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Long deleted, few copies available: "Gestation Sonore" is the only album to be released by the French improvisational quartet "Horde Catalytique Pour La Fin"; which rightfully found its way onto the infamous Nurse With Wound list. The four piece line-up consisted of Richard Accart (Saxophone tenor, flutes), Francky Bourlier (Harpe de verrer, flute, vibraphone, percussions), Jacques Fassola (Contrebasse, guitar, banjo, Orgue a bouche) and Gil Sterg (Drums and percussion).Released in 1971 on the l…
Main is back in grand form... After finalising his Firmanent CD's it's been a bit quiet around Robert Hampson. Although very busy with other projects as Comae (with Janek Schaefer), Chasm (Fatcat), his main output has been a bit low. Tau shows the first full album in years from a talent whom showed us the way to turn guitars into ambient. His unique way of concrete sounds and manipulating these into something of his own has always been his identity. Tau is no more or less a classic mover for qui…
Giacinto Scelsi’s relationship with the piano is interesting and contradictory. For no other instrument has the Italian composer and poet composed so many pieces; to no other instrument does he seem so closely attached, both personally and biographically; and no other instrument disappeared so abruptly and finally from his scores as the piano, the European showcase instrument. With the piano, we can follow the break lines and develop-ments in the musical thinking and works of Giacinto Scelsi, wh…
Meerkat is a kind of Italian underground big band. Here we find Adriano Zanni (Punck), Matteo Uggeri (Hue), Luca Sigurtà, Luca Bergero (Fhievel), Davide Valecchi (Aal), Andrea Ferraris (Ics), Fabio Selvafiorita, Paolo Ippoliti (Logoplasm), Laura Lovreglio (Logoplasm) and Andrea Marutti (Amon, Never Known). If you have been paying attention in the last few years, you may recognize these names as Italy's finest in the fields of ambient, electronics, microsound, post guitar - well, anything but tru…
Composer and neurologist Diego Minciacchi is as likely to publish a paper on motor skills as he is to compose music that mixes scientific and poetic ideas; yet this fact should not intimidate listeners new to his work, who might worry that the compositions on this 2005 release from Col Legno are too cerebral or complicated to appreciate. What they should know upfront, however, is that Minciacchi is a product of the generation of composers who absorbed the lessons of the 1960s and '70s avant-gard…
Perhaps this collaboration was destined to happen, and we’re overjoyed that it is happening here! Tampere, Finland’s Uton (Jani Hirvonen) and Taranto, Italy’s Valerio Cosi (who is ½ of Pulga after all) are two of the most creative and most prolific musicians working in experimental music at the moment, and on Käärmeenkääntopiiri, Uton and Valerio have mastered a sound that combines elements of psychedelia, free jazz, krautrock, environmental sounds, drones and more for an ecstatic listening expe…
After the pruitt igoe e.p, kangding ray returns with his third album for raster-noton, pushing further his explorations on the edge of digital and analog sounds. With or, kangding ray continues to blur the borders between experimental and bass music, and brings his signature sound to another level, somewhere at the darkest fringe of club culture. With the massive metallic beats of « athem », the frightening distorded waves of « mojave », the elevated groove of « odd sympathy », the modulated gui…
Henry Cowell ha inventato e perfezionato la gran parte delle speciali tecniche per suonare il pianoforte utilizzate negli ultimi 70 anni; nel corso della sua vita (1897-1965) ha composto un impressionante numero di musiche sinfoniche, vocali e da camera ed ha pubblicato il pionieristico libro "New Music Resources". Il suo contributo che più ha influenzato la scena contemporanea è però la sua opera per pianoforte, considerata di fondamentale importanza per la musica del XX secolo. "New Music" pro…
One of the biggest finds in total Kraut electronic underground in the recent years. Crack in the Cosmic Egg asks: Does this exist? Yes it does! A Student of Eimert, Reinhold Weber produced several records of his own, two between 1969 and 1971, both of which are total weird and wild electronic, handmade, pre-synthesizer. Topped with crazy German language monotone lyrics. For fans of Cluster, Eimert, Stockhausen and people generally interested in the weird side of music. The second LP of his will …
Right at the start we are welcomed by Le sexe du noyé by Walter Feldmann, which (besides requiring exceptional technical skill) keeps a tight rein on the oboist, even as far as inhaling and minute movements are concerned. But Matthias Arter does not play the oboe only but also other members of the customary concert instrument's family, like the musette (sopranino oboe) he uses in the last part of his own composition Changes. And he has a lot more to offer even than a great variety of different p…
This project involves the unique German avant-garde orchestra performing a selection of tracks from the Whitehouse catalogue. The rehearsals and mixing were done in collaboration with William Bennett but he doesn't actually perform on the recordings. Anyone familiar with Zeitkreitzer's Rendition of Lou Reed classic Metal Machine Music will be fully aware that these guys can magnificently translate noise music and in this case electronic music through acoustic interments. Bennet's compositions h…
RESTOCKED! Another remarkable performance from a group that has no peer and belongs to no genre or movement. Minimal in an essential and structural sense, they succeed where more formal attempts founder, in re-forming subjective time in a way that is genuinely gripping and as far from theoretical as great interpreters can get. Applying extraordinary technique in a remarkably discrete way, they here transfigure a single chord over a long duration, imperceptibly arriving far from their st…
Concentrated chamber music: Gerald Eckert captures the world of sounds in its manifold forms and shapes with meticulous care and maximum individuality.
In the early 1970s, Feldman increasingly turned his attention to works for orchestra, in most cases combined with a solo instrument. The compositions dating from this period include, among many others, Cello and Orchestra (1972) or Oboe and Orchestra (1976). One aspect that was important to him in all of these works was a research into sound, an "unceasing effort to create, by way of exclusion and integration, by operating with colored projection surfaces and various spatial levels, a kind of se…
Hirschfeld deliberately distinguished solitude, or loneliness, from a state that leads to depression or despair. For him, the contemplation of one’s self leads to the “dialogue with one self and with nature”, as is the case, e.g., in his Chant of the Night, which is based on poems by Walt Whitman. Hirschfeld chose Whitman’s Leaves of Grass with its portrayal of human solitude in the plains as a starting point in order to develop the music from a simple melodic cell, “which, like human consciousn…
Collecting two of Fela Kuti's finest mid-1970s albums onto one disc, CONFUSION/GENTLEMAN presents the revered Nigerian Afro-pop renegade in the midst of an early career stride. Released in '73, GENTLEMAN consists of the latter three out of this set's four tracks, and is particularly notable since it marks the fiery performer's studio debut on the saxophone. Never one to shy away from challenges, Kuti offers up an impassioned sax solo at the beginning of the extended title song (even though he ha…
For Elmar Lampson, composition and the phenomenology of music overlap as disciplines, and attentive listening is as critical to his works' reception as is analysis of their carefully timed structures or pitch content. Lampson's String Quartet No. 2 (1992-1998) operates on several aural planes, some near and easy to distinguish, and others more remote and indistinct. The material shifts between active, atonal flurries and soft, almost lyrical passages of modal simplicity, and the extremely soft d…
It's hard to go wrong with Fela Kuti's work from the 1970s, and LIVE!, which features the Afrobeat innovator backed by his powerhouse band Africa '70 and ex-Cream drummer Ginger Baker, is no exception. Like all of Fela's recordings from the era, LIVE! consists of just a few tracks, each of which approximates or exceeds the ten minute mark. Yet the arrangements are so dynamic on these tracks, the criss-crossing polyrhythms so absorbing, and Fela's incantatory vocals so entrancing that the long ru…