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Whitstable solo
Eight soprano saxophone solos. The 2008 solo concert in Whitstable began as an invitation from artist Polly Read and film-maker Neil Henderson to collaborate on a joint work that included a concert in St.Peter's. These recordings are taken mostly from the concert but, as with LINES BURNT IN LIGHT, one piece was recorded before the audience arrived. These are the first recordings in what has become a series of visits to the church, which has perfect acoustics and is just around the corner from wh…
Or
After the pruitt igoe e.p, kangding ray returns with his third album for raster-noton, pushing further his explorations on the edge of digital and analog sounds. With or, kangding ray continues to blur the borders between experimental and bass music, and brings his signature sound to another level, somewhere at the darkest fringe of club culture. With the massive metallic beats of « athem », the frightening distorded waves of « mojave », the elevated groove of « odd sympathy », the modulated gui…
Negarville
Nothing is slow, deep and distressing like the music of Madrigali Magri and the voice of Mr. Succi of Bachi Da Pietra fame: Madrigali Magri have been cut their enviable space in italian rock underground scene, such to become an infuence for various italian bands. After "Negarville", "Malacarne" is their 2nd album on wallace records. They Split in 2005
Oboe Concertos
The oboe more than suited Maderna's partiality for clear structures and sensual-concrete sounds. It was not without good reason that at a time when the supply of music dedicated to the oboe was anything but plenty, Maderna wrote, not one, not two, but three concertos (besides several other works for oboe) for this "nasal" sounding member of the woodwind family. The first oboe concerto (1963) seems almost classical in its character, in the interplay of oboe and orchestra, or involving other instr…
14 Récitations
A songbird that stops singing must die. Georges Aperghis demands a similar degree of self-sacrifice of the performer of his 14 Récitation.
Die Sephiroth
Buwen is both composer and organist, accompanying saxophonist Priesner on this rather academic program of duets. An earnest but dull remnant of late high modernism, the title piece inadvertently points up the limitations of classical sax technique, ignoring the expressive possibilities of the instrument almost completely. Buwen is self-effacing in the extreme, content to provide ground figures for Preisner to bounce off. Strange to think that one could write music this bland about a subject so c…
ktl 2
This is the second full-length release by KTL, the formidable collaboration between Stephen O'Malley (SunnO))), Khanate, etc.) and Peter Rehberg (Pita, etc.). Devastatingly beautiful four-part follow up to the highly acclaimed debut CD, recorded in a former abattoir in Angers, as well as a 16th century manor in the extreme west of France. Taking the blueprint that was laid out on the first record even further, with the ecstatic build up of "Theme," the near-psychedelic "Abattoir," and closing wi…
Congotronics
This group was founded over 25 yrs ago by Mingiedi, a virtuoso of the likembé ('thumb piano'). The band's line-up includes 3 electric likembés, equipped w/ hand-made microphones built from magnets salvaged from old car parts, & plugged into amplifiers. There's also a rhythm section which uses traditional as well as makeshift percussion, 3 singers, 3 dancers & a peculiar sound system including megaphones dating from the colonial period. Their repertoire draws largely on Bazombo trance music, to w…
Quatervois
Finally the overdue and long awaited re-release of IOVAE’s Quatervois which came originally as a limited CD-R release on Drone Disco. IOVAE, native of Cincinnati is a true alchemist, working out lo-fi tape collages and simple four track assemblages. He uses unusual sound sources and layers these into rather dense and industrial etudes of found sound. Iovae (Ron Orovitz) has been playing with sound in the culturally insular confines of Cincinnati Ohio since circa 1988. Initially, tape & turntable…
Swimming In A Galaxy Of Goodwill And Sorrow
with Steve Swell: trombone Jemeel Moondoc: alto saxophoneWilliam Parker: double bass Hamid Drake: drum set - This is an album to be cherished, because it reaches back and incorporates styles from swing to post-modern free jazz; and because the playing of Steve Swell and the members of his quartet are as near-perfect as you are likely to find; and because the melodies capture the imagination with a complex beauty that hooks into the inner being of soulfulness. It encompasses a unity of elements…
Dying sun
The third album by the established and highly respected Greek/Swedish/Norwegian trio Looper: Nikos Veliotis (cello), Martin Küchen (saxophone) and Ingar Zach (percussion). Recorded at GMEA auditorium in Albi, France, by Benjamin Maumus, January 2010. Music by Looper. Edited, mixed by Nikos Veliotis. Mastered by Coti K. Co-release Cathnor recordings.
Je Ne Connais Pas Cet Homme
Beautiful duets between Brigitte Fontaine and Areski -- and an album that's filled with loads of short little tracks that stand with some of their greatest work ever! Instrumentation is spare, but incredibly haunting -- a bit jazzy at times, slightly experimental at others -- but always quiet enough to allow the slightly-whispered vocals of the pair dominate the record. There's a strong sense of poetry here -- but without any of the stiffness or pretension that might imply -- and the re…
Cellule 75
Back in stock: Irreverent, psychosexual and always fascinating, Ferrari's work manifests itself in texts, instrumental textures, electroacoustic compositions, reportings, films, theatre, etc. It is an honor for Tzadik to release two of his most important works from the 1970s, recorded under the supervision of the composer himself. 'Place des Abbesses,' the first electro acoustic portrait work realized at his home studio in Paris, 1977, is an evocative portrait of a small square between The Sacre…
Axolotl lullabies
A collection of remixes and compilation tracks 1999-2006. Carefully edited by Felix Kubin and Eric Mattson, this CD is more than a compilation. It brings lights on the different activities of a great open-minded composer from Hamburg. All these tracks have been composed and recorded by Felix Kubin unless otherwise stated. They have appeared on rare or badly distributed releases. This CD brings back to live these amazing tracks. The power of this release is to build bridges in between composition…
Kraanerg
Apart from a large orchestra, Kraanerg, composed in 1968/69, requires audio feeds of recorded parts played by the orchestra and of the results of the manipulation of electro-acoustical phenomena. “I do not work with basic building blocks. I start afresh every time,“ Xenakis once said. This statement may help explain the extremely independent sonic universe created afresh in his compositions again and again. In the same vein, he rejects any attempt to foist semantic patterns onto the music of Kra…
Vita di San Francesco
When, in the summer of 1992, Lutz-Werner Hesse visited St. Francis’s hometown in Umbria, he was deeply moved by Giotto’s frescos in the Basilica. Using prints of the frescos, Hesse later developed a dramatic sequence, which was meant to serve as the basis for a composition revolving around the life of the saint. Gongs had always held a special fascination for Hesse. So, for this piece, he pitted 13 gongs against one organ: “The organ, I thought, is a particularly suitable partner for the gongs s…
Ins Offene... / sphere
Enclosing the listener in sonic space: This is what Beat Furrer carried to extremes in his FAMA (col legno 20612), about 15 years after Rihm, by actually placing his audience in a “building of sound”. For Wolfgang Rihm, a sonic space was something less concrete and more indirect: “Organically sprawling strings of sound should be woven around the listener, circling her from different directions. In this way, the listener is not left to her own devices while opening up to it; the piece itself come…
Olson III
A piece of unrelenting intensity, Olson III may be one of the most powerful compositions from minimalist composer Terry Riley. Based on the same phasing principals of In C, Olson III is filled with short motives that each ensemble member must play and repeat before moving onto the next. A chorus singing "To begin" joins into the droning fray of string instruments, sawing away à la In C. For 53 minutes here, Riley (on soprano saxophone) and a teenage student orchestra at the Nacka School of Music…
Icarus
This 1972 classic captures saxophonist Paul Winter and his ensemble at the height of their improvisational powers. Winter was one of the first artists to incorporate such exotic instruments as the sitar and tabla into his music and the result was memorable chamber jazz-folk played in the wonderfully experimental, post-hippie way only Winter and his merry band could. The title track, one of guitarist Ralph Towner's compositions, became famous for its pensive melody and soaring soprano sax. "Whole…
For Bunita Marcus
For Bunita Marcus was written in 1985. "This work, which I have dedicated to Bunita Marcus, [...] deals with the death of my mother, and with the notion of a slow death. I simply didn't want the piece to die. So I used this unwillingness compositionally in order to keep the piece alive, like a patient suffering from an terminal disease, for as long as possible." (Feldman) It is not the loud raging, the last furious revolt of a dying human being that Feldman depicts here, but a slow nodding off a…