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.
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.
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.
Packaged in the standard ADS smokey blue A6 envelopes with 4″x6″ prints…
Berlin-based Canadians Aidan Baker & Leah Buckareff, both of doomgaze husband/wife guitar/bass duo NADJA, finally deliver the long-awaited special string-less diptych release.
Drones were strictly created from cymbals (Baker) & accordion (Buckareff). Both 20-minute piece on its separate 3″ mini-disc are meant to stand alone and played simultaneously together to create a fuller drone ensemble. A version of that mix is available for download.
The breathing heavy/heavy breathing themes are again illustrated by the same commissioned Aural Diptych series artists Elayne Safir & Meryem Yildiz.
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.