From Elin Piel's Satsuma Sunday, available for pre-order now:
https://muzaneditions.bandcamp.com/album/satsuma-sunday

Elin Piel - Fält

Avizohar
Watershed
Cassette (E258)

Mastered by Yves De Mey

​Release date: May 2022
Edition of 80 copies

Watershed is composer Itzik Gil Avizohar’s debut album, a sonic diary of different scenes, experiences, states of mind and consciousness, recorded in Jerusalem, Tel Aviv, Naples, Venice, Hamburg and Berlin over the past three years. The album features contributions from double-bass player Erez Meyuhass, London-based noiser Vera Spektor, and the black metal trio Karkait. 

Originally from Jerusalem, Avizohar is a member of the art collective Studio Straus and the industrial duo Kashaiof.

Watershed

Avizohar (E258; 2022)

Goddaughter - Goddaughter C38. Available Summer MMXXII
Echoes of music smeared with urban field recordings from NY's Weston Czerkies (Magnetic Coroner / Prime Ruin). Simply GORGEOUS! Limited to 80 copies with screen printed artwork.

Goddaughter - Goddaughter C38 (Excerpts)

Delphine Dora
In Illo Tempore
Sloow Tapes - CS 50

Follow up to the Morc's 'Hymnes Apophatiques' that came out earlier this year, In Illo Tempore was also recorded at the church of St. Saphorin in Switzerland last year. Atmospheric organ melodies acompanied by wordless vocals descending into timeless devotional ambience. Edition of 70 copies.

Delphine Dora

From "Eight Fantasies" (Trona, 2022)

buy here: https://halles.bandcamp.com/album/eight-fantasies
https://les-hall.es

Les Halles returns with his first new material since 2019’s Golden Hour tape for Hare Akedod. Its origins are something of a mystery to its maker. Floating textures and smeared cloud loops, born of long nocturnal sessions, inspired by a 2022 trip through the California desert. Eight Fantasies is Les Halles’ inaugural release on his new collaborative label / platform, Trona, which will showcase his work and that of an inner circle of peers. As ever, his signature sound is rich with emotion, dreams, and memory, lilting on the winds of change and dissipation. May this be the dawn of many more fantasies to come. (Britt Brown, Not Not Fun)

-

Lieven Martens (Edições CN) on Eight Fantasies:

« A January night in the Gulf Stream, quite some time ago. I sat on a stone wall. Watching the bioluminescence spectacle in the ocean. The moon shone mildly. Fish, and other mammals weaving faiths below the waves. Colors flashing in the breakers.

The hiss.

I cried that night for no reason. Did that ever happen to you? In my mind there was a melody playing by Tatsuro Yamashita. Did that ever happen to you? It was not a sad melody - Rainy Walk. But still I cried.

Tears foretell early morning rain.

Over the course of the past few months, Club Brugge’s esteemed midfielder Casper Nielsen, cried twice. With a reason. Raining his soul over the television screen.

Ssssshhhh.

My partner throwing little pebbles in the water. Flashes of fluorescent light. Like a kid splashing with paint on a deep blue paper. Dripping ohs and aahs.

This music - the best music. Brings rain. A silver rain. May your day water by the tears of Baptiste Martin. »

- 
credits
released November 4, 2022

Music by Baptiste Martin.
Recorded in Brussels, 2022.
Master & Cover by Trona.

Total duration: 32'43.

℗ 2022 TRONA.

Les Halles - View On Golden Gate

ZI.1 - 'Imitazione' (reading by Mara Cimatoribus)*
ZI.2 - Titled
ZI.3 - 'Menschenbeifall' (reading by Anne Tetzlaff)
ZI.4 - Ulyssean Time
ZI.5 - 'Imitaciones' (reading by Rupert Clervaux)**

Available as a 12" with a foldout poster by Coline Cornélis,
and as a download.

Rupert Clervaux: drums, percussion, vibraphone, piano, synthesizers and samplers, 
with Stephen Warrington: piano on ‘Imitazione’, and Eben Bull: saxophone on ‘Titled’.

Artwork by Coline Cornélis.

*translation by Jonathan Galassi
**translation by Jason Weiss

Zibaldone I of CVX

Serge & Mondriaan

PRE-ORDERS NOW AVAILABLE

"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine


Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec. 

This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch. 


Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

Pauline Oliveros - The Beauty Of Sorrow - Tara's Room LP - Pre-Order Available

Pre-Order available now via imprec.com 
Cassette edition of 100 via Cassauna/Imprec

“Rupture” was inspired by the southern Italian folktale of Tarantism,
which is said to be an epidemic provoked by the bite of the tarantula.
It causes extreme spiritual possession. 
Aki Onda composed these tracks using the traditional folk music of the region as underlays, mostly in indirect ways but occasionally directly sampled. 
The tracks were recorded with musicians Tatsuya Nakatani, Gareth Davis and Clifton Hyde. The artwork features eerie and uncanny images of the Japanese
photographer Daisuke Yokota.

1. Rupture 
2. Betrayal

3. Rebirth
4. Growth 

Aki Onda : electronics, field recordings (1-4)
Tatsuya Nakatani : percussion, gongs, bells (1-4)
Gareth Davis : bass clarinet (4)
Clifton Hyde : mandolin (3)

Soundtrack for “Rupture” by Aki Onda
Recorded by Tatsuya Nakatani, Gareth Davis, and Aki Onda 
Edited and mixed by Aki Onda 
Mastered by Michael Fossenkemper



Photography by Daisuke Yokota

Aki Onda - Rupture - Cassette - August 3, 2020

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

Hideki Umezawa + Andrew Pekler 
"Two Views of Amami Ōshima"

Label - Edições CN 
Edition - LP, 300 copies 
Date - 20 Dec 2020
Design - Jeroen Wille
Mastering - Roman Hiele
Photo - Hideki Umezawa

https://www.edicoescn.be

- - - - - - - - - - 

In 1958 the painter Isson Tanaka (°22 July 1908 – *11 September 1977) moved to Amami Ōshima, an island in the Ryukyus. There, in self-chosen isolation, he committed himself exclusively to his art until his sudden passing in 1977. 

In 2018 Seiha Kurosawa, Kanako Azuma and Hideki Umezawa visited Amami Ōshima to create a video installation about Tanaka’s insular life. The work, entitled “Dokkyaku” (tr. The Lone Visitor), shifts between the texture and materiality of Tanaka’s paintings in relation to the natural world of Amami Ōshima and its people. The video invites viewers to understand—poetically—the artist’s sensitivity to nature and the expressivity of his works. 

During his stay on Amami Ōshima, Hideki Umezawa recorded a lot of natural sounds to recreate a sort of simulated ecology of Tanaka’s mind – or: of the painter’s mind. On this long playing record these recordings are blended with electronically generated sounds. Next, Andrew Pekler, who has never actually visited Amami Ōshima, upon hearing Umezawa’s field recordings creates - in the spirit of Isson Tanaka - a complementary dreamscape of the island’s phenomena. Of what could be. 

This is a work that doubts between site specific and creative imagination. With sounds echoing between the anecdotic and the imaginary. It is a sensitive and highly stylized interpretation of a world that Isson Tanaka had also carefully studied. A painter at work; a way of seeing. 

So, after Christophe Piette’s ‘Six Tableaux de Quelpaert’, released by Edições CN in 2019, we again moore an island in the nautical footsteps of a painter. While Piette drew a story through – among other things - recording dialogues at his island home, at the restaurant table, et al. Pekler and Umezawa paint their pictures in a more musical fashion. Where natural sounds evaporate into electronic clouds of imagination.

Dokkyaku (excerpt)

Sloow Tapes cassette label

sloowtapes.blogspot.com

Delphine Dora

sloowtapes

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