An important collection, not least for the oldest track, dated 1930, by the very elusive Jack Ellitt. If this dating is true, here is a genuinely groundbreaking work. Ellitt, who at this time was making soundtracks for the New Zealand abstract film-maker Len Lye - and whose later work was done for the most part privately, even secretly, to be tragically lost after his death in 2001 - has produced here musique concrete 29 years ahead of time. Presumably done on optical soundtrack (like its contemporary, Ruttman's 'Weekend') this is abstract, manipulated sound. The CD continues with a 1951 recording of Percy Grainger's 'Free Music' machines, a snatch of the Melbourne Dada Group (including Barry Humphries) and 11 more fascinating extracts of work by people most of us have never heard of - and whose inclusion here makes a very important contribution to the library of musical experimentation of the period. Importantly, not only electronic music is collected, but also small ensemble compositions operating far from the mainstream of contemporary music - even at this time. For instance McKim's 'Monotony for 8 trumpets' or Cantrill's 'Soundtrack for Elkon' are properly experimental compositions, while Nagorcka follows Cage with a piece solely for televisions, record players and radios. This is an important - and an enjoyable - document, with a useful booklet and offers a timely reminder of where we were 30 years ago, putting today's offerings into perspective.
Small edition recordings of the earth's interior, taken from digital seismographs located around the planet. Since the true frequencies are extremely low, they have to be sped up considerably to bring them into the range of human audibility. There are 3 tracks, the first, at 2450x acceleration, captures an unbroken month, the second, at 10,000 x , about 4.5 months and the last, at 245x, three days around the December 2004 tsunami. You mostly hear earthquakes - and there are a lot of them at varying amplitudes - as pops, cracks and roars set in a constant sussurus that is the ocean's waters moving. It's stereophonic because the earth is round and the seismographs are far apart. The booklet notes are excellent, full and highly informative, and include the 'scores', showing the extraordinary frequency of events. Triple gatefold digi-pack. For total immersion or ambiance. An essential soundscape document.
Very entertaining selection of pieces plundered, cut up and played in real time by the Chronos Quartet and the Paul Dresher Ensemble, as well as tape or rather sample and computer manipulations. Full of jokes, quotes and eccentricities, as well as some nifty musical thinking. New generation where plunder and cross genre work is no longer an issue, but just comes naturally.
This essential piece of history at last reissued, redesigned and repackaged. Keystone works from the various streams of musique concrete, electronic music, soundscape, electroacoustics and plunderphonics - including two masterworks from Eastern Europe, a territory traditionally overlooked in collections of this medium. It comprises: John Oswald's 'Parade', a complex work drawn and extended from Satie's celebrated ballet composition of 1917; Georg Katzer's monumental 'Aide Memoire' ('7 nightmares from the 1000 year night'), a terrifying document of collage, electronic manipulation, original composition and sound documents from 1933-45; Lutz Glandien's exquisitely economical, sonically powerful and surprising 'Es Lebe' for Tape and Tuba; Steve Moore's groundbreaking 'A Quiet Gathering' (chamber music for environmental sounds) - a multi-layered 22 minute work made only from captured non-musical materials; Jaroslav Kr_ek's miniature electronic gem based on nightingale songs and the proto-plunder legend 'Ommagio a Jerry Lee Lewis' by Richard Trythall. An indispensable collection in my view.
Two new versions of Duchamp's Musical Erratum - a pair of prescient scores that date from 1913 and form part of the preparatory work for 'The Great Glass'. In one, notes are replaced by numbered keys, and virtuoso performance is discouraged in favour of novel mechanical instrumentation (in this interpretation using spinning rotary discs and open piano strings). The other, a chance composition (38 years in advance of his later friend Cage) Duchamp's used numbered balls and a toy train in motion in its composition is played on a standard piano. This 74 minute CD also includes four spoken word extracts by Duchamp - in English -, including his important Houston lecture, The Creative Act' (1957), earlier released by Sub Rosa but for many years out of print, 2 lengthy interviews from 1959, and a reading by Duchamp of 'A l'infinitif'. The two musical pieces are excellently interpreted and recorded. The spoken word is simply indispensible.
Fourth in this excellent series of bell soundcapes. Recordings from Sardinia (including some traditional song and many sheep), Venice (St Marco on a wet Sunday), Copenhagen (the carillon through rain and traffic), Lapland (all manner of bells from bellmaker Alvi Ruonala mixed with Arctic soundscapes) and Japan (temple bells). There is also a track for Oud and modified bell recordings, and the tolling of the Peace Bell in Hiroshima on the 60th anniversary of the American devastation of that city in 1945. With a silent crowd of 60,000, and a textile factory of busy cicadas.
In a green card folding case, this CD contains one track consisting of 17 concerts by leading composers of the 20th century, ranging from Cage to Xenakis, 'simultaneously performed' (punderphonically).The quartet, un-named on the CD, then performed individually, without listening to one another, mixing their tracks down to make an 18th work, mixed in with the rest. The result is a kind of ideal, massive Xenakis-like (but better, much better) symphonic roar that makes a perfect plea for the spirit of the first 2/3 of C20 music. It really is completely great. And likely to vanish. A great plunder classic.
Mass arrays of spinning sound-sculptures, insect-like articulated constructions, metal detectors, mechanical debris, choirs of sirens that produce rich, complex ululations, mostly in vast industrial spaces. Microtonal, polyrhythmic, visually beautiful, sonically mysterious, these recordings have a life of their own. The DVD also shows some of Lee's other soundworks. Very nice work.
The first CD presents a re-mastered version of the original Folkways release Travelon Gamelon - music for amplified bicycles. The street and concert hall versions (1979-82) presented there are augmented here with a previously unissued concert version from New Zealand, recorded in 1986. This collection is interesting as much for the juxtaposition of street (environmental) and concert hall recordings as for its documentation of an idea that may well otherwise have been lost. Though many people used bicycles as musical instruments - playing the spokes, mostly - not least Frank Zappa, no one else to my knowledge took the idea so far. The second CD presents a number of other works from a prolific but low profile career, all of them built around electronically modified performances, and includes a very early proto-plunderphonic piece (1963/4: the source sounds are records by Stan Kenton and Mahler, respectively). There is also a modified soundscape work (1980) that uses live feeds from the street processed in real time through a double tape-machine 8 track loop. Other works use processes or homebuilt contraptions to evolve musical form. The accompanying booklet is substantial, useful and well annotated - and includes a small gallery of pictures (colour and b/w) with descriptions of various other installations and performance structures by Lerman not represented on the CDs. A useful release, because it documents an already forgotten artist and adds to the picture of the inspirations and DIY lo-tech approaches to sound - and the organic approach to structure - that was important, especially in America, in the 1960s.
Using only Glass - in all shapes and forms, and subjected to all manner of soundings and playing techniques - Glass World was essentially a performance piece, premiered at the Middle Earth club in London in 1978, and then recorded over the next two years for Tangent Records. It is one of the iconic works of the period; constantly referenced, making this is a valuable document. Tiger Balm is a 1970 piece, made for the BBC using loops, drones, recordings of tigers, and other found sounds in an early, and successful attempt to create a hypnotic protean drone. Limited Edition reissue in gatefold cardboard sleeve with two booklets, one of substantial notes by Lockwood, the other 'Piano Transplants', which documents Lockwood's scores and events in which pianos were variously burned, sited in parks and gardens, sunk in ponds and anchored on beaches.
What it says on the package. This is a sustained, apparently untreated and unmixed recording (the notes are ambiguous) of the ever-present wind that agitates the vast emptinesses of Patagonia in winter. Gusts, flurries, squalls, zephyrs, darts and screamers ebb and flow, like a sea under changing weather; indeed the ear cannot always tell to which element it is listening. Wind is the bane of recordists, they try as a rule to avoid it at all costs, so a whole CD of wind is itself a polyvalent signifier - oh dear, yes, here comes a contradiction: for a man who has made a career of 'blind' listening there is a surprisingly exhaustive superstructure of supporting theory and guidance here in the paratextual appurtenances (sorry the language is catching); in a dense little essay we are told how to listen and how intellectually to interpret not only the sounds captured - but the overarching work itself, as an art enterprise. Even the sublime rears its hoary head. I have nothing against information, even - in some contexts - interpretation, but here it seems to detract from the elemental fact of the sound itself. Piling up the heady language that hangs like a cloud around contemporary art - functioning, it appears, as a kind of legitimation-by-contagion - does seem rather to undermine the project, since it renders hollow Lopez's own protestations about 'pure... listening... freed... of procedural, contextual or intentional levels of reference'. I don't complain about the essay or its opinions, only about the seeming bad faith of its inclusion, given Lopez's oft repeated desire to strip away all but the act of hearing. And Lopez's own notes - in the context of this whole package - seem incomprehensibly perverse if you really try to take them seriously. However. Enough. We talk about the CD and the sound it embodies is what it is and creates its own space in its own recognisance. It's an important document - and its completely blank label is its best explicator.
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.
A collection of pieces from 1981-1989 compiled in 1997 by Christian, who also provides an introduction and notes on the pieces. A useful sketch of his (4 - 8) turntable work which is based on general composition rendered and interpreted in live performance. An important document.
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.
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.
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.
Only while limited numbers last, this is the scarce Japanese import of the 1993 plunderphonic classic in which John samples over a thousand top-hundred artists from the past 10 years. Starting with 'rapmillisylables', it then progresses through the material according to tempo. Hard to describe because the material moves so fast (there are thousands of fragments). It is jaw-droppingly complex, at the same time as being nothing but glossy hits exploding into a million shards (harmless when whole, exploded this stuff is lethal). This piece works on so many levels it's better to leave it to you the listener. EP length; indispensable
20th Anniversary edition of the international art magazine. 40pp lavishly illustrated in colour which is dedicated to CM and his work. Also featured: Gillian Wearing and Wilhelm Sasnal. Plus the rest of the Magazine of course. Ephemeral publication so the interested few should snap it up now.
Weight means we have to add postage to this - sorry £3.00 UK, £4.00 Europe, £6.00 World.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Waterlands.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them.. Salse di Nirano
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Sassi di Roccamalatina.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Appenines
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Sassoguidano.
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.
Did you sing this for a Grieg? subtitled 'a landscape portrait of the artist 86 years on'. A highly interesting environ/plunder project contrasting minute 'empty' listening (to snow, mountain walks, ancient voices) with simultanious 'tidal' auditions of Grieg's lyric, orchestra, vocal and piano musics. One of a kind.
For Clarinet and Turntables, featuring the recorded voice of Maria Callas and record noise. A concept interestingly explored in 16 pieces, tenuously connecting Emil Berliner (inventor of the flat pressed disc) who set up his first operating company in Montreal, and Maria Callas, who performed there in 1958. Anyway it provides a direction and limitation of material on these pieces that gives them a definite coherence and focus. I could have done with more information in the notes but that doesn't matter much either since, in the end, the ears have it - and it listens very well indeed. Buy it while you can, there's a copyright nightmare waiting to explode.
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.