MUSIC

Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique MIDI sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Perlon, Mental Groove, and Gigolo Records. Chris also worked as a computer programmer for thirty-five years. Her new album "Passion For Numbers" is one of the very few album in the world entirely composed in complex polymeter, meaning that each pieces of music uses several prime meters simultaneously. A unique way to compose music with a new generation of musical algorithmic, inside which Korda injects the DNA of neo classical, ambient and jazz music. This refreshing album will please you whether you are into complex musical composition, experimental music or just seeking for a beautiful, emotional and accessible musical moment. This is a "In your hearts not the charts" album, as Irdial Discs once said. Pleases read an extract of Chris Korda's letter about Passion For Numbers, included as insert in its entirety in this vinyl release: This is an album of piano music, but I wrote it without a piano. Not having a piano turned out to be constructive, because I had to rely on my brain instead of my fingers, and particularly on my imagination and inner hearing. The album belongs to a category called phase music, and it’s also algorithmic, or more precisely rules-based generative music. I don’t write music in the usual sense of the word “write.” I build kinetic sculptures, and the sculptures generate my music. My sculptures are virtual, meaning they’re invisible machines that exist only as data within my home-grown software. My process is related to the work of a relatively obscure early 20th century artist named Thomas Wilfred. Like me, Wilfred was an engineer-artist, and built machines that generated art from phase shift. My music is in complex polymeter, meaning it’s not just in odd time, but in multiple odd time signatures, and not one odd time signature after another sequentially, but all of them running concurrently. Most music isn’t constructed this way, which is why I needed to develop custom software in order to compose my music. My software is called The Polymeter MIDI Sequencer, and you can easily find it on the Internet. I also use music set theory, change-ringing and gray code, explanations of which can be found in Wikipedia. Chris Korda (extract from "Passion By Numbers" liner notes)

Woo, Nuno Canavarro, Enya's phantom intersection ?? A work that also introduced the famous blog that has pushed New Age Revival to the next zone! A long-awaited reprint of the rare work released on CD only from in 1992 by "Uman", a 90's French new-age / ambient duo consisting of Danielle Jean & Didier Jean! Their work, which has recorded two pop albums up to this work, but the pros and cons are divided. To that end, they built their own studio in Orsay, on the outskirts of southern Paris, to escape the expectations of the French music industry. Introducing the latest music technology of the time in this place created to realize their new free perspective, space and ideas. A masterpiece that incorporates original sampling and vocal processing to create a soft and surreal modern classical new age that also leads to an acoustic sensation! Includes liner notes by Diego Olivas (FOND / SOUND).

Starting with an open dialogue seems like a good way to approach a collaboration. Almost a decade ago, that’s how Joana Gama (piano) and Luís Fernandes (electronics) started to work together, and both quickly understood that it was an ideal moment to develop and explore new paths in their music. “There’s no knowing” is their fifth album, 50 minute piece in which the two artists' have a dialogue while interacting with the void and silence around them. The origin of this work explains the frequent tension in this piece; Invited by Nuno M. Cardoso to compose the soundtrack for a TV series, “Cassandra”, Joana and Luís found themselves with the material and inspiration to extend this work into a long piece. At times, “There’s no knowing” feels like a tense and knife cutting soundtrack to a thriller. Joana’s tempo adds to a well-architected sound-design by Luís that pushes the boundaries of what the duo can achieve. The ambition, always present in their music, provides a fascinating backdrop - the focus in the moment coupled with the feeling of latent anxiety pushing each other to their limits.That tremendous momentum can be felt while listening to any of their records. As they push each other, we are invited to other realms of contemporary electronics and modern classical. “There’s no knowing” is their finest to date. But that’s no surprise, their work is based on that continuous progression.

"Textures & Lines" started as an invitation by Portuguese ensemble Drumming GP to work with the duo Joana Gama & Luís Fernandes. Joana's piano and Luís's electronics find new territories in a mix of subtle and raw use of percussions. In four pieces they defy the limits of classical contemporary music and create a landscape that evolves in each listening.

Francesco Messina is perhaps best known for his collaboration with fellow composer Raul Lovisoni on the album Prati Bagnati Del Monte Analogo, originally released on seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina would help reshape the world of modern composition with an organic rawness and haunting beauty. In 1979, Messina was asked to perform at the Teatro Quartiere in Milan. As the composer writes in the liner notes, "Due to the limited availability of key technical features, it would have been too complicated to perform Prati Bagnati, and therefore I opted for these three pieces instead. We had never actually tried them all together, so I thought about renting a recording studio the previous afternoon. In that way, we could rehearse in a suitable place and use the opportunity to record the music on tape." Unreleased for over thirty years, the recordings on Reflex have an unadorned, almost improvisational feel. "Untitled" (featuring Lovisoni's plaintive flute) and "I Nuovi Pescheti" are full of meditative piano passages that lend an aura of new age, while the title track is more insistent with unfurling chords layered in real time via a reel-to-reel tape machine, resembling Steve Reich's mesmeric phase-shifting works of the '60s. A central figure within the Italian avant-garde, Francesco Messina gracefully expands his country's contribution to Minimalism. This first-time vinyl release is recommended for fans of Joanna Brouk, Luciano Cilio and Charlemagne Palestine.

Following their recent solo releases Soniscope (Dauw) and Cells #5 (SAUNA 064CS), Berlin-based multi-instrumentalist Midori Hirano and Tokyo based string experimentalist Atsuko Hatano have teamed up for their first collaborative full-length: Water Ladder. An intense, multilayered continuation of earlier collaborations (Atsuko was featured on Midori's debut LP back in 2006), the foundation for this new collaborative album was laid when they shared stages in Berlin (Ausland) and Japan in 2019. Working remotely at first, they later recorded parts of the album in Nara's snoihouse (using omnidirectional polyhedral speakers). "As we rallied back and forth with our recordings in the process of creating this album, unanticipated fluctuations and irregularities emerged, coming together into a kind of music with a unique resilience and buoyancy that cannot be confined to existing molds. It was as though we had built a Water Ladder to bridge the gap between us," explains prolific composer and viola player Atsuko Hatano, who's been busy recording solo and with colleagues such as Jim O'Rourke, Eiko Ishibashi, Mocky, Tatsuhisa Yamamoto, Takeo Toyama, and Anzu Suhara (Asa-chang and Junrei). Kyoto-born, Berlin-based Midori Hirano, who's also been releasing music under her MimiCof moniker, adds multiple instruments to the ever-changing sonic landscapes of Water Ladder -- an album defined by suspenseful and seemingly suspended compositions that often feel like floating in midair, a sensation the musicians compare to "that distinctive feeling you get from riding a high-speed elevator, where you can no longer tell whether you're going up or down." Devoid of birdsong, the late summer air is nevertheless full of buzzing, whirring, hissing sounds on foreboding album opener "Summer Noise," a cinematic intro with slow-moving piano chords and an ominous build-up over the course of its sprawling eight minutes. Elsewhere, sudden bursts of viola cut through nighttime peace ("Nocturnal Awakening"), followed by "Cotton Sphere" -- which makes the sensation of floating in midair complete: harmonies and melodies rise and form to fall apart again. Whereas the title track truly explodes half-way in, the final "Cascade" brings closure to the electro-acoustic six-track collection: the floating continues. "Water cannot retain its form on its own, and can take any shape as effected by external forces. Its movements cannot be captured by eyesight alone: A body of water that appears to be crashing down into a deep, bottomless waterfall could actually be rising up very slowly into midair," says Atsuko. "This is an invitation for you to cross the ever-transforming Water Ladder built between Midori and myself."

2022 Miasmah edition of the now classic debut album by Deaf Center, originally released on Type records in 2005. Full-lenght album version, includes the tracks that were previously only on the CD edition + a 20 minute side of unreleased material from the same timeframe. Released as a gatefold 2xLP with original extended artwork. ‘Pale Ravine’ is the debut full-length realization of Erik K Skodvin and Otto A Totland under the Deaf Center moniker. More recently known for solo recordings under their own names on the Sonic Pieces label. The album, back then made in their mid 20ies, is an other-wordly sound collagé to Norwegian nature, theatricality and old silent films. The two musicians have looked deep into their own family histories to piece together a dusty and nostalgic epic, blending elements of classical and electronic music with an array of field recordings and a lot of fog.

Black Truffle is thrilled to announce ViewFinder / Hide & Seek, a new release from acclaimed American experimental composer David Behrman, presenting recordings made in collaboration with Jon Gibson and Werner Durand between 1989 and 2020. Last heard from on Black Truffle as part of the collaborative art song/live electronics madness of She’s More Wild, these recordings find Behrman continuing the pioneering work in interactive electronics that have established him as one of the major living experimental composers. Side A presents excerpts from two live realisations of Unforeseen Events (1989), the fourth in a series of pieces focussing on the interactions between instrumental performers and responsive software. Like the classic earlier works in the series, On the Other Ocean (1977), Interspecies Smalltalk (1984) and Leapday Night (1986), Unforeseen Events is an “unfinished composition” in which a computer system listens for and responds to specific pitch cues from an instrumentalist. Performed by the composer on electronics and Werner Durand on soprano saxophone in Berlin in 1989, the first realisation immediately ushers the listener into an environment of long soprano notes, lush, sustained synth harmonies, randomised percussive interjections and distantly burbling arpeggiated patterns. The 1999 realisation recorded in New York with Jon Gibson on soprano shows how much room for the instrumentalist to affect the course of the music exists in Behrman’s interactive pieces, in which, as he notes, ‘performers have options rather than instructions’. Beginning in a roughly similar area to the version with Durand, this later recording eventually becomes substantially more active, as polyrhythmically layered arpeggios and percussive patterns respond to fast chromatic lines and dynamic phrases from the saxophone, moving Gibson in turn to respond with cycling figures and moments of extended technique that touch on the soprano languages pioneered by players like Steve Lacy and Evan Parker. Yet even at its most active, the lack of conventional forward movement in the music allows it to retain what Behrman’s friend Jacques Bekaert called its ‘fragile tranquillity’, as episodes of activity appear only as momentary disruptions of an underlying calm. On the B side, we are treated to a new collaborative work from Behrman and Werner Durand, building on the 2002 installation work ViewFinder, in which a camera detecting physical motion triggered changes to electronic sound. The piece presented here is a long-distance studio construction, recorded by Behrman in the Hudson Valley and Durand in Berlin, offering up an expansive duet between Behrman’s lush, gliding synth tones and the alien, untempered tones of Durand’s invented and adapted wind instruments. Presented in a stunning gatefold sleeve with art from Terri Hanlon, archival photographs and new liner notes from Behrman and Durand,ViewFinder / Hide & Seek is an essential release showcasing the continuing vitality of a legendary figure in experimental music.

Light patterns in a glass dream Sound fountains in a gentle stream Smoked visions in another room Form and fade all too soon In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David had been playing in a few local bands. One evening, they jammed together, at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late 70s, the music scene in Manchester was bursting with new bands and music. Kevin and David, however, had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music. Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.” Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist. After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions on vinyl in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

“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

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

Endless piano and tape loop variations by Australian composer and multi-disciplinary artist, Lisa Lerkenfeldt. A music for three pianos in the advent of isolation. A poem to Xerochrysum Viscosum, an everlasting daisy native to Melbourne, Victoria. An unfolding fantasy through the field of time. A proposal for multiple players and machines. 'A Liquor Of Daisies' is the prelude of Lisa Lerkenfeldt's forthcoming album 'Collagen', out summer 2020 on Shelter Press.iframe style="border: 0; width: 350px; height: 208px;" src="https://bandcamp.com/EmbeddedPlayer/album=892168959/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>A Liquor Of Daisies by Lisa Lerkenfeldt

A new dawn of infinite and eternal grief work. Inheriting the lifeline and tape music traditions of avant-garde heroes such as John Cage, Steve Reich and Brian Eno, sampling everything from easy listening to Musac long before it became fashionable, through slow, melancholic overtones. William Basinski, a legendary NY drone writer who will make a name for himself in ambient history as a pioneer who has predicted screw music and even vaporwave. The latest album from , which was composed by himself using a tape loop from an archived sound source recorded in 1979, is now available from ! Like many previous works, it is a profound meditation music with the theme of "death and corruption", but it is melancholic and lost, with a deeper arc of sadness than any other work since 2002's masterpiece "Disintegration Loops". Deformed screw music like steam of feeling. Of course, fans around The Caretaker ~ Natural Snow Buildings ~ Grouper are also a must-have!

Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec. (For more info scroll down past audio...._ "Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch. Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

From Oren Ambarchi's renowned Black Truffle label comes a new album from New Zealand-based experimental musician Annea Lockwood, who studied electronic music at London's Royal College of Music. This album contains two important instrumental pieces. The album features two important instrumental pieces, one by Nate Wooley (who has performed with Mary Halvorson and Elliott Sharp) and the other by the avant-garde quartet Yarn/Wire.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

Emerging on vinyl for the first time since it’s original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Side A: Motore immobile 16:59
Organ: Danilo Lorenzini, Michele Fedrigotti
Violin: Giusto Pio
Voice: Martin Kleist

Side B: Ananta 13:58
Organ: Danilo Lorenzini
Piano: Michele Fedrigotti

J.P.A. Falzone and Morgan Evans-Weiler have been working together since 2016 in the famous ensemble "Ordinary Affects" of the Weindelweiser school. A 2-CD set containing the feature films composed individually by each is released from the famous place ! In January 19 at the Wesleyan University Memorial Chapel at the Liberal Arts University in Middletown, Connecticut, by Luke Damrosch, who is known for engineering works around Van der Weiser and co-writing with Alan Sondheim and José James. A recorded work. Both the string drone minimalist Morgan Evans-Weiler side, which accelerates isolation in the void, the melancholy piano and violin, and the JPA Falzone side, where the pointillistic sound of the vibraphone gives off a dull beauty. A very enigmatic chamber music work that makes you feel even the taste of Japanese loneliness while suppressing the number of sounds. It's ridiculously wonderful!