Kids Down 52722

Sisco (guitar, vocals) Dave Reisch (bass, vocals), Will Patton (mandolin), Spencer Lewis (fiddle).  St Albans, VT. 5-27-06

Sisco & The Narcotics - My Bucket's Got A Hole In It (Hank Williams)

Available soon from Marginal Frequency
http://margfreq.laminalaudio.com/2016/10/05/erik-carlson-piece-for-12-violins-parts-1-2/

Written, performed, and recorded by Erik Carlson
Recorded at the Conrad Prebys Concert Hall, UCSD, September 2016
Cover Art by Ellie Moser
C60 on high quality chrome

Piece For 12 Violins (Parts 1 & 2)

Erik Carlson: Piece For 12 Violins (Part 2) | excerpt

Pink Endless Tail

Grisha Shakhnes 
https://disappearingrecords.bandcamp.com/

November 2018 with Grisha Shaknes in Zimmer

A late-stage rehearsal straight to cassette for reference. Recorded shortly before going into the studio, probably at John Henry rehearsal rooms. This is Mark on guitar, Lee on drums, and myself on piano and organ (the bass was always addressed in the studio once the basic track was down, which is why it doesn't feature here).
It's best to take the 8 minutes out and listen to the end, preferably in headphones, and in a quiet space,

Eden rehearsal cassette

Madison Greenstone: contrabass clarinet and electronics
Live @ ISSUE Project Room, opening for Mary-Margaret O'Hara and her band.
December 1st, 2018

On the materialization of perception- 
The electronics consist of a 1-minute loop of a contrabass clarinet multiphonic, which over the course of 24 minutes continuously (linearly) decelerates to ¼ of the original speed (or, the fundamental sinks 1 semitone every minute). As this deceleration occurs, the listener starts to hear lower frequencies pass out of audio range (below 20 Hz), and higher noisy beating in the spectrum turn into slowly pulsating clusters of frequencies as different regions of the spectra warp at different rates in relation to each other. Over the last 2 minutes, the loop slows to 1/32 of the original speed. Effectively every audible aspect of the original multiphonic sinks below the threshold of human hearing, passing through the region where frequencies are felt somatically and spatially rather than heard. The live contrabass clarinet intercepts the long descent at regular intervals, playing multiphonics whose spectra activate, and are activated by, the sinking carrier signal. Certain partials are amplified, create beating, and are masked depending on the contingencies of each signal’s spectral profile. Each physical position of the listener in the space registers a phenomenally different sonic experience- the propagation of the sounds’ waves in the room, the listener’s own subjective position, and the audiences own material capacity for absorbing and reflecting sound are all revealed as material inevitabilities.

Live at ISSUE Project Room – December 1st, 2018 – contrabass clarinet and electronics

second excerpt from nicola di croce | 47AD cd on Unfathomless.

this release is limited to 200 hand numbered copies and packaged in clear vinyl sleeve with folded insert and additional art card on 350gr satin paper.

47AD

U64 | nicola di croce | 47AD_excerpt2

second excerpt from Ludovic Medery | Les pierres sèches cd on Unfathomless.

In its regular version, this release is limited to 180 hand numbered copies and packaged in clear vinyl sleeve with folded insert and additional art card on 350gr satin paper. 

There is a special edition strictly ltd to 20 numbered copies coming with a different packaging (see website/Bandcamp page for details).

Les pierres sèches

U65 | Ludovic Medery | Les pierres sèches_excerpt2

1st Wave

small batch record label in Tracyton, WA, USA.

Erik Carlson: Piece For 12 Violins (Part 2) | excerpt

Marginal Frequency

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