New Arrivals
Top Ten: 2008-2018
Edition of 200. 550 pages, LP size. Top Ten: 2008-2018 is the second volume in James Hoff’s Top Ten series. In almost every issue since April 1998, Artforum has asked an individual from the art world to compile a top ten list of their favorite recent exhibitions (or concerts, television programs, books, events, etc.). In 2008, Hoff compiled the first ten years of this column into a new publication, with all of the articles’ accompanying images redacted, rendering the pictorial layout and design …
Just Another Asshole
Just Another Asshole was an influential and now-legendary mixed-media publication series edited by Barbara Ess from 1978 to 1987. The submission process was open and collaborative, and each issue was produced in a different format (e.g., limited-edition zine by Ess, tabloid-sized graphic arts magazine, 4 pages in an issue of Artforum, photography book, LP record album, paperback book). Several were edited with Jane Sherry or Glenn Branca.Issue 6 of the magazine, co-edited with Branca, was publis…
Top Ten: 1998-2008
Edition of 200. 440 pages, LP size. Top Ten: 1998–2008 is a new edition of the long-out-of-print publication by James Hoff. In almost every issue since April 1998, Artforum has asked an individual from the art world to compile a top ten list of their favorite recent exhibitions (or concerts, television programs, books, events, etc.). In this volume, Hoff compiles the first ten years of this column into a new publication, with all of the articles’ accompanying images redacted, rendering the picto…
A Temperament For Angels
Michael Jon Fink's A Temperament for Angels (written in 1989 and fully revised for this recording in 2003) combines equal measures of beauty and grit in a powerful, kaleidoscopic, elusively shaped textural music that is compelling from its first quiet violin note (to its full sixteen voices of strings and electronic/sampled sounds and percussion) to its final shimmer of decaying cymbals. Often dark and moody, this music speaks in broad, chromatic harmonies and light, nearly detached single pitch…
Los Tigres De Marte
Frequently shifting focus as its harmonies melt one into another, this swirling piece finds its wildly branching roots touching on many styles of music—from Delius and Debussy to bop to techno. Los Tigres de Marte is sometimes lush and enveloping, sometimes brittle and percussive, sometimes suspended and motionless, sometimes agitated and aggressive, but always engaging.Daniel Lentz writes about Los Tigres de Marte:“Like many American composers of my generation, I was raised on a diet of bebop a…
The City The Wind Swept Away
The quiet rumbling of trombones and the soft keening of strings haunt the piano’s slow stream of notes. A mosaic, a tapestry. Rich harmonies and simple triads come and go, like the ever-changing, yet ever-similar, landscapes one passes while driving through a remote area, perhaps a Southern California desert, perhaps a deep woods. Although not in any sense a programmatic music, the events in The City the Wind Swept Away coast in and out of earshot in much this way, or like drifting clouds, slowl…
The Complete 10-Inch Series From Cold Blue
Back by popular demand (and available for the first time on CD), this boxed set of three CDs collects all the music released on a popular series of 10-inch vinyl records that were put out by Cold Blue in the early 1980s. During the Cold Blue label’s first incarnation, this music by seven West Coast composers—Barney Childs, Rick Cox, Michael Jon Fink, Peter Garland, Daniel Lentz, Read Miller, and Chas Smith—created much of the company’s reputation as a challenging and always interesting source of…
An Hour Out Of Desert Center
Chas Smith's An Hour Out of Desert Center is scored for pedal steel guitars, composer-designed-and-built crotales and sound sculptures, zithers, and a 1948 Bigsby lap guitar (a one-of-a-kind instrument that was owned by famed steel player Joaquin Murphey, who played with Spade Cooley, Tex Williams, Sons of the Pioneer, and other classic country artists). Here, Smith’s musical texture, evolving slowly and continuously over the course of the piece, is without dramatic flourishes. Like the spare la…
Awakening At The Inn Of The Birds
Continents of City and Love and Tidal, written 20 years apart, are both arch-form pieces scored for two pianos, synthesizer, string quartet, and double bass. They both feature expanding piano lines that intersect and compliment individually expanding textures provided by the strings and synthesizer. Continents cycles slowly through four harmonic areas via a sort of structural counterpoint, achieving a finely knit fabric of understated sensuality. Tidal combines strictly notated music with measur…
The Light That Fills The World
These three works exist amid an undeniable esthetic spirit of the times—the embracing of pre-compositional principles and structural processes in the service of a highly personal artistic statement. However, John Luther Adams’s recent work tends to transcend his compositional devices—it is simply potent, compelling music that is timeless in its sublimity. This is quietly expressive music in which process never intrudes on the music’s “sounding,” but churns away in the background, while the foreg…
Adams / Cox / Fink / Fox
This album presents four noted West Coast composers—three from Southern California and one from Fairbanks, Alaska—writing haunting, generally quiet, sometimes lyric, occasionally pensive music for clarinet and bass clarinet accompanied by either string quartet or percussion and piano. All the pieces feature the playing of clarinetist/bass clarinetist Marty Walker.John Luther Adams’s Dark Wind was written for Marty Walker and this CD in 2001. Although it is a process-driven piece involving polyrh…
Aluminum Overcast
Chas Smith's six-movement set of variations that comprise Aluminum Overcast play with the listener’s sense of time—the perceived pace and the clock pace at which musical events take place—as they slowly progress, the spare advancing to the dense.The first five sections/variations are built from shared/recurrent phrases—melodic phrases (for bowed and struck metal), rhythmic phrases derived from geometric and Fibonacci structures, and phrases of “harmonic noise” that vary in density. The sixth mov…
Cold Blue
Back by popular demand (and available for the first time as a CD), this essential collection of West Coast new music—an anthology known simply as Cold Blue—is a classic. Originally issued on vinyl in 1984, shortly before the demise of the old Cold Blue label, the disc quickly became the company’s most popular release. When Cold Blue was started up again in 2000, the company received numerous letters encouraging it to re-release the anthology as a CD.Although bound together by a common concern wi…
Maria Falling Away
This CD brings together six of Rick Cox’s elegantly sparse, dark, sensuous, vaguely desolate soundscapes in which emotions seem to bubble just below cool surfaces (tracing a history of his work from 1990 through 2001). Most of these pieces display Cox’s subtle, idiosyncratic electric guitar playing techniques, which sometimes employ preparations placed amid the strings (similar to those utilized in prepared piano works) and the use of such objects as sponges and brushes and glass lab slides to s…
Dancing On Water
All the music on this album, with the exception of Song(s) of the Sirens, was written specifically for remarkable clarinetist/bass clarinetist Marty Walker. As Is Thought/Aurora, a casually dramatic work for bass clarinet, harp, and vibraphone, is like a miniature concerto in its structure, contrasting solo bass clarinet phrases with tutti lines.Song(s) of the Sirens, a lush work for clarinet, piano, and woman’s voice, gradually and systematically builds in texture, harmonic richness, and melodi…
I Hear It In The Rain
Five Pieces for Piano (1997), Two Preludes for Piano (1996-97), and For Celesta (1985)—the latter for an instrument that is very seldom featured in a solo setting—display Michael Jon Fink’s command of crystalline forms that are Debussyian in beauty (and occasionally in gesture) yet hold a distinctly contemporary artistic distance from their musical materials. These fragile and primarily extremely quiet pieces are performed with great aplomb by Bryan Pezzone.Living to be Hunted by the Moon (1987)…
Nikkowolverine
Nikko Wolverine (1999) is a three-movement piece scored for various bowed and struck metal instruments in non-tempered tunings. These instruments, which were designed and built by the composer, emit tones that are rich in complex harmonics and often sound more electronic than acoustic. All three movements of this work share motivic materials, but each successive movement adds more harmonic complexity and textural density to the movement that preceded it.Tons Tons Macoutes (1999) is a texturally …
Last Things
Last Things, for bass clarinet, pedal steel guitar, piano, and electronic keyboards, was written for clarinetist Marty Walker in 1987, and has been subsequently performed (as a piece for bass clarinet and tape) by Walker at concerts across the U.S. Somewhat a rhapsodic call and response between bass clarinet and pedal steel guitar, it is constructed of seven connected sections (or songs) that over the length of the piece slowly build in intensity. As the piece progresses, each section expands in…
Racional Vol 1
Exact LP repro edition. Grey-area reissue of this legendary album, with top audio quality: the seminal "Racional 1" privately released by Tim Maia on his own Seroma imprint (the name Seroma is the sum of the first syllables of Tim Maia (Sebastião Rodrigues Maia) names. SE from Sebastião, RO from Rodrigues and MA from Maia). It’s difficult to overstate the importance of Brazil’s Tim Maia. A wildly restless creative mind Tim Maia was also a huge personality. The larger than life man made a huge co…
Skies Of China
**Original 1985 vinyl edition of the album. Few copies available** What emerges from Giorgio Gaslini’s various suites is a happy explorer, recalling worldly journeys and launching musical adventures. He was the first Italian jazz musician to play in India and China and the result of each journey was an extended suite. Gaslini’s own language that emerges triumphant, a fondness for floating clusters and fractured boppish themes (his writing can hint at influences from Monk to Schoenberg, George R…