleman, circa 1973.

historical introduction
during the 1960's william burroughs was in europe and england. the vietnam war, the cultural revolution, hippies and the acid gospel, the u.s. in tumult, all these were dispatches to him. living between paris and london, his only excursions to america were in 1965, when he lived a year in new york at the chelsea hotel and 210 centre street, and revisited st. louis and palm beach; and in 1968, when he covered the democratic convention in chicago for esquire in the company of genet, southern and seaver. burroughs had quit the states in 1953 exactly because he foresaw these police-state conditions.

but now the wild boys were in the streets, in london and paris too, and burroughs was inspired to hope that the world could really change. in the creative world-switchboard of the beat hotel, in various london hotels, in a house in the arab quarter of tangier, he experimented with tape recordings, hoping to cut the pre-recorded time line of present time, and let the future leak through.

many of these tapes are as much lan sommerville's work as burroughs, or even more. lan's technical background tribute to the early development of sound-and-light shows in london, and at one point, he worked in a studio furnished by paul mccartney.

ian was a sorcerer's apprentice, and the other sorcerer was the late brion gysin. the development of all the early cut-up techniques was a pure collaboration between gysin and burroughs. lt was brion who led the way on a crusade to rub out the word, and with anthony balch the cut-up was applied to film, in towers open fire, the~cut-ups, and ghosts at no. 9.

it is a long way back to the 1960's, and sometimes hard to remember now the sense of urgency and revolution then of danger of discovery, that informed the literature of opposition. that there is now, in1986, a market for these archival materials now seminal, even though it has been little distributed until recent years. and with such current national obscenities as the meese commission report on pornography, the war on drugs crusade, the pmrc hearings for censorship of record albums, the supreme court sodomy decision, and the yelps of the christian far-right and the like, surely a new literature of opposition is in the making.

the end
then there was august 2, 1997… at the reading of burroughs' last words - the final journals - his unaltered notebooks. one sees clearly, and for the first time no doubt, the un-reworked flow of burroughs' thought processes - in the jottings of his hand - and these jottings become like a taut thread between things happening at the time of the writing, returning memories, dreams, profound desires, fears and unarticulated pain... the technique of mind cut up. annulling the notion of the single reading - fragmentation and dissipation - a continually renewed reconstruction.

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$13.67

back in stock as of
may 4th, 2009

first in stock on
june 3rd, 2003

threads:
plunder-phonic
sound-poetry

sub rosa (belgium) #sr 008 cd

william s. burroughs “break through in grey room” compact disc

  • k-9 was in combat with the alien mind-screens (1965) 13:29
  • origin and theory of the tape cut-ups (1976) 3:43
  • recalling all active agents (1960) 1:25
  • silver smoke of dreams (1960s) 4:50
  • junky relations (1961) 2:56
  • joujouka (1973) 1:30
  • curse go back (1960s) 1:12
  • present time exercises (1971) 2:18
  • joujouka (1973) 0:43
  • working with the popular forces (1960s) 2:37
  • interview with mr martin (1963) 2:59
  • joujouka (1973) 1:26
  • sound piece (1960s) 2:14
  • joujouka (1973) 2:39
  • burroughs called the law (60s) 1:34
essential archive of william burroughs’ tape cut-up experiments, as cued by brion gysin and ian sommerville as early as 1960... i’ve long been a fanboy of not only burroughs message/methods but his actual delivery (a more droll recitation i would be hard pressed to name.)
sub rosa press release...
break through in grey room
william s. burroughs
sr08

cut up tapes
officially re-released - one of our absolute classics, back in print at last!. extraodinary cut-up voices recorded during the mid-60's in hotel rooms in new york, paris, london... it's impossible not to recognise the writer's voice - the sonority of this voice - a sonority also present in the silence of every text he wrote. an explosion of styles -a blasting of borders - the silence after a gunshot - the overtaking of the fetishized word - from the exploded painting to the cut tape. this record starts with a piece of more than 13 minutes, recorded around 1965 with ian sommerville somewhere in new york and london - k-9 was in combat with the alien mind-screens, including various monologues, radio short waves and music...tapes, cut and cut and cut up to the limit of sense - emerged new structures of communication... and senses . words gain power when loosing the boundaries of semantics. including too joujouka music recorded by ws burroughs in the hills of morocco with ornette coleman, circa 1973.

historical introduction
during the 1960's william burroughs was in europe and england. the vietnam war, the cultural revolution, hippies and the acid gospel, the u.s. in tumult, all these were dispatches to him. living between paris and london, his only excursions to america were in 1965, when he lived a year in new york at the chelsea hotel and 210 centre street, and revisited st. louis and palm beach; and in 1968, when he covered the democratic convention in chicago for esquire in the company of genet, southern and seaver. burroughs had quit the states in 1953 exactly because he foresaw these police-state conditions.

but now the wild boys were in the streets, in london and paris too, and burroughs was inspired to hope that the world could really change. in the creative world-switchboard of the beat hotel, in various london hotels, in a house in the arab quarter of tangier, he experimented with tape recordings, hoping to cut the pre-recorded time line of present time, and let the future leak through.

many of these tapes are as much lan sommerville's work as burroughs, or even more. lan's technical background tribute to the early development of sound-and-light shows in london, and at one point, he worked in a studio furnished by paul mccartney.

ian was a sorcerer's apprentice, and the other sorcerer was the late brion gysin. the development of all the early cut-up techniques was a pure collaboration between gysin and burroughs. lt was brion who led the way on a crusade to rub out the word, and with anthony balch the cut-up was applied to film, in towers open fire, the~cut-ups, and ghosts at no. 9.

it is a long way back to the 1960's, and sometimes hard to remember now the sense of urgency and revolution then of danger of discovery, that informed the literature of opposition. that there is now, in1986, a market for these archival materials now seminal, even though it has been little distributed until recent years. and with such current national obscenities as the meese commission report on pornography, the war on drugs crusade, the pmrc hearings for censorship of record albums, the supreme court sodomy decision, and the yelps of the christian far-right and the like, surely a new literature of opposition is in the making.

the end
then there was august 2, 1997… at the reading of burroughs' last words - the final journals - his unaltered notebooks. one sees clearly, and for the first time no doubt, the un-reworked flow of burroughs' thought processes - in the jottings of his hand - and these jottings become like a taut thread between things happening at the time of the writing, returning memories, dreams, profound desires, fears and unarticulated pain... the technique of mind cut up. annulling the notion of the single reading - fragmentation and dissipation - a continually renewed reconstruction.

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add this item to your
shopping cart
$18.91

back in stock as of
may 4th, 2009

first in stock on
february 24th, 2009

threads:
film-video

sub rosa (belgium) #ome 006 dvd

guy marc hinant / dominique lohlé “hommage au sauvage • a portrait of henri pousseur” digital versatile disc

  • hommage au sauvage (52:08)
february 2009 release ; lovely “road movie” starring belgian electro-acoustic composer henri pousseur ...
sub rosa press release...

sub rosa re-releases the 2005 documentary of belgian theoretician and experimental/avant-garde composer, henri pousseur. over 15 years ago, the basel-based fondation paul sacher, which preserves archives related to 20th century music, sent its best expert, musicologist dr. albi rosenthal, to henri pousseur's home. upon finding out the scope of documents pousseur had kept, the musical antiquarian's eyes widened. now, pousseur's past, present and future archives can be found at the foundation: magnetic tapes, scores, correspondence, etc., along with his most complex research work, his most obscure sound materials, and his most random memos.

this documentary film is part of that archival body, in the form of a "road movie," if you will. henri leads a convoy en route to basel. for hours on end, the footage conjures up far-away and ancient places, but we know nothing of the moment, the location, or the context of their emergence. the enclosed and moving space of the car is the only thing you can hold on to or believe in. on the way back, after sitting in the car for hours, the setting sun illuminates pousseur's face. he remembers his first glimpse of mount fuji and carefully shows the viewer where he was sitting on the tokyo-kyoto train, years ago: "right there, like that. my wife was there and i was there." through the window, he shows us where mount fuji stood. and suddenly, we can see it too, silhouetted on the horizon. thanks to what happens off-camera, the filmed reminiscence turns into presence. as we capture the tale of this vision, we can see what pousseur sees. and yet, beyond that, and that light: nothing.

this is a powerful documentary, which manages to change sensations simply by recording a living, direct, and unpredictable narration. it is also henri's last voyage. directed by dominique lohlé and guy marc hinant. 52 minutes; double-sided dvd in both ntsc & pal formats, region-free; in french with english subtitles.

previous record label:
 sub pop 		...and that's everything on sub rosa in stock.
(why not take a look at the previous and next labels?)		next record label:
 sublight 
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... this page was last updated on wednesday, september 1st, 2010 @ 12:06 pm