2nd half: https://soundcloud.com/aesc-cpi
1st half: https://soundcloud.com/theodoreschafer

Casualism #3 w/ Alec Sturgis (29/04/21)

Whities 007 - Quirke
Pre-Order - http://www.whiti.es/
(Released 24th June)

A1 - Cylinders
A2 - Cope
B - Sa45 Circles

Artwork by Alex McCullough
Distributed by Rush Hour

Thanks to Josh, John, Tic, Alex, Lem & Simon.

007 - Quirke: Cylinders / Cope / Sa45 Circles

Degradation Loops was a 16 day composition that gradually and completely 'bit crushes' my 2015 album Yellow Bell. Produced for a group show at the 55 Sydenham Rd, Marrickville gallery in Sydney, a process of sonic destruction unfolds in response to visual artists destroying and reassembling their work, to create new work, and to question the dominance of commercial imperatives within art. Here is a 14'48" time lapse edit of the 16 day composition, 2016.

Degradation Loops_55 Sydenham Rd Marrickville

DOLORES, "SEA"
Theodore Cale Schafer, "Track 03" & "Track 02" 
Newell, "Perry’s Dream"
Robert Ashley, "The Backyard"
Inga Copeland ft. Actress, "Advice for Young Girls"
IOU St., "Sean's voicemail"
Odwalla88, "Roll Call"
Patiño, "Strategies On Self-Promotion And Autoreferentiality"
VALISE, "POINT IN SPACE"
Meme Vivaldi, "You Don't"
Madonna, "Material Girl"
dip in the pool, "Silence"
Léo Hoffsaes & Loto Retina, "I'd like to tell her"
yma, "sometimes"
Bug bus piano, "Somethence sealed room 2"
Shane Dollinger, "The Woman She Wants to Be"

Mix 02: Normal Mix

dig 2

Taken from Keys to the Fields 30:
"An Intimate Communion"

Ambre Antique _ Close Confidence

Joshua Sabin "Sutarti" LP (SUB030)
Pre-order: https://joshuasabin.bandcamp.com/album/sutarti

Release date: July 5th, 2019
@joshuasabin

Sutarti

Joshua Sabin - Sutarti: VI

Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows last year’s Selected Early Keyboard Works and anticipates Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing.

Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. 

In 1976 The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer.

The Deontic Miracle: Music Of Auspicious Clouds (excerpt)

Ifs = Krzysztof Freeze Ostrowski & Fischerle

Source: https://fasrat.bandcamp.com/album/fasrat-compilation-3

Ifs - Candyflipper

Various Artists 'Perlage'

Released as a tour tape.

Cassettes were made available during a short run of european shows comprising the three featured artists during September 2019.

EN03

https://eastern-nurseries.net

Perlage

HRNS - Fuckboy Credentials

forthcoming in Feb 2021, contact abby@cafeoto.co.uk

Double CD documenting the magic meeting of one of the all-time great rhythm sections in jazz: percussionist Hamid Drake and bassist William Parker, with London’s brilliant Black Top (Orphy Robinson and Pat Thomas) and Elaine Mitchener. Across two sets the quintet are infectiously energetic and inspired, striding from synchronised heavy groove to star bright solos, whilst incorporating dub effects, guimbri and sumptuous blues piano playing. 
 
Formed by Orphy Robinson and Pat Thomas but always realised with an ever changing number of invited musicians, Black Top's blend of lo-fi samples, dub effects and experimental electronics has been daring free improvisation since 2011. Their virtuoso performances draw on their Afro-Caribbean roots with delicious spontienty and humour; the histories of Ridley Road Market, the LIO and Islamic West Africa are sounded out side by side on iPad, marimba and vibraphone. Having met in 2006, Black Top played with bassist William Parker and drummer Hamid Drake as part of their residency at Cafe OTO in 2016; forming a quartet grounded in transatlantic kinship but which looked outward to the Carribean, calypso music and Saharan gnawa rhythms. When Parker and Drake returned to OTO in 2019 Black Top reformed again, but this time with the brilliant addition of vocalist Elaine Mitchener. 
Over the last few years the clarity with which Mitchener has explored vocal expression in the global Black Avant Garde has been stunning, but here the range in her influences is manifest, moving effortlessly between phonetic and poetic experimentation and spoken word, all the while at ease with soul soaked jazz and dissonant free fall. A hand drum duet with Hamid Drake astonishes before being laced perfectly with cosmic theremin and Parker’s fantastic acid shehnai. 

Recorded live at Cafe OTO on Sunday 28th July 2019 by Paul Skinner and mixed and mastered by James Dunn. Photos by Dawid Laskowski and artwork by Oliver Pitt. 

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Hamid Drake / percussion

Elaine Mitchener / vocals

William Parker / double bass, guimbri

Orphy Robinson / marimba, electronics

Pat Thomas / piano, electronics

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OTOROKU
18-22 Ashwin Street
E8 3DL

ROKU025

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CD1
Put the Brakes On - 50:08

CD2
Some Good News - 56:43

dig 2

E Davis / WW

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