magnog “magnog” compact disc

• lost landing (5:48)
  
• relay (12:28)
  
• learning forgetfulness (7:34)
  
• shapeshifter (14:38)
  
• a moments seam (4:45)
  
• borne upon waves (15:25)
  
• frame of reference (11:00)
  
• loom (5:55)

roy montgomery “temple iv” compact disc

• she waits on temple iv (12:08)
  
• departing the body (5:04)
  
• the soul quietens (3:08)
  
• the passage of forms (9:31)
  
• jaguar meets snake (7:55)
  
• above the canopy (14:45)
  
• jaguar unseen (2:24)

flies inside the sun “an audience of others (including herself)” compact disc

• mothers kiss (2:56)
  
• the man with no arms (4:21)
  
• absent and erotic lives (5:54)
  
• icarus (6:05)
  
• sleepwalk (15:37)
  
• the afternoon blind (4:26)

bowery electric “bowery electric” compact disc

• sounds in motion
  
• next to nothing
  
• long way down
  
• another road
  
• over and over
  
• deep sky objects
  
• slow thrills
  
• out of phase
  
• drift away

labradford “a stable reference” compact disc

• mas (4:32)
  
• el lago (5:29)
  
• streamlining (4:44)
  
• banco (5:03)
  
• eero (6:50)
  
• balanced on it's own flame (4:02)
  
• star city
  
• russia (5:03)
  
• comfort (6:14)
  
• sedr 77 (4:07)

dissolve “that that is ... is (not)” compact disc

• strand (4:46)
  
• 8 wire (3:40)
  
• dissong (6:09)
  
• 3 films (5:23)
  
• blurred (4:10)
  
• the mortal pleasure of wanda lust (4:44)
  
• encounter (7:49)
  
• see the world (4:54)
  
• s.t.p.p (1:26)

spiny anteaters “all is well” compact disc

• aspect ratio (2:50)
  
• 10 years ago (3:43)
  
• stal (4:19)
  
• fabulous fur coat (5:04)
  
• tripping girl (3:21)
  
• lullaby (5:24)
  
• sparky (8:36)
  
• mass man (3:43)
  
• elevator (2:28)
  
• spork (1:56)
  
• dear kim (3:06)

jessamine “jessamine” compact disc

• another fictionalized history (2:13)
  
• secret (5:09)
  
• royal jelly eye cream (5:30)
  
• ordinary sleep (3:42)
  
• inevitably (4:43)
  
• cellophane (5:47)
  
• you have ugly talents
  
• martha (5:37)
  
• one-trick pony (9:11)
  
• don't you know that yet? (9:45)
  
• lisboa (3:45)

labradford “prazision” compact disc

• listening in depth (7:32)
  
• accelerating on a smoother road (4:14)
  
• splash down (6:43)
  
• disremembering (3:42)
  
• experience the gated oscillator (7:22)
  
• soft return (3:28)
  
• sliding glass (6:21)
  
• c. of people (4:58)
  
• new listening (5:06)
  
• gratitude (2:23)
  
• skyward with motion (9:00)
  
  
• everlast (5:38)
  
• preserve the sound outside (3:07)

paul metzger “tombeaux” long playing record

• of the passing
  
• beau soir
  
  
• sepulchre

milo fine / paul metzger “concerning the other condition b/w spontaneous composition generator” long playing record

• milo fine - moosbrugger (13:01)
  
• milo fine - ulrich (9:26)
  
  
• paul metzger - spontaneous composition generator (18:43)

nero’s neptune press release...

nn 012lp milo fine & paul metzger concerning the other condition / spontaneous composition generator nero's neptune presents a split lp of solo works from free-jazz improv master/multi-instrumentalist milo fine and guitar experimentalist paul metzger. ‘moosbruger’ was recorded on the occasion of my first public collaboration with paul metzger. before the concert, and for a number of reasons, my thought was that, when my name was drawn for a solo, i'd be playing drum set. but, as befits the spirit of improvisation (the moment), i grabbed the b flat clarinet, and then, echoing the first time i played piano in public (1971), moved off stage to the prepared piano remains, where the two instruments conjoined. 'ulrich' is a self-contained section of a set-long (drum) solo i played at the art of this gallery's tuesday night improvised music series. 'moosbruger' was recorded on march 21, 2009. 'ulrich' was recorded on january 20, 2009." -- milo fine ... i created the spontaneous composition generator to produce a random series of musical actions. it is a device consisting of 37 altered music box movements mounted in a wooden painter's box. the alterations include dampening, detuning, replacing, removing, doubling, and reversing the tines. most of the original melody pins on the cylinders were removed. rubber bands of various lengths and thicknesses were attached to the winding stems to facilitate a continuously variable tension. one dozen hand-wired piezo pickups are attached to output a stereo signal. the piece on this recording was created november 9, 2009 with a time of 18:43. it was specifically made as a complement to milo's contributions to this nero's neptune lp -- paul metzger strictly limited edition of 421 vinyl copies only. screen-printed onto wax paper sleeves, with an insert. pressed on 180 gram vinyl.

jörg siegert / chorus of xii “brain sound • an attempt to record coincidence” long playing record

• [u:ou-hu uo]
  
• [ iu:-adi-dia]
  
• [u:tik-tuk- u]
  
• [o:-i e-u:ha:]
  
• [uou-u:hu:io:]
  
  
• [d a-d -ab ]
  
• [io:ije:-dob ]
  
• [u:-u:- e- :t ]
  
• [a:hoa-t -so]
  
• [i:i- a-u: ej:]

john pilcher / martin mckelvey “a bun dance” compact disc

• one giant leap (14:51)
  
• collection plate (2:31)
  
• ac 1 (2:02)
  
• song for o (3:23)
  
• blue smoke (5:43)
  
• plant (0:57)
  
• freaks show (1:23)
  
• zycles (1:02)
  
• ohmn (7:08)
  
• ac 2 (9:18)

dungeon taxis press release...

john pilcher & martin mckelvey, a bun dance (dungeon taxis). the eagle has strayed in this 48-minute opus of lunar musique concrete right out of the late 60s in hastings, nz. these squiggly, prescient jams emerge on the very 40th anniversary of apollo 11's inaugural moonlanding, having originally sampled and plunged that stuttering, televized transmission into another sea of tranquility and magnificent desolation right out here in an even more remote solar system. pilcher's periperal figure hangs ghostlike out on the edge of the front cover next to a poster of the beatles' help! semaphore (they're not even spelling help by the way), it's a revealing allusion to the radically warped jams that were already taking place out here, a preamble for the winding genealogy of the country's later musical lab tests. stellar tapezones joyously light years ahead of time. mastered by surface of the earth's paul toohey. softly abrupt, the music ends. it recedes discreetly, a fugitive peripheral figure. it's not conceived as an album, as a book-ended thematic enterprise, but as a spatiotemporal 'unwinding'. not content with a sentimentally or sedimentarily versed edit, nor with any consolidated syntax, it's almost geomantic in its divined trajectory, pieced together as an errant evocation, an attuned reverie. it's no literal emotional dispatch, but occurs as an elusive aide memoire, supplying brief vestigial clues to an elliptical sonic locale, before scattering the spatial details across a terrain vague that disorients vigilant listening. impatient, it preempts any harmonizing absorption, using billowing, parabolic tones as pure protean filaments that scuttle past recall or retention, registering as so many hallucinogenic and evaporative effects. its musical trajectory becomes the textual grain that cheeky glissandos flirt with in buoyant or airborne disobedience, their own textural gestures playing across the dusty surface of the whole, each sonic speck displacing the next in its entropic minutiae. it strays from a cloistered compositional scheme, preferring the intoxication of its divergent, sonic ingredients. packed with arrested crescendos and playful, whizzing glissandos, it mutates the trope arcs of a melodic prescription, becoming instead a scattering of curtailed tonal phrases in an errant suite of polyphonic glee - all flippant bursts of animated auditory characters dis-appearing all over its ludic tapestry. timbral resources are stretched out and toyed with, playfully pinched and squashed - all with the intention of scrutinising their resonant properties and unearthing their immanent musicality. it doesn't play back as a pilgrimage in the manner of some dandified sixties concept album, but ventures out with a not-dissimilar diligence in its desultory forage. while ostensibly a product of psychedelic invention, imposed by its historical foundations, a bun dance annuls palliative immersion. moving between apprehension, the music oscillates between foggy lopsided languor and lucid angular dissonance, providing a forensic meditation on the 'everyday landscape' through innovative and prescient tape manipulation, accelerating and decelerating the sounds of insects and other backyard detritus, while submitting the seemingly more extraordinary broad casted artefacts of woodstock and the moon landing to a poetic abstraction that appears, quite ambi-valently, 'ahead of its time'. the sampled, eponymous utterance of 'one giant leap' thus recuperates its galvanizing currency amidst a nostalgic contemporary glut of repeated historical 'events' by re-appearing, however apocryphally and entropically, live. it moves in and out of reel time, as pilcher himself says. as an archival product .. it functions now, in the realm of paramnesia, superimposed by rootless and fractal contemporary listening posts. while the equivocat 'blue smoke' drifts through a sedative haze, it gets plagued by its very errant provenance: the malfunctioning circuitry that constitutes its reflexive sonic impediment. the onomatopoeic meditation of 'ohmn' also goes awry through an acknowledged electrical recalcitrance, the 'wonder of reverb' unhinged by a digital intrusion that accents its juxtaposed itinerary. an interrogation of rock as a form, a bun dance displaces that genre's dramatic denouements, perforating its forgetful epiphanic apexes and severing its synchronic crests in order to dwell on its cadential downtime. snatches of rock aura are transformed into an incessantly thwarted sort of leisurely stasis that could be the didactic extraction of all that makes that form. it repays rock's debt to those moat forgotten of all purges: silence, exhaustion, committing this asyndeton while complicating mere abbrwiation. mlbo9llirvteidunit ~ and nudging ptimary ~ m.,glna of ita tonic sy geological metaphor in fl of cartograplc transposition. eachewing any summary of its intensive sound-m the auspices of symbolism, alchemy, or heroic cabbalism. predestined time becomes susceptible to the incisive detail of pilcher and mckelvey's conscientious metier. not just a spectatorial point ~- ... ken up on the scripted action or as i~9"subsumed within playback's ceaseless .....j _~immutable onslaught, memory here. ~akes a cous detour, disputing its own chronology.

alvin curran “solo works • the '70s ” triple compact disc set

• songs and views from the magnetic garden (canti e vedute del giardino magnetico) (1973)
  
  i (26:42)
  ii (23:14)
  
  
• light flowers dark flowers (fiori chiari fiori oscuri) (1974)
  
  i (24:48)
  ii (26:50)
  
  canti illuminati (1977)
  
  i (26:19)
  
  
• ii (19:00)
  
  the works (1976)
  
  i (25:34)
  ii (19:42)

new world press release...

composer(s): alvin curran album title: solo works - the '70s  cat. no.: 80713 (3 cds) genre: classical / contemporary release date: 10/2010 i am happy to stand again in front of all these free-wheeling tone paintings and look back—embracing both their concrete and their purely ephemeral, abstract qualities—while reflecting on how much these four seminal works determined the music i made afterward, similarly inspired by the rhythms, colors, and eternal durations of nature and the immediacy and knowledge of making music with anything at hand. —alvin curran this historic collection gathers together the four seminal solo albums recorded by alvin curran (b. 1938) in the 1970s. two, fiori chiari fiori oscuri and the works, are making their first appearance on cd. author/critic tim page, an early advocate of these works, writes :: curran weaves electronic technology, an occasional acoustic instrument, voices and musique concrète (“found” music) into a multi-hued tapestry of sound. he holds these dissimilar elements together with a compelling subliminal musical consciousness; the listener never feels that curran is deliberately being clever, or that he is out to impress, shock or self-consciously ‘expand the musical language.’ curran’s eclecticism is not willful; his sounds are there because they fit, and they convey a subtle and ingratiating sense of mysticism. these challenging, multi-faceted compositions manage, through their very catholicity, to synthesize and perfect a striking new musical syntax uniquely curran’s own.

“music for merce (1952-2009)” decuple compact disc set

• christian wolff - for magnetic tape (1952) [pt. 1 of 4] (5:24)
  
• christian wolff - for piano i (1952) (5:19)
  
• john cage - music for piano 1–20 (1954) (16:13)
  
• earle brown - indices (1955) [excerpt] (20:51)
  
• bo nilsson - quantitäten (1958) (12:31)
  
  
• morton feldman - ixion (1958) (20:21)
  
• john cage - variations v (1965) [excerpt] (13:41)
  
• gordon mumma - mesa (1966) (19:38)
  
• toshi ichiyanagi - activities for orchestra (1962) (24:09)
  
  
• david behrman - … for nearly an hour… (1968) [excerpt] (3:23)
  
• pauline oliveros - in memoriam: nikola tesla, cosmic engineer (1969) [excerpt] (9:44)
  
• christian wolff - for 1, 2, or 3 people (1964) [excerpt] (12:07)
  
• christian wolff - burdocks (1971) [excerpt] (16:59)
  
• john cage, gordon mumma, david tudor - /3 (1972) [excerpt] (16:39)
  
• gordon mumma - telepos (1972) (18:27)
  
  
• david tudor - toneburst (1975) (17:45)
  
• takehisa kosugi - s.e. wave/e.w. song (1976) [excerpt] (13:03)
  
• maryanne amacher - remainder (1976) [excerpt] (14:55)
  
• jon gibson - equal distribution (1977) [excerpt] (12:14)
  
• john cage - inlets (1977) [excerpt] (10:17)
  
  
• david tudor - weatherings (1978) [excerpt] (14:54)
  
• yasunao tone - geography and music (1979) [excerpt] (21:18)
  
• david tudor - phonemes (1981) [excerpt] (14:00)
  
• david tudor - sextet for seven (1982) (18:15)
  
  
• takehisa kosugi - spacings (1984) (23:52)
  
• john king - gliss in sighs (1985) (16:19)
  
• john cage - voiceless essay (1986) [excerpt] (10:58)
  
• david tudor - webwork (1987) [excerpt] (10:46)
  
• michael pugliese - peace talks (1989) [excerpt] (11:44)
  
  
• takehisa kosugi - spectra (1989) (20:29)
  
• john cage - sculptures musicales (1989) [excerpt] (12:14)
  
• david tudor - virtual focus (1990) [excerpt] (15:15)
  
• john cage - four3 (1991) [excerpt] (15:24)
  
• david tudor - neural network plus (1992) [excerpt] (13:28)
  
  
• john king - blues ’99 (1993) [excerpt] (19:10)
  
• stuart dempster - underground overlays (1995) [excerpt] (15:22)
  
• john cage - four6 (1992) [excerpt] (11:17)
  
• takehisa kosugi - wave code a–z (1997) [excerpt] (14:42)
  
• christian wolff - or 4 people (1994) [excerpt] (6:16)
  
  
• john cage - and one8 (1991) [excerpt] (14:18)
  
• john king - longtermparking (2002) [excerpt] (15:31)
  
• david behrman - long throw (2007) [excerpt] (18:25)
  
• annea lockwood - jitterbug (2007) [excerpt] (20:19)
  
  
• event - february 16, 1993, red wing, minnesota (5:58)
  
• event - september 14, 1996, annemasse, france (5:53)
  
• event - june 5, 1997, frankfurt (7:30)
  
• event - september 12, 1998, minneapolis (5:22)
  
• event - september 29, 2002, oslo (4:12)
  
• event - october 30, 2002, munich (6:51)
  
• event - december 14, 2004, new york city (3:54)
  
• event - december 15, 2004, new york city (6:56)
  
• event - december 18, 2004, new york city (6:35)
  
• event - june 14, 2005, london (5:21)
  
• event - june 17, 2005, london (8:44)

new world press release...

composer(s): christian wolff, john cage, earle brown, bo nilsson, morton feldman, gordon mumma, toshi ichiyanagi, david behrman, pauline oliveros, david tudor, takehisa kosugi, maryanne amacher, jon gibson, yasunao tone, john king, michael pugliese, stuart dempster, annea lockwood album title: music for merce (1952-2009)  cat. no.: 80712 (10 cds) genre: classical / contemporary release date: 12/2010  the late merce cunningham was renowned for his legendary collaborations with the most significant experimental musicians of the late 20th century. particularly notable is his association with john cage, who served as the founding musical director of the merce cunningham dance company until cage’s death in 1992. spanning six decades from the early 1950s onward, these recordings capture the breadth of the cunningham repertory and the rich diversity of cunningham’s musical collaborations. composers whose work features prominently in this collection include seminal figures of late-20th-century experimental music such as john cage, david tudor, gordon mumma, christian wolff, and takehisa kosugi, among others. for the most part, these compositions have not been recorded elsewhere and are making their first appearance on cd. this is a document of enormous historical import that will be a revelation to both listeners and scholars interested in the evolution of american experimental music over the past five decades. also included is a 124-page booklet featuring a 15,000-word essay by amy beal, one of the foremost scholars of contemporary american music.

lou harrison “scenes from cavafy • music for gamelan ” compact disc

• scenes from cavafy: i, gending cavafy (6:46)
  
• scenes from cavafy: ii, gendig bill/lancaran jody (9:21)
  
• scenes from cavafy: iii, gending ptolemy (6:19)
  
• con for pno with javanese gamelan: i, bull's belle (10:22)
  
• con for pno with javanese gamelan: ii, untitled (8:54)
  
• con for pno with javanese gamelan: iii, belle's bull (5:35)
  
• a soedjatmoko set: i (7:41)
  
• a soedjatmoko set: ii, isna's song (10:42)
  
• a soedjatmoko set: iii (6:56)

tom johnson “rational melodies ” compact disc

• rational melodies: i (1:27)
  
• rational melodies: ii (1:18)
  
• rational melodies: iii (2:13)
  
• rational melodies: iv (1:27)
  
• rational melodies: v (1:37)
  
• rational melodies: vi (2:58)
  
• rational melodies: vii (2:13)
  
• rational melodies: viii (2:06)
  
• rational melodies: ix (1:41)
  
• rational melodies: x (2:57)
  
• rational melodies: xi (1:27)
  
• rational melodies: xii (2:07)
  
• rational melodies: xiii (2:51)
  
• rational melodies: xiv (6:07)
  
• rational melodies: xv (1:50)
  
• rational melodies: xvi (1:11)
  
• rational melodies: xvii (1:50)
  
• rational melodies: xviii (1:44)
  
• rational melodies: xix (4:56)
  
• rational melodies: xx (2:01)
  
• rational melodies: xxi (1:15)

ingram marshall “september canons” compact disc

• september canons (13:17) 2002
  
• peaceable kingdom (17:58) 1990
  
• woodstone (17:28) 1981
  
• fragility cycles ("gambuh") (14:59) 1976

new world press release...

composer(s): ingram marshall album title: september canons  cat. no.: 80704 genre: classical / contemporary release date: 12/2009 todd reynolds, violin, with electronic processing members of the yale philharmonia julian pellicano, conductor the berkeley gamelan daniel schmidt, director ingram marshall, gambuh (balinese flute), serge synthesizer, live electronic processing the pieces on this compact disk span almost three decades and represent the principal threads that have run through ingram marshall's (b. 1942) work: his remarkable skill in using electronics to create expressive and voluptuously beautiful pieces; the influence of indonesian music, particularly in the slowed-down sense of time and melodic repetition; a thorough knowledge of some of the most stirring and poignant compositions of the western tradition, especially sibelius and bach; and the hovering presence of charles ives, particularly his use of quotation and juxtaposition of seemingly unrelated elements. the works on this cd can be thought of as an archeological dig, flowing in reverse chronological order from a recent work to one of the composer's earliest. they range from the dramatic and gripping 2002 work relating to a horrible event in new york city to a timeless ethereal 1976 piece relating to an idyllic period in indonesia. along with these dynamic contrasts, there's surprising consistency: marshall's lifelong efforts to combine electronics with instruments and to render them with warmth and expressivity; but moreover, his extraordinary ability to capture profound human feeling and create works of poignancy and depth.

charles dodge “a retrospective” compact disc

• cascando (32:47) 1977
  
• fades, dissolves, fizzles (14:07) 1995
  
• violin variations: i. (1:46) 2009
  
• violin variations: ii. (1:41) 2009
  
• violin variations: iii. (1:27) 2009
  
• violin variations: iv. (3:30 2009)

larry polansky “the world’s longest melody ” compact disc

• ensemble of notes (7:37)
  
• tooaytood 1: _< too (0:20)
  
• tooaytood 2: _< too < - (0:20)
  
• tooaytood 3: /2 (0:12)
  
• tooaytood 5: boo k (lullaby for anna) (0:23)
  
• tooaytood 6 (0:12)
  
• tooaytood 7: iiviinii (0:13)
  
• tooaytood 9: loopitood (0:32)
  
• tooaytood 11: onceaii (0:23)
  
• for jim, ben and lou: preamble (for jim tenney) (5:39)
  
• for jim, ben and lou: (rue plats) (resting place) (for ben johnston) (5:05)
  
• for jim, ben and lou: the world's longest melody ("the ever-widening halfstep") (for lou harrison) (6:12)
  
• "...getting rid of the glue..." (4:08)
  
• ivtoo (11:19)
  
• the world's longest melody (ensemble version) (7:17)
  
• ontslaan (toontood) (10:26)
  
• toovviivfor (7:18)
  
• 34 chords (christian wolff in hanover and royalton) (3:07)

christian wolff “long piano (peace march 11) ” compact disc

• long piano: beginning (9:40)
  
• long piano: #21 (7:32)
  
• long piano: #44 (9:04)
  
• long piano: #61 (7:53)
  
• long piano: #63 (6:32)
  
• long piano: #66 (9:30)
  
• long piano: #75 (8:52)

gordon mumma “music for solo piano (1960-2001)” double compact disc set

• jardin, for michelle fillion (13:57) 1958–97
  
• 9 songs without words (25:58) 1990s
  
• suite for piano (4:45) 1960
  
• graftings, for daan vandewalle (7:41) 1990–96
  
• four pack ponies, for the taylor cousins (10:10) 1996
  
• basket of strays (9:46) 1970-2001
  
  
• 19 from the sushibox: 5 sushiverticals (8:38) 1996
  
• 3 perspectives, in memoriam jacqueline leuzinger (4:09) 1966–96
  
• 11 sushihorizontals (16:06) 1986–96
  
• sixpac sonatas (15:41) 1985–97
  
• threesome (9:50) 1996
  
• eleven note pieces & decimal passacaglia (5:39) 1978
  
• large size mograph (8:02) 1962

lejaren hiller “a total matrix of possibilities” compact disc

• computer cantata (23:04) 1963
  
  prolog to strophe i; strophe i (6:35)
  prolog to strophe ii; strophe ii (2:07)
  prolog to strophe iii; strophe iii; epilog to strophe iii (5:42)
  strophe iv; epilog to strophe iv (3:16)
  strophe v; epilog to strophe v (5:15)
  
  
• quartet no. 6 for strings (23:56) 1973
  
  arrabiato (6:05)
  tranquillo (8:30)
  vivace (9:15)
  
  
• a portfolio for diverse performers and tape (21:51) 1974

ben johnston “string quartets 1, 5, and 10” compact disc

• string quartet no. 5 (13:51) 1979
  
• string quartet no. 10 (19:57) 1995
  
• string quartet no. 1, "nine variations" (17:11) 1959

james tenney “spectrum pieces” double compact disc set

• spectrum 1 (15:10)
  
• spectrum 2 (15:02)
  
• spectrum 3 (18:10)
  
• spectrum 4 (16:06)
  
  
• spectrum 5 (16:07)
  
• spectrum 6 (15:10)
  
• spectrum 7 (15:51)
  
• spectrum 8 (14:53)

new world press release...

composer(s): james tenney album title: spectrum pieces  cat. no.: 80692 (2 cds) genre: classical / contemporary release date: 10/2009 the barton workshop james fulkerson, frank denyer, co-directors james tenney (1934-2006) was one of the most versatile figures in contemporary american music. apart from creating a large, wide-ranging, and fascinating body of compositions, more than a hundred of them, he was one of the key music theorists of the late twentieth century. this cd set offers complete recordings of one of the most important of tenney's later sets of pieces-spectrum pieces 1-8, the first five of which were written in toronto in 1995 and the last three in 2001, after he moved to valencia, california, to teach at the california institute of the arts. they offer a summation of much of tenney's compositional practice and at the same time break open new and fertile territory that he had regrettably little time to explore in subsequent compositions. the eight works were not intended to be listened to sequentially or as a whole set, nor need they be; tenney thought of them as a "family" of pieces, with certain shared features, not as a cycle. collectively they form a body of work in which many of tenney's musical and theoretical preoccupations converge, interact, and yield music of deep fascination and strange beauty.