Recordings from concerts in the legendary Apollohuis, not only a great sampling of artists but also a valuable time capsule. Here are extracts of performances by a wide range of sound artists, Fluxus alumni, experimental and contemporary musicians of all stripes - including Tom Johnson, Alvin Lussier, Alvin Curran, Rhys Chatham, Jerry Hunt, Elaine Radigue, Warren Burt, Iva Bittova, Stevan Tickmayer, Borbetomagus, Elliott Sharp, Shelley Hirsch, Derek Bailey, The Hub, Matt Rogalsky, Phil Minton, Group 180, Rolf Julius, Terry Fox, Pauline Oliveros, Carl Stone, Arnold Dreyblatt, Joe Jones and Takehisa Kosugi. 3-way gatefold digipack with 36 page booklet of information and photographs. Limited art edition of 1250 copies.
A collection of historic spoken word documents. Interesting for collectors, the generally curious, researchers, lecturers (the Joyce and Duchampare also on 'Joyce' and 'The creative act' respectively). Full marks to SubRosa for making this collection available.
The legendary banned radio piece of 1947, here restored. An historic item, in French with some short instrument interludes, for voices, various stages of hysteria. Only for those interested in the history of sound/radio art, but for them indispensable.
Recent work (1998) commissioned for Radio in Germany, this hypnotic 63 minute work features 5 voices, which speak, in a very musical way, over a continuous, slightly shifting, pulse and dramatise a strange and indefinite story involving fraud, the CIA, banks, intrigue and mysterious death. Hard to describe because it's really unlike anything else.
Limited, numbered exhibition edition of 186 one-sided heavy gauge LPs with image on second side together with a single locked groove. Minimal sounds of transducers connected to turntables contacting strings; pulses, clicks.THIS IS A VINYL RELEASE
Collated from many sources, including long deleted records (remember the Bam label?), this gives some idea of the extraordinary scope of the Baschet brothers’ instruments. In a long career, starting in 1954, they produced families of beautiful, exotic, futuristic sculptures made from metal, sheet aluminium, glass, wire and plastic - in all sizes, some small, some over 20 feet high – all designed to be played: stroked, beaten, bowed, blown (even worn) and composed for. Here are compositions from various hands that exlore the amazing array of sonorities these objects can produce Some unfortunate vocalising now and then does not really detract. This is history. I recommended that you get this CD free with the Book – see the book section for details.
The redoubtable John Tilbury presents authoritative interpretations of two radio pieces by Beckett, Cascando and Rough for Radio 1. For the first he speaks both parts and plays subtly electronically modulated piano, for the second he is joined by Christina Jones (speaking) and Eddie Prevost and Sebastian Lexer (music, or rather sound interludes). Because Beckett is so musical himself, and his texts so open-ended, this will bear repeated listening; Tilbury is magnificent and both productions are exquisitely realised.
Japanese release of rare recordings by early sound sculpturist - he evolved his sonambient sculptures in the early 1970s - Harry Bertoia, a legendary sound art pioneer. Delicate and atmospheric metallic clouds of sound. Scarce supply.
A sonic snapshot of Havana, consisting mostly of excellent field recordings (markets, police, Mardi Gras, street cleaning, Castro and bad dubbing on TV, streets at night, water pumps, bars, parks, museums, flamenco - with music everywhere... as well as one electroacoustic work (which Cuba has been producing for many years, though it is seldom heard outside). Eccentric metallic booklet. Altogether a fascinating release in the still narrow field of soundscape.
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.
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.
27 tracks that combine binaural field recordings of urban and rural environments, and traditional musics, from Cuba, Bali, The Philippines, Istanbul, Hawaii, Holland, New York, California and Montreal, with 4 channel, layered, polyrhythmic electronic and instrumental improvisations. It's a very complex set-up, and to make matters more complex still, this recording is made from original materials and processed installation materials. The result is interesting - especially the urban sections - and startlingly binaural: there's real space here. A fascinating project (explained fully in the notes).
15 essential cut up pieces mostly made in the early '60s, as the techniques were developed. Burroughs speaks, records, rewinds, records at random, moves tape, cuts and splices; texts are mysterious, ominous, sardonic, with extraneous sounds, newsmedia and shortwave interpolated. There is also a short extract from a lecture Burroughs gave on the ' Origin and Theory of the Tape Cutups' in 1976, a radio talk fragment, some early '70s cassette works with multiple tape recorders, a performance piece and some short field recordings. Nicely presented.
A monster of a work, and massive, this originated in a harpsichord commission Cage was reluctant to undertake but eventually completed in the course of three years work with (early computer programmer) Lejaren Hiller. It turned into - for its 1969 premiere - a four-hour multimedia overload for seven harpsichord soloists, electronic keyboard and 52 pre-prepared tapes (with material in 52 different computer generated microtonal divisions of the octave). A lot of existing music was used, especially Mozart - using his dice method - but also Beethoven, Chopin, Schoenberg, Busoni, Gottschalk and others. The result is a massive cacophony of wide spectrum pitches and melody fragments, like nothing before or since. This version was made by Joel Chadabe, the harpsichords played by Robert Conant. It lasts 65 minutes and there are two short demos of the materials used as extra tracks. The packaging is stunning. Flourescent colours and great design based on the small edition screened posters overseen by Cage for the first concert. The full and informative text is printed on 16 full colour cards which, when laid out form a wildly lurid poster themselves. It all comes in a psychedelic slipcase. Altogether a great work.
1959. Cage tells 90 short stories, all one minute long - reminiscences, zen tales, observations, pensees - stretching or compressing them to say in the time limit - while in another room, out of earshot, David Tudor plays, sporadically, selections from the piano part of Cage's Concerto for Piano and Orchestra and extracts of a tape of Fontana Mix. Recorded by the legendary Moses Asch, it was a double Folkways box years ago (1961, two years before the publication of 'Silence') and has finally been reissued by the Smithsonian Institute. A pleasure to listen to, Cage has a very engaging tone and a fine way with words; and the texts are all little gems. Well worth it.
Dbl CD. Words, words, words – a kind of play in fact – made for German radio. 2 Versions here, English and German. Some poor jokes, some engaging moments, some eclectic and interesting quotations… adding up to - an acquired taste, a politeness test for the public, another Cagean experiment? Is it interesting that there’s not enough sense here in the text for sense and not enough music for music in the sound; that it skips about, leaving in passing some engaging thoughts, some pointless observations, some silly formulations -with half embarrassed titters from the public? I was more charmed by reading Cage’s books than hearing similar narratives and commentaries read aloud and invested with specific colour, tone and interpretation by awkward readers. So, though it is a sometimes charming trail through the unexpected byways and readings of Cage’s enthusiasms, for this listener it was more often an irritating, self congratulation session where good thoughts are devalued and bad ones delivered as gems. There’s a lot of bad writing, bad reading and annoying public reaction here. Pretentious, amateurish are words that come to mind. As a performance piece it might work - if you were there; and as a radio piece maybe – disappearing into the air as spoken. But as a CD? For me it works only as a document, as evidence in a case; it gives no pleasure. Is it possible that there’s too much reverence for Cage around these days, and not enough calling a spade a spade? King John it seems was often walking naked, but his courtiers saw finery anyway. Unhappily, that way what was really fine gets devalued. Cage did a lot that was important, but some things are better left as ephemera.
From 1964 to 1974 Henri Chopin edited and released a magazine dedicated to sound poetry, and with each included a record. This extraordinary box collects the works on all those records. For the most part we are not listening to familiar voices speaking or making noises: this was the age of the tape recorder and people were using tape, microphones, overload, distortion, environmental recordings, noise, overdubs - anything at all to make sound objects to tape; the voice as the centre but mostly not recognisable any more as a voice. There are some here who speak, or make sounds, repeat words - even tell stories, but the rest is in the world of musique concrete. Contributors include Henry Chopin himself, never less than extraordinary, Bryin Gysin, Charles Amirikhanian, Ake Hodell. Bernard Hedsieck, Ladislav Novak, Arthur Rimbaud, Bob Cobbing, Hugh Davies, Francois Dufrene, William Burroughs, Raoul Hausmann, Mimmo Rotella, Paul DeVree, Gil J Wolman and Emil Begt Johnson. The deep LP-sized box comes with a 70pp flatbound book, full of texts in English and French by Chopin - about the magazine, with details of each issue; photographs, other texts, manifestos and notes on the works (less complete than I'd like, no dates and places of recording usually, and not much about method). Then there is a half inch thick stack of single and LP gatefold size sheets with graphic texts, scores, visual poems, concert flyers, programmes and exhibition notes. It's a much needed record of material seldom heard and mostly ignored in other collections. For students, the curious and the adventurous. Limited Edition of 1000.Because of weight there will; be a 2 surcharge toward postage outside Europe.
Originally made for the legendary but short-lived Resonance FM, this is a collection of the sounds that Londoners chose when asked for their favourite London Sound. It's a soundscape of the City that has the benefit of hundreds of ears. One should be made for every Capital. Personally I would say this is a document not to miss, bringing out so much not only about London, but also about the way that memory works and how sound can mean. Beautifully compiled and intelligently presented. This is a template for further work. With notes and pictures.
In 2004 Peter took a field trip out to lake Baikal to record the ice breaking up (it's a dramatic annual event) and to make an aural document of the environs (port, jettys, generators, the trans-siberian express, settlements &c.). These are beautifully recorded sound-in-time snapshots, with excellent visual co-documentation. Such works belong nowhere and begin to constitute a new genre; this is one of the pioneering works in that genre.
Welcome release from this subtle but complex composer-performer-instrument designer. More than musical, these are dramatic constructions with environmental sound, birdsong, conversation, narrative... the guitar shop section of "two small boys go shopping" is a masterpiece.. A record hard to describe since it deftly side-steps all the usual categories.
An experiment in listening. These compositions are an offshoot of the daily soundscape programme I ran for Resonance FM radio between July 2001-2002, which consisted of commissioned real-time recordings made all around the world between 23.30 and midnight GMT (the time of the broadcast). This CD begins with material from these broadcasts confecting, as it were, two composites of the Earth and a few of its inhabitants, somewhat analogous to what an impossible satellite ear with pinpoint acuity might hear in transit - plus one ear-cleaning stretch between them, taken from a single hear-point. I have tried to make these pieces both open and to work on parallel levels: not only do they have their own narrative and aesthetic qualities, but I hope they also offer a meditation on listening and not listening, interpretation and structure, chance and microphonics. The list of ears around the world who supplied basic material is too long to print here, but it includes many names familiar from these catalogues, and many from the still young soundscape and phonograpic community. Full details of people and places are given in the booklet, along with artwork and thorough notes. You have to trust me on this, it's a really engaging record. Sometimes unbelieveable. I don't think you'll regret giving it a chance.
Spoken word documents of the Avant Garde, featuring James Ensor, Loius Aragon, Philippe Soupault, Henri Michaux, Pierre Bourgeois, Pascal Pia, Paul Neuhuys, Clement Pansaers, Franz Hellens, Robert Guiette, Marcel Lecompte, André Souris, Marcel Marien, Paul Nougé and Salvador Dali. Historic documents, entirely in French.
An immensely useful book by one of the UK’s early experimenters and pioneers in sound art, and a working authority in the field. This book collects much of his own writing on environmental listening, musical history, improvisation and indeterminacy, new instruments, audio art and installations and includes project descriptions and workbooks. 124 pp, with pictures and photographs. The CD contains a great collection of early plunderphonia, installation recordings, pieces for invented instruments and sound sculptures, musical boxes and found instruments (buzzers, dot matrix printers, eggslicers, tin can and fishing line &c). An important contribution to the field.
ADD £2.00 postage Europe, £3.50 rest of world - sorry: weight
Hugh Davies was a quiet pioneer. In 1964 he replaced Cornelius Cardew as Stockhausen's personal assistant and then on his return to England became a moving force in the first British electronic performance ensemble Gentle Fire, as well as joining MIC (with Derek Bailey, Evan Parker and Jamie Muir). Soon he was quietly turning up everywhere, but never joining any generic musical faction. He was also a walking encyclopaedia, a prolific author and a valued teacher, omnipresent in the worlds of electroacoustic music, instrument design, and sound art. Here, at last, is a CD of his electronic pieces, made between 1976-1987. The earliest, Natural Images, for concrete sound and tape manipulation, is the strangest; Celeritas, made on an early Fairlight is in the Davidovsky/Mumma vein, exploring Stockhausen's division of 28 semitones into 25 equal parts (no octave) and the idea of speed; Tapestries, made in an electronic studio for dance sets up an equipment chain and algorithms and manipulates them in real time; From Trees and Rocks uses concrete sounds of sawing and chiselling alongside manipulations of the saws and chisels used as musical instruments - a very unusual and enigmatic piece, and also I think the real gem of the collection - and finally, Vision, also using the Fairlight, follows Celeritas in its employment of bell-like tones and microtonality - even more obvious here, because taken more slowly. A varied collection and much appreciated. With a useful biography by David Toop.
A collection of pieces by known and not so known instrument builders and sculptors, especially interesting are the tracks by Sheil and Lamb. The Partch is a live recording and not, so far as I know, available elsewhere.
A fascinating collection; Marinis is really in a class of his own; he extracts or constructs melodies from voices taken from all manner of sources: language instruction recordings, hypnotists, televangelists Chinese radio, court proceedings and an Indonesian lullaby, which he re-synthesises and arranges, or assigns to virtual instruments. Descriptions don't help here, the art is in the listening, in the way he makes the voice unreal but more real; gets closer to the voice by alienating it. They sound so good and, moreover, his text selection is pretty gripping. This is a joy to listen to. Nicely packaged, good composer note.
From the legendary Apollohuis, this is a remarkable collection of experiments with technology, all centred on cylinder and 78rpm recordings, mostly early (including the very earliest) sound recordings read by laser technology and manipulated in numerous ways to bring out some aspect of the meaning, the cultural context or the technology, including stretching, layering, substitution (a fascinating transcription of a 1915 piano recording that presents the original, then as replicated by midi files and replayed on a digital piano and a glass harmonica, then electronically 'corrected' for pitch and performing mistakes, the corrected version re-recorded and played back on a new cylinder). Ancient Linguaphone recordings, Chinese 78s, a clay pot read by laser.. It's a CD of investigative experiments. 3-fold colour digipack with an with an excellent, thorough and stimulating 24pp booklet and useful photographs. Limited art edition of 1000.
Someone had to do it. Subtitled recordings of architectural acoustics, this is a series of earth hum, pulse, soft roaring sounds, white noise, subsonics, low frequency whistlings &c. which - probably - capture spaces. Unfortunately there is no documentation at all, so the result is rather like early Berhard Gunther: intriguing sound but nothing beyond the sound. A pity because the idea is interesting - and the sound too: although monotonous, it is so complex that it envelopes the ear and somehow endlessly recreates itself. Documentation, documentation, gentlemen. The current habit of not telling the poor listener anything may seem like art but I find it mildly insulting. We may be consumers, but you could still treat us as human beings. And that means communication. Maybe in this case I am too harsh, here, I suspect the idea was to leave the enigma, the mystery, to do the work. And maybe that's OK. But I still think this was an opportunity missed - or a subtitle misapplied. The main title takes on an interesting meaning in the light of the 'nothing' that is happening sonically. To me, this is a very interesting CD (and only a CD could deliver these sounds); shame about the missing information.
An unfolding of soundscapes made around Dartmoor. Beautifully done and great listening. Limited supply it's not a regular shop CD, though it is properly pressed and dressed, with good track data (and horrible grant-speak blurb that you can ignore; you have to talk this way to get money from ignorant and philistine funding bodies today). A fine and exemplary piece of soundwork.
Soundscapes from 3 cities, painstakingly collected and assembled by a pro. How unreal can real be?. Gems in a narrow and still conflicted field; these are models of the form. (Frankfurt binaural). Excellent.
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.
The CD is an early pure collection of unmediated and beautifully recorded world soundscapes, natural rather than urban. The subtitle says it all: 'A guide to listening in nature'. Released by Acoustic Ecology themselves, this is a statement of a base position. The book, a 98pp paperback A5 is a mixture of practical notes, description and acoustic ecology manifesto. It's important for that. But things have got more complicated since. Still this is the groundwork. And beautifully done.
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.
Reissue of the legendary 1960 vinyl release of a piece originally made for radio. Fasset, a radio presenter and administrator, painstakingly pieced together this composition using only fragments of bird-call recordings, altering the speeds, editing and layering them into a three part composition. Its value is historic, though it is also fascinating to listen to - and to think about: a window on another and alien world: the almost immediate past. With a fat book, mostly in Japanese with a facsimile of the LP back with the liner notes in English, and with some quotes and notes in English scattered throughout the book. Many rare and wonderful pictures. Import. Limited number. Sorry about the price.
A composition made from soundscape recordings of a 'water zither' - an artefact made of ceramic and bamboo, found in Japanese gardens which amplifies and accentuates the tone and pitches of water as it drips from a stone basin. This continuous 60-minute recording, which goes nowhere and sounds perfectly natural, recreates a hyper-real version of a Japanese garden, with ostinato crickets and modulating resonant dripping. Sun and water.
See text about Volume 2 for general notes. This CD opens in a village in Tuscany with a flock of sheep coming down from the hills, lingers in Finland in and out of a small church, continues on to a mountain village in Greece in the middle of a noisy festival and then moves to France where we hear the Angelus in three very different locations, close, far, urban, rural, mountainous, coastal - filled with atmosphere and detail; you can smell it and see it.
What is says on the label. These are beautifully recorded bells set in open soundscapes. Not only bells, though they are always at the centre. One of the most ubiquitous soundmarks, dominating the European landscape for over 1000 years, bells regulated rural life. Nothing else of human making was so powerful, symbolic and universal. And somehow they still retain something of their extraordinary authority. The have true voices and more resemble the natural sounds of thunder, rain, the sea, animals and birds than today's more dominating traffic, machinery, helicopters, sirens and leaking tinned tones. On this CD we hear church and cathedral bells - from Olso and Turku, a Mayday carillon, street bells from a carnival in rural Italy, and the massed bells worn by participants in the goat dance in Skyros, Greece (where each member of a large procession carries 60 pounds of them). Along with the bells come, variously, birds, some traffic, church choirs, handbells, pedestrians, hot air balloons, the Mayday street parade with bands, protestors and celebrants and strolling musicians. With all the richness and engulfing quality that the best location recording can capture. Pretty glorious. Nice packaging.
The third in the series moves into the more musical use of bells, specifically in Accra, Ghana, in the por por music invented by timber truck drivers and played still by members of the Accra minibus drivers union -hence the frequent appearance of (bulb) car horns. Many of the pieces here also include mbira, zither, one-string lute, saxophone, double reed instruments and all manner of other percussion. This is more of an ethno-musicological than a soundscape collection, but we include it since it is part of a series.
Ferrari is a past master, and was one of the very first to make whole works with environmental sounds. The compositions here are all built from field recordings (inc. Spanish museum, Bullring, Theatre and Concert rehearsals, grape harvest, rural village, container port, cement factory and so on), unused electronic materials from Ferrari's library and fragments of interviews with young women (also from his archive). It works.
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.
Another excellent collection of pieces for violin or guitar, mingling hillbilly/blues riffs played with a raw sensibility, minimal structural movement and non-generic repetition – art repetition played with feeling - a hard trick to pull off. This CD also Includes the really great swelling guitar pieces, ‘leather High in A’ and E.
Later work (1980) for electric violin and tambura - a drone with strong lines, harmonics, sliding and a very confident, direct and inspired top line that is completely gripping. Raw but absolutely great. No frills. And great sense of tuning.
As close as anyone should get to perfect. Soundtrack work for a film, which is also excellent - be sure to see it if it comes your way - on the work of British outdoor artist Andy Goldsworthy..Exquisitely recorded, crystal clear sounds always seamlessly deployed, mostly played by Fred with some double bass, percussion soprano sax and bass-clarinet added;. It's sparse, but not always, set in soundcapes, even breaking in to melody now and then, but holding at all times in a subtle web of tension that isn't tense; and un-intention that isn't aleatoric. Absolutely great. Fred, you're a bloody genius
Nicely assembled CD of storms, environments, bassoon in a forest of noises, telephone exchanges, weather, mysterious presences, machinery, foregrounded backgrounds and strange mini-dramas. Original, organic and Intelligent.
An audio/architechtural installation by soundartist Gal and architect Yumi Kori with the intent, they say,to attempt to slow down time. Bell-like sounds that hang but never coalesce or evolve. All blue package, pictures of the installation and explanations from the artists.
A highly coherent radio piece that uses as source material 50 years of French radio archive recordings, here subjected to re-arrangement, layering, the virtual scissors, electronic and concrete music procedures, and the addition of performed Voice (Lucia Recio) and Electric Guitar (Alexandre Mayer). What is especially interesting is Garcia's willingness to use all possible types of musical thinking - all the way to a rock aesthetic, alongside more expected techniques. This is a fresh, focussed, complex, measured, economical and constantly surprising CD.
A collection of fascinating and valuable interviews - made in 1956 and 1968, in English - with Bauhaus directors Walter Gropius (mostly) and Mies Van der Rohe, and one teacher (painter Josef Albers) on the history, theory and practice of the Bauhaus, and its staff (Klee, Moholy Nagy, Kandinsky, Feininger &c.), interspersed with contemporary music by associated composers, including the legendary but seldom heard Hauer (independent originator of a twelve-tone system), and Antheil's seldom heard 'Shimmy'. With an excellent booklet of documents, photos and data. Highly relevant to current debates. Gropius is a highly civilized and intelligent speaker; we miss his type today.
Three radio pieces by sound artist Hanna Hartman, using semi identifiable islands of beautifully recorded sound, mostly concrete. Quite minimal, very careful. Sadly no documentation in the generous digipac, but this is well-crafted work.
Commissioned respectively for German and Swedish Radio, these two pieces, like all Hartman's work are detailed, engaging, constructions that suggest environments and narratives, invoking strongly visceral as well as aesthetic responses. These are true radio pieces, though the category is a thorny one, although they share techniques with electro-acoustic and concrete works; it is a difference obvious only in the act of listening. Very nice work.
20m minutes long, representing 5 days continuous recording with microphones 64 metres apart, accelerated 360 times to bring them into the range of human hearing, these sounds mark the diurnal cycle and log events that are usually inaudible - all explained in the sleeve- notes. Interesting, but only for those of you who are fascinated by such experiments. To civilians, this will sound like hissing, roaring, small glitches and occasional clicks. Loud close listening is required.
Contained noise of various sorts, arranged in extreme and radically opposing segments; very clean, very orderly, listenable in a perverse way, with no narrative content, but an engaging aesthetic wholeness, this is a good introduction to Ikeda's minimal but strict aesthetic. In three sections, one mobile and balanced, one extended and hollow, the third ghost-like. Austere and not for everyone, this is, however, also a welcome reissue by Raster-Notion of his first release (1995), though the minimal packaging won't tell you that, or anything else, so there is historical value here too, if 12 years constitutes history.
Luckily you can now buy the CDs that accompany the wildly expensive MIT Leonardo journal separately. This CD came with Vol 16, it's a soundscape compilation by Peter Cusack's that sweeps across the field, taking in an empty concert hall in Chenobyl, a super-close-up recording of fire ants walking, data sonification, real-time street recordings (Delaurenti's impressive and brilliant republican convention documentation), the electromagnetic environment (Kubisch, Stankieviech), some sonic postcards, underwater recordings and other field work. An excellent and useful release, with some real gems - and a useful a snapshot-overview of the field as it stood in 2006.
Pieces by Francois Donato, Adrian Moore, David Prior, Mario Verandi, Alvin Lucier, Ron Kuivilia, Tom Johnson, Martin Riches, Jose Antonio Orts, Ed Osborn, Ron Kuivilia, Christine Kubisch, Wolfgang Mitterer. 2 CDs of Studio and Installation soundart in ring-bound book (approx A4) with exhaustive text, notes, meditations on acousmatics, soundart and large (colour) pictures of the installations. Programme and document of the 2002 Inventionen festival, Berlin.
Electroacoustic, Chamber Ensemble, Soundscapes and works for radio. Some will remember his two great small ensemble compositions from an earlier quarterly. This collection concentrates more on his (prize-winning) tape works and includes the great Hong Kong changeover cityscape 'In Between', extracts from works about Israeli whistleblower Mordecai Vanunu and Edwin Armstrong (inventor of FM modulation) as well as other radio works and three chamber pieces based on African rhythms. Enormous variety.
Originally released in 1955 on Folkways, this is an extraordinary collection of audio experiments, cut-ups, loops, Indian music, and spoof interviews (genuinely funny) based on Jacobs‚ visionary radio programme őMusic and Folklore‚ in the early '50‚s. A very welcome reissue.
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.
7 listening pieces by sound artist Rolf Julius, all concerned with small sounds, air tinting sounds, though these retain their fragility even at high volume and become immersive. Minimal and not musical, but an important document from one of Germany's major sound artists.
In the series, this is a sound-work made for a permanent garden installation at the mattress factory in Pennsylvania. The classic Julius forest of small sounds, various articulated; atmospheres and shifting colours. Meticulous. All white with foldout insert with drawings and some text by RJ. Art Edition.
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.
This very substantial box contains six radio works on three LPs, each with an exquisite and intricate text-art design taking up an entire side (there are no labels). The designs are directly associated with the LP content and explained in the booklet. They are exquisite. The set comes in a sturdy box along with an explanatory booklet. The six horspiel are taken from a series made for the most part between 1969 and 1975 - there is one later work from 1983. All this radio is about radio. All the sounds are sourced from radio broadcasts around the world, and explore single events or topics. The first. 'Apollo Amerika', is about the1969 space mission; the second, 'Campaign', treats the 1973 US election; the third and fourth 'Radioball' and 'Ball' ( mostly in German - the rest are mainly in English) celebrate radio football (the purely visual as the purely aural); the fifth 'Voice of America' speaks for itself; and the last, 'Radio' tunes into radio in general. These are all excellent and quite unique productions and work on many levels; few other horspiel are so purely plunderphonic. These are artworks in every sense, and highly recommended. The price takes into account heavy costs of shipping. includes postage cost
26 minutes, three tracks. Work done for an installation at the Ysad Art Museum in Sweden, 2005. Multiple voices in Swedish, from orchestrated restaurant noise and human geese to a single ictus. Careful, as always and balletic: voices on points.
Long chords produced by the glass harmonica - invented by Ben Franklin in 1763 and seldom heard today, although music was written for it, notably by Mozart - consisting essentially of nested glass bowls mounted on a rotating spindle, played with a moistened finger. These are rich, deep, complex drones, sounds that hang in space.
From a sound and light installation in the Parochial Kirche, Berlin, the sounds are derived from fifteen tuning forks (originally used for medical purposes). Complex, crystalline tones and overtones, irregular dynamics and rhythmic movements. Nicely documented with colour photographs.
In recent years Christina has organised a number of Electrical walks in various cities around the world. The walker is supplied with customised wireless headphones which pick up and make audible the electromagnetic fields generated by light systems, radar, surveillance and alarm systems, neon, public transport networks, cellphones, the internet, ATM machines, Wi-fi - and so on: a sea of normally inaudible data through which we constantly wade, oblivious to its restless chatter. The walker also has a street map with a suggested route and listening points. The CD is a composite in 5 parts of several such walks in Birmingham, Chicago, Teipei, Paris, Bremen, Riga, Tokyo, Madrid, London, New York and Berlin, each concentrating on particular kinds of sounds or environments. A vast range of pulses, roars, hums, buzzes, thin siren tones and rich chords creating rhythms, drones and shifting colours. These are the soundscapes we never hear. But here they are.
One of the essential Kehrer Soundart series.134 pp shortened A4 size hardback with a CD. A comprehensive document of Christina's work between 1980-2000, with facing texts in German and English and many pictures (mostly in colour). Kubisch is one of the first generation of German sound artists and this excellent art book is a good introduction to her work.
ADD £4 postage Europe, £7 rest of world - sorry: weight
Taken from a permanent 14-channel sound and light installation occupying the giant Oberhausen Gasometer, this stereo remix makes excellent listening on its own. Especially in darkness. The sonic materials employed include the now rarely heard Trautonium, glass harmonica, Tibetan metal bowls, double bass, field recordings, synthesiser, voice, tuning forks, glass gong and a glass cornet. Each sound speaks for itself and has a life of its own. This is a special form that requires special listening, or perhaps not listening but allowing the environment around you to be transfigured by sound.
Originally released on vinyl in 1987in Milan, this CD is a welcome record of Christina's earlier work (1983-6) and of her grounding in composition and formal music. Two are electroacaoustic, combining pure electronics with musique concrete techniques and exotic instruments (seashell trumpet, eagle bone and crystal glass bowls) alongside field recordings and an early drum synthesiser. Careful and with a fine sense of sonorities, these are airy, open pieces.
Elaborately packaged with an almost transparent CD (not sure how they achieved that) containing 7 audio tracks, one interactive track (Mac & PC) and an MPG movie. Christina Kubisch is one of the names that always comes up when SoundArt is the topic of conversation. - so these CDs don't contain 'music', that is to say, melodic, rhythmic or linear structure (though I would say they are a lot more musical than much of today's sonic release menu) so much as invoking atmospheres formed of te complex overlappings and interweavings of tones. The movie is especially welcome since it explains what these sounds are for, how they are encountered in the installation for which they were made, and how they relate to the landscape in which they were intended to be heard. Altogether useful document in particular because it restores some sense of place to work that is always site specific but usually presented in recordings devoid of the context that gives them power.
Exquisitely recorded on-site at an installation in the Matthauskirche, Berlin that used a set of bells found at the disused St. Inglebert mine and using as structuring material the signal codes that informed miners about the status of the mineshaft elevators. Structured bell tones and silences. At one point the church bells sound faintly outside at the same time. Strangely compelling. Complex tones. Nicely documented with colour photographs.
From an installation at Museum of Contemporary Art in Boston, this piece is a slow mediation of bells (recorded from the long silent Mass MoCA clocktower) that have been pitch shifted and reshaped electronically and respond to information about the intensity and position of the sun in real time. Strangely satisfying and minimal. But bells are like people and their voices do seem to have a biological effect on us, Excellent full documentation, notes and photographs.
Fourth in this unusual series of place recordings capturing sounds from the region of Savoie, this one centred on the bell foundry at Paccard. Machines, the forge, the tuning room organised both in raw soundscapes and in transformed listening pieces. Interesting and fresh.
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.
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.
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.
Two complete CDs from this remarkable and unique American national public radio sound-documentary programme. Includes: Sam Phillips and many others speaking about the early days of the Memphis Recording Service - from funerals and weddings through black R 'n B and Blues to early Presley; 'Electronic Memories', about the technological leanings and sound recordings made by black American photographer R.A Coleman in the middle of the last century; Sofia, Francis & Eleanor Coppola chat for posterity; Mohawk Indian steelworkers (famed for their ability to handle heights, and their work on New York's great skyscrapers) speak about their lives, and about putting up, and clearing away, the ruins of the twin towers; a remarkable history of steelband music and the experiences of the Tripoli Steelband, on tour in America for two years under the wing of Liberace; a portrait of the artist as an answering machine (stunning); voices from the dustbowl - historic recordings, spoken and sung, collected in 1940 for the library of congress); the soundscape of electric fans; Harry Truman opens a mall, not what you expect; CKLW - a portrait of top 40 AM radio, and Vietnamese nail shops in America. Two and a half glorious hours.
We have only a handful of copies of this elusive gem, after six months of trying. This is a great collection from the groundbreaking American PBS radio programme that collects, contextualises and broadcasts historic location and documentary recordings. Two and a half hours and 10 programmes of fascinating recovered sounds, including an eyewitness account to the Gettysburg address, Carny language, Cigar manufactory storytellers, Virginia Steam trains - their whistles and drivers, Tennessee Williams' cardboard penny arcade recording, listening to the Northern Lights and a gold-dust item about recovering sounds from obsolete, forgotten and arcane media. Magnificent.
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.
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.
The ensemble (4 of them) performs on an aluminium strip suspended from a rubber band (for subtle pitch shifting). As with Stockausen's Mikrophonie 1 this single source is bowed, scraped, beaten, tapped, stroked and so on. The Kanary Grand band comprises some 40 birds of various breeds who, sing along. N sum, varieties of interesting gong like drones with realtime fully interactive birds. A must. 3-way gatefold digipack, 12pp booklet with thoughtful essay. Limited art edition of 1000 copies.
11 pieces that investigate instruments and recording techniques. Scored variously for groups of duochords (2 string monochords played with motorised rubber bands, hurdy-gurdy style), aluminium monochords, played with felt hammers, guitars with tails (all explained in the excellent booklet with pictures and background on all the instruments and techniques), cellos - using extended techniques, spring strings, bottles (blown) and musical bows. Mostly species of drone, but careful, thoughtful, considered. 3-fold digipack and informative, illustrated booklet. Limited art edition of 1000.
Following 'Dada, Pansaers et Correspondance'.this second documentary set features the voices of Louis Scutenaire, Marcel Mariën, René Magritte, Paul Colinet, ELT Mesens, André Souris, Marcel Lecomte, Paul Delvaux, Constant Malva, Achille Chavée and Fernand Dumont speaking about surrealism, ready-made music, politics and their own work. In French with English translations in the accompanying booklet. Well illustrated and contextualised.
10 six minute variations on a lot of simultaneous apparently random pianos. So an active, pointillistic soundscape that averages out into a sort of sparkling sea of scattered sound. It does sound rather glorious. No information about the piece with the CD but a fold out art sheet with photos and a ruminating text (intellectual though I find it a trifle over the top). Series digipack.
A tribute to Jimmy Hendrix by Marclay, recorded at The Kitchen in New York in 1985 with his Phonoguitar- a modified turntable that slung around his neck - allowing him to emulate Jimi's moves and to use movement-controlled amplifier/guitar feedbacks. Only Jimi's records were used. Limited number pressing, produced for an exhibition in Geneva. One sided LP in printed cardboard sleeve. Please add £1 postage Europe and £2 Outside Europe.
CDR release. Here eight people around the world record for 30 minutes at the same world time, in the UK, USA, India, Japan, New Zealand and Brasil. The time runs continuously, and never more than 2 of the recordings are heard together. Birds, buses, crowds, interiors, water, Indian television and the human body. An interesting project with an engaging, rather hectic, but mysterious result. Lets the sounds be.
Very nice work consisting of environmental/musical recordings. Some will remember his work from our Quarterlies. Here he records in a cave in the Pyrenees, a flooded and frozen field in Somerset, a stone vault at Cluny Abbey and features his own slate and bass slate marimbas, fired earth percussion, leather soles, ersatozophone and clapping inside large pots. Very nice work indeed. CDR edition.
A CDR release, so in short supply. Two summer recordings of insect life and weather and his sound sculptures - ceramic, slate and bamboo. Atmospheric and rich, with remarkable depth of field. The bees are worth the price of admission. The storm in 'weathered' is best listened to in a warm place. Summer wine. And beautiful packaging. While stocks last.
128pp 20cm x 20 cm full colour book of photographs of wood - in its natural habitat, raw and manipulated, but mostly formed into artworks, installations and instruments by sculptor/musician Menter. There is also a handful of pages of accompanying text - an artist's statement expounding a particular way of being in the world and hence an approach to making work - and a CD of wood sculptures and instruments played variously by the wind, people and chance, as well as a few compositions assembled by Will for this CD. The first monograph on this consistent and serious artist. PLUS POSTAGE: UK £1.85, EUROPE £3.40, REST OF WORLD £5.00
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
Four nicely recorded and very substantial soundscapes: forest dripping, oceanic, night birds and frogs but that of course omits the grain and essence of these engrossing and finely chosen selections. In a paper cover and tiny edition, it comes with no useful notes (a modern vice that is supposed to mean something, but which I find rather pointless, especially since it's worth saying something about these excellently judged pieces. Limited Supply.
Sound Artist RM presents two quiet, minimal, pieces: light modulating peeps and white noise/water. Very nicely done and well presented informative booklet with images from Minard's installations. The real thing.
Active since the late '70s in the field of electronic music but more visibly in performances, installations and sound art, Gordon Monahan is famous for his extensions and deconstruction of pianos. This CD features his Piano Mechanics, eight pieces that explore the outer reaches of the instrument as a source of complex sound - avoiding any conventional playing at all. Nicely recorded by John Oswald and the composer in 1990. The second piece is his celebrated 'Speaker Swinging', which explores the Doppler effect through manually swinging several independent loudspeakers in large arcs in acoustic space. The speakers emit minimal oscillator tones thereby foregrounding the pitch shifting caused by their motion. It's eerie and fascinating, and tells you a lot about ear/brain sensitivity; you really sense this motion as motion. It could not be simulated. This is a live recording, of course, in a real acoustic space (1987). It also works musically. Another important document.
It may be simply packed in a folding cardboard cover, but this is a remarkable piece of work using a massive amount of exquisitely recorded environmental sound (more or less exclusively taken in the Chabrieres forest) to construct 10 very different pieces, based variously on minerals, plants, animals, gestures, the sky, fire, twilight, night and water. Slipping from unprocessed to processed natural sound, this is as much a sound composition as a document - actually much more: there is musical intelligence constantly at work. And some of the sounds of the world are beyond anything electronic (the low rumble of an underground explosion, for example). This moves me for one. An exemplary piece of work.
Inventive collection - as it says -for music boxes, manually and electronically manipulated, Also includes pieces with added guitar, piano and xylophone in various combinations. Unusual and not without bite (don't expect whimsy or unalloyed tinkling all the time. Unaggressive though). Plus slurry for three clarinets to break it up.
Outsider Art is a familiar concept in the visual arts, Sub Rosa here attempt to compile a collection of pieces that might extend the idea into the sonic realm. They are not explicit about their criteria, but the CD features a wide range of pieces - from several countries - which are mostly naïve, obsessive or autistic, played by people who would be commonly designated, if not crazy, at least highly eccentric. Fascinating, rather than musical, and highly unusual. There are some extraordinary moments here (in particular the first and last tracks). Working outside the recognised discourse of 'music' these pieces, through their resemblance to what is normative, unsettle easy assumptions about what art , or music, is - or does - or is supposed to do. An interesting record and a useful attempt to suggest a positive category of work usually dismissed as aberrant or failed.
An excellent, what - sound documentary? In fact film soundtrack, though it functions grippingly as a listening object. Songs and stretches of music with intelligent spoken text – (somewhere between David Thomas’ Mirror Man and Capt. Beefheart, thought that doesn’t do it justice), some interview material with people who live in mobile homes parked outside Wal*Marts - all seamlessly edited together. Musicians include fellow Alabaman, Davey Williams. Highly recommended.
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.
158 page large 24 x 29 cm monograph art book, filled with photographic (mostly in colour) documentation of installations, light and sound sculptures and some drawings, representing a conspectus of 10 years of East German sound artist Carsten Nicolai's work, published in conjunction with the artist's first major solo exhibition in Switzerland, With explanatory and descriptive notes by Nicolai and short essays in German and English by curators, academics and critics. Includes a full biography, discography and bibliography of selected publications. Definitive.
Weight means we have to add postage to this sorry: £3.00 UK, £4.00 Europe, £6.00 World
- 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.
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
Troublemaker, prankster, collaborator with Cage and Stockhausen, Fluxus alumnus Paik has here for the first time some of his recorded work released on a CD . Includes Hommage a John Cage (for tape and piano) and Study for piano and Simple (1958-60) both of which are in effect, classic early tape-works - incorporating plenty of stolen - sorry, referential - audio material. Plus Prepared Piano for Merce Cunningham (1977) a live performance by Paik for detuned piano and voice, and Duetti (as above but with Takis duetting on his metal sculptures). An historic release, very nicely presented.
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.
Fluxartist Patterson's recent work, made at Liverpool School of Art in 2002. Here we follow the Liverpool SongLines, moving through the city with Ben reading out sequential pubs, churches and landmarks.
Two pieces with some incidental sounds, one a collection of quotations from the world's philosophers, grouped according to Chinese Astrology, the second a lecture, effectively 'Art as thinking; thinking as Art'.
A fine collection of piano pieces by known and unknown composers written between 1912 and 1920 that were performed by Nelly Van Doesberg at Bauhaus, De Stijl and Dada events between 1921-25. It includes pieces by Josef Hauer (much referenced but seldom heard), Honneger, Poulenc, Schoenberg and Satie and names lesser known (and therefore more interesting). These are excellent, very listenable, and mostly very short, pieces. Good sleeve-notes with some appropriate documents.
Now in his mid forties Petr Vasa, formerly of banned group Z Kopce, and later Osklid (both formerly on our Points East distribution lists) has, since 1990, been elaborating his idea of Physical poetry - its roots in Futurism, Dada and, more precisely, the recording/vocal experiments of the '60s French New Realism - in a way both original and persuasive. These are situational, abstract performances or events using vocal sounds made in unpredictable environments - a busy street, a lift, an aquarium, a sewer, a railway crossing, pub, aviary, train station; by the sea, accompanying a chair and linoleum, with coffee pot and telephone, &c. Plus a handful of unaccompanied pieces. Altogether an important - and unusually recent - addition to the catalogue of extended concrete/poetry experiments that takes in noise, music and soundscape and manages to sound both stranger and more engaging than a great deal of more complex, electronically mediated work. An exemplary record; highly recommended. The CD also contains 3 strange movie documentations of Petr at work with traffic, helicopters, doors and some heavy road building equipment.
Text-sound as a description for an already existing practice was coined in 1967 in Sweden where, in the very early 1950s concrete poetry had been grounded - or rediscovered, the futurists had already covered much of the ground - but the context was new and soon a combination of Musique Concrete, radio and magnetic tape added broad new dimensions to experiments with text and the human voice. A group of Swedish poets ands electronic composers, the Swedish national radio and the Fylkingen studio were central to the evolution of this genre, as was Henri Chopin in France and his magazine OU (founded 1964). These pieces, by Lars Gunnar Bodin, Ilmar Laaban, Sten Hanson, Ake Hodell and Bengt Emil Johnson cover the period from 1967 - 1986, with a preponderance of early pieces. Voices are used variously musically, emotionally and to deliver text; electronics are either strongly present or hardly present at all. Sven Hanson is unusual in this whole history in that that he approached head-on the jugular of erotic reflex (the remnants of a taboo repeatedly challenged in the late '60s, but not so blatantly as this and not in 'serious' music - though this was Sweden after all). A useful overview, a lot of very interesting material and an invaluable companion to the OU box.
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.
77 and a half minutes in and around Modena with Tiziano - in the streets, restaurants, hospital, school, market, railway station, cemetery, cinema, park, supermarket, swimming pool and many of the piazzas that dot the city. Those who have the other 7 of Tiziano's regional phonograph albums will want this - and those who don't could start here. Nice cover too.
For a few this will be Big News. Pound's original and eccentric music (aided by George Antheil) is much written about but virtually never heard; now these historical recordings have been gathered from rare performances. Mostly text based and pitched somewhere between medieval vocal music (sparsely accompanied by a small chamber group) and Erik Satie's 'Socrate', these works occupied some 15 years (on and off) of Pound's life. Le Testament, written in the early 20's was first performed in 1971 and Cavalcanti, though commissioned by the BBC, was never submitted to them and was thought lost until it was reconstructed by Robert Hughes in the 1980s. Comes with an excellent 80-page booklet, a thorough essay by Pound music expert Margaret Fisher, and previously unpublished photographs.
An important pioneer of the new music, electroacoustic music and various cross-genre forms from the 1950's onwards, Pousseur undertook this major project in 2000, when he was already in his '70s. This limited Edition box collects a related body of materials into a single listening work. The original programme was developed as in installation for an architectural complex in Belgium, using environmental and documentary recordings from around the world, paired and superimposed in strange ways according to a complex time-space worksheet - sometimes raw, often processed, but always recognisable, collapsing the planet into a simultaneous, superposed continuous present. It is sufficiently idea- and process-driven (as opposed to purely aesthetically driven) that it doesn't really resemble any other electroacoustic or soundscape work I can think of; and the elements that appear are extremely broadly sourced, including much globally sourced musical material - as well as plunderphonic extracts from existing repertoire. In every sense, this work covers a great deal of ground. Arranged in 17 blocks, each of which stands alone, some - Etats Zuni, for example - are classics of breadth and brevity. The solid board box comes with a thick flat-bound booklet that explains without explaining (that may be the translation), and a set of verses (one per piece) in French by Pousseur's long-time collaborator Michel Butor.
Aaron Zim, Chris Watson, Costa Grohn, Dallas Simpson, Daniel Knef, Derek Holzer, Gabi Schaffner, Jen Morris, Lassse-Marc Riek, Maksim Shentelev, Markus Obst, Marek Brandt, Robert Curgenven, Roland Etzin, Yannic Dauby present a collection of field recordings, urban and industrial.
One of the essential Kehrer Soundart series.176 pp expanded A5 size hardback with a CD. Text in German and English. Artists and their works, with essays by Bernd Schulz, Helga de la Motte, Robin Minard, Michael Glasmeier and Andres Brossard. And a collection of artists and their works, many colour photographs, featuring Andres Brossard, Rolf Julius, Bernrad Leitner, Christina Kubisch, Paul de Marisnis, Steve Roden, Miki Yu, Andreas Oldörp, Ed Osborn, Erwin Stahe and Martin Riches. The CD contains pieces by each. With Artist Biographies.
ADD £2.50 postage Europe, £4.50 rest of world - sorry: weight
Scarce CD made to accompany an installation in New York curated by Ron Kuivila in 2004 that welcomed sonic overlap.. Based on Cage's Ryoanji, 17 artists prepared material that was classified either as sand or rocks (sand is a ground in which rocks freely sit). So it's a long, meditative environment where sounds exist in themselves and also easily overlap with one another. Comes with a useful booklet with biographies, curatorial statement, and information about other related sound art exhibitions. Limited number.
From a sound and film installation at the Parochialkirche, Berlin 'Bell is the truth (Berlin)'. All the sounds are derived from light-bulbs (tapped together, the filaments vibrating, and so on, all of which were then electronically treated and altered and organised into overlapping sequences). A lot of very different and unlikely sounds from such a narrow source. Nicely documented with colour photographs.
Limited Edition of 1000 Created for the Moca's Mark Rothko exhibitions,for harmonium, glockenspeil, and violin, parts derived from a colour analysis and external material partly generated via Feldman's Rothko composition and a lot of post-production.
14 x 19 cm 24 page full colour exhibition catalogue documenting Roden's installation for the Alyce de Roulet Williamson Gallery, Pasadena. With CD of sounds from the installation. The composition is controlled by data from an earthquake and the booklet contains useful essays and explanations by Roden of this work and his work in general. Limited edition 1500.
From an installation at Fresno metropolitan museum. 12 colour coded tin cans hang in a room, 64 of which contain speakers playing an 8b channel soundwork, whose source was satellite recordings, processed and transformed. This is a stereo reworking of that material for CD listening. Quiet and atmospheric. Very listenable, very static. Three-fold colour digipack with pictures from the exhibition. Limited edition 1000.
This three-fold 14 x 20cm booklet of information, drawings and photographs with 3 additional postcard-photographs and CD documents Roden's contribution to the MAK exhibition: 'In between Art and Architecture' at the Schindler house in Los Angeles in 2001. Three works, sound sources fireplace, springs, flowerpots; voice, window panes, airplane, beam; bamboo. Each is quiet and open, an atmosphere. Limited edition 1000
'Brain' is a CD musi-drama (opera pervers) with El Maestro JR lui-meme, Shelley Hirsch, Phil Minton, a Nietschean dentist and thousands of Rosenbergs. Plus The Weatherman. Full texts and notes. Cover by Peter Blegvad.
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
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.
ALLSTAR cast with Connie Bauer, Lauren Newton, Peter Hollinger, Frank Schulte, Uli Gumpert and Rudi Widerhofer. A Radio homage to Karl Valentin, from cafe music to chaos via sprechgesang and gypsy cabaret, with Peter hitting the unlikliest things, records scratching, Connie being a train and our own dear Jon inducing a HURRICANE OF WEEPING with the most BEEAUOOOOTIFUL violin playing you EVER heard in the WHOLE of your LIFE. OK ?
Highly limited edition from Norsk Kulturad of exactly what the label says: field recordings on the mountains - with a lot of weather - of environments with Vibraphone near, far, inaudible - colouring the air. Highly unusual, and very successful.
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.
Excellent collection, beautifully played, of works Satie wrote for his collaborations with Picasso, including the two cubist ballets 'Parade' and 'Mercure', both of which are here interestingly presented both in orchestra versions and piano transcriptions. The other titles are 'Les Pantins Dansent', Trois Valses Distinguees du Precieux Degoute' and 'Divertisement (la statue retrouve)'.
84pp A5 flatbound book of documentation, photographs and reflective texts accompanies a CD of environmental recordings made over a long period in one place and edited together. Very thorough documentation of sounds, which put what sounds often like nothing very remarkable into a different perspective when read. There are dramatic moments too and the recording quality is high.
Produced by the touring exhibition of sound environments, this presents one CD of environmental recordings of sounds typical to the island (favourite sounds of Harris and Lewes), a CD of further, more idiosyncratic event recordings and a lot of poetry read by children (an acquired taste but essential to get the funding I'm sure) and a CD that consists of a guided walk across Ness and Northon machair and includes (as the booklet proudly proclaims) the call of the Corncrake. The full colour book gives plenty of useful background as well as documenting the landscape, the sites and the local flora and birdlife.
Part of the continuing Sonic Arts 7" book + CD series. This excellent issue features eclectic and unexpected selections made by comedian Stewart Lee, most of which in one way or another do squeeze into his borrowed (from Fluxus) title. Only a canny civilian could make such unusual choices - so, full marks to SAN for inventive commissioning. The success of the project makes it hard to give a proper impression, but I can say that all these pieces stay close to people, eccentric sometimes, but definitely not trying to slot into the art mafia: Derek Bailey plays but mostly talks, Arthur Smith appears in a musically orchestrated stand-up routine, Tony Conrad's two year old son anticipates sampling and scratching in 1973; there are settings of tourist brochures, slides found in thrift shops and a photograph found in a Roman street; Mark E Smith of the Fall reads the football results and Jon Rose plays a fence on the Golan Heights. Jem Finer, Evan Parker and a number of uncategorisable performers also appear, and the whole CD is book-ended by a couple of short found tapes, picked up in the street. The book is lavishly illustrated with all manner of maps and extracts of maps, nicely laid out. Imaginative and serious. And very contemporary.
Monograph on one of the central figures in early Japanese sound/art and founding member of the improvisational group Ongaku (1960) who explored conceptual art, happenings and, noise performance, and later mutated into Tokyo Fluxus. He moved to New York in 1972 and has experimented with indeterminate compositional techniques, complicated games, electronics and damaged media in art, dance (Merce Cunningham) and gallery contexts. The book, 118pp 21 cm x 25 cm seriously explores and expounds Tone's work and career through a substantial interview with Tone himself and essays by various hands including Robert Ashley, Hans Ulrich Obricht and Achim Wollsheid, that cover his early and subsequent work, aesthetic evolution, performance practice, relation to noise, sonic calligraphy and C20 avant garde art movements - liberally Illustrated with visual scores, photographs and selected documents. The CD features 7 performances - for glissando ensemble, flute and computer, electronics, 'wounded' CD remixes, small ensembles and electronics - all dating from the '80s and '90s, except 'Anagram for Strings' (1961). This will be indispensable for students of the growth of noise-experiment and fluxart from the late '50s, and is a comprehensive study of this important historical actor. PLUS POSTAGE: UK £1.85, EUROPE £2.80, REST OF WORLD £4.50
Another vital, if eccentric, collection from SR, who seem now to be the best source for much of the historic catalogue and who are slowly assembling an indispensable library. CD1 contains pieces by well known composers (Ussachevsky, Luening, Ferrari, Dockstader), by much lauded but seldom heard pioneers, such as Daphne Oram, Johanna M Beyer and Hugh Davis, as well as pieces by Morton Subotnik, Alan Splet and Kim Cascone. There's also a quintessential piece of phone-pirate Scanner. CD2, deals more with the recent years and veers off into territories I don't care for so much, but is still a useful overview (Autechre, Yoshihiro Hanno, Merira Asher, Lasse Steen, SPK &c). It also contains a short piece by Percy Grainger for 4 Theremins, a strong sample of industrial ambient Laibach, a feedback piece by David Myers and two inexplicable selections from Sun Ra and Don Van Vliet (well OK for them being there, but the choice of pieces does not bring out what is essential). Still, no complaining. Overall, it's essential listening, and though loosely documented, here the ear's the thing.
15 new slices of the world from the unique and independent phonography.org - a dedicated meeting-point and showcase for field recordings - sound photography, as it were. From various places in the world come sounds of sports crowds, traffic, radiators, Chinese trains, ferries, tourism, security systems, malfunctioning domestic appliances, &c. 'They laughed at Christopher Columbus when he said the earth was round, they laughed when Edison recorded sound'.(Ira Gershwin) - and now look. This is serious work, but then I'm a fan.
Another 19 sound photographs of places, weather, animals, insects, urban and exotic locations. These are not snapshots but high grain, perfectly lit, carefully framed art pieces; their effect is seldom literal, often abstract, but they nonetheless carry the authority of the real which they embody. Seventh in this luminous enterprise.
You want this. Between March 2003 and December 2004 London's Sonic Arts Network ran an extremely eclectic programme for Resonance FM, purportedly adhering to Fitzgerald's Radio manifesto of 1931 (How to make your own radio programme). This CD is compiled from these broadcasts (by Tim Steiner) and includes material from Otomo Yoshihide, Hugh Le Caine, The Mills Brothers, Sol Hoopi, Fluxii Ben Vautier, Philip Corner and Nam Jun Paik, The Chopins (Frederick and Henri - simultaneously), Leon Theremin, The Beau Hunks, Halim el Dahb, Louis and Bebe Baron, a couple of children's choirs (one recorded 1939 in Russia praising uncle Joe), Harry Champion, Glenn Miller and the Rhythm Rats. There are also jingles (means very short snatches of sound), competitions: guess that sound/speaker, cut-ups and a lot else. It's very nicely put together and makes a fascinating listen - as well as containing some useful, historic material. Imaginatively packaged in an EP sleeve with a booklet full of information, relevant and (maybe irrelevant) detail, references and data - enough to keep you entertained for a week, including references to the letter of Fitzgerald's manifesto so you can try to figure the logic, mysterious charts, lists, games, scoring cards. Then there's a poster - of the manifesto itself, with small print annotations and comments, information about the Sonic Arts broadcasts in relation to it, and a list of 'casualties'. I won't explain, you can read it yourself. This is a priceless package and highly recommended. This CD was created by Sonic Arts Network, a national organisation that explores and promotes the art of sound.
Sound artist Lauren Weinger documents and reworks one of her large scale installation events in giant grain silos in America. The massive sounds of gargantuan hoppers pouring grain, documentary moments of dialogue, local, archive and composed musics, mysterious traces of a country, a culture, an event - where 2 Americas meet. Beautiful packing. Plus extra Video track (& software, if required, to play it). A unique document and powerful listening. For a very limited time (last orders September 25-2002) both are available in advance and will come with a small folio of extra subscription only materials. ReR Record club will receive this edition automatically.For a very limited time (last orders September 25, 2002) both are available in advance and will come with a small folio of extra subscription only materials. ReR Record club will receive this edition automatically.
An interesting electroacoustic collection by soundscape specialist HW, using excellent field recordings, realtime performance and electronic manipulations. Especially successful are 'A walk through the city', Fantasie for Horns (exquisite) and 'Beneath the Forest Floor'. Unusual and tightly focused works.
Three full length pieces by one of the early researchers for Murray Schaffer's 1970s World Soundscape project. She went on to become a founder member of the World Forum for Acoustic Ecology, and editor of its magazine Soundscape. This is only her second full CD. Assembled from field recordings made on numerous trips to India, it is filled with sounds both sacred and profane: street-vendors, insects, stone-cutters, film music, traffic, street musicians, snake-charmers, railways, individual instruments, chanting, temple bells, water, and voices.
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.
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 (he’s a clarinettist, not that you’d 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