New Arrivals
Listening to the Footsteps of Living Ones Who Are Still on the G
This is a duo album by Toshimaru Nakamura, a mixer player based in Tokyo, and Martin Taxt, a tuba player living in Oslo. Instead of a conventional tuba, Taxt plays a custom-made “microtonal tuba” capable of producing microtones. In this album, Nakamura incorporates Taxt’s tuba sounds in his mixer through a microphone instead of playing his usual instrument, the no-input mixing board, which does not take in external sounds. The project started with the concept of Nakamura processing the tub…
Organ Sonatinas And Drones
'Sonatina no. 1' (2016). 'Sonatina no. 2' (2016). 'Sonatina no. 3' (2016). 'drones' (2014). Carson Cooman, organ. Eva-Maria Houben has been performing works for the organ for more than 30 years. As she is related to the “wandelweiser-group” of composers, her compositions are published by “edition wandelweiser”, Haan. Her list of compositions up to now includes works for the organ, piano, clarinet, trombone, violoncello and other solo instruments, works for voice and piano, for wind and chamber e…
A Hint Of An Emotion
Beat Keller (Electric Guitar) Philipp Bowee (Electric Guitar) Recorded in Mellingen and Winterthur, Switzerland Recording: Philipp Bowee All tracks are composed (2014-2016), mixed and mastered by Cem Güney Special thanks to: Antoine Beuger, Sylvia Alexandra Schimag, Beat Keller, Philipp Bowee, Gil Sansón, Jeremiah Runnels, my wife and mother and to everyone who made this possible. 'a bas relief of a talisman' dedicated to Charles Ives 'soft kill incubator' dedicated to Sylvia Alexandra Sc…
Sublunar
Presented live in Los Angeles. Source material originally developed as part of mas gestos y mas caras, a collaborative performance with Rafa Esparza and Yann Novak, presented at the Hammer Museum on July 8, 2016. Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his wor…
Removed
In 2000, The Wire wrote of Richard Chartier’s work: “it’s worth stretching the ears in search of Chartier’s sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows”… the same holds true today. Formed over the course of 5 years, Removed was a process of removal/erasure. Only trace elements appear from what was. Their interactions merely a ghost of a composition - subtle echoes across the sound spectrum. A glacially paced progression of discreet relat…
Liminal Studies
Wojciech Blecharz is somewhat an exhibitionist. An emotional one, of course. With his music, he doesn’t create a vision of the contemporary world burdened with disasters, being neither a “digital indigent” nor a fan of algorithmic passages. He’s not even recognized as a political rebel who discloses his outlook on life between the notes. In the centre of his interest remains what’s closest to him – the human psychological condition in the context of experiencing crises and break-ups, trauma…
Besando El Tiempo
Besando el Tiempo is a piece that was composed in 1995 in the space of four days. It was written in an automatic script that Maria de Alvear uses for many of her pieces. The work was originally composed for the flautist Caren Levine, who also gave it its first performance in Salzau in 1995. 'besando el tiempo' has now been performed several times worldwide by different interpreters. When Maria de Alvear heard the performance by Antoine Beuger, she asked him to give her a recording for herse…
Ephemeral Constructions
University of South Carolina experimental music workshop, Greg Stuart (director). Kallam Ashmore (objects), Brian Bethea (saxophone), Erik Carlson (violin), Eric Dennis (objects), James Easteppe (guitar), Jürg Frey (clarinet), Michael Halbrook (objects), Timothy Hall (guitar), John Kammerer (horn), Aj Karp (objects), Logan Mclean (voice), Lauren Phillips (objects), Brooke Rosenberg (objects), Chris Ruggiero (objects), Jessica Russell (objects), Nikil Sairam (violin), Bailey Seabury (percussion),…
Video Salon
The transcontinental collaboration of Arcata shoegaze abstractionist Brian Pyle and spectral Russian songstress Galya Chikiss began in Berlin, where the former was on tour and crashing with the latter, then finished in Northern California. Despite such distance, the duo’s debut feels symbiotic and seductive, shimmering nocturnal mirages of devotional drone and processional dub. Named after the site of certain of Chikiss’ formative teenage experiences (“trashy rooms with old anonymous TV sets and…
Sleeper
Daniel Menche is best known for his assemblages of visceral, industrial-strength noise. In such head-rinsing recordings as Vilké (2013), Deluge (2003), and Fields of Skin (1997), Menche's compositional directives instigate and exacerbate the physiological properties of anxiety -- increased blood pressure, blurred vision, claustrophobia, panic, disorientation, etc. In the hands of a talented composer such as Menche, noise can be demonstrative, cathartic and even communal. But after three decades …
Bonds of Prosperity
Thalassa is the avant-drone project of Aaron Turner (Sumac, Isis, Mamiffer, House Od Low Culture, etc.) and William Fowler Collins. In his many guises, Turner articulates a chimerical aesthetic that intrepidly explores beyond the scope of sludge, hardcore, and post-rock. In Collins' blackened earth drones, he steadfastly engages in the elemental exploration of the New Mexican landscape that often inspire comparisons to the potency of black metal without the need for a single blast beat. It makes…
Werke Für Schlagzeug Und Elektroakustische Geräte
Works for Percussion and Electro-Acoustic Devices is the second album of the Polish percussion duo Milosz Pekala and Magda Kordylasinska. The compositions Renaissance Gameboy #1 and #2 (2011) by Felix Kubin were originally written for violin, saxophone, cello, piano, drums and tape. The new versions arranged by the duo transport his pieces into the world of an extended percussion set, with marimba and vibraphone placed in the center. Additionally, several parts were recorded on tape. Blac…
Una Tomba Aperta... Una Bara Vuota
Limited to 100 copies on funeral violet vinyl. A stunning Piero Piccioni score for the soundtrack of the homonymous film released in 1972 and directed by Al Bagram (a pseudonym used by Spanish filmmaker and screenwriter Alfonso Balcázar). Jazz-noir numbers and disturbing chamber arrangements enforce the dark atmosphere of the film, a Gothic film that transcended the Italian giallo tradition (which was actually an Italian-Spanish co-production). The themes created by the maestro for this meta…
La Vie dans les Airs & dans les Eaux
Drone Records is proud to present the first ever collaboration release of these two cosmopolitan sound artists from France and Japan (residing currently in Taiwan and Belgium), based on a variety of field recordings, ‘concrete’ material improvisations and personal additions done in different parts of the world. We can hear mysterious (micro)-sounds that could come from minerals, stones, plants, or daily objects and instruments - opening up two soundscaping tracks full of wondrous elements, combi…
Wound Burner
Wound_Burner is an audio project based on field recordings which took place in various locations in New York, USA, Gotland, Sweden, Rio De Janeiro, Brazil, and the Greek countryside. The project consists of three main parts, and moves along high frequency slow-motion sentimental delirios to heavy bass ambient soundscapes, periodically colored by the voice of the soprano Irini Kyriakidou. Some of the sounds were constructed by using exclusively digital and electronic media. Wound_Burner demo…
Best Suit
Outside of Ontario, some of us had to actually work yesterday. So, now we are in the mood for Weird Tuesday. Here’s something to totally mess up your work day: ‘Best Suit’, the excellent techno, ambient, avant garde album from Jason Zumpano’s The Cyrillic Typewriter. Accompanied by Megan Bradfield on double bass, Zumpano lays out some jazz-informed musical musings that are occasionally laid-back but more often chilling and cinematic. It’s the soundtrack to a future nightmare.
Marching Song Volumes 1 & 2
The brilliant third album from Mike Westbrook – a sharp-edged, two volume set with a scathing anti-war theme! The work is Westbrook's first total-concept album, and it's still one of his best – written with an edge that's free from some of the more whimsical touches that showed up in Mike's later years, and played by a core group of British avant soloists with searing intensity! You've never heard large group scoring like this – bold, ambitious, and quite different than most of what's c…
Three Days Afterwards
Three Days Afterwards is the fourth solo release from Arek Gulbenkoglu. Within manifests a disorientating assignment of tones, textures, and voice. Hovering around the key words below there is an unsettling psychedelic music - ready ripe and raw for the current foreboding age: Sickness; Rooms; FM synthesis; The fickle; Objects; Rituals; Armenia; Vibrations; The inconsequential; Three days afterwards; Arek Gulbenkoglu. Mastered by Joe Talia. Artwork concept by Arek Gulbenkoglu; Layout by Ma…
Turtle Records Pioneering British Jazz 1970-1971
Three British albums produced by Peter Eden and released in one year – 1970-1971 – are the matter of this attractive box set, with contributions from legends of British jazz and indeed classical giants – bassist Barry Guy (born 1947) has since made a name for himself in the more lofty world of early music, though not exclusively so.
Saxophonist Mike Osborne’s Outback is the first of the discs, a bold, explorative record comprising just two tracks from his trio, the first of which, So It Is, …
Señales De Síntesis - Música Electroacústica Peruana
In the bulletin 103 of the Casa de las Americas, published in the second semester of 1984, there is an article by Peruvian composer and musicologist Aurelio Tello, offering a full-scale view of what by then was the last generation of Peruvian composers: the generation of the 70s, nicknamed by Celso Garrido-Lecca as “The Superstars”. Making a recap of the musical production of those composers, Tello indicates: “Signs of the conditions under which we work can be seen at first sight: the red…