Second Editions Select

Natural

SoundCloud Weekly MAY_10_2019

Related tracks: 23 March 2018

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

purchase cassette: http://www.secondeditions.org

Interference

002 - Kevin Drumm - II (from Interference)

Composed by Lou Mallozzi and Joseph Clayton Mills

Mallozzi + Mills: Queen Sleep (2017)

snf04 : giuseppe ielasi "even when they speak of space" out dec.15th 2017.

music for whistling, microphone and digital degradation. 
recorded in november 2016 and august 2017. 
to be played at low volume.

www.senufoeditions.com

snf04 : giuseppe ielasi "even when they speak of space" part 1

A soundscape opera about relocation, urban space and gentrification.

This release is dedicated to the people and organisations in Brixton working to protect all that is unique about this district.

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Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay in Brixton. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, and about how as Brixton has become increasingly gentrified the ways in which some of the sounds associated with Brixton's history and communities were being lost from this area. I learnt about some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 
A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all, it stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks.

Kate Carr, Brixton, London.

I ended out moving to Brixton - Kate Carr (excerpt) out March 9

first excerpt from Jeph Jerman | Imbrication cd on Unfathomless.

In its regular version, this release is limited to 150 hand numbered copies and comes with an extra art card.

There is a special edition strictly ltd to 50 numbered copies coming with a different packaging (see website for details).

Imbrication

U50 | Jeph Jerman | Imbrication_excerpt1

second excerpt from Jeph Jerman | Imbrication cd on Unfathomless.

In its regular version, this release is limited to 150 hand numbered copies and comes with an extra art card.

There is a special edition strictly ltd to 50 numbered copies coming with a different packaging (see website for details).

U50 | Jeph Jerman | imbrication_excerpt2

Fahmi Mursyid - Lautan

23 March 2018

Originally made for a seminar with Asmus Tietchens based around the architecture of the Looshaus and Adolph Loos' Ornament And Crime.
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While I was initially drawn to the Looshaus’ acoustically flat interior and its sense of expansion with large wooden ceiling beams and high mirrors, in the end it was the buildings exterior that caught my attention the most –specifically, the windows at night.  The many small cell-like windows with thick beveled edges on the front of the building directly above and below the awning catch the light of the street and those installed on the top of the awning.  The building’s heavy columns being partially obscured or made less obtrusive by the darkness allow the eye to focus on the window’s dramatic shimmering effect as the viewer moved around and past the building.   The light ripples like the surface of moving water, and with the interior darkness the glass loses its transparency, reflecting the building’s high-mirrored interior.  Perhaps ultimately my piece is not an ornament for the building, but more an observation of qualities it already possesses framed as sound.

Sound for small windows and lights (observed at night, street level exterior)

A new piece I made or edited for Points of Listening's Invisible Symposium at Iklectik. This is made entirely of different types of recordings of the US border fence at Tijuana Beach, and includes contact mic takes of the sea hitting the fence pylons.

A Study In Border Porosity (US border fence recordings at Tijuana Beach)

004 - Kaori Suzuki - Conduit (excerpt)

Wind 4-7

R. Schwarz - Wind 4

Robe rehearsal 181017

purchase lp: www.secondeditions.org
release date March 01 2019

005 - Karl Fousek - Chapter 3 (from In The Forest)

more infos and preorder
http://www.secondeditions.org/catalog/008
release date February 21 2020

Études

008 - Roger Tellier-Craig - Duelle (from Études)

008 - Roger Tellier-Craig - Où s'inscrit tout indéterminé (from Études)

for more info, newsletter, etc please visit website
www.secondeditions.org
https://www.anost.net/label/40CB/second-editions