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Ben Chasny (COMETS ON FIRE) might beat you if you call his solo work folk music. Hypnotic, mesmerizing, full of rough edges & elliptical turns round & round. First studio record from the highly prolific Chasny, joined by free-jazz sensation CHRIS CORSANO on drums & absolutely no computers. Chasny says "I see my music as being much more from the underground class of '92 than this folk scene...it has the same rock to folk quotient as Zep 3...Rock is the new folk & folk fucked rock without the reac…
Obscure early tape, very thought to find nowadays: this tape is rich with texture and dynamics that make for a stunning listen, its details are intricate resonation and transformations of the sound sculptures in the environment
The annual collegno offering from the Donaueschingen Music Festival, for the millennium year2000, runs to 4 CDs and just under 5 hours of new music, for combinationsranging from a straightforward string trio, to 4 soloists, 4 ensembles, andlive electronics! All the works areperformed 'live', and all are world première performances, so that this set,with its illuminating notes by each of the 11 composers, constitutes aninvaluable historical document.
This 4-CD set (4.5 hours of music) was recorded during a series of concerts in 2003 by Antony Braxton's quartet featuring Kevin O'Neil on guitar, Kevin Norton on percussion, Andy Eulau on bass and Anthony Braxton on saxophone. Here they perform standards. Personnel: Anthony Braxton (saxophone); Kevin O'Neil (guitar); Andy Eulau (bass instrument); Kevin Norton (percussion). Recording information: 2003.
Wergo presents the third volume of the Earle Brown Contemporary Sound Series. Recorded between 1960 and 1973, the original LPs from which these CDs were taken have long been collector's items. These rare and historically important recordings of international avantgarde music have been carefully digitized and remastered by the Earle Brown Music Foundation. The series presents the extraordinary world of contemporary and avant-garde music that fl ourished in Europe, the United States, Latin …
This 3cd boxset is a fantastical document of parapsychological research throughout the 20th Century, with recordings of purported demonic possession, glossolalia, precognition, poltergeists, and the already well documented Electric Voice Phenomenon. The latter had been the subject of research by noted parapsychologists Raymond Cass and Freidrich Jurgensen, whose work was collected on several cds released on the Touch label, one of which was the AQ perennial favorite The Ghost Orchid. The first d…
They call their home studio the Space Room; they name their pieces after galaxies and nebulas; and their cat appears to be an alien. Please act surprised when you learn that this duo from Torino, Italy, plays space music -- not your ordinary brand, though: experimental space music. Maurizio Opalio and Roberto Opalio are exploring the cosmos through epic improvised journeys involving astral percussion, electric astral guitar drones, and space toys. Their territory is somewhere past the fringes of…
It is in itself a brilliant achievement to transform this complex religious-philosophical satirical novel from 1930s Moscow into a spellbinding opera. And each setting is imbued with its very special local color, whether it's Satan's ball, the asylum, the evil apartment, or the Place of the Skull: "Höller underpins, surrounds, conveys or impedes the sung and spoken parts by a dramatic theater music of powerful images and driving force, making use of the orchestral range of sounds both moderately…
JUST ARRIVED, awesome and low priced essential triple CD set with the piano compositions by John Cage (1912–92) regarded as one of the most influential and controversial composers of the 20th century. It is not only his music that this reputation is based on – his ideas were revolutionary, and he cast doubt on the supremacy of European art and music, when it was unchallenged and such views were considered heretic. Cage rejected the status held by harmony, instrumentation and even the devel…
As Loud As Possible is a dense, perfect-bound UK-based magazine that debuted in late fall of 2010 to explore Noise music and culture with articles, interviews and reviews with both seminal and newly emerging sound artists that specialize in atonal sonic brutality. With ear-splitting frequencies and crumbling avalanches of layered sound, harsh noise is a provocative brand of sound art that frequently fascinates as much as it alienates. But in defence of this raging racket, I will say that Noise i…
“Bilinguage (english-french). First issue of the contemporary art journal about sound, devoted to the complex relationships between visual and sound forms, both in contemporary art and history.Featuring: analysis (“A Brief History of Sound Art” by Rahma Khazam; “Sound Art, a Fortified Art” by Bastien Gallet; “Notes on Steve Reich's Pendulum Music” by Christophe Gallois; “A Formless Form” by Mathieu Copeland; “Sound in Artist's Films” by Alexandre Castant, etc.) / “focus” on Philippe Decrauzat's …
The first book which deals in depth with the school of American repetitive music, better known as minimal music. The author discusses in detail the work of La Monte Young, Terry Riley, Steve Reich and Philip Glass and places them in the tradition of Western music. Minimal music thus emerges as the latest stage in a development leading from Schoenberg, Webem, Stockhausen and Cage.Considering the philosophical thinking of Deleuze and Lyotard, the representatives of the so-called French 'libidinal …
The Wire magazine has come to be known as the authoritative source on modern music. This collection of essays springs originally from the Undercurrents, and subsequently, the Tangents series of articles that were “thinkpieces” based on 12 basic themes or forces that have and continue to shape modern music. The 19 essays, broken into 4 categories: electrification, occultism, mechanism and freedom, were contributed by some of the most prominent modern music writers and offer insight into ideas a…
the series of texts was originally spoken improvisationally into a micro cassette recorder while driving to and from my studio in 1988. nothing was written down or planned before i pressed 'record'. the entire work is printed here. unedited and in the order spoken. the periods mark the ending of each recorded segment. some of the pieces are responses to things seen and some are about speaking, and the sounds of words. i would suggest not only a mental reading, but a verbal one as well.the drawin…
In 177 pages Eddie Prévost includes twenty-nine thought-provoking essays on ideas, perceptions, reactions and the practices of improvised music, as well as a short index. Reactions to the real world - in particular, the political, corporate and commercial ones - are never far from the surface and the place of the individual is mirrored through that of the musician developing his or her own position, responsiveness and voice in a group context. Discourses include the questioning of terminology su…
Apart from a large orchestra, Kraanerg, composed in 1968/69, requires audio feeds of recorded parts played by the orchestra and of the results of the manipulation of electro-acoustical phenomena. “I do not work with basic building blocks. I start afresh every time,“ Xenakis once said. This statement may help explain the extremely independent sonic universe created afresh in his compositions again and again. In the same vein, he rejects any attempt to foist semantic patterns onto the music of Kra…
Those keeping a running count will know that Sufiq brings the Muslimgauze CD catalog into the triple digits. This mini-album is especially significant, as it extends the extraordinary productivity of Muslimgauze auteur Bryn Jones beyond his untimely passing. New Muslimgauze titles have emerged since, but each was scheduled prior to Jones’ death in January of 1999. Active to the end, Jones left behind a store of finished masters. Sufiq sees the first release of material from this impressiv…
4 panel CD digipack: it would be too easy to simply call IIRON the COH metal album, as it goes way beyond that. True, this album of classic Pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the COH ‘raison d’être’. Coming 11 years after IRON, which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recor…
There's not much in the way of commentary or anything about that, though, so either call it a wry Kiwi joke at the Yanks' expense or just something that looked nice enough to use. Consisting of six tracks of unsurprisingly varying length - fairly short or totally long - in ways The White House is Dead C as per usual and in others a bit of a diversion from the usual form. Notably, there's evidence of relatively more production - while it's hardly hard-disk billion-track digital sound or the like,…