MUSIC
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Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.
Includes the tracks Turquoise, Black, Stone, Gold, Silver, and Pearl.
Limited edition CD, self-released and independent. Comes in a reverse board, 6 panel package including all 6 drawings.
Includes the tracks Chartreuse, Rose, Lavender, Lime, Grey, and Violet.
Recording: 1972-73 Java Island
1. Beber layar (“Spread the Sails”)
& Kembang bungur (“Flower of the Bungur-tree”)
2. Palwa (a proper name) & Lalayaran (“Sailing Tour”)
3. Rancag: Pancaniti (a proper name), Bayubud (a place name), Mangari (a place name), Liwung (“Worry”)
/ Kawih: Sumarambah (“Heart Full of Memories”)
4. Rancag: Bayubud (a place name), Liwung (“Worry”)
/ Kawih: Bungur (“The Bungur-tree”)
5. Rancag: Panyawang (“Rest in the Open”),
Pamekaran (“Blossom”) / Kawih: Samar-samar (“Blurred Pictures”)
6. Sinyur (a musical structure), Samarangan (“As he pleases”) 7. Rancag: Lor-loran (“Towards the North”), Erang barong / Kawih: Tablo (a musical structure).
A hitherto-unreleased electronic masterpiece from Roland Kayn, singular pioneer of cybernetic music.
Over a period spanning the late 70s through the early 80s, Kayn (1933–2011) issued a quintet of extended works that quietly but definitively redrew the map of electronic music. Informed by cybernetics and a desire to actualise analogue circuitry as an agency in the compositional process, this music adopted a form that can only be described as oceanic, as side after side of vinyl allowed a wholly new vocabulary of electronic sound to find its shape.
In the decades that followed, these multi-LP boxed-set releases became hallowed documents of contemporary music (as well as highly prized collectors’ items). Kayn’s initially subtle influence belied a gradual shift towards the widespread adoption of his ideas and practices in the 21st century, incorporating both the rise in popularity of modular synthesis as a music-making tool, and the huge advancements in machine learning and AI.
Following the recent reissue of ‘Simultan’ (1977) and the first-time release of late work ‘A Little Electronic Milky Way of Sound’ (2009), it was clear that a new generation of listeners and musicians were eager to discover Kayn’s vision in all its vastness.
Kayn's own label, Reiger Records Reeks, has been reawakened by his daughter Ilse, and her long-cherished dream of releasing this music is now finally a reality. Across 10 CDs of immersive audio, expertly remastered by Kayn aficionado Jim O’Rourke, listeners are now finally able to digest Kayn's little-known masterpiece, and to inhabit sonic territory that has waited unspoilt for decades.
A masterpiece returns.
The last five years have seen the reemergence of a towering figure of electronic music. Through multiple boxed set releases, and a dedicated Bandcamp page releasing unheard works at an unfaltering pace, the work of pioneering cybernetic composer Roland Kayn has reached a wider audience than ever before.
Now, a bedrock work in establishing this reputation is available once more, as Tektra, his overarching landmark work of the early 1980s, is finally restored to availability after decades out of print.
Reissued by Reiger Records Reeks – the composer’s own label, now presided over by his daughter Ilse – Tektra here unfolds across 5 CDs. The new edition was mastered by Jim O’Rourke from a transfer of the original tapes present in the Lydia and Roland Kayn Archive. It implements Kayn’s directions on crossfades and edits as fully as possible, while also reincorporating almost 5 minutes of music previously unavailable in digital format.
Kayn’s glacial, otherworldly electronic landscapes have always been somewhat at odds with the world of contemporary composition his background and training located him within. His rejection of compositional dogma and traditional musical structures eventually led him to discover a source of endless inspiration in the cybernetic generation of material, and the curatorial act of listening itself.
Perhaps this is why Kayn’s recognition is only approaching its zenith today: his work is far from the passive, unobtrusive world of “ambient”, but its embrace of extended duration, drone-like textures, and the exploration of space as timbre are undeniable shared attributes. Today’s most forward-looking musical practitioners – many of whom cite Kayn as a direct influence – have perhaps discovered a similar territory, at the threshold point where mindblowing complexity approaches the overwhelming sensation of true immersion.
“Jürg Frey is inextricably tied to the group of Wandelweiser composers and musicians, and like that group, his music continues to elude easy categorization. The last year has been a particularly fruitful one, revealing extensions to his compositional approach. There was the release of the two-disc set Grizzana and other pieces 2009-2014 for small ensemble on the Another Timbre label as well as his residency at the Huddersfield Contemporary Music Festival, featuring multiple performances of his pieces. Two other releases, Circles and Landscapes and String Quartet No. 3 / Unhörbare Zeit deserve special focus as each represents the continued development of Frey’s compositional sensibilities.
Circles and Landscapes features a program of solo piano pieces performed by Philip Thomas, one of the preeminent interpreters of contemporary piano compositions as well as an accomplished improviser. Pitch relationships have always been central to Frey’s compositions, and in these pieces, composed over the last five years (with the exception of the opening “In Memorium Cornelius Cardew” from 1993) the harmonic underpinnings are even more pivotal to the structural foundations. In an interview on the Another Timbre site, Frey states, “I'm looking to find a confidence in chords, dyads and single notes, and I hope that accordingly they will resonate with confidence. This applies to every material, whether stones or a piano, but with the piano it seems to be more challenging because of the clarity of the material and how the instrument itself suggests it should be used.” The opening “In Memorium Cornelius Cardew” moves with slow assurance back and forth between low register intervals and a resonant chord, pausing midway to progress to a deliberately paced, falling phrase which pools in darkly voiced chords. Three pieces from the “Circular Music” series, composed a decade later, distill that concentration on intervals and resonance with poised consideration. Here, the notes and harmonies are allowed to sit. It is not about motion or development, but rather about simply letting the sounds unfold across the duration of the piece.
Frey has stated about his music, “A sequence of notes is most composers' starting point. And it's where I stop. Not that I cease to do anything at all; sometimes it takes a bit more, sometimes a bit less. There are so many traps, so many ways of destroying the sequence, because people think it needs a little compositional help ... More important is the relation of the material to elapsing time.” Listen to the half-hour reading of “Pianist, Alone (2),” and one hears these elemental building blocks accrue with a steadfast forbearance. Thomas places each phrase and chord-set evenly across the duration of the piece and the music advances with an unwavering beauty bereft of any standard notion of melody or harmonic progression. “Extended Circular Music No. 9,” composed over 2014 and 2015 layers in even more brooding consonance over its half-hour course. Yet even here, the music proceeds with notes and chords sounding alone with a sense of succession rather than melodic or harmonic progression.
Frey’s string quartets, particularly “Striechquartett II,” are some of his most absorbing pieces, particularly as performed by Montreal-based Quatuor Bozzini. In these pieces, the composer makes potent use of the microtonal nuances of the string instruments to elicit fragile, almost vocalized voicings of his poised harmonic structures. Where his second string quartet created a diaphanous scrim of sound, on “String Quartet No. 3,” he opens things up, introducing a spaciousness to the deft voicings. The members of the quartet are completely synched in to Frey’s strategies, fully embodying the tonal structures into a singular sound. Frey writes about this piece, “Elemental materials and constructions are thereby perceived as a sensation, and mindfulness consists in hanging these sensations in balance before they have arrived at the limitations of expressiveness.” And it is the way that the quartet hangs at the edges of expressiveness, letting the sensations of the notes and harmonies play out without investing them with dramatic expression. It is this equanimity and stability that allows the piece to play out in a totally absorbing way.
“Unhörbare Zeit” (inaudible times) adds two percussionists to the mx and here the structure opens up even more. The durations of silence are as central to the piece as the sounds of strings and the low rumbles of percussion. Frey states that he is working with “audible and inaudible durations that appear partly simultaneously and partly consecutively. They give the piece lucidity and transparency, as well as materiality and solidity.” While silence as a structural element has been fully absorbed into the vocabulary of contemporary composition, it is the way that Frey gives the silences weight and dimension within this piece that really stands out. The balance of the timbre of strings, low register percussion, the rustle of room sounds and the mercurial pacing of sound and silence is fully entrancing.”
–Michael Rosenstein, Point of Departure
“A few months ago I noticed the change in Jürg Frey’s music in recent years, when discussing two contrasting but very fine albums of his earlier and later music. A similar impression was made by the concert of his 2nd and 3rd string quartets by the Quatuor Bozzini in Huddersfield last November: that Frey is moving away from ideas and towards music. Frey has long been associated with the Wandelweiser collective, but his recent music has been compromising the “purity” Wandelweiser’s reverence for silence. With this supposed loss of aesthetic purity, Frey has embraced a purity of sound.
After releasing the quietly beautiful Grizzana album, Another Timbre released a CD of Philip Thomas playing Frey’s recent piano music at the end of last year. I previously wrote of his third string quartet that Frey was joining Morton Feldman as a fellow master of non-functional harmony, adapting some of the more rhetorical elements of classical and romantic music, but piecemeal, on his own terms and his own ends. In this piano music, most of it composed between 2010 and 2014, there is a similar sense of exploration, without any perceived goal, to that found in Feldman’s “middle period” before he discovered the tenuous equilibrium found in repeating patterns.
At that time, Feldman was also moving away from abstraction and responding to the need to create melodies (“big Puccini-like melodies”). An interview on the Another Timbre website shows Frey seeking a common solace in a material understanding of music, and in negotiating the paradoxes that arise when wanting to compose without disturbing the music’s material.
When composing for the piano, the notion of harmony is more prominent – although we know all the (lovely) extended techniques that have been developed for the piano, to make it sound unlike a piano. But yes, the piano remains the instrument to represent harmony…. When I write for piano, I shouldn’t rely on the piano itself, but on the composition. The piano gives single notes, dyads and chords too easily. Also, if I write consonant dyads, it could suddenly sound wrong, ironic, like a quotation rather than the real sound. In this context to compose means to build a basic confidence in the clear and restricted material that you are working with.
The shorter pieces have a meditative quality, alternating between pedal tones and chords. The longer pieces take on a resemblance to a journey through a succession of musical terrains. Sometimes progress is slow, tentative, with long periods stranded in one particular harmony or register, before unexpectedly moving on. It becomes clear that the journey is its own destination. If there is a structure underneath it all, Frey does his best to conceal or disrupt it or render it irrelevant to the listener.
The album begins with a much older piece, the brief In Memoriam Cornelius Cardew from 1993, with a tonal palette that anticipates the later works. Has Frey allowed a space for emotional expression in his new music, however abstracted? It’s interesting that when philosophy is raised in the interview, he demurs but admits that he feels “a closeness” to Deleuze and Spinoza, two Western thinkers who tried to reason without a dichotomy between mind and body.
The piano is close-miked on this CD, focussing on the grain of the instrument’s sounds. Thomas’ playing is softly-spoken but full-voiced – well suited to the quiet but indomitable character marking out a trail through an empty expanse, as in the longest piece on the album. It’s titled Pianist, Alone (2); a title which seems nakedly descriptive at first but takes on a narrative aspect after hearing it. This time, the protagonist is a little more experienced.”
Ben Harper, Boring Like a Drill
A double CD with five beautiful pieces that engage with the work of the extraordinary French-Swiss poet Gustave Roud. Performers include Dante Boon, Stefan Thut, Andrew McIntosh and Jürg Frey himself.
“I think my process of work is similar to Roud’s: roaming with my sketchbook, taking a movement here, adding some notes there, following an impression, writing a little melody or a rhythmic constellation, deepening a feeling, extending a pitch, waiting and letting it happen…”
Interview with Jürg Frey
Disc One:
1 Paysage pour Gustave Roud (2007 / 2008) 14:25
Jürg Frey clarinet, Stefan Thut cello, Dante Boon piano
2 Haut-Jorat (2009) 7:51
Andrew McIntosh violin, Jürg Frey clarinet, Dante Boon piano
3 La présence, les silences (2013-2016) 41:07 Dante Boon piano
Disc Two:
1 Farblose Wolken, Glück, Wind (2009-2011) 48:10
Regula Konrad soprano, Stephen Altoft trumpet, Stefan Thut cello, Lee Ferguson percussion
2 Ombre si fragile (2007 / 2008 /2010) 15:09
Andrew McIntosh violin, Stefan Thut cello, Dante Boon piano
