- Not to be missed, especially for Colin Stetson fans:
Colin Stetson – Alto & Bass Saxophones Greg Fox – Drums
Shahzad Ismaily – Synths
Toby Summerfield – Guitar
Greg Fox again:
Greg Fox’s The Gradual Progression offers a new strain of spiritual jazz
compelled by virtuosic playing and responsive music technology.
Energetic and gestural, akin to an action painting, Fox enters a musical
paradigm that allow his visceral percussion to evolve in polyphonic
harmony with his compositional craft. The Gradual Progression documents
Fox’s creative transformation with a cosmic cast of collaborators and
elevated sound exploration.
- is a multi-instrumentalist, interdisciplinary artist, and teacher
born and based in New York City. A versatile and prolific creative, Fox
studied percussion with Guy Licata, Thurman Barker, Marvin “Bugalu”
Smith, has a B.A. in Integrated Arts from Bard College, and has toured,
recorded and released numerous records with Liturgy, Guardian Alien, ZS,
Ex Eye, Skeletons, Teeth Mountain, Dan Deacon, Colin Stetson, Ben
Frost, and many more.
Fox’s solo work is concerned with finding
and creating gestural points of procedural interaction that reconcile
seemingly unrelated interstitial spaces, using sound to create and
describe emotional and geometric architectural territories. Using the
drums as a main interface of communication, in tandem with Sensory
Percussion, Fox describes, animates and accesses hidden synesthetic
landscapes.
The Gradual Progression is Fox’s latest collection of
music released on RVNG Intl. On the album, Fox uses tonal palettes, or
virtual instruments invented for each piece, in an intuitive and
expressive way through Sensory Percussion’s hardware/software system
that overlays sensors onto acoustic drums. Throughout the record, Fox’s
rigorous inner rhythms serve as the mandalic vessel for unbound
expression and arrangement. An exploration of selfhood that employs new
methods of externalizing his polyrhythmic virtuosity into non-physical
realms signals both a reconciliation of disparate musical ventures and a
new elevated stage in the artist’s oeuvre.
Fox’s unique ability
to combine percussion, organic sounds, and technology coalesced on his
2014 album Mitral Transmission. Over multiple visits to the basement lab
of master jazz drummer and holistic healer Milford Graves, lab and
medical equipment were used to make extremely hi-fidelity recordings of
his resting heartbeat. Custom software rendered the waveforms into a
rich MIDI score, which was then used as the basis for the compositions
found on the record- a work that can be unflinchingly explosive,
fluttering and merciless in one instance, yet poised and withholding in
the next.
12k is very happy to announce a new LP from long-time label favorite and
ever-elusive Shuttle358. With Field, Shuttle358’s Dan Abrams returns to
the beautiful roots he layed down with his now-classic Frame (12k1011,
2000) which Alternative Press heralded as “Ranking alongside Aphex
Twin’s Selected Ambient Works II and Eno’s Music for Airports in its
evocation of imaginary space.”, and which Boomkat (UK) called
“Shuttle358’s undisputed masterpiece.” His distinct human imprint on the
highly digital sounds of the microsound and clicks and cuts movement of
the time played out across his other releases as well including
Optimal.LP (12k1005, 1999),Chessa (12k1030, 2004) and Understanding
Wildlife (Mille Plateaux, 2002).
It is in this specific space and through splintered memories from the
dawn of the 2000’s that brings Shuttle358 back to his early explorations
with Field. Specifically, those sounds nestled in computers from the
late 90s running period software and “graced” by the lo-fi color of
early DSP algorithms. Abrams deliberately takes advantage of slow CPU
cycles and crashes on old computers to piece together a framework of
disjointed rhythms and melodic loops that sound like they’re crawling
and skittering from a new digital dystopia. This
landscape unveils elements that made his early work so powerful by the
way he combines the broken with the beautiful. Deep rhythms made from
truncated transients provide the foundation for ghostly vocal snippets
and the signature musical ambience that defines the Shuttle358
atmosphere.
In a way, Field can be seen as a rebirth of the glitch, a modern take on
the capativating microsound movement of the early 2000’s and a
captivating and powerful statement from Abrams who connects the dots and
further deepens and expands his sonic story.
Releases February 2 Also currently 50% off previous Shuttle358 releases on 12k at bandcamp.
Kasper Staub Trio - "Strog" (Jaeger Community Music - 2018)
For all the talk of eMusic failing (and it's a legitimate topic of discussion), here's an example of them having a new release available before it is even on the label (Jaeger Community Music) website. Tough to even find album art on the web, but you can purchase the album at eMusic (artwork doesn't display on the site, but shows up after downloading). The Soundcloud link let's you stream the album. @jonahpwll this ought to be right up your alley... ;-)
The first new Bad Plus album with Orrin Evans replacing Ethan Iverson on piano. Currently available only at their website, as far as I can tell. (May show up elsewhere later).
Drummer/composer John Hollenbeck and his 20-piece Large Ensemble will release their third album, All Can Work, January 26 on New Amsterdam Records. The album follows the band’s Grammy-nominated releases A Blessing (2005) and eternal interlude (2009), and pays tribute to the Large Ensemble’s late trumpet player Laurie Frink,
a key force in the group and the jazz community. The album title is
from an email exchange between Frink and Hollenbeck; the phrase
epitomizes the flexible, optimistic resolve that is needed by everyone
involved to create a record such as this one.
After Laurie
Frink’s passing, Hollenbeck read all of her emails and compiled them in
chronological order, finding poetry and inspiration in her words.
Acclaimed vocalist Theo Bleckmann brings Frink’s words
to life in the lyrics of the title track “All Can Work." The composition
of the piece is based on one of Frink's teaching exercises.
Hollenbeck explains: “I really sweated this piece because I
wanted it to showcase Laurie’s ever-present humor, her dedication to
‘the music,’ and most importantly our love for her.
Her
sudden death stunned the NYC music community - but the legacy she left
behind as the trumpet guru/therapist/doctor to countless brass and
woodwind players lives on, continuing to support and enhance the
community she served. No matter where I am in the world, I can talk to a
trumpet player who had studied with or knows her exercises.”
Great music and still available on Emu! Perhaps we shouldn't be too surprised that classical labels are slower than the Rock Rats fleeing the sinking ship - they are after all used to lower volume sales. This is nifty music mind! Thanks @Brighternow
Spoke too soon. I hate Kraftwerk covers, even more than I hate Zappa covers. Find your own music "Flakes"! (Zappa reference obv.)
"We’re proud and excited to present a magical live recording from the
legend that is Pierre Bastien, showcasing his mecanoid orchestra at its
intricate best during a performance at Studio M, the historical
studio-concert hall of Radio-Television of Vojvodina, Serbia.
Around 1986, French composer and multi-instrumentalist Pierre Bastien
started creating and building his own orchestra called Mecanium: an
ensemble of musical automatons constructed from meccano parts and
activated by electro-motors, that ‘play’ on acoustic instruments from
all over the world. On this record the Mecanium plays amplified Meccano
parts, drums, reeds, rubber bands, paper, nails and flutes whilst Pierre
plays kundi, rubber band, prepared trumpet, video loops, nail violin
and râbab. Recorded live at Studio M, Novi Sad, October 8, 2016."
Some Danish jazz to go with the danish on a Sat morning...
Another good one on Jaeger Community Music. This seems to be a true "new release" for Ornithopter (eMusic had a self-titled release appear about a month ago, but I'm not sure it wasn't an earlier release, perhaps reissued).
Tordenkaffe translates to "Thundercoffee" An expression that originates back to the beginning of the 20. century. Mostly at the countryside where the roofs were made of straw, whenever there was thunder at night, people would get up and drink coffee until the danger was over.
ETA:
“Tordenkaffe” was recorded on the island of Fanø. Fanø is located
outside the town of Esbjerg. The sound engineer was Anders Ørbæk and all
the recordings where done live in “Musikken Hus” (translated “House of
Music”) in the town of Sønderho. Tordenkaffe was the coffee people drank
to keep themselfs awake, to make sure that lightning didn’t strike the
old thatched houses. The name came to us naturally after the long
sessions in the old house. The sound of the creaking floorboards and the
echo of the rooms, takes the listener into the nights where people
waited for lightning to strike. It is also permitted, maybe even
imposed, to drink a strong cop of coffee whilst listening to the record.
- Winter, or a time which represents that season, in a metropole
that appears to be moscow. the visitor is taking metro no. 6 at leninsky
prospect as he is on his way to the ballroom close to gorky park. the
air is icy, the sky is grey. a cat, previously hidden among the dirty
snow, is crossing his way. the closer he gets to his destination, the
clearer he can hear music, music that reminds him of future days.
the dimly lit room is only sparsely filled. on stage a graceful
singer, capturing the room with her presence. captive voices merge with
chords played on yet unknown instruments - machine rhythms cycle in 3/4
time. the vigorous peasant dancers, following an instinctive knowledge
of the weight of fall, utilize their surplus energy to press all their
strength into the proper beat of the measure, thus intensifying their
personal enjoyment in dancing. here, in the transhuman ballroom, time
stands still and values are being dissolved by numeric progressions.
spiritually allied, the visitor, the singer and the peasant dancers
short-circuit the present moment while the last falling snow slowly
turns into rain.
with »walzerzyklus«, atom™ returns to
raster to complete his series that has once begun with »liedgut« and
continued with »winterreise«. the 7 tracks, created in collaboration
with russian singer lisokot, are subdivided into 3 pieces of 2 minutes
each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4
time of a classic waltz.
throughout the release, lisokot’s delicate vocals are put into
different relations to atom™’s rather cool machine music, either
complementing or contrasting each other. in the same line, the 3 shorter
“leitmotifs” provide the main theme that is taken up repeatedly in the
course of the release.
Inspired by the true story of Laika, a stray dog sent into space by Soviet Russia in the fifties, Perpetual Journey speaks of the emotional journeys and strange fates that entangle our lives. An intoxicating ascent into the upper atmosphere and beyond, Strië's collagic style is profoundly felt on these six compositions; fragments of sound layer up to create an ever deepening sound stage, bound together with layers of static and hiss. Perpetual Journey is another irresistible invitation to spend time with Striē in the immersive, introspective world she inhabits.
Fascinating and unreleased before music by Otto Sidharta,
pionneer of Indonesian electronic music. Electronic compositions that
integrated natural sounds and urban sounds to this extent were extremely
rare at the time, which gives them a unique form of intensity.
Released in our Early Electronic series.
Otto Sidharta
- is born in Bandung, Indonesia November 6, 1955. In 1978 he
studied music composition in Jakarta Institute of Arts under guidance
of Slamet Abdul Sjukur, in 1984 he continue his post graduate study for
composition and electronic music with Prof. Ton de Leeuw in Sweelinck
Conservatorium Amsterdam.
In 2015 acomplished his doctoral study at
Institute Seni Indonesia Surakarta and finished in 2016. Sidharta's
interest using environmental sounds and synthetics sounds as well to
express his musical ideas developed when he was a student at the Jakarta
Institute of Arts. He performed his first electronic music piece,
Kemelut, based on water sounds in the First Indonesian Young Composer
Festival (Pekan Komponis Muda) in 1979. In 1979 he begin to collect some
nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle,
Riau islands, and some other remote places. These sounds were used as
material for some of his works such as Ngendau, Hutan Plastik and East
wind. And some others. Otto Sidharta is still alive and performing
around the world.
Excited about the new Strië--thanks for calling it to our attention, Germanprof. I also just downloaded another fairly new (September) entry on the Serein label, Kryshe's The March of the Mysterious, which is pretty fantastic.
CURRENT 93 DREAMT BY ANDREW LILES – LIKE SWALLOWING ECLIPSES: REMASTERED AND EXPANDED
The
material on these recordings have been dreamt by Andrew Liles. They were
originally performed and released by Current 93 on the following albums
Nature Unveiled, Dogs Blood Rising, Nightmare Culture, Live At Bar
Maldoror, In Menstrual Night, Dawn,
I Have A Special Plan For This World
and Faust.
I Have A Special Plan For This World was based on a text written by
Thomas Ligotti and also made use of his collection of The Bungalow
Tapes. Faust was inspired by the short story by Count Stenbock.
This expanded download version of LIKE SWALLOWING ECLIPSES collates all
the Andrew Liles remixes of Current 93 and has been fully remastered
for this digital format.
It also contains the for the first time digitally - Haunt Invocation
(Apadno) I: I Have A Special Plan For This World, Haunt Invocation
(Apadno) II: Faust and previously unreleased mixes Haunt Invocation
(Apadno) III and Haunt Invocation (Apadno) IV.
The latest Political Ritual album is quite a peculiar experience born
out of mourning, substance abuse, geopolitical concerns, long-distance relationships and friendly
rituals — actually the album’s only real common denominator, along with a new set-up comprising
deformed keyboard keys and hazy effects. Sometimes the need to let go of one’s rhythmic needs
arises — at the expense of a cracked cello or a broken organ. Sometimes a wedding harmonium bought
from an old, hungry man in an Indian village improvises modal lines. In the end, all echoes are
real because this record is also a dream from a hastily recorded and already fading away era — at
times drenched in the instinctive automatism galvanized by the requirements of plastic. Here are two twenty minute-long pieces: improvised sound rituals successively sculpted by the
magic of matrix polarization. If you are looking for meaning, read Nietzsche or Cioran, but do not expect any claim from us. The
only thing that matters is to crank up the volume and join the ritual we have concocted thinking of
you, and especially of us. The plastic and the oil are in front of you, the stylus is wearing out,
as it is, perhaps, a little bit of absolute.
Political Ritual
- is an abstract electronic music duo led by
Félix-Antoine Morin and Maxime Corbeil-Perron,
two founding members of the Kohlenstoff label. Bridging minimalist techno and pure sonic
abstraction, the duo manipulates synths, digital sound processing, percussions, homemade wind
instruments and field recordings to create fleshed-out radical music. Somewhere between cosmic
minimal techno and abstract sound art, Political Ritual’s high-toned
oscillations, unpredictable frequency manipulation and dark drones form a hypnotic mantra — though
their benedictions don’t last long, breaking in a cathartic crescendo or a cacophony of percussion
that resolves in silence. Furthermore pushing the boundaries of abstraction, using analog modular
and digital synthesis and incorporating invented wind instruments, traditional Balinese percussion,
field recordings and digital signal processing into their compositions, with the intent of shaping
a transcendent listening experience.
In September 2002 Mika Vainio, Ryoji Ikeda and Alva Noto (Carsten
Nicolai) were invited by the Baltic Centre For Contemporary Art for a
residency. As a result of this project three live performances followed
this research period.
All the tracks on this record were recorded
live on September 23, 2002 at the Baltic Centre For Contemporary Art in
Newcastle, UK.
Released in november 2017 and one of those albums, where I can´t think of anyone here to not recommend it to . . .
Tarawangsawelas - Wanci
Tarawangsawelas is a musical duo from Bandung, performing mainly a modern and contemporary version of Tarawangsa, the sacred music from Sundanese West Java, ultimately joined by their teacher and maestro Pak Pupung Supena together with Pak Jaja on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful contemporary interpretation of one of the most mystical and spiritual genres in Indonesia.
Composer, Co-Producer: Penny Rimbaud
Vocals, Lyrics: Eve Libertine
Piano, Electronics, Engineer, Co-Producer: Charles Webber
Artwork: Gee Vaucher
Kernschmelze: ‘the dying gasps of the Age of Enlightenment’.
'Kernschmelze II' is a cantata for voices, in this case the voice of
CRASS songstress EVE LIBERTINE, processed by CHARLES WEBBER to almost
choral proportions. Working on Kernschmelze II alongside Eve Libertine,
PENNY RIMBAUD has been able to produce a classic album on a par with
their ‘Acts of Love’ of 1984 (Crass Records). Libertine’s sparse,
vulnerable poetics counter the almost Wagnerian scale of the work,
challenging preconceptions of what music should be and making strong
suggestions as to what it might yet become. Extreme electronics sourced
solely from vocal sounds to create noise music of an intense and highly
demanding nature.
- is a Missouri native of Greek descent who resides in
Brussels, Belgium. She has explored sound for over a decade and also
conducts ongoing visual research, mostly in animation, film, and
highspeed photography. Her musical releases are largely associated with
the American label Kranky and her performances are characterized by a
loosening of time.
John Also Bennett
- is an American musician, composer, and sound designer
who primarily utilizes synthesis alongside acoustic instruments
including flute and piano. In addition to composing and performing under
his own name he is a member of the trio Forma and the duo Seabat, and
is active with various other collaborative projects.
In memory of the late polymath avant-garde artist Tony
Conrad (1940-2016), longtime friend and coconspirator Charlemagne
Palestine returned to the site of their first encounter for a tribute
performance on what would have been Conrad’s 77th birthday. Charlemagne
Palestine is a composer, performer and visual artist born in Brooklyn in
1947. Often labeled as one of the founders of minimalism alongside
Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a
‘maximalist’, eschewing the clinical stereotypes of the former term in
favor of a full-blown erotics of possibility that in its ritualistic
performance conjures a sense of sacredness without specificity.
But before the intoxicating overtones of the Strumming Music for
which he is best known, before the stuffed animals and snifter of
cognac that have become his trademark onstage, Palestine’s first solo
performances were as carillonneur of the Saint Thomas Church at 53rd
Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between
1963 and 1970, Palestine operated the 26-bell carillon, starting with
the hymns he was expected to play before shifting into improvised
“klanggdedangggebannggg” sessions that would form the basis for his
incantatory repetitions to come. Palestine hammered the instrument’s
keys with his fists and pounded its pedals with his feet, effectively
playing the entire building while relishing the corporeal thrill of the
ceremony. Soon known as the Quasimodo of midtown NYC, his performances
became a sonic mainstay of the neighborhood, attracting a diverse group
of fans including Tony Conrad who, then living in Times Square, one day
introduced himself inside the church. The artists became fast friends
and collaborators, with Palestine recording some of Conrad’s work on the
carillon and contributing music to his film Coming Attractions.
On March 7th 2017, Palestine climbed the spiral stairs of the Saint
Thomas Church’s bell tower once again. This cassette features a full
recording of STTT THOMASSS ‘’’’”‘”DINGGGDONGGGDINGGGzzzzzzz ferrrr
TONYYY’’’’’’’’, preceded by a brief incantation delivered one month
later at a Tony Conrad memorial at Clemente Soto Vélez Cultural and
Educational Center.
Released by:
Blank Forms is a non-profit organization dedicated
to supporting emerging and underrepresented artists working in a range
of time-based and interdisciplinary art practices, including
experimental music, performance, dance, and sound art. We aim to
establish new frameworks to preserve, nurture, and present to broad
audiences the work of historic and emerging artists. Blank Forms
provides artists with curatorial support, residencies, commissions, and
publications to help document, disseminate, and advance their practices.
Board of Directors David Grubbs – Chair Robbie Lee – Vice Chair Nadia Berenstein – Secretary Margo Somma – Treasurer Lawrence Kumpf Alexander Lau Josiah McElheny Marina Rosenfeld
Fascinating and unreleased before music by Otto Sidharta,
pionneer of Indonesian electronic music. Electronic compositions that
integrated natural sounds and urban sounds to this extent were extremely
rare at the time, which gives them a unique form of intensity.
Released in our Early Electronic series.
Otto Sidharta
- is born in Bandung, Indonesia November 6, 1955. In 1978 he
studied music composition in Jakarta Institute of Arts under guidance
of Slamet Abdul Sjukur, in 1984 he continue his post graduate study for
composition and electronic music with Prof. Ton de Leeuw in Sweelinck
Conservatorium Amsterdam.
In 2015 acomplished his doctoral study at
Institute Seni Indonesia Surakarta and finished in 2016. Sidharta's
interest using environmental sounds and synthetics sounds as well to
express his musical ideas developed when he was a student at the Jakarta
Institute of Arts. He performed his first electronic music piece,
Kemelut, based on water sounds in the First Indonesian Young Composer
Festival (Pekan Komponis Muda) in 1979. In 1979 he begin to collect some
nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle,
Riau islands, and some other remote places. These sounds were used as
material for some of his works such as Ngendau, Hutan Plastik and East
wind. And some others. Otto Sidharta is still alive and performing
around the world.
The Uni series began when Alva Noto was booked to play live at the
club UNIT in Tokyo, and had to adapt his sound accordingly for that
environment.
‘UNIEQAV’ follows-on from and develops the concept of
Alva Noto’s ‘Unitxt’ and ‘Univrs’ albums, and completes the third part
in the trilogy, whereby each record is both unique and part of the
bigger picture. This is also mirrored in the artwork for each release,
which when combined form a triptych spelling ‘Uni’.
Described by
Carsten as “sonically representing an underwater dive”, the gleaming
‘UNIEQAV’ brings as usual an inherent artistic, conceptual and
scientific depth. Mathematics, data, unit systems, grids, rhythms,
codes, text, language, spoken word, DNA, science technology and nature
are all utilised, for both inspiration and execution.
As with the
last two Uni releases, the French sound poet Anne-James Chaton
collaborates here, on ‘Uni Dna’. Where on previous records Chaton first
provided a vocal track to which Nicolai composed, this time the duo
flipped it; the poet wrote for an existing track, adding his unique
vocal approach to recite amino acids that constitute the DNA molecule.
Regarding
Carsten’s interest in 3D sound design and building sonic spaces,
‘UNIEQAV’ transports the listener to a modern, spacious and zen-like
place for meditative movement. But conversely the album works equally
well in a dark club - as for every glistening digital spark and simple,
emotive melody - there’s a stealthy bassline, frenetic drum pattern and
colossal low-end thump.
Gareth Davis: bass clarinet on The Ripple Effect.
Additional sampled parts contributed with kind permission by:
Oene van Geel (viola) and Salar Asid (violin) on Snake Bite.
Marcin Barski (tapes) on Cassettes and Polaroids in the 21st Century.
Comments
Shuttle358 - Field
Releases February 2
Also currently 50% off previous Shuttle358 releases on 12k at bandcamp.
For all the talk of eMusic failing (and it's a legitimate topic of discussion), here's an example of them having a new release available before it is even on the label (Jaeger Community Music) website. Tough to even find album art on the web, but you can purchase the album at eMusic (artwork doesn't display on the site, but shows up after downloading). The Soundcloud link let's you stream the album. @jonahpwll this ought to be right up your alley... ;-)
Emusic
Soundcloud
2017 with Emil Sarlija & Oren Ambarchi - The Swiftsure Session (2 tracks)
I'm not sure if this is different than The Swiftsure Session (3 Tracks) from 2005
Emusic
The first new Bad Plus album with Orrin Evans replacing Ethan Iverson on piano. Currently available only at their website, as far as I can tell. (May show up elsewhere later).
(The Emu version is hopelessly tagged)
Great music and still available on Emu! Perhaps we shouldn't be too surprised that classical labels are slower than the Rock Rats fleeing the sinking ship - they are after all used to lower volume sales. This is nifty music mind! Thanks @Brighternow
Spoke too soon. I hate Kraftwerk covers, even more than I hate Zappa covers. Find your own music "Flakes"! (Zappa reference obv.)
so you're kinda hit from both sides there.
The Mecanocentric Worlds of Pierre Bastien (Live)
Some Danish jazz to go with the danish on a Sat morning...
Another good one on Jaeger Community Music. This seems to be a true "new release" for Ornithopter (eMusic had a self-titled release appear about a month ago, but I'm not sure it wasn't an earlier release, perhaps reissued).
Ornithopter - Tordenkaffe
An expression that originates back to the beginning of the 20. century.
Mostly at the countryside where the roofs were made of straw, whenever there was thunder at night, people would get up and drink coffee until the danger was over.
ETA:
- Soundcloud.
_______________________________________________________________________________________
News from Raster, previously called Raster Noton. (when Carsten Nicolai aka. Alva Noto was involved)
- http://www.raster-media.net/ - Emusic
Strië - Perpetual Journey
In 2015 acomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016. Sidharta's interest using environmental sounds and synthetics sounds as well to express his musical ideas developed when he was a student at the Jakarta Institute of Arts. He performed his first electronic music piece, Kemelut, based on water sounds in the First Indonesian Young Composer Festival (Pekan Komponis Muda) in 1979. In 1979 he begin to collect some nature and animal sounds on Nias Island, Borneo (Kalimantan) jungle, Riau islands, and some other remote places. These sounds were used as material for some of his works such as Ngendau, Hutan Plastik and East wind. And some others. Otto Sidharta is still alive and performing around the world.
CURRENT 93 DREAMT BY ANDREW LILES – LIKE SWALLOWING ECLIPSES: REMASTERED AND EXPANDED
I Have A Special Plan For This World and Faust. I Have A Special Plan For This World was based on a text written by Thomas Ligotti and also made use of his collection of The Bungalow Tapes. Faust was inspired by the short story by Count Stenbock.
This expanded download version of LIKE SWALLOWING ECLIPSES collates all the Andrew Liles remixes of Current 93 and has been fully remastered for this digital format.
It also contains the for the first time digitally - Haunt Invocation (Apadno) I: I Have A Special Plan For This World, Haunt Invocation (Apadno) II: Faust and previously unreleased mixes Haunt Invocation (Apadno) III and Haunt Invocation (Apadno) IV.
- released February 8, 2018
Here are two twenty minute-long pieces: improvised sound rituals successively sculpted by the magic of matrix polarization. If you are looking for meaning, read Nietzsche or Cioran, but do not expect any claim from us. The only thing that matters is to crank up the volume and join the ritual we have concocted thinking of you, and especially of us. The plastic and the oil are in front of you, the stylus is wearing out, as it is, perhaps, a little bit of absolute.
Political Ritual
- Ambiances Magnétiques - Emusic
Tarawangsawelas - Wanci
Composer, Co-Producer: Penny Rimbaud
Vocals, Lyrics: Eve Libertine
Piano, Electronics, Engineer, Co-Producer: Charles Webber
Artwork: Gee Vaucher
Taylor Deupree - Fallen
Out now on Spekk.
CV & JAB - Zin Taylor's Thoughts Of A Dot As It Travels A Surface
But before the intoxicating overtones of the Strumming Music for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestine’s first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised “klanggdedangggebannggg” sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instrument’s keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrad’s work on the carillon and contributing music to his film Coming Attractions.
On March 7th 2017, Palestine climbed the spiral stairs of the Saint Thomas Church’s bell tower once again. This cassette features a full recording of STTT THOMASSS ‘’’’”‘”DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY’’’’’’’’, preceded by a brief incantation delivered one month later at a Tony Conrad memorial at Clemente Soto Vélez Cultural and Educational Center.
Released by:
Board of Directors
David Grubbs – Chair
Robbie Lee – Vice Chair
Nadia Berenstein – Secretary
Margo Somma – Treasurer
Lawrence Kumpf
Alexander Lau
Josiah McElheny
Marina Rosenfeld
The Uni series began when Alva Noto was booked to play live at the club UNIT in Tokyo, and had to adapt his sound accordingly for that environment.
‘UNIEQAV’ follows-on from and develops the concept of Alva Noto’s ‘Unitxt’ and ‘Univrs’ albums, and completes the third part in the trilogy, whereby each record is both unique and part of the bigger picture. This is also mirrored in the artwork for each release, which when combined form a triptych spelling ‘Uni’.
Described by Carsten as “sonically representing an underwater dive”, the gleaming ‘UNIEQAV’ brings as usual an inherent artistic, conceptual and scientific depth. Mathematics, data, unit systems, grids, rhythms, codes, text, language, spoken word, DNA, science technology and nature are all utilised, for both inspiration and execution.
As with the last two Uni releases, the French sound poet Anne-James Chaton collaborates here, on ‘Uni Dna’. Where on previous records Chaton first provided a vocal track to which Nicolai composed, this time the duo flipped it; the poet wrote for an existing track, adding his unique vocal approach to recite amino acids that constitute the DNA molecule.
Regarding Carsten’s interest in 3D sound design and building sonic spaces, ‘UNIEQAV’ transports the listener to a modern, spacious and zen-like place for meditative movement. But conversely the album works equally well in a dark club - as for every glistening digital spark and simple, emotive melody - there’s a stealthy bassline, frenetic drum pattern and colossal low-end thump.
Additional sampled parts contributed with kind permission by:
Oene van Geel (viola) and Salar Asid (violin) on Snake Bite.
Marcin Barski (tapes) on Cassettes and Polaroids in the 21st Century.