We've Met Before, Haven't We? explores the complex web of harmonics based on the notes of the cimbalom most closely in tune with the harmonic series, A, D, and E. The violin emphasizes the resonance of the cimbalom harmonics, with a particular focus on the very rarely heard 43rd
harmonic. In this way, the piece serves to investigate the more theoretical upper reaches of the
harmonic series, and create a soundworld out of frequencies very rarely used in music.

We've Met Before, Haven't We

Moveable Frames (2025)
excerpt of premiere concert recording
DiMenna Center, New York
May 25th, 2025

Ekmeles Vocal Ensemble
Charlotte Mundy, soprano
Elisa Sutherland, mezzo
Timothy Parsons, countertenor
Tomás Cruz, tenor
Jeffrey Gavett, baritone and director
Steven Hrycelak, bass

Moveable Frames (excerpt) 2025

Title: The Torrid Eye
Artist: Acronym & Kali Malone
Label: Stilla Ton
Cat: Stilla Ton 3
Date: 01 / 2019

Buy:
https://stillaton.bandcamp.com/album/the-torrid-eye

Acronym & Kali Malone - Torrid Eye (sampler)

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)

a bunch of tiny ants go swimming and billy (one of the ants) starts hearing a ringing.

pulsing

Introducing Sha Ru - the new joint project from producers Ma Sha and Rù fueled by a persuasive fusion of balearic downtempo cuts and rich acid filth.

Drawing influences from the sounds of breakbeat, club, hip-hop, and UK bass, Sha Ru’s debut release “Near The Equinoxes” is a rich and exciting collection of cuts out November 8th via Brooklyn’s Sorry Records. The EP features “PCCCC (Lechuga Zafiro Remix)” — a club-ready take from Uruguayan producer Lechuga Zafiro who is known for his incredible releases through Mexico City’s N.A.A.F.I collective and his own Salviatek label/party.

Sorry Records is a Brooklyn based record label putting out beloved dance and pop music world wide. Forthcoming Sorry Records releases include tracks and remixes from C Powers (Sweat Equity, Mom Radio), GHTODRUMSEQUENCE, DJ Swisha (Juke Bounce Werk, Vanity Press), DJ Wawa, DRUMMy, Stick Figure, and more.

@sharu
@masha-ny
@deejay_ru
@sorry-records

Buy:
http://masharu.bandcamp.com

Near The Equinoxes [MP3]

PREMIERE: Ma Sha Ru - PCCCC [Sorry Records]

https://www.paypal.com/paypalme2/lapiselle

We've Met Before, Haven't We

Lapis Elle