Electro-Anahata
Electro-Anâhata (1986-1994). Fully electro-acoustic version of Anâhata realized on the composer's personal computer from the original electro-acoustic recordings of this work. Electronic music studios where the original Anâhata was produced (1984-86) : Studio of the Sweelinck Conservatory of Music, Amsterdam (1984 and 1986): the entire production (pre-recorded material processing, new material generation, premixing) and all final mixing processes. Tokyo-Gakuso studio, Tokyo (1983): for the Shô a…
Contes Sentimentaux
These pieces have been made between 1989 and 1994 for the German radio. Brunhild and Luc Ferrari are speaking around the pieces from Luc like 'Petite symphonie intuitive pour un paysage de printemps', 'Ce qu'à vu le Cers', 'Collection de petites pièces' (36 enfilades pour piano et magnétophone), 'Music promenade' among others, describing small details and anecdotes. They speak in French and German and consider the recorder as a scratchpad."The success of a piece such as "L'Ile re-sonante" liesin…
Focus on nothing on Focus
A unique work stemming from a studio collaboration between Francisco Meirino and Kiko C. Esseiva. Using the same source material each artist composed one side of the LP. Assembled in 2012 and 2013 from hours of multitrackrecordings using reel-to-reel tape recorders, emf detectors, piezo transducers, analogue synths and various homemade sound objects. Discover, compare, enjoy the work of these two sound artists ! High Quality 180g Vinyl with excellent sound - not at least due to the cut done by F…
Sounding the Body Electric
The connections between the visual arts and experimental music were closer in the 1960s and 1970s than perhaps any time before or since. Sound and image combined in artists films, \'happenings\' and sounding installations. Experimental Forms of notation were also created to stimulate uninhibited musical expression. Eastern European artists and composers were at the forefront of these new experiments with sound and yet their achievements have never been recorded until now. Sounding the Body…
Mermaids
** Edition of 250 copies ** Mermaids includes four tracks composed and recorded in early 2013. The concepts of the work are built around freedom - expressed by the use of the audio glitch - and unity framed in metaphors of water and transformation. All sound sources are mostly from the human voice. Jo Thomas is a London-based composer teaching sound design, composition and music technology at the University of East London. Her compositional work is primarily focused on the use of human voice, mi…
Fuzz_Galopp
During the work for Voice Crack duo Norbert Möslang was one of the pioneers in the field of sound installation techniques usage in live improvised music. His instruments are cracked everyday-electronics, but sounds themselves are delivered from the mechanical properties of these devices. This kind of approach seems to be similar to Peter Fischli and David Weiss practices in the visual arts’ fields. The comparison of the film documentaries - "The Way Things Go" (1987) about Fischli/Weiss activiti…
Etude IV / D'une Etoile Oubliee / La Grande Vague
Etude IV: points-lines-landscapes' (1979). This work is designed as an all-electronic piece without considering any configuration with soloist parts for later use (unlike the two following pieces featured on this CD). It was realized by Jean-Claude Eloy in 1979 on the CEMAMu's UPIC upon Iannis Xenakis's invitation to whom this work is dedicated as a friend. The UPIC (Unité Polyagogique Informatique du CEMAMu) is an electronic tool invented by Iannis Xenakis in the 1970s. It is a graphic interfac…
Butsumyoe / Sappho Hiketis
J.C. Eloy book (English text) around the cycle 'Songs for the other half of the sky' with the following pieces 'Butsumyoê', 'Sappho hikètis', 'Erkos', 'Galaxies', 'Gaia-songs'. Interview, documents, technicazl specification, photos. A CD with 'Butsumyoê' and 'Sappho hikètis'.'Butsumyôe' (1989). For voices, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice and percussions. In 'Butsumyôe' ('The ceremony of Repentance') the singer Yumi Nara (soprano) occupies the function of…
Musique Electronique (1975-1983)
"This lovingly produced and gorgeously packaged LP contains seven previously unreleased electronic pieces that Gagnon realized at McGill University’s Electronic Music Studio. Leading off the proceedings is “Gwendoline Descendue!,” an electronics/tape piece crafted from snippets of Moog modular tones and a variety of instruments created by Hugh Le Caine. It’s a dramatic sample of sci-fi movie elements and jarring bursts of sound that heighten the tension. “Sea Lunch” was created with the not-quit…
Omniphony 1
In the early 1960's Tod Dockstader was a young maverick composer of electronic 'organised sound', and James Reichert a film composer and music supervisor. They met in New York in 1963, and launched one of the most extraordinary collaborations in modern music, a unique attempt to integrate electronic sounds and the classical orchestra. Unlike Varese's Deserts, and Stockhausen's Kontakte, it does not merely have the orchestra play along with a tape, or even process orchestral sounds live. What mak…
Untitled Phenomenas In Concrete
Composed between 2008 and 2011, 'Untitled Phenomenas In Concrete' is a piece made out of 85 HighC/UPIC* sessions and 18 external sounds (recordings of snow falling, bones cracking, magnetic fields and insects). *UPIC is a computerised musical composition tool, devised by the composer Iannis Xenakis. It consists of a digitising tablet linked to a computer, which has a vector display. Interested by Xenakis' approach and wanting to draw the sound before hearing it, Francisco Meirino spent nearly fo…
Chitin
"Created by Slavek Kwi, Ireland during July-Sept 2011 from physical and stridulation sounds of various invertebrates: termites, ants, sting-less bees, leaf-hoppers (Amazonas, Brazil 2008-2009); electric insect (Pantanal, Brazil 2006 + Tasmania 2011); hermit crabs (Amhemland, Australia 2009); bee-hive (Czechie 1994). All sounds rec. by Kwi except ants inside tree-nest rec. with Francisco Lopez. This is a commission from "Les Instants Chavirés" (Montreuil, France) for "L'Audible Festival" 2011. De…
Granulations-Sillages / Franges du Signe
Another remarkable reissue from the hallowed GRM (Groupe de Recherche Musciales) archive in Paris - home to some of the world's most fascinating, advanced electronic music research. The 2nd GRM Recollection was realised in 1974 and 1976 by Guy Reibel (1936, Strasbourg, France), the first assistant to Pierre Schaeffer during his electroacoustic composition courses at the Conservatoire de Paris and a member of GRM from 1963 to 1983. Housed in sleeve designed by Stephen O'Malley,. Cut to vin…
I Saw The Outer Limits
Mind-stretching analog synth wizardry from the legendary Matsuo Ohno, sound designer for Astro Boy and many other Japanese films and TV programs. His first non-soundtrack release, from 1978, is a massive, undulating galaxy re-released here on CD with a bonus mini-CD reissue of a rare 1970 flexi-disc Play On Animals, rated as one of 2011's top releases by Byron Coley of The Wire. This reissue of his stellar 1978 LP I Saw The Outer Limits presents him at the peak of his powers, combining his maste…
Electronics Without Tears
The excellent Public Information label really comes into its own with this revelatory collection of early concréte tape music by F.C. Judd - a much overlooked British electronic music pioneer and contemporary of Daphne Oram. Born in Woodford, East London in 1914, Frederick Charles Judd served in the RAF coastal command during WWII working with highly secret radar equipment. After being demobbed he applied this knowledge and skilled engineering background to his musical interests, and with the ad…
Paper Fault Line
James Rushford and Joe Talia are two of the most exciting musicians active in the Australian experimental scene, engaged in major collaborative projects with figures such as Jon Rose and Oren Ambarchi. On Paper Fault Line, they use strategies from contemporary composition, improvisation and electro-acoustics to create a sensuous and approachable, yet subtly disturbing, 30-minute suite. Eschewing the homogenized sound palette and dynamic conventions of post-GRM musique concrete, the record is str…
El tren fantasma
"Take the ghost train from Los Mochis to Veracruz and travel cross country, coast to coast, Pacific to Atlantic. Ride the rhythm of the rails on board the Ferrocarriles Nacionales de México (FNM) and the music of a journey that has now passed into history." El Tren Fantasma, (The Ghost Train), is Chris Watson's 4th solo album for Touch, and his first since Weather Report in 2003, which was named as one of the albums you should hear before you die in The Guardian. A Radio programme was br…
Anahata (1984-86)
Subtitled: Primordial Vibration / Sound ceremonial with a contemplative character. Composed in 1983-1986. Sound ceremonial with a contemplative character for two voices of Japanese Buddhist monks (traditional Shômyô techniques - traditional temple chanting - in a larger, modern and creative form), three Japanese Gagaku instrumentalists (traditional court music in a modern and creative form), one percussionist (with a percussion instrument orchestra) and electro-acoustic (fixed interactive sounds…
Yo-In (1980)
First world publication for the seminal Yo-In (1980) an electro-acoustic work produced in Japan and revisited by the Museum of Modern Art of the City of Paris in 1981. “Sound Theater for an imaginary rite”. Yo-Inleads to a sort of “celebration-ritualization of the day of man on Earth”.Jean-Claude Eloy discovered the meaning of Yo-In by going deeper into the culture of Japan where he had been invited by Toru Takemitsu in 1970: “Yo-In, echo, rhyme, resonance, psychic reverberation”. Karheinz Stock…
Chronoradial
2025 stock ** "In the world of sound library and production music French Avant-garde composer Patrice Sciortino is both unique and universal. His astounding late 1960s and early 1970s recordings for the prestigious Musique Pour L’Image and PSI labels receive their first serious reissue and reappraisal here. Cellos growl and twist with an air evocative of Bernard Hermann, choirs hiss and howl like Alessandro Alessandroni’s ‘I Cantori Moderni’ and the whole thing is as dexterous and playful as Enn…