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Amsterdam . Berlin . Moscow . Losoncy [2 CDs]

Various: Amsterdam . Berlin . Moscow . Losoncy [2 CDs] (Edition Wandelweiser Records)

A double album of experimental works and songs, virtual meetings curated by composer Dante Boon, recorded in the performer's individual cities as ensembles formed from musicians who have never met, including the Moscow duo The Same Ensemble of Sasha Elina and Kirill Shirokov, Amsterdamn's Seamus Cater's Tree Space, Berlin's Konzert Minimal, and sound artist Gabi Losoncy.

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product information:

UPC: 4011778039587

Label: Edition Wandelweiser Records
Catalog ID: EWR 2122-23
Squidco Product Code: 31530

Format: 2 CDs
Condition: New
Released: 2021
Country: Germany
Packaging: Cardboard Gatefold 4 Panels
Recorded in Amsterdam, The Netherlands, Berlin, Germany, and Moscow, Russia, in 2020 and 2021.


Sasha Elina-voice, flute

Kirill Shirokov-piano, electronics

Dante Boon-Fender Rhodes, piano

Seamus Cater-concertina, harmonica

Heather Frasch-flute

Koen Nutters-double bass

Germaine Sijstermans-clarinet

Rishin Singh-trombone

Gabi Losoncy-composer, conductor

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Descriptions, Reviews, &c.

"Virtual meetings. This double album, curated by Dante Boon, was realized under pandemic conditions, musicians sitting in their cities, in their homes, not quite able to play together. So it features forms of togetherness that are not quite together. It is a portrait, not quite of a scene, but showing links between scenes, related interests, a musical sensibility at work in the world today.

There are songs. The same ensemble, the moscow-based duo of sasha elina and kirill shirokov, describes their work as "experimental chamber pop in the form of a new music duo". Dante himself has played keyboards in the dutch rock band the scene, and his vocal music shows an ongoing affinity with the form. Amsterdam-based composer and singer/songwriter seamus cater's tree space: The trees they do grow high is based on an 18th-century folk song, as recorded by peter bellamy, but maps the materials onto a score in the form of a tree that musicians explore. There are ensembles formed of musicians who have never met. Members of the same ensemble, amsterdam's dnk ensemble, and berlin's konzert minimal have recorded parts to be mixed together by a composer. If the parts have similar materials, echos happen spontaneously, like multiple perspectives on the same ideas, from all over the world, happening in various rooms. Tiny differences in tuning become unexpectedly expressive this way - rishin singh's trauermusik in fact asks musicians to tune their a individually at anything other than 440. Similar surprises happen in Kirill Shirokov's 2019ix26 with its mesmerizing gradual shift of pointillist harmonies. Germaine Sijstermans's M, recorded in the regular way, also has three sub-ensembles interpreting the same material (a sequence of dyads) each in their own way, but breathing together, complementing each other's forms of resonance.

There are responses to more distant times and circumstances. Josef matthias hauer, the "other" inventor of twelve-tone music, is present in a radical arrangement by Shirokov. Choices of texts betray affinities with great poetic voices from the past: Blake, Thomas, Herbeck, Whitman. But the tracks also are of their moment - the score of for what by Boon, a lament in Dyads, mentions June 2020 as its date of composition, when the world was gripped by protests against the infuriatingly unjust death of George Floyd. At that time, too, tighter was contributed by sound artist gabi losoncy, the one artist on this album whose music practice isn't explicitly connected to the others somehow, appearing like a sympathetically resonating world apart within the world that is this album. What links all these tracks together? Because they do connect - i hear the album as one whole in which the pieces flow into one another, talk to each other. But i can't say for sure how this works, even though my own piece is called linking. This was written in 2019 for tom johnson's 80th birthday; it is a set of cards for any ensemble to play, in which musicians each get different cards with motives of up to three notes on them, and try to link these together using common pitches. Dante has chosen to play this as an ensemble of one; listening, you can trace the polyphony as it unfolds, motives enter and are discarded, voices meeting at the unison or in another octave. That's playing piano: Even when you can't get together with other voices directly there's always whole ensembles of them under your fingers. Another kind of virtual meeting."-Samuel Vriezen

This album has been reviewed on our magazine:

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Artist Biographies

"Sasha Elina (b. 1994, Moscow) is a curator and musician based in London. Her major curatorial showcases include concert programmes and events at the New Tretyakov Gallery (2015), the Stanislavsky Electrotheatre (2015-16), the parallel programme of the 6th Moscow Biennale of Contemporary Art (2016), Prince Golitsyn Family Estate (Pushkin Museum) (2016), Central Moscow Manege (2016), Muzeon Park of Arts (2018), ZIL Cultural Centre (2017-2019), amongst others. Sasha founded and directed the experimental music ensemble DianaPlaysPerception (2017-2021). In 2019, she curated and produced 'Contact Results in Contagion', a solo exhibition by Cameron Graham (UK) in the Solyanka Gallery (Moscow).

Sasha worked as a flautist and vocalist with the Moscow Contemporary Music Ensemble (MCME), was a member of the Moscow Scratch Orchestra, as well as performing new and free improvised music in various small groups and ensembles internationally. She is currently a founding member of The Same Ensemble (a duo with the Russian composer Kirill Shirokov).

Sasha is the founder and artistic director of the Music Space Architecture international project, dedicated to identifying and investigating different areas of interaction between music and architecture.

Sasha was selected as a fellow of OneBeat 2019, a U.S. State Department Programme produced by Bang on a Can's Found Sound Nation. She is currently undertaking a Masters by Research at the University Of Huddersfield, U.K."

-Sasha Elina Website (

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"Kirill Shirokov (born in 1990) is a russian composer, improviser, poet and pianist.

kirill studied at moscow p.i. tchaikovsky conservatory (composition class of vladimir tarnopolski); participated in various musical and poetical festivals in russia and abroad; and curated a number of musical and interdisciplinary events. as part of various music academies, schools and courses for young composers he studied with pierluigi billone, franck bedrossian, jean-luc hervé, antoine beuger, jorge sánchez-chiong, mathias spahlinger, johannes kreidler, sergej newski, ivan fedele, radu malfatti, and enno poppe.

in 2013, the opera blaze/marevo, composed in collaboration with mark buloshnikov, was featured in the golden mask festival and received the innovation award.

kirill’s works have been performed by natalia pschenitschnikowa, vladimir gorlinsky, marina poleukhina, alexandra topalidi, sasha elina, leo svirski, antoine beuger, stefan thut, johnny chang, eva-maria houben et al. as well as the ensembles: nostri temporis, NoName, eNsemble, alter ego, ex novo, mcme, studio for new music et al. kirill has performed (solo or in ensemble) the russian and/or world premieres of pieces by antoine beuger, jürg frey, dmitri kourliandski, alexey sysoev, darya zvezdina et al.

he also performs as a member of ensemble “the same” (with sasha elina); the post-rock-collective chtonic loss (with vladimir gorlinsky), the duo, the last builder (with daniil pilchen); and [t] (with marina poleukhina), and the DæKa art-group (with darya zvezdina and daniil pilchen). kirill continuously collaborates with different writers, artists and performers."

-Pany Rosas Discos (

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"Dante Boon (1973) is a Dutch composer and pianist living in Amsterdam.

At the age of 14, he started his piano studies at the Amsterdam Sweelinck Conservatorium. At the Royal Conservatoire in The Hague, he studied composition with Diderik Wagenaar.

After having been the keyboard player and arranger for a major Dutch rock band for several years, he went back to the classical, especially contemporary piano repertoire.

With Samuel Vriezen, he recorded Tom Johnson's Symmetries (piano four hands) for Karnatic Lab Records. Recordings for other labels include works by Rozalie Hirs (Attacca Records) and Philip Corner (New World Records). his first solo CD cage. frey. vriezen. feldman. ayres. johnson .manion was released 2010 on Edition Wandelweiser Records to international critical acclaim."

-Dante Boon Website (

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"Born in England, son of an Essex folk singer, Seamus Cater was surrounded by English revivalist folk music from day one. He eventually moved to Amsterdam in 2000, where he has been working on different kinds of music; acoustic, electronic, composed, and improvised. Cater organizes two Amsterdam concert series, DNK Amsterdam and Pest House, and is the founder of Nearly Not There Records, a small stock, non-profit record shop in Amsterdam specializing in new music in many forms, mostly avant-garde and experimental. The Three Things You Can Hear follows Cater's 2010 collaboration with NYC banjoist Woody Sullender (When We Get to Meeting) and his 2012 collaboration with Finnish multi-instrumentalist Viljam Nybacka (The Anecdotes). Recorded in Amsterdam and Berlin, The Three Things You Can Hear is a solo album consisting of a group of songs developed over a period of about three years. They were written and performed using a duet concertina made in 1941 (serial number Crabb 9807), which Cater found in a junk shop in Amsterdam. Given Cater's folk music background, and the fact that his father also played a concertina, it was a fortuitous event to find an instrument such as this, a black leather squeeze-box made in London. The slow repair and learning of this instrument led to a close relationship and unconventional playing style. By no means a concertina virtuouso, Seamus set out to find simpler, more primitive techniques of playing, and as the songs became ready, he invited some Berlin musicians to accompany him on different songs. The album includes contributions from Kai Fagaschinski and Michael Thieke (The International Nothing), Koen Nutters and Morten J. Olsen (from The Pitch), and Johnny Chang (of Konzert Minimal). When asked about the influences that informed the making of the album, Cater mentions Scottish folk singer Ivor Cutler and English folk singer Peter Bellamy, as well as music from other cultures, chiefly African, Arabic, South American, Indonesian. . . . His distinctive phrasing recalls at times the fragile music of Robert Wyatt's solo releases, and at others the elaborate folk constructions of Peter Blegvad and John Greaves, particularly their surreal 1977 concept album from Kew. Rhone. Seamus Cater: voice and duet concertina. With: Koen Nutters: double bass; Morten J. Olsen: bass drum and vibraphone; Michael Thieke: clarinet; Kai Fagaschinski: clarinet; Johnny Chang: viola; Han Jacobs: saw. Recorded by Seamus Cater, mixed by Clare Gallagher, and mastered by Jeff Carey."

-Forced Exposure (

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"Heather Frasch, is a composer of acoustic and electroacoustic concert music, performer/composer (flute, laptop/electronics & sonic objects), and creator of interactive sound installations and digital instruments. Through the creation of complex timbres, the usage of unstable notation systems, and electronics her work explores notions of fragility and stillness within an intermedia sonic arts practice. Influenced by the dis-embodiment of acousmatic music practices, she investigates the re-embodiment of sound and the intimacy between humans and their technological objects.

She is interested in asking questions and finding the unexpected through a creative practice. By using different mediums, she is able to look at her investigations through various lenses. She is excited when previous notions are challenged and broken, making room for new ideas to emerge.

She co-edits mumei publishing which publishes online journals and monographs that concern text-sound perceptions. She is co-director of vibrant matter, who curate events, investigating the blurred boundaries between text/object and sound. Both projects champion experimental interdisciplinary programming, commissioning new works to support underrepresented voices.

She holds a PhD from the University of California, Berkeley and further degrees from IRCAM, CNR de Lyon, and Temple University. Frasch was composer-in-residence at the IEM (Institüt für Musik und Akustik) in Graz, Austria (2015) and at the Villa Ruffieux, in Sierre, Switzerland (2017). Other honors include: artist residency at the EMS in Stockholm (2014), the George Ladd Prix de Paris in Composition (2008), International Sergei Slonimsky Composition Competition Prize (2012), and the Nicol DeLorernzo Prize in Composition (2010 and 2008). She has performed and had her work performed at: the Kilkenny Arts Festival, CTM Festival, UdK de Reihe Series, Unfinished Descritpions Exhibition, Moscow Autumn Festival, San Francisco Tape Festival, NYCEMF, Mixtur Festival, hcmf//, Akademie Schloss Solitude; and by the Ensemble SurPlus, Ensemble, Ossia New Music Ensemble, Quiet Music Ensemble, sfSound, Vertixe Sonora, Adapter Ensemble, BCMP, DNK Ensemble among others. Her work has been supported by: Musikfonds e. V., Initiative Neue Musik Berlin and Kulturförderung des Goethe-Instituts. She was a Visiting Assistant Professor at The University of Virginia in the department of Composition and Computer Technologies (2018-2020). Born in Philadelphia, she was a music tutor of electronic music at the Catalyst Institute for Creative Arts & Technology in Berlin (2021) and will be Associate Professor of Music Technology at the Norwegian University of Science and Technology NTNU (Fall 2021 )"

-Heather Frasch Website (

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Koen Nutters is an upright bass player, born in The Hague, Netherlands in 1976. He is a founding member of the N Collective, and also organises the concertseries: DNK-Amsterdam.

-N-Collective Website (

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"Germaine Sijstermans is a composer, installation artist and musician. Her works combine ephemeral, often site specific installations with indeterminate music, open to the serendipity of location and time. She explores the phenomenological experience of a space and all that occurs within it through the use of silence, light, sounds, space, and physical presence of oneself and others.

Sijstermans is constantly cooperating with composers and performers, developing music and performances. She has had the pleasure of premiering many pieces that were composed for her. Her performances have taken place in venues varying from traditional concert settings to underground stages, located from the Netherlands to Brazil, equally enjoying performing at each one of them.

Germaine Sijstermans is based in Heerlen (NL) at the heart of the historically rich Meuse-Rhine Euroregion. She is connected as artistic developer to Intro in Situ (production house for contemporary music in Maastricht), with the support of the Performing Arts Fund NL. Sijstermans is a board member of Stichting Pro2, a platform for professional/amateur collaborations, and a member of the Root51 music theatre group. Furthermore she is involved with SLIM (foundation for improvised music in Limburg).

Germaine Sijstermans obtained her master's degree as a performing musician at Codarts in Rotterdam with clarinet teacher Jan Jansen in 2013. Prior to that she did her bachelor studies at the Royal Conservatoire of The Hague with teacher Pierre Woudenberg.She received composition and artistic mentoring from i.a. Antoine Beuger, Jürg Frey, Michael Pisaro, Marcus Kaiser, and Joachim Eckl.

As a teacher, Sijstermans has been teaching clarinet to beginning and advanced students, young children as well as adults, in both individual and group education."

-Germaine Sijstermans Website (

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"Rishin Singh (born 1985, Kuala Lumpur) is a musician/artist/writer living in Berlin. He studied classical trombone at the Sydney Conservatorium of Music (Bachelor of Music Studies) and received Honours 1st Class in a Bachelor of Arts at the University of Sydney.

As a composer and performer, Rishin's work investigates modes of perception, quietude and repetition. He has performed across Asia, Australia, Europe and Canada with collaborators such as Ensemble Offspring (AU), Toshimaru Nakamura (JP), Konzert Minimal (DE), Koen Nutters (NL), Catherine Lamb (USA), Karen Power (IR), John Godfrey (UK), Cathy Milliken (AUS), Johnny Chang (DE), Jon Rose (AU), and his own ensemble Songs (DE). Selected festival appearances include DAAD Mikromusik (DE), The NOWnow (AUS), Lacking Sound Festival (TW), Audio Art (PL).

He has premiered new works by composers such as Clare Cooper (AU), Martijn Tellinga (NL), Eva-Maria Houben (DE), Antoine Beuger (DE) and Goh Lee Kwang (MY), and has been commissioned to compose for artists such as Claire Edwardes (AU), Ur 1st Luv (AU), and Ensemble Manteia (AU).

His writing has been published by Editions Kahn (CH), RealTime (AUS), Insub (CH), and Lateral Addition (USA).

Selected exhibitions include at ArtSpace Sydney (AUS), Ithaka Festival Leuven (BE) and Errant Bodies (DE)."

-Making Waves (

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"Applying various performative strategies on a case-by-case basis, Gabi Losoncy presents either a small, unamplified "playing" of something, or, possibly, a presentation of something from her phone. In either case, the behaviors of the performance are minimal and pliant. Losoncy's recent works include HH (the final release on Graham Lambkin's KYE imprint), an LP described as "two sides of psychologically dense nothingness," and Security Besides Love released on Recital, an account voyeuristically documenting the artist's life, work, and habitats.

Gabi Losoncy is a young woman from Philadelphia, Pennsylvania who makes various decisions with outer consequences based on how she feels, and to the end of expressing how she feels. Generally working in unlayered, linear audio since her time as a member of Good Area, she expands her practice on a case-by-case basis, making great effort not to do anything unnecessary. She has released and has relationships with Alien Passengers, c a d u c., Impulsive Habitat, Recital, and Kye, and has recently released a book, Second Person, with Philip and Sarah Best's Amphetamine Sulphate imprint."

-Issue Project Room (

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Track Listing:


1. The Heart's Size (2011) 2:24

2. M (2018) 22:24

3. Tree Space: The Trees They Do Grow High (2019) 7:24

4. Depression (Herbeck) (2017) 3:29

5. Trauermusik (2020) 12:53

6. For What (2020) 8:46


1. Tighter (2020) 11:40

2. Atonale Musik Nr. 1 (1922/2017) 4:58

3. 2019IX26 (Quintet) (2019) 29:56

4. A Dream (From: Songs Of Innocence) (2020) 5:01

5. Linking (2019) 10:22

Related Categories of Interest:

Organized Sound and Sample Based Music
Electroacoustic Composition
Large Ensembles
Song Based Music
Unusual Vocal Forms
New in Experimental & Electronic Music
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