BINIBON is a work of both musical theater and alternative history based on the 1981 murder by Jack Henry Abbott of Richard Adan. Richard was a waiter and the night manager at the Binibon, a cafe and 24-hour hangout on 2nd Avenue at 5th Street in the East Village, a nexus for artists, musicians,neighborhood characters and bohemians true and faux. It was a place that E# spent many an hour drinking bottomless cups of terrible coffee during 1979-81.
Abbott was a talented writer, as well as an imprisoned killer who became the protege of famed author Norman Mailer (Mailer sponsored his release into a halfway house on 3rd Street.) The killing was a an important cusp-point in the history of the neighborhood, its culture, its daily life, its real-estate, and its future. E#’s music draws upon his own compositional and performance innovations that he developed during the time of these events with ties to punk, No Wave, noise, dance, industrial and exotic sounds. Jack Womack is famed for his “Dryco Series” of novels portraying a post-Apocalypse NYC.
Exerpt from BINIBON, a work of music/theater.
Concept by Elliott Sharp, text by Jack Womack. Directed by Tea Alagic.
BINIBON premiered at The Kitchen in New York City, May 2009.
Produced by Beth Morrison Projects
Scenic Design by Zane Pihlström
Costume Design by Jennifer Moeller
Video Design by Janene Higgins
Lighting Design by Gina Scherr
Sound Design by Elliott Sharp
Jack Henry Abbott: Jedadiah Schultz
Ted/Rich: Joe Tapper
Contessa/Suzy: Sonja Perryman
Johnny/Fabulucious: Ryan Quinn
Dramaturgy by Jane Malmo
Stage Management by Kathleen Munroe
Technical Direction by David Taylor
Wardrobe by Jessa-Raye Court
The La Berge & Simonis duo have finally released their first CD after performing together for over ten years. This is not a “let’s get together and see what happens” kind of thing. They have compiled an impressive backlog of recordings and they have even had some occasional performances, mostly with others involved. Their guest list includes: Richard Barrett, Erhard Hirt, Eddie Prevost and the band Apricot My Lady with the Bohman Brothers. This last project resulted in a CD release in 2009 on Esc Rec: “Newly Refurbished and Tussock Moth”. RUST FUNGUS was recorded between 2007 and 2009. Most of it was done in a session in the WORM venue in Rotterdam, recorded by James Rubery.
What should we say about the music that is not there to be heard? It is improv with added flavors that act as subtle guiding forces. Some are graphic scores, others decisions like “this one shouldn’t be too long”, while others are simply inspired by their titles. (Titles are structures too.)
Lukas Simonis has been playing his version of rock & noise & improvised music for some time now. He cooperated ao. With Pierre Bastien, Goh Lee Kwang, Ivan Palacky, Dave Brown, Eugene Chadbourne and Peter Stampfel. Some of his bands; Coolhaven, Dull Schicksal, Liana Flu Winks, Vril, Faces. He makes sound & music for films, makes (& curates) radioplays and composes for various groups. He also works for WORM, a centre for experimental arts in Rotterdam.
Anne La Berge is a pioneer flutist/composer, working with interactive computer systems, improvisation and as a leading interpreter of contemporary chamber music. She also writes texts and poems that slide in and out of her compositions and improvisations. She makes music for theater, film, radioplays and concert performances. She is determined to intimately integrate acoustic instrumental improvisation with live electronics and/or the computer as a musical partner.
“Passion” is the fourth CD output of Wac³aw Zimpel and at the same time the opening of his Undivided project. Undivided was founded as trio: Wac³aw Zimpel – clarinets, Mark Tokar – bass and Klaus Kugel – but sometimes it will be extended to quartet, quintet or sextet, inviting other musicians for specific realizations. In this case it’s Bobby Few, an American pianist, for years living in Paris. In early sixties Bobby Few performed and recorded with Albert Ayler, but worked with Steve Lacy, David Murray, Alan Silva, Sabir Mateen, Daniel Carter and Frank Wright as well (last autumn he gave concerts with Undivided Quintet – a group extended by clarinetist Perry Robinson).
The Project was born during the Holy Week of 2009 as a concert program for audiences in Poznañ, Toruñ and Gdynia. The CD contains a concert recording from Dwór Artusa in Toruñ.
“Passion” is Waclaw Zimpel’s initiative and composer’s work. Intrigued by passion performances and their musical style he decided to confront with their form and essence, existing from time immemorial in European high and peasant culture. Not all melodic themes were created by Zimpel (He admits in liner notes that some of the melodic themes were adopted or travestied from modern composers), but all arrangements and transcriptions are realized by him.
This music is not meant to express any religious experience. It rather express musician’s reflection about existence, experience and meaning of agony in human existence, it is not their individual statement of belief.
by Wawrzyniec M±kinia
Waclaw Zimpel – clarinetist, composer
He has graduated with mention I.J. Paderewski Academy of Music in Poznan – Poland in Prof. Zdzislaw Nowak’s classical clarinet class. Zimpel studied also at Hochschule Für Musik und Theater in Hannover with Prof. Johannes Peitz. His musical ideas are focused on different forms of improvisation and classical music. He has collaborated extensively with major contemporary improvisers and composers, including Ken Vandermark, Bobby Few, Joe McPhee, Steve Cohn, Christian Ramond, Mikolaj Trzaska, Tim Daisy, Steve Swell, Dave Rempis, Klaus Kugel, Marcin Masecki, Raphael Roginski. His and Tim Daisy’s project “Four Walls” was announced “CD of the year 2008″ by polish internet jazz magazine “Diapazon”.
Undivided:
Wac³aw Zimpel: clarinet, bass clarinet, tarogato, percussion
Bobby Few: piano, percussion
Mark Tokar: bass, percussion
Klaus Kugel: drums, percussion
The Passion:
1. Noc [The Night]
2. Getsemani [Getsemani]
3. Zdrada Judasza [Judas Treason]
4. Król wy¶miany / Zaparcie siê Piotra [Ridiculed King / The denial of St. Peter]
5. Droga Krzy¿owa / Ukrzy¿owanie / ¦mieræ [Way of The Cross / Cruxifixion / Death]
6. Rozpacz [Despair]
7. Zmarwychwstanie [Resurrection]
Laimonas Masevičius: tuba. Recorded in the studio of Lithuanian Composers’ Union in January of 2010.
Once I was picking mushrooms in thick Polish forest and i found this mushroom called Borowik Szatana. Encounters with Satan always leave long lasting impressions. A bit later I came up with the concept of Polish Roulette which is simple – “go to the forest and eat the first mushroom you find there”. This piece sounds better if sped up substantially. Dedicated to Krzysztof Gutfranski.
Dough
Lina Lapelytė: violin; Tuto Ensemble: kanklės, birbynė, barškutis.
This piece was recorded live in an open-air concert which celebrated City of Vilnius as an European capital of culture in June of 2009. If listened on high volume (and preferably on headphones) then in the beggining it‘s possible to hear faintly somebody saying “Ė, nachuj” and in the end, together with the applause, one can hear an audience member saying “Ačiū už pabaigą, blet”. Let it never be translated into english language but rather kept preserved as an unique stratum of our complex cultural heritage. This piece is dedicated to Birutė Asevičiūtė who commissioned me to write it.
Violin, Viola and Untitled
Lina Lapelytė: violin; Kęstutis Pleita: viola.
Recorded live in Marių Klavyrai festival in Klaipėda in October of 2003. This piece could be approached as an exercise in several kinds of superimpositions in micro and macro levels. Micro level is taken care by computer which multiplies the same layers of extremely short loops and superimposes them on top of each other – this way producing minimalistic variations of timbre. Macro level is intended for harmonic explorations which is carried out by string instruments who play the canon of identical harmonic series. This piece is dedicated to an empty room.
Widna
Seth Josel: guitar; Eva Zöllner: accordion.
Recorded in “Studio 10 0 10” in Berlin (sound engineer Jacopo Carreras) in December of 2009.
“il Widna” means “an ear” in Maltese language. In Polish it means “bright”. Somehow this reminds me of the title of my recent exhibition called “Transparent Ears”. But this long piece is in no way transparent nor related to my visual arts. Dedicated to Miguel Carvalhais.
Inspired by similar projects on the net, the electro-music.com Field Recording Project challenged users to create original compositions from the existing field rec archive. Participants were limited to field recordings as the only sound sources, but could chop, mutilate, and process with effects to the heart’s desire.
This is simply a creative project to celebrate our wonderful archive of sounds from around the world.
The whole of a duo concert on trombone and prepared piano, recorded at LArchiduc in Brussels – a bar whose art deco interior is featured on the cover. This is the second CD by this duo following on from the highly acclaimed NOBODY’S MATTER BUT OUR OWN on NurNichtNur. Both musicians are now amongst the freshest exponents of their respective instruments, and they interact with each other superbly. 60 minutes.
Toulouse-based sax player Heddy Boubaker, along with fellow guitarist David Lataillade and drummer Frédéric Vaudaux, are ZED, a free-music unit that delivers a mix of wild free-form improvisation and punk energy for an hour of high density sound surge. Fasten your seat belts.
Heddy Boubaker, as & bs s
David Lataillade, el. g
Frédéric Vaudaux, dr, perc
Recorded at Studio Le Sous-Marin, Toulouse, France
on October 19, 20 & 21, 2009.
Cover art by Bernard Minier.
Perhaps if Gulliver had met a Gypsy musician in the course of his travels and had been lucky enough to hear her in a spontaneous duet with a flute-playing giant, there might be some precedent for the music on this disc. As it is, we can be sure that will never have heard anything much like this before. The musical conversation is animated, alien, and timeless.
Wind superstars, Roberto Fabbriciani, flutist, and Esther Lamneck, clarinetist, came together in the summer of 2008 to explore the sonic possibilities of the HyperBass Flute (a plumber’s demented fantasy) and the Tárogató (a Hungarian reed instrument). It is easy to fall in love with these bizarrely lovely instruments, their emotional colors, and expressive resonance.
The exploration of extreme low sounds has always intrigued Mr. Fabbriciani (the world authority on extended flute techniques and collaborator with the likes of Stockhausen, Ligeti, and Messiaen). With this instrument he has discovered not only a new sonic universe for the flute but new ways of sound production. The rich and colorful dynamic range of the instrument is enormous and allows him to move fluidly from softest breath sounds to the loudest of percussive effects. From multiphonics to vocal polyphony, the expressive possibilities for this instrument are extraordinary.
The Hungarian Tarogato, a distant cousin of the clarinet, has one of the most beautiful sounds of any woodwind instrument. Ms. Lamneck, artistic director of the NYU New Music and Dance Ensemble, knows her way around it, cajoling arpeggios, slides, and circular breathing techniques out of it to leave you breathless.
Cho and The Martyrs Like Eric and Dylan: I Let My Hard in Virginia (Niopo Poreri mix): Play in Popup | Download
Cho and The Martyrs Like Eric and Dylan: I Can(‘t) Hear My Self (Lunar mix): Play in Popup | Download
Cho and The Martyrs Like Eric and Dylan: Benzoyl Peroxide (EHS mix): Play in Popup | Download
Cho and The Martyrs Like Eric and Dylan: Las Ruinas Circulares (Guilherme Darisbo mix): Play in Popup | Download
Cho and The Martyrs Like Eric and Dylan: MartyrX (Concupiscencia mix): Play in Popup | Download
Cho and The Martyrs Like Eric and Dylan: La Arquitectura del Exterminio (Oil For Food mix): Play in Popup | Download
Cd cover art:: Download
English
Art in noisE
Way too often in Italy “noise” music has been linked to rock or dark genres, and, much worse, to the right-wing political fringe.
However, these are mere prejudices typical of our country, still underdeveloped from an arts point of view, as every noise-musician is well aware of.
In fact, major unsung artists like Luigi Russolo, Pietro Grossi and Maurizio Bianchi, make Italy play a lead role in contemporary music.
The maybe idealistic purpose of the project called “Arte nel rumorE” (literally, Art in noisE)
is to spread the concept of “noise-in-music” throughtout our country;
As a start, we are going to release come music compilations by the italian artists involved in the project, who will also deal with the theoretical side of noise music, which we think is the base to understand any kind of non-entertaining form of art.
Italian artists and NetLabels who share our ideals are welcome to partecipate in the project with their own works.
Arte nel rumorE compilations will appear on as many NetLabels as possible, under a “CREATIVE COMMONS” license,
to state once again that art is not for sale!
ITALIANO
Premessa:
Noi siamo contro il razzismo la xenofobia ed ogni forma di discriminazione, se non siete d’accordo con la nostra politica vi preghiamo di non chiedere la nostra amicizia.
Ancora troppo spesso in Italia si è portati a considerare il rumore in musica un genere che ruota attorno al rock, più o meno duro, o al filone dark, spesso addirittura associato politicamente alla destra più estrema. Come ben sa chi fa musica utilizzando il rumore, questi sono tipici pregiudizi che nascono in un paese artisticamente piuttosto retrogrado come il nostro. L’Italia ha nella storia della musica contemporanea un ruolo fondamentale, grazie a geniali figure come il Futurista Luigi Russolo, Pietro Grossi e Maurizio Bianchi, tutti e tre quasi completamente sconosciuti al pubblico italiano.
Qui non si tratta di sviluppare l’orgoglio italiano, cosa aberrante che sta tornando di moda nel nostro paese, ma più semplicemente di dare il giusto spazio al genere musicale noise, genere in cui l’Italia ha storicamente un’importanza riconosciuta in molti paesi stranieri, ma quasi del tutto sconosciuta nel nostro.
Arte nel rumorE è il nome di un progetto il cui utopistico scopo è quello di diffondere maggiormente il rumore in musica nel nostro paese. Come primo atto si è pensato di produrre delle compilations di tracce sonore composte da musicisti italiani, i quali sono invitati a dare anche una propria definizione al suono rumore, per sottolineare il fatto che il progetto Arte nel rumorE non si limiterà alla sola produzione musicale, ma cercherà di proporne anche lâaspetto teorico, base fondamentale per conoscere ed apprezzare qualsiasi genere di Arte che non sia puramente dâintrattenimento. Il progetto compilations è quindi aperto a tutti i musicisti e NetLabes italiane che ne facciano semplice richiesta di partecipazione, e che ne condividano gli utopistici ideali. Infatti le compilations Arte nel rumorE saranno promosse non da una sola etichetta, ma da tutte quelle che decidono di prendere parte a questo progetto, e questo è sicuramente un altro aspetto estremamente interessante ed innovativo.
Chi siamo? Un pugno di idealisti, visionari, utopisti. Noi vogliamo cercare possibili strategie che consentano la sopravvivenza intellettuale e culturale dei soggetti sensibili. Noi siamo convinti degli effetti benefici della condivisione e della collaborazione, rifiutiamo la logica della competizione e del profitto, tutte le proposte a nome Arte nel rumorE saranno licenziate sotto CREATIVE COMMONS, per ribadire in modo netto che Arte non è commercio, e che l’artista non produce nulla di originale, ma molto più concretamente prende dal mondo che lo circonda tutti gli elementi che andranno a comporre la sua opera, quello che è originale in ogni espressione artistica è l’individuo che da forma all’opera d’arte.
Il progetto Arte nel rumorE prende avvio dalla produzione e promozione di più comiplations musicali, ma vuole proseguire il suo utopistico viaggio dando vita ad un Gruppo di artisti i quali promuoveranno sotto la medesima etichetta differenti progetti.
W IL RUMORE!
COMPILATION ARTE NEL RUMORE VOL.III TRACK LIST:
Traccia 01 Pirophonia by Mare di Derac, Carlo Quaglia, lewitt [sp1], Eric de Cordier; www.myspace.com/maredidirac
Riflessione sul suono-rumore:
” In questo tempo il rumore deve essere superato, si deve tenere ben presente che gli artisti che ne hanno splendidamente fatto uso in passato rendendo l’avanguardia sonora, nel nostro paese e negli altri, illustre e geniale;
ora sono morti ed i morti si onorano, ma non si emulano eccesivamente. Marinetti scrisse così nel suo manifesto “I più anziani fra noi, hanno trent’anni: ci rimane dunque almeno un decennio, per compier l’opera nostra. Quando avremo quarant’anni, altri uomini pi giovani e pi validi di noi, ci gettino pure nel cestino, come manoscritti inutili. Noi lo desideriamo!”. Noi signori miei tutto questo lo facciamo con grande tenacia, i nostri macchinari che creano le nostre frequenze, superano i limiti della coscienza fino ad ora raggiunta! La Pirophonia è parte di questo concetto. Il suono del fuco è il connubio tra la distruzione di ciò che è passato e la consapevolezza di ciò che verrà! Il Nulla! La Cenere! Il rumore non distrugge per creare, poichè esso già crea mentre distrugge! la nostra creazione sta in questo, il fuoco e simbolo di ciò che possiamo fare, di ciò che sviluppa l’uomo senza lasciare traccia del suo passaggio. L.Nascitari”
Traccia 02 Le Triomphe Hermetique by cut/e; http://www.myspace.com/cutxx
Riflessione sul rumore:
RUMORE:
In un epoca in cui c’è tanto rumore che è nulla
e di costretti silenzi, echi di esplorazioni sonore scuotono attraverso il rumore coscienze addormentate.
Sante Cutecchia [cut/e]
Traccia 03 Live in Artica Festival 2010 by Les Mistons; http://www.myspace.com/544556914
Riflessione sul Rumore:
Noi viviamo nel rumore un semplice rumore bianco a volte rosa ci accompagna nei momenti di silenzio, le nostre città, le nostre campagne, i
nostri macchinari più obsoleti sono pieni di rumori. I nostri corpi fanno rumori, la nebbia è rumore, il gas è rumore, il caldo ha un rumore il freddo ne ha un altro. Non ci resta che farne uso, perche è nostro ci appartiene, dentro il rumore c’è il frastuono più assordante e nel frattempo il silenzio più assoluto. Insomma il rumore è un’ermetica UTOPIA in continua rivolta.
Traccia 04 SHUNYATA by Suburban Howl; http://www.myspace.com/suburbanhowl
Riflessione sul rumore: Rumore è:
il grido, l’urlo, il pianto…prima della Grande Pace
Traccia 05 SKYZOFRENIA by Desolandia Express: http//www.myspace.com/desolandia
Riflessione sul rumore:
DesolandiaExpress celebra il rumore che divenne caratteristica di una intera sottocultura, quel fragoroso strisciare di una puntina metallica nel solco di un vinile, lo SCRATCH!
Il giradischi diventa srtumento musicale e i vinili incisi sono un catalogo antropologico di rumori organizzati in armonie e scomponibili in qualcosa di unico.
Diretti, ritmici, ipnotici, se la “canzone” è pura arte sorella della pittura, gli scratch sono per DesolandiaExpress la versione a fumetti della “musica”.
Traccia 06 Buio Cantina by Pusio: www.myspace.com/pusio93
Riflessione sul rumore:
OGNI RUMORE E’ RICONDUCIBILE AD UNA NOTA MUSICALE; OGNI NOTA MUSICALE, OGNI TONALITA’ RAPPRESENTA UN’EMOZIONE, UN SENTIMENTO; QUINDI IL RUMORE E’ UN’EMOZIONE.
Traccia 07 Live in High Foundation 2010 by Le Strida: www.myspace.com/crocemassimo
www.myspace.com/alfonsosantimone
Riflessione sul rumore:
Probabilmente nella rappresentazione del mondo la musica è paragonabile alla geometria euclidea, il rumore e alla geometria del caos.
In parole semplici certa musica, prevalentemente quella euro-colta successiva al XVII secolo e precedente al XX secolo fondata sull’armonia tonale e sulla tonalità allargata degli ultimi scampoli del 1800, è come la geometria eucliudea, chiara e ordinata, mentre le musiche sviluppate successivamente e il “rumore” nel senso russoliano del termine, inteso nel senso di un’architettura sonora complessa e irregolare, sono come la geometria del caos, un’ affascinante prospettiva che ha avuto il merito di aprirci ad un mondo completamente nuovo e tutto da esplorare….
Traccia 08 Respirando by Basma:http://www.myspace.com/xmel75
Riflessione sul rumore:
Respiro…il rumore della vita!
Traccia 09 Cosmic Dust [short] by CRIS X e DBPIT: www.myspace.com/dbpit & www.myspace.com/crisex
Riflessione sul rumore:
“as far as music concerned so called “noise” is an anti-authority representation”
by Mayuko Hino
Traccia 10 Le lucertole muovono i piedi dal futuro by Nei Riflessi in collisione: www.myspace.com/neiriflessiincollisione
Riflessione sul rumore:
Il rumore come arte prende la forma di una dichiarazione autoconsapevole, autocontradditoria, volta (consciamente o meno) a sovvertire la prigionia che l’armonia ha imposto alla nostra espressione attraverso il suono.
Trovo inutile lambiccarsi il cervello cercando analogie o differenze tra il rumore e la musica tradizionale, analisi da un lato anche svilente e irrispettosa verso quella che puo’ e deve essere considerata una forma d’arte a se’, perche’ finche’ fare noise/drone/et similia significhera’ essere ‘diversamente musicisti’ vorra’ dire che non verra’ mai realmente alla luce la profondita’ e il significato di cio’ che facciamo.
Cio’ di cui sono maggiormente convinto e’ che non si possa ascoltare il rumore con le stesse orecchie con cui si ascoltano le composizioni musicali tradizionali, dato che cio’ manterrebbe vivi e intatti gli stessi preconcetti a cui queste ci hanno dogmaticamente abituato, inquinando profondamente la comprensione di qualcosa che e’ ‘altro’, la percezione di una nuova espressione sonora, che non si impone limiti e sfida ogni ricomposizione; un modo diverso, innegabilmente piu’ libero e sincero di cogliere l’arte.
Traccia 11 Au Centre De Deux Nèbuleuses by Globoscuro: www.myspace.com/globoscuro.
Riflessione sul rumore:
Il rumore è il contraltare del suono come dimensione rassicurante della realtà. Esso ci ricorda come la materia, l’universo e tutto ciò che ci circonda, sia a livello introspettivo che esteriore, sia disorganico, assordante… in altre parole “rumore”. E’ essenzialmente una rappresentazione della mente umana, del delirio caotico che in esso trova la sua naturale traduzione, del vortice emotivo che rade al suolo le mura costrittive della melodia nella ricerca affannosa del suo moto violento di liberazione. Il rumore è una grande meditazione sulla fatalità del suono in questo misero frammento di cosmo che sfugge alla necessità del nulla, dove l’armonia assurge ad una sorta di “incidente di percorso” tra un intervallo di caos e l’altro. (Emiliano Pietrini, Globoscuro)
Traccia 12 Inverno ed Oltre by Nu Weird Orchestra:
http://nuweirdorchestra.byethost32.com
Riflessione sul rumore:
— INIZIO —
Nella notte infinita intrappolata dentro un universo-scatola è giunta l’ora di rivendicare il rumore, emancipare il caos!
Noi siamo il fragore del mondo in frantumi!
Urliamo e nelle notti splendenti incendiamo l’universo che muore!
Morte ad ogni cosa immobile!
Avanziamo come pallottole sparate contro un presente stantìo!
Distruggiamo TUTTO in nome del NIENTE che verrà!
— FINE —
Traccia 13 La mente libera il pastore condannato da troppo riserbo by Nebularina e M. Croce: http://sinossipubblica.blogspot.com/ – www.myspace.com/crocemassimo
Riflessione sul rumore:
La mente libera il pastore condannato da troppo riserbo.
Vorrei che la mia anima suonasse ancora con un suono di fiato in un intorno lento e concentrico.
L’ipnosi risveglia stadi dell’essere diversi per potenza e conoscenza e strega le emozioni al passare delle successive lune.
Lei determina le maree individuali del dio fecondo e aspetta di osservare la prossima manifestazione messianica.
Traccia 14 Hai toccato la mia pancia by Alessandro Ruzzier: http://www.alessandroruzzier.it/
Riflessione sul rumore:
Sono sempre stato attratto da quegli episodi residuali degli eventi, da quegli spazi indecisi, da quelle zone che sfuggono alla sistematica necessità di definire ogni cosa con una corrispondente parola. Così come per le immagini (l’altro linguaggio che sono solito usare) anche per i suoni, anche per la musica esiste una dimensione indecifrabile dove gli elementi primari sono rappresentati da varianti fuori controllo mai uguali una alle altre. Rumore. E’ forse in questi crepitii interstiziali che il mondo ordinato dei suoni trova l’equilibrio vitale. Suono e rumore, necessari uno all’altro. E non suono e silenzio, perché il silenzio non esite.
We think that we « make a journey » but soon enough it’s the journey that makes – and unmakes – us.” (Nicolas Bouvier, “l’usage du monde”)
When I listen today to these pieces, I hear, of course, a geographic inventory of all the places I encountered. Above all, though, and as if by default, I hear the sonic journal of twelve years spent recording sound.
My relation to the sites wasn’t based on a desire to « document » but it is worth noting, however, that a « sound story », more trivial perhaps, has instituted itself, expanding and commenting on my musical journey: that of a man listening.
Moreover, it has never seemed more obvious to me that listening is always situated in what I would qualify as the extreme present, that is, the instant when listening, landscape and time become one.
Bouvier was right : the more we journey, the more the journey transforms us. Fascinated by water and by wind, these agents of transformation, activators of change, became, during those twelve years, my principal, almost exclusive, subjects, wherever I happened to be. Progressively, a methodology, informed by cartography, gave my way of working a certain determinism without, however, breaking my intuitive relationship with the landscape. This also informed my conception of that which is sonic (le sonore), and its importance: being
inside, at the very heart of movement. Listening, without drawing breath, led me beyond my preconceptions – and into the depths also, along with all my recording gear: I remember very well my fall into the cold water of a waterfall’s plunge pool. That was in 1991…
Listening to water or to wind is to bring one’s attention to bear on the perpetual motion of things, a living alchemy, the pulsing of the world.
Eric La Casa, Summer 2010
WATER
1. Les pierres du seuil part 4
2. Les pierres du seuil part 5
An exploration of the wide variety of water territories (from droplets in a cave to powerful ocean waves), in two movements, forming a single composition.
3. Les pierres du seuil part 2
At the emergence of a body of water and air, an effervescence
4. S’ombre part 1
The alchemy of water and stone, summer
5. Spirale 3
The geophony of a river : a meandering journey, marked out by windmills
6. Les oscillations part 2
Waves, oscillations …. an opening up of the landscape
7. L’Inspir du rivage part 2
Ressac… when the sea and the rocks come together
Total running time : 74 minutes
WIND
1. Dans le feuillage du lointain, la clameur d’un bruissement
At the boundary with background noise, an ineffable tumult
2. Les pierres du seuil part 6
Listening to the wind’s journey through the landscape
3. Quelque chose de cela, le désert part 1-2
A distressed wind in a still life landscape
4. Les pierres du seuil part 8
A factory entrance, air expelled by machines
5. L’air au fond rouge
The density of air, a city’s distant rumbling
6. Les aubes sont navrantes
A false northern landscape, cold and hostile… a drama
Total running time : 75 minutes
Credits
Water
1. (1999)
2. (1999) from “Les Pierres du seuil 4-7″ CD . Edition… (USA). September 2000
3. (1998)
4. (1999) excerpts from “The stone of the threshold” CD. Groundfault Recordings (USA). November 1999
5. (2003) Unreleased. Commissioned by The River House [?] at Saint-Georges-de-Montaigu (France)
6. (2004) excerpt from “Les Oscillations part 1&2″ CD. Fringes Recordings (Italia). May 2005
7. (1999) from Explorer series, 7″. Production : Povertech (USA). September 1999
Wind
1. (1998) from “The sound of nature – the nature of sound” compilation. Kaon (France), July 2001
2. (2000) from “Les Pierres du seuil 4-7″ CD . Edition… (USA). September 2000
3. (2000) from “Quelque chose de cela, le désert part 1-3″. Collection Mémoires (France), May 1999
4. (2001) Unreleased. Originally composed for Halana magazine (USA)
5. (2001) from “Sul” compilation, a tribute to Chris Marker. Sirr.records (Portugal), June 2002
6. (2008) excerpt. Unreleased. Originally composed for Clédat & Petitpierre’s performance
Locations [1994 - 2007]
France
Water
Ardèche (steps in the Pissevieille brook / rain on a car / summer rain)
Athee-sur-cher (river Cher in full spate)
Bedoues (river Tarn)
Berry (oozing in a watertank)
Bruxelles, Belgium (machine for rinsing out photographs)
Choisy-le-roy (artificial rain in an industrial zone)
Crotelles (Rain, under an umbrella / brook and brook pipe)
Darnetal (rain on container)
Dieppe (music school organ)
Dunkerque (swelling sea with lighthouse / dunes / sand in wind)
Dunkerque-Sollac (air-cooler / ore in motion)
Epeigné-sous-bois (outflows in trenches and reverberating pipes / water, air bubbles, at the edge of a field)
Grenoble (wall dripping in the 102 venue , during a soundcheck for Cellule Metamkine)
Haute-Savoie (Nant Bruyant brook / violent rain on a car)
Hennequeville (“tubular sea” / heavyflood-tide on a concrete platform)
Le Semnoz (rain falling on a small covered market)
Lozere (Gorges of the river Tarn)
Nouvellière (in a farm, rain after a storm,)
Paris (hail on window / rain and storm in inner courtyard / oozing in a tunnel / outflow in inner pipe / the Ircam anechoic chamber : hand sliding on skin and microphone in mouth ) Paris (in a cemetery, rain, under an umbrella)
Plaisians (foot in dried herbs)
Pordic (distant helicopter / wind in a cornfield )
Port Jehan (waves and peebles)
Vendée (the “Grande Maine” and “Petite Maine” rivers)
Wind
Céré-la-ronde (in a wood)
Choisy-Le-Roi (airplane flying overhead, water cleaning station : electrical waves, water-pump engines / ventilations)
Dieppe (music school : organ)
Dunkerque-Sollac (ore in motion / foundries / hot rolling mills / blast furnaces)
Epeigné-sous-bois (in an oak forest)
Hennequeville (North Sea)
Lussault-sur-loire (fir forest / grinder in the distance / a windy day in a forsaken house / a stormy )
Montlouis (a stormy night / train in the distance)
near Neuil (a forsaken farm)
Paris (Salpetriere chapel and Notre-Dame-des-champs church : organs played by Jean-Luc Guionnet / portable DAT recorder motor / Strasbourg-St-Denis metro station : electrical waves / seeds in motion)
Villeneuve-Saint-Georges (empty goods trains)
and three locations in Europe :
Water
Rovinj, Croatia (lightning / rain and storm in an inner courtyard / rain on an open window frame / along the sea shore)
Wind
Rovinj, Croatia (inner courtyard and wind under door / thirty-story tower, radio waves / strong wind in marina)
Anvers, Belgium (a pedestrian tunnel and elevator)
Dundee, Scotland (in the harbour)
2 x Audio CD
140 minutes+
Release date: November 2010
18 Euros + shipping
Rakombinacje’s “Izolacje Sensu” is an album of extraordinary glitch-ambient. A lush palette of sounds paves a smooth journey before your ears.
“Album was created in 2010 I did it by using samples from my microphone recordings and glitches and noise from my music program. I am using a human lyrical expression, giving the importance of sound My creativity is associated with a severe rhythmic sounds from – http://www.myspace.com/rekombinacja” — from the artist
based on single sounds of the album “rephlex” of the nuremberg
artist weiss, thorsten soltau constructed two minimal compo-
sitions, that transform the roots of the rhythmic motion in weiss
music into digital granulate structures.
weiss on the other hand remixes the single tracks of soltaus
revised new version and creates an atmosphere similar to
“rephlex”, that comes full circle with the arrangements on both
sides.
rezykla contains as well the conception of the same length: all
pieces cover a maximal length of precisely five minutes.
Two gears, two springs, two mechanisms. Two strings, two hands, two people.
The activity of calibrating requires two parts, a variable and a standard. Through the relativity of comparison (here’s a gear, here’s another; how do they fit together?), components can be adjusted to function properly, to run smoothly and mesh in perfect tandem. That’s the way a machine can be fine-tuned.
The Charlotte Hug / Fred Lonberg-Holm duo is a machine of sorts. Not, of course, in the sterile, robotic, functional sense, but in the sense that together they enjoy a rare kind of calibration, a fine-tuning that one hears infrequently in improvised music, only from the very best collaborators. That they are string players means they come equipped – and burdened – with a lot of baggage, the kinds of classical associations from which it can be difficult to break free. The fussiness of intonation and phraseological inflexibility that one associates with everyday string players is nowhere to be found in Hug’s incisive, spectral viola, or in Lonberg-Holm’s rich, earthen cello.
When they play together, they become a unified machine, not because they do the same thing or play in unison, but precisely because they each have a part and they play it. And they play it together, as if the music was coming from a common place or meeting in a common place, part of a crystal clear operation the logic of which is fine-tuned in the moment of its unfolding, by means of listening and responding and initiating. And more listening. They have the reliability of a Swiss watch, its innards all working towards the single goal of keeping time, but in this case it’s not mechanistic in the same way, the parts are all constantly changing, morphing, the one little gear is growing bigger or shrinking or getting more teeth or differently shaped cogs, so the other gear has to adjust immediately to keep up the proper torque.
Some Oulipo writers have insisted that any system, any procedure designed as a constraint for writing, needs to ‘creak’ a little. That is to say, it has to swing, to give a bit; the gears have to change shape, if only to keep things interesting. There’s a lot of creaking going on here. Listen as Hug goes low, laying down a growling drone, meanwhile Lonberg-Holm squeaks and pops up top. Intensity and excitement, fission energy compacted into a chamber twosome.
Exactitude without fuss, and with a bit of creak – that’s fine-tuning. A good reminder: It takes two.
JOHN CORBETT (2010)
CHARLOTTE HUG viola & voice
FRED LONBERG-HOLM cello
Digital concert recording made in Zürich (WIM)
by Christian Wolfarth – 2009 March 30
Total time 52:49
Following his Humanization 4tet’s debut in 2008, Portuguese guitarist Luís Lopes joins forces again with Rodrigo Amado on tenor sax and González brothers Aaron and Stefan on bass and drums for a new muscular set where free jazz meets rock meets blues at the crossroads. Enjoy the ride!
Pietro Grossi was born in Venice, and he studied in Bologna at the taking a diploma in composition, and violoncello. In the sixties Grossi teaches at the Conservatory of Florence and begins the research and the testing in the electroacoustic music. From 1936 to 1966 he was the first cellist of the Maggio Musicale Fiorentino orchestra. Grossi began to experiment with electroacoustic music in the 1950s. By 1962, he had become the first Italian to carry out successful research in the field of computer music.
In 1963, he turned his interest to electronic music and founded the S 2F M (Studio di Fonologia Musicale di Firenze) which made its headquarters in Florence at the Conservatorio, and he also became a lecturer in this subject.
From: http://en.wikipedia.org/wiki/Pietro_Grossi
“Il computer ci libera dal genio altrui ed accresce il nostro”. Questo aforisma riassume perfettamente l’opera di Pietro Grossi, musicista d’avanguardia tra i più importanti del XX secolo. Pietro Grossi si diploma in violoncello e composizione al Conservatorio di Musica di Bologna. Negli anni sessanta decide di abbandonare la carriera di violoncellista nonostante fosse considerato uno straordinario virtuoso di questo strumento, per dedicarsi alla ricerca e sperimentazione in campo elettroacustico. Tra il 1961 e il 1967 fonda a Firenze l’associazione “Vita Musicale Contemporanea”, promuovendo una serie di concerti di musica contemporanea nel nostro paese, tra i personaggi importanti che Grossi ha presentato durante la rassegna di concerti dell’associazione incontriamo John Cage (1964). Altre tre tappe importanti della ricchissima attività di Pietro Grossi, nel 1963 fonda lo Studio di Fonologia Musicale di Firenze (S 2F M), da considerarsi un vero prototipo degli studi di home recording, nel 1965 ottiene l’istituzione della prima cattedra italiana di Musica elettronica, presso il Conservatorio di Musica di Firenze. Nel 1966, a Bloomington negli USA, fonda uno studio di musica elettronica.
Le sue prime esperienze di Computer music risalgono al 1967. Altra tappa importantissima, nel 1970 compie la prima esperienza di telematica musicale, collegando la Fondazione Pio Manzù di Rimini, con l’istituto pisano del CNR. Grazie ai suoi studi informatici, con il tempo allarga i suoi interessi dalla musica alla visual art, è suo un altro geniale concetto che prende il nome di HOMEART, il cui aforisma suona così: << Arte creata da e per se stessi, estemporanea, effimera, oltre la sfera del giudizio altrui >>.
Come per tutti gli altri geni delle avanguardie del XX secolo, l’eredità per noi più preziosa non è rappresentata dalle opere artistiche, spesso limitate nei risultati per motivi legati anche ai mezzi estremamente elementari con cui sono state realizzate, ma dagli aspetti teorici che Pietro Grossi ha potuto elaborare grazie alla costante e fiduciosa sperimentazione, teorie e concetti che noi oggi possiamo utilizzare per creare, grazie alle potenti possibilità offerte dai sempre più complessi strumenti tecnologici, opere d’arte coerenti ai nostri tempi.
“What first attracted me to the famous GTO was this notion of using metal objects for music. I was (and am) an industrial music fan, so I picked up some recordings for a listen. Rather than music that was simply bombastic, as was often the flavor of industrial at the time, I heard a music that used parts of cars to create something deeper and more soulful– this was industrial on the brink of jazz, or jazz on the brink of industrial– a music that spoke to my heart and mind and that I think is truly inspired.”– Thomas Park, 2011
This release contains previously unreleased material from legendary DIY band founded in early 1990′s in New Orleans using gas tanks picked off the street as instruments
John Daly: guitar, loop station, effects, readings, field recordings, prepared samples in Ambient. All mixed live in Gleetchlab3, except Conversion mixed in Tractor Pro.
Images from glass negatives circa 1890. Photographer: Anon.
Text from “The philosophy of Insanity” by A Late Inmate 1860.
01. LE TAILLEUR DE TEMPS DANS L’INTERZONE (FAGOT SOL). DAFNE SANDOVAL. 2010
02. LHC (FLAUTA BAIXA I TRES SNARES DRUMS). ENSEMBLE INSTANT DONNÃ DE PARIS. 2010
03. LA VOIE VERS L’AUTRE (FAGOT I ELECTRÃNICA). DAFNE SANDOVAL. 2008
04. MÁS DE MIL OJOS NOS VIGILAN (VIOLONCELO I ELECTRÃNICA-SMI). AMANDINE ROBILLIARD. 2010
05. INTERSECCIONS MIXTES. (FAGOT I ELECTRÃNICA). DAFNE SANDOVAL. 2008
06. LE TAILLEUR DE TEMPS DANS L’INTERZONE (VE) (FAGOT I ELECTRÃNICA-SMI). DAFNE SANDOVAL. 2010 (ELECTRÃNICA CREADA A PARTIR DEL CDR HR061. FILE UNDER TONER. THIS IS THE END, BEAUTIFUL FRIEND)
Although Coxhill and Turner have worked together in various combinations for over 40 years, this is the first album to feature them as a duo. The main part is a concert recorded in Brest on a 2003 French tour showing their unique take on soprano saxophone and percussion duo improvisation. The remainder is a more minimal performance from a more recent London concert. All previously unissued. 58 minutes.
Combining field recordings, vocal manipulations, instrumental material and extended digital methodologies,Gail Priest has created a haunting cabinet of curiosities that works beautifully as a full length listening experience. Sometimes sparse and abrasive, at other times luxuriously grandiose, Presentiments from the Spider Garden is a kind of neo-speculative history, an album that challenges, charms and transports the listener to a mirror-world of revolutionary battles, natural histories and strange alchemies.
Presentiments from the Spider Garden is available in digitally from online stores such as iTunes | eMusic | Endgame Records Store Presentiments from the Spider Garden is also available in a beautiful gatefold CD format designed by Gail Priest, you can order the CD from Endgame Records Store.
Launch Party for Presentiments from the Spider Garden
Sat 6th of Nov @ Hardware Gallery (263 Enmore Rd, Enmore)
7.30pm -11.30pm, $8
To launch Presentiments from the Spider Garden, Gail Priest and fellow experimental audio cohortsJon Watts & Raven (Peter Hollo) shall be performing live sets alongside audio-visual collaborators Sounds of Homes (Tegan Northwood, Shane Fahey & Honi Ryan). The launch shall take place in the intimate setting of the Hardware Gallery (263 Enmore Rd), doors open 7.30pm for a 8pm start. Hope you can make it down for this lovely evening of new sounds and visuals.
