Pop & Rock News

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after CANOPO/DENEB/FLOWER/NUOVA IDEA/OCTOPUS albums.
Here we have two crazy rhythmic cuts by Paolo Ferrara, sourced from the super-rare library LP, "Ritmico", on Flower Records. AFROTHEME is a deep afro-jazz funky track with powerful bass lines, hot percussion, and psychedelic wah-wah guitars. PERCUSSION BLUES, on the flip side, blends African and Brazilian sounds with a unique samba groove, and a Fender Rhodes which is the icing on the cake.

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after CANOPO/DENEB/FLOWER/NUOVA IDEA/OCTOPUS albums.
Here we have two great tracks full of crazy breaks and ready to sample. BATERASSO by Daniela Casa is a drum & bass funk banger… a pure gem enhanced with insane hand clapping. On the flip side is CANOTTAGGIO by Remigio Ducros – the best funk tune from the LO SPORT double LP – an enthralling and totally infectious beat.

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after CANOPO/DENEB/FLOWER/NUOVA IDEA/OCTOPUS albums.
This last episode starts with the wildest track off the legendary "Bass Modulations" LP from Octopus Records, PROPERLY, by bass player and composer Piero Montanari. This is an afro-rock banger with amazing percussion, drum breaks, and fuzz guitars. On the other side we present ACROMATIC, by drummer ROBERTO CONRADO – a funky mid-tempo number driven by guitar riffs and a wonderful prog flute solo. Two terrific beats targeted for your psychedelic dancefloor.

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after DENEB/FLIRT/FLOWER/NUOVA IDEA/UNION albums.
Here we have the ultimate Italian library breakbeat: wicked synths, and cosmic electronic effects, marks the experimental hip hop beats of RULLIO by Ugo Busoni, sourced from the "Valvole" LP on the Nuova Idea label. On the flip side, one will find another rhythmic banger, VIOLENZA by Gerardo Iacoucci, taken from "L'Avventura N. 2″ – a psychedelic b-boy break with heavy bassline and percussive piano, echoing an urban soundscape full of drama and suspense.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

We discovered the church in Kyjatice three years ago during our irregular wanderings across southern Slovakia. We were completely enchanted by this well hidden medieval building standing over the village, surrounded by sunny fields and dense forests. We asked ourselves how we could bring life again to the church, how we could fill it with sound which would not interrupt the contemplative character of that specific environment.

The result should have been the sound intervention which would awaken and reveal every corner inside of the church. Just for a moment, we wanted to caress all the monumental fresco paintings, creaking wooden benches, pipes of howling organ, hand painted ceiling and carved saints by sound which could release them from the long guarded and abandoned silence.

In the two compositions for vibraphone she wrote for mappa editions, Sarah Hennies analyses the psychoacustic dimensions of space. Sisters is a sonic exploration which opens the space between the rough walls of the church, an infinite pulse penetrating into every crinkle, hole and fold. In the sense of her quote "When you pulse one note on a vibraphone for 20 minutes, why do you need to do anything else?", we witness the fullness of one single tone, disappearing resonances and gentle changes, which reveal various performative, spatial, psychic and listening situations.

Sisters was a challenge for Lenka Novosedlíková, who is slovak composer, performer and organizer. Novosedlíková is well known distinctive figure of the youngest composers generation in Slovakia. She moves across contemporary composition and interpretation (percussion instruments), improv or electronic music projects. She is member of Cluster Ensemble which is renowned Slovak ensemble with many international achievements.

The church in Kyjatice is a sacred place of mappa editions. It blesses all our activities. It's a place of inevitable distance from our everyday life. Here we find distance from our everyday lives.

By buying a vinyl you contribute to better accessibility and maintenance of this significant Roman-gothic monument with valuable fresco decorations.

Deaf Center's second album Owl Splinters from 2011 gets a lavish re-packaging as a gatefold 2LP. It includes the Svarte Greiner re-interpretation album Twin as well as new cover-art with photos by cinematographer Joshua Zucker-Pluda.

Owl Splinters was originally released 6 years after DC's debut Pale Ravine. In contrast to their previous work, it was recorded in a studio setting (Nils Frahm's Durton studio, to be exact), and the lo-fidelity, haphazard techniques of their early recordings where all but gone. With the benefit of high-end engineering and analogue equipment, Erik K Skodvin and Otto A Totland's murky compositions were transformed from sketches into glorious widescreen spectacles. 8 years later the album sounds as moving, beautiful and obscure as it did back then.

Twin is a 40 minute interpretation of Owl Splinters by Erik K Skodvin under his Svarte Greiner alias. The record takes the long-form, ghostly sections of it's parent album and expands them into crushing drone epics. The two parts are cut into four sections, pieced together by used and unused material from the recording session. It first appeared in form of an accompaniement CD that came with the initial 100 LPs of Owl Splinters. This is the first time Twin appears on vinyl.

Cut Off is the result of a dialog between the photographer Dmitri Markov and the composer / musician Aries Mond initiated by IIKKI, between October 2017 and December 2018. The complete project works in two separate physical imprints: a book and a disc (vinyl or cd).

After his first works based on field recording, Aries Mond has started to work with music instruments in 2012. Mostly focused on piano. His first album has been released on eilean rec. in 2018 and Cut Off is his second album. Aries Mond also composes music for contemporary theatre. He lives in southern of France, in the Pyrénées.

Dmitri Markov is a russian documental photographer, social worker, volunteer and journalist from Pskov. His only camera is an iPhone, with a sharp eye he documents life in the ex-URSS without any artifice. His works are simply some everyday life’s scenes with a particular sense of beauty and a wonderful talent. He has been laureate from many international competitions. Cut Off is his second book.

"I like traveling around the country and taking pictures of ordinary lives of ordinary people. It is sad to hear people say that I capture the seamy side. I don’t see anything horrible in these pictures of mine. They are not just 'social photography', as many people see them, they are my personal encounters and scenes. Every added picture is like another chapter in my own history. And when I get asked why I go after 'life’s unpleasant side', I reply: 'Because I’m part of it.'"

Fine Art Book, Ltd. to 500 copies: Hardcover book printed on Munken Print White main 1.8 115g/m2 // 96 pages, 24cm x 22cm, 54 photos // Logo, slot and circle embossed // Matt laminate soft touch finish + selective varnish // Hand-numbered, hand-stamped

Deaf Center's second album Owl Splinters from 2011 gets a lavish re-packaging as a gatefold 2LP. It includes the Svarte Greiner re-interpretation album Twin as well as new cover-art with photos by cinematographer Joshua Zucker-Pluda.

Owl Splinters was originally released 6 years after DC's debut Pale Ravine. In contrast to their previous work, it was recorded in a studio setting (Nils Frahm's Durton studio, to be exact), and the lo-fidelity, haphazard techniques of their early recordings where all but gone. With the benefit of high-end engineering and analogue equipment, Erik K Skodvin and Otto A Totland's murky compositions were transformed from sketches into glorious widescreen spectacles. 8 years later the album sounds as moving, beautiful and obscure as it did back then.

Twin is a 40 minute interpretation of Owl Splinters by Erik K Skodvin under his Svarte Greiner alias. The record takes the long-form, ghostly sections of it's parent album and expands them into crushing drone epics. The two parts are cut into four sections, pieced together by used and unused material from the recording session. It first appeared in form of an accompaniement CD that came with the initial 100 LPs of Owl Splinters. This is the first time Twin appears on vinyl.

Maryanne Amacher (1938 - 2009) was a composer of large-scale fixed-duration sound
installations and a highly original thinker in the areas of perception, sound spatialization, creative
intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to
be called “sound art,” although her thought and creative practice consistently challenge key
assumptions about the capacities and limitations of the genre.
Amacher’s work anticipates some of the most important developments in network culture, media
arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature it
has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental
collection OHM: The Early Gurus Of Electronic Music (1948-1980), this publication of Amacher’s
1991 piece Petra marks her first commercially available instrumental work as well as the first time
her music has ever been available on vinyl.
Petra was originally commissioned for the ISCM World Music Days in Switzerland. Written for two
pianos, the piece is a unique example of Amacher’s late work, a direct extension of her working
methodologies for electronic composition taken into an acoustic realm that alludes to the music
of Giacinto Scelsi and Galina Ustvolskaya. Petra is a sweeping, durational work based on both
Amacher’s impressions of the church in Boswil where the piece was premiered and science-
fiction writer Greg Bear’s short story of the same name, in which gargoyles come to life and breed
with humans in a post-apocalyptic Notre Dame.
This solemn interpretation of Petra was recorded at its 2017 American premiere at New York’s St.
Peter’s Episcopal Church with pianists Marianne Schroeder, who originally performed the piece
alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in
2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity
against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the
constellation of Amacher’s enigmatic oeuvre.

Unique, engrossing room recordings of Kaliff pipe organ dirges played by composer, sound technician and multi-instrumentalist Kali Malone, released earlier on in the year on a super limited
tape run and now finally pressed up on vinyl for wider public consumption. Very little we've heard in 2018 has affected us as much as this elusive, magical record.
In four pieces recorded at the Royal College of Music in Stockholm, it's the characteristics of the room itself that add a crucial dimension to these pieces, sounding worlds away from the
cavernous reverb associated with church acoustics. Instead, these dry recordings bring out all the fragile warmth and intimacy that's rarely associated with this multi-faceted, sacred instrument.
Removed from its traditional, godly environment - the effect is startling.
The magick also lies in Kali's capacity to produce rich, swirling, gaseous overtones. There's a preternatural sensitivity toward these peripheral sounds, coaxing intoxicating spectrums of
quivering hi-register fluctuations and sonorous bass at a pace that draws the listener in and seems to reduce everything around to a meditative serenity.
Organ Dirges stands in a line of records borne out of serendipity rather than any planned, grandiose gesture. Recorded more or less off the cuff over just a few days onto a portable zoom, it's a testament to Kali's compositional instinct that these 4 pieces sound so resolved and purposeful. Every small detail sounds intentional without being controlled, right down to the almost unbearably moving disintegration at the very end of closing piece 'Fifth Worship', like a slow descent into darkness.
It's interesting to note that Organ Dirges was first played at a huge iron mine, the acoustics once again altering the perception of these alchemical pieces. Indeed, we can attest to the contrasting
experience we've had playing this record in different spaces - on headphones, quietly at night in small rooms, loud on monitors in large spaces - always revealing something new, always transporting us somewhere else.

When Theodore Adorno opposed the new musical paths heard in concerto rooms, in his 'Philosophy of Modern Music', to those of mass culture, he did not anticipated that from this antagonism would emerge artist that, from the new resources of the so called classical music, would produce a sound capable to encompass and instruct itself through the musical scenario consumed by the masses. The XXI century music is born with the sign of the harmonization of these two tendencies that the former century insisted in separate and oppose. Among the artists in the threshold of the millennium, Vitor Araujo is one of those capable of articulate the Brazilian and world- wide classical music avant-garde with the undisputable artistic conquests of experimental-pop music of his time. A lot of this is due to the formality of his musical studies. In his childhood years, the prospect of a concert pianist career was pervading. This took him to the study of the compositional skeleton of the great masters from Bach to Ba´rtok, making it possible an intimate proximity with the noted production of music and its formal structures. Later, this experience was of great value for a singular contact with the universe of avant-garde jazz and also with acts from experimental scenario at the turn of the millennium - especially electronic music. All this background did not take place apart of the cultural universe in which he was living in. Herewith his diverse musical formation, the forms of urban, popular and folk music, related to his hometown (one of the greatest focal points that congregates the indigenous, European and afro-descent people in Brazil) and the rest of the country, pervaded the aesthetic formation of the artist. This is verified even in his first works, in his debut album 'Toc' (2008) and 'A/B' (2012). Now, in his third album, the traditional cadomble´ rythms reveal the perfect harmony between his influences both classical and electronic. The sources bequeathed by Heitor Villa-Lobos and the instrumental slope of his spiritual disciple Tom Jobim; the timbre and acoustic experiments of Gyorgy Ligeti; the cyclic narrative possibilities opened by Steve Reich; the remodeling of sound manipulation tools by Karlheinz Stockhausen; are related not only to the vanguard of electronic music but even to the rhythmic and vocal expressions of Brazilian music - not letting this last one being used as in the fetishism ethnic so appealing to the so called 'world music', but thinning it and merging it with the main forming elements of the album s´ atmosphere, hosting carefully the ancestry of Brazilian music in the sound universe of the XXI century. It is not possible in this work, called 'Levaguia~ Tere^', to trace a final frontier between the classical and popular experiences, among the track list or even internally in the tracks. In terms of genre, the album could even be classified as eletro-acoustic, since this compositional school operates easily with organic and synthetic instrumentation. However, the great orchestral writing, the heavy percussion element, the instrumentation and counterpoint elements, the harmonies and vocal arrangements, and the thematic and phraseology marks of the composer wouldn t´ be designated to justice by this genre denomination. For the same reasons, the elements of electronic music, that subvert and act over the acoustically recorded material - such as in the eletro-acoustic music - are mostly ordered by the pop music model, and not the classical ones, this last one not antagonizing the first. Thus, 'Levaguia~ Tere^' is inserted in a disruptive way in the phonographic industry s´ current streams. In concatenating regional styles with contemporary art, makes his country represented without sacrificing his most genuine roots. It is possible to risk saying that this language and sound aesthetic hybridism born in 'Levaguia~ Tere^' seems to yearn the utopia designed by Alex Ross in his 2004 article 'Bjo¨rk's Saga'. The utopia 'of a future world in which the ideologies, teleologies, style wars, and subdivisions that have so defined music in the past hundred years slip away. Music is restored to its original bliss, free both of the fear of pretension that limits popular music and of the fear of vulgarity that limits classical music. The creative artist once more moves along an unbroken continuum, from folk to art and back again.'

Si´lvio Moreira M.A. in Philosophy, Professor of Aesthetics at the Faculdade Souza Lima & Berklee College of Music

Esencia is proud to present Forgotten Ones, the new album from London based quintet Culross Close. The album opens with 'Fractured', a cosmic musing carried delicately by electric piano and decorated with a synthesized dalliance. The album then cruises into 'Forgotten Ones', a spiritual made potent by their choral-esque vocals by far their most accomplished piece to date.

'Acceptance' finds the quintet in familiar hip-hop territory, carving out a top tier groove with a recurring piano motif of the highest order. Their vocals, this time more chant than choral makes for a brilliant 5-minute mantra.

'Mood' is a stark contrast to anything else on the album, an acidic and rugged illustration of the group's present state. 'The Tiniest Lights Still Shine' is a syncopated excursion in 5/4 time. With an electrifying percussion solo, this will be the song that finds its way onto the dance-floor. 'Healing' is a percussion heavy journey, draped in synthesizers and style, embodying elements of 70's fusion and bossa-nova, a perfect closer to the album.

1 x LP Full Colour Sleeve, shrinkwrapped

If 2018's WOLFEP046 touched on the burgeoning talent of rising Portuguese star Pedro, this 2019 follow-up delves deep into the accomplished head that rests on those youthful shoulders.

Opening the EP, 'She is' gives a taste of the path Pedro takes with this record. A ten-minute twisting trip, that moves and melds modern jazz leanings with a rugged aesthetic. Off kilter sax flurries, at times gleaming, at others melting, open up the distorted dreams of Pedro's world, as a metronomic double bass attempts to steady the ship. Metallic rides and abrupt percussive hits contrast with the sustained piano chords, further foraging down his surrealist sidewalk.

Take to the flip to find the waltzing 'Faces sob o sol'. A beatless contemporary jazz piece in 3/4 time, where deft piano melodies dance around a looped up, muted guitar phrase and twanging riffs. A simplicity born from only a handful of layers, that in turn creates a free-flowing fluidity through this jazz rabbit hole.

The most club ready of the cuts, 'Alef' rolls around next, where a funked out bass and psychedelic strummings, marry with crisp cymbals and polished piano playing. Pedro's dream inducing trip still takes its hold though, with distorted, panning, hallucinogenic vocal cries swelling across the airwaves.

Stepping up to close out the EP, Moomin flips 'Faces sob o sol' on its head, laying a rough and ready, liquid DnB rhythm as the basis alongside adding delicate arps and sweeping, atmospheric pads that follow Pedro's original. As hypnotising as its forebearer, but with an ethereal dancefloor orientated radiance.

With hundreds of new producers cropping up, week by week, it's rare to be challenged by something of such high quality from an up-and-coming artist. And with jazz finding a new lease of life across the UK, Pedro's latest output will be sure to find a home on these shores.

"Someway Still I Do" is a record enriched by the immediacy of pop, the quality of the arrangements, timeless music that echoes the glory of unforgettable soundtracks, the finest orchestral jazz and the great adult pop productions of the past. Today in 2019, exactly 10 years after its first release on CD, Magnanini's record is reissued on a special 2-LP version with two brand new tracks included on side D: "Cried For You" features once again Cousteau's singer Liam McKahey at the mic, while "Morning Light" is accompanied by Elisa Aramonte's smooth vocals, a new talent joining Magnanini's project "Someway Still I Do".

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

- 180 GRAM AUDIOPHILE VINYL
- BRAND NEW 2019 NEO-CLASSICAL ALBUM
- PRINTED INNERSLEEVE
- LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Fermata, Pieter de Graaf's debut project and the birth of a new talent in the neo-classical world. 'Filmic,' he replies when asked about the direction he had in his head, and there's an epic grandeur to many of the tracks. 'I have always written music' de Graaf explains, 'but with Fermata I felt that I could do so much more than just being a pianist, so I thought: 'Why shouldn't I try' The songs aren't 'written' in any traditional sense; instead he plays and improvise segments, records them, and listens back over and over before deciding what to use, what to discard, and what to embellish. No stone is left unturned in being guided by what the song requires - he has travelled North to record a church organ, wrote a score for a choir of four sopranos, and enlisted the help of friends and colleagues at Kytopia, the music collective in Utrecht that houses his studio.

It can take a while for an artist to find their true calling. For Pieter de Graaf, he's been searching since he sat next to his father, aged five, and watched him play the classics and the classical. He later immersed himself in the world of jazz, dedicating hours to practice, and studying at the Conservatory of Rotterdam. Several years spent touring with various bands, friends, and hip hop groups including The Kyteman Orchestra taught him an invaluable lesson, something that has informed his new project right from the start. His influences - Miles Davis, Nils Frahm, Rachmaninov, Bach, Herbie Hancock, and above all Keith Jarrett - allowed him to combine easy melodies with more virtuoso passages without losing the meaning, or the essence, of each song.

Fermata is available as a limited edition of 500 individually numbered copies on transparent vinyl.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition cassette tape of Morton Subotnick's landmark 1967 debut electronic LP, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition cassette special:

First-ever cassette tape reissue, and first new cassette edition since the LP's original 1967 release!
Cassette edition is strictly limited to 300 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.

Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.

All-new, full-colour J-card artwork, + slick silver tape shell.

Jazz isn't dead. Well, actually, in this case, it is... but in the most thematically appropriate way for the 20th Anniversary edition of the Grim Fandango soundtrack. Composer Peter McConnell's trumpet-y and rambunctious big band lounge act can finally be listened to the way it was always intended - on vintage black vinyl. Real human orchestras were rarely used for videogame music back in the 90s, but in this Remastered Director's Cut, every note was re-recorded and performed by actual fleshy people. The results are foot-tapping and chill, turning your living room into a veritable smokey club (smoke not included).

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
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.

SIDE B
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.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

A unique voice within the new UK jazz generation, 'Infection in the Sentence' is shaped by London's thriving and diverse live music scene.

Swiftly rising to become one of the most in-demand players of her generation, Sarah Tandy has performed on keys for Jazz Jamaica, Nu Civilisation Orchestra, Maisha, Where Pathways Meet, Camilla George, Nubya Garcia, Nerija, Daniel Casimir, Binker Golding, Clark Tracey and many more. She is also a member of Ronnie Scotts House Band, the W3 Collective.

On 'Infection in the Sentence', Tandy's technical virtuosity showcases a fearless approach to her own individual brand of piano-led jazz. "The music developed gradually through many years playing on London's underground music scene... In the album I'm seeking to find a continuum between the jazz music which I grew up listening to, and the multi-faceted, genre-melting sounds of present day London", she says.

A finalist in BBC Young Musician of the Year, she also held a residency at Servant Jazz Quarters in Dalston where she met band members Femi Koleoso (Ezra Collective, Jorja Smith), Mutale Chashi (Kokoroko, Jorga Smith), and Binker Golding (Binker & Moses), who were pivotal to her development. The inimitable Sheila Maurice-Grey plays trumpet in the band.

She's performed at Love Supreme, Berlin Jazz Festival, and twice with her her trio at the Ronnie Scotts International Piano Trio Festival supporting Robert Glasper.

In an earlier incarnation, she has also appeared as a classical soloist with the BBC Symphony Orchestra. In 2019, Tandy will be one of many jazz re:freshed artists to appear at SXSW. She will be performing songs from 'Infection in the Sentence' at the album launch at Ronnie Scotts, London on the 4thMarch.

Arrow is a piano album - the sound of Hebden Bridge on a Saturday afternoon, embellished with wisps of Glasgow. Recorded especially for Preserved Sound in Hebden Bridge, "Arrow" is sound of Richard Youngs alone at the piano, embellished with light drums and an old organ. This collection of solo improvisations is all about capturing the moment - that piano and that afternoon in Hebden Bridge.

'I sat down at the piano and just played,' says Richard. 'No preconceptions, nothing worked out. I wasn't trying to achieve anything other than to enjoy playing the piano.There was also an organ in the room, so there are touches of that. I then took these back to Glasgow and knocked it into shape - a few overdubs, nothing drastic.'

Richard Youngs - organ, percussion, piano, synth, tape, voice

You can hit beats so that they betray an intention - through accentuation or emphasis. Or you can hit them so that they seem mechanical, devoid of intention, a pure pulse, as in much minimalist music. Both possibilities abound in different genres. But there is also a third one, and that is what Sven-Åke Johannson has concerned himself with again and again: to hit so as to produce one or several accents, or in any case traces of intention, and then to frame them by means of repetition and regularity so that the intention as such fades and appears as a regular, planned part of a now quasi-mechanical process. - Diedrich Diederichsen

Sven-Åke Johansson - percussion

Recorded at SÅJ Studio/Fichtestraße, 2017

Aaron Martin's album "A Room Now Empty" sees him returning to the memory-based recordings of previous albums such as "Almond", "River Water" and "Chautauqua", where layered meanings in the music and titles don't allow a single clear-cut reading of the music.

'A Room Now Empty is similar to the concept of Day Has Ended where Christoph Berg and I created music to encompass the passing of a day, but stretched out for the passing of a lifetime or at least a portion of a lifetime,' says Aaron.

Using cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls and lap steel, "A Room Now Empty" keeps the same intimacy and directness of Aaron's previous albums, with a slightly more processed sound creating distance within the music.

All music by Aaron Martin: cello, electric guitar, bass, roll up piano, banjo, concertina, acoustic guitar, voice, ukulele, singing bowls, lap steel

Silent Figure with Landscape LIX by øjeRum

Words and Music is a rare and sought-after album by artist Tom Phillips (b. 1937). Fueled by painting, opera, and concrete poetry, this LP was originally published by the king, Hansjörg Mayer, in 1975 (this LP has never been repressed).

Most are familiar with Tom Phillips' "After Raphael" painting used on the cover of Brian Eno's Another Green World LP, along with the television series he made with director Peter Greenaway, A TV Dante (1990). However, Tom's crowning achievement is his art-book A Humument: A Treated Victorian Novel. A reworked version of the obscure book, A Human Document, by W.H. Mallock, each page laboriously painted and collaged over. Spools of text are re-discovered from the original book, stitching together a new story surrounding the protagonist, Toge. Six editions have been published from between 1970 and 2017, each with different texts and paintings imagined. Phillips' work has the air of forlorn fantasy to it ... a designed romance.

The first side of Words and Music contains four chamber works grown from impressionistic and graphic scores. A lovely flavor of British experimental composition à la Cornelius Cardew (with whom Phillips collaborated in the Scratch Orchestra). Tom's music incorporates touchstones of visual art: in his Irma opera, a band of voice colors wash over slides of chamber melodies; in "Ornamentik," (commissioned by Stuart Dempster) acoustic and electronic instruments are played as extended shapes along a piece of paper. The piano piece "Lesbia Waltz" augments sheet music, cut-up measure by measure, placed and replaced.

The second side of the LP holds readings from his famed book, A Humument. Recited by Tom, whose chestnut voice perfectly carries the stanzas of bizarre, romantic poetry. Dancing between discoveries and meanings with gentle blood and ink soaking on each word.

Double vinyl LP in Tri-Fold sleeve, with A2 Poster and 4 glossed behind the scenes prints.

where's the drop Recorded with the 73 piece CMG Music Recording Orchestra in Hollywood's famous East West studios, deadmau5 and musical composer Gregory Reveret are happy to bring you the full 15 track album on a Limited Edition double vinyl package.

Based around Joel's "7" EP and including classic deadmau5 records such as "Strobe" & "HR 8938 Cephei", "where's the drop" was performed live at The Wiltern and is now a must-have for any vinyl fan.

Only 500 copies available

Auf seinem Debüt-Album bei Sony Classical beschreibt der Oscar-nominierte Komponist und Pianist Hauschka (Volker Bertelmann) die Erfahrung des Waldes als Metapher für die Suche nach dem Sinn des Lebens. 'A Different Forest' ist das erste Solo-Album, für das er gänzlich auf die Präparation seines Pianos verzichtet. Mit dem Album thematisiert Hauschka das Erleben der Natur als Grundlage für sein Verständnis des Lebens und seiner Art zu komponieren. Versinnbildlicht ist die Naturerfahrung für Hauschka durch das Bild des Waldes: In 'A Different Forest' beschäftige ich mich mit dem Wald als Naturraum und Kontrast zum städtischen Alltag; zu meinem Lebensraum. Wo möchte ich leben und arbeiten, welche Umgebung benötige ich, um mich zu verwirklichen In der Auseinandersetzung mit diesen Fragen komme ich immer wieder zur Natur zurück. Beim Wandern geht man oftmals einfach drauflos, ins Ungewisse. Man befindet sich in einer Umgebung, die einem keine Sicherheit gewährt, und muss sich ganz auf die eigene Wahrnehmung verlassen, um Orientierung zu finden, erklärt Hauschka und findet hierin nicht nur eine grundsätzliche Vorstellung zur Orientierung in der Welt, sondern auch den Ursprung seiner Art zu komponieren: Meine Art zu Komponieren hat viel mit den freien Wanderungen in der Natur gemein. So sind musikalische Ideen für mich Wegpunkte beim Spielen und das Spielen selbst die Wanderung, die diese verbindet. Ich ordne klingende Ideen in einer musikalischen Reise an.

*** UNRELEASED AFRO-CUBAN JAZZ FROM 1967 ***

Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

Key selling points:

- all songs previously unreleased

- deluxe vinyl LP with old school tip-on cover

- incl. full album download code

- limited to 500 hand-numbered copies

Teresa Winter's LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception.
Realised thru a mesh of strategies from live, lo-fi tape recordings of synths, samplers and vocals to nascent experiments with algorithmic software, Untitled Death is both a divine revelation of new aspects to Teresa's sound and an expansion of The Death of Rave's as-yet-unidentified aesthetic.
Teresa's zoomed photos of magic mushrooms spattered in popping fluorescent oils which adorn the cover of Untitled Death hint at a more personalised insight and psychoactivity, a proper, lush trippiness. Just like the putative psilocybic experience, Untitled Death naturally comes on in waves of synaesthically-heightened sensuality, from strangely libidinous stirrings to utter, eat-your-heart-out euphoria with a spectrum of hard-to-explain and unexpected sensations between.
We can hardly recall a more seductive album opener than Oh, which blossoms from plaintive drum machine and chiming pads to a half- or mis-heard beckon I really like it / when you let yourself go / I really want you inside me / I want to make you my own', before curdling into bittersweet partials and deliquescent hooks as earworming as anything from AFX's SAW 85-92 classic.
It's devastating in its simplicity and almost blush-worthy in effect, and is soon enough lopped curtly into the soundtrack-like enchantment of Untitled Death, which could almost be a cue from some '60 Polish or Czech art-house film, serving to neatly set up the prickling, windswept scene of romantic introspection and dereliction in Pain Of Outside - perhaps Teresa's most accomplished and affective pop turn to date, think Grouper awkwardly blissing out at 9am in the corner of a successful sesh/campsite/free party.
From that perfectly damaged side closer, the B-side opens to a different sort of spine-freezing beauty and sense of abandonment with plangent, dissonant harmonics describing rugged Yorkshire wolds and coast as much as a radiant lightshow on the back of flickering eyelids.

Blood, Sweat & Tears' fourth album B, S & T: 4 was written by different band members. The record peaked at number 10 on the Billboard Pop albums chart and two singles made their way into the Pop singles chart. The tracks are generally shorter compared to their previous albums. The band moved a little bit to the mainstream direction, offering some impressive performances. Their musical style is still a mix of rock, blues, jazz and folk. The warm atmosphere is recognizable and it's great from beginning to the piano led end, a charming, energetic and lively album.

In their almost 50-years of existence Blood, Sweat & Tears covered a lot of famous songs by James Taylor, The Band and The Rolling Stones, among others. They also incorporated different music from artists like Thelonious Monk and Sergei Prokofiev in their songs.

Picking up exactly where Disaster left off, Evryman For Himself features a full band and larger arrangements. Includes contributions from David Coulter (Damon Albarn, The Pogues), Fred Lonberg-Holm, Jason Toth (The Handsome Family) and the horns of Ralph Carney (Tom Waits, B52s). Second entry in the "Disaster Trilogy".

His work has inspired a diverse cast of collaborators that lie inside and outside his realm of alternative Americana, such as Jarvis Cocker, Thor Harris (Swans, Freakwater), and The Handsome Family with recent performances that include the likes of Rufus Wainwright, Andrew Bird, and Swans.

This record documents music made by two women - one American and one Korean - who have both made a profound impact within experimental music. Ellen Fullman's Long String Instrument has been a long-term life-work of incredible ambition and dedication. The results are immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres.

The Air Around Her was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet - the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city's Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room.

Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016.

Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas LUPO Lubich at Calyx, Berlin. Artwork by Bill Nace.

Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, 'The Air Around Her' is a quote from 'Vermeer Interiors' a poem by Margaret Rabb, from her book, 'Granite Dives'. This release has been supported by the Swedish Arts Council.

Released by 1703 Skivbolaget in cooperation with Ideell Edition.

The title gives an indication as to what this cycle is about: 'Lines' as a catch-all phrase for melodic relationships.

Differently formed - from a unison melody for two instruments to counterpoints of independent voices. Composed in different ways - from 'calculated' proportioning to spontaneous writing. Expressive in different ways - from lament to competition.

If nothing else, these pieces are also a journey through all registers of the clarinet family, from Eb- and Bb clarinet through basset horn and bass clarinet all the way down to two contrabass clarinets.

Alexander Stankovski - omposition Petra Stump-Linshalm - Bb Clarinet, basset horn, bass clarinet, contrabass clarinet Heinz-Peter Linshalm - Eb Clarinet, Bb Clarinet, bass clarinet, contrabass clarinet

Zeitkratzer member Reinhold Friedl revisits the piano guts some years after his much album Inside Piano (2011). While Friedl's first solo album defined the practice of playing on the strings of a grand piano," Music For Piano, ... Spring/Flower/Cracker/Stream" mixes piano with concrete and quasi-electroacoustic, freely moving from moving from plain motifs to walls of noise. A truly beautiful and ear-pleasing record that unashamedly shows the composer's and performer's love for the piano.

Reinhold Friedl studied the piano with Renate Werner and Paul Schwarz in Stuttgart, Alexander von Schlippenbach and Alan Marks in Berlin, composition with Mario Bertoncini (nuova consonanza) and Witold Szalonek. He has collaborated with musicians like Phill Niblock, Elliott Sharp, Alvin Lucier, Keiji Haino, Lou Reed, Carsten Nicolai, Laurie Anderson and has released more than hundred CDs.

All tracks composed and performed by Reinhold Friedl Recorded at the School of Music of the Aristotle University of Thessaloniki on the 11 and 12 March 2017 by Yannis Paxevanis Mixed by Yiannis paxevanis and Reinhold Friedl at Subway Studio Mastered by Nikos Lavdas at Kiwi, Athens Cover photo by Reinhold Friedl

Being introduced to the work of Ludovico Einaudi at a young age, Joram started composing and home recording his own neoclassical piano pieces. The thread that runs throughout his compositions is the minimalist character: repeating structures that slowly build and fade. The works are electroacoustic spaces of sound with a felt, warm, melancholic undertone - translating indefinable moods into music.

Piano Music is a release with two short tracks which are based on piano recordings Orphax made at De Ruimte in Amsterdam Noord in Mid and End of Summer 2017. On this release musically Orpax breaks with his other work by using more melodic ambient sounds and focus less on the drone. It is one of his most personal works to date. The music on this 7" is about closure and trying to leave things behind, how difficult this might sometimes be. It is about making the wrong decisions and regretting those, but also learning to cope with these and to move on.

Sinfonie Nr. 9 in D-Moll ist die letzte Sinfonie, an der Anton Bruckner gearbeitet
hat. Der letzte Satz war zum Zeitpunkt seines Todes 1896 unvollständig.
Der niederländische Dirigent Van Beinum war ein Spezialist für die Musik von
Bruckner. Eine der besten Aufnahmen der 9. Sinfonie von Bruckner, von denen
einige behaupten, sie sei die beste, wurde im September 1956 mit dem
Concertgebouw Orchestra in Amsterdam aufgenommen. Diese ist nach allen
Maßstäben eine großartige Konzertleistung; eine dramatische und epische
Performance, die dieser großen Symphonie im ihr gebührenden Rahmen mehr als
gerecht wird.
Eduard van Beinum ist für die Bruckner-Tradition des Concertgebouw Orchestra
verantwortlich. Eduard van Beinum war ein großer - wenn nicht der größte -
Brucknerianer.

The very first studio radio recordings of Jacques Brel performing in three of the most mythical French cabarets : Chez Geneviève , Chez Gilles and l'Échelle de Jacob, between 1954 and 1956.

In the early 60's in France, Léo Ferré leaves the cabaret's stage where he used to perform for the music-hall scene where he keeps singing the Paris of lovers, night owls and misfits.

Piano always had a central role in my discography and this selection of short pieces showcases what might be my musical signature: quietness, slow pace, long resonances, a close as possible to silence. Music to be played at night.

Pianisme is a collection of unreleased and out-of-print piano works composed and recorded since 2004. Most of them are part of soundtracks for feature films by french director Sébastien Betbeder (from 2007's Nuage and the very rare short film Nu devant un fantôme - whose music was completely unpublished until now). Also released for the first time: In the twilight of Paris (written the day after Luc Ferrari's death, as a quiet homage to a composer whose works have often been part of the Sub Rosa catalogue) and Soñando, straight repetition and variations on a minimal pattern, created for choreographer Christian Rizzo's 2010 show L'Oubli, toucher du bois.

This Manifesto Of Outsider Orchestrations, Teenage Symphonies And Cultivated Concrete Is The Debut Album Of Experimental Irish Avant Garde And Electro Acoustic Innovator Roger Doyle. A Pianist, Composer And Improvisational Jazz Drummer With A Penchant For Experimentation That Would Marginalise Him From Traditional Seats Of Learning In His Native Homeland But Embrace Him To The Bosom Of Europe's Leading Forward-thinking Research Centres For Electronic And Computer Music. Here He Would Piece Together Two Highly Sought After Experimental Albums Before Returning Home To Channel His Multi-disciplinary Work Ethic Into The Agit Pop Theatrical Company Operating Theatre And Play A Leading Role In The Burgeoning Irish New Wave Scene As An Early Signing To U2's Mother Records.

A Collection Of Some Of Doyle's Earliest Works As An Indomitable Scholarship Student Of Composition At The Royal Irish Academy Of Music In Dublin And Then As Founding Member And Drummer Of Experimental Jazz Rock Outfit Jazz Therapy (who Would Later Become Supply Demand & Curve), This Patchwork 1975 Debut Long-player Draws From What Was An Already Bulging Portfolio That Included Academic Assignments, Living Room Compositions And Soundtrack Collaborations With Irish Filmmakers.

Originally Part-recorded And Subsequently Aborted When The Would-be Label Vanished Without Trace Overnight, Oizzo No Was Shelved Indefinitely Until A Scholarship At The Prestigious Institute Of Sonology At The University Of Utrecht In Holland Afforded Doyle Not Only The Opportunity To Partially Revise His Humble Opus In Their State Of The Art Studios (as Well As Those Of The Ems Studios In Stockholm) But Also The Money To Press A Limited Run Of 500 Copies And Help Further Cement The Foundations Of His Future Status As One Of Ireland's Leading And Most Versatile Contemporary Composers.

As our maiden voyage into an expansive vat of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records presents his previously unreleased electro/orchestral/experimental score for Andrzej Zulawski's surrealist 80s horror classic, Possession. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director's cut - leaving many of the tracks on this spackage totally unheard outside of Korzynski's studio.

The intended Possession score in its entirety marks an important axis in Korzynski's career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomise the well honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar.

This is the first time any of this music has been released outside of the films original context and is packaged on CD, 12" vinyl and conceptual green compact cassettes housed in miniature clamshell cases reminiscent of the films original VHS release that briefly adorned UK video shops in the early 1980s (before being banned by over excited censors as one of the unproscecuted 'video nasties' in the infamous 1983 tape cull). The important restoration of Korzynski's music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer and Zdenek Liska - not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier and Nicolai.

Duplicated and carefully remastered directly from Korzynski's original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambience.

Boomkat Editions is honoured to present a first vinyl edition of Akira Rabelais' sophomore album, 'Eisoptrophobia' a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the
20th century and a bittersweet embrace of new technological possibility. It's required listening for lovers of The Caretaker's haunted ballroom elegies, Stephan Mathieu's electro-acoustic microphony, or indeed the original, classical pieces.
First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, 'Eisoptrophobia' is an early iteration of Akira applying his Argeïphontes Lyre software to classical music, and opening a fascinating schism between the original object and his modern, subjective perspective in the process. This process would also generate rarified and haunting results on Akira's 'Spellewauerynsherde' (2004) CD, which was coincidentally issued on vinyl by Boomkat Editions for the first time in 2017.
The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed with Argeïphontes Lyre, Adobe After Effects, SoundHack, Peak, and Pro Tools with beautifully elusive results.
The recognisable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at other times, they're smudged into mind-bending obfuscation or spectral, timbral thizz. They have
the uncanny capacity to resemble exhumed artefacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener's mind.
In its unique process and disjointed effect, 'eisoptrophobia' is arguably an album without precedent, and one that never ceases to yield anything less than a deeply reflective, perhaps even transformative experience with keener ears.

a1 | Notturno
a2 | Troisième Gnossienne
a3 | Aphorisming, Second
a4 | Rhythme Bulgare
a5 | Aposiopesis
a6 | En Y Regardant À Deux Fois
b1 | Gymnopedie No. 1
b2 | Gymnopedie No. 2
b3 | Gymnopedie No. 3
b4 | M2s Broken & Together
b5 | Berceuse
b6 | Bociumeana
c1 | Cinquième Gnossienne
c2 | Première Gnossienne
c3 | Aphorisming, First
c4 | Notturno (Lovely)
d1 | Quatrième Gnossienne
d2 | Aphorisming, Third
d3 | À L'Orientale
d4 | Impromptu In Second Person
d5 | m2s M7s (Fragmented)
d6 | Pe Loc
d7 | Sarabande No. 2

Original released 1977 on 'Alpha Brussels', this LP includes two compositions by Karel Goeyvaerts, who created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Olivier Messiaen and laid the foundations for generalized 'punctual' serialism in the 50s.
In 1970s the BRT appointed him as producer at the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. Since 1974 he was in charge of the New Music productions for BRT-3 in Brussels.

Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in 'Slow Dark Green Murky Waterfall' - a crepuscular suite riddled with Mica's inquisitive, conversational phrasing and
smartly expanding upon their 7' track, 'Riding Through Drinking Harpo Dine' (Foom, 2017), a new recording of which also appears in this set
The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - 'Slow Dark Green Murky Waterfall' follows up their collaboration on the Oscar-nominated score for Pablo Larrain's 'Jackie' score with a finer-shaded, patient space for low-lit, smoky expression that's so intimate and personal it almost feels like eavesdropping a private recording.Ineffably bound by a sense of unreal poise, Eliza's interpretations are subtly, dynamically rendered in-the-mix by Mica to present the pieces as though in flux, like poignant, unresolved statements that occur in the flow of quiet, intent dialogue and linger in the air. It's testament to the pair's well-honed intuition that the results connote this feeling so naturally.
And it's maybe our familiarity with Mica's work, from her earliest chopped 'n screwed orchestrations, to her 'Under The Skin' score and her mutant pop pieces, that we keep expecting
hers or Tirzah's voice to match her melodies with wordless vocals or harmonious limns throughout the six pieces. That's probably simply down to the fact that Mica writes with such a pop-wise appeal and soulful sensitivity that it prompts subvocalisation in every listener, or maybe it's just us, but either way the hook of these instrumentals will be floating your head for days, weeks, or a lifetime after they're imbibed...

This is a brand new recording of the best of legendary film composer John Williams with the London Symphony Orchestra. The LSO's close connection with John Williams goes back nearly 40 years to the first notes of Star Wars in 1977 and this release Includes Hedwig's Theme from Harry Potter recorded by the LSO for the very first time. Another highlights is the remarkable soundtrack to Schindler's List, featuring a solo cello - the first time this arrangement has been recorded. Later on this year (October) and for the first time in 22 years, John Williams will conduct the LSO at the Royal Albert Hall. Marketing Spend: £3k print - John Williams is conducting the LSO in concert at the Royal Albert Hall on 26th October // Radio ads on Classic FM, Heart, Radio X.This is a brand new recording of the best of legendary film composer John Williams with the London Symphony Orchestra. The LSO's close connection with John Williams goes back nearly 40 years to the first notes of Star Wars in 1977 and this release Includes Hedwig's Theme from Harry Potter recorded by the LSO for the very first time. Another highlights is the remarkable soundtrack to Schindler's List, featuring a solo cello - the first time this arrangement has been recorded. Later on this year (October) and for the first time in 22 years, John Williams will conduct the LSO at the Royal Albert Hall. Marketing Spend: £3k print - John Williams is conducting the LSO in concert at the Royal Albert Hall on 26th October // Radio ads on Classic FM, Heart, Radio X.

Recondite has announced his fifth album, Daemmerlicht , due out in February on his own Plangent Records. Translated as fading light,' the new album finds the Bavarian musician exploring novel territory, combining his love of instrumental hip hop and downbeat with ambient and classical music.The result is Recondite's most focused, meditative work yet. From the haunting soundscapes of Lichtung,' to the cinematic beauty of closing track Immer Da,' the album demonstrates a new level of sophistication to Lorenz Brunner's venerated catalogue of work. Making conscious use of atmosphere and space, the album ultimately harkens to Brunner's unique upbringing in Lower Bavaria.

Mary Jane Leach has played an instrumental role in NYC's pioneering Downtown avant-garde community since the 1970's, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman's legacy since his death in 1990. Her vinyl debut Pipe Dreams arrived last year via the Blume imprint. For (f)lute songs, Modern Love is honoured to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Mary Jane explains: 'In the late 1970's I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn't play was Trio for Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more 'extra-notated' sounds are created than appear on the page. Bruckstu¨ck (1989) was originally written for eight sopranos, but is played on flutes on this recording - using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals - primarily major and minor seconds. I initially wrote Dowland's Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a 'solo' tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind'. These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums.

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES
- BRAND NEW 2018 ALBUM

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.

- 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.

Sampled by Four Tet, their name whispered in reverence through the decades, ENTOURAGE forged bold musical ideas on their two rare '70s Folkways LPs. Now, collected for the first time, on three CDs are 30 previously unreleased tracks from their archives. LP version features a selection of the CD tracks. Notes by J.D. CONSIDINE, and by sole surviving Entourage member, guitarist WALL MATTHEWS.

Next to the entire All is an astonishing work by Danish experimental sound quartet We like We, consisting of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice).

Although classically trained, all four share a desire for exploring, experimenting and shaping a sound of their own, something which is truly present on this album. Both instrumentation and composition feel glued together with an abundant sense of playfulness and vision. The record starts with the beautiful I'm not for More which sets the tone for the 10 pieces, hurling you back and forth in a whirlwind of sound and musical intuitivity.

Genre bending as the record can be, it can be seen as somewhat of a contrasting work - as much of northern folk traditions as of an avant-classical work in the spirit of György Ligeti and Meredith Monk. Forest Sketches, as an example, starts with minimal woodblocks and percussive rattling while slow building violins, cello and vocals pull themselves in through the unknown before bursting into a Pagan sounding wormhole of screams and looped cellos. The piece ends with minimal vocal sound scapes fading away into almost pure silence. It could be mirrored with a merger of both the opening and closing scene of Kubrick's classic movie 2001 - creating the sense of beginning of humanity versus the far future, with abstractation and the unknown.

Next to the entire All is both a mind bending and grounded piece of work fitting naturally next to other Sonic Pieces releases such as Hauschka & Hildur Gudnadottir's Pan Tone or Christoph Berg's Conversations, while adding a northern minimalism. A record as hard to shake off as it is to describe.