MUSIC

Welcome to the Encyclopedia Sónica: Every sound you will hear on this album has been recorded by me since 1994 in different parts of the world. On top of these sounds, their melodies and rhythms grow the compositions you will hear. Some of the pieces have a collaborator that integrates with the sounds in different ways. Since I was a little boy, I always found music everywhere. I remember listening to the engine of my mother's car and finding incredible rhythms there. I've always thought that every sound we hear can be made into music. Every sound we hear can be heard as music, felt, and understood as music. Every sound has an attack, a decay; some have a pitch. What is more beautiful - the sound of a flute, bird, trumpet, car horn, violin, or buzzing mosquito? They can all be used to make music. If we learn to hear all sounds as 'musical', or at least having the potential to be used to make music, we might look at and listen to the world more lovingly. That car passing by had a beautiful crescendo. That dog barking in the distance created an amazing melody with an impossible-to-transcribe rhythm. Is there no creative intention behind those sounds? Can the listener give them an intention? Can the listener transform them into art? I am just trying to organize and use them in a way that they will be musical to you, hoping that the next time you hear an ocean wave breaking, or a bonfire crackling, or a fly flying, you can enjoy the notes and the rhythms they are making. They are being created by something - who knows what the intention is, but some of the most amazing rhythms I've heard come from rocks falling in cenotes or ice breaking down in a glacier. The melodies I've listened to, from bats, dogs fighting, or newborn dogs, are haunting and beautiful. The timbre from sounds such as the thorn of a cactus, the voice of a homeless person in the street, or a mosquito buzzing can be used to create instruments as beautiful as any instrument. They have a new sound, or familiar old sound, used differently in a way that invites us to hear the music created by this planet. I hope you enjoy these sounds... Leonardo Heilblum

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. Plage Arrière is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these sand-caked missives, tumbled and re-engineered by their surroundings like seaglass. Plage evokes the sub-aqeaous ambitions of Jürgen Müller, or Jan Jelinek inspecting a coral reef. The album has been remastered for vinyl by Sam Annand of Esk. Building on its original artwork, the vinyl edition features new photography by Roméo himself. Released alongside our friends SWIMS.

To get a good handle on ‘Aslope’ look no further than the intricate ‘Scattered sprinkle, no turn’, a 12+ minute collage of moonlit organ vamps, stifled voices and disembodied, robotic poems. Heaving from smeary abstraction to penetrable drama almost imperceptibly, featherlight rhythms are cut short by uncanny voices: “stop, turning, a page,” like some rogue navigation assistant, slicing into ticking clocks and xerox noise. It’s like listening to a film without access to the visuals - all the foley sound remains (car blinkers, trains passing, conversations) and we’re left puzzling over what may or may not be happening. The only context provided is from Nika Son herself, who says that although the album doesn’t have a consistent theme, the link is that each piece is inspired by the night’s “capability to shift our perception and memory”. It comes off like a crepuscular sketchbook of ideas and themes that coalesce into a bumpy, endlessly rewarding sonic landscape. Son’s more bite-sized compositions are just as mind-altering. ‘Trinsar Gobble’ is one of the record’s more twitchy tracks, replete with thrumming, inhuman polyrhythms that skitter around booming thuds, French voices and oscillating, filtered synths. It’s music that defies simple categorisation - Son doesn’t tie herself to any particular type of identifiable expression or another. The music sounds as if it’s evolved outside expected contemporary influences: there are no knowing nods to early electronic innovators. Rather, Son follow her own nose, using the sonic characteristics of each element to draw us into an elusive personal narrative. On ‘It’s just a cucumber’, environmental recordings are edited just enough to enhance the illusion, before voices curl and decompress into rousing bass womps and unmetered rhythms prickle around punkish shouts. The use of voices is omnipresent throughout, even when they’re not there, they sound close: on ‘La nuit tombe’, they’re muffled behind echoing footsteps and creepy synth wails, and on ‘Gelbes Feld’, incomprehensible chatter envelopes cricket chirps and b-movie arpeggios. Many artists have tried to map out the dreamworld using sound, but Nika Son manages to make music that genuinely feels in-between worlds, capturing those seconds before vivid memories slip away from the mind’s eye.

Digging deep into the legendary Igloo Records catalog, Holidays Records returns with the first ever vinyl reissue of the imprint's sixth outing, the Belgian composer Henry Krutzen’s astounding 1981 LP, “Silances”. An entirely singular gesture at the borders of sound poetry, musique concrète, and radical electroacoustic practice that draws upon disparate elements of drone, jazz, minimalism, ecstatic tribalism, and various traditions of music from across the globe, decades on from its original release it remains as striking, unique, challenging, and compelling as it did upon its release. * Deluxe edition in screen printed cover + insert * Since their founding during the early years of the new millennium, the Italian imprint, Holidays Records, has stood at the vanguard of forward-thinking sound, building a carefully curated catalog of releases that collectively build context and conversation across numerous avenues of exploration - contemporary and historical sitting side by side - within the wider field of experimental and improvised music. Every step of the way, they’ve seemed to step up the game. Their latest, the first reissue of the Belgian composer Henry Krutzen’s astounding 1981 LP, “Silances”, takes a deep dive into the legendary Igloo Records catalog. Once described by Keith Fullerton Whitman as being “nestled somewhere between Ghédalia Tazartès' mutant Sound Poetry, Anton Bruhin's acoustic / Alphorn drones”, drawing on a palette of vocals, hand percussion, piano, harmonica, saxophone, synthesizer, it’s a truly engrossing immersion into spaciously bristling sonority that remains as radical more than forty years down the road, as it did the day it was released. Issued in a very limited vinyl edition, beautifully reproducing the original sleeve, accompanied by Krutzen’s original liner notes, this is one for the heads that can’t be passed by. Henry Krutzen is a relatively shadowy figure in the history of experimental sound. Between the early '80s and the 2010s, there are only a handful of albums that bear his name, and little to no information about how they come to be. A multi-instrumentalist and composer who studied percussion, saxophone, and harmony in various schools and jazz clinics across Belgium, over the years he played in a diverse range of musical projects across the idioms of jazz, new wave, heavy metal, experimental, chanson française, world music and progressive rock, before relocating to Brazil during the early 2000s. Had he disappeared completely and done nothing else, “Silances”, his lone 1981 LP for Igloo Records - the Belgian imprint founded in 1978 by Daniel Sotiaux to “promote diversity, allowing expressions of more marginal music to be heard and supported in a musical context that lives under the threat of standardization” - would have ensured his legend. Sitting alongside astounding and remarkably unique albums by Leo Küpper, Jacques Bekaert, Henri Chopin, Arthur Pétronio, André Stordeur, and numerous others, in the label’s early catalog, it’s a truly stunning piece of work. Reflecting back in a note that Krutzen penned in 2022 when he was contacted for the reissue of “Silances”, Krutzen recalls: “Since I was 16, I had been experimenting with concrete music with a technician friend and we used all a teenager’s room could offer to make sounds into music: faucets, glasses of water, metal springs on ladders, objects of any kind… I had hours of recordings I pitched to Daniel [Sotiaux, of Igloo Records], to see if he was interested in making an album. I also had other ideas I wanted to be able to develop. What a joy when he accepted to work on the project! So I got to work. First, I set up a vocal improvisation quartet, and we spent long afternoons rehearsing using input I provided… We went into the studio and recorded almost two hours of improvisation, from which I then chose the best moments for the final product”. The resulting nine compositions, when viewed as a cohesive whole, unfold as an endlessly surprising journey into a diverse means of expression, incorporating elements of concrete poetry, phonetical vocal utterance, musique concrète, drone, nods to jazz, minimalism, ecstatic tribalism, and various traditional musics from across the globe, creating a fascinating counterpoint to the roughly concurrent DIY experiments of projects like Nurse With Wound, Current 93, and Organum. While radically open and experimental, one of the most striking aspects of “Silances” is how undeniably tight and considered it is, appearing as though each structure and chosen elements is exactly as it should be, and for which there would have been no other option. From the vocal squawks and ambient detritus of “Des Voix” or the incredibly constrained minimal beats and clangs of “La Machine” - a piece through the consideration of Deleuze and Guattari’s desiring-machines - and the droning harmonics of “Froid”, which incorporate excerpts of Krutzen’s teenage experiments in concrete music with records

200 copies limited edition* In 2022, Gillies Adamson Semple made a pilgrimage to the Valère Basilica in the Swiss Alps to play the oldest functioning pipe organ in the world. Built in 1435, this unique instrument is the centrepiece of this sensitive and stirring 6-track release, tracing the elemental themes of spirituality, anatomy, ecological collapse, and the nature of listening in its glacial minimalist drones. Drawing inspiration from the long-form compositions of Sarah Davachi and Kali Malone, Volumes was built from in-situ recordings Semple made in Switzerland, with the aim of capturing the physical qualities of the sound, from the stops and pedals to the air rushing through the organ’s ancient pipes. Treated like sculptural material and re-assembled at Semple’s London studio in the tradition of musique concrète, the tracks evoke a sense of exquisite timelessness, at once part of and floating free of their environment. As Semple explains: “What I like about the organ is that you can make it feel very physical. It has all these mechanical parts that sound really beautiful. And the piece is never performed. It is something that is rooted in the site. The whole pilgrimage to see this organ in Switzerland ended up acting like that, where you’re going to this very sacred place to see this specific instrument, but all you’re taking back is recording.” Released on vinyl via Fourth Sounds, Volumes was initially conceived as the soundtrack to Semple’s 2023 exhibition of the same name at Cedric Bardawil in London.

Deadly double-header of concrète jazz and shearing computer music from WANDA GROUP, spurted on his private label U G ORGANIC THROAT BLOWER - RIYL Sun Ra, Tod Dockstader, Graham Lambkin, Joseph Hammer.​ Both albums were originally issued in 2017 in a slipstream of WANDA GROUP's own, cranky temporality, but are here presented on a physical format for the first time, showcasing the chirality and contrasts of the Rainham-raised, Hudds-based outlier in abundance. While it’s entirely possible that some folk only know Wanda from his well aimed and uncompromising potshots on social media, his sprawling catalogue betrays a ruthlessly honest approach to expression, untrammelled by trend or convention. The A-side ‘OSCULATING ELEMENTS FROM ASTORB​-​DATABASE FOR 991 THAT ORBITS DAGENHAM 24 HOUR ASDA’ characterises the inexplicable ludicrousness of his art with a half hour of free jazz fire that he occasionally attempts to extinguish with pregnant pauses of field recordings (possibly of him pissing on a computer) and piercing high register squalls whilst the jazz struggles to find a way to clatter back in, something like Sun Ra colliding into Elias Tannenbaum’s ‘Arp Art’ via Joseph Hammer cut-ups. The B-side ‘MY GOD IS EVERY BIRD IN THE UNIVERSE’ is more explicitly electronic, but also deviated with the same hands-on sense of madness and curiosity, shelling 23 minutes of amorphous concrète redolent of Tod Dockstader’s DIY ‘60s works as much as Florian Hecker’s most perplexing pandämoniums.

Nigerian-born, London-based experimental artist Klein, whose work has appeared in Hyperdub, NON, and Curl, will release his 2023 album "STAR IN THE HOOD" on Parkwuud Entertainment. The album is an analog release from Parkwuud Entertainment. The album is a dizzying 55-minute romp through labyrinthine, anti-ambient, gray-haired basement noise, from dark-ritual vocal manipulations to shimmering R&B, auto-piano sketches, and psychedelic concretions. Mastered by Amir Shoat, the cult engineer behind Hype Williams.

Flora Yin Wong returns with a stunning, highly evocative second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes. Where her debut album ‘Holy Palm’ catalogued exotic personal and spiritual travels captured over a 6 year period, ‘Cold Reading’ details the aftermath; the erosion of fantasy, a breakdown of belief systems, and an overwhelming sense of rootlessness. A surreal, tripped-out listen, it comes highly recommended if you're into Valerio Tricoli, Enya, Bryn Jones, soundtracks to Last Year at Marienbad and Inland Empire - all hyperrealist, concrète sound design and fritzed dream sequences. Heavy with a sense of nightmarish dissociation and grief following an uncanny, dispiriting trip to East and Southeast Asia, Flora Yin Wong read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream. It’s this soporific motif that binds and underpins ’Cold Reading’, in which Flora chases the dragon of fleeting fantasy through sequences of etched melancholy, pinched with hypnagogic jerks that linger in the memory. Through 10 parts, Flora crystallises a feeling of ennui that followed those travels, where she was taken to a Bazi reader (a form of Chinese astrology or metaphysics based on time and date of birth), whose augur left her feeling perplexed and alienated. She made a long overdue, ultimately unfulfilling, return with her father to his adoptive family in his hometown Kuala Lumpur, spent nights alone snowed in at a haunted house in Kyoto, and lodged with monks in a South Korean Temple. Images of these episodes flash through the album like a slow strobe, ghosted memories recalled with ever-decreasing fidelity. From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an open-ended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.

Since the early 1990’s, Marina Rosenfeld has produced a substantial archive of acetate test-pressing records, or dubplates, which track across her practice— forming the basis for both improvised music, installations, and scores structured by the politics and aesthetics of turntablism and the material distortions of mechanical sound reproduction. Rosenfeld’s works thread into each other and unfold gradually in various musical forms and sites through their reproduction and interpretation. GREATEST HITS is a project expressly about performing an archive and begins in 2015 at Carnegie Mellon University. Over the course of a three month exhibition, Rosenfeld generated a daily schedule of plays of her entire collection of dubplates, which she exhibited along the walls of a gallery. Written in such a way as to be legible to both SuperCollider and human readers, an accompanying playlist was read daily by people tasked with playing the dubplates and by a computer tasked with anticipating, recording and logging these plays in a software environment. Each full entry in the playlist had three elements listed after the name of the plate (a date // a side (a or b) // and a time of day) separated, in the notation, by double front-slashes //. (An excerpt of the notation and instructions can be found on the printed inner sleeve of the LP). The following year, this playlist served as the score for GREATEST HITS: a reproduction, which premiered as a duo between Rosenfeld and percussionist Greg Fox in the rotunda of the Guggenheim Museum in New York, and again in 2019 at MoMA PS1 accompanied by Fox and percussionist Eli Keszler — the live recordings of which serve as the primary materials of this LP and the album cover is a photograph from this concert. Rosenfeld translated the listed date, side, and time of the playlist notation into explicit directions for Fox and Keszler to repeat, pause, introduce dynamics into, or simultaneously integrate aspects of the score. The players’ percussive movements are directed to feature “spirals” - circular patterns from high to low frequencies; “slopes” - oscillating patterns at high to low velocities; “vectors” - expanding or contracting patterns rolls, double rolls and hits; and, “lines” - fluid or stochastic patterns wavering in frequency across a line drawn on a surface. Together, the dubplates, playlist, score, performance, and the resulting INFO release all form a cascading palimpsest of Rosenfeld’s dubplate archive. The dubplates—themselves timeworn and deteriorated acetate recordings that Marina has been producing and collecting since the early 1990’s—are surfaces that have been exhibited, transcribed, written upon, scored, notated, reproduced, and performed. As these surfaces interact with Fox and Keszler impacting the taught surfaces of drum kits, we hear the complex performance of an archive, and on this LP the archive of a performance. Text arranged by Reece Cox from fragments and reflections by Nick Scavo and Marina Rosenfeld. Marina Rosenfeld is a composer and artist based in Brooklyn, New York. Working across the disciplinary boundaries of music and visual art, she has created a groundbreaking body of work spanning sound, music and performance, sculpture and installation. Since her landmark composition the Sheer Frost Orchestra in 1994, Rosenfeld has created works for the Museum of Modern Art, the Park Avenue Armory, the Haus der Kulturen der Welt, the Dia Foundation, and the Fondacion Serralves, among many, many others, and participated in surveys of contemporary art and music including the Whitney Biennial (in 2002 and 2008), the Aurora, Montréal and Liverpool biennials, the inaugural Biennale Son in 2024, the PERFORMA Biennial of Performance, and ‘Every Time A Ear di Soun,’ the radio program of Documenta14. Her work has been featured in recent solo exhibitions by institutions including Museum Art.Plus (2023), Kunsthaus Baselland (2021), The Artist’s Institute (2019), Portikus Frankfurt (2017), and the Center for Curatorial Studies at Bard College (2016), and in festivals including the Holland Festival, Borealis, Ultima, Wien Modern, Donaueschinger Musiktage, Musica Strasbourg, Borderlines, and Tectonics, among many others. As a turntablist, Rosenfeld has performed and recorded improvised music for three decades, including for the Merce Cunningham Company between 2004 and 2008 and with collaborators including George Lewis, Ikue Mori, Ben Vida, and choreographers Maria Hassabi and Ralph Lemon. Her recordings are also on Room40, Shelter Press and 901Editions among others.

Following the unpublished works of the Ukrainian/Estonian musician Valentina Goncharova, Volume 2 of Shukai’s archival project sits in direct contrast to the solo works of Vol. 1. Spending her youth studying classical music first in Kyiv and then in Leningrad, Valentina began her musical career with rigorous compositional study and concert violin performance. This long player of duets as such casts a light on Goncharova’s experiences with early free jazz, democratic improvisation and introductions to pure electronic sound. Where Vol. 1 explored her home studio experiments and flirtations with musique concrete and new age, this volume seeks to give audience to similarly DIY recordings developed in collaborative environments away from the conservatoire. Properly documenting sessions revolving around smoky jazz cafes, art galleries, salons and theatre venues across Riga and Tallinn, these seven pieces add to the historical narrative of the soviet era avant-garde and show the broader spectrum of Valentina’s work. We begin in Riga with an adapted score for a delicately unfolding violin drone, voice and saxophone performance produced by Valentina and Alexander Aksenov. Describing the nineties as temporarily narrowing the content of cultural life and thus nullifying the interest of free improvisation in both Tallinn and Riga, Valetina’s bond with the multi-instrumentalist and theatre director Aksenov led to decades of close friendship and several demo recordings such as ‘Reincarnation II’. Their initial chance meeting at a jam session set in motion various cross-country performances and experimental theatre works. With its focus on extended harmony, it is perhaps ‘Reincarnation II’ that most recognisably follows on from Shukai’s first volume. Across the rest of the disc are collaborative duets with Sergei Letov and Pekka Airaksinan respectively, the three tapes with Letov an example of recordings as a ‘rehearsal process’. These evenings spent in Moscow apartments and St. Petersburg art studios challenged Goncharova’s preconceptions of musical expression; “I was surprised by his (Letov’s) artistic language. He composed here and now music that was so intellectually advanced that it was quite comparable to the compositions of my fellow students. Only, to achieve such a result, it took months for them. So, for the first time, I took part in free jazz collective creativity” (2020). Atypical violin/saxophone techniques and light, difficult to place percussive textures interplay across the three duets with Letov, the sense of spatiality alluding to the very nature of the recordings. They strike ultimately as private, freeform experiments with sound, never intended for the listener but documenting a practice which explores the dichotomy of improv’s ‘non-professionalism’ and its potential freedom from trained performance. Just one curious corner of Valentina’s musical path, they are included as a deliberate variance to the tapes with Pekka Airaksinen, an already well-regarded composer, early synthesiser fanatic and Finnish radical. At their time of meeting, Pekka had diverted his attention from punk-indebted noise and free jazz groups to a pursuit of spiritualism via contemporary electronic technologies. Already familiar with the ‘Buddhas of Golden Light’ LP, Valentina found in his work an attraction to the sacred and, after an encounter at a 1988 Helsinki festival dedicated to futurist art and literature, she prepared to visit his studio. After a failed attempt to record a joint album, fragments of the tapes are presented here, highlighting Goncharova’s first real experience of electronic music making in a compositional sense. The result is a marriage of stunning organ tones, processed violin murmurs and progressive minimalism a la Terry Riley or La Monte Young. Fragmented guitar and additional keyboard patterns push and pull through delay units in unison with Valentina’s two violins, at times mimicking the howl of the wind or even the human voice. Once again, the duality of the indistinguishable unfamiliar vs. the harmonic familiar. Recordings 1987-1991 Vol. 2 completes Shukai’s dive into the sound world of an important yet overlooked artist working within Soviet era electroacoustics.

Hermeto's first album recorded in Brazil, and his second solo album (the first one was recorded and released in the USA). Performs as composer of "Bebê" "Plin" and "Serearei", arranger, conductor and instrumentalist. The most experimental record of the master where he shows from beautiful themes like the choro Bebê, which is already a classic of his authorship to deconstructions of well-known themes like Asa branca and Carinhoso. On the track Sereiarei you can even hear an "orchestra" of pigs, geese and other animals. The opener track Bebê was sampled in 1994 by Japanese acid-jazz group United Future Organization.

"Allégeance Volatile" and "Esquive" each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open. The rustic drumming of "Allégeance", talkative, acidulous, colorful, and over-articulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of "Esquive" with its dull, thin and precise sounds, shifts and is engulfed into another sonic world -- which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a "volatile allegiance" and "avoidance" from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound -- or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: "Contrée", which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses, and points emerges. "Something" rises and presents itself out of the sounds -- these escaping beings, these "relatively short combustion flames" (Schaeffer). The piece consists of five consecutive and uninterrupted parts: "Entrée" and "Stance I" -- "Véhémence De L'air" and "Stance II" -- "Grande Allure". It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. "Contrée" is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years. Translations by Valérie Vivancos. Layout by Stephen O'Malley; Photos by Stéphane Ouzounoff and Bernard Bruges-Renard. Coordination GRM by François Bonnet. Executive Production by Peter Rehberg; Mastering by Mathias Durand; Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018.

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

« Senderos de luz y sombras » (2016/20), 30’13 Senderos de luz y sombras (Paths of Light and Shadows) – Commissioned by the French State for INA grm – 2016-2020 In memoriam Bernard Baschet, Bernard Parmegiani and Carlos Pellegrino. A 16-channel piece inspired by astrophysics, the mystery of the pre-Big Bang era and some of the uncanny motions of the unconscious mind, where strangeness meets the ordinary. The themes that permeate Senderos de luz y sombras simultaneously engage the overwhelming, unyielding immensity of the beginnings of the universe and the forces at work in the unconscious mind. What connects these themes are the dark energies operating outside our knowledge, far beyond the conceptual scope of our limited thinking. How to convey all this and build music from these concealed forces? What Beatriz Ferreyra achieves, thanks to her trademark virtuosity, is precisely to summon energies, to bring in the raw forces that govern the laws of Acoustics, so as to trigger sonic storms as one would call the rain, to transform all sound matters into the core of a ritual. Indeed, Beatriz Ferreyra addresses the mind-body reconciliation, for in providing this unique sound and musical experience, with a rare sensitive intensity, the great composer simultaneously invites us to engage in a personal experience. François Bonnet, Paris, 2021

Nicole Lachartre: “Mundus” 3LP box – Metaphon 012 - 2023 Hardboard linen LP box with silkscreened titles, 12 page booklet with track info and text by Vincent de Roguin and Mark Harwood, notes by Lachartre and a rare portrait photo from 1969. Edition of 200 copies Available through the La Scie Dorée webshop First ever release of French composer, musicologist and writer Nicole Lachartre (1934-1991). This 3LP set comprises most of her electronic music and musique concrète compositions recorded in the 60’s and 70’s, all previously unreleased. Lachartre had a classical formation, studied with a.o. Darius Milhaud, Iannis Xenakis and Michel Philippot. Her broad formation and interest as well as her profound commitment and singular vision created a solitary voice even within the field of electronic music and musique concrète, strangely enough unheard till this day. Her first tape composition from 1968 was recorded in Pierre Henry’s Apsome studio and most of her other electronic and electro-acoustic compositions included in this box set were recorded at the IPEM in Ghent.

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

EMERALD TABLET" and "Echoes" were recorded in 1978 at NHK's Electronic Music Studio by Sohmei Sato, a master of Japanese contemporary music history, and released on Kojima's ALM Records. This is an analogue reissue on one LP from WRWTFWW Records! "EMERALD TABLET" was created by overdubbing harmonics of sounds composed of tubular bells, cymbals and Buddhist bells. EMERALD TABLET" was created by overdubbing harmonics consisting of tubular bells, cymbals, and Buddhist bells. It is Sato's unique fusion of tape music and music concretes. "Echoes" was composed for an event held by the Kawaji Onsen Tourism Association in Tochigi Prefecture from May 20 to 29, 1981. Eight huge loudspeakers were set up on a hill surrounding a stream, and the music was played on an eight-channel tape system, with cables connected to the loudspeakers extending over a kilometer! Limited to 600 copies

“The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources. Here, ‘incidents’ are opposed to one-off ‘accidents’ in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap. Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different ‘sound’ layers come to the surface one after the other. When seen from high above, instrumental and electronic sounds seem to fuse ... Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L’Etude élastique (Elastic Study) places together various sounds produced by ‘touching’ elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this ‘touch’, using electronic processes to generate white noise. Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. “The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes. In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow ‘visible’ water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow ‘bubbles’ and points bring together some people’s gravity and others’ downwards movements. The work finishes with Points contre champs (Reverse Angle Points). Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle - and the chanted sound - to grow.”(B.P.) 

COMPUMA has released his long-awaited first solo album "A View" on his own label <SOMETHING ABOUT>.

This is an full-length album based on the music for the play "View" commissioned in fall of 2021 by the theater group "Blue Egonak" based in Kitakyushu. The album contains 9 original songs and 2 dub mixes, totaling 11 songs, newly reworked with co-producer hacchi (Urban Volcano Sounds / Deavid Soul).

In addition to his inexhaustible DJ and music selection activities, COMPUMA has released a number of collaborations and remixes, including a 2007 album
as Smurphies' Fearless Bunch [Smurph-Otokogumi] (reissued on vinyl in 2021) and its predecessor Asteroid Desert Songs [ADS], as well as duo works with Ken Takehisa (KIRIHITO)). COMPUMA has also released a number of collaborations and remixes, but this is his first album as a solo artist. Recently, his DJ trio "Akuma no Numa" with Dr. Nishimura and Awano, has been getting a lot of attention, and their performances have been introduced on radio shows overseas.

The sound, including electronic sounds, field recordings, and the space between them, evokes a variety of landscapes, and that quietly stimulates your imagination. It is a work that will have a unique presence in the next wave of the new age ambient/environmental music revival that has been emerging in the global ambient/IDM scene.

One of the two dub mixes included on the album, "Vision(Flowmotion in Dub)" is a re-work of "Flowmotion(IN DUB)" which will be included in  "Midnight is Comin'", a compilation curated by ¥ØU$UK€ ¥UK1MAT$U scheduled for release in May on the Singapore label Midnight Shift. The other dub mix is a version of "View 2", done by Naoyuki Uchida who is known for his work on LITTLE TEMPO, Oki Dub Ainu Band and more recently GEZAN's "KLUE".

Album is mastered by Soichiro Nakamura of Peace Music, who has worked with Shintaro Sakamoto, OGRE YOU ASSHOLE, and countless artists. Artwork is by Tomoo Gokita, a world-renowned painter who is also known in Japan for his jacket art for META FIVE and TOWA TEI. Design is by Satoshi Suzuki. Gokita and Suzuki, both of whom have worked on COMPUMA's previous products.
(text by Yusuke Kawamura)

LIL MOFO

Includes Download Code for the live recording and a new remix "View 2 Electro" (remix of "View2" from the
album "A View").

Compuma : Electronics, Synthesizer
Naoyuki Uchida:Dub Mix
Kiyotaka Sumiyoshi:Movie

"A View" release party held at WWW Shibuya on Sept.30 2022 has been reproduced on video. Video footage
was added to the live recording from the show.

Mastered by Naoyuki Uchida ( except “View 2 Electro” by hacchi )
Produced by Compuma for Something About Productions 2023
Design : Satoshi Suzuki

Aclod is the first fruit of the telekinetic long distance collaboration between Juho Toivonen and Loren Chasse. The artists shared environmental recordings from Coyote Wall, Washington and Pori, Finland to create music for an implied landscape that is located neither here nor there. Toivonen and Chasse began working together in 2021 after Toivonen reissued Chasse`s seminal field-recording based album “Synthesis Of Neglected Places” on his label Akti. Working on the reissue, the artists noticed that they shared a similar interest towards the microscopic details of sound and that they both actively listened and immersed themselved in the everyday sonic experience of their surroundings. One thing soon led to another and they realized that they had created a new 30-minute piece, Aclod. Hive Mind are excited to present this deeply immersive work which seemlessly blurs environmental and natural sound from the two outdoor recording locations with ephemeral whispers of melody recorded on melodeon, metalophone, gong, guitar, Juno synth, water bowls and pebbles. * * * * Loren Chasse is based in Portland, Oregon and has a long history in the underground and experimental music scene having been a a key figure in the Jewelled Antler Collective. Central to his practice is an interest in listening in the moment and a deep and reverential attention to the sound-worlds of our immediate surroundings. Juho Toivonen is from Pori, Finland and currently runs the Akti Label as well as performing in Free Tala and improvisational collective, Vahvistusharha. His recent solo releases on Ikuisuus and C/Site have been garnering some well-deserved attention over the past couple of years.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity. Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of ‘Metamorphoses’ embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’. The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros. The juxtaposition of written notation and improvisatory flare is central to Goncha- rova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (inc. bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures. Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church. Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the past to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

Following the unpublished works of the Ukrainian/Estonian musician Valentina Goncharova, Volume 2 of Shukai’s archival project sits in direct contrast to the solo works of Vol. 1. Spending her youth studying classical music first in Kyiv and then in Leningrad, Valentina began her musical career with rigorous compositional study and concert violin performance. This long player of duets as such casts a light on Goncharova’s experiences with early free jazz, democratic improvisation and introductions to pure electronic sound. Where Vol. 1 explored her home studio experiments and flirtations with musique concrete and new age, this volume seeks to give audience to similarly DIY recordings developed in collaborative environments away from the conservatoire. Properly documenting sessions revolving around smoky jazz cafes, art galleries, salons and theatre venues across Riga and Tallinn, these seven pieces add to the historical narrative of the soviet era avant-garde and show the broader spectrum of Valentina’s work. We begin in Riga with an adapted score for a delicately unfolding violin drone, voice and saxophone performance produced by Valentina and Alexander Aksenov. Describing the nineties as temporarily narrowing the content of cultural life and thus nullifying the interest of free improvisation in both Tallinn and Riga, Valetina’s bond with the multi-instrumentalist and theatre director Aksenov led to decades of close friendship and several demo recordings such as ‘Reincarnation II’. Their initial chance meeting at a jam session set in motion various cross-country performances and experimental theatre works. With its focus on extended harmony, it is perhaps ‘Reincarnation II’ that most recognisably follows on from Shukai’s first volume. Across the rest of the disc are collaborative duets with Sergei Letov and Pekka Airaksinan respectively, the three tapes with Letov an example of recordings as a ‘rehearsal process’. These evenings spent in Moscow apartments and St. Petersburg art studios challenged Goncharova’s preconceptions of musical expression; “I was surprised by his (Letov’s) artistic language. He composed here and now music that was so intellectually advanced that it was quite comparable to the compositions of my fellow students. Only, to achieve such a result, it took months for them. So, for the first time, I took part in free jazz collective creativity” (2020). Atypical violin/saxophone techniques and light, difficult to place percussive textures interplay across the three duets with Letov, the sense of spatiality alluding to the very nature of the recordings. They strike ultimately as private, freeform experiments with sound, never intended for the listener but documenting a practice which explores the dichotomy of improv’s ‘non-professionalism’ and its potential freedom from trained performance. Just one curious corner of Valentina’s musical path, they are included as a deliberate variance to the tapes with Pekka Airaksinen, an already well-regarded composer, early synthesiser fanatic and Finnish radical. At their time of meeting, Pekka had diverted his attention from punk-indebted noise and free jazz groups to a pursuit of spiritualism via contemporary electronic technologies. Already familiar with the ‘Buddhas of Golden Light’ LP, Valentina found in his work an attraction to the sacred and, after an encounter at a 1988 Helsinki festival dedicated to futurist art and literature, she prepared to visit his studio. After a failed attempt to record a joint album, fragments of the tapes are presented here, highlighting Goncharova’s first real experience of electronic music making in a compositional sense. The result is a marriage of stunning organ tones, processed violin murmurs and progressive minimalism a la Terry Riley or La Monte Young. Fragmented guitar and additional keyboard patterns push and pull through delay units in unison with Valentina’s two violins, at times mimicking the howl of the wind or even the human voice. Once again, the duality of the indistinguishable unfamiliar vs. the harmonic familiar. Recordings 1987-1991 Vol. 2 completes Shukai’s dive into the sound world of an important yet overlooked artist working within Soviet era electroacoustics.

This dense 11-disc retrospective of Pauline Oliveros' early and unreleased electronic work includes her very first piece made for tape in 1961. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center. This tenth anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36-page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel.

Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14-year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people. She was 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 went unchanged. Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." --John Rockwell