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1994 release ** "Composer, performer and improviser René Lussier is one of the dominant figures in contemporary Canadian music. In 1989 he won the Paul Gilson Prize for his radio work Le Trésor de la langue which he recorded on the Ambiances Magnétiques label and which he presented in concert version in Canada and abroad. Here he presents his latest album entitled “Le corps de l’oeuvre” which is made up of a series of instrumental pieces for large and small ensembles written and refined over the…
These are selected forsaken recordings, demos, abandoned versions etc. of music from 2016 - 2025. Most of these pieces are going to be released in their original context.
Thank you wholeheartedly to those of you who have reached out.
Special thanks to Thorbjørn, Admeta String Quartet, L, Jeppe og Jonas.
One of Carola Bauckholt's major talents is the gift of attentive and passionate listening. Through persistent research, she uncovers the hidden musical potential of ambient sounds such as the gurgling of a fountain, a grinding crank, birds, dogs, construction machinery or a babbling baby, which then become the core of entire works. These sounds need a mediator like Bauckholt who translates them, thinks them through musically, and places them into often surprising contexts. This album features th…
*2025 stock* "Stefan Winter, head of the Winter & Winter boutique label, has a different attitude to popularising classical music. Rather than relying on the familiarity of old favourites, he believes that contemporary classical music is more accessible than its ascetic, atonal reputation suggests, and can find an audience outside its assumed intellectual elite. Hence this compilation of excerpts from the label's catalogue…" - The Independent"Winter & Winter is something of a special case when i…
*2025 stock* “There is freshness, there is (self) irony, there is a desire - and for once let's say it without shame - to have fun with music. [...] Nature triumphs in all its aspects: noises and sounds of birds, pouring rain, thunder, animal cries, alternating on the lines of a fiddle violin.” - Corriere di Bologna
*2025 stock* Famous for his examination of unusual and exotic instrumental sounds, here Mauricio Kagel focuses on the most mundane of sound materials. While attending a music trade show, Kagel was taken by the many levels and orbits of sound activity emanating from the various booths and stages. In 'Playback Play' (subtitled 'News from the Music Fair, A Radio Piece') he has arranged a spatially sensitive tableau of crowd noises, sales pitches and fragments of the sort one hears in music store sh…
Seven beautiful, melancholic motets and a chanson by Renaissance composer Nicolas Gombert, arranged for instruments by James Weeks, who also composed the interludes. "One of the least expected and most beautiful records we are likely to hear this year." - Clive Bell
*2025 stock* Olympia 1972 and the musical avant-garde. A look back at the music program created for and around the 1972 Olympic Games in Munich causes astonishment. The people in charge give space to contemporary music. It is quite natural and apparently normal to rely on the avant-garde. This extraordinary musical framework program for the 1972 Olympics has almost been forgotten. The architecture with its transparent, glass tent roof is remembered as a sign of a new, cosmopolitan, modern and de…
"[..] With Rebecca Bruton’s piece, the melody/ harmony is transmuted into something psychedelic by manifesting its essential indivisibility from the shifting textures of the music as a whole. There’s often an ephemeral virtuosity to this music, an intricate (sometimes opaque, sometimes disorientingly transparent), florid weave of sound. But this virtuosity doesn’t assert dramatic effects; there are gestures here, but they’re the movements of sounding bodies, not the quasi-meaningful gesticulatio…
Anton Lukoszevieze, cellist, composer and interdisciplinary artist, founder of Apartment House. Le Jardin des Plantes, in four parts, for cello and electronics. A place in Paris and a novel by Claude Simon. Memory spaces, a source, a scrying of time.
2024 Stock. Wild Up’s Anthology engages with the complex history of Julius Eastman’s legacy and ideas, including the titles of his work. Each person involved in making this Anthology negotiates their position and relationship to the n-word; thus, the word appears in several permutations throughout. We chose to use Eastman’s given titles in the track listing to honor the composer’s intentions. With this seven-volume project, Wild Up aims to be part of the ongoing social, political, and artistic d…
2024 Stock. Out now, Los Angeles-based musical collective, Julius Eastman Vol. 1: Femenine is the opening entry in Wild Up’s multi-volume anthology celebrating Julius Eastman, the late composer whose amalgamated musical vision was repeatedly dismissed during its day, but is now being unearthed to critical acclaim. Championed by The New York Times for their “boisterously theatrical sensibility,” Wild Up slowly comes alive inside this recording of “Femenine,” the epitome of Eastman’s longform “org…
Timothy Archambault’s unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence River…
"Maybe I'm like a still life painter," Linda Catlin Smith says, "looking at the same objects again and again over the years." Yet this survey of chamber works—spanning 1986 to 2024—shows a composer whose perspectives continually shift, finding something fresh in each iteration. Hers is "a compositional voice that never shouts, never draws undue attention to itself, yet creates music of compelling beauty." The Guardian awarded five stars, placing it #3 in their Top Classical Releases of 2024.
Apa…
"Today’s wine tasting is once again hosted by sommelier Claudio Sanna. He presents more local Sardinian varieties with a round of flights, much like the 2022 release Compositori Sardi Contemporanei. Instead of grape cultivars and vintner, Sanna presents multiple composers and performers for you to sample, not with your tongue but your ears. Just like a wine tasting experience, these tracks are a sample of the rich and fertile Sardinian landscape of creative musicians." – Mark Corroto
This album presents the innovative works of Gabriel Iranyi composed between 2012 and 2022. It includes two string quartets and their unique extensions with human voice and the Chinese mouth organ sheng. Iranyi’s compositions explore profound musical spaces and subjective experiences. The album features the intense String Quartet No. 4, the intricate String Quartet No. 5, the emotive Four Love Poems by Paul Celan for soprano and quartet, and the captivating quintet for sheng and string quartet Th…
Felipe Lara’s music is a whirlwind of energy and motion, characterized by large, expressive brushstrokes that leave palpable traces. His works are in constant flux, pulsating with spectral harmonies and iridescent surfaces. This album includes the three ensemble works Chambered Spirals, Fringes and Ventos Uivantes, as well as Injust Intonations, a reflective solo piano piece. Each composition showcases Lara’s unique ability to combine intricate textures with dynamic, expansive gestures to create…
Elusive and illusory, Age Veeroos’ music captures a unique tension between focus and ambiguity. The album "Outlines of the Night" presents compositions in which, for example, violin and electronics, as in Schattenseele, evoke corresponding sensations of a “shadow soul” through obsessive, circling motifs. In Keha for bass clarinet, physical and biological processes are musically embodied, oscillating between registers. Fantasia “A Threadbare Chant” and Ma olen suur kuu su silmapiiril further demo…
Tip! "Three harpsichords in various states of disrepair were kindly offered to me by Leeds Conservatoire. I accepted, and a memorandum of understanding was swiftly drawn up. The offer was made under the condition that I might make some music from them, given my penchant for infirm instruments, and their conventional worthlessness to anyone wishing to use them for their intended purpose. There seemed to be an auspiciousness surrounding these harpsichords, the stories they might reveal, and more i…