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Absinth (Germany) :
Activity Center with Phil Minton “s/t” [cd]
burkhard beins : percussion, zither and selected objects
michael renkel : acoustic guitar, zither and percussion
phil minton : voice
in june 2003 the well tried and well rehearsed belin based duo activity center recorded a distinguished number of tracks with the exceptional english voice artist phil minton. the recording session took place in legendary raumschiff zitrone in berlin. 500 numbered copies in silkscreened sleeve.
Axel Dörner / Robin Hayward “duo” [cd]
axel dörner : trumpet
robin hayward : tuba
following the 4 editions of 4 mini-cdr albums our next release is a pressed CD in a 20×20 cm cover in the same style as you already know it. the edition is limited and numbered to 500. pictures of the covers will be provided here soon. the release date is november 19th, 2004. the music is recorded in 2001, 2 tracks live in legendary raumschiff zitrone and two tracks in studio.
Ants (Italy) :
If, Bwana “Fire Chorus” [cd]
Fire Chorus is a work of “construction”. If, Bwana (alias, or, as you prefer, “personification”, of Al Margolis), presents a sound form starting from the concept of “perception”. His concept of electroacoustic music doesn’t belong to the idea of “appropriation” (which is behind the gestures of many people now working with natural, non-musical, or “other” sound sources). If, Bwana uses his raw materials as animated objects,letting them appear and disappear in his own sound structures. He creates an environment for the sounds, mixing “music” and noise, human voices, landscape voices, machine voices. The four long tracks on this album are four explorations and, perhaps, four different sound “constructions”. Chimes is a long, continuous immersion, from the inside to the outside. Fire Chorus paints a picture such as those of Hieronimus Bosch, a kind of imploded soundtrack for a complicated and distorted? world. Day 8: McKenna’s Brain is a collage with a strong theatrical aspect, joining metallic sounds to “details” of foreign languages. Accidentally Angelica, is a long,concluding, nocturnal path, a symbol of the eternal If, Bwana’s wandering thru the mists of a panorama of archaic but modern sounds.
If, Bwana (born Al Margolis) is a composer and musician. He has number of recordings under his own name, and has collaborated with such artists as David Prescott, Adam Bohman, and Tom Hamilton. He’s a member of the group The Styrenes. Lastly, he’s the deus ex machina behind Pogus Productions, one of the leading labels of the American experimental scene.
Albert Mayr “Proposte Sonore” [cd]
Seven electronic compositions from the end of the sixties plus one instrumental piece from 1983. This is the content of the new CD by Albert Mayr that “ants” is proud to present. Experimentations from near 40 years ago sounding so “contemporary”, today more than ever.
“In the fifties and sixties of the past century electro-acoustic music was a very élitist affair; professional equipment was expensive, not easy to find and could be afforded – in sufficient quantity to build a full-scale studio – only by institutions such as universities or broadcasting corporations. Access to those hieratic places was rather difficult if you did not belong to one of the contemporary music ‘Churches’ that were influential at the time.
This led several composers to put up a small private studio. This was the case for the studio S 2F M, created in Florence by Pietro Grossi.
Since the beginning a small group of collaborators (including myself) worked with Grossi in the S 2F M; we all were fascinated by the new sound world and Grossi’s radicalism. In fact, through the work with him my attitude toward music (in the widest sense) changed profoundly.” Albert Mayr
“The work in the S 2F M studio was of high rigour, with the resulting sound structures presented in their brut condition, without any concession to taste or to smoothing out the edges, because the essential thing was to experience the new sound world, to experiment with it.
Albert Mayr’s Proposte Sonore, realized between 1966 and 1969 – partly with the Battimenti materials created earlier by Pietro Grossi in the Florentine studio -, are certainly a beautiful example of this line of work. Proposals of new elements to be integrated in the puzzle; Proposte (proposals), and not Studies or Exercises and not even Compositions, presented with the doubts of a listener who is eager to find out what will happen, and not with the presumption and the certainties of those who want rather to find than to seek. A listener who tries to understand and mainly to perceive how ‘the sounds coming from the machine stay together’. It is, on the one hand, this pioneer aspect, and, on the other, the freshness of the results that create the interest and pleasure one proves when listening to these pieces.” Giuseppe Furghieri
Confront (Uk) :
Martin Küchen “music from one of the provinces in the empire” [cd]
martin’s first solo cd focus?s on continuos, repetitive material, blending extended techniques with sub-streams of ethnic sounds. using mutes and other kinds of preparations, the result is overwhelmingly original. there are many saxophone players but only a skilful few that truly “play” the saxophone. martin küchen is one. come on his journey, navigating the globe on one album. hear the tribal dance and buffalo snorts of the plains of africa, listen to the biting wind batter a windowpane of an arctic outpost and the rattlesnake?s rhythms baking under an arizona sky. hear the bubbling waters of an underground pool in vietnam and the growl and grunts of a fighting bull sealion. listen to the world.
Crouton Music (US) :
Keith Berry “The Ear That Was Sold To A Fish” [cd]
London composer Keith Berry’s The Ear That Was Sold To A Fish is a complex, albeit soothing piece, stretching over nine tracks. The movement of the piece is akin to closing one’s eyes while floating gently down a nighttime river. But ironically, this slow pace demands quick attention, as the sound all around you passes you by. Fortunately, unlike a river experience, one gets the opportunity to discover additional nuances, that in themselves each open new worlds with repeated listening. Crouton is pleased to present this mind encompassing new work from one of the brightest electronic composers in the UK today. His previous work has been released on such labels as trente oiseaux, Authorized Version, and Twenty Hertz. This release is presented as a special hand-numbered and limited edition of 300, packaged in a small kraft box filled with blue smally leaves, and adorned with with an original photographic work by Keith Berry.
Kranky (US) :
Autistic Daughters “Jealousy and Diamond” [cd]
Be Mine Tonight came out in the fall of 2003 and marked the return of Dean Roberts to visibility and record store shelves. Recorded at Amann studios in Vienna with bassist Werner Dafeldecker and drummer Martin Brandlmayr (who also plays in Trapist and Radian), Jealousy and Diamond marks the return of Dean Roberts to the band format. The name of the band is Autistic Daughters. As Roberts told dB magazine in Australia in early 2004, “Our capabilities instrumentally and compositionally, in engineering and production match, and moreover our friendship keeps it all together. We are able to say and do what we want and the vision is entirely collective.”
Created by live performance and processed and enhanced in the studio, Jealousy and Diamond builds to higher volume levels than Be Mine Tonight, and turns on a more assertive rhythm section. Basic tracks were recorded in Vienna in April 2003 by Roberts, Dafeldecker and Brandlmayer. Dean Roberts recorded additional voices, guitars and miscellaneous instruments with Valerie Tricoli (who was such a crucial part of the Be Mine Tonight recordings) in Bologna, Italy in the fall of 2003. With the members traveling and involved in multiple groups the mastering of the album was finished in early summer 2004 by Patrick Pulsinger.
Euro 16,00 (Restocked !!)
Keith Fullerton Whitman “Playthroughs” [cd]
content: the source material for every piece on playthroughs is guitar: acoustic, electric or otherwise. ?from sept. 2001 to april 2002 keith fullerton whitman transformed raw guitar tones via laptop computer into the tracks on playthroughs. ?whitman has used ring modulators, granular re-synthesis algorithms, banks of delays and spectral effects in a process that owes much to terry riley’s time lag accumulator setup and steve reich’s phase pieces. technology and whitman’s careful selection of notes combine to create shimmering drones and deep waves of sound. though the source material was improvised guitar and the processing involved computer technology, playthroughs reflects whitman’s mastery of composition.
context: keith fullerton whitman has recorded and released music under a number of pseudonyms, most notably hrvatski. whitman has toured america and europe with greg davis playing both the drone material from this album and the hectic complexities of hrvatski material. hrvatski has appeared on more compilations than you can shake a stick at and has a brand new album coming out on the planet mu label. playthroughs is the first album under keith’s given name, and differs considerably from the breakbeat concret that is the hrvatski stock in trade. playthroughs reflects whitman’s interest in drone, academic and process music (ircam algorithms were used) and improvisation.
the repetitive blips generated through the computer resonate with the insistent strum of the guitar, but manifest tonalities that weightlessly float in clusters of shimmering particles blown outward in a slow aerosol dispersion.” – the wire ?sept. 2001
Keith Fullerton Whitman “Antitesis” [Lp]
antithesis is an lp-only release of material from keith fullerton whitman’s archives that doesn’t fit aesthetically with his upcoming multiples studio album. the theme for the album is “ensemble works,” that is a combination of instruments played by whitman himself with no computer interaction. each piece was recorded in one of the different apartments whitman has rented since he lived in boston. the album will be pressed in an edition of 1,000. antithesis broadens the instrumental and compositional base of playthroughs with fender rhodes piano, viola, guitar and percussion. the four tracks on the album verge from straight up drone to what sound like lost krautrock classics.
Keith Fullerton Whitman “Schöner Flußengel” [Lp]
schöner flußengel ?(pronounced “shooner ?floos-engel”) is the follow up to keith fullerton whitman’s antithesis lp release from april, 2004. ?as was the case with antithesis lp, this is a partly archival, vinyl-only album released in a limited pressing of 1,000 copies. ?consisting of material with a decidedly dark mood overall, the new album embodies whitman’s considerable musical scope. with tracks recorded using vocals, computer, clarinet, synthesizer, record player, microphone, bell and guitar the album traverses grittier and more complex ?territory ?than its predecessors. ??the six tracks veer from multifi drone to computer-guitar-piano trio. ?the vcs3 that runs through the two “lixus'” tracks was recorded at soma in chicago in 2001 with the aid of ?casey rice and john mcentire. packaged in a faux-dark metal album jacket with suitably intricate gothic script, ?schöner flußengel ?is a dip into a cold, stygian stream that splashes and flows around the listener. ?keith fullerton whitman’s musical interests have taken a course towards solo experimentation of late. ??schöner flußengel was begun as whitman took a lecturer position at harvard and gained access to the university’s sound labs. ?as whitman worked on his multiples album project for kranky, the material that coalesced into schöner flußengel required a separate album. the album title is german for beautiful river angel.
Planet µ (Uk) :
Hrvatski “Swarm and Dither” [cd]
it’s been over three years since the release of ‘oiseaux 96-98’, hrvatski’s debut album for his own recankreuzungs klankewerkzeuge recordings limited of cambridge record label. much has changed in those three years. keith-hrvatski has toured the world several times over, collaborated with everyone from malcolm mooney & michael karoli to matmos to peter kowald & daniel carter. he’s recorded & released eps and albums as gai/jin, keith fullerton whitman, the finger lakes, morlock stomp, and gqrtgwef, etc… in other words he’s lived, expanded his horizons a bit. but in the end he hasn’t changed that much. those expecting a wildly eclectic set that picks up where oiseaux 96-98 left off will be pleased, from the all-too-familiar computer-slengteng of ‘vatstep dsp’ to his almost somber take on the rolling stones’ classic “painted black” to the bombastic gabber-skree of “2nd zero” & “marbles” to the milford-graves-meets-morton-subotnick-meets-squarepusher-in-an-ice-cream-graveyard mulch of “re: when” to the all-rock cover of the trad-gras-och-stenar chestnut “tegenborg”. guitars, pianos, breakbeats, garage sale organ, rhodes, clarinet, 288 discrete field recordings, tons of digital processing, max-msp zaniness, and *gasp* even some singing here & there. the cream of the crop… it couldn’t have turned out any better…
Giuseppe Ielasi – Fringes Recordings