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Old Heaven Books
Five chamber and solo works by the Canadian composer Barbara Monk Feldman. "I have been thinking about what is inside and what is outside. The everyday life and tragedy of what goes on around you, and the fact that to accomplish anything you need the isolation in the studio - I think about this moral issue. And then on another level, I think about an inside and an outside for art itself, and how ephemeral that is....What I am looking for is a way to notate the most intangible aspect of the music – for me that is the colour. Colour is not only the instrumentation. It also involves the ‘weight’ of the tones, and a kind of gravity in the relationship of the sound and silence, as well as the spacing of duration and registration."
GBSR Duo (Siwan Rhys & George Barton) with Mira Benjamin
Another Timbre, 2021
Barbara Monk Feldman – Verses
Michael Winter's extraordinary composition from 2015, a seven-part canon which starts off fast and gradually slows down over its 45 minute duration. Performed by Liminar, Mexico's leading ensemble for contemporary music. The cover image cover and corresponding caption are reprinted from the book Matters Computational by Jörg Arndt
Another Timbre, 2021
Michael Winter – single track
Two pieces for cello and piano by Canadian composer Linda Catlin Smith, both performed by Anton Lukoszevieze (cello) and Kerry Yong (piano) "In Ballad (45 minutes in duration) I was extending myself into a longer work; I wanted to make a work that could be the entire concert, that could unfold over a longer time. With Through the Low Hills (10 minutes), I was working with a very restricted vocabulary in a process of constrained variation, working and re-working just a few elements. I felt like I had an object in my hands and was turning it over and over, looking at it from different angles. With Ballad, it felt more like a journey where I was discovering unfamiliar terrains."
--- Cover photograph by Anton Lukoszevieze
Apartment House: Anton Lukoszevieze (cello) and Kerry Yong (piano)
Another Timbre, May 12, 2021
Linda Catlin Smith – Ballad
Second CD release by Adrián Demoč following his highly-regarded debut 'Ziadba'. Four beautiful chamber works, three performed by Apartment House, one by an ensemble from the Janacek School of Music in the Czech Republic. The title track, Hlaholika, was commissioned by Another Timbre as one of the label's 'quarantine commissions' during Covid lockdown in 2020. The front cover shows a stone tablet engraved in Glagolitic script
Another Timbre, 2021
Adrián Demoč – Hlaholika
5 chamber works by UK-based composer Oliver Leith, performed by Explore Ensemble
Cover drawing by Susan Te Kahurangi King
Performed by Explore Ensemble
Another Timbre, 2021
Oliver Leith – Me Hollywood
A 40-minute composition for sextet and field recordings, combining harmonies taken from the music of Australian composer Peter Sculthorpe with field recordings made on Whadjuk Noongar boodja (country), Western Australia.
Josten Myburgh (composition, alto saxophone & electronics)
Jet Kye Chong (percussion)
Jameson Feakes (electric guitar)
Stuart James (piano, electronics)
Djuna Lee (double bass)
Kirsten Smith (flutes)
Cover image: still from the film 'Night Parrot Stories' by Robert Nugent (2016)
Another Timbre, 2021
Josten Myburgh – Sculthorpe Studies
64-minute piece by Antoine Beuger, composed in 2004, and beautifully realised by Apartment House. "It’s from a series of pieces I composed, each for a different number of players, from two to twenty. And the number in each piece is really important, because everything that happens can only happen in a situation where there are, in this case, six people. The question I was really involved with in this whole series was how is it to play with this particular number of musicians? It’s quite easy to see that to be two is somehow different from being three. But with five, six, seven, it becomes less easy to grasp the difference. But there will always be differences."
Apartment House: James Opstad (double bass)
Mark Knoop (accordion)
Heather Roche (bass clarinet)
Mira Benjamin (violin)
Joe Qiu (bassoon)
Bridget Carey (viola)
Artwork by Jack Vickridge
Another Timbre. 2021
Antoine Beuger – jankélévitch sextets
Absolutely mindblowing recording, live from Cafe OTO on 9th July 2019!!
Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for Eremite records, Descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.
This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”
The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.
Joshua Abrams guimbriLisa Alvarado harmonium & effectsMikel Patrick Avery drums Evan Parker soprano saxophoneJason Stein bass clarinet
recorded: London, Cafe OTO, 2019-07-09 producers: Abrams & Michael Ehlers engineer: Jimmy Dunn cover painting: Lisa Alvarado
Natural Information Society with Evan Parker – Descension (Out of Our Constrictions)
Composition from 2020 by Jim O'Rourke for vocalising string trio, written for and performed by Apartment House
Cover photograph by Anton Lukoszevieze
Apartment House: Mira Benjamin (violin), Bridget Carey (viola), Anton Lukoszevieze (cello)
Another Timbre, 2021
Jim O'Rourke – Best that you do this for me
Muto Infinitas (2016/18) is an hour-long duo for quartertone bass flute and double bass, composed by the US-born Catherine Lamb, who is now resident in Berlin.
It was recorded by Adama Asnan at Andreaskirche, Berlin Wannsee in 2019.
Cover artwork by Rebecca Lane
Rebecca Lane (quartertone bass flute) Jon Heilbron (double bass)
Another Timbre, 2021
Catherine Lamb – Muto Infinitas
5 chamber works by James Weeks, beautifully performed by Explore Ensemble. An album of interlinked pieces that form a sequence. James Weeks says "I was aware of tying the pieces together as a set, by continuing and extending certain poetic ideas, ways of using and combining instruments, and ways of thinking about material....Things like the use of mixed instrumental duos, which comes from Violet-Violute, the use of a slow-moving or static background harmonic layer, which comes from Summer, the overall very soft and intimate instrumental idiom based on long, breath-length sounds, which appears in all the pieces other than Durham. And finally of course the poetic idea of a piece as opening up an imaginary (or remembered) space: music which unfolds as an area or a field, for the listener to wander in without having to follow a complex series of narrative events."
Another Timbre, 2021
James Weeks – Summer
Portuguese pianist Tiago Sousa follows 2015's solo piano album "Um Piano nas Barricadas" with this heady set, based on themes of nostalgic escapism, repetition, temporality and other existential concepts. Don't worry if that sounds like too much to get stuck into now, the tracks here are pensive, but can be enjoyed without having a working knowledge of Heidegger, Camus or Kierkegaard. Souza's skill is in his attention to the texture of the sounds he works with - the anxious squeal of the clarinet, the distant rush of cymbals, the familiar twinkly of piano - and his arrangements are minimal, but always engaging. "ANGST" is a pensive and expressive exploration of the modern condition and it's enchanting
Released: Discrepant, 2021
Tiago Sousa – ANGST
Eryck Abecassis (b 1956) is a french-algerian composer, musician and electric guitar player. He went to Paris in 1976 to study film at the CLCF (Conservatoire Libre du Cinéma Français) and worked as a photographer. From 1979 to 1983 he took private lessons in composition and harmony with Julien Falk (1902-1987) and studied Jazz orchestration with Derryl Hall at the Centre d'informations musicales in Paris. In the following years he took various courses at IRCAM, among others in instrumental research and computer music. He took lessons with Jean-Claude Risset and in 1994 with Pascal Dusapin at the Centre Acanthes. In 1997 he took part in the Cursus Annuel de Composition et Informatique Musicale at IRCAM. "Siamoises" is his 3rd solo album and 2nd contribution to the Fragment Factory label catalogue (after "La Gueule Du Loup" w/ Francisco Meirino, 2017). Composed and recorded in Paris 2018, "Siamoises" is the pairing of Eryck's instrument of choice, an Ibanez 2404 double neck e-bass/guitar, with a modular synthesizer.
Fragment Factory, 2020
Eryck Abecassis – Siamoises
Schall und Klang is the result of Christina Kubisch's extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen's own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016.
--- Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece "Desert Bloom" (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin.
Fragment Factory, 2019
Christina Kubisch – Schall und Klang
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT027), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat. However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’. On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.
Will Guthrie – Nist Nah
"Atlantis is an exhilarating listen, equally thanks to its fierce free jazz and brightly textural abstraction" Antonio Poscic, The WIRE, Feb 2020
Following closely on the heels of his ravishing solo album Tomorrow is Too Late, Stockholm-based synthesist and improviser John Chantler switches gears to unleash the stunning second album by his trio with saxophonist Seymour Wright and drummer Steve Noble, Atlantis. Chantler is well-known for his solo electronic work, which frequently explodes richly layered ambient soundscapes into visceral explosions and thrilling physicality, to say nothing of his imaginative experimentation with the organ, heard in radically transformed mode on the recent solo recording. But Chantler is equally invested in real-time improvisation and he’s developed a dazzling rapport and sound world with Wright and Noble, two of England’s most distinctive, active, and turbulent figures in spontaneous music over the last couple of decades. The pair has worked together in numerous contexts over the years, but it took Chantler to create an ongoing context for them, and since forming in 2017 the trio’s rigour and level of communication have steadily expanded.“My fantasy idea in the beginning when I wanted to do this trio was thinking about taking Derek Bailey’s role in the Topography of the Lungs trio,” he says, referring to the classic 1970 album with Evan Parker and Han Bennink. “That’s not what happened, but that was my way of imagining how I could make the synthesizer have the kind of range and ability to both comment on stuff and guide and push in certain ways, like Derek did in that group. That remains a kind of ambition even if aesthetically it doesn’t feel very close to that, but that’s how I first thought about what my role would be.” Indeed, Chantler serves as a pesky interrogator, his serrated tones and viscous globules cutting through the kinetic din dished out by Wright and Noble, and on the new album his integration is more fully realised to the point where it’s often impossible to decipher where the output of one musician ends—the sibilant bowed cymbals of Noble or the feedback-laced lines of Wright—and the pushback of another begins.The album was cut and mixed in a single day with in-house engineer Janne Hansson at Stockholm’s legendary Atlantis Studio, a facility made famous by the chart-topping albums recorded there by Abba in the 1970s, when the place was known as Metronome. Prior to entering the studio the trio spent an exhausting, all-in week rehearsing at the arts space Fylkingen—where they also played a show—in addition to playing a handful of gigs in Norway. Locked in, they discovered much different acoustic qualities at Atlantis from what they’d previously encountered. “There’s a very specific sound at the studio, and we’d been playing for a week together at Fylkingen, so we started to develop a thing that really works in that room, and then you move somewhere else, and the drums in particular sounded really different, and in some ways they had a bit more of a rock ‘n’ roll kind of feeling.” explains Chantler. Responding to that radically different, reverb-soaked ambience, he and Wright took advantage of a pair of matching Fender tube amps, charging their individual signals to match the booming, resonant sprawl of Noble’s pinpoint clatter.Compared to the group’s debut album Front and Above—a live recording of the trio’s very first performance at London’s Café Oto—which Chantler edited to emphasise the sparser expanses of the raucous, performance, the new album reveals a more open-ended spectrum, from delicate to crushing. Noble’s beautifully metallic rustling and throbbing snare bombs hang pregnantly in the air, and Chantler and Wright thicken the atmosphere with twinned abstractions, alternately ethereal and punishing. The transitions between calm and chaos are sometimes seamless, sometimes abrupt, but the full landscape transports the listener to another realm regardless of how ferocious or gentle the attack may be. As strong as the trio’s first album was, Atlantis marks a massive step forward. “The more you play together the more it starts to cohere into some kind of specific language,” says Chantler. “You start to understand the point of what a particular constellation might be.” With Atlantis there’s little doubt these three improvisers know exactly what the point of it all is, which thrillingly means that many new paths in the future have opened up.
John Chantler / synthesiser
Steve Noble / drums
Seymour Wright / alto saxophone
RECORDED AND MIXED AT ATLANTIS GRAMMOFON AB, STOCKHOLM 24 JANUARY 2018ENGINEER: JANNE HANSSONMASTERING: STEPHAN MATHIEUPAINTINGS: LESTER WRIGHT
RECORDING SESSION MADE POSSIBLE WITH SUPPORT FROM THE AUSTRALIA COUNCIL FOR THE ARTS
John Chantler / Steve Noble / Seymour Wright – ATLANTIS
'Most people are familiar with the Ethiopian music of the "golden seventies". The great CD series of "Ethiopiques" focuses on this remarkable period of truly amazing and rich music. The era of the big brass bands came to an end in the period of the "Derg", the military government in Ethiopia from 1975 till 1991. After that, the scene seemed confused. Many great musicians were forced into exile or passed away. The horns mostly disappeared and were replaced by cheap keyboards everywhere. Awful bombastic overproduced "plastic" pop-productions flooded the market. Synthesisers, vocoders, drum machines and hasty productions that all sound alike.
But in the last few years something new is emerging. Young producers have started combining traditional rhythms and strong dance beat production. The result is very original, uplifting and very danceable music. The gurage, wollo, gondar, oromo and other traditional rhythms work wonders for this new dance music. And the Ethiopian youth loves it. It can be heard not only in the hip areas like Bole, but all over Addis and other Ethiopian urban areas. Blasting from restaurants, taxis, coffeeplaces, grocerystores and Addis' giant market, the Mercato. The "Ililta" CD is a compilation of this new Ethiopian dance music, recorded with a new generation of singers over the last decade. A cross-selection of the production work of Mesele Asmamaw and some of his close colleagues. ' Play loud and go for it!
Various Artists – Ililta! New Ethiopian Dance Music
10 Albums – 91 total tracks – 594 minutes (10 hours) of all new music created expressly for this collection.
That William Parker is a bassist, composer and bandleader of extraordinary spirit and imaginative drive is common knowledge among any with an interest in the progressive jazz scene of the past 25 years or more. What’s become increasingly apparent, though, is Parker’s stature as a visionary of sound and song – an artist of melody and poetry who works beyond category, to use the Ellingtonian phrase. The latest multi-disc boxed set from Centering Records/AUM Fidelity devoted to Parker’s expansive creativity underscores his virtually peerless achievement in recent years. Migration of Silence Into and Out of the Tone World (Volumes 1–10) is a 10-album collection of vocal and instrumental suites all recorded expressly for this set between late 2018 and early 2020, with women’s voices at its core. This is music as empathetic as it is intrepid, as philosophical as it is visceral, as resolutely modernist as it is attuned to tradition. Parker’s art not only draws from the deepest well of African-American culture; it breathes in inspiration from across the globe, with sounds drawn from Africa, Asia and Indonesia as well as Europe and the Americas; there is free improvisation and re-imagined sonic collage; there are album-length explorations of solo piano and solo voice, along with string ensembles and ancient wind instruments. There are dedications to jazz heroes, Native Americans and Mexican migrants, plus tributes to the great African-American culture of Harlem and the mix of passion and compassion Parker found in vintage Italian cinema. Migration of Silence Into and Out of The Tone World conjures a vast world of music and feeling, and its creation is a feat that ranks with that of the most ambitious talents in any genre.
MUSICIANS William Parker: compositions, bass & addt’l instruments Featuring: an international, inter-generational array of singers & musicians, drawn from both long-standing colleagues and a new generation of devoted artists.
Composed, Arranged & Produced by William Parker for Centering Records, © Centering Music (BMI) Recorded, Mixed & Mastered by Jim Clouse at Park West Studios, Brooklyn, NY : November 2018 – February 2020 [ except THE MAJESTY OF JAH - click on 'lyrics' above, and as noted in booklet ] All text written by William Parker (except as noted in booklet) Artwork throughout this work by Jo Wood-Brown Box Set Production & design by AUM Fidelity
William Parker – Migration of Silence Into and Out of The Tone World – [Volumes 1–10]