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- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

Andrew Bernstein is a Baltimore-based multi-instrumentalist, composer, sound artist, and a member of ecstatic rock quartet Horse Lords. One could be forgiven for believing at first that An Exploded View of Time's

ceaselessly tumbling billows of tone and self-consuming recursive mantras are the product of loop pedal or delay manipulation, when in fact Bernstein performed each session in real time using only his saxophone.

As such, his pieces stand not only in the realm of heady minimalist composition but within the physical world as one human body engaged in a marathon of dexterity, breath control, manual repetition, and constant self-regulation.

Bernsteins protracted circular breathing techniques and superhuman finger work stun at every turn, as he flits between passages of glistening major key bliss and tumultuous expanses of overblown skronk.

The new intimate studio film from the highly praised Russian duo recorded on a remote Norwegian island. Album of the year winners at the Progressive Music Awards '18 with

their previous release 'Lighthouse' Available on heavyweight 180g vinyl with a printed inner sleeve. Following the success of two highly-praised albums on Kscope, 'Belighted' and

'Lighthouse', Russian duo Gleb Kolyadin and Marjana Semkina are releasing a new studio film shot at and named after a remote recording studio on a Norwegian island. The footage offers a behind-the-scenes insight into the

recording techniques of two of modern progressive music's most talented composers. The content captures Iamthemorning's live set-up from the last three years, with the setlist consisting of songs from their first three studio

albums and an unplugged recording of 'Blue Sea', the first track to be written for their upcoming fourth album and exclusive to a Blu-ray version. The studio was designed with panoramic windows that allow the stunning backdrop

of Giske Island and the Norwegian Sea to be baked into the performances, a location that is featured in glorious high-definition on this Blu-ray. 'Ocean Sounds' builds on the recent success of Kolyadin's self-titled debut

solo album on Kscope, which has been nominated as Album of the Year at the Progressive Music Awards '18: an honour that Iamthemorning have already achieved with Lighthouse, and which is also backed by Semkina winning

Female Vocalist of the Year in the 2016 Prog Magazine Reader's poll. The pair's live performances have included the likes of London's Bush Hall, Ramblin' Man Fair and the Netherland's Midsummer Prog Festival.

The audio recording, mixing and mastering were handled by regular collaborator Vlad Avy, the film was produced and edited by Miles Skarin at Crystal Spotlight, and the watercolour artwork was designed by Constantine Nagishkin.

One of the rare women in the neoclassical world, Alexandra Stréliski is hardly a conventional pianist. Hailing from a classical background yet free-spirited, she creates music that enthralls listeners, filling their minds with rich, cinematic images.

She made her debut with the album Pianoscope in 2010, but the general public discovered her via Jean-Marc Vallée's films Dallas Buyers Club (2013) and Demolition (2016) and, more recently, the trailer of the Quebec director's acclaimed HBO series Big Little Lies (2017). Building on this momentum, the composer and musician is now fully prepared to make her next artistic statement with the album Inscape, due out on Secret City Records.

'Inscape' is a portmanteau combining the words 'interior' and 'landscape.' This philosophical concept has been associated with both visual art and psychoanalysis, and it becomes wonderfully musical in the hands of Stréliski.

'To me,' says Stréliski, 'Inscape was an existential crisis. A year where everything capsized and I had to go through various interior landscapes - hectic, beautiful and painful at the same time. I found myself in a space filled with grey areas that I didn't know how to escape. It was a crucial turning point for me. A year of creative evolution during which I reconnected with my deep nature, my essence, my X.'

Inscape is the work of an artist unconcerned with conventions, whose approach of neoclassicism is resolutely current. In her attempt to fill a certain emotional emptiness, she follows a creative urge that commits to taking the listener back to a form of lost sincerity. 'A piano, on its own, is a very vulnerable thing, and I want to share this moment with the listener.'
An artist of Polish Jewish origin who grew up between Paris and Montreal, Stréliski was steeped in music from the two continents during her childhood. From an early age, she was interested in classical artists such as Chopin and Satie as well as film music composers like Zimmer, Glass and Nyman. Recruited by the advertising community at the onset of the new millennium, the musician won several awards for her creations in that field: the CRÉA for Best Quebec campaign in 2007; the Best Pan-Canadian advertising music award at the Toronto Marketing Awards. Nevertheless, she heard the call of free creation, which led her to recording the more personal Pianoscope.

Thanks to the aforementioned support of director Jean-Marc Vallée, which allowed Stréliski's music to resonate live during the Oscars ceremony, the pianist enjoyed a priceless showcase that brought her streaming numbers up to nearly 15 million streams on the various digital platforms. UK newspaper The Telegraph praised her, writing that her debut album was 'distinguishable by its simplicity, its sensitivity and softness' and 'imbued with both melancholy and light.'

Stréliski describes the first single off Inscape, Plus tôt, as 'a piece evoking the space-time in which we find ourselves before things happen to us. The calm we feel when we don't know that some events are about to transform us. It's the beginning of the journey. The beginning of the Inscape.

Second releaase on Passat Continu comes from the depths of Texas. 'Basso Continuo' span works from the privately pressed albums 'In Human Terms' (1987) and 'Texas Electric' (1989) and music released only on limited cassette pressings during the early nineties. Influenced by Cluster, Moondog, The Residents and Brian Eno, Charles Ditto created an intimate world of minimal pop tunes, abstract soundscapes and playful melodies which remained in the vaults for several years.

Karla Borecky's Long-awaited Second Album Following 2011's "still In Your Pocket" (r9). In Between Her Work With Idea Fire Company, Karla Has Been Slowly Building A New Repertoire Of Solo Pieces. She Threads Together Simple, Whirling Piano Numbers. Lines Of Blue Sadness, Red Memories, And Green Dreams, Stitched With Charm And Care.

An Approachable Album In The Best Way Possible. Whatever Your Hobby May Be, "the Still Life" Will Set The Mood. This Album Also Features Two Solo-piano Versions Of Idea Fire Company Bangers: "the Life Of The Party" From Music From The Impossible Salon (kye) And "the Island Of Taste", From The Island Of Taste (swill Radio).

Borecky's Music Carries Such A Layered Emotional Identity While Balancing A Lack Of Pretension. A Fine Tightrope To Dance On, But She Does It Gracefully.

Cat.no.: R49 Lp
Format: Lp/digital

God Records celebrates its 50th release with this immense 6LP box set of Morton Feldman's monumental String Quartet II. Recorded live in one sitting by the renowned Pellegrini Quartet. First time on vinyl!

"When Morton Feldman wrote his second string quartet in 1983, he found himself at the height of his career. Prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward'.

Like the long pieces that preceded it, String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music - two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique."

- from liner notes by Sebastian Claren

Das Stück ist voller Sehnsucht und Festlichkeit und spiegelt die Realität der kulturell vielfältigen Gesellschaft Norwegens wider.
Diese Weltpremiere ist erhältlich als Audiophile Aufnahme auf Vinyl, CD, BluRay in 2.0, 5.1 Dolby Atmos und 11.1 Auro 3D
Im Jahr 2013 wurde vom norwegischen Kulturministerium ein Aufruf an alle öffentlich finanzierten Kulturinstitutionen in Norwegen versandt, den bevorstehenden 200. Jahrestag der norwegischen Verfassung zu feiern, mit besonderer Berücksichtigung des Konzepts der kulturellen Vielfalt.
Die Aufgabe wurde dem norwegischen Komponisten Gisle Kverndokk übertragen. "Symphonic Dances" wurde 2015 uraufgeführt und enthält Musik aus vielen Ländern. Die Melodien sind zu einer kohärenten, aber sehr unterschiedlichen musikalischen Erzählung verwoben, die abwechselnd berührt, reflektiert und groovig ist.

Ein Schlussakt voller Dissonanzen, Spannungen und Unklarheiten mit süchtig machendem Potenzial.

Der aus Kanada stammende und in Europa lebende Pianist, Entertainer und Grammy-Gewinner Chilly Gonzales ist für den innigen Klavierklang seiner Erfolgsalben "Solo Piano" (2004) und "Solo Piano II" (2012) ebenso bekannt wie für seine Selbstdarstellung auf der Bühne und Kompositionen für preisgekrönte Stars wie Jarvis Cocker, Feist und Drake. "Gonzo", wie ihn engste Weggefährten nennen, strebt stets danach, ein Mann seiner Zeit zu sein. Er nähert sich dem Klavier auf der Basis einer klassischen und jazzmusikalischen Ausbildung - aber mit der Haltung eines Rappers. Wie die beiden vorangegangenen "Solo Piano"-Alben findet auch die dritte Folge ein glückliches Ende in C-Dur, doch auf dem Weg dorthin finden sich mehr Dissonanzen, Spannungen und Unklarheiten als früher. Denn mittlerweile ist es Chilly Gonzales egal, ob seine Musik gefällt oder nicht, und damit werden falsche Noten auch nicht mehr glattgebügelt. Dadurch erhalten seine geheimnisvollen Akkorde und seltsamen Strukturen einen solchen Suchtfaktor, dass sie schließlich wie unvermeidlich klingen. Im Gegensatz zu den ersten beiden Editionen ist die musikalische Reinheit von "Solo Piano III" kein Gegengift für unsere Zeit, sondern reflektiert all das Schöne wie auch Hässliche, das uns umgibt.

4-panels cardboard jacket. Left pocket glued. Secret City exclusive packaging
Regular Black 12'' Vinyl in Standard Jacket. 45 RPM. Sticker on shrink-wrap (top left). Download code included. 

One of the rare women in the neoclassical world, Alexandra Stréliski creates music that enthralls listeners, filling their minds with rich, cinematic images. The general public discovered her via Jean-Marc Vallée's films Dallas Buyers Club (2013) and Demolition (2016) and, more recently, the trailer of the acclaimed award winning HBO series Big Little Lies (2017). The musician is now ready to make her next artistic statement with the album Inscape.

The Grammy award-winning violinist and conductor Joshua Bell recorded his new album Bruch: Scottish Fantasy with the Academy of St. Martin in the Fields. He conducted the piece, which gave him the freedom to work on all the little details. The technical finesse and the gypsy soulfulness of the compositions gives this record a natural feeling. Bell has spent his time with the orchestra in finding the right character for this recording and it works out really great.

Joshua Bell made his Carnegie Hall debut in 1985, at age 17. It was the start of a career that's already spanning over 30 years. He is one of the most celebrated violinists of his era and recorded more than 40 albums. Bell has reached new audiences from collaborations with artists outside the classical arena and performances on television shows.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Some nights are just pure magic! In October of 2017, hard rock titans Alter Bridge took to the stage of the iconic Royal Albert Hall in London for two very special headline shows. Myles Kennedy, Mark Tremonti, Brian Marshall and Scott Phillips treated the capacity crowds to selections from their entire musical catalog. The set list included some of the band's biggest hits; rarities and even a few songs the band had never previously performed live. Adding another career first for the band, Alter Bridge was joined on stage by conductor Simon Dobson and the 52-piece Parallax Orchestra. Together, everyone on stage during those two extraordinary nights treated the combined crowd of over 10,000 fans to an unforgettable music experience. Now those two performances have been combined in to one full length, epic concert that is to be shared with fans around the globe in Alter Bridge: Live At The Royal Albert Hall.




















[] 20. Blackbird
[] 21. Open Your Eyes

Simple Affections are playing compositions by Alexander Scriabine, Camille Saint-Saëns, Carlo Gesualdo, Giovanni Pierluigi da Palestrina, Guillaume Dufay, Josquin Des Prés, Nicolas Gombert, Thomas Tallis, Tiburtio Massaino.

The album features contributions from: Peter Friel, Jackson Graham, Mark Harwood, Graham Lambkin, Lia Mazzari, Sean McCann, Madalyn Merkey, Michael Pollard, Eric Schmid, Zach Schwartz, Tom James Scott, Patrick Shiroishi, Christina Stanley, Matthew Sullivan, Dennis Tyfus, Will Gottsegen.

"This is a record about a parting of ways. It is dedicated to the one who has been left behind and the one who left."

A Wonderful Piece Of Music.

From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album

The Oakland Elementary School Arkestra presents the odyssey of 4th, 5th & 6th grade students from novice musicians into an avant-garde ensemble. An ensemble that engenders an array of sonic textures which never remain static or stagnant, but flow in a way that it's always surprising, often startling and astonishing.



These schoolkids have travelled the spaceways of Modernism, Minimalism, Impressionism, Exotica, film soundtracks and more. They have ingested the lessons of Iconic artists like Sun Ra (Arkestra members Marshall Allen & Tyrone Hill sit in with the youngsters herein), Harry Partch, George Anthiel, Krzysztof Penderecki, John Cage, and Terry Riley, who also joins with the group. Guitarist Fred Frith (Henry Cow/Art Bears et al) and Zorn-collaborator Dave Slusseralso played alongside the children. The performances are both uninhibited and unabashed.

Culled from a rare 1994 CD, 'Big Music, Little Musicians,' and a barely released 1997 cassette, 'The Thornhill Sound,' these tracks make their first vinyl release here.



The opening track, Sun Ra's classic 'Planet Earth,' emerges sounding like an interpretive gamalan dance as performed by Supermarionation puppets; as the marionettes' strings become entangled during the dance, cacaphony throbs out of the clashing confusion. 'Love In Outer Space,' one of Ra's loveliest melodies, is transformed into a slo-mo ballet taking place in an omniverse where time is nearly standing still. 'Around D,' an interpretation of Terry Riley's 'In C,' surprises near the beginning when a short melodic section, either intentionally or subliminally, recalls 'Frere Jacques,' a universal children's song which, like the bedrock Riley's work is built upon, is composed in a style known as a round....precisely because it

continuously goes around. Dormez-vous, dormez-vous But beyond these well-appointed cover tunes, the shining stars are the pieces crafted by the students themselves. Miniaturized tone

poems and chamber pieces abound. And while some may find the microtonal intonation of the instrumentalists grating, others may hear music from a parallel dimension, a place where notes could be so wrong they're right. Imprecise, meditative, ethereal soundclouds, full of wonder and joy. Once you rise above the clouds, the sun is always shining.

Furtwangler couples two justly famous studio performances. The Schubert retains its own unique charisma, with surprisingly
dynamic sound, superb playing and a mastery of musical transition that is all the more remarkable for accommodating some
alarming interpretative extremes - in the first movement's accelerating shift from Andante to Allegro ma non troppo, for
example. The Berlin Philharmonic take all this in their stride, albeit through a particularly compelling route: mountainous and
spacious, with songful phrasing and due respect for the work's 'late' provenance.
As to the fill-up, this particular recording of Haydn's Symphony No. 88 is a regular 'test' case for generalized comparisons
between Furtwangler and Toscanini, most specifically the maestro's drily recorded, keenly inflected and ruthlessly brilliant of
the same symphony. The Largo is a popular point of reference, with Toscanini broad and darkly Beethovenian, and Furtwangler
providing a mobile, humble, almost pious alternative. True, the latter's performance has its own moments of tension (especially
in the opening Adagio), but generally speaking, it remains a genial and relatively unmannered reading

Emmy award-winning composer Michael Price will release Tender Symmetry, his second album with Erased Tapes, on August 31st 2018. The ambitious musical project takes in a series of iconic National Trust locations across England as its inspiration, turning them into unlikely recording spaces. Michael and a host of musicians and collaborators — including soprano Grace Davidson (featured on Max Richter's Sleep) and Shards (the choir on Nils Frahm's All Melody) — travelled across the country in pursuit of places far removed from the traditional recording studio to create seven unique and moving pieces, straddling the past and the future.
The diversity of Michael Price's choices ranges from the ruins of Fountains Abbey in Yorkshire to the Fan Bay WWII shelter, cut deep into the chalk cliffs of Dover. All owned by the National Trust save one, each venue became both the inspiration and the recording studio for Michael Price and his accompaniment of renowned musical ensembles, choirs and soloists.

"For Tender Symmetry, I stopped admiring and started participating in these buildings. This began as an exploration of writing and recording out in the world beyond the studio. I am interested in where we build our homes in an increasingly virtual world and the spirit of place we feel as we walk our local streets, our schools, temples and public spaces. Taking inspiration from a place, and the stories it told, then going back to that place to record, sometimes in less than ideal conditions, made the two-year adventure much more like shooting a film than making a record.' — Michael Price

Acoustics varied wildly as the artists moved from places designed with sound in mind to locations which demanded the use of miners' helmets for light and battery-powered sound gear. The final recordings carry the genuinely unique sonic blueprints and spirit of each place - from the birdsong in the courtyard at Speke Hall to the steam-driven cotton mill accompaniment at Quarry Bank. 'When we recorded the piece at Fan Bay in the World War II shelter deep inside the chalk cliffs of Dover, Peter Gregson's cello wasn't at all happy with the clammy, dank conditions; but to be in the tunnels where young soldiers spent months on end, constantly on alert for incoming bombers, gave the recording an extraordinarily intimate, moving quality. At each site, the human mixed with the historical, and the natural environment of each space comes through with each piece. I tried to leave an imprint of each location on the record.'

While each piece of music is named after the location in which it was created, William Blake's Songs of Innocence and Experience courses through them as well. Soprano Grace Davidson sings Blake's poignant words about nature, religion and the industrial revolution on several of the pieces including the astoundingly beautiful album closer Shade Of Dreams, written after the birth of Michael's daughter. 'The final piece, Shade of Dreams, is part of a group of pieces I wrote for the birth of our daughter, Emilie. It, like all the works on the album, takes its text from William Blake's Songs of Innocence and Experience, in this case, A Cradle Song. As much as Tender Symmetry is about the past, it is firmly about the future, and all our of shared futures.'

Grace Davies, National Trust contemporary arts programme manager said:
'We were delighted when Michael approached us with this project as it directly draws on the extraordinary stories and history of these special places. The sheer variety of sites that Michael has chosen has resulted in a collection of new music that is sometimes surprising, sometimes poignant, and - above all - inspirational. I am sure that audiences will be enchanted both by Michael's music and our places that have inspired him.'







[G ]7. Shade of Dreams

Emmy award-winning composer Michael Price will release Tender Symmetry, his second album with Erased Tapes, on August 31st 2018. The ambitious musical project takes in a series of iconic National Trust locations across England as its inspiration, turning them into unlikely recording spaces. Michael and a host of musicians and collaborators — including soprano Grace Davidson (featured on Max Richter's Sleep) and Shards (the choir on Nils Frahm's All Melody) — travelled across the country in pursuit of places far removed from the traditional recording studio to create seven unique and moving pieces, straddling the past and the future.
The diversity of Michael Price's choices ranges from the ruins of Fountains Abbey in Yorkshire to the Fan Bay WWII shelter, cut deep into the chalk cliffs of Dover. All owned by the National Trust save one, each venue became both the inspiration and the recording studio for Michael Price and his accompaniment of renowned musical ensembles, choirs and soloists.

"For Tender Symmetry, I stopped admiring and started participating in these buildings. This began as an exploration of writing and recording out in the world beyond the studio. I am interested in where we build our homes in an increasingly virtual world and the spirit of place we feel as we walk our local streets, our schools, temples and public spaces. Taking inspiration from a place, and the stories it told, then going back to that place to record, sometimes in less than ideal conditions, made the two-year adventure much more like shooting a film than making a record.' — Michael Price

Acoustics varied wildly as the artists moved from places designed with sound in mind to locations which demanded the use of miners' helmets for light and battery-powered sound gear. The final recordings carry the genuinely unique sonic blueprints and spirit of each place - from the birdsong in the courtyard at Speke Hall to the steam-driven cotton mill accompaniment at Quarry Bank. 'When we recorded the piece at Fan Bay in the World War II shelter deep inside the chalk cliffs of Dover, Peter Gregson's cello wasn't at all happy with the clammy, dank conditions; but to be in the tunnels where young soldiers spent months on end, constantly on alert for incoming bombers, gave the recording an extraordinarily intimate, moving quality. At each site, the human mixed with the historical, and the natural environment of each space comes through with each piece. I tried to leave an imprint of each location on the record.'

While each piece of music is named after the location in which it was created, William Blake's Songs of Innocence and Experience courses through them as well. Soprano Grace Davidson sings Blake's poignant words about nature, religion and the industrial revolution on several of the pieces including the astoundingly beautiful album closer Shade Of Dreams, written after the birth of Michael's daughter. 'The final piece, Shade of Dreams, is part of a group of pieces I wrote for the birth of our daughter, Emilie. It, like all the works on the album, takes its text from William Blake's Songs of Innocence and Experience, in this case, A Cradle Song. As much as Tender Symmetry is about the past, it is firmly about the future, and all our of shared futures.'

Grace Davies, National Trust contemporary arts programme manager said:
'We were delighted when Michael approached us with this project as it directly draws on the extraordinary stories and history of these special places. The sheer variety of sites that Michael has chosen has resulted in a collection of new music that is sometimes surprising, sometimes poignant, and - above all - inspirational. I am sure that audiences will be enchanted both by Michael's music and our places that have inspired him.'

2024 Repress

Queeste emerges with the nocturnal sounds of Haron's Wandelaar, an album exploring his long-term interest in music's talent for inducing and affecting dreams, successfully turning listening into an act of transport, leaving you in the midst of falling asleep, at a junction of dislocation, hazily arriving in a liminal world. In Wandelaar we hear Haron's playful reaction against the confines of dance music, gathering energy from his estrangement from the scene and using it as a means to reorder and interrogate sound. The modest piano takes centre stage, allowing each solo note to becoming fertile and full, suspended and considered, guided by the principles of minimal composers such as John Cage and Ryuichi Sakamoto. Haron delicately translates sparse chords into a cinematic narrative of ascension, conjuring up a 'moony landscape,' grey and desolate from afar, intricately detailed on approach. Haron's Wandelaar is available 6 July 2018 on LP. The vinyl release includes an art print by Fallon Does, who is also responsible for the graphic design of Wandelaar. All tracks written and produced by Haron Aumaj, mastered by Wouter for Brandenburg Mastering. Words by Jo Kali.

Early support by Ben UFO, Call Super, Beatrice Dillon, Kara-Lis Coverdale, Matt Werth (RVNG), Blowing Up The Workshop, Oceanic, Khotin.

This is the vinyl version of new Grabek's album. 180g black vinyl with downloadcode.

Post-classical ambient artist, violinist and producer Grabek (PL) to release third solo album

After six years of silence, Wojtek Grabek (PL), post-classical ambient electronica artist and producer, releases his third solo album.

This is what he says about the new release: 'Day One' is an album with the most personal music I've ever created, it's a practically wordless story about a birth specifically defined in space and time, it's a story about a new, painful, beautiful, sometimes trivial and sometimes chaotic beginning. Do I want to let go of my musical past with this album Hard to say. I don't think I have a straightforward answer.'

For his debut LP '8' Grabek was nominated for the Polish Music Award Fryderyk 2012 in the Album of the Year Electronica category. He has performed at major Polish festivals including Open'er Festival, Free Form Festival, Slot Art, Transvisualia and more. He also played the Meskie Granie nationwide tour and supported, amongst other artists, Olafur Arnalds and Jamie Woon.

Rhythm is the 3rd album by Kit Grill released on Primary Colours.

It was made during 2017/18 after the Daytona EP and uses the same one synth.

Written and recorded by Kit Grill.
Photography and design by Kit Grill.

Segovias erste öffentliche Darbietung fand 1909 in Granada, im Alter von gerade einmal 16 Jahren, statt. Einige Jahre später spielte er sein erstes professionelles Konzert in Madrid, das Werke von Francisco Tárrega sowie seine eigenen Gitarrentranskriptionen von J.S. Bach beinhaltete. Segovia beeinflusste eine ganze Generation klassischer Gitarristen, die ihre Technik und Musikalität danach ausrichteten, darunter so Lichtgestalten wie Christopher Parkening, Julian Bream, John
Williams und Oscar Ghiglia, alle haben Segovia Tribut gezollt. 1981 wurde er von König Juan Carlos I geadelt, der Segovia den Adelstitel Marqués de Salobreña verlieh.

Die französische Pianistin und Komponistin Emilie Levienaise-Farrouch meldet sich mit ihrem atemberaubenden neuen Album Époquès zurück. Es ist bereits das zweite Album für FatCats wegweisenden Label-Ableger 130701 - wobei ihr Spiel und ihre Kompositionen auf diesem neuen Werk von erhöhter Sicherheit und Dynamik zeugen und für die in London lebende
Künstlerin einen großen Schritt vorwärts bedeuten. Époquès ist ein mutiges und abenteuerliches Album, das zwischen gefühlvoll geschmeidigen Soloklavier-Passagen, mitreißenden ompositionen für Viola und Cello und einigen wunderschön ausufernden Elektronik-Parts wechselt. Im Verlauf der 44 Minuten Spieldauer
variiert Époquès in seiner Intensität und bewegt sich zwischen Passagen von erhabener Schönheit zu Bedrohung und Verzweiflung. Époquès erfordert ein tiefes, kraftvolles, manchmal schwieriges Zuhören - bietet dafür einen wahren Wandel durch die verschiedenen Register der Emotionen, von dunkel bis hell.
Fans von Künstlern wie Max Richter, Dustin O'Halloran oder Jóhanns Jóhannsson werden auf diesem Album sicherlich vieles finden was sie lieben werden und es sind deutliche Parallelen zu
der progressiven neuen Generation von weiblichen Peers wie Claire M Singer, Lucy Railton und Label-Kollegin Resina zu hören.
Époquès ist keine bloße Hintergrundmusik, es ist vielmehr die Reise eines Albums in die man sich vertiefen kann wobei das wiederholte Zuhören mit immer mehr Offenbarung belohnt wird

Zwei Jahre nach ihrem von der Kritik gefeierten self-titled Debüt kehrt die polnische Cellistin Resina (alias Karolina Rec) mit ihrem zweiten Album für den einflussreichen FatCat Label-Ableger 130701 zurück. Traces ist im Vergleich zum Vorgänger ein weniger fragiles, viel direkteres Album, für das die Warschauer Künstlerin einen Sound kreierte, der sich dem Hörer mit zunehmender Viskosität und Gewicht nähert. Es ist ein mutiger, dynamischer und sicherer Schritt vorwärts, der absolute Aufmerksamkeit verdient.
Gelooped, bearbeitet und mit erhöhter Dynamik gelayered, entwickelt sich das Cello von einer diskreten Kammer-Intimität bis hin zu ergreifenden, vollblütig schimmernden Ambient-Miasmen. Es gibt Momente von zarter Schönheit und Parts, in denen alles ins Chaos zu verschmelzen scheint. Während Karolinas Stimme auf dem letzten Track ihres Debüts nur kurz per Überraschungseffekt erschien, nimmt sie mit Präsenz bei fast der Hälfte der Traces Tracks, diesmal viel mehr an Bedeutung auf. Nonverbal betrachtet fungieren ihre Vocals als eine schöne,
eindringliche Texturschicht, die ein Gefühl von fast heiliger Reinheit und Sehnsucht heraufbeschwören.
Mit Hilfe von Schlagzeuger und Perkussionist Mateusz Rychlicki , der auf einer Reihe von Tracks für mehr Körper und Drive sorgt, wird Resinas musikalische Palette nochmals erweitert. Traces Wurde Im Dezember 2017 Im Studio Des Renommierten Polnischen Produzenten Und Musikers Maciej Cieslak Im Warschauer Stadtteil Wola Aufgenommen. Hier Befand Sich Sowohl Das Jüdische Ghetto Als Auch Der Warschauer Aufstand. Während Der Produktion Des Albums Diskutierten Die Beiden Oft Eine Spürbare, Dunkle Energie Des Ortes, Etwas, Das Zweifellos In Das Album Eingedrungen Ist.

sleep Warm' Ist Die Platte, Die Frank Sinatra Für Seinen Neu Gefundenen Kumpel Dean Martin Dirigiert Hat. In Nur Drei Nächten Im Oktober 1958 Aufgenommen, Ist Dies Dinos Erste Veröffentlichung In Stereo Gewesen, Die Bis Heute Ein Favorit Der Fans Geblieben Ist, Sowohl Dank Sinatras Einfühlsamer
Arbeit Am Taktstock Als Auch Martins Bewusst Zurückgenommenem Gesangs. Die Arrangements Stammen Von Pete King. In Den Begleittexten Als Ein verführerisches Set Aus Schlafliedern Für Zeitgenossen' Beschrieben, Verfolgt Die Sammlung Ein gute-nacht' Konzept, Bei Dem Schon Eine Reihe Von Songtiteln Die Worte traum' Und/oder schlaf' Enthalten. Diese Ausgabe Enthält 5 Bonustracks, 4 Mit Einem Von Dick Stabile Dirigiertem Orchester Sowie 1 Geleitet Von Don Costa.

NEW YORK PHILHARMONIC ORCHESTRA
LEONARD BERNSTEIN

Dmitri Shostakovichs Sinfonie No. 7 in C-Dur, Op. 60 Leningrad', entstand zwischen 1939 und 1940. Ursprünglich war geplant diese Leben und Schaffen von Vladimir Lenin zu widmen, aber stattdessen entschied sich Shostakovich die Sinfonie der Stadt Leningrad während deren Blockade im Dezember 1941 zu widmen. Die Leningrader Premiere des Stückes fand statt, während die Stadt von der deutschen Wehrmacht belagert wurde. Das Werk bleibt bis heute eine der bekanntesten Kompositionen von Shostakovich. Das Stück wurde sowohl in der Sowjetunion als auch im Westen als Symbol des Wiederstands gegen den Totalitariismus und Militarismus der Nazis betrachtet. Es gilt zudem als eines der wichtigsten musikalischen, den 25 Millionen Sowjetbürgern, die im 2. Weltkrieg ihr Leben verloren, gewidmetes Vermächtnisse. Die Sifonie wird regelmäßig auf dem Leningrader Friedhof gespielt, wo
über eine halbe Millionen Opfer der 900tägigen Belagerung von Leningrad beerdigt sind.

The duo Sankt Otten from Osnabrueck (Germany), founded in 1999 and consisting of Stephan Otten and Oliver Klemm releases music on Denovali since 2009. After "Männerfreundschaften & Methaphysik" (2016), a collaboration record with experimental guitarist - N , Sankt Otten finally release their first new album since "Engtanz Depression" (2015).

Their new record starts with "Das Endgültige Scheitern der Melancholie" (en.: the final failure of melancholy), which seems to be unfamiliar due to its euphoric mood, but also shows that Sankt Otten consequently develop their music in a sovereign way. The title track "Zwischen Demut und Disco" (en.: between humility and disco) then particularly brings to the fore the duo's admiration of analog synthesizers - timeless instrumental music without nostalgic flashbacks to the past. Warm electronica, human being and machine hand in hand, infused by an almost danceable beat who induces head-nodding.

On their LP "Messias Maschine" (2013) Sankt Otten already released three tracks with drum-legend JAKI LIEBEZEIT (CAN) who meanwhile passed away. While sifting old recordings an unreleased drum-recording by Liebezeit emerged. Based on that hypnotic rhythm the melancholic but driving track "Wir sind die Guten" (en.: we are the good ones) came into existence. Shedding some tears is surely appropriate and allowed. Sad music can make you happy.

But also friends of the more pad-oriented compositions of Sankt Otten get their money's worth. Die "Ballade vom salonfähigen Zynismus" (en.: the ballad on the presentable cynicism) and "Ein bisschen Mitschuld bringt dich nicht gleich um" (en.: a bit of complicity won't kill you) both are sugar-sweet and snuggling, but at the same time almost threatening. The album closes with the more than 14-minute long "Der Abend ist gelaufen" (en.: the evening is all over), where the particularly powerful but always minimal-repetitive drumplay by Stephan Otten stands out, while Oliver Klemm's typical ebow-guitar-drones bring the track to float.

The lovingly chosen track-titles are again located in aphorism, sarcasm and pun, while the musical quality of the tracks is also absolutely homogen. It's not easy to highlight particular tracks but one could fall in love with each of them. Altogether a jewel for admirers of the 80's sounds and German electronic music. "Zwischen Demut und Disco" (en.: between humility and disco) is the holy trinity of krautrock, ambient and contemporary electronics, but always stylistically confident and unmistakeably Sankt Otten.

On his fourth album, Clic, Franco Battiato moves further out - into realms of pure and elemental approaches to sound - to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution.Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, "Ethika Fon Ethica" - a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950s). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre.

Superior Viaduct presents the re-release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

Sergei Vasilievich Rachmaninov (1873-1943) ist ein russischer Pianist, Komponist und Dirigent der Spätromantik gewesen, einige seiner Werke gehören zu den populärsten des romantischen Repertoires.
Aus einer Musikerfamilie stammend, begann Rachmaninov das Klavierspielen mit 4 Jahren. Er schloss 1892 das Moskauer Konservatorium ab und komponierte zu dieser Zeit verschiedene Klavier und Orchesterwerke. 1897, in der Folge der Kritik an seiner 1. Sinfonie, durchlitt Rachmaninov eine vierjährige Depression und komponiert nur wenig, bis eine erfolgreiche Therapie ihm ermöglichte sein enthusiastisch angenommenes 2. Klavierkonzert 1901 abzuschließen. Nach der Russische Revolution verließen Rachmaninov und seine Familie Russland und lebten in den USA, zunächst in New York City.
Fordernde Klavierkonzert-Tourneen verlangsamten seine Produktivität als Komponist, zwischen 1918 und 1943 schloss er lediglich 6 Kompositionen ab, darunter die Rhapsodie auf ein Thema von Paganini, die Sinfonie Nr. 3 und Sinfonische Tänze. 1942 zog Rachmaninov nach Beverly Hills, in Kalifornien.
Ein Monat vor seinem Tod an einem fortgeschrittenen Melanom, erhielt Rachmaninov die amerikanische Staatsbürgerschaft.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music, as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns, anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Pablo Casals' (1876-1973) Aufnahmen von Beethovens gesamter Musik für Cello und Klavier zusammen mit einer weiteren musikalischen Legende, dem amerikanischen (aber in Ungarn
geborenen und in Wien ausgebildeten) Pianisten Rudolf Serkin. Diese wurden anlässlich der Konzerte beim Prades Festival zwischen 1951 und 1953 aufgenommen und ab und an hört man das Grunzen des großen Casals wenn er eine Phrase in Angriff nimmt. Casals ist 76 im Jahr 1952 gewesen und sein den Bogen führender Arm besaß nicht mehr die absolut perfekte Kontrolle, aber dennoch gilt seine Darbietung als Klassiker.

Cover with laser-cutting and printed inner sleeve, ltd. to 500 copies, incl. mp3A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it. Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.

Rumored to be one of the most intriguing collaborations of 2018, Rocketgirl presents Pieter Nooten's 4th solo album 'STEM' as Nooten teams up with legendary producer/ mixer/sound-artist Stephen W Tayler (Kate Bush, Underworld) at Peter Gabriel's Real World Studios. 'STEM' is probably Nooten's finest work since collaborating with Michael Brook 30 years ago, producing the timeless cult classic 'Sleeps With The Fishes'.Setting the tone in his 2012 double cd 'HAVEN', Nooten further explores the boundaries between the neoclassical and ambient genre, delivering an album of  heartwrenching, profound melodic compositions that invites you to listen to 'STEM' over and over again.

Stem is 60 minutes long (The CD includes a bonus track)
The vinyl has been specially edited by Stephen and Pieter and comes with a postcard and a download code of the full version.

Press:'Moments in life so often slip by with only the rusted acquaintance of memory to recall them but with a masterpiece like Haven in your collection you won't ever walk alone. No matter the slips and pitfalls you encounter or the loves you recriminate yourself for squandering, Pieter Nooten's newest will allow you to dwell with your thoughts in private with dignity...''Haven is the kind of record that gives modern composition a good name. It will also give countless budding musicians the belief that they can create a valid piece of work with nothing but a laptop. This may not be a bad thing, but it will be a while before anything in the genre matches the maturity, warmth and technical ability displayed by Nooten...'

Nooten's musical career began in the late 1970s. Starting out as the drummer in a local symphonic rock band,2 he quickly changed to bass guitar and later keyboards, playing in different bands. At the height of house squatting culture and new wave, Nooten met Anka Wolbert and Ronny Moorings who had just formed Clan of Xymox together. During the mid-eighties Clan of Xymox recorded two highly acclaimed albums on 4AD.