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Twenty years ago, Jan Jelinek’s debut album Personal Rock was released by Source Records. Under the pseudonym Gramm, it brings together eight tracks that have not been available on vinyl since their original release. Faitiche is very glad to announce the re-release of the album: Personal Rock will appear as a double LP featuring the original cover artwork. What people wrote about Personal Rock two decades ago: “Situated somewhere between Jelinek’s much loved Loop-Finding Jazz Records, Farben, Move D’s Conjoint project and Atom Heart’s most immersive work for Rather Interesting, it’s a late night album full of subtle production tricks and melodic House structures that belong to the pre-millennial IDM heyday, but which transcend its overly-masculine templates.” (Boomkat) “Though many producers have pushed forward the clicks-and-cuts style of experimental ambience developed by German experimentalists Oval (among others), few have been able to match their knack for making abstract cuts into pieces of undeniable beauty. Jan Jelinek’s first LP as Gramm is one of the precious few, and it’s obvious from the opener.” (AllMusic) “Organized in organic structures and minimal movements, the tracks get into utopian states and super-desirable moods, offering superior contentedness and dependable taste of the kind seldom sustained for a whole album. (...) Subway-Escalator-Soul.” (Spex)
The story of each re-release begins with the original. In the late 90s, Uwe Zahn (Arovane), along with Robert Henke (Monolake) and Stefan Betke (Pole), began releasing music on Torsten Pröfrock’s (Dynamo) newly launched DIN label. This was a very inconspicuous undertaking, but fans of the flourishing IDM, glitch, and constantly evolving abstract techno genres quickly picked up on the quality of sound coming out of Germany. After a few successful EPs, Zahn began working on his debut full-length, Atol Scrap. The release was a success, at least in the underground circles, where followers of the melodic harmonies, stuttering off-beat rhythms, and, most importantly, advanced sound design feverishly consumed the imprint’s output. There was only one thing missing – the album was never pressed on vinyl, and for decades remained in the digital domain. The fans, of course, inquired. There were multiple offers on the table, but Zahn retained control until he was assured that it was properly attained. “I thought of taking everything into my own hands and releasing the record myself,” says Zahn, “but at the end of last year, Matthias from Keplar asked me to re-release Atol Scrap on vinyl.” The label and its owner revolve in the Morr Music universe, and so it made sense for Zahn to trust the platform to treat the record right.
Listening to Atol Scrap over twenty years later it is inane not to admit how well it has held up. Where other genres clearly aged, becoming stale, bland, and dull, the music on eleven tasty tracks still keeps the neurons tickled with each note. More than an echo of the past, the bottled sound truly has matured. Many of the newly evolving techniques are recognizable on the album. “I created the digital artifacts with a digital multi-track recorder, the Fostex D80,” recalls Zahn. “The thing had a scrub wheel with which I could achieve wonderful glitch effects by winding through the audio data. I have sampled and further processed these artifacts.” And this approach is still embedded in Zahn’s sound design. “I still use my 24-track analog desk from Tascam to mix my audio. I love to use hardware synths and samplers. I’ve definitely built upon my studio experience in the 90s.” From this debut to the most recent output, Arovane’s sound has evolved to become more intricate, detailed, and pronounced. “My music has become much quieter and much slower. But that’s probably also due to the noise in the world.” And just as Atol Scrap reminds Zahn of the past, retaining charm preserved in a container traveling through time, it also jitters memories of long ago, when we were twenty years younger, less experienced, and bold. For me, among the many records of the time, this album held a special place in life, my heart, and many CD boxes moved across the world. And now I’m only happy to restock the vinyl space, where Atol Scrap belongs among the beloved records. Welcome home. - Mike Lazarev
Otto A. Totland and Erik Skodvin turn the contrast down even further on their fourth album, journeying through nuanced shades with electroacoustic atmospheres that dilate time. RIYL Angelo Badalamenti, Laurel Halo, Biosphere, Richard Skelton. With each subsequent album, Deaf Center have chipped away at some of their signature sound's decorative elements, getting closer to the emotional and stylistic core each time. Since the beginning, they've been inspired by low-lit, noir-esque atmospheres, but where their earliest material hinged around distinct, memorable themes, usually played by Totland on piano, they've evolved to emphasise the mood itself. Indeed, Totland's playing is more languid and measured than ever here, creating a tidal ebb that laps against Skodvin's measured strings and subtle synth tones rather than a fulcrum for each track to pivot around. The two part title track is maybe the best example of their arc; the first part is remarkably gauzy, with each instrument used as ambiance. Pianos shimmer into darkness and oscillators whirr and feed back in the distance as if they're being pulled away by a malfunctioning tape echo. By the long second part, though, we've been transported back to the 'Pale Ravine' era - the moody electroacoustic textures are all but gone and Skodvin has traded his synths for cello, playing in short, sharp strokes against Totland's assertive notes. But even this is fleeting, before the track has finished, its instrumentation is drowned by dissonance and distortion that prepares the palate for 'I Myst', a glitchy, cinematic highlight that'll appeal to fans of Ryuichi Sakamoto's collaborations with Alva Noto. Stick around and you'll hear the duo's first track with a guest musician, too. On 'Further', they invite Berlin-based British composer and producer Simon Goff, who's worked with Hildur Guðnadóttir and Jóhann Jóhansson, among others, to play violin and viola over their frozen soundscapes.
Found Keys is the debut album by American artist Ruth Maine. Although Ruth has been playing and composing music for over two decades, this is the first time she decided to record some of her varied compositions and share them with the public. But in times when it is the norm to clamour for attention, she prefers to go the opposite way. Ruth likes to let her music speak for itself and stay in the shadows.
The 16 short piano pieces heard on this album, each about two to three minutes long, were recorded remotely and purely surrounded by nature. Once a composition was found and Ruth considered it mature, she only recorded it once, embracing the beauty of doing something for the first time with all its little imperfections. Found Keys sounds anything but imperfect though. These compositions feel timeless, intimate and comforting, as if they have been around for a long time, like an old friend. Gently played keys slowly evolve into minimal pieces through repetitive melodies. There’s stillness as much as there’s brightness, sadness as much as joy; welcome to a beautiful journey through Ruth’s world of wonder.
In many ways, Found Keys is a deeply personal record that takes Sonic Pieces back to its roots. And it leaves a feeling of nostalgia while reviving memories of the past.
Music for movies by Václav Kadrnka "Absence of the loved one is a theme running through both films, but during the creative process we never discuss with the Havels the themes, symptoms or attributes of the characters. We do not specify any meanings. Our collaboration is intuitive, based on interconnectedness. We neither explain things to each other nor analyse. From the outset we have a common goal: to quieten the viewers’ perception, to attune them to certain vibrations by visual, musical and acoustic repetitions, thus enabling them to focus on every tiny detail, every subtle aesthetic quality, so that by the end of the film they have a sense of reconciliation. In fact it is a state similar to meditation or prayer. The aim is being shown Mercy. Each time, the linking of the filmed images with Irena and Vojtech’s music has uncovered a new quality that we have named: a commentary on eternity. Characters cease to be determined by their senses, psychological motivations, or the times they live in. They find liberation in the stream of eternal time." /Václav Kadrnka "We would like to thank all our friends, sound engineers and musicians. The main thanks goes to director Václav Kadrnka, his family and all his collaborators for the precious opportunity to assist them in creating both films. We have worked on our music for the film Saving One Who Was Dead for three years. We met with Václav, discussed the screenplay while it was being born and many other things. We have gradually prepared several working versions that included compositions for piano, Indonesian gamelan, gongs, Tibetan bowls, bells and mini-bells. Yet, step by step, we made it simpler and simpler and eventually only kept violas da gamba, organ and chanting. Everything else was redundant. We made most of the recordings of the compositions for viola da gamba in a church in Prague. The composition for organ was recorded in Milan where we performed a concert shortly before the pandemic arrived in December 2019. We tried to record it in various churches in Bohemia but it was not until the church in Milan that we found the best sounding organ. As for Little Crusader, we recorded the music for the film after it was completed. We had several versions and used the piano version for this album. Together with Václav, we searched for instruments that would work the best for this Medieval story. Eventually, we opted for harmonium with simple chanting which accompanies the character little boy Jenik. Violas da gamba intertwine, move close and then apart from each other the same way as paths of little boy Jenik and his father who is searching for him. Simple chanting and Tibetan bowl accompany scenes with little boy Jenik’s mother who awaits them at home. Trombone and saxophone are like metal swords and the knights’ armor. Violoncello and viola da gamba walk in the rhythm of horse’s hooves, in the rhythm of heartbeat of both the horse and his rider – a father searching for his lost son." / Irena and Vojtěch Havlovi
src="https://bandcamp.com/EmbeddedPlayer/album=2063437934/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless=""><a href="https://havlovi.bandcamp.com/album/saving-one-who-was-dead-little-crusader">Saving One Who Was Dead / Little Crusader The Havels / Irena & Vojtech Havlovi</a>
Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.
What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.
Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre.
Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments.
The terms “nursery rhymes” and “children’s songs” may give rise to visions of idyllic innocence and the charms of childhood, but "Play Nursery Rhymes and Children's Songs" by Tokiyo Ooto & Orhythmo, their first release on EM Records, brings forth quite different aural imagery: this is an eerie and unsettling sonic picture book which hints at the darkness and mystery which form the hidden heart of many traditional songs and rhymes. The length of the songs provides a hint: each piece delves deeply into the latent uncanniness of the music, with superficial innocence gradually displaced as electric guitar, bass, field recordings and concrete sounds draw the listener into a chilly forest, while Tokiyo Ooto’s voice croons dark “lullabies for adults,” blending elements of folk, slowcore and dream pop. The Tokiyo Ooto & Orhythmo duo formed in 2023, releasing their first album in 2024. This release updates two pieces from the first album, and also includes a traditional Japanese children’s song from Shiga Prefecture and a masterpiece for children by composer Yasushi Akutagawa. Both musicians are Osaka-based: Otoo is a guitarist and singer-songwriter who also works in band and solo contexts; Orhythmo is a bassist with hardcore punk roots who focuses on improvisation, drone, noise and ambient sound. This release is available on CD, vinyl and DL; physical versions feature a printed insert with Japanese and English lyrics. The evocative cover is by Yoshitomo Ano.
In May 1984 I appeared at a German festival called Pro
Musica Nova, organized by Radio Bremen. I then travelled to
Berlin by car with Rolf Langebertels, the owner of Galerie
Giannozzo who had driven to Bremen to hear me perform. I still
remember very vividly the experience of passing through the
checkpoint to enter West Berlin, a city that floated like an island
in the middle of the still socialist GDR. I had previously visited
Berlin in 1982 to perform at Kunstlerhaus Bethanien at an event
that Rolf had organized. This time too Rolf had organized a
concert for me at the Technische Universitat. Playing off the title
of the piece (“Study Time”) I had performed at Pro Musica
Nova, I titled the piece for this concert “Zeitstudie”.
I owe Rolf a great deal of gratitude, as it was him who
encouraged me by releasing my very first cassette tape,
“Zeitstudie von Akio Suzuki”. In recent years it has become
difficult for me to carry heavy instruments around with me, and
I have started to do simpler performances with objects
assembled on site. So it feels wonderful to have the sound of
the battery of instruments I used back then to be returned to the
light of day.
On “Zeitstudie von A.S.” I used an ANALAPOS, the echo
instrument I invented in 1970, and the Suzuki-type glass
harmonica that I created in 1975. The ANALAPOS resembles the
tin-can telephone that children used to play with: two metal
cans, open at one end and connected by a coil spring. You
play it by stretching out the spring horizonally and then
projecting your voice into the open end of one of the
cylinders. The second piece features a variation, where I
would suspend several ANALAPOS vertically and play them like
a percussion instrument.
The Suzuki-type glass harmonica is in a simpler form than the
pre-existing glass harmonica, and consists of five long glass
tubes of varying diameters suspended horizontally in a metal
frame. As well as rubbing the tubes with wet hands, I developed
my own style of playing it using sticks. Once when I was
practicing with it in the Netherlands, outside the window I was
surprised to hear a bird imitating my sounds. However, later I
discovered that the bird always sang that way, and as a token
of my regret for having ever doubted it, I borrowed the bird’s
Dutch name, De Koolmees, and I s till use it for my instrument.
Recently, as I listened back to the cassette of “Zeitstudie von
A.S.”, one of Hiromi Miyakita’s drawings was lying in front of me.
There was a sympathetic resonance between the sounds and the
drawing, so I decided to use it on the cover. This is a joyful music.
Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them.
Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone.
"These tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical concerns. I seek to explore the inner workings of the music we listen to using techniques of magnification, dissection, granulation,, anagramization, and others. I like to hijack the surface values of commercial music and re-purpose them offer a newer, different meaning, via irony and subversion." - Carl Stone, Los Angeles, September 2020
Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.
In 2020, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.
Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).
On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes.
Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.
Another collaborator, American poet Moor Mother asked Fujita to contribute vibraphone to her upcoming album, and in return lent her powerful voice to the Migratory’s centrepiece, Our Mother’s Lights — “it carries a kind of African and Asian vibe, a perfect match for the energy of the piece,” he adds.
As with Bird Ambience, Fujita continues to be inspired by our feathered friends. The album’s title, Migratory, originates from an image that came to him of migratory birds, travelling somewhere between Africa, Southeast Asia and Japan, imagining them hearing the music from the land underneath, and how their point of view of the world from above blurs the boundaries of music and land.
Expanding on this, Fujita says: “these ideas and images were inspired by my experiences of living abroad and returning to my homeland, as well as by the artists featured on this album who also somehow travelled or lived in other countries across the boundaries, and being influenced by the music of other lands but at the same time somehow led to their roots."
Masayoshi’s parents too made a life abroad in Thailand for over 15 years. After returning to Japan, Fujita’s mother passed away in the beginning of 2023. So he invited his father to come for a visit, to spend time with him and his grandchildren. A lifelong musician in his own right, the two of them soon found themselves holed up in Kebi Bird Studio. Fujita senior had brought his saxophone, which he played on top of the then unfinished recordings, resulting in three breathtaking pieces. The slow jazz-tinged ‘Blue Rock Thrush’ stands out, with the saxophone and marimba blending harmoniously reaching new artistic heights.
Nature has always been a source of inspiration for Fujita, and on Migratory it takes centre stage. You can hear it on the album’s peaceful and considered field recordings, but most importantly, Masayoshi highlights – “nature is there as the image to be evoked by the listener from the music.” On the record’s sleeve notes, written by renowned novelist and travel writer Pico Iyer, we learn about the Japan that he hears as he sits down and listens to the music. It educates and encapsulates us, in the same way Fujita’s imaginary birds vividly depict the essence of musical migration.
Music Promenade (1964–1969), 20’29
Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
« Hétéro-Concert »
»
Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings.
Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.
Unheimlich Schön (1971), 15’40
Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.
“How does a young woman breathe when thinking about something else ?”
To be listened to at a low volume.
“Okie Dokie It´s The Orb On Kompakt“ is already the 13th album of one of Britian's most prized cult bands. We feel it's better that way, because the music of The Orb only has an intensive effect when taken in as a long playing full length. And it proves with this lovingly conjured collection of songs brought together like a collage. The first half of Okie Dokie showcase The Orb´s love for minimal Techno and Schaffel/Shuffle as it is so obviously present in the foreground, while the second half is only reserved to the classic Orb-ish ancestral domain. There are wonderful guest appearances by Schneider TM and Kompakt´s ambient-guru Ulf Lohmann. As many of you know, there is so much history about The Orb you could write a book. Since Jimmy Cauty and Alex Paterson, in the flush of euphoria invented Chill Out and Ambient House in the first summer of love 1988, an incredible amount of things have occurred. The following timeline should give you a rough idea. - Alex Paterson gives up his job as roadie for Killing Joke. - “A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld” is not only the record with the longest title of the world, but it also marks the departure into the new sonic worlds of post-Rave Ambient. - While Cauty goes different ways with The KLF, The Orb re-form themselves and have a big hit with Little Fluffy Clouds in 1990. - The debut album “The Orb´s Adventures Beyond The Ultraworld“ hits the Top 30 in England. - The Orb produce “Higher Than the Sun“ for Primal Scream. - The Orb perform “Blue Room“ as chess-playing aliens at Top Of The Pops. Everything goes. - “Blue Room“ clocking in at 39:58 minutes goes into music-history as the longest time for a chart single ever. - The Orb achieve great success in Glastonbury '92 + '93. - The Copenhagen double concert “to the sunrise and sunset” is eternalized on record: “Live 93“ - Previously a floating member of The Orb, Thomas Felmann becomes a fix member in 1997 - No joke: Robbie Williams takes part of The Orb for a short time. The collaboration “I started A Joke“ is released on a benefit compilation - After 2002 The Orb found with Kompakt a new ambient-loving partner and release a row of singles and play live, as the trimmed-down version as Le Petit Orb. And one more for the extra hush-hush: The Orbs first album “A Huge Ever Growing Pulsating Brain...” was actually a Kompakt release. You can check it out. Besides the actual label Wau! Mr. Modo you can read... Kompakt Discos. Ha!!
La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day.
Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script.
Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.
Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.
Track Listing:
31 VII 69 10:26 - 10:49 PM
23 VIII 64 2:50:45 - 3:11 AM The Volga Delta
La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day.
Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script.
Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.
Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.
Track Listing:
31 VII 69 10:26 - 10:49 PM
23 VIII 64 2:50:45 - 3:11 AM The Volga Delta
La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day.
Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script.
Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.
Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.
Track Listing:
31 VII 69 10:26 - 10:49 PM
23 VIII 64 2:50:45 - 3:11 AM The Volga Delta
Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021
Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.
“Something for everyone”