Classic in Field




AMM:  Ammusic AMM: Ammusic
Code:ReRAMMCD
Price: £11.50
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The definitive 1966 recordings, complete, available for the first time as they were recorded. Plus 35 minutes of extra music from the same sessions. No history of contemporary music is written without reference to AMM, and in particular to these recordings. Cornelius Cardew: Piano, Cello, Transistor Radio; Lou Gare: Tenor Saxophone, Violin; Eddie Prevost: Percussion; Keith Rowe- Electric Guitar, Transistor Radio; Lawrence Sheaff- Cello, Accordion, Clarinet, Transistor Radio. Usefully indexed, full booklet.
 
 



  AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC Vol 4.
Code:SR250
Price: £19.25
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The fourth Volume is lighter on the early landmarks, though there are some gems here, including one of Halim elk Dabh's prescient 1944 wire recorder experiments, Olivier Messiaen's 1937 Oraison for an ensemble of Ondes Martinots, Gottfireid Michael Koenig's remarkable 1967 Funktion Grau, Steve Reich's Pendulum Music a short 1958 electronic work by Ligeti, a rare appearance from Beatriz Ferreya (1967) and a Broken Music piece by the groundbreaking Milan Knizak. There are also some interesting '70s pieces by Laurie Speigel, Alvin Lucier and Francois Bayle (this with Robert Wyatt and Kevin Ayers). The rest, for the most part, are more recent pieces which stand closer to the industrial noise aesthetic, though carefully selected. Stephen Vitiello (2003), and James Whitehead (Air Attack over Kabul Airfield, 2005) both stand out. Another important collection.
 
 



  ANTHEIL, GEORGE: Ballet Mecanique (1953 version),Serenade for String Orchestra, Symphony for five in
Code:8.559060
Price: £6.00
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Completes the availability of the three Ballet Mecanique scores. This is the last, the shortest and the most stripped down. It's interesting to compare it with the others and it's also a fine piece in its own right. And it's very cheap. Serenade is a very charming late work, very defined, rather cinematic, Symphony, from 1924 is Stravinskyan, and Concert marks the time (1932) when Antheil left Paris and returned to the USA.
 
 



  ANTHEIL, GEORGE: Ballet Mecanique
Code:EMF-CD020
Price: £13.25
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This is a first recording of a reconstruction of the earliest (1924) version for sixteen synchronised player pianos, 2 grand pianos, seven percussionists (4 xylophones, 4 bass drums, tam tam, pitched electric bells, siren and aeroplane propellers) which was never performed (because impossible at the time). It was a reduced version that caused such a sensation at its premiere in Paris. This realisation was made possible, finally, through computer and midi power (to co-ordinate those 16 player pianos). An historic recording of a groundbreaking work. The rest of the CD contains other pieces for player pianos, percussion and electronics by John Cage and Lou Harrisson, Richard Grayson, Amadeo Roldan and Felix Mendelssohn (a version of the presto from the 4th Symphony remade for 16 player pianos). Classic.
 
 



  BLEGVAD, PETER: Opheus, the lowdown
Code:APECD005
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A coherent, integrated work of art. Spoken texts in a world of sounds; concise, complex and for the most part delicately or obliquely set. A model work of experimental radio, but wrapped in a dvd case with a set of dedicated pictures pitched somewhere between a rayogram and '60's bohemian underground graphics alternating with the printed text. Distinguished by a serpentine interconnectedness and a fastidious attention to sonic detail. Different approaches, different voices and different treatments for each tableau keep the ear in the air and the mind off the ground.
 
 



  BOSETTI, ALESSANDRO: African Feedback (book +CD)
Code:bosettiAfrican
Price: £14.50
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64pp A5 flatbound booklet with CD. The book consists of interviews made in small villages in Burkino Faso. Bosetti plays noise/music (Derek Bailey, Hugh Davis, Berio, Parch, Messaien, Yoshihide, Lucier, Chion, Parmegiani &c.) individually (via headphones) to people of all ages - who have never heard anything remotely like this before - and asks them first what they hear - eliciting the most extraordinary, elaborate, graphic and mystifying responses - and then what they make of it: whether it's music and what music is, &c. This is deep matter and the answers are sometimes luminous and always fascinating. It's rare to escape so completely from our own cultural frames of reference, and instructive how possible it is, notwithstanding, to approach and share experiences and concepts on the apparently fragile ground of language (even when that ground is compromised through interpretation). What is common as well as what is alien is made manifest and, above all, a kind of mental hospitality that seems hardwired is revealed. Bosetti is very sharp and accurate in his accompanying footnotes and doesn't mythologize or idealise. He is perfectly aware of his inescapable role as outsider and of the quasi parasitical relationship between white strangers like himself - neither tourists nor administrators -and indigents who know and will supply - for complex sets of motives - what they think is wanted of them. Many levels of information and of misunderstanding are at play here and they shift and elide as you read. Each short interview is accompanied by photographs of the people or the locality and a list of the specific music played. The CD is gripping - it's worth buying the book for alone. Made of the voices and vocal sounds of the questionees, imitations and musical sounds (Western and local) and the proximate soundscape - variously raw and processed - and brilliantly organised into a form that is like nothing I have heard before. I can't recommend it too strongly. But that's me.
PLUS POSTAGE.
 
 



  BRANT, HENRY: Collected Works Vol 9
Code:Innova416
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Dormant Craters, Ceremony, Homeless People
Three excellent pieces very well recorded of fairly recent works (1954, 1995, 1993) by the last of the great American maverick composers (he's 95 and still busy); the master of spatialised acoustic composition -all his pieces feature ensembles and musicians arranged around and through the listening space: never loudspeakers or electronics. Great nets of noise and polyphonic, polymetric, simultaneous but uncannily coherent sounds whirl about, and settle into conversational groups or randomised chatter, almost genre-free, always human and filled with complexity and moment-to-moment detail. Craters is for several percussion groups: two jazz kits, a gamelan ensemble, eight tympani, 14 gongs and other metallophones, a steel drum ensemble, handbells and the usual Chinese blocks, gran casas and multiple snare drums. Ceremony features a four-hand piano and most of a small orchestra divided into small groups distributed around the room, with prominent percussion and 4 singers (chorally organised). Homeless People is for a string quartet - one member in each corner of the room, the inside of a piano (here played by Brant himself) and a distant accordion. Inevitably the 360 sound picture is absent from these recordings but the clarity, originality and power of the compositions is manifest. A great CD from an important composer. Nice booklet with useful notes.
 
 



  BRANT, HENRY: Vol 2 Nomads, Solar Moth, Ghost Nets
Code:innova409
Price: £12.50
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Second volume of the Brant retrospective. Brant, a unique voice in Amercan music, has been a pioneer of spatialised music (using diverse ensembles positioned around auditoria playing simultaneous, often non synchronised, parts) for the last 60 years. Nomads is for voice, percussion, brass and wind orchestra and was recorded live in 1974, Solar Moth (1979), composed for 8 track tape, is a concerto for Violin (played by the legendary Daniel Kobialka), 4 violas, C and Bass flutes, harp, piano and marimba - all played by Brant himself - and voice (Amy Snyder, seldom sounding human). This is a remarkable work and a vanishingly rare example of direct composition for tape in the 'classical' musical world. And it's absolutely great. Ghost Nets is for double bass, two chamber orchestras and one isolated horn. Another brain scrambler. These are substantial, unusual and important works. File with Ives, Partch, Nanacarrow, Varese; radical pioneers.
 
 



  CAGE, JOHN / KENNETH PATCHEN: The City Wears a Slouch Hat
Code:organofcorti14
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The original, classic radio version (1942). Absolutely great.
 
 



  CAGE, JOHN: Imaginary Landscapes
Code:HATART145
Price: £14.50
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The entire series, composed between 1939 and 1985 gathered together on one CD. No.1, the first to use the gramophone as a performing instrument (alongside three piano notes and a cymbal) is visionary; Nos.2 & 3 (1942) for amplified springs, percussion, electric buzzers and, again, vari-speed turntables, clatter and explode like rather psychotic junkyard skirmishes; No.4 for 12 radios was another landmark and, for No.5 (1952), Cage moved to straight ahead plunderphonics, using 42 taped recordings of extracts from (jazz) gramophone records instead of radios. 6 (1982) mixes the sound of crumpled, torn and waved paper with wood and water. These are new performances of the pieces by the maelstrom percussion ensemble conducted by percussionist and old Cage hand Jan Williams. Performances are all fine. The first 5 landscapes are the most radical and imaginative and occupy about half the time, No.6 is 26 minutes long, and is the one that sounds most meditative and 'Cagean' ('I have nothing to say and I'm saying it'). A good collection with useful notes.
 
 



  CAGE, JOHN: Imaginary Landscapes
Code:HATART145
Price: £14.50
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The entire series, composed between 1939 and 1985 gathered together on one CD. No.1, the first to use the gramophone as a performing instrument (alongside three piano notes and a cymbal) is visionary; Nos.2 & 3 (1942) for amplified springs, percussion, electric buzzers and, again, vari-speed turntables, clatter and explode like rather psychotic junkyard skirmishes; No.4 for 12 radios was another landmark and, for No.5 (1952), Cage moved to straight ahead plunderphonics, using 42 taped recordings of extracts from (jazz) gramophone records instead of radios. 6 (1982) mixes the sound of crumpled, torn and waved paper with wood and water. These are new performances of the pieces by the maelstrom percussion ensemble conducted by percussionist and old Cage hand Jan Williams. Performances are all fine. The first 5 landscapes are the most radical and imaginative and occupy about half the time, No.6 is 26 minutes long, and is the one that sounds most meditative and 'Cagean' ('I have nothing to say and I'm saying it'). A good collection with useful notes.
 
 



  CARY, TRISTRAM: Soundings (dbl CD)
Code:TP139
Price: £18.50
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An important release by one of the pioneers of electronic music, much referenced but seldom heard. Born In the UK, he started to experiment independently with electronics in the late '40s, founding the electronic music studio at the Royal College of Music in 1967. He was also a founder Director of EMS and co-designer of the legendary VCS3 Synthesiser. In 1979, he emigrated to Australia, taking his studio with him. CD one contains pieces for Tape made between 1955 and 1978 covers a lot of ground, including two concert pieces (made for the first ever major public concert of British Electronic Music in 1968) and 3 radio pieces: a very early work (1955) for the BBC play 'The Japanese Fishermen' (about America's Pacific bomb tests here reconstructed from acetates, and the 1978 'Steam Music' which follows in the great concrete tradition of deriving pieces from recordings of trains. CD 2 features computer and synclavier compositions made between1979 and 1996, and finishes with Cary's tribute to Conlon Nancarrow.
 
 



  CATLER, JON: Catler
Code:P-200206
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From the luminous Festival of Mictrotonal Music; we are off the map here. This is what the most experimental rock group you ever heard would sound like if the context weren't a contemporary music festival. But director Reinhard's scope is so wide that the categories have collapsed (as in fact at the fringes of the old genres, once segregated genres, they have anyway). His is a catholic understanding of music with its doors wide open - so long as the investigation of microtonalities, close composition and alternative tunings are set at centre stage. Catler - a guitarist who plays specially designed acoustic and electric guitars in just intonation, 31 tone and 64 tone tunings, as well as wholly unfretted - has composed a set of pieces here that range from four or five piece rock band (with bassoon) for many pieces, to small and large contemporary music ensembles. Apart from guitars, instrumentation includes hammer dulcimer, fretless bass, electric bassoon, drums, viola, cello, double bass, oboe, trumpet, tympani and tuba. The piece for electric guitar and orchestra, written in ' 13 limit just intonation' unfolds an overtone structure. The music is never less than ear-opening. In a genre of its own.
 
 



  CONRAD, TONY with FAUST: Outside the Dream Syndicate 30th Anniversary Edition
Code:conradFaust30th
Price: £22.00
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The classic.. A vital Minimal electric violin drone with microtonalities by La Monte Young affiliate Conrad, and scary machine beats from the Faust rhythm section (Jean-Herve Peron and Werner Diermaier) and Faust guitarist Rudolph Sosna (who plays some synthesiser here) This was undoubtedly one of the more remarkable projects to come out of Faust's famous Wumme schoolhouse (Slapp Happy's Sort Of was another). And it still holds fast as a definitive - and primal - musical statement. Added to the original (remastered) LP are other out-takes from the original sessions and another version of the ur-piece without an extra violin overdubbed later. A landmark. Nice packaging, though the text is more promotional than useful. If you already have the single CD, not a lot is added, but the quality is better. Sorry it's so expensive. But still worth it
 
 



  COUPER, GOSFIELD, OLIVEROS, HOVDA, CUSTER, ONO: If Tigers were Clouds
Code:Innova589
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A fine and important collection of so-called maverick works by women in the 20th and early 21st centuries. Very varied, always challenging. The first two pieces - by Mildred Couper (written in 1930, before any of the other contributors were even born) and Annie Gosfield (b.1960) - are exemplary: Couper's for two pianos tuned a quarter-tone apart and Gosfield's for brain-twisting percussion and bass-clarinet, employing complex simultaneous metres. Pauline Oliveros does what she does; Eleanor Hovda (born 1940) manages, more or less, to make an electronic work with acoustic resources, Beth Custer, using sound sculptures and invented instruments, offers an eccentric song and Zeitgeist ensemble realises a Yoko Ono/Fluxus score. In addition, there is an improvisation using the legendary Arthur Ferris' forgotten instruments. Built mostly in the 1920s these were extended string families: many necked viols, harps, &c. I'm not at all sure how this track fits here (Ferris was male and all the players bar one are male too, but I'm not complaining. It's good to hear the instruments). There are three extra pieces accessible only from a computer, another 1/4 tone piano duet by Mildred Couper, another Ferris instrument improvisation, and Johanna M Beyer's 1932 Suite for Bb Clarinet. 26 minutes in all. If only for the chance to hear Mildred Couper, Ferris' instruments and Annie Gosfield, this is a hit.
 
 



  CZECH NEW MUSIC FROM THE 60'S: Agon Ensemble
Code:F10048-2
Price: £12.50
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A splendid and much appreciated collection; unusual and prophetic music, all of which is uncompromisingly excellent. Particular mention for Berg: music in twelfth-tones (each tone divided in twelve) and Komorous (enormously inventive, especially the piece for mouth organs and bass drum). This is music that was missed, showing that the spirit of experiment lived and thrived, heard or unheard, every- where, and it is still coming to light. Highly Recommended.
 
 



DOCKSTADER, TOD/JAMES REICHERT: Omniphony DOCKSTADER, TOD/JAMES REICHERT: Omniphony
Code:ReRTODD1
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The legendary collaboration between a leading American Musique Concrete composer and an instrumental ensemble directed by James Reichert where, for I think the first and to date only time, there was full integration of the written, played and manipulated sounds. The instrumental parts were derived from cells' of concrete sound and in turn were electronically transformed (in Robert Moog's then state of the art studio), Then the whole mass of material was organised together. A true hybrid, and a one-off. Long out of print since it's appearance on vinyl in 1966. With two extra pieces by Tod Dockstader a new stereo version of No.7 (from the 1961 8 Electronic Pieces' and very late and very different - piece from 1990 which has never escaped his studio until now. A classic and a milestone in the evolution of electronic, mediated sound.
 
 



  DOCKSTADER, TOD: Aerial #3
Code:SR233
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The third in the set for those of you who have been collecting from the beginning. This CD is also, in my opinion, the one to have if you only have one. Made from between-channel radio sounds collected over many years, then assembled and processed over more, these are complex, deep and rather human pieces, neither synthesised nor acoustic - musique concrete without the concrete; sounds no one has made, plucked from nowhere; unwanted interference that exists only as cross-contamination, cosmological noise or leakage: Sternklang - sounds that only radios can hear....The entire 240 minute 3 CD work is, in a strangely fractal way, wholly represented in this final volume, so if you haven't dipped in yet, now is the time.
 
 



  DOCKSTADER, TOD: Aerial 1-3
Code:dockstaderAerial123
Price: £31.00
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All 3 of Tod Dockstader's Aerial releases in a slipcase at a reduced price.
 
 



  DOCKSTADER, TOD: Eight Electronic Pieces
Code:J36
Price: £12.50
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Reissue of Dockstader's crucial and remarkably advanced early concrete pieces, originally released privately and then reissued by Folkways in 1961 - with a recent interview with Dockstader himself and his original notes, which themselves make this release invaluable. These are 8 classic pieces from the time when the form was being created and extended by one of its great practitioners. The range and detail of sounds and applications is prodigious. A classic.
 
 



  DUNN, DAVID: The Sound of Light in Trees
Code:dunnSoundLight
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The author of the groundbreaking Chaos and the Emergent Life of the Pond (an '80s soundscape classic) and inventor of many highly specialised microphones, here reveals another unexpected and complex sonic universe, that of the navigable layers between the outer bark and the inner xylem of a single species of American pine. It's a world that bustles with an amazing variety of noisy life as it goes about its (mostly destructive) business. The main players are pinyon engraver beetles (size: about one rice grain), though there are walk-on parts for other species. What is extraordinary - and this is the aesthetic point of the recording - is how varied, intense and mysterious this soundworld is. Superficially similar to some of the more radical 'small sound' sampling experiments released in the last years, this CD offers both a more interesting and a more meaningful experience; it's subtle, but you can hear the purposiveness and the life of these sounds, a dimension wholly lacking in the narrow world of samples, glitches and algorithms. And these are sounds inaudible to the human ear, however close you approach their source. A fascinating work, it comes with a serious and excellent essay by Dunn on the ecology and possible significance of the sounds, and the technical details of their capture and collage.
 
 



  EL-DABH, HALIM: Crossing into the Electric Magnetic
Code:WFR003
Price: £12.50
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This is an exceptional collection of pieces by one of the pioneers of electronic and tape music. Halim El-Dabh began experimenting with wire recorders in Egypt even before Schaeffer inaugurated the practice of Musique Concrete in France - one piece here dates from that period ('Wire Recorder Piece', 1944) and is thus of great historical importance. Most of the other works were recorded in 1959 and evidence a remarkable body of work and experimentation. El-Dabh does not sound like his fellow Electronic Music brethren (he was working at The Columbia-Princeton Electronic Music Centre) but is more organic, physical and eccentric; more like Sun Ra than Mario Davidovsky. There is much use of objects and some instruments, as well as electronically generated tones and concrete techniques of tape manipulation and electronic processing. And very imaginative use of the human voice. Most of the groundbreaking 'opera' 'Leiyla and the Poet' is included here for the first time on record. Indispensible.
 
 



ELECTROPLEINAIR SOUND DIARY:  The Wind Rises ELECTROPLEINAIR SOUND DIARY: The Wind Rises
Code:ReRSD1
Price: £11.50
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A revelation. First released in Hungary in 1987, this is an extraordinary work combining ensemble playing, documentary recording, studio manipulation, electronics and some stunning compositional conception. Featuring Marta Sebastjen, the Amaninda group, WYXOMPHONIC group, Mandel Quartet and a star gallery of other instrumentalists of all kinds. A unique work we worked years to acquire - a masterwork in every sense.


ListenListen to a sample of this release



 
 



  FELDMAN, MORTON: The Viola in My Life
Code:NW80657-2
Price: £12.50
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Reissue of the much missed CRI CD. The title track is a 29 minute piece for viola and small ensemble, conducted by Feldman himself: endlessly suspended and endlessly listenable - it could go on forever; cleanly articulated, always concentrated, in constant motion but without a goal; just rich in its going. There are longeurs that sink into silence, and there is great, and unfamiliar, use of blurry, quiet percussion. It is a work that transfigures time into pure qualia. If you are not familiar with Feldman, this, or Rothko Chapel, would be a good place to start. There are two other pieces on the CD, inhabiting the same timeless zone, 'Why Patterns', with Feldman himself at the piano, and 'False relationships and the extended ending.' For flute, percussion and piano.
 
 



  FERRARI, LUC: Presque Rien
Code:M10750
Price: £13.00
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Indispensable. In 1969 Ferrari made Music Promenade, one of the key works of tape music, using environmental recordings throughout. He followed it in 1970 with Presque Rien (at the seaside), again using documentary recordings only, but this time, les eventful, more environmental. He returned to the process in 1977 with a night piece that extended the documentary night into One more return in 1989 (with young women) recorded in Tuscany. The whole sequence is on this CD.A classic.
 
 



  FERRARI, LUC: Presque Rien
Code:MUSIDISC245172
Price: £16.00
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Includes the CLASSIC 'Music Promenade'. A huge narrative of environmental recordings with hardly any additional electronics. Plus versions of 'Presque Rien' continuing Ferarri's experiments with composing with environmental recordings. An important document.
 
 



  FLYNT, HENRY: Back Porch Hillbilly Blues Vol.1
Code:locust16
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A remarkable collection of hillbilly minimalism, by one of the forgotten heroes. These are blocks of generic material subtly changed by reiteration and lack of development. Like Beefheart, Henry Flynt is one of the rare examples of musicians who fearlessly experimented with the blues and folk forms in the face of all contemporary and experimental music orthodoxies. An important recording and a great listen.
 
 



  FRITH, FRED: Rivers and Tides
Code:FrithRiversTides
Price: £12.50
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Soundtrack to film about environment artist Andy Goldsworthy, great sound track...
 
 



  GOEBBELS, HEINER: Horstucke
Code:ECM1452513368-2
Price: £30.50
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Triple CD set of some of Heiner's CLASSIC radio pieces,with many guests well known to you all, with fat book containing all texts in German, English and French. And the Heiner Muller texts are frighteningly great. This is essential work and highly recommended.
 
 



  GRUPPO NUOVA DI IMPROVVISAZIONE CONSONANZA: Azoni (2 CD & 1 DVD Box set)
Code:DS13
Price: £33.00
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Unreleased recordings made between 1967 and 1969 by this legendary and historic group made up only of composers: Ennio Morricone, Franco Evangelisti, Mario Bertoncini, Walter Branchi, Ivan Vandor, Roland Kayn, Egisto Macchi, John Heinemann & additionally here, Frederick Rzewski. Founded by Evangelisti, GNIC played an important part in the general opening-up of contemporary music in the wake of the Cage/Darmstadt debates. Decentered forms, unconventional techniques, inclusion of electronics and a highly disciplined approach to 'unmusical' performance made them pioneers in a specifically European language of sonic abstraction. Without wanting to open any debates, there are strong links to AMM, their British contemporaries. The DVD - a film made for Norddeutscher Rundfunk in 1967 by Theo Gallehr is a gripping journey through preparation, extended instrumental techniques, live performance and interviews - with intelligent questions, thoughtfully answered. Plus a great deal of cigarette smoke. Improvisation poses questions; it isn't yet a style. Altogether a priceless document. Three Digipacks in a very sturdy box with a poster and a useful 76pp booklet in Italian and English. LIMITED EDITION OF 500.
 
 



  GUNTHER, BERNHARD: Un Peu de Neige Salie
Code:TOCSE01
Price: £12.50
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Reissue of a classic. Originally released in 1992 this is a CD with four tracks, each of which carries very quiet, small sounds. Often imitated since, this particular work embodies an original thought; and as such bears the echo and substance of its breakthrough power. Now the idea is out there, that energy is not required. And, historically, the earliest works do tend to retain their aesthetic productivity, since it is in them that a critique is most clearly appreciated and posed. It's also a definitive CD artwork: surface noise would defeat it - and you need a quiet system to listen on.
 
 



  KIRCHIN, BASIL: Quantum
Code:JBH003CD
Price: £12.50
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A rarity. Kirchin made jazz recordings 50 years ago and then suddenly two experimental LPs in the '60's - more referred to by the few than heard - otherwise only rumours, footnotes circulated. But he was a pioneer, and the marks pioneers make persist, as this recovered recording - thanks to Jonny Trunk, one of those specialists who went looking and found, not only the author, but unreleased work -demonstrates. Subtitled ' A journey through sound' and made between 67 and 71, this mixes, in a coherent but highly abstract way, environmental recordings (insects to trams), instruments (inc. sax - evan parker -, flugelhorn, marimaba, whistles, rock guitar, bassoon), histrionics, voices and swathes of sound into an evolving drama. Absolutely not dated; it still falls between all styles and boundaries into a fascinating sonic no man's land. Historic and a milestone.
 
 



  LA CASA, ERIC: Secousses Panoramiques (8cm ep)
Code:laCasaSecousses
Price: £7.40
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The real Elevator Music.16 exemplary tracks of (mostly Parisian) lifts in La Defense, Radio France, La Villette and the Metro, plus a pedestrian tunnel in Anvers and the Unilodge building in Melbourne. A great example of where less is definitely more. A classic.
 
 



  LOCKWOOD, ANNEA: A Sound Map of the Danube (3-CDs)
Code:LCD2083
Price: £21.00
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A 2 hour, 47 minute aural journey along the length of the Donau, Europe's second longest river that runs from Germany through Austria, Slovakia, Hungary, Croatia, Serbia, Bulgaria and Romania, finally winding out into the Black Sea, collaged from recordings made during 5 trips in 3 years by Annea Lockwood, one of the early sound pioneers (soon to be 70). It's a work that has the pace and wisdom one would like to hope age will confer. As water seen day by day, water heard too constantly mutates, bound into the sounds around it: fields, settlements, insects, birds, boats and bells; it takes its own time, navigating endless bends and the occasional lock or weir. These are intimate recordings made from the banks, sometimes dipping beneath the surface of the water. Thirteen short interviews appear en route (translated in the accompanying documentation), but mostly the river just rolls on, endlessly changing. It's a joy. These are sounds graven into our genes and speak to ancient human instincts; they collapse a fleeting sense of linear time into an ageless, endless present. Men may come and men may go, but I go on forever, as we all learned in school (at least we did when poetry was thought of as something of value). There's also a foldout map, and useful notes. It's not art, but then art isn't everything. Or perhaps, if art is the transfiguration of time, this is art; just a new kind of art. PS. What this work is not is a sound map of The Danube - a river that runs through several capital cities and many large and small conurbations. So far as possible Lockwood avoids anything indicating urban life or anything that would let you know it was not still the C18. What is human is mostly represented in the ubiquitous sound of near or distant bells. This CD is deeper and more primal than a mere collation of documentary sounds.
 
 



  LUCIER, ALVIN: I am Sitting in a Room
Code:LCD1013
Price: £12.50
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The classic recording for voice and tape that set a whole movement in train. For 45 minutes Alvin's original recording, which describes the process he is undertaking, changes from coherence to pure noise as it follows the process: first it is played back into the room in which it was recorded, then that playback is recorded in the same room and in its turn played back - and so on until all that remains is an unintelligible, inhuman sound that bears the print of the acoustics of the room itself. A landmark work. Indispensible.
 
 



  LUSSIER, RENE: Le Tresor de la Langue 3CD set
Code:TRICD7265
Price: £19.00
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First - the original release, a work of luminous excellence and one of the truly great records of the last 40 years in which Rene instrumentally shadows and orchestrates all manner of speech - quotidian, documentary, banal, significant, political - in the most breathtaking manner, hopping genres or escaping them altogether, and using considerably extended musical resources, though much of the vocabulary is unashamedly rock inflected. It's a record no collection should be without. Then there is an hour and three-quarters of extra, closely related and stunningly good material consisting of a film short soundtrack, La Mort de Concorde, and over 90 minutes culled from concert performances of the groups assembled to perform Tresor material. But these are not, for the most part, live versions of the recorded pieces, but new pieces, of great variety and featuring some extraordinary playing. You can consider CD3 as a new, brilliant entirely self-sufficient work, scarily brilliant. Musicians include Rene himself, Bob Ostertag, Jean Derome, Pierre Tanguay, Alain Trudel, Jean Francois Martel, Tom Walsh, Fred Frith and Richard Desjardins. This is really as good as it gets. A great release.
 
 



  LUSSIER, RENE: Tresor de la Langue
Code:AM015CD
Price: £12.50
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A work of extraordinary accomplishment and vision. Years in the making (all feature transcripts, instrumentations and orchestrations of the human voice), sometimes breathtaking in its effect and technique. Won the French language radio Prize, not surprisingly.
 
 



MARCLAY, CHRISTIAN: More Encores MARCLAY, CHRISTIAN: More Encores
Code:ReRCM1
Price: £12.50
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Reissue on CD of the turntable/plunder CLASSIC, featuring Jimi Hendrix, Maria Callas, Johann Strauss, John Zorn, John Cage, Martin Denney, Fred Frith, Frederick Chopin, Louis Armstrong, Ferrante and Teicher, Birkin and Gainsbourg and CM himself...This is the big one. Digipacked. Historic. Unmissable.
 
 



  MENTER, WILL: Wood Wind and Rain Songs
Code:res07
Price: £12.50
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An really excellent collection of pieces featuring WM's sound sculptures, recorded in caves, quarries and studios. Bamboo and Slate predominate. These are highly musical, exquisite pieces, subtle and often mysterious. Some are almost unbelievable.The line between playing and happening is hard to draw. Nice package and pictures. Excellent. Buy this
 
 



MYERS, DAVID /ARCANE DEVICE: Engine of Myth MYERS, DAVID /ARCANE DEVICE: Engine of Myth
Code:ReRDLM1
Price: £11.50
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In 1988, I received a tape from David Myers consisting of music made purely from the internal conflicts of machines; sounds made from no sound - no input, only output emerging from the unstoppable flow of electrons within and across machines plugged into one another the 'wrong' way; these outputs then being controlled by David in real time using a mixing desk. The sounds were exquisite: ethereal, glassy, powerful, gritty, rich and strange by turns - and surprisingly varied. Clearly too, this was no surprised experiment but a mastered and subtle new instrument. This CD reissues that historic release, along with extra contemporaneous material. And now that input-less music has re-emerged in Japan - though with a totally different aesthetic - it is informative as well as fascinating to revisit this earlier, and very different, work. This is great music: shifting strange masses of unidentifiable sound moving in mesmeric and organic waves as - unhindered by any originary impulse -electricity sings.


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ListenListen to sample #2 of this release

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  NEGATIVLAND?: These Guys Are From England And Who Gives A Shit
Code:Seelard021
Price: £13.00
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Negativeland's website says 'bootleg" versions of our banned EP have appeared over the past decade, including some forgeries that are so well-designed that it's hard to tell them apart from the original, but none of them have come even close to encapsulating the bloody history of that old release as this brand-new CD on the suspicious "Seelard Records" label. We don't even know where this "label" is located'. This ' is an album-length collection of just about every darn gasp uttered by Negativland which relates to the notorious and banned EP, from early run-thrus of the material (taped from our weekly radio show, OVER THE EDGE), to live versions both pre-lawsuit and post, and to the actual single itself. We are amazed at the extremely high-fidelity and professional presentation of this material, which even includes the only top-notch recordings available from our "Music For Lawyers" tour of 1993 (several lawsuit-related compositions which never saw the light of day on any other "legitimate" Negativland album)'. Historic. Buy it while you can.
 
 



  NITSCH, HERMANN : Die Musik des 6-Tage-Spiel (51 CD, 3 books. Box)
Code:nitschMusik
Price: £230.00
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(It's close to 4 kilos and the price includes postage)

Compete documentation in a black hand-made box, signed and numbered by Hermann Nitsch. This is the legendary documentation of Aktion Nr. 100 or "Das 6-Tage-Spiel des Orgien Mysterien Theaters, mastered from the original recordings made at Prinzendorf Castle during the epic 6 days of the 100th Aktion (3-9 August 1998). More than 48 hours of massive, monumental sound, featuring 4 orchestra groups, a substantial percussion ensemble, bells, two folkmusic/festival bands, an amplified synthesiser and a 100 voice choir. We are not fooling around here. I've only got as far as CD (26) and so far it's pretty stunning. Like a soap opera - so much time to develop and change the material. Lots of simultaneous events, lots of fascinating, long sections of bells, dissonances and mysterious harmonies. One great CD a day would last you close to two months. And this is an artwork. 20 years from now it'll be your pension. The package also includes the complete documentation of the Aktion, consisting of 3 full-size printed books (cm.21x15) with the reproduction of the full score - including star maps, drawings, paintings, formulae and graphics: Volume One, 720 pages; Volume Two, 432 pages; Volume Three, 464 pages - plus the original program given to the audience taking part in the aktion (20 full-colour pages, cm. 21x15), plus the original full-colour folded poster of the Aktion (size cm. 84x58) and a 20 page booklet (12 x 12), numbered and signed by Nitsch, including the essay "The O.M. Theatre's Music", as well as liner notes and technical information (in German). Privately issued by Atelier Nitsch, 2005. It may seem expensive, but this is an artwork, and seen in those terms, remarkably cheap.
 
 



  NITSCH. HERMANN: Sinfonia Punya Campanella in 4 Movementi
Code:nitschSinfonia
Price: £13.00
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The old '60s actionist troublemaker, mellowed by time it seems, triumphantly reappearing here with a (graphically) composed piece for 42 piece orchestra. Originally made for a 6-day event in 1998, this version was (very well) recorded in 2004. Though Hermann still talks in an Artaudian way about the scream, sado-masochism, warm entrails and accompanying ecstatic noise, this has more the sound of Brandt, Scelsi, Partch or Universe Symphony Ives. It is extremely coherent and highly unusual - strangely meditative and thoughtful. And it works stunningly well on a purely musical level. In fact few composers today make music so radical and interesting to my ear; partly perhaps because Nitch's approach, from the other side of the sensory divide, has given him an ear for the theatre of sound that is unhampered by conformism or rebellion or the opinion of his peers. This is a music free of the cul de sac that music has of late backed into. A breath of fresh air. In a threefold digipack with a 28pp book with scores and photographs printed on strong art board. Comes in a slipcase.
 
 



  NONO, LUIGI : 20 Yahre Inventionen V
Code:RZ4006
Price: £12.50
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Three related works: Quando Stanno Morendo, Canciones a Guiomar and Omaggio a Emilio Vedova, the first (1982) for four women's voices, bass flute, cello and live electronics, the second (1962-3) for soprano, six-voice women's choir and small ensemble, the last (1960) a short, important early tape piece. These are spooky, tense, ethereal works, filled with silences and surging noise; nothing is as solid as is suggested by the instrumentation (which is mostly transformed through real time electronic processing); the women's voices are mostly attenuated, high and diaphanous, or abstracted and distant, and the compositions hang by a thread. These are very substantial works, and significant historical documents.
 
 



  ORNSTEIN, LEO: Piano Music
Code:8.559104
Price: £7.50
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One of the great, and generally overlooked American modernist (and then individualist) composers (famously: Suicide in an Airplane, 1913) with a collection of pieces, all very different, and all very listenable, written between 1913 and 1988. Very few records exist of his, and this is not only good, but thanks to Naxos' interesting business plan, cheap.
 
 



  OSWALD, JOHN : 69 plunderphonics 96 (Dbl CD and book)
Code:fony69/96
Price: £18.00
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Likely the most essential release of 2001. 60 tracks covering the period 1969 to 1996 - including all 25 tracks from the infamous banned Plunderphonic CD -in re-mastered and alternate versions. Plus a 44-page, handbound, hardcover book, featuring a 30,000 word interview with Oswald who discusses the process and the cultural and historical context of the tracks, plus many of his own full-colour photo-collage images. Along with Cage's 4-33, Schaeffer's Etude aux Tourniquets, Oswald's Plunderphonic has to be one of the pivotal musical paradigm shifters of the second half of the C20.
 
 



  OSWALD, JOHN/GRATEFUL DEAD: Greyfolded (dbl)
Code:SA1969
Price: £19.80
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John takes 25 years of GREATFUL DEAD concerts (100+ live performances) and from them creates (seamlessly) a platonic ideal version of 'Dark Star' one second short of an hour. No Plunderphonic pyrotechnics here but a dead-paced unfolding that imbricates times and places, staying pretty much freeform (with psychedelic climax) until 40 minutes in when there's a rock burst burst followed by a Phil Lesh feature and then echoes of old Mexico. For Grateful dead fans, close listeners and the curious.
 
 



  OSWALD, JOHN: Aparanthesi
Code:IMED0368
Price: £12.50
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- Excuse the length of the review. Summary: Buy it.

As in his short piece Klangfarbenprobe for the Re Records quarterly many years ago, John here explores in two 30 minute pieces how much variety and structure is obtainable from a single pitch. Western ears are indoctrinated to listen through pitch, to find binding narratives in melody, harmony and their variations, the rest at best is secondary, at worst just colour. The reason so much Baroque music translates so easily to different instruments, including heavy metal guitar, is because it's the notes that really count. The notes and their ratios and their relationships. Harmony was considered part of a scared mathematics and the relations between pitches expressed absolute, fundamental cosmic realities. Pure music, the music of the spheres related directly to the Platonic forms, the unchanging verities that we can approach but never grasp. That's why it is the form that matters, the pattern behind the notes, and not the temporary body in which these are clothed. In the age of the Manufacturer and the Usurer - the age of Beethoven and after - while holding to the spiritual in theory, music was progressively seduced by the material. Orchestration came to matter more and more. And once sound recording was invented, the materiality of sound itself became an unegotiable fact. Varese, pre-eminently, relegated notes to a secondary position in his work, pursuing timbre, dynamic, mass, spatiality and contrast, but generally, all the way through to the late 1950s, especially under the sway of post serialism, notes continued to hold their own, even though their grip was slipping. That decade, however, saw two radical responses that recognised and between them reified the dilemma: In the left corner, John Cage shifted his attention to rhythm - which is the organisation of time and which, significantly, is made equally of sound and silence - for him pitch was just material to be poured into structured time; it could be anything - let the sounds be themselves; while, for La Monte Young, in the right corner, pitch became absolutely supreme. John Oswald follows neither route but approaches the problem from a completely different perspective. His work, initially closer to Schoenberg's famous short orchestra piece and Varese's explorations into dynamic, timbre and spatiality goes beyond these to an exploration of what happens when pitch becomes informationally redundant - or transparent - forcing other qualities of sound to be heard through it, and making thereby what is always missing or suppressed significant. By this simple device - the most original things are always this obvious and one wonders how come it took so long to reach them - the answer is, as always, that it takes a different kind of thinking to see the obvious. By this simple device of removing tonal data by levelling it, John is able to accentuate and make essential parts of hearing we take for granted and, when in art mode, largely ignore. He takes acoustic space, natural and un-natural sound, the outside world and the discourse of music - and by merging and flattening them arrives at strikingly unfamiliar listening aesthetic.

Of course, John's work with recordings has always been about listening - as well as to a certain extent about perspective, and both concerns are strongly represented here. His method of work involves gradually tuning every sound to a single pitch (an A). There are 10 audible octaves and so 10 degrees of this pitch with which to work. Two human performers are featured, a piano tuner and a cellist, the rest of the material is derived from a library of recorded sounds built up over time - pure sine tones, orchestral instruments playing A's, voices, environmental sounds: birds, weather, animals, insects, spaces - and so on. It is all - naturally or un-naturally - pitched to an A. This is the material. The second crucial technique employed throughout this piece is morphing: that is, gradually blending one thing into another. A note becomes a storm becomes a flock of birds - think of some of Trevor Wishart's extraordinary work in this area, except that here the pitch is uniform and the blend can, if desired, be almost imperceptible. A change of object or event becomes simply one of timbres and detail; to morph is effectively to crossfade very slowly. Sounds may gradually turn into one another, or be sunk inside one another like harmonics, to create shifting banks of timbres. An entire aviary of birds winds up at A and A becomes the aether in which they, and everything else, moves.

Because of the variety of sources and the individual recording of them, spatiality moves to the fore; there is much work here with soundscape, interior and exteriority, distance and shape. Such work with scale and reflection and with the sounds of weather and nature inevitably invokes a visual response, and John often speaks in narrative and visual terms in his interview, 'it's raining in the piano', 'a conical clarinet curls into a french horn and then straightens out into a didgeridoo', 'like a giant hummingbird' &c. But because the pitch is constant, our hearing is focused in an entirely unfamiliar way. He quotes Stockhausen's comparison between the filmic model of seeing a variety of things under a constant light as opposed to seeing the same thing continually under differing lights. Perspective, space and scale permeate this work, in a way I can not refer to any other work. In one section all 88 notes of the piano sound as an A. And how are we to hear this? John in his excellent and comprehensive accompanying interview points out that this could usefully be described as a shift in scale: the piano notes do not change, but the size of the piano does; the lowest note on the keyboard sounding the A would be strung in a 10 inch concert grand, the highest in one over 100 feet long. This is in some ways analogous to the effect of light speeds on length and time: the light is moving at a constant speed while objects shrink and elongate and time stretches and expands.

There are two versions of the piece on this CD, which is an indispensable work. Not merely a piece of music - or a parade of organised sounds - but a meditation on listening.

 
 



P53:  P53 P53: P53
Code:ReRP53
Price: £11.50
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* Commissioned project from Chris Cutler for the 25th Frankfurt Jazz Festival 1994, featuring Marie Goyette, Zygmunt Krauze, Otomo Yoshihide, Lutz Glandien and Chris Cutler (score contemporary composers: 2, Sound debris organisers: 2, virtuoso pianists: 2, Virtual instruments: 2, Rythmn, Melody, Chaos: 2,2,2, more of the same: nil). His first without sung text. Instruments: Two Grand Pianos, Turntables, Random-tuned Guitar, Drums/Electronics, Computer and real-time processing. A single, complex narrative of sound; but track marked for listening convenience. Cover by Peter Blegvad. Notes and Pictures.
 
 



  PIONEERS OF ELECTRONIC MUSIC
Code:806644-2
Price: £12.50
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A CD reissue at last of the long unavailable CRI collection featuring very early US tape music pieces by Otto Luening and Vladimir Ussachevsky (1952-56) including Fantasy in Space, Moonflight and Low Speed; 'Stereo Electronic Music No.2' by Bulent Arel, Mario Davidovsy's famous 'Synchronisms' No.5' for percussion ensemble and electronics and 'Pril Miley's 'Kolyosa'. Then there are early computer pieces by Ussachevsky and Alice Shields' 'The Transformation of Ani'. An historic collection with useful sleeve notes.
 
 



  POPULAR ELECTRONICS: Early Dutch electronic music from Philips research laboratories 1956-63 (4CD bo
Code:Basta30.9141.2.
Price: £36.00
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This is a model, a standard, a template for how such collections should be assembled and presented. Four CDs in a substantial box with seven booklets (180pp) comprehensively written, beautifully documented and illustrated in full colour on nice print stock with 3 fold-out replicas: a score, a schematic, an early newspaper article - and a fold out time chart. The texts are excellently researched and written (with exemplary materials on the Philips laboratory, electronic scoring for film, the three featured artists: Dick Raaijmakers aka Kid Baltan. Henk Badings and Tom Dissevelt, and extensive track notes, beautifully designed. The CDs concentrate only on the popular and functional productions of the studio, meaning ballet music, industrial film soundtracks and experimental productions of what was intended to be 'popular electronic music', that is non-academic electronics pitched somewhere between science fiction beeps and swoops, tunes, lounge and jazz. That said, most is not sleazy (as much later work in the field tended to be) but really straddles worlds in a fascinating (and very listenable) way. CD1 presents 2 ballet scores by Henk Badings, 'Cain and Abel' (1956) and 'Evolutionen' (1958), plus 'the world's first attempt at popular electronic music' - a single by Kid Baltan (1957) with an unpublished B-side for 3 ondes martinots and backward piano, Tom Dissevelt's extraordinary 'Intersection' for electronic sound and jazz orchestra (1961), plus a few other pieces from 1959 & '60. CD2 features concert and film soundtrack music ('57 - '66) including a pretty wild 16 minute unpublished industrial film track by Dick Raaijmakers (using his own name for his non popular productions). CD 3 reproduces Tom Dissevelt's 'Fantasy in Orbit' LP (1963) and CD 4 contains great alternate versions of some of the pieces on the other CDs, some extra, short, unpublished pieces and 75 'sound example' tracks which are not only fascinating and instructive but also make great listening just as they are, in sequence. The CD ends with a spoken letter from Fred Judd (1966) to Tom Dissevelt about the problems of popular electronic music and the state of play in the UK as well as Holland at the time. This CD is a gem. But then so are volumes 1 and 2. Vol 3 is a more standard electronic/lounge production, interesting but not exceptional. Overall, I would say that this is as much of a must-have set as Raymond Scott's 'Manhattan Research' which it in many ways resembles and which was also produced by Basta. This was a critical and interesting period in the history of early electronics, and the Dutch productions have until now been rather ignored. They were important and here they have been given the best presentation anyone could want. Essential. And cheap!
 
 



QUARTERLY, ReR:  Vol 4 No. 2 CD QUARTERLY, ReR: Vol 4 No. 2 CD
Code:ReR0402
Price: £11.50
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CD contains commissioned works by Q.R. Ghazala: Sacrifice To Isis, , Mike Hovancsek/Paul Guerguerian:Three Cold Floors, Tom Dimuzio: Inception, Marie Goyette: Short-Cuts: Brahms, Ken Ando: Danseuse, Robert Iolini: Congo, Zimbabwe, Giovanni Venosta: Le Ombre Di Otello, Keith Rowe/A. De Fillips: Feu Brilliant, Brian Woodbury's Variety Orchestra:Shenandoah/Innsbruck, Richard Barrett: The Unthinkable, Stevan Tickmayer: Heterophony, Volapuk: Des objets de la plus grande importance, Boris Kovacs: Extract, Philip Perkins: Virgo Ramayana, Shelley Hirsch/ Jon Rose/Chris Cutler: After Hours/The Colour Of Blood.
 
 



  REDOLFI, MICHEL: Nausicca
Code:AUD6004
Price: £12.50
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Founder of GMEM electronic studio and early computer music, composer Redolfi became famous for his underwater recordings and concerts, where sound is broadcast through water instead of air and listeners float. This excellent CD is a collection of 3 works made between 1991-2004 for a 60-channel installation at the Nausicca Sea Centre, using underwater and forest soundscapes mixed with crystal and conventional instruments - all very much transformed and electronically reshaped. Rich and engulfing and profoundly sonorous, these pieces achieve an extraordinary rapport between organic and acoustic complexity, and electronic depth. Highly recommended.
 
 



  ROCCA, ANDREA: Heartsounds
Code:CIRCQQ8
Price: £12.00
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Plunder, sample, electronics and instruments in carefully composed and highly original pieces (originally for film, theatre and dance). Breaks new ground and is brilliantly listenable. RECOMMENDED
 
 



ROSE, JON:  Perks ROSE, JON: Perks
Code:ReRJR3
Price: £11.50
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Jon's latest and, I think, best studio production- an interactive Badminton Game where the two sides of the court are the left and right hemispheres of Australian composer, improviser, eccentric and keen sportsman Percy Grainger's brain. A whirlwind of playing, samples, speech, grippingly organised and musically a step ahead. Nice work
 
 



ROSE, JON:  The Fence ROSE, JON: The Fence
Code:ReRJR5
Price: £11.50
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* 2 excellent pieces - The Fence, about borders and fences all over the world, using very long amplified strings and documentary voices; a serious and substantial work. Bagni di Dolabella, "a violinists guide to the treatments and political intrigues of an ancient roman bath" - featuring the orchestra of ancient guts. Both originally made for radio.


ListenListen to a sample of this release



 
 



  ROSE, JON: Great Fences of Australia
Code:RoseGreatFences
Price: £12.50
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A limited edition release, in a presentation box with a mounted strip of barbed wire in each. This is a record of Jon's mammoth round- Australia tour with violinist Hollis Taylor, playing fences - the endless fences that divide the country. Hundred of resonating metres of them. This may read as a bit of conceptual nonsense, but these long wires are surely instruments, and the results are intensely musical, and unbelievably diverse. So many sounds and different ways of exiting these wires into sounds that laptop electronic performers probably wouldn't even dream about. And played with imagination and great musicality. A classic. Not to be missed
 
 



  RUTTMANN, WALTER: Weekend
Code:MKCD010
Price: £4.75
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The legendary CLASSIC prophetic early Concrete (pre Schaeffer) Radio work. This is history. Congratulations to Metamkine for this.
 
 



  SCHAEFFER, PIERRE: L'Ouvre Musicale (3 CDs)
Code:MUSIDISC292572
Price: £31.50
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At last reissued the 3 CD set of PS's complete works. Not sure how long they will be in print this time.
 
 



  SCOTT, RAYMOND: Manhattan Research Inc. Dbl CD and Book
Code:Basta98702
Price: £18.00
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2 CDs in a hard bound 148 page (colour) book, beautifully illustrated and laid out, well documented. What to say about this extraordinary document? Raymond Scott, best known as a bandleader and composer whose quintet performed fast and furious pieces - many of which found their way into Bugs Bunny cartoons - was also an inventor and pioneer of electronic instruments (Sequencers, Bass line Generator, Elektronium, Clavivox, Bandito the bongo artist), ran electronic R&D for Motown and produced a significant amount of electronic music for soundtracks, commercials, demonstration purposes - and for the hell of it. Many of the pieces painstakingly assembled here have never been heard outside Scott's studios. Musical content. Stranger than Negativland, stranger than fiction are the real commercial's of the late 50's and early 60's that were the bread and butter work of Manhattan Research, making much of this collection more post modern than post modern. I mean some of these pieces are deeply odd, others breathtakingly kitschy. And so much great copy-writing. A minute is the average length. Sometimes Raymond talks about the pieces (from lectures). It says a lot about the "future" as conceived in the late 50's and early 60's. Then there are demonstration recordings, work tapes and experimental extracts featuring some of RS's many invented electronic instruments (he designed the first sequencer in 1960 - way ahead of the game - which like another great pioneer, Les Paul, he first kept to himself. Then there are short film soundtracks and instrumental pieces - in the Forbidden Planet vein (or even electro-poppy) rather than art-electronic, but still using state of the art technology and techniques. So much that seems contemporary is already stated here, and sometimes what is achieved is up to and beyond any art electronics of the period. Still the approach is always popular, if sometimes warped. This collection hits on so many levels- musical, experimental, sociological, historical that it is impossible to exaggerate it's importance. And it makes great listening. The book is superb and the research impressive. This is a thing of beauty, of history and of strangeness. It's not stunning but it is incomparable- a glimpse into one eccentric life. Priceless. And cheap.
 
 



  SIMS, EZRA: The Microtonal Music of..
Code:CRICD643
Price: £12.50
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5 pieces - for clarinet and string quartet; small ensemble and computer; cello; flute and electronics; small orchestra. The compositional premiss is a division of 72 parts to the octave. This is a music with a deep logic, which you can hear. Even if there seems to be nothing going on, after a while you've heard a whole lot. Subtle and satisfying. Highly unorthodox.
 
 



  TENNEY, JAMES: Selected Works 1961-69
Code:FP001/ART1
Price: £12.50
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First proper collection from one of the Pioneers. Includes the legendary Plunderphonic 'Blue Suede'. See also Musicworks Below.
 
 



  WALL, JOHN: Alterstill
Code:UTTERPSALMCD2
Price: £12.00
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Samples, but very very interesting recompositions. Not media debris, scrap-irony, pick 'n' mix, but solid, thorough compositions that have great tension and fascination in their structural unfolding. Great sensitivity to the minutiae of sound. First piece is a classic.
 
 



  WISHART, TREVOR: Machine
Code:PD25
Price: £12.50
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Another landmark release from paradigm. Assembled between 1969-1971 this visionary work uses multiple recorded power station, factory and machine sounds (as well as air raids, radio noise, the Apollo landing, a Saturn rocket launch, the sea, body-sounds, exotic musics, a Palestrina mass and voices) to construct a dense, grounded, complex, organic and powerful unfolding of the clash - or infatuation - between humanity and technology as it was manifested in the white heat of technology/nuclear terror/Frankenstein years of the late '60s ands '70s. Aesthetically informed by the dreams of futurism and early modernism, and by the revolutions of electronic and musique concrete, this makes the industrial musics of the mid '70s through the laptop era seem rather one-dimensional. Get there early
 
 



  WISHART, TREVOR: Red Bird/Anticredos
Code:OCT001
Price: £12.50
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Red Bird is a reissue of the classic LP by maverick British electroacoustic and vocal composer Trevor Wishart, unifying concrete scissors and tape technology, computer work, the human voice and environmental sound under a clear emotional and political agenda of content without finger pointing or didacticism. Rare achievement. Anticredos, for 6 amplified voices ('the most versatile instrument we have') is quite extraordinary.
 
 



  WISHART. TREVOR: Red Bird/Anticredos
Code:EMFCD022
Price: £12.50
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Red Bird (a political prisoner's dream) is the 1977 work where 'birds, animals, words and mechanisms' are 'orchestrated and transformed into one another'. A classic introduction to Wishart's trademark morphing procedures, as well as being a powerful and extraordinary creation. And unique in the catalogue of electronic/concrete/electroacoustic works. Anticredos, for six amplified vocalists, was reviewed (see website) when previously released. It is also available separately on Trevor's own imprint. Classic.
 
 



  XAVIER CHARLES: Postcard of Atlanta
Code:XAVIERCHARLESPostcardofAtlanta
Price: £12.50
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A substantial and excellent piece of work by Charles, in 9 parts, built on distinctive and varied urban and rural soundscape recordings, with occasional perfectly judged live additions by Charles himself (hes a clarinettist, not that youd realise it. Packed in a large postcard size folio with a sheaf of fine photographs. Made for a sound art exhibition in collaboration with the Georgia State school of Art and Design. A classic. Limited supply
 
 



  XENAKIS: ST/48 &c. dbl CD
Code:edRZ1015-16
Price: £16.60
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On CD 1, mostly large swirling, thunderous pieces for mass resources: ST/48 (1972) for orchestra, Polytope de Montreal (1967) for four similar orchestras, Nomos Gamma 1967-8) for 98 piece orchestra, Terretekorh, (1965-66) for 88 instruments - scattered about in the auditorium -, Syrmos (1959) for 18 strings and Achorripsis (1956-7) for 21 instruments.
On CD2, electroacoustic tape music: Perseopolis - long, slow, swelling drones (re-mastered 2003) and Polytope de Cluny (1972) a sometimes ominous, sometimes dizzying, tinkling, mysterious, neurotic monster of a piece that stands out as a classic. Xenakis fans will be happy. And, as ever with RZ, it's nicely presented with an intelligent and informative booklet, and is beautifully mastered.
 
 




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