Glass mastered matte finished CD
Bandcamp digital download code (320MP3, FLAC, WAV, etc.)
Housed in a 7.5″ x 5.5″ panoramic gatefold case using heavy stock
Comes with double-sided full lyrics insert
Over the course of the twelve songs that make up 'New Words for Old Wounds', the latest release from William Ryan Fritch, the listener is given both a scintillating reminder of the immersive, unmistakable sound worlds he created over the last two years and a welcome introduction to an expanded sonic palette and refined craft that points to where his music may go next.
This parting gift to those that supported his ambitious eleven album subscription series, The Leave Me Sessions merges the colorful orchestration and high drama bombast of 'Heavy' and 'Emptied Animal', the sweeping soundscapes of his finest works for film, and the restrained, nuanced textures of 'Empty' to create its own distinct identity that is both haunting and infectiously exuberant. With guest vocal appearances by DM Stith, Powerdove, and Ceschi, New Words furthers the collaborative spirit found on 'Revisionist' and seamlessly laces each of the artists unique talents into his compositions.
This, the deluxe version comes in an edition of only 70 copies. Each of these hand altered black digipaks comes collaged, punched and inlayed inside and out with antique, ornate silkscreened Spanish cork wallpapers…even the spine! Like the digipak itself the black, double sided hand printed and punched textual insert has had all edges blacked out as well. The digipak itself comes in an extensively hand stamped, hole punched, inked and diagrammed translucent envelope…also included in each is a 75 year old page of hand drawn and written diagrams and text. While Get Lost was all about the maps… In Circles is all about the diagrams…in your mind!
Special limited edition white vinyl copies with individually numbered sleeves that include bespoke golden embossed inserts…
Repeat offers 6 new works by Rösner that demonstrate the composer’s musical maturing since his debut release on 12×50 and a couple of releases of environmental and electronic sound in Australia and the US.
He engages on Repeat with the sound of voice, recorded instruments and performers. Reminiscent of Morton Feldman, these works unfold their beauty over time. With additional material by Adam Trainer, Greg Taw and Alexander Wendt, this vinyl release explores patterns and structures – observations of Rösner’s environment at the oceanic West coast of Australia.
Calculations based on the Fibonacci series laid out timing and structure of Lattices, the track that spans over the entire B-Side. It explores tones and frequencies over 20 minutes.
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.