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Don Cherry New Researches Feat Nana Vasconcelos:
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In July 1968 trumpeter Don Cherry assembled a group of Swedish musicians--Bernt Rosengren (sax & winds), Tommy Koverhult (saxophone & winds), Leif Wennerström (drums), Torbjörn Hultcrantz (bass), Jacques Thollot (drums) & Kent Carter (bass)--recording their session with the intention of releasing an album that never happened, the tapes now re-discovered 50 years later and finally available! ... Click to View


Don Cherry:
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In July 1968 trumpeter Don Cherry assembled a group of Swedish musicians--Bernt Rosengren (sax & winds), Tommy Koverhult (saxophone & winds), Leif Wennerström (drums), Torbjörn Hultcrantz (bass), Jacques Thollot (drums) & Kent Carter (bass)--recording their session with the intention of a releasing an album that never happened, the tapes now re-discovered 50 years later and finally available! ... Click to View


Magda Mayas' Filamental (w / Davies / Caddy / Theriot / Davies / Parkins / Thieke / Abdelnour):
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Haco:
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Drawing inspiration from mythologies surrounding ideas of rebirth, Haco's unique sense of ambience within song structures creates beautiful environments of rich detail and encompassing warmth, performed with an eclectic group including improvising guitarist Manuel Adnot, pianist Tetsuji Matsuo, Stabilo (Speaker Gain Teardrop), Tarnovski (Gurun Gurun), and Keiichi Sugimoto (Vegpher). ... Click to View


Plan Kruutntoone:
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The fifth album from Amsterdam avant rock band Plan Kruutntoone led by Hans Visser on guitar, banjo & voice, and drummer/percussionist Chris Müller, is a diverse set of recording that bring a sense of isolation and introspection, including spoken word pieces with Samuel Beckett text fragments, and a string quartet composed by Hans Visser; unique and singular. ... Click to View


Michael Marcus:
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Using the natural resonance of the Liepkalnis underground water reservoir in Vilnius, Lithuania, the Katarsis4 saxophone quartet of Arminas Bizys, Algirdas Janonis, Danielius Pancerovas and Kazimieras Jusinskas merge free improvisation, both melodic and through extended tetechniques, with composed forms and folk music, capturing this extended work of beguiling and powerful music. ... Click to View


Heather Frasch / Ryoko Akama:
Linking (Ftarri / Meenna)

US sound artists Heather Frasch and UK Ryoko Akama, who together run the mumei journal exploring the relationship between text and sound, in works commissioned by Bruno Duplant based on written texts, each interpreted, recorded and edited by the other using objects, field recordings, electronics, cello & voice, with one piece from Frasch and two versions from Akama. ... Click to View



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  Terry Rusling 
  The Machine Is Broken  
  (Spool) 


  
   review by Dave Madden
  2019-09-10
Terry Rusling: The Machine Is Broken (Spool)

For all the Raymond Scotts, Delia Derbyshires, and Daphne Orams "electronic" composers who are only in the last decade gaining newfound attention beyond fetishist devotion there is a Malcolm Pointon, or an F.C. Judd. Or a Terry Rusling (1931-74), whose work, albeit in the parlance of the aforementioned artists, is scarcely promoted. Though he once toured an "Audio-Kinetic Environment" installation across eleven cities* (the results were touted by Andy Warhol), his output remains relegated to his East Canadian post and CBC incidental music catalog. Try to find some of it on Discogs try!

Active in the mid-1960s time of synthetic sound and the noise boxes who make them, Rusling was a devotee of the graphical score (two of Rusling's scores have the published John Cage stamp of approval), and the sonic choices on The Machine Is Broken reflect the ambiguous, suggestive maps eccentric with Musique concrte. When discussing Rusling one must also mention his mentor, inventor/physicist/composer Hugh Le Caine, whose Special Purpose Tape Recorder, a precursor to the multi-track recorder created more for sound creation than capturing music, purportedly plays a crucial role in Rusling's compositional process.

Presented here are seventeen works, some of which are only titled according to the tape reel on which they were found. As alluded to, the pieces would fit evenly in the subversive, forward-thinking library music of the BBC Radiophonic experimental cadre as well as on a playlist with Louis and Bebe Barron or any number of concrte folks with a ring modulator and patience. "Reel 1G" is animated and reversed Martian voices from a cockpit about to smack into a mountain range. "Radio England" is a mangled harpsichord with penetrating, cooing interference and pitch-shifted piano depth charges hitting just outside the recital hall. On "They Marry, They Meet", a whimsical Theremin-like performance changes colors throughout; faint, breathy whistles turn into a couple of churlish bees who transform into flute-like/reed-possessed characters who argue over a meal; a calliope interjects with a harmonically narrow cluster that is further manipulated with LFO's and splices. Both "In Which Non-Being Is Absolution" and "If I Could Find a Thing to Hate" delight in Fantastic Planet imaginary landscapes of wasteland and danger with soaring sound forged from self-sustaining feedback and delay just pulled back from the point of feeling unpleasant. On "Title", a man and woman mysteriously blurt "I find candy repulsive/ I find Snow White obscene" before Rusling fills the space with loads of springing squeals, hammering, high-pitched ringing, and metallic clangs

A "Collection of Short Pieces" is exactly that: A dozen or so sketches that range from short series' of blips and partially developed ideas in line with Stockhausen's tude and Studie I, II. One can imagine, though, Spool label owner/musical curator Daniel Kernohan sifting and soaking in something not immediate but gems none the less (The Machine Is Broken is part of Spool's "Spurn" releases, something Kernohan describes as irreverent and "most personal and least-classifiable output").



*...Audio-Kinetic Environment, seen at the Art Gallery of Ontario, Toronto, last year (January 19 February 2, 1966) consisted of about twenty-two panels and several moving pieces constructed of wood and plastic. All were coated with fluorescent and phosphorescent paints. Their colors were activated by the continuous play of a lighting system synchronized to taped electronic music patterns."



Terry Rusling: The Machine Is Broken
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