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After making and scoring her own experimental short films (The Hum, 2018 & Echomaking, 2020), publishing her first monograph High Static, Dead Lines (Strange Attractor Press)—all while working full-time as museum curator of technology and researching how Q*bert learned to cuss from a phonetic synthesizer developed by an auto parts company in Detroit—Kristen Gallerneaux took a break. She plucked her beloved cat Forrest J. Ackerman off her synths, dunked her head in a tub of reverb and made an album. Bring on the 808 bleed and 19th Century conchs. The granular processors and spectral resonators. The “gnarled-up drum sample kit,” the bells from Arcosanti, and the random chunk of driftwood that washed ashore, ruing the cannonball that sank its mothership. EMBELLISHMENT ALERT. To be clear, this album had me at “Russian meteor run through a contact mic.” The work of a folklorist/unrepentant homebody who enjoys quietly making bangers and a mean peach cobbler, Strung Figures was recorded in Kristen’s home studio in Metro Detroit during fall of 2020 and into winter 2021, and eventually mastered by Miles Whittaker in Manchester in the spring. In pandemic conditions of temporal drag and border decay, the terms of reverb and time stretch find their way outside, field recordings that echo the woods in Belle Isle, Detroit, or Kristen’s rural Ontario childhood haunts. If desperate for a label, try “Smoking Backwoods Industrial.” Strung Figures is listening through the modular (fogging up the glass case that holds the Moog prototype in the basement of her day job) and the analog (see driftwood), often processed through her experiences with Meniere’s Disease, an inner ear affliction that submarines her hearing, unexpectedly taking the afternoon on a pressure dive. “A constant underlying internal filter,” Kristen treats her condition with more reverb—and us with Strung Figures. --- Shadow World, 2021

Kristen Gallerneaux – Strung Figures

Pure Serge Modular magick from Thomas Ankersmit, emulating the peerless sonic phenomenology of Maryanne Amacher recordings on a remarkable release with Bartolomé Sanson and Félicia Atkinson’s Shelter Press. Maryanne Amacher (1938-2009) is an icon of 20th century experimental music who studied with Stockhausen and collaborated with Cage, and is regarded among electronic music’s most distinguished pioneers. ‘Perceptual Geography’ is a concept developed by Maryanne and here articulated by Thomas Ankersmit on the Serge Modular synth system that she introduced to him around 2003, when the nascent artist was getting to grips with an EMS Synthi.  The Serge Modular system, invented by Serge Tcherepnin - a close friend of Maryanne’s - has since become Ankersmit’s machine of choice, with his take on ‘Perceptual Geography’ - referring to a 3D diffusion of otoacoustic (sounds that appear to emanate from inside the ear) and other sonic phenomena - manifest as a compelling tribute to Maryanne’s research into non-musical, psychoacoustic phenomena and proprioception - which is also known as the way human gauge and engage sound within space. Like Maryanne’s peer, Eliane Radigue, her work was known to a rarified few during the 20th century, but Ankersmit’s interest in her work is indicative of a new generation who have encountered and become enthralled by Maryanne’s probing studies and practice since the early ‘00s, often via presentations of her work in Berlin during that period that lead to Ars Electronica awarding her their highest honour, the Golden Nica, in 2005. On ‘Perceptual Geography’ Ankersmit emulates Amacher’s combination of scientific rigour and avant pursuit with 40 minutes of physically powerful subbass textures and pealing sirens-in-your-head, connoting a sense of the unknown and the unknowable that’s surely life-affirming to listeners of that certain, foerever-searching disposition --- Shelter Press, 2021

Thomas Ankersmit – Perceptual Geography

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VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  ---- In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessionsare finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly panethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. --- With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68 --- Blank Forms, 2021

Don Cherry – The Summer House Sessions

Ah, CP #200; never in 12 years did I think we'd make it this far. Those of you keeping count will realize that, despite the catalogue number this is actually the 181st title in the series; that said we're definitely winding down & what a great run it's been. This, in many ways, is the perfect title to ring in this momentous occasion; arguably the longest in the Creel Pone "Queue" (mainly as virtually the entire cabal, upon discovery, scratched their collective heads, rooted around for close to a decade, and were still unable to turn up a copy until a few months back) this set by Atlantic music director & Rahsaan Roland Kirk & Pharoah Sanders sideman / arranger William S. Fischer, privately released on his "Arcana" imprint (not to be confused with the label that released the Martin Schwarzenlander-Fischer "Split" LP) & consisting of multi-tracked, hand-played solo synth takes recorded on/at Walter Sear's system/studio around 1970, goes against the grain in that it's ostensibly a "Jazz" record & not some automated, generative affair. Why all of the commotion? Early Moog Modular multi-track takes deviating heavily from the canonic Moogsploitation lanes are few & far between, making this set of decidedly Afro-Futurist impressionisms an anomaly, on par perhaps with Sun Ra's simultaneous "My Brother The Wind v.2" and not much else. This Creel Pone replica includes the three spacious takes from "Omen", along with the two pieces from the same session issued on Fischer's Embryo-label "Circle" LP; itself largely a fine melding of Funkadelic / Dr. John -lineage slink & fusion realms, on which the decidedly abstract "Electrix"& "Capsule" always felt a little out of place. --- Creel Pone, 2017

William S. Fischer – Omen

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  --- In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain. The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. --- With liner notes by Magnus Nygren. --- Blank Forms, 2021

Don Cherry – Organic Music Theatre - Festival de jazz de Chateauvallon 1972

Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, It is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle. John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with  Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke and many others. Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker. Here we present a 2CD set documenting the two very special sets delivered on the 15th of November, 2017 at Cafe Oto, Dalston, London. In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence these 2 sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today, Limited to 500 copies packaged in mini gatefold sleeve.

Charles Gayle / John Edwards / Mark Sanders – Seasons Changing

Creel Pone rendition of this elusive 1975 Cramps Nova Musicha series (N.7) LP by the Romanian Composer Costin Miereanu, “put on the map” (so to speak) by its inclusion in the infamous Nurse With Wound list. I've always found it baffling that; of all of the Cramps titles reissued and re-reissued over the past few years, this piece, considered by many followers of the “Dark Side-long Aleatoric Electro-Acoustic Collage” aesthetic - see Dub Taylor, Luis De Pablo, Jean Claude Eloy, et.al - to be one of the finest examples of said, was never given its due time in the warm, contemporary sun. Kudos, then, for the Nth time, to Mr. P.C. C.P. for his prescient, timely efforts.Do, aside from “Dark Side-long Aleatoric Electro-Acoustic Collage,” what does it sound like you ask? imagine Xenakis’ bells-and-trinkets epic “Bohor” overlaid with Basil Kirchin’s “Worlds within Worlds” and generations of pan-linguistic self-help / instructional programs - at any given time in the piece there are at least 4-5 separate layers of gated textures, field recordings, dissonant / glassy ensemble playing, and a bed of Synthesized Drone-sound. The voices that dominate the first half in strident, authoritative tones give way in the second half to sparse moaning and sustained ululations, leaving more room for the woozy “Instrumental” textures. An ominous, creepy piece; not for the weak of constitution. --- Creel Pone, 2007

Costin Miereanu – Luna Cinese

Continuing in the Igloo appreciation thread, here is a replication of IGL 008; Jacques Bekaert's 1981 eponymous LP - following 1979's "Summer Music" for Lovely - containing three tape pieces composed between 1969 & 1978, featuring contributions by a who's who of 60s & 70s Avant Garde & Fluxus figures - Takehisa Kosugi, Shigeko Kubota, David Behrman, David Rosenboom, Maggi Payne, George Lewis, "Blue" Gene Tyranny, Ryo Koike, amongst many others. The extended "Late Lunch" - at 28 minutes barely fitting onto an LP side - was composed in 1978; it's a bizarre pastiche of instrumental Concrète figures, subtly tape-delayed per each stereo channel & bordering on the inaudible at times that has, in spots, the same aleatoric Tape-Collage energy of pieces such as Dub Taylor's "Lumiére" or Luis De Pablos's "We (Nosotros);" yet retaining a more composerly lilt that makes me think of another recent Creel Pone "Graduate" - David Cope's "K • Weeds." "A Summer Day At Stony Point" was composed in 1969 Brussels' Studio de Musique Electronique APELAC & comes out of the gate with all pistons firing via a spectacularly bleep-oriented phase of errant electronics & backwards-masked squawks before heading into a long section of tape-echo'ed insectoid formations & vague held-tone Oscillator drift. Finally, "Mon Petit Album" was prepared in 1974 at Mills' CCM - Center of Contemporary Music & consists of Bekaert & Kosugi's flute & violin phrasings wrapped around a subtly transfigured array of processed sounds, both alienating & simultaneously quite welcoming. Both "Late Lunch" & "Mon Petit Album" were used as scores to experimental films by Akiko Iimura. An amazing selection of pieces that straddle the divide between Ensemble Composition, Live Electronic augmentation & GRM styled assemblage of constituent instrumental playing; if you've only heard the - frankly, tepid - Lovely outing, this should rewire your brain suitably as to Bekaert's range & prowess. --- Creel Pone, 2007

Jacques Bekaert – S/T

At the top of my personal holy grail list for a number of years has been this unobtainable side of Agitprop Musique Concrète by the Composer Ivan Pequeño, composed from 1973-1975 at Paris' Studio de Musique Expérimentale du Centre Americain & at Belgrade's Studio de Musique Electronique du Treci Program-Radio & issued on Aldo Pagani's mythic Eleven label - home of Franco Leprino's "Integrati… Disintegrati", amongst other gems. The A-Side's "¡Ahora!" ("Now!") weaves the Composer's interstitial, claustrophobic narration of Wilhelm Reich & Pablo Neruda texts (done with a certain "mic down the throat" immediacy) into a series of transfixing synthesis patterns - not too removed from the sheets of sound simultaneously being conjured by François Bayle & Bernard Parmegiani on the other side of town - into quite an aggressive mix of full-blown Electronic Histrionics incorporating heavily treated recordings of Fidel Castro's 1962 "Second Declaration of Havana" speech."Y Removiero Con Sus Alas El Tiempo Estancado" - translated by Pequeño himself via email as "Over the weekend the vultures got into the presidential palace by pecking through the screens on the balcony windows... and the flapping of their wings stirred up the stagnant time inside" - wraps García-Márquez's "The Autumn of the Patriarch", read by Sara Bourasseau & Francisco Zumarque, around a stellar array of diffuse, precision electronics, recalling Dieter Kaufmann's "Herbstpathetique" & Luis De Pablo's "We (Nosotros)." This is an absolutely incredible document of Political Electronic Music, on par with Max Keller's "SMI," Ilhan Mimaroglu's "Sing Me a Song of Songmy" and the like; one of the real highlights in the late Creel Pone campaign, close to three years in the works. Included for reference is Pequeño's only other appearance on record; in a synthesizer duet with Oliver Lake. --- Creel Pone, 2007

Ivan Pequeño – ¡Ahora!