Available to pre-order soon!

Otomo Yoshihide - Guitar 
Sachiko M - Sine Waves 
Evan Parker - Saxophones 
John Edwards - Double Bass 
Tony Marsh - Drums 
John Butcher - Saxophones (Side B)

Recorded during Otomo Yoshihide and Sachiko M's first residency at Cafe OTO in 2009. The excerpt above is from the second (Sextet) side of the LP.

Otomo is in residency again at Cafe OTO on 20 & 21st September and also joins FIRE! as a special guest (alongside Mariam Wallentin) on the 19th! 

More info: http://cafeoto.co.uk/fire-with-special-guests-otomo-yoshihide-mariam-wallentin.shtm

Otomo Yoshihide / Sachiko M / Evan Parker / John Edwards / Tony Marsh / John Butcher

༒ TRACKLIST ༒
A Cruel Angel's Thesis to Remember (Himera x Evangelion bdstf Blend) bdstf
RUSHHH - U - NITE CORP      03.00
Drugs - t0ni       08.00
gasoiid * b34utiful th1ngs - offline meeting point     11.00
Charli XCX - Forever (Himera Remix)       14.00

A Cruel Angel's Thesis to Cry

time 2gthr

Yarn/Wire
New Music Brandeis - March 2022

Russell Greenberg, Sae Hashimoto, percussion
Laura Barger, Julia Den Boer, piano

Thank you, James Praznik, recording engineer

memory-palace: Quilts for San Francisco (2022)

euphoria bootleg

Improvisation by Kim Ngoc (vocal/tranh),Simon Rummel (piano/objects), Henrik Frisk (Sax), Stefan Östersjö (Pipa/guitare).

Improvisation at Hanoi New Music Meeting 2009

Composed by Edgar Guzmán. World premiere recording performed by Niek KleinJan

X,Y Counterpulse

for 8 active screamers and cello
recorded live October 27, 2002
la Salla Rossa, Montreal

Almut Ellinghaus, Marc Couroux, Caroline Kunzel, Clemens Merkel, Justin Mariner, Katy McLoughlin, D'Arcy Gray, Juliana Pivato - active screamers, Isabelle Bozzini - cello

Gerhard Staebler - Drüber (1972/1973)

Performance
Saturday, September 30th, 2017

ISSUE Project Room
22 Boerum Place, Brooklyn

Saturday, September 30th, ISSUE is pleased to present WITH, the second evening of FOR/WITH, a mini-festival featuring new commissions with some of America’s most iconoclastic composers and performers. A celebration of individual languages and the spirit of collaboration, the series continues with the premiere of Stem-Flower-Root by Michael Pisaro, a performance of Annea Lockwood’s 1995 work I Give You Back performed by Kristin Norderval, and a performance of Christian Wolff’s open score Edges or Exercises. The evening and series will close with a roundtable discussion and Q&A with Nate Wooley and all four of the series’ composers: Annea Lockwood, Ashley Fure, Christian Wolff and Michael Pisaro.

Organized by performer, composer and former ISSUE Artist-In-Residence Nate Wooley, FOR/WITH simultaneously premieres distinct new compositions for solo trumpet while also embarking on a celebration of the independent work of the series’ commissioned composers.

Stem-Flower-Root, the title of Michael Pisaro’s commissioned work for trumpet and sine waves, provides an apt metaphor for the FOR/WITH series at-large. Wooley describes how each of the composers featured have something in common with the structure outlined in Stem-Flower-Root; they demonstrate a power and creativity that can remain hidden, yet essential, in the structure (stem) of their works. Pisaro, Lockwood, Fure and Wolff all work with sound, but with a sense that the sound is coming from a deep and settled, human place (root). And, as will be heard, the music and ideas from these four composers bloom in incandescent ways.

Annea Lockwood’s 1995 composition I Give You Back, performed by Kristin Norderval, is a lament for unaccompanied mezzo-soprano and is set to a text by celebrated Mvskoke poet Joy Harjo. The score notes evoke the piece as “the simple image of one woman onstage, barefoot, letting loose great octave leaps and glissandos peaking in sharp cries, projecting a beautifully unfettered freedom.”

The evening then features a performance of Christian Wolff’s Edges or Exercises featuring Nate Wooley (trumpet), Christian Wolff (small percussion and melodica), Michael Pisaro (electric guitar) and Kristin Nordeval (voice). In the liner notes for Wolff’s 10 Exercises, the American composer Frederic Rzewski describes the work as “not reproducing familiar forms, but revealing, behind these, life’s unpredictability. You could say it is political; improvisatory; concerned with collaborative, non-hierarchical forms of social organization; but you can’t really say what it is like (although John Cage came close when he said, after a performance of the Exercises in New York, that it was like the classical music of an unknown civilization).”

Michael Pisaro: Stem-Flower-Root (Nate Wooley) - LIVE at ISSUE / September 30th, 2017

Repetition Study II (Music as a Means of Processing Trauma), for 2 pianists & 2 percussionists, with or without electronics

Written for the Yarn/Wire Institute 2019
Performers: Ning Yu, Laura Barger, Clark Hubbard and Russell Greenberg

Repetition Study II (Music as a Means of Processing Trauma)

Recorded by the Arditti Quartet on August 20, 2020 at the Hellereu Center for the Arts in Dresden, Germany via June in Buffalo 2020

Violin I- Irvine Arditti
Violin II- Ashot Sarkissjan
Viola- Ralf Ehlers
Cello- Lucas Fels

Audio Technician-Olaf Mielke


Program Notes:
"For There They Were..." consists of a single movement divided into two sections. The first is a slow web of twisting building fughettas interspersed with brief cello solos. A brief viola solo parts the clouds but is swallowed up again in frustration, until a release in the second section: a drunken waltz.The waltz begins with a demented and sardonic violin solo that leads into the full ensemble dance. Mimicking the state of inebriation, the waltz whisks its teetering “dancers” from one part of a party to another. Suddenly, the music melts off the page in a fierce chaotic improvisation that concludes the performance. My deepest gratitude to the Arditti Quartet for recording the piece and to the Jupiter Quartet for first reading the piece.

"For There They Were..." (2018/2020)

Jack Herscowitz is a Los Angeles based composer, improviser, and sound artist whose work enacts presence, full-body engagement, and relationality. He engages and often hybridizes multiple musical and non-musical practices including instrumental composition, dramaturgy, electroacoustic improvisation, installation, landscape film, performance art, noise, sampling, text, and communal sound making.

"For There They Were..." (2018/2020)

Jack Herscowitz

Related tracks