mimaroglu music sales ☞ restocks & relistings

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... happy spring everyone !!! to commemorate our favorite season (and to help* get this place back to some sort of workable condition)* we're having a "spring cleaning" sale !!! please visit the *spring (2013)* cleaning page to view a list** of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...

mimaroglu music sales restocks & relistings

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$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80480 cd

lawrence d. “butch” morris “conduction #15: where music goes ii” compact disc

conduction #15, part i (21:37)
conduction #15, part ii (11:07)
conduction #15, part iii (35:22)

new world press release...

conduction no. 15, where music goes ii
sponsored by and presented at the whitney museum of american art at philip morris,new york city,november 15 and 16, 1989.

ensemble:
arthur blythe (alto sax, guest artist)
thurman barker (vibraphone, percussion)
marion brandis (flute, alto flute, piccolo),vincent chancey (french horn)
curtis clark (piano)
j. a. deane (trombone, electronics, live sampling)
janet grice (bassoon)
bill horvitz (electric guitar)
jason hwang (violin)
taylor mclean (percussion, glockenspiel)
jemeel moondoc (flute)
zeena parkins (harp)
brandon ross (acoustic guitar, octave guitar).

$144.48

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80478 cd

lawrence d. “butch” morris “testament : a conduction collection” decuple compact disc set

conduction #11, part i (19:33)
conduction #11, part ii (32:15)
conduction #15, part i (21:37)
conduction #15, part ii (11:07)
conduction #15, part iii (35:22)
conduction #22, part i (47:24)
conduction #23, part i (43:25)
conduction #25 (45:00)
conduction #26, e (7:04)
conduction #28, part ii-x (20:56)
conduction #28, e (2:59)
conduction #31 (46:57)
conduction #31, e i (4:30)
conduction #31, e ii (3:53)
conduction #35, part i (24:17)
conduction #35, part ii (12:55)
conduction #36 (13:59)
conduction #36, e (4:12)
conduction #38 (46:05)
conduction #38, e (5:51)
conduction #39, e (3:01)
conduction #40, e (7:59)
conduction #41 (27:08)
conduction #41, e i (7:02)
conduction #41, e ii (5:40)
conduction #41, e iii (7:49)
conduction #41, e iv (6:24)
conduction #50, part i (37:15)
conduction #50, part ii (33:42)
conduction #50, e i (1:57)
conduction #50, e ii (3:12)

massive, sprawling, 10-disc boxed-set of lawrence d. “butch” morris’ “conductions” ...

new world press release...

conduction no. 11, where music goes
the great american music hall, san francisco, ca, december 18, 1988.

sponsored by rova saxophone quartet.

ensemble:
rova preechoes ensemble:
bruce ackley (soprano saxophone)
dave barrett (alto saxophone)
larry ochs (saxophone)
jon raskin (alto saxophone, baritone saxophone)
chris brown (electric percussion piano)
j.a. deane (trombone, electronics)
jon english (bass)
jon jang (piano)
bill horvitz (electric guitar)
blk lion (guitar, electronics)
kash killion (cello)
kaila flexer (violin)
hal hughes (violin)
william winant (percussion).

conduction no. 15, where music goes ii
sponsored by and presented at the whitney museum of american art
at philip morris,new york city,november 15 and 16, 1989.

ensemble:
arthur blythe (alto sax, guest artist)
thurman barker (vibraphone, percussion)
marion brandis (flute, alto flute, piccolo)
vincent chancey (french horn)
curtis clark (piano)
j. a. deane (trombone, electronics, live sampling)
janet grice (bassoon)
bill horvitz (electric guitar)
jason hwang (violin)
taylor mclean (percussion, glockenspiel)
jemeel moondoc (flute)
zeena parkins (harp)
brandon ross (acoustic guitar, octave guitar).

conduction no. 22, documenta: gloves & mitts
documenta 9, kassel, germany, june 14, 1992.

ensemble:
christian marclay (records and turntables)
lê quan ninh (percussion)
j. a. deane (trombone, electronics, live sampling)
martin schütz (cello)
günter müller (drums, electronics)
lawrence d. "butch" morris (cornet).

conduction no. 23, quinzaine de montreal
the spectrum, montreal, quebec, canada,april 11, 1992.

ensemble:
tristan honsinger (cello)
martin schütz (cello)
eric longsworth (cello)
michelle kinney (hybrid broom-cello)
ken butler (hybrid broom-cello)
helmut lipsky (violin)
j.a. deane (trombone, electronics, live sampling)
guillaume dostaler (piano)
mike milligan (bass)
pierre dubé (percussion).

conduction no. 25, the akbank conduction
istanbul, turkey, october 16, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

conduction no. 26, akbank ii
istanbul, turkey, october 17, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

conduction no. 28, cherry blossom
p3 art and environment,tokyo, japan, march 28, 1993.

ensemble:
yukihiro isso (nokan)
shonosuke okura (ohtsuzumi)
makiko sakurai (shomyo, music box)
michihiro sato (tugaru syamisen)
kizan daiyoshi (shakuhachi); haruna miyake (piano)
asuka kaneko (voice)
shuichi chino (computer)
koichi makigami (voice),yoshihide otomo (turntables, cd player)
kazutoki umezu (bass clarinet)
sachiko nagata (percussion)
motoharu yoshizawa (electric vertical bass)
kazuo oono (butoh dance)
koichi tamano (butoh dance).

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

conduction no. 35, american connection 4
antwerp, belgium, may 26, 1993

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

conduction no. 36, american connection 4
amsterdam, holland, may 27, 1993.

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

conduction no. 38, in freud's garden
muffathalle, germany, december 11, 1993

ensemble:
myra melford (piano)
zeena parkins (harp)
bryan carrott (vibraphone)
brandon ross (acoustic guitar)
j. a. deane (trombone, electronics, live sampling)
motoharu yoshizawa (electric vertical bass)
lê quan ninh (percussion)
martin schütz (electric five string cello)
tristan honsinger (cello)
martine altenburger (cello)
edgar laubscher (electric viola)
hans koch (clarinet, bass clarinet, contrabass clarinet, soprano saxophone, tenor saxophone).

conduction no. 39
thread waxing space, new york city, november 11, 1993

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
gregor kitzis (violin)
dana friedli (violin)
jason hwang (violin)
myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tomtom)
michelle kinney (cello)
deidre l. murray (cello)
elizabeth panzer (harp),william parker (bass)
mark helias (bass)
fred hopkins (bass).

conduction no. 40
thread waxing space,new york city, november 12, 1993.

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
dana friedli (violin)
jason hwang (violin),myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tom-tom)
michelle kinney (cello)
elizabeth panzer (harp)
william parker (bass)
mark helias (bass).

conduction no. 41, new world, new world
opperman music hall, florida state university school of music, february 4, 1994.

ensemble:
jesse canterbury (clarinet)
mimi patterson (clarinet)
scott deeter (saxophone)
philip gelb (shakuhachi)
gregor harvey (guitar)
ethan schaffner (electric guitar)
elisabeth king (voice)
daniel raney (trombone)
david tatro (trombone)
michael titlebaum (alto saxophone).

conduction no. 50, p3 art and environment
tokyo, japan, march 5, 1995.

ensemble:
shonosuke okura (ohtuzumi)
michihiro sato (tugaru syamisen)
yumiko tanaka (gidayu)
hikaru sawai (koto)
kim dae hwan (percussion)
yoshihide otomo (turntables)
keizo mizoiri (bass)
haruna miyake (piano)
asuka kaneko (electric violin)
tomomi adachi (voice)
motoharu yoshizawa (electric vertical bass)
ayuo takahashi (zheng).

$14.62

back in stock as of
may 15th, 2013

first in stock on
august 24th, 2006

threads:
1960s-electornic
contemporary-classical
electro-acoustic-composition
1960s-electronic
1970s-electronic

new world (usa) #nw 80466 cd

milton babbitt “philomel” compact disc

philomel for soprano - recorded soprano - and synthesized sound (1964)
phenomena for soprano and piano
phonemena for soprano and tape
post-partitions
reflections for piano and synthesized tape (1975)

... cd reissue of two prior new world lps ...

babbit’s powerhouse epics for live instrumentation and tape accompaniment (3/5 of the cd anyways) ...

new world press release...

bethany beardslee, lynne weber, sopranos; jerry kuderna, robert miller, pianos; tape and synthesized sound

the four works on this recording span a period of a decade and are among the best of babbitt’s output, tape and otherwise. philomel (1964), for soprano, recorded soprano, and synthesized sound, is one of the undisputed classics of electroacoustic music and this is its definitive recording. two versions of phonemena (1969)—one for soprano and piano, the other for soprano and tape—another virtuosic vocal piece written for the unique talents of bethany beardslee, are included on this recording. post-partitions (1966) for solo piano, and reflections (1975), for piano and tape, contrast babbitt’s complex yet pellucid writing for solo piano with that of his writing featuring the interplay between live performer and tape.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

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

new world (usa) #nw 80460 cd

robert ashley “superior seven” compact disc

superior seven (30:17)
tract (23:49)

new world press release...

“i am finally able to say that i write for orchestra— even if i have to make the orchestra myself.” — robert ashley

robert ashley is known primarily for his theater-based pieces and television operas. this new release presents the world premiere recordings of two of his “orchestral” pieces, superior seven (concerto for flute), and tract (for orchestra and voice), where the orchestra is provided by a midi synthesizer.

in superior seven, the flute floats freely in and out of an atmospheric electronic sound tapestry. it is a colorful, kaleidoscopic, ever-changing soundscape pervaded throughout by a sense of playful whimsy.

tract, on the other hand, is cut from an altogether darker cloth. the voice is used as one of the orchestral timbres in a piece that is resolutely mournful and dirge-like in tone, a wordless lament.

barbara held (flute)
thomas buckner (voice)

midi orchestra

...

superior sevenconcerto for flute and orchestra (for barbara held)
the midi sequencer programming was done by tom hamilton and barbara held.
synthesizer orchestra voices were designed by robert ashley and tom hamilton.
the cd realization of superior seven was processed and mixed by tom hamilton.

tract
for orchestra and voice
the recording engineer for thomas buckner’s voice was tom hamilton.
the midi sequencer programming was done by nathaniel reichmann and robert ashley.
synthesizer orchestra voices were designed by robert ashley, tom hamilton, and nathaniel reichmann.
the cd realization of tract was processed and mixed by tom hamilton.
superior seven and tract were produced by robert ashley.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

threads:
1970s-electronic
electro-acoustic-composition
modern-composition

new world (usa) #nw 80457 cd

donald erb “drawing on the moon” compact disc

...and then toward the end... (8:29) 1971
cenotaph (for edgard varèse) (7:49) 1979
woody (11:05) 1988
symphony for winds (10:05) 1989
drawing down the moon (15:04) 1991

...mainly for “...and then toward the end...” for trombone and tape; more than capably performed by stuart dempster ...

new world press release...

donald erb’s mature style—encompassing elements of jazz, electronic music and serialism within traditional forms—is captured on this recording of five wind ensemble and chamber works dating from 1971 to 1991. when asked what he tries to achieve through his music, erb responds, “the clarity of classical music, the passion of romanticism, and the freedom of jazz.” that succinct response pretty much captures the essence of these angular pieces, scored for winds, brass and percussion, unmollified by strings. improvisation, or at least its quality of spontaneity and unlimited choice, is incorporated. the ensemble pieces develop massive walls of sonority and crushing climaxes while solo passages push instrumental boundaries and the limits of the players’ capabilities in terms of range and technique.

university circle wind ensemble
gary ciepluch; stuart dempster, trombone
ross powell, clarinet
jan gippo, piccolo
kirk brundage, percussion

$14.62

back in stock as of
may 15th, 2013

first in stock on
april 4th, 2005

threads:
1960s-electornic
electro-acoustic-composition
musique-concrète
1960s-electronic
analogue-synth

new world (usa) #nw 80389 cd

vladimir ussachevsky “film music” compact disc

suite from no exit (14:28) 1962

(3:04)
(2:17)
(2:48)
(1:10)
(1:41)
(2:42)
line of apogee (43:37) 1967

(9:17)
(5:44)
(4:47)
(5:51)
(3:17)
(10:15)
(4:23)

possibly my favorite of ussachevsky’s work, in the form of two scores for two very different films; “suite from no exit” (directed by orson welles from a sartre play) and “line of apogee” (avant-garde film by lloyd williams)...

the former suite is absolutely terrifying</i>; distant, disembodied voices sing in choir over an array of machine-shop clanks & electrified field-events... despite the short-stature of the indivudal pieces, there’s much room for drones and slow development...

the latter combines synthesized sounds with the concrète noises of the former, resulting in a denser, more edit-oriented piece... approaching 45 minutes it’s the longest single piece in ussachevsky’s oeuvre, an absolute master-class in form...

two of the columbia-princeton electronic music center’s more classic moments... highly recommended !!!

new world press release...

ussachevsky was one of the most significant pioneers in the compositon of electronic music, and one of its most potent forces. he produced the first works of “tape music,” a uniquely american synthesis of the french musique-concrète and the german pure electronic schools. he co-founded the columbia-princeton electronic music center in 1959 and directed its course for the next twenty years as the leading electronic music studio in the united states.

this release couples two of his most powerful and innovative scores: suite from no exit (1962), from the film of sartre’s play no exit directed by orson welles, and the soundtrack for the avant-garde film, line of apogee (1967). ...

vladimir ussachevsky: film music

new world 80389-2

by alice shields

vladimir ussachevsky was one of the most significant pioneers in the composition of electronic music, and one of its most potent forces. born in 1911 in manchuria, china, ussachevsky was the son of a russian army captain. his childhood was spent on the windswept and sparsely settled manchurian plain, visiting with the nomadic tribesmen in their tents, and singing old slavonic chants as an altar boy in the local russian orthodox church. by the time he arrived in california, at the age of nineteen, he was a skilled pianist gifted in the interpretation of romantic music, and a fluent improvisor. after receiving his undergraduate degree in music from pomona college, he earned a ph.d. in composition from the eastman school of music. from 1947 until his retirement in 1980, ussachevsky taught at columbia university, where he was known for his teaching of sixteenth-century counterpoint. but in his career there, he began experimenting with the use of tape recorders to manipulate sounds. through much experimentation he developed the first works of “tape music,” a uniquely american synthesis of the french musique-concrète and the german pure electronic schools. in 1952, ussachevsky's first works of tape music were performed at an historic concert at the museum of modern art in new york city, along with works of his colleague otto luening. through a five-year grant awarded by the rockefeller foundation in 1959, ussachevsky co-founded the columbia-princeton electronic music center, and directed its course for the next twenty years as the leading electronic music studio in the united states.

ussachevsky's electronic compositions include many milestones of the genre, covering a wide spectrum of solo tape pieces, pieces for live instruments and tape, tape music for radio plays, live theater productions, film and television. among his solo tape compositions are such classics as piece for tape recorder (1956), metamorphoses (1957), and especially, of wood and brass (1965). perhaps the most beautiful of his works for tape and live musicians is the oratorio creation prologue (1961) for tape and four choruses.

on this recording are two of ussachevsky's most powerful and innovative scores: suite from no exit (1962), from the film of jean-paul sartre's play no exit directed by orson welles, and the soundtrack for lloyd williams's avant-garde film line of apogee (1967). ussachevsky's score for no exit is a traditional soundtrack in that the music was meant to be a background to spoken words. line of apogee is quite different: there are only a few spoken words, and the images on screen shift quickly and wildly between weird, dreamlike sequences and partial animation. here, ussachevsky's music becomes the primary organizing element, as the various sections of music f low into one another smoothly, easing the shocking effect of the visual changes.

in both film scores we hear ussachevsky's favorite musical form: variations on several alternating themes. his themes are significantly different from those of his serialist colleagues, who often choose themes consisting of the same pitch material they would

write for traditional musical instruments. ussachevsky instead chose themes that often do not have traditional pitch or timbral characteristics.

in no exit, for example, he used three main sound sources: electronic, vocal and concrète. the electronic sounds range from searing and slicing noises, to the ominous, bell-like tolling at the end. here his use of the human voice is especially effective, starting with the torturous, electronically manipulated screams of the opening scene, through the voices of distant children, a woman humming, echoing male voices, and at the end, men laughing—suddenly silenced by rifle fire. the concrète sounds in no exit include a threatening, pulsing loop of hog sounds (which appear in varied form in line of apogee), the rising wind (also developed in line of apogee), the crackling of fire, a clock ticking, and the rifle fire.

in line of apogee, ussachevsky used an intriguing variety of sources:

environmental: wind, footsteps, splashing water, telephone, creaking chair. animal: hog, songbirds, owl. vocal: infant crying and laughing, woman humming and laughing, choruses singing gregorian chant; jewish cantor intoning. instrumental: piano (ussachevsky improvising), flute, organ, brass, glockenspiel, drums.

these sources were electronically modulated through such devices and techniques as the electronic switch, echo chamber, feedback, ring modulation, tape loops, speed variation, volume control, complex mixing and detailed tape editing.

due to his choice of such timbres, what constitutes a “melody” in his tape music can vary from the tempered scale of the piano in line of apogee to the simple intervals of high, medium, or low in the “wind” parts of the same score. by using the medium of tape music for its unique capabilities, ussachevsky extended the orchestral resources of his time just as composers have done in every century, by developing an instrument with previously unknown musical possibilities.

but perhaps ussachevsky's most remarkable achievement is that he did not fall into the common trap of electronic composers: he did not become obsessed with technology as an end in itself. instead he concerned himself with the musically expressive possibilities of a sound or technique. clearly, he brought to the development of electronic music an ear highly skilled in the perception and expression of emotion in music. this may be attributed to his early and intensive training in romantic music and russian orthodox choral music, both characterized by the powerful expression of emotion.

ussachevsky's uncannily sharp ear could detect the slightest technical defect in a recording. but more important, he would go to extraordinary lengths to remedy anything musically dissatisfying. those of us who assisted him in the tape studio can attest to the often excruciating hours of work to which he would submit himself and us to gain the sublest increases in musical effect. as we worked with him in the studio, we saw the means by which he transferred such emotional expressivity onto the tape: in a word, he danced. as he turned the controls of a machine, his whole body moved in graceful

choreography in response to his simultaneously listening and sculpting ear. any machine under his sensitive hand became a fully responsive musical instrument. —alice shields

alice shields, composer of electronic and theatrical music and former associate director of the columbia-princeton electronic music center, is heard in line of apogee as the laughing and humming woman.

$14.62

back in stock as of
may 15th, 2013

first in stock on
october 3rd, 2007

threads:
free-jazz

new world (usa) #nw 80303 cd

cecil taylor “3 phasis” compact disc

3 phasis (57:20)

new world press release...

cecil taylor: 3 phasis
cat. no.: 80303
genre: jazz

cecil taylor, piano
jimmy lyons, alto saxophone
raphé malik, trumpet
ramsey ameen, violin
sirone, bass
ronald shannon jackson, drums

3 phasis is the companion disc to the cecil taylor unit, both set down over four miraculous days in april 1978. it too is a testament to the perfectionism and unpredictability that are hallmarks of taylor’s music. as always, he is the instigator and barometer of the torrents of energy channelled through his able and sympathetic collaborators. this is music of a fierce and uncompromising beauty which sweeps all before it.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

threads:
modern-composition
electro-acoustic-composition
1970s-electronic

new world (usa) #nw 80237 cd

paul chihara / chou wen-chung / early kim / roger reynolds “from behind the unreasoning mask” compact disc

roger reynolds - from behind the unreasoning mask (17:13) 1975
paul chihara - ceremony ii (”incantations”) (6:33) 1974
chou wen-chung - suite for harp and wind quintet (6:45) 1950
earl kim - earthlight (15:06) 1973

... mainly for the title piece; roger reynolds’ “interplay between a four-channel tape and live performers (trombone, two percussionists)” ...

new world press release...

clearly influenced by varese’s concept of "pure sound," the four works on from behind the unreasoning mask privilege the exploration of sound as a means of musical expression. in the 1970s, the integration of new vocal and instrumental techniques and, sometimes, electronic sound sources into the composer’s vocabulary broadened the tonal, textural—and, consequently—expressive palette immeasurably.

roger reynolds’s (b. 1934) from behind the unreasoning mask (1975) presents an interplay between a four-channel tape (at first sparse, but becoming a dense sonic tapestry) and live performers (trombone, two percussionists) who respond in diverse ways both to the prerecorded sounds and to each other.

paul chihara (b. 1938) dedicated ceremony ii (incantations) (1974) to flutist paul dunkel, and it is the agile cadenzas and decorative melodies of the flute that dominate the work. by contrast, the two cellos tend to move in regular rhythms, and the percussionist adds washes of cymbal and vibraphone color.

chou wen-chung’s (b. 1923) beautiful five-movement suite for harp and wind quintet (1950) is based on chinese melodies and is a work of shimmering colors and calligraphic delicacy.

the final work, earl kim’s (b. 1920) earthlight (1973) is subtitled "romanza for violin con sordino, high soprano, piano, and lights," with a text adapted from several works of samuel beckett. kim’s subtly inflected music explores the coloristic and textural possibilties, both vocal and instrumental, primarily in the upper register, to create a muted but intense monodrama.

martha potter, violin
merja sargon, soprano
earl kim, piano
timothy eddy, fred sherry, cellos
paul dunkel, flute
miles anderson, trombone
stephen taylor, oboe
virgil blackwell, clarinet
frank morelli, bassoon
stewart rose, french horn
tom rainey, richard ritz, roger reynolds, percussion

...

from behind the unreasoning mask presents an interplay between a four-channel tape (at first sparse, but becoming a dense sonic tapestry) and live performers who respond in diverse ways both to the prerecorded sounds and to each other. imitation, contradiction, and independence (even between the percussionist's hands, or the breath- and hand-impulses of the trombonist) variously guide the three performers in an evolving strategy for penetrating the growing authority of the tape. the work is carefully notated, but there are improvisatory details. the trombone part is a veritable dictionary of special techniques recently made possible on that instrument.

the four-channel tape is the metaphoric “mask” of the title behind which the performers act. the forceful, prerecorded events that define the tape are arranged in precisely measured time patterns that, in general, accelerate or retard during the course of the work, constituting a system of reference cues for the performers. widely spaced in time, these prerecorded attacks — electronically modified instrumental sounds — are meant to evoke a kind of "unreasoning" monolithic authority, sometimes imitating, sometimes contrasting with, the live sounds.

$14.62

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threads:
free-jazz

new world (usa) #nw 80201 cd

cecil taylor “cecil taylor unit” compact disc

idut (14:40)
serdab (14:13)
holiday en masque (29:41)

new world press release...

cecil taylor: cecil taylor unit
cat. no.: 80201
genre: jazz

cecil taylor, piano
jimmy lyons, alto saxophone
raphé malik, trumpet
ramsey ameen, violin
sirone, bass
ronald shannon jackson, drums

this record presents further evidence of taylor’s genius and awesome ability to work within the group context, in which he furthers his exploration of the piano “as catalyst feeding material to soloists in all registers.” this music at times gets very intense. it will take you down forgotten little streams in your mind and swell them with rivers of sound as taylor pours notes on your ears. listen.

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threads:
modern-composition

new world (usa) #cri 0815 cd
composers recordings inc. (usa) #nwcr 0815 cd

paul chihara “paul chihara” compact disc recordable

concerto for saxophone & orchestra (13:25) 1980
forest music for orchestra (12:53) 1970
willow, willow (10:17) 1968
logs (6:05) 1969
branches (6:32) 1966
driftwood (7:28) 1968-69
missa carminum brevis (folk song mass) (12:39) 1972
magnificat (5:52) 1965

... mainly for “logs”; “tape realized at ucla electronic studio, on moog and buchla synthesizers.” - but also “willow, willow” (featuring craig kupka!) and “branches” ...

new world press release...

paul chihara: paul chihara
cat. no.: nwcr815
genre: classical
release date: 02/2007

chorus of the new england conservatory;
lorna cooke devaron, conductor
the louisville orchestra; akira endo, conductor
the philadelphia quartet

alan iglitzin, viola
arthur weisberg, bassoon
bertram turetzky, string bass
charles brennand, cello
craig kupka, trombones
donald maccourt, bassoon
harvey pittel, saxophone
irwin eisenberg, violin
karen ervin, percussion
kenneth watson, percussion
kenny sawhill, trombone
paul chihara, percussion
robert ose, trombone
roger bobo, tuba
sheridon strokes, bass flute
veda reynolds, violin

$14.62

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new world (usa) #cri 0781 cd
composers recordings inc. (usa) #nwcr 0781 cd

jacob druckman “jacob druckman” compact disc recordable

windows for orchestra (21:13) 1972
dark upon the harp for mezzo-soprano, brass quinet and percussion (21:58) 1961-62
animus ii for mezzo-soprano, percussion, and electric tape (20:07) 1967-68

new world press release...

jacob druckman: jacob druckman
cat. no.: nwcr781
genre: classical
release date: 02/2007

new york brass quintet
orchestra of the 20th century

arthur weisberg, conductor
jan degaetani, mezzo-soprano
gerald carlyss, percussion
gordon gottlieb, percussion
richard fitz, percussion
robert ayers, percussion

...

“before the run of orchestra pieces that begins with windows, the composer pitted the individual against the terrible power of electronic media. in 1965 druckman began a fruitful association with the columbia-princeton electronic music center. there he began a series of four works entitled “animus.” in animus i (1966) for trombone and electronic tape and in animus iii (1970) for clarinet and tape, the live soloist jockeys with recorded sound for the attention of the audience. the power of the electronic tape drives the trombonist off stage in animus i, but with new resolve the player returns to complete the piece and show up the tape. in animus iii the tape wins the competition and drives the clarinet soloist to the brink of insanity. the other pieces in the series have instrumental forces intervening between a vocal soloist and the tape: two percussionists in animus ii (1967–68) and a mixed ensemble in animus iv (1977). in these works a sexually suggestive chase and the adventures of a bon vivant, respectively, are enacted. the electronic tapes for all four “animus” works are concoctions of freely mixed synthesized sounds and musique concrète—music made from real sounds and noises. in each piece the concrète sounds involved recordings, altered or not, of the soloist.

the results were exciting, but hardly reflected a purist’s approach to the electronic medium. mario davidovsky, working at the columbia-princeton studio at the same time, created a series of more orthodox works, synchronisms, true dialogues for live performer and tape, which ignored the visual and potentially theatrical simultaneous presence on stage of human beings and mixers with loudspeakers. in contrast, these theatrical elements were jacob druckman’s springboard for the animus pieces.

in his program note for animus ii the composer discusses the series in general and reveals his sympathy for the live performer:

“each of the works is involved with the actual presence of the performers theatrically as well as musically. each work limits its focus to a particular area of human affections as well as a limited body of musical materials, (histrionic ‘themes’ as well as musical ‘themes’). each work presumes that the theatrical and musical elements are inseparable; that the ideal performance of the music already embodies the performance of the drama.”

“animus ii deals with the sensuality of ensemble playing within the rite of the concert. there are five groups of instruments distributed in the concert hall; three on the stage and two in the audience. the performers enter through the audience with the first tape sounds in a slow processional. throughout the work they move between the groups of instruments. the epilogue is a ceremonial exit.

“the performance of the work is a celebration of a sybaritic ritual. the tape underlies this as a mirror, memory, inner voice, greek chorus, catalyst; it is the framework upon which the pageant is played. the sound sources of the tape are real (concrete) and electronic. the concrete sources are entirely vocal [the voice of mezzo-soprano barbara martin], the electronic mainly synthesized with the aid of voltage-controlled devices. the finished tape presents a continuous interplay between real and electronic sounds, but the differences between the two are basic. a simple superimposed rhythm (such as four against five) can be charged with energy and excitement when played by people, but the same rhythm played by a machine presents only the decorative symmetries of a moiré pattern. therefore, for me, the real, the animal, is fundamental; the electronic is the ornamental with which the animal is adorned and through which the animal is mirrored and amplified.

“animus ii was composed in 1967–68. the tape was realized at the columbia-princeton electronic music center. the world premiere was by the domaine musical at the théâtre de la ville in paris, february 2, 1970, and the american premiere by the present performers at columbia university, may 6, 1970.”

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threads:
guitar-themed
free-improvisation
modern-composition
minimalism-drones

new world (usa) #cri 0698 cd
composers recordings inc. (usa) #nwcr 0698 cd

“new york guitars” compact disc recordable

john king: white buffalo calf woman blues (4:09)
carolyn master: en masse (7:21)
mark howell: the quakening (8:56)
nick didkovsky: flykiller (1:49)
david first: jade perches for silvia (8:41)
brandon ross: o people (5:12)
judy dunaway: fifty 210 (8:53)
loren mazzacane connors: departure (2:56)
ken valitsky: meaning-less (5:44)
phil kline: a fantasy on one note (7:33)

new world press release...

new york guitars
cat. no.: nwcr698
genre: classical
release date: 02/2007

brandon ross, guitar
carolyn master, guitar
david first, guitar
john king, guitar
judy dunaway, guitar
ken valitsky, guitar
loren mazzacane conners, guitar
mark howell, guitar
nick didkovsky, guitar
phil kline, guitar

the electric guitar was born into a hostile climate…

when the first amplified guitars were put on the market in the late 1920s and early 1930s, the first significant public campaigns against ever-increasing city noise were also taking place. among the anti-cacophony mottos: “the silence of each assures rest for us all.” thus, from its inception, the electric guitar was a symbol of noise, imprecision and rebellion. its weapon: amplification, the enemy of restful sleep. though the new york composers and improvisers on this record coax everything from dissonance and drones to blues and jazz out of their guitars, they all have one thing in common: they are by nature defiant, undermining so-called serious music by making it on an electric guitar.

playing avant-garde music on an electric guitar is nothing new. the tradition in new york goes back at least to minimalist composer la monte young writing for guitar in 1958 (which was later transposed to electric guitar) and sonny sharrock making a name for himself as a free-jazz guitarist in the 1960s. what sets the composers here apart is that they grew up in an era of rock and roll. some of them were even playing in rock bands before finding other outlets for their musical experimentation. with all the baggage of rock history now attached to the electric guitar, separating it from the tradition of rock (or blues or jazz) has become not an act of appropriation but subversion. so when mark howell flips through sixty-five years of guitar styles and techniques in nine minutes and judy dunaway composes with the noise inherent in the technology of amplification, they are not celebrating the history of guitar music and technology but exploring its limits.

is there a “new york guitar” school of style? some would like to think so. after all, new york became a melting pot of influential experimental guitarists in the late 1970s, with guitar symphonists glenn branca and rhys chatham, noise makers thurston moore and lee ranaldo of the acclaimed underground rock band sonic youth, mathematically-based composer and improviser elliot sharp, and no-wave cacophonists arto lindsay and pat place, all circulating in the same scene. but here, you’ll find no discernible line linking john kings’s blues, david first’s microtonal play and loren mazzacane connor’s abstractions.

if there is anything these new york composer/guitarists have in common it is the environment they live in, not the musical terrain they’re mapping. the noise of the city—which continues unhindered despite the noise-pollution fighters of the 1920s and 1930s—has a significant effect on the psyche of musicians. it raises their threshold for extreme sounds while exacerbating their need to avoid them. the result is that composers either incorporate the cacophony of the city into their pieces or try to escape from it altogether. examples of the former are ken valitsky merging guitar, typewriter, ringing phones, sirens, and other computer-modified sounds in meaning-less, phil kline evoking the doppler effect created by passing car horns in a fantasy on one note, and nick didkovsky building a distorted, pointillist collage in flykiller. examples of the latter are carolyn master retreating into the colors of the inner world that is en masse and brandon ross meditating on the purity of the jazz saxophone in o, people. as the lyrics to one anonymous blues tune go:

you can take the guitar outside,
you can take the guitar inside
jes don’t take it no place, young man,
where there ain’t no ear open wide.

—neil strauss

$25.51

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threads:
analogue-synth
modern-psych
minimalism-drones

aguirre (belgium) #zorn 12 lp

stellar om source “heartland’s suite” long playing record

grace i (1:53)
sequentia (3:56)
latin sirens (3:10)
lux refulget (2:38)
xlandia (4:28)
glow fear (1:40)
detachment prelude (0:54)
devotion (3:15)
grace ii (1:26)

may 2011 release ; third album from christelle gualdi’s stellar om source, showing her prowess in navigating a particular set of contempo-synth light vectors ...

aguirre press release...

zorn12 stellar om source - heartland's suite lp

ep / lp by christelle gualdi which compiles little masterpieces from the same time period when "trilogy tapes" was released. with influences ranging from new age to experimental electronic music christelle creates a wonderful and carefully layered album.

after the release of the trilogy tapes on olde english spelling bee last year and the rise in planes from 2009 this is stellar om source's third vinyl release to date. more to come!

recorded in 2009 at angel transfer, the netherlands

* limited to 500 copies
* full color thick carboard sleeve
* 160gr. vinyl
* cover artwork by christelle gualdi
* mastered by anders peterson

$23.01

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threads:
modern-psych
concert-recordings
analogue-synth
guitar-themed
minimalism-drones

best of 2011 !!!

aguirre (belgium) #zorn 11 lp

expo ‘70 “inaudible bicoastal trajectory” long playing record

hypnotic brain cloud float
mystical bamboo garden cultivation

may 2011 release ; ... over the past year i’ve gone from being impressed by justin wright’s whole aesthetic omniverse (he really is an excellent designer ; witness the detailed cover of this very lp) to something of a raging fan of his music (i’ve seen him play about 5 times ; always different, always ending with me in an alpha state lying flat on my back on axis with his amp) ...

this lp covers two very nice live sets ; the second of which perfectly captures the whole ecstatic live guitar / synth-drone jam into organ-rhythm-box splendor of the real thing ; it should be handled with due reverance towards someone that ... while the rest of us complain about the state of underground live music ca. 2011, is actually out there playing 100 concerts of this music a year to anyone that will listen to his vision ... highly recommended !!!

ps. i’ve put up a good 10-minute chunk of the tail-end of said side ; revel in the majesty of justin’s doom-tinged “poppy nogood” -esque buildup ... entirely sublime ...

aguirre press release...

zorn11 expo '70 - inaudible bicoastal trajectory lp

new lp with two looong improvised tracks by justin wright, recorded during his tour last fall 2010.

the a side was recorded at zebulon bar, new york with accompanying visuals of the film fantastic planet. the b side is a live performance from kjfc in california.

dedicated to the open road and lush landscapes of earth, you are a great wonder.

* limited to 400 copies
* full color thick carboard sleeve
* 160gr. vinyl
* cover artwork by justin wright
* live photo by susie olsen osmundson.
* mastered by anders peterson

$8.41

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threads:
analogue-synth
beat-research
modern-psych
machine-music

aguirre (belgium) #zorn 09 cs

cloudland ballroom “illusion circles” c40 cassette

mode select
sender
afternoon's depths
time-flight
cassidy bayou
esl 204
faculty x phase one
faculty x phase two
the ponds
illusion circles
last second of lucidity
crossing this frontier

february 2011 release ; ... after tapes for fadeaway & sacred phrases, here’s cloudland ballroom’s aguirre debut ...

aguirre press release...

zorn09 cloudland ballroom - illusion circles (cs)

pure listening pleasure for your synthetic dreams. kosmische delicatesse which sounds a lot like early brother raven and jd emmanuel.

limited to 100 copies

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threads:
modern-composition
sound-installation
electro-acoustic-composition
field-recordings
analogue-synth

aguirre (belgium) #zorn 08 lp

l.r.j martens “eternal landscapes” long playing record

eternal hunting grounds
spirits and landscapes

may 2011 release ; ... vinyl release of lieven “dolphins into the future” martens’ sound-component to two installation works by visual artist ada van hoorbeke ...

a perfect encapsulation of the “music as sculpture” aesthetic ; the two excerpts here arrive fully formed & don’t develop themselves inasmuch as develop you ; the purely natural-sounding environments slowly reveal themselves as partial synthesized affairs, with lieven’s sly midi log-drum improvs & echo-jams resisting center-stage to remain as mere elements of a live-in-able ”real space” ...

lovely record ; comes in a deluxe full-color gatefold with a detailed insert ...

aguirre press release...

zorn08 l.r.j martens & ada van hoorebeke - eternal landscapes lp

collage of continuous sound recordings, created for two expo's by ada van hoorebeke. re-worked for release on vinyl in march 2011 by lieven martens of dolphins into the future.

a) spirits and landscapes (wiels, brussels, iulae 2010)
b) the eternal hunting grounds (croxhapox, gent, ianuali 2010)

cover artwork by ada van hoorebeke.
a cetacean nation communication, aukake 2010.
mahalo nui loa.

* mastered on vhs
* gatefold cover
* limited to 500 copies
* 3 inserts
* 160gr. vinyl

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threads:
analogue-synth
lo-fi
machine-music
modern-psych
minimalism-drones
beat-research

best of 2010 !!!

aguirre (belgium) #zorn 06 lp

innercity “future life • future life reloaded” long playing record and c60 cassette set

untitled (1)
untitled (2)
untitled (3)
untitled (4)
untitled (5)
untitled (6)
untitled (7)
untitled (8)
part three: lost in simulation
(untitled 9)
part four: the anti-mind and christ eating olives at temple of broken brains
(untitled 10 - untitled 11 - untitled 12)

october 2010 release ; second thing we’ve had (the first being the disc for dan lopatin’s upstairs cdr series ; there’s also a boatload of other things for tonnes of relevant contempo / micro imprints ... mostly those serving under the auspices of friend/confidant lieven maartens) from mr. hans dens ...

... love the “dystopian” vibe of this whole set, running from terminator-styled pulse-width wooze (listen to the sound-sample) through more contemporary fare, all baked under a restorative lamp, peeling the moisture in the master tape’s urethane component(s) & leaving only the gooey oxide trail ...

comes as the album “proper” on a nice, hi-fi lp (well, at least the vinyl itself is of good fidelity-stock) along with an alternate vision on c60 cassette (containing bonus, ostensibly extenuative materials ... that end up being just as vivid) ...

aguirre press release...

innercity – future life lp

after several releases this year on taped sounds, ikuisuus, rotifer, ruralfaune, upstairs and his own why so serious imprint, antwerp’s synthscaper / soundmanipulator and anti-musician innercity serves his first vinyl. bouncing from the barren fields of destroyed audio into the realms of divine and hallucinatory sound and back through the jungles of 100 years of popular music, the lo-frequencies chrystalize sounding like new hope and new ideas in dark industrial wastelands.

imagine you find yourself wandering places unreal, lost and desperate, only to have it gradually dawn in you, you’ve been laying waste the invisible lands in your mind. your desperateness becomes amazement as you start paving paths to link and sync barren levels of reality and start to familiarize with different formless and shape-shifting entities manifesting as inhabitants of apparently different inner worlds. you are being prepared for a major evolutionary phase-shift regarded unreal and i believe that is what future life is about, the differences in realities, and their level of importance in the whole picture.

released in an edition of 300
comes with an optional c60 tape: “future life reloaded”

$20.01

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threads:
modern-psych
minimalism-drones
lo-fi
beat-research
analogue-synth

aguirre (belgium) #zorn 05 lp

secret colors “lunar” long playing record

stretching out
zoning out

february 2011 release ; ... you probably want to hear the sparkle-fuzz of the second “movement” of “stretching out” (i.e. vaguely dolphins-into-the-future sounding pyramid-crystal-unicorn-grappling) but frankly the the gristle-oriented “choogle” of the b-side’s opening measures are where it’s at, so that’s what you get (i.e. click the “play” button to your left to activate / self-actualize the sound-sample) ...

aguirre press release...

zorn05 secret colors - lunar (lp + cs)

secret colors offers up his latest, a bubbling album called ‘lunar’. homespun ambient soundscapes taking you on a space trek without any sort of cliche spacey noise. glitchy without being abrasive, hollowed out yet wholly satisfying. you’ll find a new jungle planet with this as the soundtrack. its about to get humid.

limited to 300 copies.

$25.51

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threads:
modern-psych
minimalism-drones
digital-musics

aguirre (belgium) #zorn 04 lp

red electric rainbow “dark days” long playing record

ferris wheel
transluscent hallicunations
pleasure machine
dark days

february 2011 release ; sparkling, digital arpeggiator-float exercises from chicago’s dan smith ...

aguirre press release...

zorn04 red electric rainbow - dark days (lp)

vinyl debut by 21st century face melter and sonic explorer daniel d. smith. dark days offers us mesmerizing synth explorations reminiscent of caboladies & john elliott. get yourself prepared for the technocalyps with this record as the ideal soundtrack. all music recorded june 2010 using a nord lead 2.

daniel also runs the neon blossom label & organized last year's neon marshmallow festival.

limited to 200 copies.

$25.51

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threads:
analogue-synth
minimalism-drones
modern-psych
beat-research
machine-music
lo-fi

best of 2010 !!!

aguirre (belgium) #zorn 03 lp

brother raven “diving into the pineapple portal • eagle vision” long playing record and c40 cassette set

diving into the pineapple portal (12:54)
it's raining in atlantis (2:06)
speaking whale from my sea canoe (8:46)
happy astronaut (6:14)
eagle vision
four walled world
back to tonasket's hand
tran's mission
salamander
the foragers

october 2010 release ; deluxe “ultra analogue” vinyl reissue of gift tape #gt000, complete with an exclusive tape of new material ...

while the reissue is a thing of wonder (like many of you, i wasn’t hipped to the majesty of gift tapes until the label’s second batch, missing this inaugural statement) steeped in wobbly, wow / flutter-addled drone-sound, both geoff & i agree that the set’s finest moments come on the tape (true to the duo’s whole modus) ; containing an extended set (another whole albumsworth, essentially) of more contemporary materials ...

excellent work on both fronts ; glad these guys are finally getting some recognition out in the world (case-in-point, this belgian issue) ; highly recommended !!!

aguirre press release...

brother raven – diving into the pineapple portal lp

the synth explorations by brother raven recall cluster & harmonia with a touch of dream & fantasy. “diving into the pineapple portal” offers you a view into the craters of the synthesizer moon, seen from earth through 3d new age glasses. the original tape release of ditpp was only handed out to a few friends & artists. as this is one of their most profilic recordings, it deserves a proper release.

brother raven is a seattle-based duo that creates experimental music through improvisations with synthesizers, tape, and effects. drawing influence from synth music of the early 80s, inuit mythology, and time travel, their music combines the atmospheric zones of space music with the positive-vibe ambiance of early new age. formed in 2008 by jamie potter and jason e anderson.

released in an edition of 300.
comes with an optional c40 tape: “eagle vision”

$20.01

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may 14th, 2013

first in stock on
june 7th, 2010

threads:
analogue-synth
concert-recordings
live-electronic
machine-music

best of 2010 !!!

aguirre (germany) #zorn 02 lp

caboladies “live anywhere” long playing record

live anywhere (1)
live anywhere (2)

may 2010 release ; bitchin’ set from the bush/lanham, caboladies duo, recorded live-on-air in chicago earlier this year ... just how exactly these two channel such intricately-woven miniatures in-the-now will remain a mystery (until i actually catch them live) ... for now we’ll all use this lp as a rosetta stone, with which we can decode each stray burble as a master stroke until the full picture / manual becomes available ...

just so damn good ...

aguirre press release...

caboladies - live anywhere lp

“electronic chaos & control at the same time”

on the 15th of januari performers chris - flower man - bush & eric lanham recorded this lp live on air. the a side is the take off side. electronic chaos & control at the same time. the b side offers up some more distorted alienating sounds. comes with insert.

released in an edition of 330 lps.

$20.01

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threads:
modern-psych
minimalism-drones
analogue-synth
lo-fi

aguirre (germany) #zorn 01 lp

josh burke “prana” long playing record

sea of miracles
gliding
crystal dream
surrounded by data
mind door
synchronous memories
omni bay
a rotating view

may 2010 release ; ... believe this to be the first vinyl from josh “sky limousine” burke, a midwest new age music / queensryche devotee with something of a soft-spot for “deep thoughts” -lineage synthesizer drizzle & assorted float-on tactics that recall a young ray lynch inasmuchas christelle “stellar om source” gualdi’s various paens-to-said ...

aguirre press release...

josh burke - prana lp

“the perfect mix and relaxing listening experience”

josh burke continues his endeavor into new age. with relaxing synths, and the occasional outbreak, the man behind sky limousine & the illustre midnight star media cassette label, takes you to space and back in just over 30 minutes. there are faster, more layered tracks varied with bare, minimal, classical new age tracks. it makes the perfect mix and relaxing listening experience. comes with insert.

released in an edition of 330.

$25.21

back in stock as of
april 30th, 2013

first in stock on
may 25th, 2010

threads:
guitar-themed
electro-acoustic-improvisation
experimental-instruments
digital-musics
live-electronic

best of 2010 !!!

thin wrist (usa) #tw-la lp

kevin drumm “self-titled” double long playing record set

untitled (1) (7:36)
untitled (2) (3:03)
untitled (3) (9:57)
untitled (4) (5:28)
untitled (5) (9:47)
untitled (6) (3:41)
untitled (7) (17:09)
untitled (8) (8:24)
untitled (9) (11:17)

may 2010 release ; out-of-seemingly-nowhere & absurdly production-value-oriented double-vinyl reissue of kevin drumm’s watershed debut full-length, replete with a newly-discovered set of era pieces released here for the first time (an entire new sidesworth of pointillist crackle !!! listen to the sound-sample for a taste) ...

regarding the music ::

... classic 1997 release, featuring “guitar”, “recorded directly to tape in fall, 1996” ...

upon its release (and even now, still, to some extent) this was a divisive title, not quite fitting in w/ the time’s reigning “lowercase” aesthetic, nor the harsh noise, metal, or digital music scenes with which kevin eventually found allegiance ... consisting instead of scrabbly figures run through an upper-threshold gate, then processed with heavy filtering and gain-based effects. there are certainly parallels between some of the harsher segments of “sheer hellish miasma” ; the final track’s 17 minutes of glacial drift hedged with at first subliminal, then overbearing dat-tape distortions reminds of some of his more recent collaborative work ...

a great album, a challenge for sure, but i’m amazed at how much more permissive we’ve all become to what was undoubtedly the most “out-there” thing any of us had ever heard back in ‘97 ...

... comes in a (frankly, incredible looking / feeling) embossed glossy gatefold sleeve with new artwork (wax-damaged macro-images of the guitar used to ... generate this music) with two separate double-sided inserts (detailed below) ; plus, and i know this is like stroking a charged mare at this point, but the reference-quality cut c/o dubplates & mastering’s rachad becker is beyond good, revealing detail that i hadn’t even noticed in the digital 1/1 cd version ...

high praise to both c. spencer yeh for the vision to press this “un-cuttable” music to wax & peter kolovos for the epic “archival quality” realization ... highly recommended !!!

thin wrist press release...

thin wrist recordings presents the expanded and definitive double lp edition of kevin drumm's groundbreaking first album, originally released in 1997. featuring some of the most fiercely abstract and organic guitar work ever heard, drumm's debut is both jarring and completely alien. dubbed by some as the greatest prepared guitar record ever recorded it prefigured (and continues to trump) almost an entire decade or so of contemporary "out" music that would follow. beautiful and completely essential.

this edition includes an entire fourth side of previously unreleased recordings from drumm's personal archive, all recorded in the same era as the original album. it also includes entirely new artwork featuring the body of the actual guitar used to record the album.

the album comes housed in a heavy textured gatefold jacket and includes two full color inserts. high quality 2 x 180 gram vinyl pressed at pallas germany and mastered by rashad becker at d&m berlin.

looking back at kevin through his formidably individual tunnel of works, it's hard to remember that his first official recorded statement would be caught sneaking into bed alongside history's milestones of "solo instrument improvisation." or that, in turn, it also would be caught trying to sneak out of the house built by father jazz, into a backyard that still hasn't quite been fenced off yet. those running around chicago chasing down the sound in the mid-90's should've already known about this guy and his contributions both in and out of the relative spotlight. for those far from the city winds, thankfully they might've gotten the message in the form of this missive. in the afterglow of later love letters titled “sheer hellish miasma” and “imperial distortion”, it's absolutely overdue that this first musty green postcard be dug out, polished off, and framed.

judged by its understated title, "self-titled" aka "guitar" is incredibly literal -- what you hear is what you get. in the simplest considerations, the ensuing connotations and possibilities are wide open; the real-time velocity of urgent decision and movement are wrapped in a clearly-mapped compositional endurance that continues to stand firmly in the relative spotlights of this day. no surprise then, that even all these years later, we would still be trying to figure out exactly at which table kevin should squarely sit.

they say that every kid who heard this record immediately went out and grabbed a busted guitar with a scratchy selector switch, ready to subject their friends to fuzzy pauses of amp hum. i know of at least four.

-- c. spencer yeh, spring 2010, brooklyn ny

$13.44

back in stock as of
april 30th, 2013

first in stock on
may 25th, 2010

threads:
psych-prog
guitar-themed
modern-composition

thin wrist (usa) #tw-hd lp

upsilon acrux “radian futura” long playing record

in-a-gadda-devito
landscape with gun and chandelier
keeping rice evil
the infinitesimal fractions of ping & pong
transparent seas
transparent seas
prelude to forshadow’n

late 2009 release ; “1oth anniversary” (of the band, not the album) lp issue of this los angeles-based maths-oriented band’s fourth record (cd on cuneiform) ... comes in a striking embossed variable-finish jacket ...

thin wrist press release...

tw-hd

upsilon acrux "radian futura"

phil cobb: keyboards
paul lai: guitar
chris meszler: drums
david moeggenberg: guitar
marty sataman: bass

recorded and mixed by pete lyman at infrasonic sound
mastering by brad blackwood and pete lyman

front cover painting by rob sato
back cover painting by allison schulnik
embossed, full color heavy tip-on cover
180 gram vinyl edition of 500

$18.01

back in stock as of
april 26th, 2013

first in stock on
january 8th, 2013

threads:
1970s-electronic
electro-acoustic-composition
modern-composition
minimalism-drones
musique-concrète

sub rosa (belgium) #sr 363 cd

luc ferrari / brunhild ferrari “programme commun” double compact disc set

luc ferrari - programme commun (17:17) 1972
luc ferrari - didascalies 2 (17:55) 1993
luc ferrari - les emois d'aphrodite (22:48) 1986/1998
brunhild ferrari - dérivatif (27:05) 2008
brunhild ferrari - brumes du réveil (28:20) 2009
brunhild ferrari - tranquilles impatiences (20:24) 2010

december 2012 release ; ... sensible pairing of three of brunhild ferrari’s recent long-form works with three by her late husband luc, including an early 70’s harpsichord & tape piece (performed by the ever-incredible elisabeth chojnacka) ...

... as much as i love the luc pieces here, i have to say the brunhild ones are the real revelation, offering a subtle & variegated strain of musique concrète that acts as both a reflection & a continuation of her late husband’s work ...

sub rosa press release...

luc + brunhild ferrari
programme commun

114 minutes
2 x cd digipack inside a slipcase wallet
+ a 36 page booklet (photos, scores, texts)

sr363 ab

performed by
elisabeth chojnacka
jean-philippe collard-neven
vincent royer
mc band

these two volumes are being released together and simultaneously, as a sign of continuation.

for luc ferrari, this is the first full-length cd to come out after the trilogy we developed with him les anecdotiques / 2002, a fifteen-part suite (cd sr207), son mémorisé / 1976-2002 (cd sr252) and didascalies / 2007 (cd sr259).

what we have here is three substantial pieces: programme commun pour clavecin et bande magnétique / 1972

performed by elisabeth chonacka, didascalies 2 / 1993 performed by jean-philippe collard-neven, claude berset, and vincent royer (in 2009) and available only on vinyl srv305 (note that didascalies and didascalies 2 are two different compositions), and another previously unreleased piece that he held dear: les émois d'aphrodite / 1986-1998, performed by san francisco's mc band under his direction.

we are pleased to release for the first time, the solo works of brunhild ferrari: derivatif / 2008, brumes du reveil / 2009, tranquilles impatiences / 2010 forming a trilogy on reconstruction from a memory that is still quite alive. to us, these works are new bricks in the erection of a liberating oeuvre.

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