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DK & The Perfectly Ordinary: CAR DEW TREAT US (Spool)

A diverse set of artist interpret a random page from Cornelius Cardew's "Treatise", using the score alone with each artist unable to hear what the other participants were playing, which Spool label-leader Daniel Kernohan assembled into these 10 incredible audio tracks, each roughly 4:35 long, in a great interpretation of Cardew's (in)famous work.

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product information:

UPC: 191061489580

Label: Spool
Catalog ID: Spurn 2
Squidco Product Code: 24332

Format: CD
Condition: New
Released: 2017
Country: Canada
Packaging: Cardboard sleeve
No recording data listed.



Allison Cameron

Rod Dubey

Lawrence Joseph

Philippe Battikha

Sean Caighean

Paul Dutton

Caroline Kunzle

Brett Larner

Al Margolis

Gino Robair

Paul Serralheiro

Vergil Sharkya

Ben Wilson

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Artist Biographies:

"Paul Dutton (born 1943) is a Canadian poet, novelist, essayist, and oral sound artist.

Dutton was born in Toronto, Ontario, Canada. A member of the legendary Four Horsemen sound poetry quartet (1970-1988), along with Rafael Barreto-Rivera, Steve McCaffery, and the late bpNichol, Dutton joined his soundsinging oralities and harmonica-playing to John Oswald's alto sax and Michael Snow's piano and synthesizer in the free-improvisation band CCMC (1989 to the present). He has recently appeared in poetry festivals in Germany, France, and Venezuela, and at music festivals in Canada, the Netherlands, and Argentina. An accomplished writer, in addition to his published books, he has written dozens of published essays on music and writing.

Dutton has collaborated with a wide range of musicians, including fellow oral sound artists Jaap Blonk, Koichi Makigami, Phil Minton, and David Moss in the group Five Men Singing, John Butcher, Bob Ostertag, Phil Durrant, John Russell, Lee Ranaldo, Christian Marclay, Günter Christmann, Thomas Charmetant, Xavier Charles, and Jacques Di Donato. His soundsinging has been called "fascinating, inventive, grippingly obsessive" (The Wire).

"(Five Men Singing) exposes every note, tone, timbre and texture that can be vibrated by the uvula, dredged from the throat and buzzed from the cheeks and lips."

More recently, he formed Quintet à Bras in company with two French poets and two French instrumentalists, and in 2009, Mr. Dutton performed at The Scream In High Park, which is an annual literary festival in Toronto."

-Wikipedia (

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"Gino Robair has created music for dance, theater, radio, television, silent film, and gamelan orchestra, and his works have been performed throughout North America, Europe, and Japan. He was composer in residence with the California Shakespeare Festival for five seasons and served as music director for the CBS animated series The Twisted Tales of Felix the Cat. His commercial work includes themes for the MTV and Comedy Central cable networks.

Robair is also one of the "25 innovative percussionists" included in the book Percussion Profiles (SoundWorld, 2001). He has recorded with Tom Waits, Anthony Braxton, Terry Riley, Lou Harrison, John Butcher, Derek Bailey, Peter Kowald, Otomo Yoshihide, the ROVA Saxophone Quartet, and Eugene Chadbourne, among many others. In addition, Robair has performed with John Zorn, Nina Hagen, Fred Frith, Eddie Prevost, Thinking Fellers Union Local 282, Myra Melford, Wadada Leo Smith, and the Club Foot Orchestra.

Robair is a founding member of the Splatter Trio and the heavy-metal band, Pink Mountain. In addition, he runs Rastascan Records, a label devoted to creative music.

As a writer about music technology, Robair has contributed to Mix, Remix, Guitar Player, and Electronic Musician (EM) magazine, where he was an editor for 10 years. He is the author of two books, including The Ultimate Personal Recording Studio (Thompson; 2006)."

-Gino Robair Website (

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"Vergil Sharkya'. Residence: Montréal, Québec. Composer, Performer (synthesizer)

In 2010 Vergil Sharkya' finished a major research project in composition for his doctoral degree at Liverpool's John Moores University, developing a complete theory of hypercomposition, featuring as well examples of its practical application.

His most recent hypercomposition - aTTAK, for piano, suspended toy piano, and digital instruments -, was commissioned for and performed at the opening of the Aufbau Haus, Berlin, in September 2011.

Vergil is also a well established composer/musician in the fields of improvised music, multimedia installations, post-modernist composition, scores and soundtracks for film, theatre and dance, composition and arrangements for orchestras, soundscapes, psychedelic noise rock, drum'n'bass, dub, and even academic research.

He has released several recordings on various labels like Cuneiform Records, UKsupersonict and VergilReality Recordings.

Since moving to Montréal in July 2010, he has been working mainly but not exclusively in the field of improvised music with musicians such as Jean Derome, Michel F Côté, Simon Pagé, Augustus Martin, Ellwood Epps, Philippe Battikha, as well as with writers Martin Lamothe, and Serge Rivest Martimots. He currently spends his spare time cooking, doing housework for his lovely family and learning how to play jazz."

-ActuelleCD (

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track listing:

1. p. 16 (gr) 4:36

2. p. 35 (bw) 4:35

3. p. 70 (sc) 4:35

4. p. 92 (sc) 4:35

5. p.101 (pb) 4:35

6. p.102 (am) 4:37

7. p. 109 (vs) 4:35

8. p. 165 (bl) 4:35

9. p. 172 (pd) 4:35

10. p. 192 (ck) 4:34

sample the album:

descriptions, reviews, &c.

"Pages from Cornelius Cardew's Treatise are randomly selected. Each musician interpreted their page(s) from the score alone, unable to hear what the other participants were playing. The tracks were then assembled with start and stop times slightly altered and mixed down by dk."-Spool

"Treatise is a musical composition by British composer Cornelius Cardew (1936-81). Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work. The score neither contains nor is accompanied by any explicit instruction to the performers in how to perform the work. Cardew worked on the composition from 1963 to 1967.

Although the score allows for absolute interpretive freedom (no one interpretation will sound like another), the work is not normally played spontaneously, as Cardew had previously suggested that performers devise in advance their own rules and methods for interpreting and performing the work. There are, however, almost infinite possibilities for the interpretation of Treatise that fall within the implications of the piece and general principles of experimental music performance in the late 1960s, including presentation as visual art and map-reading (Anderson 2006).

Subsequently Cardew embraced Maoism and wholeheartedly repudiated this and other works of his avant-garde period. A savage indictment of Treatise may be seen in a speech delivered by Cardew at the 'International Symposium on the Problematic of Today's Musical Notation' held in Rome in October 1972, as transcribed in his highly polemical book Stockhausen Serves Imperialism (1974), available in PDF format at UBUweb."-Wikipedia

Related Categories of Interest:

Compositional Forms
Large Ensembles
Improvised Music
Organized Sound and Sample Based Music
Staff Picks & Recommended Items
New in Compositional Music

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