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MID_EVIL
Improvisations recorded on the MID_EVIL album do not aspire to reconstruct the past. However, its ghost hauntingly looms over the whole project referring - if only by bone scraping sounds transmuting into the noise of prepared gramophone records - to sonic archaeology and the phantasms concerning the era of phonographic breakthrough. This material touches on issues concerning continuity in history and tradition, recording sounds and tones, as well as musical structures and practices.These are al…
The Sound of Laughter Isn’t Necessarily Funny (Tape)
The Sound of Laughter Isn’t Necessarily Funny is a catalogue in the form of a cassette tape by Jonathan Monk published after the show The Sound of Laughter Isn’t Necessarily Funny held in Monk’s home town of Leicester. The catalogue comprises a five panel concertina booklet printed in gold and black with jewel case and prison cassette.
British artist Jonathan Monk regularly replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent m…
The Stone Which The Builders Rejected (Tape)
A reconstruction of underestimated and mislaid recordings from the period 1984-1987. Contributors: Kostas Anestis (synthesizer & voice), Yiannis Argyropoulos (drums, piano & voice), Eleni Drygianaki (voice), Costis Drygianakis (a bit of everything &voice), Christos Kaltis (bass & voice), Alexis Karavergos (guitar & voice), Petros & Eliza Koutsopoulou (voices), Kostas Pandopoulos (sea & voice), Eleni Varouxi (toy trumpets & voice).
Cosmic Gem Pt. 2&3 / Les 3 Cœurs
Psychedelic split tape by Weird Dust and Bear Bones, Lay Low.
Frequencies For Leaving Earth Vol.2
Kevin Richard Martin(The Bug/King Midas Sound/ Zonal), today launches his own digital label, Intercranial Recordings, with the simultaneous, twin release of ‘Frequencies for Leaving Earth Vol.1’ and ‘Frequencies for Leaving Earth Vol.2’. Both volumes were composed, mixed and produced during the lockdown period. Kevin spent this surreal, intense time, rebuilding his studio and retreating into these alternate sonic realities… Volume 1 is epically slow. Three graceful tracks that are as beautiful …
Ahinsa
Piotr Dabrowski: Primitive lyre, Voice. Giacomo Salis: Objects, Caxixì, Radio, Frequency sound generator. Paolo Sanna: African bells (Apitua set.) Tubophone set, Cicada, African seed rattles.
La Gomera (Art Box + Tape and Ephemera)
* Housed in a silkscreened wooden box in a limited edition of 25 copies and sold as an exclusive mail-order item only * The idea for this release started years ago while listening to a tape from the Slowscan archive containing a radio broadcast about the Otto Mühl commune on La Gomera, Portugal. Later, while working with William Levy, a close friend of Mühl, on his 2016 LP on Slowscan Records the idea arose to combine forces for an Otto Mühl LP, documenting some of the stuff from the personal ar…
Viagem
Light and breezy, pure and easy, that’s how I spent most of last week, and this album was a great soundtrack for it. Osmar Milito is an interesting figure in Brazilian jazz, having a hand in the famous Canecão club in Rio and playing with the likes of Sylvia Telles, Leny Andrade, and Flora Purim early in his career, and later on doing lots of soundtrack work for those venerable Brazilian exports, telenovelas. His post-bossa nova records are collectible for a reason: they’re damn good listening…
Elements
*In process of stocking.* Since my piece Terrible Fake (Piano, Drums, 2013) and especially Darkroom (Clarinet, Vibraphone, Sampler, 2017), I've been trying to to integrate some grooves into classical contemporary idiom. Since those experiments were mostly for smaller setups, this time I wanted to transfer it into the larger one in order to get more possibilities to work with different textures and coloring within harmonic structures of clusters and chromatic movements of melodies. Constant trans…
Revue instrumentale et electronique
Gerd Kühr is a synonym for combining complexity and simplicity, modernity and “tradition”. Revue instrumentale et électronique - spatial composition for an instrumental ensemble and recorded sound in six movements – manage to cross and unite great variety of aspects of musical expression: complex, though powerful rhythmical constructions with hard accented percussion - boosted through ensemble spread in a room - and highly lyrical passages with extreme appreciation of time structured silence. Al…
The Compromise Is Not Possible
2008 release. The Compromise Is Not Possible was composed at the end of the 2004 by Slobodan Kajkut. It was commissioned by Hoerfest, a festival of contemporary and experimental music. Composed with the concept of combining contemporary techniques with heavy metal elements, the piece brings crushing guitar/drums parts with various screamings of voice, combined with silent high and low organ drones.
Terrible Fake
Terrible Fake explores rhythmic relationships between drums and piano in context of somewhat crippled art of trip-hop. It is mostly based on irregular beats in order to create kind of fragmented groove. Different characters are alsoemphasized through mostly chromatic movements of piano in different registers, producing either undefined tonal system or droning wall of sound.Terrible Dub is nevertheless a "dub" version of the piece which minimizes Terrible Fake to it's fundamentals regarding time …
Berlin Exercises
Christian Wolff on Berlin Exercises: "'Exercise' indicates relatively shorter pieces in which the process of work, of practicing and of trying things out within specified limits, in short a kind of discipline in process, are being attempted. I regard them as both exercises in composing and for performers, especially as the performers function as members of an ensemble." Your first encounter with the music of Christian Wolff leaves you with the impression you’ve just heard (or played, or re…
Untitled (N°7) - LP
After more then 20 years on the Viennese music map, Polwechsel could be easily considered as legendary, no matter of which constellation of the band the word is. Currently consisting of Werner Dafeldecker (Double-Bass), Michael Moser (Cello), Martin Brandlmayr and Burkhard Beins (Percussion), hey always explored the borders between structured compositions and their improvisational aspects. Hectic nature of their recent pieces, amplified through overall brilliant dynamic range, shows further st…
The Black Saint And The Sinner Lady
*2024 stock* Official Reissue in collaboration with Impulse Records! Special gate-fold edition. Recorded on January 20, 1963, by an eleven-piece band and released in July of that year by Impulse!, The Black Saint and the Sinner Lady consists of a single continuous composition partially written as a ballet divided into four tracks and six movements. Charles Mingus defined the album's orchestral style as "ethnic folk dance music", and it blends jazz and classical, while also integrating elements o…
Four For Trane
** Official reissue by Elemental music in collaboration with Impulse Records! Special Gatefold Edition. ** Recorded for the Impulse label by Archie Shepp in 1965, four of the five tracks on Four for Trane are reworkings of pieces originally recorded in 1959 & 1960 by John Coltrane, and released on his Giant Steps (1960) and Coltrane Plays the Blues (1962) albums. They are rearranged here by Shepp and trombonist Roswell Rudd. The album also features trumpeter Alan Shorter (Wayne Shorter’s brother…
Piano Music
Georges Aperghis is probably still not much associated, by the public that internationally attends performances of his works, with music for solo piano. Music-theatre – of an uncommonly original kind, with extended vocal techniques much to the fore – has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced – often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophisti…
For Bunita Marcus
2019 Repress. In the 1980's, Morton Feldman composed two large-sized pieces for his favourite instrument, the piano. Both pieces, Triadic Memories (1981) and For Bunita Marcus (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: Triadic Memories demonstrates the complexity and tonal opulence of Feldman’s pattern compositions from 1977 through 1983, whereas For Bunita Marcus shows the stripped-down, almost dismissive structures …
Piano Concerto - Classical Blend/Weihnachtsoratorium
Petr Bakla belongs to generation of composers whose output no longer seems bound to the imperative of the "search for sounds" extended technique. Instead, he builds his music on the unmarked instrumental sound, which he uses to create a flow of interacting layers and explore the means of pure pitch, time and sound volume to the expressive extreme. His first ever solo release presents him at his best - two orchestral pieces as a definite manifesto of monumental monochromatic environments, b…
Ouate
A little bit of Baroque, a little bit of Zwölftonmusik, a little bit of electronica, that's Robert Lepenik