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Cheer – Breathing Tone
Here’s something you don’t see everyday!
Album comes as a 4GB USB card that has 8 tracks totaling almost 4 hours of music in high quality (2116 kbps) AIFF files. Also includes a HD video for the track Water And Me made by Ross Wood and Laura Maclean. – Top stuff!
Each of these gorgeous deluxe versions, in this edition of 100, will come in a fused double envelope package, comprised of two 6.5″ square, Midnight Black envelopes. Each of these envelopes will be hand worked/stamped/artified in the usual TRS manner…in one of them will come the black digipak in it’s own translucent envelope, also stamped, and in the other half of the package will come a set of three banded 4″ x 6″ hand printed color prints, on 300lb Moab Rag Natural paper, with accordingly mysterious quotes/Strieisms, and a 4″ x 6″ unassembled jigsaw puzzle also in it’s own translucent envelope featuring, as far as we know, the only somewhat recent picture of Ms Reinhart in existence. Strie is a puzzle..and is being released as such…
The CD (Not a CD-R) (Limited Edition of 100) comes housed in a hand-aged linen cloth bound book. The linen cover is backed with archival mulberry paper and bound over high quality and heavyweight archival book board. Cover art is printed to canvas and stitched. The interior is lined with hand made banana bark paper, lokta and mulberry paper. Each limited edition is hand numbered…
Through the hypnotic fog that is the music of Cock and Swan lurks a strange energy, feeling one part sinister and two parts innocent. Yet, it reveals itself in subtle uneasy layers of blissfully haunting melodies as you clamber further into the dank outlands that entrench their sound.
Sarah Hughes’ ‘Accidents of Matter or of Space’ is a limited edition of 100 archival CD-R’s mounted on an 11×14 letterpress score produced by Milkfed Press in Alameda, California. A complementary informational sheet includes credits, track list, and an essay by Dominic Lash. This release brings together a solo zither improvisation recorded in a disused transmission station in mid-Wales with three realizations of the 2011 composition (can never exceed unity), performed by Rhodri Davies, Patrick Farmer, Jane Dickson, Neil Davidson, and Dimitra Lazaridou-Chatzigoga…
In what has become an oft-quoted passage, the British composer and improviser Cornelius Cardew wrote that “it is impossible to record with any fidelity a kind of music that is actually derived in some sense from the room in which it is taking place – its shape, acoustical properties, even the view from the windows. What a recording produces is a separate phenomenon, something really much stranger than the playing itself, since what you hear on tape or disc is indeed the same playing, but divorced from its natural context”. This text is usually cited as evidence of the artificiality of recorded improvisation and the superiority of “the real thing”, the live concert happening in real time.
I love “the real thing”, but it seems to me that recorded improvised music at its best deliberately exploits the strangeness to which Cardew refers. We are not forced to choose between either experiencing the “natural context” (if one is there in the room when the improvisation is taking place) or having no inkling of it (if one only hears a recording of the improvisation later). Rather the recorded sounds can give greater or lesser hints as to the nature of that context, depending on the way the music is recorded, and the particular sensitivities and sensibilities of each listener. These hints can be accurate or misleading in any degree and any combination, and the activity of the listener’s fantasy in relation to these hints comprises one of the great pleasures of listening to recorded improvised music.