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Rosenfeld, Marina: Deathstar [VINYL 2 LPs] (Shelter Press)

Each side of these 2 LPs is take from one of four installations by Marina Rosendfeld in Frankfurt, Donaueschingen, and NYC, presenting the installation Deathstar; a piano performance within the Deathstar; a re-notation in the form of a concerto for piano and chamber orchestra; and the orchestration's reduction to something like chamber music.
 

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Printed artwork on uncoated sleeve and innersleeves. Edition of 1000 copies on black vinyl.

UPC: 769791977501

Label: Shelter Press
Catalog ID: SHELTER 124LP
Squidco Product Code: 29766

Format: 2 LPs
Condition: New
Released: 2020
Country: France
Packaging: Vinyl LPs in jacket with vinyl

1. Recorded within the exhibition 'Marina Rosenfeld: Deathstar,' Feb 2 - April 16, 2017, at Kunsthall Portikus. Frankfurt, Germany. Recorded by Marina Rosenfeld and Jack Brennan.

2. Excerpted from a performance by Marino Formenti, piano, within the exhibition 'Deathstar,' at Portikus Frankfurt, on March 30 and 31, 2017. Recorded by Marina Rosenfeld and Fabian Schöneich.

3. Excerpted from 'Deathstar Orchestration,' performed by Ensemble Musikfabrik at Donaueschinger musiktage 2017, with solo piano, Marino Formenti, conductor, Enno Poppe, on October 22, 2017, Donaueschingen, Germany. Commissioned and recorded by Südwestrundfunk.

4. Excerpted from "Deathstar (reduction)," performed and commissioned by Yarn/Wire Ensemble and the Earle Brown Music Foundation. Performed by Yarn/Wire (Russell Greenberg, Ian Antonio, Ning Yu and Laura Barger) with piano soloist Marino Formenti, on August 12, 2019, for time:spans Festival, New York. Recorded by Caley Monohan-Ward. Additional recordings of Russell Greenberg and Ian Antonio by Marina Rosenfeld, December 2019, Brooklyn.

Credits

Composed and produced by Marina RosenfeldMastered by Stephan Mathieu at Schwebung Mastering.DMM disc cutting by Pauler Acoustic.Original Images by Eileen QuinlanDesign by Bartolomé Sanson




Personnel:

Marina Rosenfeld-composer, performer

Enno Poppe-conductor

Marino Formenti-piano

Russell Greenberg-performer

Ian Antonio-performer

Ning Yupiano

Laura Barger-piano

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Artist Biographies:

"Marina Rosenfeld is a composer and artist based in Brooklyn, NY. Her works explore acoustic architectures and experimental forms of participation and sociality in sound installation and performance.

In 1993 she mounted her first all-woman Sheer frost orchestra as a student at CalArts in Los Angeles. Subsequent works in the 90s and aughts explored the staging of sound in complex sites, with attention to perception and the (female) body. In the late nineties she also began to create dub plates, developing an improvisational practice as a turntablist with a distinctive palette of sounds drawn from her studio practice. From 2008, with Teenage Lontano, she turned her attention increasingly to the diffusion of the voice within complex systems, with works for choir and the notable collaboration P.A./HARD LOVE with Annette Henry, aka Warrior Queen. Her music has continued to experiment in the areas of performance and notation, staging and concept, and in recent works, image and object.

Rosenfeld has collaborated with a core group of artists and interpreters, especially Okkyung Lee, Marino Formenti, George Lewis, Christian Marclay, Greg Fox, Eli Kezler, and Ben Vida. Between 2004 and 2008, she performed frequently with the Merce Cunningham Dance Company, and in recent years, created scores for choreographers Ralph Lemon (Scaffold Room, 2014-2015) and Maria Hassabi (PLASTIC, 2016, STAGED?, 2017, and STAGING, 2017-2018).

Rosenfeld's work has been presented by the Park Avenue Armory, the Museum of Modern Art, the Kitchen, the Whitney and Guggenheim museums, the Fondacion Serralves, Western Australia's Midlands Railway Workshops, and festivals and institutions throughout Europe, the US, Canada and Australia. She has mounted solo exhibitions in recent years at Portikus Frankfurt, the Artist's Institute and, upcoming in 2021, at Kunsthaus Baselland in Basel, Switzerland. Her work has been included in two Whitney biennials, two PERFORMA biennials, the Montreal Biennial, Liverpool Biennial, and international surveys such "Every Time A Ear Di Soun" ( for Documenta14), and Tasmania's "Dark Mofo" in 2019. In the contemporary music field, she has created works for the Holland, Borealis, Wien Modern, Time:Spans, Maerz Musik, Vancouver, Pro Musica Nova, Donaueschingen, Musica Strasbourg and Ultima festivals, among many others.

Rosenfeld has been the co-chair of the MFA in Music/Sound at Bard College since 2007, and has been a visiting professor in sound, sculpture and performance at Cooper Union, Harvard, Yale School of Art, and Brooklyn College. In 2019 she was Inga Otto Maren Fellow of the Watermill Foundation, and she is currently a research artist with Experiments in Art and Technology at Bell Labs Nokia. She lives and works in Brooklyn, NY."

-Marina Rosenfeld Website (https://www.marinarosenfeld.com/about)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Enno Poppe was born on December 30, 1969, in Hemer, Germany. He studied conducting and composition at the Hochschule der Künste Berlin with Friedrich Goldmann and Gösta Neuwirth, among others. Additionally, he studied sound synthesis and algorithmic composition at the Technische Universität Berlin and at the ZKM Karlsruhe. As a conductor, Enno Poppe regularly performs with Klangforum Wien, Ensemble Musikfabrik and Ensemble Resonanz. Since 1998 he also is the chief conductor of ensemble mosaik. Enno Poppe taught composition at Hochschule für Musik Hanns Eisler in Berlin, at Darmstädter Ferienkursen für Neue Musik and at Impuls Akademie (Graz).

Commissions

Enno Poppe received commissions from Salzburger Festspiele, Ensemble intercontemporain, Berliner Festspiele, Musée du Louvre and festivals such as Donaueschinger Musiktage, Musikbiennale (München), musica viva (München), Ultraschall (Berlin), MaerzMusik (Berlin), Èclat (Stuttgart) and Wittener Tagen für Neue Kammermusik.

Performers

Enno Poppe's has been performed by, among others, quartets such as Arditti Quartet and Kairos Quartet, conductors such as Pierre Boulez, Susanna Mälkki, Emilio Pomárico and Peter Rundel and orchestras such as SWR Sinfonieorchester, Los Angeles Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Deutsche Symphonie-Orchester Berlin, hr-Sinfonieorchester Frankfurt and Junge Deutsche Philharmonie. Among the ensembles that regularly perform his music are Ensemble intercontemporain, Ensemble Modern, London Sinfonietta, Ensemble Resonanz, Klangforum Wien, ensemble mosaik, Ensemble Contrechamps, Musikfabrik, Ensemble 2e2m, SWR Vokalensemble and Neue Vokalsolisten Stuttgart.

Scholarships and awards

In 1992, 1995, and 1998 Enno Poppe received a scholarship for composition by the Berlin senat and in 1994 a music scholarship from the Märkische Kulturkonferenz. In 1998 he won the Boris-Blacher-Preis for his Gelöschte Lieder. In 1999 he was invited to the Boswil composers seminar; in 2001 he received a scholarship from the Wilfried-Steinbrenner-Stiftung. In the same year he was awarded the composition prize of the city of Stuttgart for his work Knochen. Enno Poppe also received the Busoni-Kompositionspreis of the Akademie der Künste in Berlin (2002) and scholarships from Akademie Schloss Solitude and Villa Serpentara in Olevano Romano. Other awards are the Förderpreis of the Ernst-von-Siemens-Musikstiftung, the Schneider-Schott-Musikpreis (2005), the supporting award of the Akademie der Künste in Berlin (2006) and the Christoph- und Stephan-Kaske-Preis (2009). Enno Poppe also received the Kaske prize of the Christoph-und-Stephan-Kaske-Stiftung (2009) the HappyNewEars prize of the Hans¬-und-Gertrud-Zender-Stiftung (2011) and the Hans-Werner-Henze prize (2013). Enno Poppe is a member of the Akademie der Künste Berlin (since 2008), the Nordrhein-Westfälische Akademie der Wissenschaften und der Künste (since 2009) and the Bayerische Akademie der Schönen Künste (since 2010)."

-Ricordi (https://www.ricordi.com/en-US/Composers/P/Poppe-Enno.aspx)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Marino Formenti is considered to be one of the most interesting musicians of his generation. Praised by the Los Angeles Times as "a Glenn Gould for the 21st Century", his dedication to the new and the unexpected leads him to develop constantly new concert experiences and unexampled projects.

His performances include interpretations of most recent works, improvisations and individual reflections on classical masterpieces; his most recent projects include often non-western and popular forms of music.

In quite ground-breaking piano recitals ("Kurtag's Ghosts", "Liszt Inspections", "Torso") Marino Formenti creates an intense dialogue between the works and the repertoires in a sort of continuous flow.This radically new approach has been presented at Lincoln Center New York, Lucerne Festival, Wigmore Hall London, New York Philharmonic, Konzerthaus Wien a.o.

"Liszt Inspections" was labeled as one of the "Best Performances of the New York Times" 2015 and of the"Best Recordings of The New Yorker" 2014.San Francisco Chronichle's Joshua Kosman stated: "What James Joyce did for the novel, Formenti seems intent ondoing for the piano recital. The results were unforgettable".

He has been Artist in Residence at Lincoln Center New York, at Wigmore Hall in London and Nike Wagner's Festival "Pèlerinages" in Weimar.2020 he will be Artist in Residence at BeethovenFest in Bonn as part of the Beethoven's 250th Birth-Year Celebrations.

His exploration of the music experience led him to develop quite more radical performances beyond thetraditional recital:

In "Nowhere" he lives, eats, sleeps, performs for several weeks in one and the same space, open to the publicand broadcasted on a 24/7 internet streaming.Time, space, sound and togetherness are explored on a fairly other scale.Nowhere was performed a.o. at Berlin Festival, BoCa Lisboa, Teatro Colón Buenos Aires, Steirischer Herbst Graz, Performatik Bruxelles, Triennale Milano.

"One to One" offers a 2-hours-long musical rendez-vous with one single visitor. Pianist and spectator become gradually partners in the performance.The utterly intimate set-up was later expanded up to a full-day-blind-date in"seven studies of communication and musicianship" for the Haubrok Foundation in Berlin.Originally conceived for Art Basel 2013, it was performed in Graz, Los Angeles, Buenos Aires, Torino a.o.

"Time to Gather" is a recital of a special kind, without the invisible wall between pianist and audience, without a set program, without a predictable ending.People can interact, and choose with the pianist what to listen, or play with him and instead of him.

In the music movie "Schubert und Ich", Formenti selects the raw voices of five non-musicians of different age and background to work on songs by Franz Schubert, away from the well-bred, polished rendering of the classical concert.

Marino Formenti has appeared at the international festivals of Salzburg, Lucerne, Edinburgh, Schleswig-Holstein, Ravinia and Aspen as well as in the main Halls of New York, Berlin, Vienna, Los Angeles, Paris, London or Tokyo.

Marino Formenti's orchestra engagements as a soloist have included performances with the New York Philharmonics, the Los Angeles Philharmonics, the Münchner Philharmoniker, the Cleveland Orchestra, the Gustav Mahler Chamber Orchestra, the Orchestre de Radio France, the RSO Wien.As a soloist, he worked together with conductors Franz Welser-Möst, Gustavo Dudamel, Kent Nagano, Daniel Harding, Esa-Pekka Salonen among others.

As a conductor, he worked on invitation by Maurizio Pollini at Teatro la Scala in Milan, at the Salle Pleyel in Paris and the Auditorium Parco della Musica in Rome; he conceived and conducted further projects at Festival Wien Modern, Ravenna Festival, Darmstädter Ferienkurse as well as in L.A., Chicago, Vienna or Salzburg.

As an artist, he is guest of important art institutions and festivals, such as Palais de Tokio in Paris, Mumok in Vienna,Art Basel, MADRE Neaples, Portikus in Frankfurt or the Gulbenkian Foundation in Lisboa.

His chamber music fellows were Gidon Kremer, Lars Vogt, Nicolas Altstaedt, Jörg Widmann, Emmanuel Pahud,Tabea Zimmermann, Caroline Widmann, Barbara Hannigan or the actor Ulrich Matthes a.o.

He closely worked together with some of the greatest composers of our time, such as György Kurtág, Helmut Lachenmann, Salvatore Sciarrino, Olga Neuwirth, Bernhard Lang, Georg Friedrich Haas and Beat Furrer.

He is teacher-conductor of the ENM Ensemble of the Mozarteum University in Salzburg.

For his musical achievements he was awarded with the Belmont-Prize 2009 of theForberg-Schneider-Stiftung in München."

-Marino Formenti Website (https://marinoformenti.net/bio/)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"New York-based percussionist Russell Greenberg enjoys exploring the creative and unclassifiable music of our time. Internationally sought-after for his singular approach and interpretation, he strives to share his passion for the musical experience with a wide variety of audiences.

As a founding member of the piano and percussion quartet, Yarn/Wire, Russell has collaborated with many of today's leading composers to craft a body of new, wide-reaching and vital repertoire. At the vanguard of contemporary music, Russell frequently tours the world, having appeared at the Ultima (Oslo), Tectonics (Glasgow), Lincoln Center (NY), Barbican (UK), and Rainy Days (Luxembourg) festivals among others, and is a regular visiting artist at universities including Columbia, Brown, and Stanford.

Russell is also member of Either/OR and the Wet Ink Large Ensemble, and appears with other prominent groups as well such as the International Contemporary Ensemble (ICE), Argento, and sfSound, with performances having been labeled as "fearless" (TimeOutNY), and "intrepid/engrossing" (The New York Times). He has worked with a many leading composers and conductors including Pierre Boulez, Peter Eötvös, Susanna Mälkki, Enno Poppe, Beat Furrer, and others. In addition to his work with contemporary music ensembles, Russell has toured and recorded with the bands Seaven Teares, Kato Dot, and Hi Red Center.

Mr. Greenberg's interdisciplinary work and collaborations include work with Theatre of a Two-Headed calf, the artist David Bithell, and Judy Dunaway. He has also penned music for the Off-Off Broadway theater production of Clubbed Thumb's Gentleman Caller among others.

Russell received his BA in music from the University of California at Berkeley in 2002, where he studied percussion with William Winant, and with Eduardo Leandro at Stony Brook University, where he earned his M.M. in 2004 and a D.M.A. in 2009.

Russell is sponsored by Pearl/Adams instruments and Paiste cymbals and has recorded for the WERGO, Bridge, Mode, Albany, Northern Spy, and Joyful Noise record labels."

-Russell Greenberg Website (http://www.russellgreenberg.net/Biography.html)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Percussionist Ian Antonio's breadth of experience - concertizing across four continents with a wide variety of chamber ensembles, orchestras, experimental rock bands, avant-garde theatre companies, and as a soloist, conductor, and educator - has led him to develop a unique sound and approach to both performing and teaching.

Ian is a founding member of the piano percussion quartet Yarn/Wire. Hailed as "mesmerizing and dynamic" by the New York Times, the ensemble is known for the energy and precision it brings to performances of today's most adventurous music. Yarn/Wire has appeared at prestigious venues across the globe, including Lincoln Center, Brooklyn Academy of Music, Library of Congress, Edinburgh International Festival, Barbican Centre, and Shanghai Symphony Hall. The ensemble has held residencies at institutions such as Columbia University, Harvard University, Stanford University, and ISSUE Project Room, among many others. In 2016, Yarn/Wire won 1st Prize / Open at the University of Michigan's inaugural M-Prize, the largest chamber music competition in the world. The ensemble has premiered over one hundred new works, released nine albums, and continually advocates for this exciting emerging repertoire.

Ian is a core member of the Wet Ink Ensemble, a collective of composers and performers. Formerly the Ensemble-in-Residence at Duke University, Wet Ink most commonly performs as a septet comprised of a core group of composer-performers that collaborate in a band-like fashion, writing, improvising, preparing, and touring pieces together over long stretches of time. This approach, honed over 20 years, has led to an incomparable body of work marked by a keenly developed performance practice, played in concert with ferocity, commitment, and expressivity. In demand at both domestic and international venues, Wet Ink's performances "combine striking stylistic and aesthetic assurance with technical perfection." (Dissonanz Switzerland)

Ian is also a member of the percussion ensemble Talujon. The group's sextet configuration allows Talujon to produce large-scale and oft-neglected percussive masterworks as well as new pieces written for the ensemble. Described by the New York Times as possessing an "edgy, unflagging energy", the ensemble has been championing percussive music for well over two decades. Since joining the group in 2011, Ian has performed with Talujon at the Metropolitation Museum of Art, Bang on a Can Marathon, BAM Next Wave Festival, and elsewhere across the country.

From 2003-2012 Ian was a member of the difficult-to-categorize trio Zs. With Zs, Ian toured both domestically and abroad, recorded extensively, and made composed / improvised "conceptual art objects that set form and content against each other - like, say, a perfect birthday cake made out of sawdust, or a perfect hammer made out of bird feathers." (New York Times) Equally at home in lofts, basements, galleries, and festivals, Ian performed with Zs at many prominent jazz festivals including the Germany's Moers Festival, Switzerland's Jazz Festival Willislau, and Tokyo's Club Unit. The band's 2010 album, New Slaves, was named Album of the Year by Tiny Mix Tapes and appeared on numerous best-of lists.

Ian is currently a member of the faculty at Purchase College where he teaches private lessons, rep class, and a hand drumming workshop, among other duties. He also leads percussion activities for the Norwalk Youth Symphony program. In past years, Ian has been on faculty and guest lectured at Stony Brook University, Adelphi University, Montclair State University, Franklin Pierce University, 92nd Street Y, Henry Street Settlement, and the New York City Department of Cultural Affairs.

Ian has recorded over 40 albums for the Nonesuch, Kairos, Warp, Tzadik, Carrier, Social Registry, Populist, Distributed Objects, Planaria, Sockets, Hot Cup, Quiet Design, and Three One G record labels, among others. He has also performed with the International Contemporary Ensemble, Theatre of a Two-Headed Calf, SEM Ensemble, Argento Chamber Ensemble, Albany Symphony, Boston Symphony, BBC Symphony Orchestra, London Sinfonettia, Los Angeles Philharmonic, and worked with composers, conductors, and soloists such as Seigi Ozawa, Kurt Masur, Charles Dutoit, Mstislav Rostropovich, Yefim Bronfman, Helmut Lachenmann, Enno Poppe, John Adams, and Kaija Saariaho.

Ian was born in 1981 and grew up in Albany, NY, studying percussion with Richard Albagli and performing with the Empire State Youth Orchestra and Percussion Ensemble. He moved to New York City to attend the Manhattan School of Music and study with James Preiss, Duncan Patton, Christopher Lamb, Eric Charleston, and Claire Heldrich. Ian completed his studies with Eduardo Leandro at Stony Brook University. Ian holds a B.M. from the Manhattan School of Music and an M.M. and D.M.A. from Stony Brook University. He has also attended the Tanglewood Music Center and Yellow Barn festivals. At Night Music publishes Ian's music, including solos for marimba, percussion ensembles, and audition pieces. Ian proudly plays Pearl/Adams instruments, Paiste cymbals and gongs, uses Vic Firth sticks and mallets, and Black Swamp accessories."

-Ian Antonio Website (https://ianantonio.com/about/)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Laura Barger, pianist, is a founding member of piano-percussion quartet, Yarn/Wire. Praised for their "mesmerizing" performances (The New York Times), Yarn/Wire has been featured at venues such as the Lincoln Center Festival, Edinburgh International Festival, Barbican Centre, Library of Congress, Miller Theatre at Columbia University, and Brooklyn Academy of Music. In addition, Laura is a frequent collaborator with the Wet Ink Large Ensemble, and performs in the Key_String Duo with guitarist Giacomo Baldelli. She performs internationally as a soloist and chamber musician, and has appeared at the National Gallery of Ireland, Huddersfield Festival, Festival di Bellagio e Lagodi Como, and the Banff Centre for the Arts. Laura is currently on faculty at John Jay College."

-Miller Theatre (https://www.millertheatre.com/explore/bios/laura-barger)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


Side A:



Installation 22:50



Side B



Notation 16:16



Side C



Orchestration 18:28



Side D



Reduction 20:15
sample the album:








descriptions, reviews, &c.

"Since 2017, Deathstar has been a project about the microphone - in Marina Rosenfeld's hands, a void, a mirror, an unruly instrument of transformation and mediation. This music is heard in traces, through thickly amplified silences punctuated by momentary eruptions of noise or a voice at the threshold of intelligibility. The sculpture at the center of the action-a plexiglas orb housing a 7-microphone array originally installed as part of an exhibition the artist mounted at Portikus, in Frankfurt Germany- performs a recursive operation, listening to and recirculating sounds continuously morphed by feedback and reflection. This machine music repeats itself in seemingly endless versions, abstractly and in an evolving relationship to the grammars of reproduction and performance, presence, absence, and accumulation. Later, recorded traces of this installation rendered as musical notation produce a series of events-concerts that explore the outcomes of the acts of amplifying, writing, and listening.

The four sides of the album Deathstar follow four such events: first, the installation of the Deathstar in exhibition space; then, a piano performance, also within the Deathstar's machinic environment, of a recording of the installation that Rosenfeld notated on paper; then, her re-notation of these recorded traces in the form of a concerto for piano and chamber orchestra, all aggressively amplified through a wall of guitar amps; and finally, the orchestration's reduction to something like chamber music, with acoustic instruments tasked with the representation of an ever more attenuated body of traces. Throughout, the extraordinary virtuoso pianist Marino Formenti and ensembles MusikFabrik (Cologne) and Yarn/Wire (New York) extract a dazzling variety of sounds from their readings of the work's written and acoustic forms. Deathstar is a complex and monumental work from a composer who has long explored the limits of form as an artist and as a listener.



Biography

Marina Rosenfeld is a composer and artist based in Brooklyn, NY. Her works explore acoustic architectures and experimental forms of participation and sociality in sound installation and performance.

In 1993 she mounted her first all-woman Sheer frost orchestra as a student in Los Angeles. Subsequent works in the 90s and aughts explored the staging of sound in complex sites, with attention to perception and the (female) body. In the late nineties she also began to create dub plates, developing an improvisational practice as a turntablist with a distinctive palette of sounds drawn from her studio practice. From 2008, with Teenage Lontano, she turned her attention increasingly to the diffusion of the voice within complex systems, with works for choir and the notable collaboration P.A./HARD LOVE with Annette Henry, aka Warrior Queen. Her music has continued to experiment in the areas of performance and notation, staging and concept, and in recent works, image and object.

Rosenfeld has collaborated with a core group of artists, especially Okkyung Lee, Marino Formenti, George Lewis, Christian Marclay, Greg Fox, Eli Keszler and Ben Vida. Between 2004 and 2008, she performed frequently with the Merce Cunningham Dance Company, and in recent years, created scores for choreographers Ralph Lemon and Maria Hassabi.

Her work has been presented by the Park Avenue Armory, the Museum of Modern Art, the Kitchen, the Whitney and Guggenheim museums, the Fondacion Serralves, Western Australia's Midlands Railway Workshops, and festivals throughout Europe, the US, Canada, and Australia. She has mounted solo exhibitions in recent years at Portikus Frankfurt, the Artist's Institute, and, upcoming in 2021, at Kunsthaus Baselland in Basel, Switzerland. Rosenfeld teaches in the MFA programs of Bard College and Brooklyn College, and is a research artist with Experiments in Art and Technology at Bell Labs Nokia.'


Printed artwork on uncoated sleeve and innersleeves. Edition of 1000 copies on black vinyl.
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