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*300 copies limited edition. Black sleeves with paste-on artwork and a postcard* Debut LP from a new Gothenburg duo consisting of Irma Krook (Makthaverskan) and Dan Johansson (Sewer Election). Alyssa takes elements from Irmas Military Arms 12" released a few years ago and combines it with the mind expanding synth stuff Dan has explored with the Psychic Panorama recordings recently. Adding a few larger-than-life piano bangers and whatnot, the result is a dreamy and mesmerizing night time album …
In Complete Works for Multiple Piano, Morton Feldman’s quietly radical writing for three or more hands is heard as a three‑hour continuum of hushed, hovering sonorities, where time dilates and the piano becomes a shared, breathing instrument.
1971 LP on Advance Recordings with late 1950's / early 60's compositions for piano by the German composer and by the founder of The New Music Ensemble, performed by Robert Floyd.
Two 1979 concertos for violin and orchestra performed by Itzhak Perlman with the Boston Symphony Orchestra conducted by Seiji Ozawa, and released by EMI in 1985.
1972 split LP on Crystal Records with the pairing of two concertos composed respectively in 1948 and 1969 performed by the Crystal Chamber Orchestra led by Akira Endo.
Vocal compositions performed by Phyllis Bryn-Julson, Constantine Cassolas and Paul Sperry with the Da Capo Chamber Players and released by New World Records in 1984.
Cage's mid-1940's "exquisite corpses" pieces in collaboration with Cowell, Harrison and Thompson, plus Ussachevsky's 1981 electronic valve instrument composition and two 1960's compositions by Harrison and Smit, performed by The Brooklyn Philharmonic Symphony Orchestra conducted by Lukas Foss abd released by Gramavision in 1983.
Three orchestral works composed in the 1950's and 60's and performed by the Minnesota Orchestra conducted by one of the two composers, released on Desto in 1972.
Great selection of 1960's South American experimental music for ensemble performed by a composers/performes group led by Lanza, released on Mainstream avant-garde series curated by Earle Brown in 1973.
On geschrieben in wasser., Klaus Lang pares the piano quartet down to a faintly breathing organism, letting soft, slowly shifting harmonies hover at the edge of audibility like something written on water just before it disappears.
On For a Lemon Tree, Kristofer Svensson, Maya Bennardo and Erik Blennow Calälv cultivate a fragile, glowing sound‑world where violin, bass clarinet and kacapi trace slow, intertwined lines, turning silence, breath and overtone into their primary compositional materials.
On his Clarinet Quintet, Jürg Frey stretches time until it feels almost weightless, using soft clarinet breaths and hushed strings to trace a slow, luminous drift where tiny inflections become whole landscapes of feeling.
On Flare, Sylvia Lim turns six chamber works into a series of luminous close‑ups, magnifying tiny shifts of timbre, breath and touch until fragile sounds bloom into something cathartic, raw and quietly destabilising.
On Tending, James Creed threads four ensemble works through a shared practice of careful, collective attention, letting sparse parts, quiet doublings and gently unstable textures accumulate into music that feels like weather slowly forming in the air around you.
On Of Time, Underground Spiritual Game - baritone saxophonist Eden Bareket, bassist Ran Livneh and drummer Eran Fink - trace an imaginary route from city grime to rural trance, fusing Ethiopian jazz, Afrobeat pulse and cosmic free improvisation into a single, slow‑burning ritual.
On Hyperit, Nev Lilit (Hedvig Jennefelt) turns a performance‑lecture into elemental sound‑theatre, carving electronic landscapes from dirt, magma and meteorite lore until you feel less like a listener than something buried inside the mountain.
On Conclusio, Asmus Tietchens bends back toward his industrial roots, folding corroded pulses, cold drones and acerbic detail into a suite that feels like “German Angst” hammered into stark, sculptural sound.