Seeing the light of day so poignant to see this photo always the last to know of new work released time is such a mystery - Terry’s family says hello 

LA VOCE DELLE PERLE CHE SI SVEGLIANO DI NOTTE
IL PIANOFORTE DI GHIACCIO
IL GESTO CHE INCANTA IL SUOLO

ALATA ONDA 3 SONGS

Viridescens

Francesco Cavaliere and Tomoko Sauvage embody a tactile audio visual display, radiating the color green into sounds and painting meditative music. By transforming collected objects into invented instruments and scenography, each motif becomes a dedication to a specific situation, an anecdote or a symbol, sometimes real and other times absurd, that the artists have encountered through their travels and conversations: the Chinese myth about a man wearing a green hat, naming convention of Japanese traffic lights, or even the imaginary chants of frolicking twin dolphins. This inspired the duo’s personal research on experimenting with raw and synthesized idiophones, stage landscape design, spontaneous field recording and organized improvisation.

B 1 Cavaliere - Sauvage - Twin Emerald Dolphins

KASSEL JAEGER 'Shift In Dreams' (SP144)

From the album 'Shift In Dreams', out on Feb. 24, 2023 on Shelter Press
Order: https://kasseljaeger.bandcamp.com/album/shifted-in-dreams

Music composed and performed by François J. Bonnet
Artwork by Eléonore Huisse
Mastering by Giuseppe Ielasi

Shifted In Dreams

KASSEL JAEGER 'Shifted In Dreams' (SP144)

A collection of 30 piano pieces, 
moving through active streams of music into a profound peace.

20 Pieces Of Piano

10 Current Chords

I. 2c 
II. Flutter
III. Moments in Love

out 04.28.17 https://boomkat.com/products/grafts

GRAFTS

https://soundcloud.com/pontiacstreator
+
https://soundcloud.com/ullastraus

out 5 July 2018
12" & Digital >>>
http://westmineral.ltd/releases/chat-ouest097/

~get in the chat~

Chat (OUEST097)

Pontiac Streator & Ulla Straus – A2 Chat Two – Chat EP (OUEST097)

hello sir would you like some coffee?
what are you doing, just standing around handing out coffee at 6am?
well when i was in the service, my dad sent me this book by the guy who started this company 
and every word... i wanted to BE that guy
and the guy who wrote it started this company 
you know... i used to have a corolla

I Was That Book

"Figures / Ground" is a commission for the „Untraining the Ear“ series, produced in collaboration between @savvy-contemporary, @deutschlandfunkkultur and @ctm-festival. For the radio feature, the two parts are interspersed by a conversation in german with Jan Rohlf (Co-founder and artistic director of CTM / Disk agency).
Premiere on 29.03.2019, the piece is from now on available for free on-demand streaming under the following link:
https://www.deutschlandfunkkultur.de/klangkunst-abschied-von-den-hoergewohnheiten-figures-ground.3685.de.html?dram%3Aarticle_id=437789

Figures / Ground (extracts - link in text)

“Terry left us the score to Song. The score indicates it is the piano part, however I have never seen any additional vocal part, and the right hand could clearly be the song melody. Terry once played this composition for me at his parents’ house in Eagle Rock on piano, alone. Since there are no words with the melodic line, I suggested to Charles Curtis that since the cello is such a song-like instrument, perhaps he could play the vocal part and Michael Schumacher could play the piano part.” – La Monte Young

Charles Curtis: Performances & Recordings 1998-2018 3xCD (SLT-005)

Saltern presents its fifth release, Charles Curtis: Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis's activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis. The wide-ranging scope of this release speaks not to a musical restlessness, but to a genuine spirit of inquiry, as these areas of activity for Curtis have existed concurrently in dialogue, not simply in succession, for decades. Over two hours of music by composers and artists with whom Curtis is closely associated including Éliane Radigue, Guillaume de Machaut, Tobias Hume, Silvestro di Ganassi, Terry Jennings, Morton Feldman, Anton Webern, Olivier Messiaen, Alison Knowles, Richard Maxfield, and Curtis himself. Mastered by Stephan Mathieu with liner notes by La Monte Young, Spencer Gerhardt, and Tashi Wada. Custom packaging and screen printing by Alan Sherry; edition of 500.

"Song" by Terry Jennings is licensed with kind permission from MELA Foundation.

Performances & Recordings 1998-2018

Terry Jennings – Song (1960)

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrete threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date.

Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition.

Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone.

But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, “Champagne Smoke.” A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house.

14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation at 14gestures.com from 29th July to 29th October, 2020.

Collagen releases on Shelter Press in LP / DL format on August 21, 2020. LP mastered and cut by Kassian Troyer at D+M, designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve, including a 16 pages limited edition score book.

LISA LERKENFELDT 'The Weight Of History'

releases November 20, 2020
mastering and lacquer cut :: Mike Grinser (Dubplates + Mastering, Berlin)
mixing assistance on "An Indefinite Lattice" :: Nathan Taylor

all proceeds to NHLC (Honolulu, HI) :: nativehawaiianlegalcorp.org

"Indefinite Lattices, the new 12-inch record by Glyn Maier, is rock music of a very different order. During visits to two mineral-rich sites, Maier collected field recordings of these environments which were then re-synthesized into four extended compositions. At Ringing Rocks in Pennsylvania, a field of boulders make bell-like tones when struck, as well as low-frequency tones that are unhearable by humans. (Scientists have yet to discern why the rocks ring, but believe it may have to do with the freeze-thaw cycle that produced them.) The other site visited by Maier—the fairly remote Kaʻena Point on the coast of O’ahu, Hawaii—was believed to be the departure point for souls leaving this world.

The unstable rhythmic patterns from these spaces, as well as Maier’s tappings, scrapes, and footsteps throughout the two sites, are paired with lullabilic progressions and ghostly effects. Instead of the artist’s personal expressions, the tracks on Indefinite Lattices are envisioned as lithic formations in their own right, as things grown rather than produced. They seem to have peaceful but complex lives of their own. Guided by notions of deep ecology—and an anti-colonialism that recognizes the bloody histories of these two sites—Maier refashions the instrumental utility of electronic music so that the agency of environments is emphasized.

Like watching rocks fall down a cliffside and splashing into a stream, or the humbling calm of a thunderstorm, one is left wondering whether this record is the result of human intention or a combination of natural forces. Treading the line between traditional and experimental approaches to ambient music, Maier edits the contingency of his gear’s electrical signals and the recorded environments into tightly conceived compositions. Indefinite Lattices is documentation of moments in the geological process, but also illustrates the geologic nature of art itself.

---

Glyn Maier is a sound & field recordist and conservationist living in the Unorganized Territory of South Oxford, Maine. He previously released music under the alias Lack. "

Indefinite Lattices

Glyn Maier - An Indefinite Lattice (ENM08)

Record label run by Tashi Wada and distributed by Forced Exposure. Limited UK and EU distribution by Republic of Music.

Terry Jennings – Song (1960)

Saltern

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