An unrestrained album of free jazz, unorthodox electronic excursions and vocal irascibility as legendary tenor saxophonist Joe McPhee joins the Bazuinschal duo of alto saxophonist Mette Rasmussen and percussionist & electronic manipulator Dennis Tyfus (Ultra Eczema) for this singularly unusual 2018 concert at Het Bos, in Antwerp, Belgium; magnificently indescribable!
As part of a 2004 performance series at Fabrique in Brisbane, Australia, Lawrence English invited experimental cassette and field recording artrist Aki Onda to present his unique approach to reusing and rupturing recordings using cassettes, Walkmans, delay pedals and fender twin amps, improvising this extended work & its coda, blurring concrete and inexplicable sources in remarkable ways.
Continuing the reissue series of Swedish drummer & accordionist based in Berlin, Sven-Ake Johansson, with this 1971 recording of an otherwise unrecorded quintet with Jeanne Lee on vocal, Gunter Hampel on vibes, flute & bass clarinet, Michael Waisvisz on synthesizer and Freddy Gosseye on electric bass, captured live in a then-radical concert at Berlin Jazztage.
A work of scientific sound from Australian sound artist Philip Samartzis, creating compositions based on field work from the High-Altitude Research Station at Jungfraujoch, Switzerland, over four weeks deploying various recording devices and microphones in and around the station to capture anthropogenic & geophysical forces, allowing listeners to experience the ecology under stress.
Stepping away from the Australian trio The Necks, drummer/percussionist Tony Buck meets pianist Alister Spence in the studio for seven distinct dialogs of "submerged rhythm, oblique extended forms, entwined interplay, and sound for its own sake", Spence at times using preparations on his strings, as both listen and respond deeply through a congenial approach to playing.
In 2001 the trio of Tony Conrad, Arnold Dreyblatt and Jim O'Rourke performed an extended improvisation at a concert organized by David Weinstein at Manhattan's experimental concert space Tonic, each artist presenting a solo work followed by this incredible work of ecstatic integrated drone, texture and harmonic interaction from immensely intertwining strings.
The 2nd album collaboration between French music concrète composer Lionel Marchetti and the Australian chamber ensemble Decibel directed by flute and wind player Cat Hope, performing two works by Marchetti--"Inland Lake" and "La Patience"-- works for strings, winds, piano, percussion and radio, integrated in the studio with Marchetti's synthetics, tape and electronic manipulations.
A diverse album of compositional work from Australian pianist and The Necks legend Chris Abrahams, in two works of rich ambience and spacious soundscape performed on acoustic and electric pianos, organ, detuned bells and acousmatic sources, contrasted with two more capricious works on acoustic piano, unusual percussive platforms, haunting tones and moody interjections.
Following their album of compositions by Alvin Lucier, the New York violin duo String Noise of Conrad Harris and Pauline Kim Harris present a series of solo and duo compositions by American avant composer Christian Wolff, a peer of Brown, Cage, and Feldman from the New York School, works composed across the span of his career through a wealth of concepts and motives.
The 11th release from the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi, in two extraordinary works spread across a double LP gatefold release; first a collaborative long distance project commissioned by Issue Project Room during the pandemic; then a live performance at Tokyo's SuperDeluxe in three extended improvisations with Haino on both drums and guitar.
Gorgeously subtle improvisation of a primarily acoustic nature through unfolding soundscapes of intricate restraint and deep listening, from the trio of Berlin pianist Magda Mayas and Sydney improvisers Monica Brooks on accordion and Laura Altman on clarinet & feedback, in their 4th release, recorded live in the reverberant church hall of the Annandale Creative Arts Centre.
An expansive double album from Australian violinist and mad genius Jon Rose, in solo, duo and odd orchestral settings, including tracks with Jim Denley, Clayton Thomas, Robbie Avenaim, &c.; a project with a 32-string automaton violin + string ensemble; a work for a casino-music driven player-piano; a dueling banjo and interactively bowed violin, &c. &c.; masterfully inexplicable!
An engrossing set of compositions through field recordings captured around the globe, transitioning by passages of trains, trucks and cars and accompanied by unusual percussive elements and strange melodies, as Niblock invites us to a funeral procession, a collective farm, and untold other exotic and fascinating streets and unexpected environments.
Two extended sound collages and cut-ups from field recordings and percussion recorded during tours from 2014 to 2017, the title taken from a sign in one of the hotels that Jerman & Barnes stayed at, apt for the mix of punctuating locations, dissipating noise and unusual percussive passages, a fascinating journey that expands and contracts to make captivating stories.
The 10th release in Japanese experimental sound artist Toshimaru Nakamura's No Input Mixing Board (NIMB) instrument series, composing from the ephemeral and extraneous sounds of a mixing board with nothing connected, these assertive pieces composed in his home studio while reflecting on the changes and obscuring of many of Tokyo's small streams and rivers.
A series of live recordings and related materials that trace the development of turntable artist Marina Rosenfeld's tactile approach to experimental sound, using dub plates--vinyl albums she has had pressed to develop a personal library of sound for performance--here in six improvisations accompanied by a 24-page book with a discussion between Rosenfeld and Lawrence English.
Following the visual scores of multi-disciplinary artist Tina Douglas, pianist Magda Mayas uses objects and preparations on piano, clavinet & rhodes keyboards to expand on Douglas' sculptural and tactile scores, exposing the fragility or imperfections in each, allowing one melody, chord or noise to become the focus of Maya's aural rendering and interpretations.
A gorgeous album of duo work from West Coast guitarist Henry Kaiser and D.C. guitarist Anthony Pirog, creating "ground" structures of beautifully rich harmonics over which "figures" of virtuosic guitar playing emerge and submerge, the overlap creating almost hallucinatory effects as the listener is transfixed somewhere between exquisite foregrounds and backgrounds.
The debut of Ensemble Nist-Nah, a nine-piece collective group of French percussionists led by Nantes-based Australian drummer and percussionist Will Guthrie, incorporating a diverse set of influences including Gamelan performance, contemporary composition, noise and jazz into rich and ecstatic performances, an exciting album of informed approaches to modern and traditional percussion.
A 3-part performance work exploring the effects of powerful climate forces affecting the poles of our planet, as Philip Samartzis and Eugene Ughetti use recordings of radar & scientific instrumentation used in upper atmospheric research along with custom built instruments, producing a unique series of textures, rhythmic cycles, resonances, and timbral phenomena.
Two large scale choral compositions recorded at New York City's Park Avenue Armory and at South London Gallery: ""Teenage Lontano" re-envisions composer Gyorgy Ligeti's 1960s orchestral work, using an immersive sound environment and the collective voices of an ensemble of teenagers; in "roygbiv&b" a teen ensemble in London riff off of mis-hearings of the acronym "ROYGBIV".
Using musique concrète techniques, ECM-inspired jazz, rich layers of synths and hints of pop into immersive and affecting structures, composer Eiko Ishibashi, along with collaborators including Jim O'Rourke on guitar & acoustic bass, create a musical portrayal in two parts plus a coda of the character Jack McCoy, portrayed by Sam Waterston in the TV show Law & Order.
Three realizations of composer David Behrman's "Unforseen Events" work using computer algorithms to respond to pitch cues from an instrumentalist, first in Berlin in 1989 with Curran and Werner Durand on soprano sax, then in NY in 1999 with Jon Gibson on soprano sax; plus "ViewFinder" with Werner Durand using a motion-triggered camera to alter electronic & wind instrumental sound.
Translating to "Light Flowers, Dark Flowers", Alvin Curran's 1978 release on his cooperative Ananda label receives its first remaster and reissue, bringing to life this joyfully surreal album of synthetic and acoustic instruments, field recordings and voice, unveiling itself like a cinematic work of dovetailed stories both reflective and energetically active.
Composer, keyboardist and conceptualist David Shea continues his musical journeys through the world's ancient trading routes that began with his albums Hsi-Yu Chi, The Tower of Mirrors, Satyricon and Rituals, here in ten encompassing compositions exploring the trading route from ancient Xian to Rome, through music, stories, history and Buddhist influences.
Reissuing The Necks' pianist Chris Abrahams' 2004 solo album, a unique set of recordings that reflects both on his improvisational life and his explorative nature, recorded using a Positive Organ, Forte Piano, DX 7 and an acoustic piano, each piece evoking distinct sonic environments and approaches to playing and compositions that makes sense in the overall presentation.
Distilling his work with the trio The Necks, Australian pianist Chris Abrahams extends his solo discography with this gorgeous album of two extended improvisations recorded in the studio in Sydney, performing on a beautifully resonant acoustic piano as he unfolds each work, intensely personal and rich in Abrahams' unique way of evolving melody and form.
Referring to "Study Time", Zeitstudie presents two works each for two instruments developed by sound artist Akio Suzuki and recorded in Germany in 1984: the ANALAPOS, an echo instrument used to project the performer's voice across a coil spring; and the "De Koolmees" glass harmonica, 5 glass tubes in a metal frame that are struck or rubbed to create unique sounds.
A gorgeous and rich drone composition from New York composer Phill Niblock, intended for maximum volume to bring out shifting and slowly interacting harmonics from a nonet of incredible guitarists — David First, Rafael Toral, Robert Poss, Susan Stenger, Alan Licht, Kevin Drumm, Lee Ranaldo, and Thurston Moore — with Jim O'Rourk engineering the album for optimal warmth.
A long-form ambient composition from Portuguese composer and electroacoustic performer Rafael Toral, combining piano (Joana Gama), harp (Angelica V. Salve), vibraphone (Luis Bittencourt), clavinet (Joana Baulho), Rhodes (Riccardo Dillon), and sinewaves (Rafael Toral) a generative piece that avoids repetition while creating a floating and vast sense of reverberant space.
A 5-part concert and encore from Masami Akita, AKA Merzbow, performing in Australia at Room40's Open Frame Festival in 2019, a wrenching performance of distinctive yet diverse noise sources and textures revealed as a controlled tumult; all profits from this edition will be donated to assisting wildlife recovery in the wake of the Australia bushfire crisis of 2020.
Mattin takes 5 spontaneous 5-minute songs from 5 musicians, and a 25 minute concert structured by 5 instructions based on those song titles, then records vocals for the 5 songs as a singing lecture, then superimposes all 3 to create the five 5-minutes songs on this album.
Viennese-born, Berlin-based electro-acoustic composer Werner Dafeldecker (Polwechsel, Fennesz, &c) creates an intense and beautiful musique concrete and acousmatic journey in two parts, examining "perspective, extreme subjectivity and the specters that haunt our auditory worlds" through mysterious sound and enveloping sonic construction, a profound and riveting work.
The second volume in composer and audio explorer Anthony Pateras' "Collected Works" series, a sturdy 5 CD box set assembling 26 collaborations and solo works that bridge experimental and contemporary compositional work investigating electro-acoustic orchestration, temporal hallucination and sound phenomena, a remarkably diverse and fascinating collection.
Australian composer Alister Spence wrote this in five parts composed for an improvising orchestra, which was first premiered in 2016 by Satoko Fujii's orchestras in Kobe, Nagoya and Tokyo, and the Glasgow Improvisers Orchestra; this recordings in 2017 at Big Apple Jazz Club in Kobe revisits the work with Fujii's Orchestra Kobe, conducted by the composer.
"Ke I Te Ki" signifies the sound of an alarm, as frequent collaborators Akio Suzuki and Aki Onda push themselves in a live multi-track recording at the NY Emily Harvey Foundation (former home of Fluxus founder George Maciunas), using field recordings, objects, layers of melody and rhythm, sustained drones, and diverse textures and timbres to create these absorbing recordings.
Concentrating on the lower reeds, baritone saxophone and bass clarinetist Josh Sinton's Predicate Trio brings the best of New York's Downtown improv scene through drummer Tom Rainey and cellist Christopher Hoffman, the album opening with a submerged baritone solo leading to seven original Sinton compositions and two uniquely mischievous and informed collective improvisations.
Commissioned for the Chicago performing space LAMPO and The Renaissance Society, Olivia Block composed this large work of drone and sound from 2016-2017, premiered on the massive Skinner Organ at Rockefeller Memorial Chapel in a free concert that included a sound installation of 6 speakers placed through the chapel playing white noise, sine tones, and prerecorded organ sounds.
Continuing her monthly releases for her 60th birthday, Japanese pianist Satoko Fujii meets Australian keyboard and electronic artist Alister Spence for their second meeting, touring Japan and recording this spellbinding album merging bells, gongs, electronics, and acoustic piano, inside and out, in a passionate album that balances melodicism and sound.
Tokyo-based electronics artist Toshimaru Nakamura's 9th album of No-Input Mixing Board music, elucidating sound from the mixing board without any audio sources, showing the amazing evolution of his approach as he turns this "empty" "instrument" into an amazing source of rhythmic and assertive sound that's both surprising and wonderfully musical.
Pianist Anthony Pateras and guitarist Stephen O'Malley (Sunn O))) performed a concert in 2011 at Instants Chavires in 2011, which they took into the studio to deconstruct and recompose on 1/4 inch tape, creating a compelling landscape of fractured musique concrete, introspective meditations, electro-acoustic textures and heavy guitar; includes a 20 page interview with O'Malley.
A founder of the Slave Pianos collective and co-organizer of the Inland Concert Series, Australian computer and synth artist Rohan Drap joins keyboardist Anthony Pateras for an extended exploration of interlocking vintage electric organs, allowing their tones and timbres to interact in microtonal richness as they create tonal environments and gradually unfolding progressions.
In 2005 Australian pianists Chris Abrahams (The Necks) and Anthony Pateras multi-tracked 4 takes in each octave of the piano, superimposing them over each other to create a kaleidoscopic maelstrom of pianistic energy, layers of piano creating a hypnotic and dizzying set of textures and unexpected sonic intersections.
Anthony Pateras performs on pipe organ alongside Erkki Veltheim on electric violin, presenting a single extended work joining both instruments as a unified timbral force, producing exquisite and hypnotic sensorial phenomena over 50 minutes, as the duo investigate spectral phenomena in sound; includes a 24 page illuminating booklet interviewing both artists.
Anthony Pateras was commissioned to compose this work by Synergy Percussion for their 40th birthday in 2014, performed with a six piece ensemble including electronic artist Jerome Noetinger, using the same instrumentation as Xenakis' "Pleiades" of more than 100 orchestral percussion instruments, including Xenakis' 17-pitch microtonal metallophones.
A dramatic work for solo piano, exploring sound phenomena in fast repetitions that generate whirlpools of overtones, "Blood Stretched Out" is the primary track on composer & pianist Anthony Pateras' first solo album in 10 years, paired with "Chronochromatics", recorded live at The Loft in Cologne as part of the Plush Music Festival in 2013.
Beautifully slow drifting compositions for clarinet, ARP 2600, piano and prepared piano from the duo of Anthony Burr and Anthony Pateras, drawing on Cage and Feldman in these expansive and tranquil works that create beautiful and quietly exotic sound environments.
Drawing from Xenakian architextures, Carterian set theory, Carnatic music, sharp-edged pointillism & orchestrational symbiosis, pianist Anthony Pateras steps back from electronic music for chamber-oriented improvisations with trumpeter Scott Tinkler & voilinist Erkki Veltheim.
Anthony Pateras & Valerio Tricoli worked 7 years transforming pianos, organs, harpsichords, tape machines and synthesizers into an expansive sonic otherworld that celebrates the "End of Times" in three parts; a meticulous and fascinating work.