Avantgarde

Ремастерская версия альбома, выпущенная в 1987 году, включая бонусный концертный альбом "Feel Good Now"

SUSANNA - BAUDELAIRE & PIANO Baudelaire & Piano - записанная в Atlantis Studio в Стокгольме, представляет собой полноценное сольное усилие Сюзанны. Пластинка, сделанная в одиночестве, лишенная только ее выразительного, задушевного голоса и скелетной трансовой игры на фортепиано.

New History Warfare Vol. 2: Judges - это второй сольный альбом Стетсона и его первый альбом для Constellation. Колин уже несколько лет зарекомендовал себя как ошеломляющий сольный исполнитель перед большой и маленькой аудиторией, от интимных джазовых и экспериментальных музыкальных площадок до больших сцен, будь то разогрев для Arcade Fire или The National, или выступление на джазовых и новых концертах. музыкальные фестивали, такие как Moers и London Jazz. Его таланты были широко признаны и использовались такими разными артистами, как Том Уэйтс, Лори Андерсон, TV On The Radio и Bon Iver. Колин также играет в Belle Orchester и Sway Machinery. Музыка на New History Warfare Vol. 2: Judges была полностью записана вживую в студии Hotel2Tango в Монреале, без наложений и циклов, с использованием более 20 микрофонов

Neuzeit, который немецкий электроакустический композитор Й. Петер Швальм рассматривает в своем новом дуэте с норвежским трубачом Арве Хенриксеном, обычно относится к современной эпохе, которая началась в 16 веке и стала свидетелем подъема западной цивилизации. Однако Швальм предпочитает принимать этот термин на лицо; слияние «нового» и «времени» он определяет как период, отмеченный внезапными и резкими изменениями.

(With 20 Bonustracks)

THE RESIDENTS RECORDED LIVE IN SAN FRANCISCO DURING THEIR 2018 IN BETWEEN DREAMS TOUR! CD+DVD SET CAPTURING A TRIUMPHANT HOMETOWN PERFORMANCE. DREAM-THEMED CLASSICS FROM ACROSS THE BANDS CATALOGUE – ‘JELLY JACK, ‘MANS WORLD, ‘PLAINS TO MEXICO, ‘

Это первая в истории архивная коллекция материалов итальянского минимализма Тициано Пополи, включающая четырнадцать ранее не издававшихся записей для инсталляций, театра и радиопередач с 1983 по 1989 год.

Digipak Полный влияний и звуков, проникнутых неоклассической и средневековой музыкой, исполненный полностью на португальском языке, эта пластинка кажется ярче, чем ее компаньон, но не заблуждайтесь: "A Cor Do Fogo" - это 100% Black Metal запись

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 f

The music of CARM features horns in roles typically reserved for drums, guitars, and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background color and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, "It started with the question: `What kind of record would my trumpet-playing heroes from the past make today?' I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that's what I sought to do with this project." Produced in Minneapolis by Ryan Olson ( Polica , Lizzo ) and featuring collaborations with Sufjan Stevens , Justin Vernon ( Bon Iver ), Yo La Tengo , Shara Nova , Mouse on Mars , Francis and the Lights and many others. It is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist's career thus far. Says Vernon, "I truly believe there isn't a more accomplished brass player in the entire world of music. And this is way more than a 'horn' record. It's a discovery of new heights with what is possible in creating music." The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing "Song of Trouble." The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer "Land." Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone . The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in "Already Gone" give way to the virtuoso sound of Nova's voice. A more experimental path emerges before the strings from yMusic bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice.

Adhelm's compositionsinvestigate the spaces where insistent nature and bleakurbanity meet. The result is a compellingadmixture of resonant percussion, processed field recordings and spectral electronics. His adventurous compositional processes and ex

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A mystifying work of Japanese avant-garde shamanism, Toho Sara's 1995 debut introduced a radical new sound from Asahito Nanjo (High Rise), Makoto Kawabata (Acid Mothers Temple) and Hisashi Yasuda - playing an array of ancient instruments including tabla, piri, harmonium, biwa, shakujo and hansho the group evokes otherworldly ritual music, meditative and haunting.

The Acid Lands, created by the Prague-based Opening Performance Orchestra, was first heard in public in 2014 at the Movement-Sound-Space festival in Ostrava, to mark the centenary of William S. Burroughs's birth. The piece was performed live by Opening Performance Orchestra and their guests, the theremin player Martina Potucková, and the poet, musician, and performer Pavel Z as the narrator. The studio version of The Acid Lands was made in late 2019/early 2020 in collaboration with Bill Laswell and Iggy Pop, who undertook the role of the narrator. The piece, which pays tribute to William S. Burroughs, features fragments from the novels The Western Lands (1987) and Junkie (1953). In addition to the title composition, The Acid Lands, the record contains Bill Laswell's instrumental remix, as well as the collective piece "Naming Seven Souls", featuring samples of William S. Burroughs reading his own work.

GO HIRANO's third album, Corridor of Daylights, is a quiet work of dreamlike brilliance. A home field recording where fragile piano melodies float alongside wind-chimes and wistful melodicas _ insects hum in the distance and a breeze gently rustles as summer day eases toward evening. Originally released in Japan by P.S.F. Records in 2004, Corridor of Daylights is a beautiful, soulful dispatch from early aughts Tokyo. In the already eclectic spectrum of music released by the revered Tokyo based P.S.F. label, Go Hirano's three releases are true outliers in the catalog's thirty year history. In contrast to the loud or more maximalist rock releases by Keiji Haino and High Rise or the wild historical free jazz of Kaoru Abe and Masayuki Takayanagi, Go Hirano's music floats in the gentler waters of the sonic palate. Hirano's work emerges from a more intimate kind of intensity; he creates sparsely contemplative and alternately playful music that at times evokes Erik Satie or even Hiroshi Yoshimura. A multi-instrumentalist and composer, Hirano's main tools are piano, melodica, percussion and the spaces in between the repetitions. He utilizes slight variations of gently mapped out introspection while embracing a more organic sense of openness and feeling. Speaking of his approach when he first starting out Hirano states "It seemed like a lot of musicians were aiming for perfection, but the more they applied themselves to that pursuit, the less interesting the music became. The most important thing for me was that initial, unadorned expression, regardless of whether or not the playing was technically impressive or not." From an early age Hirano immersed himself in a Japanese musical underground that seemed to embrace the entirety of radical and new musics emerging around the world during the 1970's and 80's. From new wave to noise, ambient industrial and the avant garde and his eventual discovery of P.S.F.'s record store Modern Music, Hirano began to develop an intensely perceptive ear. In one of his earliest musical forays, Hirano created music for an experimental butoh dance troupe that toured in Japan and overseas in Canada and the U.S. during the late 80's/ early 90's. Later he would collaborate with White Heaven, one of Japan's most legendary psychedelic rock groups. His first album Distance released on P.S.F. in 1993 reflected a more avant garde, free form approach. During this time Hirano began to realize that his truest form of musical expression lay along a different path from that of his peers. He set aside rock's raw energies and the draw of abstract dissonance for more melodic, quiet sounds. "I felt like jazz and classical were too excessive, or packed too tightly with the requirements of the genre. So I thought there should be a simpler approach that integrated elements of classical and jazz but only as needed, in moderation," Hirano said of his musical intentions. To his surprise, Hirano found that P.S.F. founder Hideo Ikeezumi, embraced this new direction music and offered to release his second album 1995's beautifully melodic, minimalist Reflection of Dreams. Released nearly a decade later the music found on Hirano's third and final album for P.S.F. Corridor of Daylights presents a deeply developed but deceptively simple musical vision. The songs are compact and stripped down to an elegant simplicity, melodic sketches emerging from domestic country-side field recordings. Speaking of his approach on the album Hirano says "I wanted to present each song as a sketch, in the sense that I was whittling down the feeling of each space I recorded in. The recording process was fragmentary - I recorded each song in a different space at a different time - but I wanted the songs to play off of one another in a way that made the album resonate as a whole."

Sunshine" Yellow colored vinyl limited to 500 copies. Camila Fuchs creates experimental electronic pop with spectral vocals and avant-garde sensibilities. Currently based in Lisbon, the project was formed by Camila De Laborde (Mexico City) and Daniel Hermann-Collini (Munich) in London in 2012. The band released their debut album Singing From Fixed Rung in 2016, followed by 2018's Heart Pressed Between Stones on ATP Recordings. Met with international praise, Camila Fuchs has performed at numerous well-regarded festivals including Mutek Mexico, Primavera Sound and All Tomorrow's Parties Festival. They have also supported and shared the stage with Plaid, Actress, Aleksi Perälä, Starcrawler, Charles Hayward, William Basinski, Braids and The Orb. Kids Talk Sun is the duo's third full-length album. It was produced and mixed by Peter Kember (Sonic Boom, Spacemen 3, Spectrum, Experimental Audio Research), whose mixing credits include artists such as Panda Bear, Beach House, Moon Duo and MGMT. With an imaginative, child-like approach, Camila Fuchs have managed to harness a transformational space of exploration and experimentation. Filled with a youthful sense of wonder, Kids Talk Sun is a meditation on childhood, as well as the exchanges between humans, between humans and nature, and within nature itself. A textural, drumless offering, "Sun" opens the album with a slow-tempo arpeggiation guided by Laborde's transporting voice. The words "heat me up, heat them up" conjures warmth that radiates throughout the album. "There was no way, no need to be careful," Laborde sings in "Moon Mountain." Mirroring the lyrics in approach, the band taps into a playful psychedelia with dense, hypnotizing instrumentation. Synths contract and swell punctuated by bleeps, bloops, and spaced-out effects beautifully articulated by Kember's production. A step into darker territory, "Come About" shows the band's breadth of range with Laborde's voice soaring over a driving downtempo rhythm, pleading for love and dedication to be taken and received, with a haunting effect. Kids Talk Sun was recorded near the sea and wilderness outside of Lisbon, with the band shifting back and forth from the natural world to the studio. The result is an ecosystem of complex, ever-evolving sounds working together, with generosity given to the process itself; the biomimicry of plants, insects, the sun and moon, earth, seasons, and cycles gorgeously reimagined in sonic form. There is a sense of multiplicity, a reassurance on change deeply rooted in transformation, on things disintegrating, decomposing, and something new coming to ground us, arms open, and ready for hope.

The Acid Lands, created by the Prague-based Opening Performance Orchestra, was first heard in public in 2014 at the Movement-Sound-Space festival in Ostrava, to mark the centenary of William S. Burroughs's birth. The piece was performed live by Opening Performance Orchestra and their guests, the theremin player Martina Potucková, and the poet, musician, and performer Pavel Z as the narrator. The studio version of The Acid Lands was made in late 2019/early 2020 in collaboration with Bill Laswell and Iggy Pop, who undertook the role of the narrator. The piece, which pays tribute to William S. Burroughs, features fragments from the novels The Western Lands (1987) and Junkie (1953). In addition to the title composition, The Acid Lands, the record contains Bill Laswell's instrumental remix, as well as the collective piece "Naming Seven Souls", featuring samples of William S. Burroughs reading his own work.

Camila Fuchs creates experimental electronic pop with spectral vocals and avant-garde sensibilities. Currently based in Lisbon, the project was formed by Camila De Laborde (Mexico City) and Daniel Hermann-Collini (Munich) in London in 2012. The band released their debut album Singing From Fixed Rung in 2016, followed by 2018's Heart Pressed Between Stones on ATP Recordings. Met with international praise, Camila Fuchs has performed at numerous well-regarded festivals including Mutek Mexico, Primavera Sound and All Tomorrow's Parties Festival. They have also supported and shared the stage with Plaid, Actress, Aleksi Perälä, Starcrawler, Charles Hayward, William Basinski, Braids and The Orb. Kids Talk Sun is the duo's third full-length album. It was produced and mixed by Peter Kember (Sonic Boom, Spacemen 3, Spectrum, Experimental Audio Research), whose mixing credits include artists such as Panda Bear, Beach House, Moon Duo and MGMT. With an imaginative, child-like approach, Camila Fuchs have managed to harness a transformational space of exploration and experimentation. Filled with a youthful sense of wonder, Kids Talk Sun is a meditation on childhood, as well as the exchanges between humans, between humans and nature, and within nature itself. A textural, drumless offering, "Sun" opens the album with a slow-tempo arpeggiation guided by Laborde's transporting voice. The words "heat me up, heat them up" conjures warmth that radiates throughout the album. "There was no way, no need to be careful," Laborde sings in "Moon Mountain." Mirroring the lyrics in approach, the band taps into a playful psychedelia with dense, hypnotizing instrumentation. Synths contract and swell punctuated by bleeps, bloops, and spaced-out effects beautifully articulated by Kember's production. A step into darker territory, "Come About" shows the band's breadth of range with Laborde's voice soaring over a driving downtempo rhythm, pleading for love and dedication to be taken and received, with a haunting effect. Kids Talk Sun was recorded near the sea and wilderness outside of Lisbon, with the band shifting back and forth from the natural world to the studio. The result is an ecosystem of complex, ever-evolving sounds working together, with generosity given to the process itself; the biomimicry of plants, insects, the sun and moon, earth, seasons, and cycles gorgeously reimagined in sonic form. There is a sense of multiplicity, a reassurance on change deeply rooted in transformation, on things disintegrating, decomposing, and something new coming to ground us, arms open, and ready for hope.

Official Release #107