{"title":"Pioneers","description":"","products":[{"product_id":"slt002","title":"Morton Feldman - Clarinet and String Quartet - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eSaltern returns with a gorgeous new recording of Morton Feldman's Clarinet and String Quartet (1983) performed by Anthony Burr (clarinet), Graeme Jennings (violin), Gascia Ouzounian (violin), Che-Yen Chen (viola) and Charles Curtis (cello). This performance highlights Feldman's interest in notation by treating the slight differences in intonation and rhythm literally and specifically.\u003c\/p\u003e\n\u003cp\u003eRecorded by Tom Erbe in the living room of a friend of the musicians. Edition of 400. Housed in jackets printed at Stoughton and featuring a cover image by artist Raha Raissnia.\u003c\/p\u003e\n\u003cp\u003eFrom Anthony Burr and Charles Curtis' liner notes: \"Near the end of the final Contrapunctus in The Art of Fugue, Bach introduces a new four-note countersubject which, in the German note names, spells B, A, C, H (in our note names, B-flat, A, C, B-natural). To those within Bach's circle, and probably to any attentive musician of his day, the notes thus sounded would have unmistakably articulated Bach's name -- an embedded signature, not just a melodic motif but a salutation in musical code. Morton Feldman begins Clarinet and String Quartet with the same four notes in reverse order -- H, C, A, B, if you will. These four notes are repeated over and over by the clarinet and the cello simultaneously, the two instruments in minutely different rhythms and phrasings. These notes, however, are given anomalous names: in the cello, B, D-double flat, G-double sharp, A-sharp; and in the clarinet, C-flat, C, A, B-flat. Whether or not Feldman placed the retrograde B, A, C, H motif intentionally, it fits seamlessly into the pitch world of his late music, in which chromatic clusters (often four notes) are obsessively restated in different permutations, like anagrams.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/221768408\u0026amp;color=ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\" scrolling=\"no\" height=\"166\" frameborder=\"no\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Clarinet and String Quartet\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\"This stunning new version of Morton Feldman's Clarinet and String Quartet was recorded in a living room, a particularly appropriate setting for the composer's intimate compositions. Originator of a highly unique, awe-inspiring musical vernacular, Feldman stretched tones and music in time to produce long yet elegant experiences of minuscule differences. Clarinet and String Quartet\"clocks in at 48 minutes, and is one of the late composer's briefer compositions. There's a brilliantly odd, scuttling quality to this 1983 piece, which is tightly metered while nevertheless remaining fluid throughout. Opening with four notes that are repeated over and over on both clarinet and strings, the instruments eventually start diverging in microscopically different rhythms and phrases. The effects are powerful and open up a world of precise yet liquid tone clusters.\" ~ Other Music\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9806839044,"sku":"slt002","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/slt-002_cover.jpeg?v=1446135765"},{"product_id":"imprec406","title":"Else Marie Pade - Electronic Works 1958-1995 - 3LP\/2CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003e2016 Repress! - Exclusive transparent yellow vinyl for Imprec mailorder customers while supplies last.\u003c\/p\u003e\n\u003cp\u003eElse Marie Pade's Electronic Works 1958-1995 is pressed on a heavy-duty three LP set, in an addition of 500. Restoration, mastering and the cut were done by the watchful ears of curator Jacob Kirkegaard at Dubplates in Berlin. This is the first time these monumental works are presented on audiophile grade heavy-duty vinyl where they belong.\u003c\/p\u003e\n\u003cp\u003e\"The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.\" ~ Else Marie Pade\u003c\/p\u003e\n\u003cp\u003eElse Marie Pade (born 1924 in Aarhus, Denmark; currently living in Copenhagen) is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of Musique Concrete and electronic music recorded on tape. She is Denmarks first lady of electronic music and her piece Syc Cirkler (Seven Circles) became Denmark's first electronic piece to be performed on the radio.\u003c\/p\u003e\n\u003cp\u003eEMP's search for sound began in early childhood when she was isolated in her bed for long periods of time due to illness. There she would lie and listen to the sounds around her just as she did years later when she was imprisoned for spying on Nazi compounds in Arhus. Once released from prison she became a piano student at the Royal Danish Conservatory in Copenhagen, but chose to instead pursue the nuances of her inner sound world after hearing Pierre Schaeffer in 1952. She began studying with him not too soon thereafter. Her first electronic composition premiered in 1955.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/176932065\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;visual=true\" scrolling=\"no\" height=\"450\" frameborder=\"no\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eDisc 1:\u003c\/p\u003e\n\u003cp\u003e1. FAUST SUITE\u003cbr\u003e\u003cem\u003e. Prolog i Himlen (4:18)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e.. Faust \u0026amp; Mefisto (6:59)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e... Faust \u0026amp; Margrethes Kærlighed (7:20)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e.... Margrethes Fordømmelse (4:13)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e..... Rejsen til Bloksbjerg og Valborgsnat (8:25)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e...... Epilog (4:47)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2. LYD \u0026amp; LYS (4:43)2\u003c\/p\u003e\n\u003cp\u003e3. SYV CIRKLER (7:17)\u003c\/p\u003e\n\u003cp\u003e4. ETUDE (5:33)\u003c\/p\u003e\n\u003cp\u003eDisc 2:\u003c\/p\u003e\n\u003cp\u003e1. ILLUSTRATIONER\u003cbr\u003e\u003cem\u003e. Himmelrummet (6:53)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e.. Havkongens Slot (7:06)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e... Alfeland (6:10)\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e.... Kong Vinter (6:09)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2. GLASPERLESPIL I (7:35)\u003c\/p\u003e\n\u003cp\u003e3. GLASPERLESPIL II (7:58)\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"2xCD","offer_id":9807049348,"sku":"imprec406","price":16.0,"currency_code":"USD","in_stock":false},{"title":"3xLP","offer_id":30760702660,"sku":"IMPREC406","price":60.0,"currency_code":"USD","in_stock":false},{"title":"Yellow 3xLP","offer_id":30760722500,"sku":"IMPREC406","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/padebig14.jpeg?v=1446135949"},{"product_id":"imprec028","title":"Eliane Radigue - Adnos I-III - 3CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\u003cspan\u003eEliane Radigue's Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePackaged in a heavy duty 3xCD thick coated matte jacket including extensive archival materials.\u003cbr\u003e\u003cbr\u003eA discharge printed t-shirt based on Adnos is available \u003ca href=\"http:\/\/importantrecords.com\/apparel\"\u003ehere\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eA two color screen print based on Adnos is available \u003ca href=\"http:\/\/importantrecords.com\/visualshop\/print\"\u003ehere\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/NLEy94_FjG0?list=UUnpPhRN6vKUee6wL2WdCEZw\" frameborder=\"0\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eAdnos I\u003c\/p\u003e\n\u003cp\u003eAdnos II\u003c\/p\u003e\n\u003cp\u003eAdnos III \u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\"I am encapsulated in a moment of dream and paradox: liberated from flesh as a weightless particle powder floating through the air, and simultaneously an agonising accumulation of muscle tension, as a forceful transfixion within a solitary state.\" ~ \u003ca href=\"http:\/\/www.attnmagazine.co.uk\/music\/6784\"\u003eAttn Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"French composer Eliane Radigue's Adnos I-III trilogy may have been composed between 1973 and 1980, but these related works are timeless. Not just in an era, or genre-specific way (in this case: minimalism), but in the sense that when listening to these 70-minute-long drone-based pieces, time seems suspended.\" ~ \u003ca href=\"http:\/\/importantrecords.com\/imprec\/French%20composer%20Eliane%20Radigue's%20Adnos%20I-III%20trilogy%20may%20have%20been%20composed%20between%201973%20and%201980,%20but%20these%20related%20works%20are%20timeless.%20Not%20just%20in%20an%20era,%20or%20genre-specific%20way%20(in%20this%20case:%20minimalism),%20but%20in%20the%20sense%20that%20when%20listening%20to%20these%2070-minute-long%20drone-based%20pieces,%20time%20seems%20suspended.\"\u003eExclaim\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"3xCD","offer_id":9807107780,"sku":"imprec028","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec028_web.jpeg?v=1446135992"},{"product_id":"imprec387","title":"Born of Six - Svapiti - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eBorn of Six, featuring Amelia Cuni, Catherine Christer Hennix and Werner Durand, create exemplary drone compositions rooted in the traditions of Dhrupad, Early Minimalism and Just Intonation. Composed by Durand ,Cuni, Hennix, Svapiti is one long composition measuring 55 minutes in length.\u003c\/p\u003e\n\u003cp\u003e\"A solid foundation is the best basis for the fundamental.\"\u003c\/p\u003e\n\u003cp\u003eNarada's exposition of the seven notes begins as follows: Because Sadja (the Tonic) arises from the combination of nose, throat, chest, palate, tongue, and teeth, it is known as \"six-born.\"\u003c\/p\u003e\n\u003cp\u003eCD is housed in a 6 panel digipack on thick board stock with a matte laminate coating \u0026amp; spot-gloss.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/GkOSZX5P-qo\" frameborder=\"0\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAmelia Cuni - solo voice, mirliton, bamboo resonator\u003cbr\u003eCatherine Christer Hennix - drone voice\u003cbr\u003eWerner Durand – invented wind instruments, drones\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807108228,"sku":"imprec387","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/387_bornof6_web.jpeg?v=1446135993"},{"product_id":"imprec382","title":"Else Marie Pade \u0026 Jacob Kirkegaard - SVÆVNINGER - LP\/CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eGorgeous electronic collaboration between Jacob Kirkegaard and Else Marie Pade. Urgent CD reissue of the sold out LP containing a beautiful and exclusive 15-minute bonus track not included on the LP release.\u003c\/p\u003e\n\u003cp\u003eElse Marie Pade (born December 2, 1924 in Aarhus) is a Danish composer who pioneered electronic and concrete music in Denmark beginning in 1954 . Pade was active in the resistance movement during the Second World War, and was interned at the Frøslev prison camp from 1944 till the end of the war. An archival collection of Else Marie Pade's electronic work is now available on Important Records.\u003c\/p\u003e\n\u003cp\u003eDanish artist Jacob Kirkegaard's works are focused on scientific and aesthetic aspects of sonic perception. He explores acoustic spaces and phenomena that usually remain imperceptible to the immediate ear. Kirkegaard's installations, compositions \u0026amp; photographs are created from within a variety of environments such as subterranean geyser vibrations, empty rooms in Chernobyl, a rotating TV tower, and even sounds from the human inner ear itself.\u003c\/p\u003e\n\u003cp\u003eBased in Berlin, Germany, Kirkegaard is a graduate of the Academy for Media Arts in Cologne. Since 1995, Kirkegaard has presented his works at galleries, museums, venues \u0026amp; conferences throughout the world. His sound works are primarily released by the British record label Touch and he is a member of the sound art collective freq-out.\u003c\/p\u003e\n\u003cp\u003eDespite an age difference of 51 years, Else Marie Pade and Jacob Kirkegaard speak a similar musical language and are prominent listeners and communicators of sounds that we tend to overhear. For the first time these two pioneers are collaborating on a new work: SVÆVNINGER investigates the variations that one can hear when sound waves collide. Both artists have previously worked on this phenomenon; Jacob Kirkegaard in his work Labyrinthitis (2007) and Else Marie Pade in her work Faust Suite (1962). For their new joint piece SVÆVINGER, they remixed some of Pade's early (and hitherto unreleased) sound experiments with some of Kirkegaard's recordings from his own ear, thus leading the audience straight into the undiscovered labyrinths of their own hearing.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Cirrocumulus\u003c\/p\u003e\n\u003cp\u003e2. Cirrostratus\u003c\/p\u003e\n\u003cp\u003e3. Stratus\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e4. Altocumulus\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e5. Cumulonimbus\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e6. Nimbostratus\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e7. Bortdragende Regnskyer (CD Exclusive Bonus Track)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\"For all the scientific rigour to Kirkegaard's research into the sonic possibilities of various materials, his work reveals an underlying fascination for the mysteries and myths embedded in them. His work channels an access to an inner world.\" ~ Anne Hilde Neset, The Wire, 07\/09\u003c\/p\u003e\n\u003cp\u003eBill Meyer in the Chicago Reader:\u003c\/p\u003e\n\u003cp\u003eThe compositions on this LP are named after cloud formations, but there's nothing fluffy about them. Svævninger is a collaboration between two Danish sound artists and composers, octogenarian Else Marie Pade and Jacob Kirkegaard, who's half a century her junior. Like Englishwomen Delia Derbyshire and Daphne Oram, Pade is enjoying a measure of appreciation denied her during her pioneering days - in this case, the middle of the 20th century, when she was her country's first electronic composer. Unlike them, she's not only still alive but also still working. Svævninger features long, glassy tones close enough to each other in pitch that they induce beating tones and lively otoacoustic emissions (sounds that occur only inside the ear). The effect is gorgeous and deeply affecting; Eliane Radigue might make something like this if she were trying to imitate the voices of jungle birds.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807109956,"sku":"imprec382","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Color LP","offer_id":12579103604810,"sku":"imprec382","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Black LP","offer_id":13584191979594,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/382_padekirk_web.jpeg?v=1446135994"},{"product_id":"imprec368","title":"Folke Rabe - What?? - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eWhat?? is a focused and grounding work produced by Swedish composer Folke Rabe in 1967. From his interest in sound phenomena and harmonics Rabe was able to make one of the most deep, moving pieces of sustained sound generated in this formative era of minimalist electronic composition. Initially reissued on Dexter's Cigar in 1997 and now available on Important with expanded packaging including archival materials furnished by the composer. Amplified infinity.\u003c\/p\u003e\n\u003cp\u003e\"My interest in the makeup of various sound phenomena began many years ago. The basic physical preconditions were familiar to me, but I wanted to experience the components of the sound with my hearing. I attempted to 'hear into' the different sounds in order to grasp the components that made them up. I experienced how the overtones in a tone sounding on the piano change slowly as they die away. I also attempted to grasp the brittle arpeggio of formants that arises when a vowel is slowly changed at a particular pitch. I also tried, as far as possible, to train my hearing to tease out the complex processes that occur at the origin of sound.\u003c\/p\u003e\n\u003cp\u003e\"At the same time as this listening, I was concerned with monotony. My first feeble attempts yielded little: later, more systematic repetitions led to findings. I found methods by which the transitoriness of sound could to some extent be compensated. Small details and micro-variations between the repeated elements that would not have been noticed in a context richer in contrast then come to the fore. Extended sounds that change and move into one another very slowly have a similar effect.\u003c\/p\u003e\n\u003cp\u003e\"Hobby experiments of the sort described, as I conducted them, are of course primitive from a theoretical point of view. But this basic experience was exactly what was important to me.\u003c\/p\u003e\n\u003cp\u003e\"The musical field indicated here is perhaps somewhat foreign to the Western musical tradition. In other living cultures it is entirely relevant. This state of affairs is, I believe, connected with the development of musical notation. As this method of fixing sound developed, all the subtler qualities of pitch, sound, and time relationships had to be leveled off. On the other hand, systems of notation first made possible meaningful musical constructions. This fact compensated for the loss just described, making possible the great tradition of European music.\u003c\/p\u003e\n\u003cp\u003e\"In Western composition, intervals, rhythms, and tone color – to the extent that they eluded notation – were subordinated to a philosophical idea, or at least a motivic\/formal one. The sounding fact as such retreated into the background, and the West, in ethnocentric self-idolization, erected its own cultural tradition (be it Beethoven or Coca-Cola) as an example to the world.\u003c\/p\u003e\n\u003cp\u003e\"But there are in the world many fields of music in which the qualitative element grows from the immediate sound. In such music, one looks in vain for formal elements in the Western sense; this music may thus seem primitive, senseless, or even provocative. In reality, however, these are two different possibilities of musical organization.\u003c\/p\u003e\n\u003cp\u003e\"Indian musicians said to me that Western music is certainly good music, but they found its technique of phrasing incomprehensible: 'The music always breaks off before it has begun!'\u003c\/p\u003e\n\u003cp\u003e\"What What?? means: As you will hear, What?? is constructed from harmonic sounds. These sounds move into one another by means of enharmonic melding of the partials. I chose harmonic sounds because a pleasing richness results from them, but more particularly because the partials reinforce one another through their inner hierarchy, and can thereby produce certain illusions.\u003c\/p\u003e\n\u003cp\u003e\"I chose the extended, seemingly endless form in order to enable peaceful journeys of discovery in the sound, but also in order to work with this particular material. Electronic devices have no muscles. 'Breathing' expressiveness is contrary to their nature; their characteristic quality is an enormous, tireless endurance.\u003c\/p\u003e\n\u003cp\u003e\"About 85% of the material is made up of electronically generated tones, which however are never present in their static, original form. Each partial has been specially treated in itself, which can at times yield a very rich result.\u003c\/p\u003e\n\u003cp\u003e\"What?? was created in the late summer of 1967, and was realized by me in the electronic studio of the Swedish Radio. The piece was presented for the first time in the same year as part of a collective evening performance (Signery) in the Stockholm Radio Hall by Jan Bark, Bo Anders Persson and myself.\" ~ Folke Rabe\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. What??\u003c\/p\u003e\n\u003cp\u003e2. What??\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807146564,"sku":"imprec368","price":12.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/layout.jpeg?v=1446136028"},{"product_id":"imprec358","title":"Deep Listening Band - Octagonal Polyphony - LP","description":"\u003cdiv class=\"details\"\u003e* Warehouse find \u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003ePressed in an edition of 500.\u003c\/p\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003eImportant Records, on the occasion of Pauline Oliveros' 80th birthday, presents two new releases from the Deep Listening Band. These recordings, sadly, mark some of the final trio recordings with David Gamper who passed away in 2011. \u003cspan\u003eThis LP is being released simultaneously with DLB's Great Howl At Town Haul CD\u003c\/span\u003e and Pauline Oliveros' comprehensive 12 CD collection of electronic work. \u003c\/p\u003e\n\u003cp\u003eStuart Dempster, Recording\/Mixing statement:\u003c\/p\u003e\n\u003cp\u003eDeep Listening Band's January 2011 residency and concert at Town Hall Seattle produced enough material for both a CD and an LP on Important Records, and a double LP on Taiga Records. The subsequent summer consisted of well over 100 hours of listening on my part alongside DXArts technical wizard Michael McCrea who himself has between 150 and 200 hours of listening and editing in this multifaceted project.\u003c\/p\u003e\n\u003cp\u003eIn the process of both performing and recording as a member of DLB I found myself exclaiming, \"I am hearing spherically.\" DXArts' elegant Meyer Sound Surround System was phenomenal with its eight loudspeakers and four subwoofers surrounding the Band and audience. I was hearing the sound ambisonically as it came from above and below me as well as all around me.\u003c\/p\u003e\n\u003cp\u003eCapturing the ambisonic effect on stereo would seem to be impossible, but there are hints of this in these recordings depending on both how the recordings are edited and the playback system. During my listening I was astonished at McCrea's ability to not only \"incorporate\" a small measure of ambisonic sound in stereo but also how he would \"deconstruct\" the recordings in order to improve instrument balances and sonic spectrum uniformity. \u003c\/p\u003e\n\u003cp\u003eMichael McCrea, Recording\/Mixing statement:\u003c\/p\u003e\n\u003cp\u003eFrom the moment that the Deep Listening Band first sent sound ricocheting through Town Hall, through every corner and aisle and up into the dome, it was clear that capturing the auditory scene around me would be a compelling endeavor. With no small amount of trial and imagination, we set the microphones throughout the hall. We needed to listen from every direction, as the audience would, while the acoustic space constantly shifted – expanding, multiplying and resounding according to the whim and will of the DLB and their unseen collaborator, the EIS. Indeed everyone in the hall on the evening of the public concert heard their own unique performance resulting from their place and presence in the sound-field that night.\u003c\/p\u003e\n\u003cp\u003eThe task of re-presenting this continuum of sonic volumes and fleeting spatial environments was an elusive one! Hours of listening with Stuart would leave me absorbed by the sheer richness and breadth of sounds. Solo'ing particular microphones, or even specific frequency bands would reveal countless hidden performances and new directions. After local adjustments to one sound source or another we would re-emerge to the main mix and find ourselves in yet another world of sound, captivating and foreign despite numerous previous listenings. I would ask Stuart to remind me, \"How many performers were playing that night? Oh yes, just three....\"\u003c\/p\u003e\n\u003cp\u003eDavid Gamper joined Deep Listening Band (DLB) in 1991 and helped develop the Expanded Instrument System (EIS) and, with Pauline Oliveros, wrote two papers about EIS. David's musicality and technical skill were a core part of DLB's music making. DLB recorded several DLB CDs in David's Kingston studio, including Deep Time and Sanctuary. Subsequently, DLB toured nationally, as well as abroad, including stops in Canary Islands, Europe, and Japan.\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros, (November, 2011- Kingston, NY):\u003c\/p\u003e\n\u003cp\u003eOur last time with David as a member of DLB was a marvelous week-long residency at Town Hall Seattle. We were treated to a week of expert technical support from University of Washington's DXArts, and also major assistance from UW's School of Music. For the first time in our long history together, David was freed up from serving as technical supporter of DLB as well as performer. All we had to do was come in each day and play, and thus the recordings we made seemed to reach a pinnacle of our performances. We three strongly felt that together. It is all the more tragic that we will never perform in this way again, and we miss him terribly.\u003c\/p\u003e\n\u003cp\u003eStuart Dempster (November 27th, 2011 - Seattle, WA):\u003c\/p\u003e\n\u003cp\u003eI met David Gamper in 1967, almost 45 years ago when he was a Bowdoin College senior. He supported me by loaning his dorm-room stereo for my concert of commissions I was touring around. In 1989 he joined DLB as an able, willing assistant, then as a consummate band mate, colleague, and electronics guru. Soon his status as a marvelous family man, friend, gentleman, musician (conch, natural flutes, piano, toys, voice), and troubleshooter came to the fore. Furthermore, he was \"there\" for people, support that is well respected. For over 20 years his spectacular piano playing propelled DLB concerts forward, but it was only recently during the editing of these January 2011 recordings that I discovered the depth of his playing, playing that I thought I knew! Over time I became enthralled with his magnificent flutes and how he performed on them and integrated everything into EIS. DLB will carry on, but it will never be the same. He is deeply and sorely missed. \u003c\/p\u003e\n\u003cp\u003eDeep Listening Band: \u003c\/p\u003e\n\u003cp\u003eStuart Dempster, trombonist, composer, didjeriduist, et al. and professor emeritus at University of Washington, has recorded for numerous labels including Columbia (Sony), Nonesuch, and New Albion. The latter includes In the Great Abbey of Clement VI at Avignon—a \"cult classic\"—and Underground Overlays from the Cistern Chapel consisting of music sources for a 1995 Merce Cunningham Dance Company commission. Grants include Fulbright Scholar to Australia and Guggenheim Fellowship. Dempster's The Modern Trombone was published in 1979. He is a founding member of Deep Listening Band, which celebrated twenty years with a double LP on TAIGA Then \u0026amp; Now Now \u0026amp; Then (2008). Dempster soothes aches, pains, and psychic sores with his healing, yet playful, Sound Massage Parlor. Golden Ear Awards: Deep Listening 2006 and Earshot Jazz 2009; International Trombone Association Lifetime Achievement Award 2010. ~ \u003ca href=\"http:\/\/faculty.washington.edu\/dempster\/\"\u003ehttp:\/\/faculty.washington.edu\/dempster\/\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros (b. 1932), composer and improviser, performs extensively in a variety of venues world-wide. Her music is also performed by notable musicians and ensembles. Oliveros plays a Titano acoustic accordion and the Roland V Accordion. In 2009 Oliveros was honored with the William Schuman Lifetime Achievement Award presented by Columbia University along with a three-hour retrospective of her music at Miller Theater in New York in 2010. Foundation for Contemporary Arts presented Oliveros with the 2012 John Cage Award at Merce Cunningham Dance Foundation in New York March 19. Oliveros is founder of Deep Listening Institute, Ltd., based in Kingston NY. Through her Deep Listening practice she has facilitated numerous workshops and intensives throughout the world leading to collaborations across many disciplines. For more information see: \u003ca href=\"http:\/\/paulineoliveros.us\/\"\u003ehttp:\/\/paulineoliveros.us\u003c\/a\u003e and \u003ca href=\"http:\/\/deeplistening.org\/\"\u003ehttp:\/\/deeplistening.org\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eDavid Gamper (1945–2011) moved freely in composition, improvisation and electronic instrument design and construction. He named his technology \"The Sound Shifter\" and could capture live instruments (piano, winds, and others) and electronically shift them into other musical realms. He designed variations of EIS for teaching, demonstration, recording, and use by guest musicians in performances with Deep Listening Band, where he had been a member since 1990. Gamper was also half of See Hear Now, (with photographer Gisela Gamper) a visible music sound and video projection duo, and hilde+ed productions, a multi-media content development partnership. JdK Productions released two recordings: a duo concert with Pauline Oliveros at The IJsbreker in Amsterdam, and a compilation of Whitney's Bistreams exhibition's sound artists, which includes his piece Conch. Recently released is a DVD with See Hear Now. ~ \u003ca href=\"http:\/\/www.seehearnow.org\/dgamper\/index.html\"\u003ehttp:\/\/www.seehearnow.org\/dgamper\/index.html\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Bell Dance\u003c\/p\u003e\n\u003cp\u003e2. Dreamport\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"LP","offer_id":9807160260,"sku":"imprec358","price":20.0,"currency_code":"USD","in_stock":false},{"title":"Color LP","offer_id":12579104227402,"sku":"imprec358","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/octagonal.jpeg?v=1446136041"},{"product_id":"imprec359","title":"Deep Listening Band - Great Howl At Town Haul - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eImportant Records, on the occasion of Pauline Oliveros' 80th birthday, presents two new releases from the Deep Listening Band. These recordings, sadly, mark some of the final trio recordings with David Gamper who passed away in 2011. This CD is being released simultaneously with DLB's Octagonal Polyphony LP and Pauline Oliveros' comprehensive 12 CD collection of electronic work. \u003c\/p\u003e\n\u003cp\u003eStuart Dempster, Recording\/Mixing statement:\u003c\/p\u003e\n\u003cp\u003eDeep Listening Band's January 2011 residency and concert at Town Hall Seattle produced enough material for both a CD and an LP on Important Records, and a double LP on Taiga Records. The subsequent summer consisted of well over 100 hours of listening on my part alongside DXArts technical wizard Michael McCrea who himself has between 150 and 200 hours of listening and editing in this multifaceted project.\u003c\/p\u003e\n\u003cp\u003eIn the process of both performing and recording as a member of DLB I found myself exclaiming, \"I am hearing spherically.\" DXArts' elegant Meyer Sound Surround System was phenomenal with its eight loudspeakers and four subwoofers surrounding the Band and audience. I was hearing the sound ambisonically as it came from above and below me as well as all around me.\u003c\/p\u003e\n\u003cp\u003eCapturing the ambisonic effect on stereo would seem to be impossible, but there are hints of this in these recordings depending on both how the recordings are edited and the playback system. During my listening I was astonished at McCrea's ability to not only \"incorporate\" a small measure of ambisonic sound in stereo but also how he would \"deconstruct\" the recordings in order to improve instrument balances and sonic spectrum uniformity. \u003c\/p\u003e\n\u003cp\u003eMichael McCrea, Recording\/Mixing statement:\u003c\/p\u003e\n\u003cp\u003eFrom the moment that the Deep Listening Band first sent sound ricocheting through Town Hall, through every corner and aisle and up into the dome, it was clear that capturing the auditory scene around me would be a compelling endeavor. With no small amount of trial and imagination, we set the microphones throughout the hall. We needed to listen from every direction, as the audience would, while the acoustic space constantly shifted – expanding, multiplying and resounding according to the whim and will of the DLB and their unseen collaborator, the EIS. Indeed everyone in the hall on the evening of the public concert heard their own unique performance resulting from their place and presence in the sound-field that night.\u003c\/p\u003e\n\u003cp\u003eThe task of re-presenting this continuum of sonic volumes and fleeting spatial environments was an elusive one! Hours of listening with Stuart would leave me absorbed by the sheer richness and breadth of sounds. Solo'ing particular microphones, or even specific frequency bands would reveal countless hidden performances and new directions. After local adjustments to one sound source or another we would re-emerge to the main mix and find ourselves in yet another world of sound, captivating and foreign despite numerous previous listenings. I would ask Stuart to remind me, \"How many performers were playing that night? Oh yes, just three....\"\u003c\/p\u003e\n\u003cp\u003eDavid Gamper joined Deep Listening Band (DLB) in 1991 and helped develop the Expanded Instrument System (EIS) and, with Pauline Oliveros, wrote two papers about EIS. David's musicality and technical skill were a core part of DLB's music making. DLB recorded several DLB CDs in David's Kingston studio, including Deep Time and Sanctuary. Subsequently, DLB toured nationally, as well as abroad, including stops in Canary Islands, Europe, and Japan.\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros, (November, 2011- Kingston, NY):\u003c\/p\u003e\n\u003cp\u003eOur last time with David as a member of DLB was a marvelous week-long residency at Town Hall Seattle. We were treated to a week of expert technical support from University of Washington's DXArts, and also major assistance from UW's School of Music. For the first time in our long history together, David was freed up from serving as technical supporter of DLB as well as performer. All we had to do was come in each day and play, and thus the recordings we made seemed to reach a pinnacle of our performances. We three strongly felt that together. It is all the more tragic that we will never perform in this way again, and we miss him terribly.\u003c\/p\u003e\n\u003cp\u003eStuart Dempster (November 27th, 2011 - Seattle, WA):\u003c\/p\u003e\n\u003cp\u003eI met David Gamper in 1967, almost 45 years ago when he was a Bowdoin College senior. He supported me by loaning his dorm-room stereo for my concert of commissions I was touring around. In 1989 he joined DLB as an able, willing assistant, then as a consummate band mate, colleague, and electronics guru. Soon his status as a marvelous family man, friend, gentleman, musician (conch, natural flutes, piano, toys, voice), and troubleshooter came to the fore. Furthermore, he was \"there\" for people, support that is well respected. For over 20 years his spectacular piano playing propelled DLB concerts forward, but it was only recently during the editing of these January 2011 recordings that I discovered the depth of his playing, playing that I thought I knew! Over time I became enthralled with his magnificent flutes and how he performed on them and integrated everything into EIS. DLB will carry on, but it will never be the same. He is deeply and sorely missed.\u003c\/p\u003e\n\u003cp\u003eDeep Listening Band: \u003c\/p\u003e\n\u003cp\u003eStuart Dempster, trombonist, composer, didjeriduist, et al. and professor emeritus at University of Washington, has recorded for numerous labels including Columbia (Sony), Nonesuch, and New Albion. The latter includes In the Great Abbey of Clement VI at Avignon—a \"cult classic\"—and Underground Overlays from the Cistern Chapel consisting of music sources for a 1995 Merce Cunningham Dance Company commission. Grants include Fulbright Scholar to Australia and Guggenheim Fellowship. Dempster's The Modern Trombone was published in 1979. He is a founding member of Deep Listening Band, which celebrated twenty years with a double LP on TAIGA Then \u0026amp; Now Now \u0026amp; Then (2008). Dempster soothes aches, pains, and psychic sores with his healing, yet playful, Sound Massage Parlor. Golden Ear Awards: Deep Listening 2006 and Earshot Jazz 2009; International Trombone Association Lifetime Achievement Award 2010. ~ \u003ca href=\"http:\/\/faculty.washington.edu\/dempster\/\"\u003ehttp:\/\/faculty.washington.edu\/dempster\/\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros (b. 1932), composer and improviser, performs extensively in a variety of venues world-wide. Her music is also performed by notable musicians and ensembles. Oliveros plays a Titano acoustic accordion and the Roland V Accordion. In 2009 Oliveros was honored with the William Schuman Lifetime Achievement Award presented by Columbia University along with a three-hour retrospective of her music at Miller Theater in New York in 2010. Foundation for Contemporary Arts presented Oliveros with the 2012 John Cage Award at Merce Cunningham Dance Foundation in New York March 19. Oliveros is founder of Deep Listening Institute, Ltd., based in Kingston NY. Through her Deep Listening practice she has facilitated numerous workshops and intensives throughout the world leading to collaborations across many disciplines. For more information see: \u003ca href=\"http:\/\/paulineoliveros.us\"\u003ehttp:\/\/paulineoliveros.us\u003c\/a\u003e and \u003ca href=\"http:\/\/deeplistening.org\"\u003ehttp:\/\/deeplistening.org\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eDavid Gamper (1945–2011) moved freely in composition, improvisation and electronic instrument design and construction. He named his technology \"The Sound Shifter\" and could capture live instruments (piano, winds, and others) and electronically shift them into other musical realms. He designed variations of EIS for teaching, demonstration, recording, and use by guest musicians in performances with Deep Listening Band, where he had been a member since 1990. Gamper was also half of See Hear Now, (with photographer Gisela Gamper) a visible music sound and video projection duo, and hilde+ed productions, a multi-media content development partnership. JdK Productions released two recordings: a duo concert with Pauline Oliveros at The IJsbreker in Amsterdam, and a compilation of Whitney's Bistreams exhibition's sound artists, which includes his piece Conch. Recently released is a DVD with See Hear Now. ~ \u003ca href=\"http:\/\/www.seehearnow.org\/dgamper\/index.html\"\u003ehttp:\/\/www.seehearnow.org\/dgamper\/index.html\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Town Haul\u003c\/p\u003e\n\u003cp\u003e2. Great Haul\u003c\/p\u003e\n\u003cp\u003e3. Great Horned Howl\u003c\/p\u003e\n\u003cp\u003e4. Growl Howl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807161796,"sku":"imprec359","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/dlbcd_0.jpeg?v=1446136042"},{"product_id":"imprec352","title":"Pauline Oliveros - Reverberations: Tape \u0026 Electronic Music 1961-1970 - 11CD","description":"\u003cdiv class=\"details\"\u003e* 2022 Edition * \u003cbr\u003e- 11 CD set adapted from 12 CD edition. All tracks included. \u003cbr\u003e- Clamshell style box w\/ single pocket disc sleeves similar to the Bertoia box\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e*2022 Edition Signed*\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e- Signed edition available. We will include a jewel box insert signed by Pauline from the original 2012 edition \u003cbr\u003e\u003cbr\u003e* 2012 Edition Signed *\u003cbr\u003e- 7 original boxes are still available signed by Pauline\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cbr\u003e\n\u003cp\u003e\"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.\" ~ John Rockwell\u003cbr\u003e\u003cbr\u003e\"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music.\" ~ John Cage \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"This monumental box set collects the work of the 80-year-old composer, teacher, and electronic music pioneer: \u003c\/span\u003e\u003cem\u003eReverberations\u003c\/em\u003e\u003cspan\u003e fills a dozen discs in almost as many hours, laying substantial groundwork for every electronic drone artist and harsh noise terrorist to come.\" Pitchfork (2012)\u003cbr\u003e\u003cbr\u003eThis dense 11 disc retrospective of \u003cstrong\u003ePauline Oliveros’\u003c\/strong\u003e early and unreleased electronic work includes her very first piece made for tape in 1959. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary \u003cem\u003eSan Francisco Tape Music Center\u003c\/em\u003e and then moves to \u003cem\u003eUniversity Of Toronto Electronic Music Studio\u003c\/em\u003e, \u003cem\u003eMills Tape Music Center\u003c\/em\u003e and \u003cem\u003eUniversity of California San Diego Electronic Music Center\u003c\/em\u003e. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis\u003cstrong\u003e 10th anniversary edition\u003c\/strong\u003e is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36 page booklet includes extensive liner notes and essays from \u003cstrong\u003ePauline Oliveros\u003c\/strong\u003e, \u003cstrong\u003eAlex Chechile\u003c\/strong\u003e, \u003cstrong\u003eRamon Sender\u003c\/strong\u003e, \u003cstrong\u003eDavid Bernstein\u003c\/strong\u003e, \u003cstrong\u003eCorey Arcangel\u003c\/strong\u003e.\u003cbr\u003e\u003cbr\u003e Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American Music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.\" John Rockwell \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShe was 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 went unchanged. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e****************************************\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2022 Edition track listing: \u003cbr\u003e\u003cbr\u003eDisc 1: \u003cbr\u003e\u003cbr\u003e1961 Pauline Oliveros Home Studio\u003cbr\u003eTime Perspectives\u003cbr\u003e\u003cbr\u003e1964-1966 San Francisco Tape Music Center \u003cbr\u003eMnemonics I\u003cbr\u003eMnemonics II \u003cbr\u003eMnemonics III\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDisc 2: \u003cbr\u003e1964-1966 San Francisco Tape Music Center\u003cbr\u003e\u003cbr\u003eMnemonics IV\u003cbr\u003eMnemonics V\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDisc 3: \u003cbr\u003e1966 University Of Toronto Electronic Music Studio\u003cbr\u003e\u003cbr\u003eII Of IV\u003cbr\u003eIII Of IV\u003cbr\u003eIV Of IV\u003cbr\u003eV OF IV\u003cbr\u003eIII\u003cbr\u003e \u003cbr\u003e\u003cbr\u003eDisc 4:\u003cbr\u003e1966 University Of Toronto Electronic Music Studio \u003cbr\u003eTeam And Desecrations Improvisation\u003cbr\u003eThe Day I Disconnected The Erase Head And Forgot To Reconnect It\u003cbr\u003eJar Piece\u003cbr\u003e\u003cbr\u003eDisc 5: \u003cbr\u003e1966 University Of Toronto Electronic Music Studio\u003cbr\u003e\u003cbr\u003eAnother Big Mother\u003cbr\u003eFed Back 1\u003cbr\u003eFed Back 2\u003cbr\u003e\u003cbr\u003eDisc 6: \u003cbr\u003e1966 University Of Toronto Electronic Music Studio\u003cbr\u003e5000 Miles\u003cbr\u003eAngel Fix\u003cbr\u003e\u003cbr\u003eDisc 7: \u003cbr\u003e1966 University Of Toronto Electronic Music Studio\u003cbr\u003eBottoms Up 1\u003cbr\u003eNite\u003cbr\u003eRinging The Mods 1 Heads\u003cbr\u003eRinging The Mods 2 Tails\u003cbr\u003eThree Pieces I\u003cbr\u003eThree Pieces II\u003cbr\u003eThree Pieces III \u003cbr\u003e\u003cbr\u003eDisc 8: \u003cbr\u003e1966-1967 Mills Tape Music Center\u003cbr\u003eBig Slow Bog\u003cbr\u003eBoone Bog\u003cbr\u003e\u003cbr\u003eDisc 9: \u003cbr\u003e1966-1967 Mills Tape Music Center\u003cbr\u003eBog Bog\u003cbr\u003eMind Bog\u003cbr\u003e\u003cbr\u003eDisc 10: \u003cbr\u003e1966-1967 Mills Tape Music Center\u003cbr\u003eMewsack\u003cbr\u003e\u003cbr\u003e1967-1970 \u003cbr\u003eUniversity Of California San Diego Electronic Music Studio\u003cbr\u003e50\/50 Heads(Buchla Piece head out) \u003cbr\u003e50\/50 Tails (Buchla Piece tails out) \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDisc 11: \u003cbr\u003e1967-1970 University Of California San Diego Electronic Music Studio\u003cbr\u003eA Little Noise In The System\u003cbr\u003eRed Horse Headache\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e********************************\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tracklist\"\u003e\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.spin.com\/articles\/best-100-albums-1960s-sixties-alternative-list\/?slide=41\" target=\"_blank\"\u003eSPIN 60th Best Underground Record of the Sixties\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/pitchfork.com\/reviews\/albums\/16664-reverberations-tape-electronic-music-1961-1970\/\"\u003ePitchfork \"Best New Reissue\" 9.0 rating\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/brainwashed.com\/index.php?option=com_content\u0026amp;view=article\u0026amp;id=9255:pauline-oliveros-qreverberations-tape-a-electronic-music-1961-1970q\u0026amp;catid=13:albums-and-singles\u0026amp;Itemid=133\"\u003eBrainwashed\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.dustedmagazine.com\/reviews\/7144\"\u003eDusted\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/exclaim.ca\/Reviews\/ImprovAndAvantGarde\/pauline_oliveros-reveberations_tape_electronic_music_1961-1970\"\u003eExclaim\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ca href=\"http:\/\/wasistdas.co.uk\/pobox.htm\"\u003eWas Ist Das?\u003cbr\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ca href=\"http:\/\/www.downbeat.com\/digitaledition\/2012\/DB201210\/single_page_view\/60.html\" title=\"PO\"\u003eDown Beat\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/importantrecords.com\/imprec\/Oliveros%20box%20set%20review%20via%20Musique%20Machine:%20http:\/\/www.musiquemachine.com\/reviews\/reviews_template.php?id=4037\"\u003eMusique Machine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eMusic Media Monthly: \u003c\/p\u003e\n\u003cp\u003e\"Never has the Important Records label earned its name more thoroughly than it does with this monumental collection of electronic music by one of the true grandes dames of 20th-century composition, Pauline Oliveros. She was a pioneer in the field of avant-garde electronic music, joining the San Francisco Tape Music Center shortly after its founding in the 1960s and helping to redefine the very structure and assumptions underlying modern art music. This 12-disc box brings together an enormous program of her early recordings. (Given that they are tape-native works, it's not entirely clear whether they should be called 'compositions' or 'performances.') Most of these have never before been released, which adds greatly to the value of the collection. What diminishes its value (and accounts for a grade of A- rather than A+ for the release) is the really quite inexcusable lack of detailed liner notes. A skimpy 32-page booklet is included with the first CD case, and it includes a couple of gushing encomia from her colleagues, a brief note of thanks and personal history from the composer, and a longer essay that includes very brief notes on the works themselves - but what a set like this cries out for is a piece-by-piece description of the instruments used and the compositional techniques employed. (To give a piece the title 'The Day I Disconnected the Erase Head and Forgot to Reconnect It and offer no further explanation is just cruel - although I suppose one could argue that the title is essentially self-explanatory.) This lack of information is especially regrettable given the pedagogical importance of a set like this; for students of 20th-century music this box is a treasure trove, or could have been if it were more informative. That said, the packaging itself is both attractive and functional; as for the music, it's not always pleasant, but is consistently fascinating–and very much of its time and place. Despite the weakness of the accompanying materials, this set represents the rescue from oblivion of music that should never be forgotten and a watershed in the documentation of America's musical history. Grade: A-\"\u003c\/p\u003e\n\u003cp\u003eNew York Times: \u003c\/p\u003e\n\u003cp\u003eStrange Sounds Led a Composer to a Long Career, by Steve Smith\u003c\/p\u003e\n\u003cp\u003e\"'MOST people don't remember Wilma Deering,' the composer Pauline Oliveros said, recalling a formative influence from her childhood in Houston in the 1930s. Intrigued by sound from an early age, Ms. Oliveros had few role models to follow. Inspiration would come from a more unconventional source.\u003c\/p\u003e\n\u003cp\u003e\"'Wilma Deering was Buck Rogers's co-pilot,' Ms. Oliveros said of the recurring character in 'Buck Rogers,' a science-fiction saga serialized by CBS Radio. 'She was not only a woman in a co-pilot situation, but she was a lieutenant and then a colonel,' Ms. Oliveros said. 'This was a very advanced idea for 1932.'\u003c\/p\u003e\n\u003cp\u003e\"That Ms. Oliveros might find common cause with a courageous, assertive female leader, thriving in a futuristic milieu of instantaneous long-distance travel and telepathic communication, could only strike longtime followers of her work as prescient. Like her fictional forebear, Ms. Oliveros has become a trailblazer.\u003c\/p\u003e\n\u003cp\u003e\"Her path was not always smooth. 'Why have there been no 'great' women composers?' Ms. Oliveros inquired at the start of a famous article she wrote for The New York Times in 1970. Her essay enumerated some of the causes that had prevented female composers from achieving the success and renown afforded to their male counterparts, among them sex-based prejudice and societal expectations.\u003c\/p\u003e\n\u003cp\u003e\"Now, in a world that recognizes female composers more readily, Ms. Oliveros has captured enough ears, shaped enough minds and accrued enough renown to warrant a claim of greatness, though she would probably be the last to assert it. This year she has traveled widely for events celebrating her 80th birthday, including a memorable career retrospective concert at the Issue Project Room and a mesmerizing set by her Deep Listening Band during the Bang On a Can Marathon, both in June.\u003c\/p\u003e\n\u003cp\u003e\"More concerts loom. Invited to program a two-week series at the Stone, the vital East Village musical laboratory operated by the composer John Zorn, Ms. Oliveros claimed just one evening for herself: on Aug. 21 she will collaborate with the percussionist Susie Ibarra and the pianist Thollem McDonas.\u003c\/p\u003e\n\u003cp\u003e\"The rest of the series, which begins on Friday, will showcase colleagues, associates and protégés who have been involved with her Deep Listening Institute and its record label. Then, on Sept. 7, Ms. Oliveros will perform at the New Museum in SoHo with Doug Van Nort, an electronic musician with whom she works regularly.\u003c\/p\u003e\n\u003cp\u003e\"Still, she eludes induction into the pantheon. In place of scores suited for assimilation into the Western classical canon, Ms. Oliveros offers 'Sonic Meditations,' a 1971 collection of text-based contemplations, meant to facilitate communal music making. Deep listening, a discipline she developed during the 1990s, bypasses conventional music theory in favor of expanding consciousness through cultivating a keener ear. The Deep Listening Band, a long-running collaboration with the trombonist Stuart Dempster and others, pursues slow, ritualistic improvisation in unusually sonorous acoustics.\u003c\/p\u003e\n\u003cp\u003e\"'I'm not dismissive of classical music and the Western canon,' Ms. Oliveros said during a wide-ranging interview at the office of her foundation in Kingston, N.Y., where she lives with her longtime partner, Ione, a writer and performance artist. 'It's simply that I can't be bound by it. I've been jumping out of categories all my life.' She laughed, a hearty sound that liberally punctuated a generous, easygoing conversation.\u003c\/p\u003e\n\u003cp\u003e\"Born in Houston on May 30, 1932, Ms. Oliveros described a childhood fixation on the strange special effects she heard in 'The Lone Ranger,' 'The Creaking Door,' 'The Shadow' and other radio dramas. \"'I was paying attention to that,' she said, 'and I was paying attention to my grandfather's crystal radio, where he was trying to tune in the programs and would get all this static.'\u003c\/p\u003e\n\u003cp\u003e\"An avid accordionist from the age of 9, she took up the tuba and French horn to play in school bands and orchestras. While at the University of Houston, she studied with Willard A. Palmer, a revered accordionist and teacher. Eventually growing restless, Ms. Oliveros decided to strike out in search of a compositional mentor. 'I was 20, I had $300, and I had an accordion,' she said, chuckling.\u003c\/p\u003e\n\u003cp\u003e\"Drawn to California partly by Bach festivals in Carmel and Monterey, she settled in San Francisco, where she heard cutting-edge electronic works by Stockhausen, Berio and Pousseur on the Berkeley radio station KPFA-FM. When she received a tape recorder for her 21st birthday, she began to fashion her own pieces.\u003c\/p\u003e\n\u003cp\u003e\"After completing a B.A. in music at San Francisco State College, Ms. Oliveros studied privately with Robert Erickson, an influential composer and the KPFA music director. She taught lessons and hustled gigs to make ends meet. A 1957 film-scoring engagement with the composer Terry Riley and Loren Rush, a bassist and koto player, introduced Ms. Oliveros to free improvisation. Invigorated by the experience, the trio experimented further and recorded the results.\u003c\/p\u003e\n\u003cp\u003e\"'We developed a method, which was, don't talk about it, sit down and play, listen back, then discuss it,' Ms. Oliveros said. 'It was really getting into it through the listening process, and I've used that method for many, many years. We discovered that if we tried to impose rules or structure of some kind on our playing, it would fall flat. It was much better to converse openly.'\u003c\/p\u003e\n\u003cp\u003e\"In 1961 Ms. Oliveros and two like-minded composers, Ramon Sender and Morton Subotnick, established the San Francisco Tape Music Center. A scrappy hub of creativity and technological advance whose effect is still being assessed, the center flourished until 1966, when its founders dispersed and Mills College absorbed its assets. Hired by Erickson in 1967 to teach at the University of California, San Diego, Ms. Oliveros remained there until 1981; she has since kept a toe in academia while pursuing a freelance career.\u003c\/p\u003e\n\u003cp\u003e\"'Reverberations: Tape and Electronic Music, 1961-1970,' a new 12-CD box issued by Important Records, provides an overview of the rigorous works she created during the center's heyday. Many still sound startlingly current. But from 1971, when a period of intense introspection provoked by the Vietnam War resulted in 'Sonic Meditations,' Ms. Oliveros has moved decisively into ritualistic improvisation and communal experiences that can involve nonspecialist participants.\u003c\/p\u003e\n\u003cp\u003e\"Lately much of her effort has involved impressive technological advances supported by her foundation. The Deep Listening Band uses special software to create uncanny simulations of resonant acoustics in its concerts.\u003c\/p\u003e\n\u003cp\u003e\"Using telematics Ms. Oliveros performs in real time with musicians in other cities and countries. Adaptive Use Musical Instruments, an interactive computer program developed with her foundation's support, enables individuals with severe physical impairments to participate in musical improvisation. Even Wilma Deering might be amazed.\u003c\/p\u003e\n\u003cp\u003e\"Ms. Oliveros is aware of the tendency among some critics and listeners to dismiss her latter-day direction as a mystical anachronism.\u003c\/p\u003e\n\u003cp\u003e\"'If you say 'deep listening,' that brings up New Age and crystals and whatnot,' she said. 'I regret that, but I don't regret it. It is a meme, and it's making its way in the world.'\u003c\/p\u003e\n\u003cp\u003e\"But about the metaphysical aspects of her work, she is firm: 'If it has a spiritual component, I'm very glad. It's because we're not listening to one another that things are in a mess.'\"\u003c\/p\u003e\n\u003cp\u003eThis article has been revised to reflect the following correction:\u003c\/p\u003e\n\u003cp\u003eCorrection: August 14, 2012\u003c\/p\u003e\n\u003cp\u003eAn earlier version of this article gave an incorrect date for a performance by Pauline Oliveros at the New Museum in SoHo with Doug Van Nort. It is Sept. 7, not Sept. 9.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"2022 Edition","offer_id":39959443505226,"sku":"","price":80.0,"currency_code":"USD","in_stock":true},{"title":"2022 Edition w\/ signed insert","offer_id":39959444389962,"sku":"","price":140.0,"currency_code":"USD","in_stock":true},{"title":"Original 2012 edition - signed","offer_id":39959444422730,"sku":"","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/olivbox3.jpg?v=1659649035"},{"product_id":"imprec354","title":"Catherine Christer Hennix - Chora(s)san Time-Court Mirage \/ Live at the Grimm Museum Volume One - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eThe world premiere of the infinitary computer animation NUR, and the accompanying infinitary computer sound composition SOLITON(E) STAR were given at Diapason Gallery (NYC) for the celebration of La Monte Young's 70th birthday in 2005.\u003c\/p\u003e\n\u003cp\u003eCatherine Christer Hennix has now extended this installation in the venerable tradition of the pentatonic blues for a live ensemble for voice, brass, computer and live electronics in the mixed-media environment. \u003c\/p\u003e\n\u003cp\u003eBlues Dhikr Al-Salam (Blues Al Maqam) is an exemplary work from Catherine Christer Hennix's ensemble. This disc is the beginning of a series of collaborative works between Hennix, her ensemble and Important Records. Released in conjunction with the Sonic Acts festival in Amsterdam. Recorded live on Sunday, 14 August, 2011 at the Grimm Museum, Berlin.\u003c\/p\u003e\n\u003cp\u003eCatherine Christer Hennix – voice, computer, sine waves, live electronics\u003cbr\u003eAmelia Cuni - voice\u003cbr\u003eRobin Hayward – microtonal tuba\u003cbr\u003eHilary Jeffery – trombone\u003cbr\u003eMichael Northam – time-mirage delay, sound engineer\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eBLUES DHIKR AL-SALAM (BLUES AL MAQAM)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/thequietus.com\/articles\/09537-chorasan-time-court-mirage-hennix-live-at-grimm-museum-review\"\u003eQuietus\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807165892,"sku":"imprec354","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/christercd.jpeg?v=1446136044"},{"product_id":"imprec299","title":"Henry Jacobs - Around the World With Henry Jacobs - 2CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eAbsurd folklorist Henry Jacobs returns with a selection of rare interviews, odd loops, sales pitches, early synthesizer demos, an ether-infused evening, and more! Produced in San Francisco and New York City, Around the World With Henry Jacobs is a travelogue that continues the story begun with The Wide Weird World of Henry Jacobs, mixing archival material from the 1950s with recent improvisations by Jacobs. Guests include Stan Freberg and Dr. Irwin Corey, with Alan Watts returning for a visit, too.\u003c\/p\u003e\n\u003cp\u003eAlso included is a special bonus disc - First Night, one of the true gems from the collection. Recorded in February 1957 by Henry Jacobs on the opening night of the Poetry\/Jazz Series at The Cellar in San Francisco,this unique document captures the first time Kenneth Rexroth and Lawrence Ferlinghetti read their poetry to jazz in this very intimate setting. In contrast to Fantasy Records' Poetry Readings in the Cellar, you feel yourself a part of the audience here, moments punctuated with a register ringing, muted conversations, laughter, and clinking glasses. Includes Rexroth reading \"Between Myself And Death\" and \"She Is Away\", and Ferlinghetti reading \"The World is A Beautiful Place.\"\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Intro\u003c\/p\u003e\n\u003cp\u003e2. Persimmon\u003c\/p\u003e\n\u003cp\u003e3. Boo Bams\u003c\/p\u003e\n\u003cp\u003e4. Pitch\u003c\/p\u003e\n\u003cp\u003e5. Objective\u003c\/p\u003e\n\u003cp\u003e6. Brittanica\u003c\/p\u003e\n\u003cp\u003e7. Chicks\u003c\/p\u003e\n\u003cp\u003e8. Ocean\u003c\/p\u003e\n\u003cp\u003e9. Playground\u003c\/p\u003e\n\u003cp\u003e10. Microtonal\u003c\/p\u003e\n\u003cp\u003e11. Abstract\u003c\/p\u003e\n\u003cp\u003e12. John Gray, Poet\u003c\/p\u003e\n\u003cp\u003e13. Sitting Here\u003c\/p\u003e\n\u003cp\u003e14. Untitled\u003c\/p\u003e\n\u003cp\u003e15. 12345\u003c\/p\u003e\n\u003cp\u003e16. Hi Fi\u003c\/p\u003e\n\u003cp\u003e17. Fall Guy\u003c\/p\u003e\n\u003cp\u003e18. Donutty World\u003c\/p\u003e\n\u003cp\u003e19. Secret of the Sounds\u003c\/p\u003e\n\u003cp\u003e20. Words Is Words\u003c\/p\u003e\n\u003cp\u003e21. Wrap Up\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.dustedmagazine.com\/reviews\/5740\"\u003eDusted\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"jacobs\" href=\"http:\/\/www.npr.org\/templates\/story\/story.php?storyId=4809398\"\u003eNPR\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.pitchfork.com\/features\/the-out-door\/7804-the-out-door-3\/2\/\"\u003ePitchfork Interview\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"2xCD","offer_id":9807176004,"sku":"imprec299","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/henry.jpeg?v=1446136054"},{"product_id":"imprec346","title":"Ustad Abdul Karim Khan - 1934-1935 - CD","description":"\u003cdiv class=\"details\"\u003eWarehouse find\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\"Ustad Abdul Karim Khan's recording of the composition 'Jamuna ke tir' in Raga Bhairavi stands as one of the great masterpieces of music. When I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my life.\" ~ La Monte Young, 2004\u003c\/p\u003e\n\u003cp\u003e\"If there is any real trace of miracle, of phenomena, of wonder, it is the voice.\" ~ Hazrat Inayat Khan, 1926\u003c\/p\u003e\n\u003cp\u003eMore than seventy years since his death in 1937, Ustad Abdul Karim Khan retains his reputation as one of the greatest singers India ever produced. Possessed of an elastic, honeyed voice that poured out like mercury, he influenced generations of singers including Mohammed Rafi, Pandit Bhimsen Joshi, and Pandit Pran Nath. Born at the end of the 19th Century to a family of musicians that extended back in time for centuries, his art was formed in the culture of the courts of the maharajas under British colonialism but was changed by his genius and imagination and a life marked by sacrifices for love, unsatisfied ambition, abandonment and heartbreak. These performances were culled from sessions made during his peak final years 1934-35, newly transferred and restored and with extensive notes by Ian Nagoski.\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Khan PDF\" href=\"http:\/\/www.brainwashed.com\/important\/khan.pdf\"\u003e Download the full liner notes as a pdf\u003c\/a\u003e.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Gujri Todi: Beguna guna ga (drut)\u003c\/p\u003e\n\u003cp\u003e2. Jhinjhoti thumri: Piya bin nahin avata chain (adatal)\u003c\/p\u003e\n\u003cp\u003e3. Gujri Todi tarana: Dim Dara Dir Dir\u003c\/p\u003e\n\u003cp\u003e4. Basant khyal: Ab maine man dekheri (ektal)\u003c\/p\u003e\n\u003cp\u003e5. Basant khyal jalad: Phagava brija dekhana ko chalori (tintal)\u003c\/p\u003e\n\u003cp\u003e6. Bilawal: Pyara nazara nahin\u003c\/p\u003e\n\u003cp\u003e7. Gara thumri: Jadu bhareli kaun albeli\u003c\/p\u003e\n\u003cp\u003e8. Anand Bhairavi: Uigicha ka kanta ganjila\u003c\/p\u003e\n\u003cp\u003e9. Bhairavi thumri: Jamuna ke tira kanha (adantal)\u003c\/p\u003e\n\u003cp\u003e10. Sindhi Kafi: Nach sundari karun kopa (ektal)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca title=\"Freq\" href=\"http:\/\/www.freq.org.uk\/reviews\/ustad-abdul-karim-khan-1934-1935\/\"\u003eFreq\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Was\" href=\"http:\/\/www.wasistdas.co.uk\/ustad.htm\"\u003eWas Ist Das? \u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807176324,"sku":"imprec346","price":14.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec346_khan_low_res.jpeg?v=1446136055"},{"product_id":"sauna011","title":"Conrad Schnitzler - 00-767 - Cassette","description":"\u003cp\u003e\u003ca href=\"https:\/\/cassauna.bandcamp.com\/\" target=\"_self\"\u003eDOWNLOAD AVAILABLE VIA BANDCAMP\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e00-767, released posthumously, is one of the final electronic pieces completed in Conrad Schnitzler's lifetime.\u003c\/p\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e00-767 (45:00) - [Program repeats on each side]\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"Cassette","offer_id":9807181124,"sku":"sauna011","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/sauna011.jpeg?v=1446136059"},{"product_id":"sauna006","title":"Ellen Fullman and Friends - Secret Spirit House - Cassette","description":"\u003cp\u003e\u003ca href=\"https:\/\/cassauna.bandcamp.com\/\" target=\"_self\"\u003eDOWNLOAD AVAILABLE VIA BANDCAMP\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eCassauna: SAUNA006; released on a C45\/Chrome Type II\u003c\/p\u003e\n\u003cp\u003e\"The centerpiece of Secret Spirit House is the session I had with Margareth Kammerer and Theresa Wong. From the first moment I fell under a spell where I could make no mistakes, felt completely confident in my articulation and completely charmed by the sounds. This music was fun to play and I think that comes through in the recording.\u003c\/p\u003e\n\u003cp\u003e\"Maggie had a book propped open from which she drew random phrases and built scenarios within her improvised lyrics. Theresa had just gotten her new cello, Hermann, and this was his first recording session. Hermann has a beautiful whistling tone in his upper range. I used this as a theme on the entire release with my other pairings, composed duets with violinist Tari Nelson-Zagar and an improvised trio with Theresa and pedal steel player Susan Alcorn. Thie violin parts for Tari are composed in Just Intonation and use no vibrato and slow glisses between notes in an ornamental style influenced by my study of North Indian vocal music. The Autoharp provides a tuning reference but the intonation is nonetheless unusual and difficult - and Tari has a great ear. These songs trail out into a whispy and high whistling range that intrigues me as a composer for its delicacy and tenderness.\u003c\/p\u003e\n\u003cp\u003e\"The final track, with Susan Alcorn and Theresa Wong, was recorded in a spectacular space in Fort Worth, Texas during a performance. Herb Levy of Other Music organized this event on the Forth Worth Stock Show and Rodeo grounds in the Poultry Barn, a three hundred foot long space. On this track I am playing a string that I had suspended almost the entire length of the building and had terminated into a loose part of the corrugated steel wall. The resulting sound was a throbbing low texture that Susan and Theresa improvised with. Theresa's playing in the upper range (although with her old cello) evokes a plaintiff animal-like call.\" ~ Ellen Fullman\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Cassette","offer_id":9807184836,"sku":"sauna006","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/sauna006_0.jpeg?v=1446136062"},{"product_id":"sauna002","title":"Pauline Oliveros \u0026 Michael T Bullock - Accordion To Bass - Cassette","description":"\u003cp\u003e\u003ca href=\"https:\/\/cassauna.bandcamp.com\/\" target=\"_self\"\u003eDOWNLOAD AVAILABLE VIA BANDCAMP\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eC80 | Chrome Type II\u003cbr\u003eSAUNA002\u003c\/p\u003e\n\u003cp\u003eAccordion \u0026amp; Bass duo recordings\u003c\/p\u003e\n\u003cp\u003eRecorded by Ryan Jenkins at The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rennselaer, Troy, NY.\u003c\/p\u003e\n\u003cp\u003eAudio engineering by Todd Vos, Jeff Svatek and Ryan Jenkins.\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox colorbox-insert-image initColorbox-processed cboxElement\" title=\"\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/imagecache\/slideshow\/images\/2.jpg\" rel=\"gallery-all\"\u003e\u003cimg class=\"imagecache imagecache-insert\" title=\"\" src=\"http:\/\/importantrecords.com\/sites\/default\/files\/imagecache\/insert\/images\/2.jpg\" alt=\"\"\u003e\u003c\/a\u003e\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Cassette","offer_id":9807187844,"sku":"sauna002","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/sauna002.jpeg?v=1446136064"},{"product_id":"imprec337","title":"Eliane Radigue - Transamorem - Transmortem - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eTransamorem - Transmortem (1973); ARP Synthesizer\u003c\/p\u003e\n\u003cp\u003e“Before the greatest achievement\u003cbr\u003eBefore the greatest detachment. \u003cbr\u003eAt the limit of the frontier space of the unconscious - tuned waves - 'consonant things vibrate together.'\u003cbr\u003eWhere does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.\u003cbr\u003eAnd time is no longer an obstacle, but the means by which the possible is achieved.\"\u003c\/p\u003e\n\u003cp\u003e~ Eliane Radigue - June 20, 1973\u003c\/p\u003e\n\u003cp\u003eTransamorem - Transmortem was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, Transamorem - Transmortem was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.\u003c\/p\u003e\n\u003cp\u003eIn their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.\u003cbr\u003e\u003cbr\u003eDuring this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90s, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the Song of Milarepa LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP).  For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70s to the 90s.\u003cbr\u003e\u003cbr\u003eIt was in 2004, when she accepted my aid in digitizing her archives, along with Lionel Marchetti, that I discovered Transamoren - Transmortem.  Immediately, I was awed by the majestic grace of this very long tangle of frequencies, this set of seemingly unchanging tones, whose variations are of a delicate subtlety.  Transamoren - Transmorten is recognizable as one of the most radical of Radigue's compositions, comparable to the first Adnos, the work that follows Transamoren - Transmortem chronologically.  Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space.  Moving through zones of specific frequencies, the listener's body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space.  As Radigue wrote of Adnos: \"to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows.\"  Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose Transamoren - Transmortem.\u003cbr\u003e\u003cbr\u003eVery well-organized, Eliane Radigue's archives are a pleasure to explore, and Transamorem - Transmortem's case contained a mine of information. What excited me most was the short text entitled Inner Space, which described the ideal conditions under which Transamorem - Transmortem should be presented. That is to say, as a sound installation.\u003cbr\u003e\u003cbr\u003e\"Inner Space -\u003cbr\u003eThis monophonic tape should be played on 4 speakers placed in the four corners of an empty room.  Carpet on the floor. The impression of different points of origin of the sound is produced by the localization of the various zones of frequencies, and by the displacements produced by simple movements of the head within the acoustic space of the room.  A low point of light on the ceiling, in the center of the room, produced by indirect lighting.  Several white light projectors of very weak intensity whose rays, coming from different angles, meet at a single point.\" ~ Eliane Radigue, 1973\u003c\/p\u003e\n\u003cp\u003eI immediately felt that it was necessary to make Transamoren-Transmorten available once again, and this time in its ideal form, in trying to follow Radigue's recommendations word for word. It was with this idea in mind that the Cumulus collective (also responsible for the contemporary music festival Why Note) organized the Continuum festival in Dijon along with the art space Le Consortium (one of the founders of which had persuaded the group Circle X to record their first, mythic EP in Dijon in 1979 - but that's another story!).\u003c\/p\u003e\n\u003cp\u003eThe goal was to correctly present some of Eliane Radigue's sound installations, an aspect of her work now completely forgotten.  And yet, between 1967 and 1971 her work was often exhibited in galleries of contemporary art, mostly in Paris (Lara Vincy, Yvon Lambert, etc.), a reflection of the fact that French people have had a harder time than Americans placing the work of Radigue.  She herself hesitated for quite a while to use the word \"music\" to describe her work, a complex that is familiar to this generation of musicians, and which is now no longer really a problem.  Who would claim that the work of Eliane Radigue is not musical?  That would be strange .... \u003cbr\u003e\u003cbr\u003eThe 2006 Continuum festival in Dijon saved four sound installations from the dust (an expression that Radigue uses to describe her archives): S=a=b=a+b (1969), Omnht (1970), Labyrinthe Sonore (1970) and Transamorem - Transmortem (1973).  The first two installations are composed with feedback, the two others with the sounds of the ARP 2500 synthesizer.  Each one is based on a strategy of specific spatial presentation, but that's also another story ....\u003cbr\u003e\u003cbr\u003eNow it's your turn to enjoy this enveloping electronic space ....  \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e~ Manu Holterbach (translated by Maxime Guitton)\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eTransamorem - Transmortem\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca title=\"Tiny Mix Tapes\" href=\"http:\/\/www.tinymixtapes.com\/music-review\/eliane-radigue-thransamorem-thransmortem\" target=\"_blank\"\u003eTiny Mix Tapes\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"ATTN\" href=\"http:\/\/www.attnmagazine.co.uk\/music\/4174\" target=\"_blank\"\u003eAttn: Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"brainwashed\" href=\"http:\/\/www.brainwashed.com\/index.php?option=com_content\u0026amp;view=article\u0026amp;id=8857:elaine-radigue-qtranamorem-transmortemq\u0026amp;catid=13:albums-and-singles\u0026amp;Itemid=133\"\u003eBrainwashed\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"radigue\" href=\"http:\/\/grisli.canalblog.com\/archives\/2011\/07\/21\/21649710.html\"\u003eLe Son Du Grisli (in French)\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807199364,"sku":"imprec337","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec337.jpeg?v=1446136075"},{"product_id":"imprec336","title":"Ellen Fullman - Through Glass Panes - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eEllen Fullmans' first proper full length for Important Records follows her collaborative work with Barn Owl (IMPREC277) and a split LP with Eleh (IMPREC318). She was also featured on The Harmonic Series: A Collection Of Work In Just Intonation (IMPREC272).\u003cbr\u003e\u003cbr\u003eIn 1981 Ellen Fullman began developing the Long String Instrument, an installation of dozens of wires fifty feet or more in length, tuned in Just Intonation and \"bowed\" with rosin coated fingers. Fullman has developed a unique notation system to choreograph the performer’s movements, exploring sonic events that occur at specific nodal point locations along the string-length of the instrument. She has recorded extensively with this unusual instrument and has collaborated with such luminary figures as composer Pauline Oliveros, choreographer Deborah Hay, the Kronos Quartet, and Keiji Haino. She has been the recipient of numerous awards, commissions and residencies.\u003cbr\u003e\u003cbr\u003e\"In composing Event Locations No. 2, I set out to focus more strictly than I ever had on detail in the choreography of my notation. Through writing the piece I designed ways to add more specific information in the score. The tuning uses a set of pitches based in the key of A, in combination with Arnold Dreyblatt’s tuning system based on F. These two roots generate tones in common but also complex or 'dissonant' tones. I wanted to find a way to incorporate more dissonance into my sound and intentionally worked with beating frequencies in this piece. \u003cbr\u003e\u003cbr\u003e“Never Gets Out of Me, a duet with cellist Theresa Wong, and Flowers, a trio recorded with Travis Weller and Henna Cho, are adaptations from Stratified Bands: Last Kind Words, originally composed for the Kronos Quartet in the Other Minds Festival. The composition is based on Last  Kind Words Blues, a haunting song by Geeshie Wiley recorded in 1930. An excerpt of the lyrics:\u003cbr\u003e\u003cbr\u003e'If I get killed, if I get killed, please don’t bury my soul,\u003cbr\u003eI’d pro’bly just leave me out, let the buzzards eat me whole.'\u003cbr\u003e\u003cbr\u003e\"The cello and violin writing for these pieces was influenced by my study of North Indian vocal music. My intention is that the sounds of all instruments mesh into an undulation like water flowing. Composed melodic phrases are based on fragments from the song lyrics in combination with impressions from the overtone melodies produced by the long string instrument. Flowers was recorded at Seaholm, a decommissioned electric power plant in Austin, Texas. A flock of sparrows that nest inside the cathedral-like cast-concrete space can be heard chirping on this recording. \u003cbr\u003e\u003cbr\u003e“Through Glass Panes is constructed around a sequence of rhythmic patterns played using the box bow. Homage to the harmonica, the box bow is a hand held hollow wooden box with a curved lower surface used to play my instrument percussively. Techniques based on hand drumming inform the articulations of the tool used to strike groupings of strings tuned to chords. Two box bow performers stand facing each other at a double-sided resonator to play hocketed parts providing a stable framework from which to measure spectral changes in the sustained texture.\" ~ Ellen Fullman\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Never Gets Out of Me\u003c\/p\u003e\n\u003cp\u003e2. Flowers\u003c\/p\u003e\n\u003cp\u003e3. Through Glass Panes\u003c\/p\u003e\n\u003cp\u003e4. Event Locations No. 2\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca title=\"brain\" href=\"http:\/\/www.brainwashed.com\/index.php?option=com_content\u0026amp;view=article\u0026amp;id=8865:ellen-fullmann-qthrough-glass-panesq\u0026amp;catid=13:albums-and-singles\u0026amp;Itemid=133\"\u003eBrainwashed\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"The Liminal\" href=\"http:\/\/www.theliminal.co.uk\/2011\/06\/ellen-fullman-through-glass-panes\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Liminal\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"TMT\" href=\"http:\/\/www.tinymixtapes.com\/music-review\/ellen-fullman-through-glass-panes\"\u003eTiny Mix Tapes\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Fullman\" href=\"http:\/\/www.attnmagazine.co.uk\/music\/4213\"\u003eATTN:Magaine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Future Sequence\" href=\"http:\/\/www.futuresequence.com\/article\/ellen-fullman-through-glass-panes\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eFuture Sequence\u003c\/a\u003e article \u0026amp; images:\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"mainFeature\"\u003e\u003cimg class=\"thumb\" src=\"http:\/\/www.futuresequence.com\/Uploads\/ellen-fullman-large.jpg\" alt=\"\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEllen Fullman is quite a lady. Having invented her own instrument, the 21 metre Long Stringed Instrument which is played by rubbing the strings with rosin coated hands, and part of the experimental music avant-garde, much covered and admired by Wire magazine, she has played with Pauline Oliveros' infamous Deep Listening Band, Dutch sound art-ist Paul Panhuysen and the Kronos Quartet among others.  Her influence can be heard in the work of many modern classical, ambient and drone artists operating today, such as Richard Skelton, or Erik Skodwin for example.  Her recent split release with the mysterious electronic outfit Eleh, also on Important Records, reiterates the importance and timelessness of her work.\u003c\/p\u003e\n\u003cp\u003eNamed after Margaret Rabb's poem (from the book Granite Dives) 'Through Glass Panes' sees Fullman putting to work the long stringed instrument, the metallic rub of the strings on opener 'Never Get Out of Me' is complimented perfectly by electronic treatments similar in intonation to Gareth Hardwicks's Sunday Afternoon - and wavers in the same air bending heat too. Singular sine waves of the mysterious Eleh worked perfectly with Fullmans instrumental setup.  Here the instrument seems to emulate the sitar, an instrument with much history behind it. I remember spending one summer listening to Ravi Shankar and Yehudi Menuhin 'East Meets West' collaboration on my flat mates' charity shop vinyl and drinking copious amounts of tea. As a first experience of the raga what struck me was its majestic air, the never-ending shifting forms, and turning pace in the melody and percussion. Owing much to the intonation of the sitar, its metallic twang with lingering notes - a kind of natural decaying drone - the word 'raga' translates literally as 'colour' or 'hue.' Far from being left in the mist of rambling extended pentatonic scales though, there are passages in this, and next track 'Flowers' which touch on beautiful melodies, reached as if discovered through patient meditation. A kind of sonic secret garden. Recordings of birds provide a sweetly tuned back drop that is deeply satisfying.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"http:\/\/www.futuresequence.com\/userfiles\/image\/ellen-fullman-detail.jpg\" alt=\"\" width=\"610\" height=\"355\"\u003e\u003c\/p\u003e\n\u003cp\u003eThrough Glass Panes and Event Locations 2 both weigh in at over 20 minutes in length, sitting aside from the preceding tracks in temperament also - these are more rhythmically focused, and technically structured - acutely centred around Fullman's experiments with keys and tuning systems with a view to incorporate more dissonance in her work. The other difference being that the first two tracks are adapted from Stratified Bands: Last Kind Words - written for Kronos Quartet.\u003c\/p\u003e\n\u003cp\u003eThe air then that surrounds Fullman's every work is live, electric and fundamentally humanist - if the computer has a part in the process of these sounds it is certainly not overt and if anything nothing more than a means to an end. In creating an instrument so intrinsically physical, she stamps a freedom of expression, but at the same time removes the importance of the resulting work on the process. If it is by a need for control, for understanding the root of creation then so be it, the output is remarkable, earthy and classical - and yet modern also.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807201860,"sku":"imprec336","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/336_fullman.jpeg?v=1446136077"},{"product_id":"imprec328","title":"Christina Kubisch - Magnetic Flights - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eTwo brand new pieces from one of the most exciting, active \u0026amp; relevant members of the first generation sound artists. Magnetic Flights is a perfect follow up to Five Electrical Walks (IMPREC167) and it is being released at the same time as a collection of two of Kubisch's unreleased archival pieces, also on Important.\u003c\/p\u003e\n\u003cp\u003eMagnetic Flights is entirely made of electromagnetic field recordings of international airports and inside  airplanes. The recordings of this piece were made by Christina Kubisch on her travels in 2007 from and to the airports of Bukarest, Manchester, Chicago, Seoul, Munich, Amsterdam, Zurich, Frankfort, Paris, Lisbon, Berlin, Pisa, Milan and London. The sounds were neither altered electronically nor changed in any other way. The only tool which was used, and only for a part of it, was a filtering program (DINR).\u003cbr\u003e\u003cbr\u003eAll recordings were made with the help of special sensitive wireless headphones, by which the aboveground and underground electromagnetic fields are detected, amplified and made audible. The headphones are custom made, developed by Kubisch, and constructed by the engineer Manfred Fox, Berlin. The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe.\u003cbr\u003e\u003cbr\u003eMagnetic flights consists of three parts with a short special sound at the beginning, and another one at the end. The piece starts with an electromagnetic sound recorded just before departure, and continues with the material of flight radiations recorded inside different airplanes. These electromagnetic fields slightly change pitch during departure and arrival, but remain quite constant during the flight itself. The relatively high and compact sounds gradually build up a dense layer of vibrations with continuous minimal variations.\u003c\/p\u003e\n\u003cp\u003eIn the second part, some of the previous flight radiations gradually become filtered. The single signals mingle into a mix of small, short, nervous and very rhythmic signals. Their origin might be radio waves, communication signals with the tower, internet and atmospheric disturbances, but these are only guesses.\u003c\/p\u003e\n\u003cp\u003eThe third part, the situation of arrival or transition, is a mix of typical electromagnetic sounds in the waiting areas of airports such as the deep vibrations of the screens of monitors which slowly fade in and out.\u003c\/p\u003e\n\u003cp\u003eThe piece ends with the electrical flickering of an electromagnetic field of unknown origin.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Magnetic Flights\u003c\/p\u003e\n\u003cp\u003e2. Double Scanning\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003eBest of 2011: \u003ca href=\"http:\/\/www.magnetmagazine.com\/2011\/12\/08\/best-of-2011-noise\/\"\u003eMagnet Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807202948,"sku":"imprec328","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec328_ku.jpeg?v=1446136079"},{"product_id":"imprec327","title":"Christina Kubisch - Mono Fluido - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eMondo Fluido collects two major compositions from Christina Kubisch which, until now, have been unreleased. Extensive liner notes \u0026amp; photographs detail the origins of the work. Heavy drones and deep emotions run through these newly discovered pieces. \u003cbr\u003e\u003cbr\u003e\"In 1980 I had the possibility to make some professional recordings on an eight track tape in an Italian sound studio for the sound track of the film 'Liquid Movie' by Fabrizio Plessi. Some months after having finished the soundtrack, I listened to the material again and suddenly felt the desire to make a new piece out of the material which would be free of the limitations of a cinematic soundtrack.\u003c\/p\u003e\n\u003cp\u003e\"I made several new mixes of the eight track tape and treated some of the sounds with a speed control device, one of the few tools which I had available in my own studio at that time. The sound sources are flute (alto and bass flute) played by myself, the sounds of swinging plastic tubes in the air, the recordings of the windscreen wiper ('tergicristallo') of my old car, the sampled sounds of glass and of my own breathing. Just pure instrumental sounds and some 'field recordings,' no electronics.The piece is a quiet piece of ambient music, an acoustic landscape, unspectacular and yet intense. I called it 'fluido,' which is the Italian word for liquid or fluid. Then I forgot about it.\u003c\/p\u003e\n\u003cp\u003e\"The tape was in my archive all these years with the remark Mono Fluido on the spine. Only recently I decided to digitize it, despite the mono tag, and I listened to it again. Eventually I thought the piece deserved to be published after almost 30 years.\u003c\/p\u003e\n\u003cp\u003e\"Although mono is kind of a dinosaur in the world of multichannel fiction I like the simplicity and clarity of it and I hope the listener might share this experience.\" ~ Christina Kubisch, December 2010\u003c\/p\u003e\n\u003cp\u003eAbout Christina Kubisch:\u003c\/p\u003e\n\u003cp\u003eChristina Kubisch belongs to the first generation of sound artists. Trained as a composer, she studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Her work can be described as the “synthesis of arts” - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Kubisch is best known for artistically and innovatively using techniques such as magnetic induction and ultraviolet light to create and realize her work. Since the 1970s Kubisch has been experimenting with electromagnetic induction and was one of the first to use this method for creating sound installations. One of her most well known works is the Electrical Walks series, in which the audience wears magnetic headphones, specially designed by Kubisch, with built-in coils that respond to electrical fields in the environment, tapping into the electrical fields that result from light systems, anti-theft security devices, surveillance cameras, cell phones, computers, antennae, automated teller machines and other electric devices. She uses these visible sources to create unique and new sensory environmental experiences.\u003c\/p\u003e\n\u003cp\u003eIn the mid-1980s, Kubisch began to incorporate light as a compositional tool in many works, for example in the installation Skylines at the documenta 8, Kassel; the underground installation Klang Fluß Licht Quelle on Potsdamer Platz in Berlin and more recently Licht Himmel, a permanent light sound installation at Gasometer Oberhausen, Germany. Since 2003 Kubisch has begun to work again as a performer and collaborates with various musicians and dancers, one of whom is Lotta Melin, with whom she will be co-facilitating the Lisbon workshop. An internationally recognized artist, Kubisch has shown work at major international exhibitions and festivals (Venice Benniale, documenta 8, Kassel, Ars Electronica, Linz, Sydney Benniale, Sonar, Barcelona and Sonic Boom, London). Performing around the world she has received numerous grants and awards, and her music has been realized on various labels such as Cramps Records and Edition RZ. Kubisch has been a visiting professor in Maastricht, Paris and Berlin and since 1994, and is currently the professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Mondo Fluido\u003c\/p\u003e\n\u003cp\u003e2. Ocigam Trazom\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca title=\"Art Rock\" href=\"http:\/\/artrock.pl\/recenzje\/51486\/kubisch_christina_mono_fluido.html\"\u003eArt Rock\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Progress\" href=\"http:\/\/www.progress-report.co.uk\/Reviews\/K\/KubischMonoFluidio.htm\"\u003eProgress Report\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"Kubisch\" href=\"http:\/\/importantrecords.com\/imprec\/Christina%20Kubisch%20%22Mono%20Fluido%22%20reviewed%20favorably%20via%20Musique%20Machine:%20http:\/\/musiquemachine.com\/reviews\/reviews_template.php?id=3555\"\u003eMusique Machine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eAll Music Guide:\u003c\/p\u003e\n\u003cp\u003eChristina Kubisch, Mono Fluido, IMPREC327 (2011): ***1\/2\u003c\/p\u003e\n\u003cp\u003eThe two long tracks that make up this album were recorded by sound artist Christina Kubisch in 1981 and 1985. The first, \"Mondo Fluido,\" is a reworking of material originally recorded for a film soundtrack; its source material consists of analog recordings of flutes, a windshield wiper, tubes being whirled in the air, glass, and the composer's voice. As mixed-down and manipulated by Kubisch, the sounds become layers of drones with microscopically subtle rhythmic undertones; to listen to this piece on open-air speakers is to find yourself wondering where the recorded music ends and the noises of your environment begin. Imagine a blend of whale songs, alpenhorns, and conch shells layered with the faint sounds of breaking waves and the chittering of mechanical birds in the background - fascinating and strangely moving. \"Ocigam Trazom\" was designed as a sound installation for an exhibition celebrating Mozart's opera, The Magic Flute (read the title backwards... get it?). Kubisch's installation allowed listeners to walk underneath a network of cables wearing specially-designed headphones that produced different sounds depending on the listener's location (each spatial and sonic zone representing a different character in the opera). Recognizable sounds include the chirping of birds, the voice of an opera singer, a muezzin performing a call to prayer, sine-wave glissandi, digital bells and flutes, and boinging Syndrum tones. The result is a fascinating collage of familiar and unfamiliar noises.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807209476,"sku":"imprec327","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec327_kubisch_fluido.jpeg?v=1446136080"},{"product_id":"imprec259","title":"Eliane Radigue - Vice Versa, Etc.  -  Double CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eEliane Radigue; feedback on magnetic tape Includes archival photographs and liner notes.\u003c\/p\u003e\n\u003cp\u003e\"1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage.\u003c\/p\u003e\n\u003cp\u003e\"In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, among others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc…, which appears to be her very last feedback loop composition.\u003c\/p\u003e\n\u003cp\u003e\"Vice-Versa, etc… was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped\/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace.\u003c\/p\u003e\n\u003cp\u003e\"In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2:42, weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13:41, it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings\/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc… are surprisingly similar to those she would go on to produce with her synthesizer.\u003c\/p\u003e\n\u003cp\u003e\"Vice-Versa, etc… is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period.\u003c\/p\u003e\n\u003cp\u003e\"Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released - needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple play through provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations.\" ~ Manu Holterbach (translated by Maxime Guitton)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eDisc One:\u003c\/p\u003e\n\u003cp\u003e1. Onward 9,5\u003c\/p\u003e\n\u003cp\u003e2. Onward 19\u003c\/p\u003e\n\u003cp\u003e3. Onward 38\u003c\/p\u003e\n\u003cp\u003e4. Onward 76\u003c\/p\u003e\n\u003cp\u003eDisc Two:\u003c\/p\u003e\n\u003cp\u003e1. Backward 9,5 Backward 19\u003c\/p\u003e\n\u003cp\u003e2. Backward 38\u003c\/p\u003e\n\u003cp\u003e3. Backward 76\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/cut-up.com\/2009\/10\/eliane-radigue-muziek-als-een-zee-waarin-je-je-%20laat-drijven\/\" target=\"asd\"\u003eCut Up\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/radigue\/radigue_icon.html\" target=\"asd\"\u003eIcon\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/radigue\/radigues.html\"\u003eBig Takeover\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.junkmedia.org\/index.php?i=2602\" target=\"asd\"\u003eJunk Media Feature\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/pitchfork.com\/reviews\/albums\/13661-triptych-vice-versa-etc\/\" target=\"asd\"\u003ePitchfork\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"2CD","offer_id":9807246212,"sku":"imprec259","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/vice_versa.jpg?v=1646164577"},{"product_id":"imprec260","title":"Eliane Radigue - Triptych - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eEliane Radigue: Arp 2500 Synthesizer\u003c\/p\u003e\n\u003cp\u003e\"Back to music after three years of silence.... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall\/Theatre of Nancy on February 27, 1978.\u003c\/p\u003e\n\u003cp\u003e\"Recorded in the composer's studio in Paris.\u003c\/p\u003e\n\u003cp\u003e\"After the premiere of Adnos I in San Francisco in 1974, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth.... Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions.\u003c\/p\u003e\n\u003cp\u003e\"This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980), Adnos III (1981), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley -, Jetsun Mila (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993).\" ~ Manu Holterbach (translated by Maxime Guitton)\u003c\/p\u003e\n\u003cp\u003eArchival images included in the accompanying booklet.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003ePart 1  17:47\u003c\/p\u003e\n\u003cp\u003ePart 2  24:23\u003c\/p\u003e\n\u003cp\u003ePart 3  19:27\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.musiquemachine.com\/reviews\/reviews_template.php?id=2381\" target=\"asd\"\u003eMusique Machine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/cut-up.com\/2009\/10\/eliane-radigue-muziek-als-een-zee-waarin-je-je-%20laat-drijven\/\" target=\"asd\"\u003eCut Up\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/pitchfork.com\/reviews\/albums\/13661-triptych-vice-versa-etc\/\" target=\"asd\"\u003ePitchfork\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.junkmedia.org\/index.php?i=2602\" target=\"asd\"\u003eJunk Media Feature\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/radigue\/radigue_triptych_downbeat.jpg\" target=\"zxc\"\u003eDownbeat\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/radigue\/radigues.html\" target=\"asd\"\u003eBig Takeover\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/radigue\/radigue_icon.html\" target=\"asd\"\u003eIcon\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807246404,"sku":"imprec260","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec260_triptych.jpeg?v=1446136108"},{"product_id":"imprec206","title":"Eleh\/Pauline Oliveros -  The Beauty of the Steel Skeleton\/Drifting Depths - LP","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eWarehouse find\u003cbr\u003eSilver cover has a letter and not a number. Under 24 numbered copies were produced to use leftover LPs and sleeves. \u003cbr\u003eCopper cover is a low number (under 10)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe first 200 copies of this limited vinyl-only release are packaged in handmade copper colored letterpress jackets. The remaining 560 copies are packaged with silver letterpress jackets.\u003c\/p\u003e\n\u003cp\u003eImportant Records is quite pleased to be presenting this split release consisting of two new drone works from Pauline Oliveros and Eleh. Oliveros, an early American minimalist who has pioneered the technique of Deep Listening, has created a new work exlcusively for this release. Drifting Depths is a new improvised piece made on a harmonica being processed through Pauline's Expanded Instrument System. Eleh's side, also exclusive to this vinyl-only release, is a super slow melodic drone full of stillness, tension \u0026amp; relief. \u003c\/p\u003e\n\u003cp\u003eA central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recording.\u003c\/p\u003e\n\u003cp\u003eEleh was formed to specifically to pay tribute to early experimental minimalist pioneers especially La Monte Young, Terry Riley, Eliane Radigue, Pauline Oliveros and Charlemagne Palestine. Using an enormous vintage modular analog synthesizer, a battery of glowing HP tube test oscillators and occasionally guitar\/piano, Eleh creates highly minimal and deeply spiritual pure analog drone music with emphasis on the physical ultra-low end. Incorporating tones as low as .05 Hz (well below the range of human hearing). Eleh is as much of a physical experience as it is an audio one. This engaging record was created as a tool for meditation and to be heard\/felt correctly the listener must be sitting with ears at speaker height at least 7 feet away from the speakers. Volume reveals detail.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eA. Eleh - The Beauty of the Steel Skeleton\u003c\/p\u003e\n\u003cp\u003eB. Pauline Oliveros - Drifting Depths\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"Silver cover LP","offer_id":9807282052,"sku":"imprec206","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Copper cover LP","offer_id":12591026241610,"sku":"imprec206","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/IMG_2732.jpg?v=1536855699"},{"product_id":"imprec191","title":"Cluster - Berlin 2007 - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eBerlin 2007 was a monumental performance for Cluster, marking their first live performance in Berlin since their 12-hour concert in the Galerie Hammer in the Europacenter in 1969. The performance was a massive success as a sold out crowd cheered loudly for Cluster to return to the stage. Fortunately, the concert was preserved for posterity and is proudly presented here on Important Records.\u003c\/p\u003e\n\u003cp\u003ePackaged in a deluxe digipack.\u003c\/p\u003e\n\u003cp\u003eCluster was formed around 1971 when Roedelius and Moebius left Conrad Schnitzler's group Kluster. Along with Kluster they have had a tremendous influence on the development of contemporary electronic music. Julian Cope has placed three Cluster albums in his Krautrock Top 50 and The Wire included the first Cluster album in their list of One Hundred Records That Set the World On Fire. Along with Neu! co-founder Michael Rother Cluster formed the remarkable group Harmonia. Between 1976 and 1979 one of Cluster's most frequent collaborators was Brian Eno.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/cluster\/cluster_live_wire.jpg\"\u003eThe Wire\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/cluster\/cluster_rocka.jpg\"\u003eRock A Rolla\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807297092,"sku":"imprec191","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec191_cluster_0.jpeg?v=1446136154"},{"product_id":"imprec179","title":"Kluster - Admira 1971","description":"\u003cp\u003e2nd pressing now available in a jewel box with ultra high gloss booklet and tray card. The first pressing is sold out. It was limited to 1000 copies and packaged in a deluxe embossed gatefold jacket made to emulate the original die stamped embossed packaging for Kluster's album Klopfzeichen.\u003c\/p\u003e\n\u003cp\u003eAdmira is sourced from original master recordings discovered by Kluster member, and Tangerine Dream engineer, Klaus Freudigmann. Along with Vulcano, also being released at the same time on Important, Admira is presented here for the first time in this deluxe package. These intense sessions were made with Schnitzler at the helm, as always, after the departure of Mobius and Roedelius from the group.\u003c\/p\u003e\n\u003cp\u003eConrad Schnitzler founded Kluster in 1969 along with Roedelius, Mobius and often Klaus Freudigmann who had multiple roles within the group as a player, engineer and instrument inventor. Eventually Roedelius and Mobius left Kluster and continued on as Cluster while Schnitzler and Freudigmann continued as Kluster often exploring the communal aspects of music by bringing new people into the group.\u003c\/p\u003e\n\u003cp\u003e\"I founded the music group Kluster after my exit 1969 from the group GERÄUSCHE (Zodiak with A.Roedelius and Boris Schak). Between 1969 to 1972 I worked with different friends,with TD among others. With them I tried to perform the music of my imagination .\u003c\/p\u003e\n\u003cp\u003e\"Finally Klaus Freudigmann and Wolfgang Seidel remained at the work continuously over the years. In addition there were several actions with A.Roedelius and D.Möbius where the LPs KLUSTER Klopfzeichen,Osterei and Eruption were made. Instruments, amplifier and effects I gave D.Moebius because he had had no own equipment. I didn't want the music to remind of the normal. My criterias were not folk music, not rock music, not pop songs and not dance music. The idea for 'Cluster' later 'Kluster' (I wanted to avoid Americanisms) is not only a name for a group but a form of music.\u003c\/p\u003e\n\u003cp\u003e\"I had amplifier, instruments, contact mic's and effects, that could used by the others, too. Klaus had tape machines and microphones. In addition he constructed instruments and electronical sound generators, which made the most undescribable sounds. Wolfgang had everything connected with drum and bass and in addition amplifier and effects.\u003c\/p\u003e\n\u003cp\u003e\"Klaus had rooms where we could work out our music performances. The tapes 'Electric Meditation' with TD were made in one of that spaces. Most of the performances happened with friends who took part in the actions; therefore Conrad,Klaus,Wolfgang and friends. I've got all rights at that music. The numberings of the single CDRs have nothing to do with the date of the creation of the music. I've numbered them, because I've dubbed them.\u003c\/p\u003e\n\u003cp\u003e\"That was difficult and I tried to do it as best as possible on CDR. A special date for the creation of the single tapes couldn't be find out, therefore the date of the creation - years 1969 - 1973. After that there were only sporadical actions with KLUSTER, no money for place to play, only cold winter.\" ~ Conrad Schnitzer\u003c\/p\u003e\n\u003cp\u003e\"When you look at documentaries from the late sixties, it looks like California was everywhere. Endless Summer. Or a never ending Woodstock. What we did not know then was that the Woodstock movie showed the pictures people wanted to see. The guys who made the film knew that and the success at the box office was their reward for not disappointing their audience’s expectations. Berlin was quite different – West-Berlin, the half of the city where Kluster was founded. When my mind wanders back it was always Winter. These Winters were bitter cold. We lived in old houses with little coal ovens. Keeping them working and finding the money for coal was a task that could consume half of your day. No wonder that in German the word ‘Kohle’ (= coal) stands for money.\u003c\/p\u003e\n\u003cp\u003e\"Two years ago I visited Klaus Freudigmann, member of Kluster and sound engineer for a lot of other bands from those early days of what eventually was coined ‘Krautrock’ (a term I did not like because it puts totally different people and music under one label that do not fit together). The reason for this visit was a planned book on one of these bands. It turned out that Klaus Freudigmann still kept some of their recordings in a suitcase, mainly the intermediate stages of the recording process. Multi-track still lay in the future. He worked with two tape recorders playing ping pong between them (for Kluster he’d made long tape loops we used in our sessions). To our surprise out of that suitcase that hadn’t been opened for twenty years popped a bundle of tapes from the Kluster sessions (1970 – 1973). They had stood the time quite well and the sound wasn’t so bad either because we had amplifiers with direct recording outputs, which was an unusual feature at that time. Two of these recordings had been chosen as bonus tracks for the Captain Trip re-releases of the first two Kluster LPs. For that purpose we had to give names to them, something Conrad Schnitzler had abandoned years ago and from then on only numbering his work. When we had to think about names for ‘songs’ the first memories that sprung to our minds were: ‘cold Winter’ and ‘black Spring’. As the Winters were cold, Spring was black. Over the months of the cold season the snow got drenched with the ingredients of the smoke pouring out of a million chimneys (plus the product of Berlin’s largest population: dogs). And while the snow melted away the cinder stayed and covered the streets with a black mud. What made things worse – in the Eastern half of the city they fuelled their ovens with cheap brown coal. Its smoke smelled like rotten eggs. Not only to the nose the socialist paradise was more like brimstone from hell. And the poisonous exhaust wasn’t stopped by the wall, the East had built to keep their share of the people happily flocked under what they mistook as socialism. The wall was not high enough to stop the smoke going from East to West. And it was not high enough either to stop rock and roll and Coca Cola from transmitting their message from West to East. Something were the East could not compete. The reason was that their country christened as ‘German Democratic Republic’ was not much democratic but very, very German letting their army parade with the same goose step that the neighbouring countries had learned to fear.\u003c\/p\u003e\n\u003cp\u003e\"Rock and roll and its most adventurous sibling psychedelia were effective remedies against climatic, political and mental cold. To perform our brand of music from an outside world, we sat up a little tent in a ballroom that went out of business years before. We built it from transparent plastic and heated it with electric fans. The room was painted completely black except for one wall that was covered with aluminium foil – a novelty in those days – reflecting and warping the lights from our tent. I still wonder who paid the bill for the electricity we’d consumed. Nobody – that was one of the reasons why we had to find another place. The next stop was one floor of an abandoned factory were Klaus Freudigmann lived and recorded. Downstairs was a print shop where a large portion of the posters, newspapers and books of the radical left had been printed. The rata-ta-clac of the printing machines mixed with our music. For me that connection led to a twenty years engagement, earning my living in print shops, until I decided to switch, finding myself a job with a television company. It turned out to be a wise decision in times where fewer and fewer people read books.\u003c\/p\u003e\n\u003cp\u003e\"The factory at Admiralstrasse housed us for a year or so. Things changed quickly at the end of the 60s\/early 70s. Everybody was on the move, experimenting with live without long discussions over the possible risks involved. Behind us was a prosperous decade and everybody lived in the belief that things can only get better. The only thing people feared, was stagnation. West Berlin was the last place the German ‘Wirtschaftswunder’ had arrived, but the optimism that ruled these years was felt there, too. And we had chosen this backyard of prospering West Germany, because living was cheap and it was easy to find a place to stay in a city where lots of people and a large portion of the companies had left heading west. We moved back to the ballroom. This time to a smaller room under the roof. Conrad had painted it completely white – walls, ceiling and floor. And he tagged white fabric to large frames. Behind these frames went the speakers, other stuff we did not need at hand and neon lights. As a result we found ourselves with our instruments in a white, featureless place that appeared much larger than it actual was. It looked a bit like the interior of the space ship in Kubrick’s 2001. And as experienced space travellers we knew ways to achieve weightlessness.\u003c\/p\u003e\n\u003cp\u003e\"Our wallets could have done better with some weight. You could not easily starve in West Berlin’s ghost economy that ran mostly on state subsidies to keep it functioning as showcase of the free West. But getting rich was difficult either. Not with a normal nine to five job – and that was definitely not what we were after. So the white room was another short lived episode. Earning sufficient amounts of money with music proved to be difficult, too. What we did was only for a small audience – and we knew it. But even if you aimed at a larger market, things were not easy. Rock music and what went with it was largely believed as critical against capitalism. This involved that your audience expected that culture is something that has to be accessible to everybody without any profits involved. I still believe that these ideas are worth thinking about. But it doesn’t make the life of artists or musicians easier. You end up understanding what Adorno meant when he wrote: 'there is no right life within wrong life.' But what we could do was getting our little whiff of a life outside that ‘wrong.’ A lot of what is written about the term ‘Krautrock’ circles around esoteric beliefs, a search for your inner self. That’s one of the reasons why I dislike that label. You’re a product of the society you are living in. What you see reflected when you look into you is that society. But you are no robot either. You can make decisions. But to change your inner self, you have to change society, too. That implies that your fantasy steps as far outside this society as possible instead of huddle in your self like a child. That’s why I remember that transparent plastic tent at the old ballroom that floated like a little bubble of light in the darkness of space. It seemed to come out of one of the science fiction novels I’ve read during my school years. At that time such stories had been my vehicle to get ‘outside’. In later years music did this job.\" ~ Wolfgang Seidel\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807299652,"sku":"imprec179","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec179_admira_0.jpeg?v=1446136155"},{"product_id":"imprec180","title":"Kluster - Vulcano 1971 - CD","description":"Second pressing now available in a jewel box with ultra high gloss booklet and tray card. The first pressing is sold out. It was limited to 1,000 copies and packaged in a deluxe embossed gatefold jacket made to emulate the original die stamped embossed packaging for Kluster's album Klopfzeichen.\u003cbr\u003e\u003cbr\u003eVulcano is sourced from original master recordings recently discovered by Kluster member, and Tangerine Dream engineer, Klaus Freudigmann. Along with Admira, also being released at the same time on Important, Vulcano is presented here for the first time in this deluxe package. These intense sessions were made with Schnitzler at the helm, as always, after the departure of Mobius and Roedelius from the group.\u003cbr\u003e\u003cbr\u003eConrad Schnitzler founded Kluster in 1969 along with Roedelius, Mobius and often Klaus Freudigmann who had multiple roles within the group as a player, engineer and instrument inventor. Eventually Roedelius and Mobius left Kluster and continued on as Cluster while Schnitzler and Freudigmann continued as Kluster often exploring the communal aspects of music by bringing new people into the group.\u003cbr\u003e\u003cbr\u003eSummer of Love? Kluster was formed in West Berlin - much closer to Siberia than to San Francisco, Haight Ashbury and Golden Gate Park. What came to Berlin with a two year delay was only the outer fringe of the \"Summer of Love.\" Its blossom would have died soon in the Cold War breeze, and by 1970 a lot of the optimism of the mid Sixties had already ceased. It became obvious that creating a better world needs more than flowers in your hair. But the political movements of the late sixties were a child of the same optimism that fuelled the rapid developments changing not only the material side of life but also arts, music and the way people interacted. The new Left and the hippie movement where all these ideas were concentrated wasn’t the result of poverty, but built on the belief that with modern technology there was enough for everybody. It was only a question of a fair distribution.\u003cbr\u003e\u003cbr\u003eThat optimism had a soundtrack that was based on the same technology. From the electric guitar, reverb and echo units to the first synthesizers, everything was welcome that sounded as if it came from the future. Future meant space travel - so it's quite natural that the first effects wildly used where those which send you to a space you’ve never been before: artificial reverb and echo. A lot of people had their first encounters with this new music at the movies - watching sci-fi films like Forbidden Planet with the electronic tonalities of Louis and Bebe Barron (1956 - and their work wasn't called music to avoid paying royalties and having to quarrel with the conservative musicians trade unions). For a few years rock music was the most popular of new sounds and for a lot of people the door opener. It was one of the rare moments when you could be at the same time avant-garde and mainstream. But this did not last long. Pop music quickly became old music with new instruments when it turned into highly standardized entertainment. And the use of the electric guitar developed rules like any other traditional instrument.\u003cbr\u003e\u003cbr\u003eAmong the people that met to form Kluster were Klaus Freudigmann and Wolfgang Seidel, who both grew disenchanted with pop music, and Conrad Schnitzler who came from a completely different direction as a sculptor. While the others discovered the new territories of sound via psychedelic music, Schnitzler was a fan of Stockhausen, Cage, etc., but was distracted by the highbrow elite attitude with which this music surrounded itself in Germany. What met was the self empowerment of early rock music with the search for new sounds and structures of 20th century avant-garde music.\u003cbr\u003e\u003cbr\u003e\"That Kluster made simple music on DIY instruments, droning and banging on one note for half an hour, did not mean we were into any kind of primitivism. We hated the bongo playing hippie and his backward dreams of tribal 'healthy' societies (forgetting that hunger, war and oppression were not invented this year). To us the longing for sweet melodies was a regressive refuge from a world that isn’t sweet. We did not want to go back. If the future was inevitable, we wanted to shape it - at least sonically. That we preferred slow tempos sometimes gets mistaken as 'dark.' We just gave every sound enough time to be listened to. And we wanted to draw a line between us and the 'look I am the fastest' guitar heroes that began to rule the stages. What we did was get rid of the schemes of pop and popular classic and find out what else we can do with our tools, polishing and lubricating them for a future music.\u003cbr\u003e\u003cbr\u003e\"But no matter how far your mind is in the future, your stomach is still on earth and demands feeding. When things got tougher in the Seventies, the people that met under the labels Kluster and Eruption had to look for ways to earn their living. Conrad Schnitzler started his long solo voyage, Klaus Freudigmann took part in the squatters movement, others took ordinary jobs and surfaced now and then with some new piece of music. What’s left are some tapes and a few minutes of film documenting an installation Conrad Schnitzler sat up at Galerie Block (1970) reflecting the ideas behind Kluster. Violins that were bought cheap from the flea market and equipped with contact microphones and plugged into radios that had been mounted to the wall as amplifiers. The visitors (hopefully no musicians) experimented collectively with the sounds from the violins - hearing themselves in the radio.\" ~ Wolfgang Seidel\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003eI founded the music group Kluster after my exit 1969 from the group GERÄUSCHE (Zodiak with A.Roedelius and Boris Schak). Between 1969 to 1972 I worked with different friends,with TD among others. With them I tried to perform the music of my imagination .\u003c\/p\u003e\n\u003cp\u003e\"Finally Klaus Freudigmann and Wolfgang Seidel remained at the work continuously over the years. In addition there were several actions with A.Roedelius and D.Möbius where the LPs KLUSTER Klopfzeichen,Osterei and Eruption were made. Instruments, amplifier and effects I gave D.Moebius because he had had no own equipment. I didn't want the music to remind of the normal. My criterias were not folk music, not rock music, not pop songs and not dance music. The idea for 'Cluster' later 'Kluster' (I wanted to avoid Americanisms) is not only a name for a group but a form of music.\u003c\/p\u003e\n\u003cp\u003e\"I had amplifier, instruments, contact mic's and effects, that could used by the others, too. Klaus had tape machines and microphones. In addition he constructed instruments and electronical sound generators, which made the most undescribable sounds. Wolfgang had everything connected with drum and bass and in addition amplifier and effects.\u003c\/p\u003e\n\u003cp\u003e\"Klaus had rooms where we could work out our music performances. The tapes 'Electric Meditation' with TD were made in one of that spaces. Most of the performances happened with friends who took part in the actions; therefore Conrad,Klaus,Wolfgang and friends. I've got all rights at that music. The numberings of the single CDRs have nothing to do with the date of the creation of the music. I've numbered them, because I've dubbed them.\u003c\/p\u003e\n\u003cp\u003e\"That was difficult and I tried to do it as best as possible on CDR. A special date for the creation of the single tapes couldn't be find out, therefore the date of the creation - years 1969 - 1973. After that there were only sporadical actions with KLUSTER, no money for place to play, only cold winter.\" ~ Conrad Schnitzer\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":16521708484,"sku":"imprec180","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec180_vulcano_0.jpeg?v=1446136156"},{"product_id":"imprec167","title":"Christina Kubisch - Invisible\/Inaudible : Five Electrical Walks - CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eChristina Kubisch is a first generation sound artist of the highest order. Kubisch has been working with electrical induction since the late Seventies. In 2003 she began her Electrical Walk installations. Listeners wear specially built headphones that reveal electro-magnetic radiation emanating from the technological world around us. Five Electrical Walks is her first collection of compositions utilizing material recorded during Electrical Walks.\u003c\/p\u003e\n\u003cp\u003eInvisible\/Inaudible: Five Electrical Walks - Electromagnetic Investigations In the City\u003c\/p\u003e\n\u003cp\u003e“Electrical Walks is a public walk with custom-made sensitive wireless headphones by which aboveground and underground electromagnetic fields are detected, amplified and made audible. The transmission of sound is accomplished by a built-in set of induction coils which respond to the electromagnetic waves in our environment. The palette of these noises, their timbre and volume vary from site to site and from country to country. They have one thing in common: they are ubiquitous, even where one would not expect them. Light systems, wireless communication systems, radar systems, anti-theft security devices, surveillance cameras, cell phones, computers, streetcar cables, antennae, navigation systems, automated teller machines, wireless internet, neon advertising, public transportation networks, etc., create electrical fields that are as if hidden under cloaks of invisibility, but of incredible presence. The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and are hard to describe. Some sounds are “global players,” they sound much alike all over the world. Others are specific for a city or country and cannot be found anywhere else. Electrical Walks is an invitation to a special kind of investigation of city centres (or other locations). With the magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electromagnetic fields. What one is accustomed to appears in a different context. Sound can transport you to different time areas; sound can transport you through your knowledge of space. Your brain is trying to get together what you hear and see in new ways. Nothing looks the way it sounds. And nothing sounds the way it looks. The five compositions on the CD are based on numerous live recordings of electromagnetic fields, made between 2003 and 2007 in the cities of Birmingham, Chicago, Taipei, Paris, Bremen, Riga, Tokyo, Madrid, London, New York, Berlin and others. The sounds have not been altered electronically or by other means.\" ~ Christina Kubisch, July 2007\u003c\/p\u003e\n\u003cp\u003eAbout Christina Kubisch:\u003c\/p\u003e\n\u003cp\u003eChristina Kubisch belongs to the first generation of sound artists. Trained as a composer, she studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Her work can be described as the “synthesis of arts” - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Kubisch is best known for artistically and innovatively using techniques such as magnetic induction and ultraviolet light to create and realize her work. Since the 1970s Kubisch has been experimenting with electromagnetic induction and was one of the first to use this method for creating sound installations. One of her most well known works is the Electrical Walks series, in which the audience wears magnetic headphones, specially designed by Kubisch, with built-in coils that respond to electrical fields in the environment, tapping into the electrical fields that result from light systems, anti-theft security devices, surveillance cameras, cell phones, computers, antennae, automated teller machines and other electric devices. She uses these visible sources to create unique and new sensory environmental experiences.\u003c\/p\u003e\n\u003cp\u003eIn the mid-1980s, Kubisch began to incorporate light as a compositional tool in many works, for example in the installation Skylines at the documenta 8, Kassel; the underground installation Klang Fluß Licht Quelle on Potsdamer Platz in Berlin and more recently Licht Himmel, a permanent light sound installation at Gasometer Oberhausen, Germany. Since 2003 Kubisch has begun to work again as a performer and collaborates with various musicians and dancers, one of whom is Lotta Melin, with whom she will be co-facilitating the Lisbon workshop. An internationally recognized artist, Kubisch has shown work at major international exhibitions and festivals (Venice Benniale, documenta 8, Kassel, Ars Electronica, Linz, Sydney Benniale, Sonar, Barcelona and Sonic Boom, London). Performing around the world she has received numerous grants and awards, and her music has been realized on various labels such as Cramps Records and Edition RZ. Kubisch has been a visiting professor in Maastricht, Paris and Berlin and since 1994, and is currently the professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1.    Homage With Minimal Disinformation\u003c\/p\u003e\n\u003cp\u003e2.    E-Legend\u003c\/p\u003e\n\u003cp\u003e3.    Security\u003c\/p\u003e\n\u003cp\u003e4.    Atocha\u003c\/p\u003e\n\u003cp\u003e5.    Night Shift\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/blogs.chicagoreader.com\/post-no-bills\/2007\/11\/05\/locating-local-sounds\/\"\u003eChicago Reader\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca class=\"colorbox-load initColorboxLoad-processed cboxElement\" href=\"http:\/\/importantrecords.com\/sites\/default\/files\/press\/kubisch\/kubisch_wire.jpg\"\u003eThe Wire\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.squidsear.com\/cgi-bin\/news\/newsView.cgi?newsID=702\"\u003eSquids Ear\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.tinymixtapes.com\/2007-Eureka-Albums-of-2007\"\u003eTiny Mix Tapes\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.musiquemachine.com\/reviews\/reviews_template.php?id=1593\"\u003eMusique Machine\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807317764,"sku":"imprec167","price":11.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec167_electrical_0.jpeg?v=1446136169"},{"product_id":"imprec140","title":"Pauline Oliveros - Accordion \u0026 Voice - LP \/ CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePauline Oliveros' \u003c\/span\u003e\u003cem\u003eAccordion \u0026amp; Voice\u003c\/em\u003e\u003cspan\u003e is available on LP for the first time since it was originally released in 1982. Cut at Golden and pressed at RTI for maximum fidelity. Clear vinyl limited to 200 copies exclusively for Imprec mailorder. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations.\u003c\/p\u003e\n\u003cp\u003eA central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.\u003c\/p\u003e\n\u003cp\u003e“Accordion \u0026amp; Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played Rattlesnake Mountain. I followed the feelings and sensations of my many experiences of the mountain - the changing colors of the season, the breezes and winds blowing through the grasses and trees. Horse Sings From Cloud taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space. My thanks to Important Records for bringing these pieces to be heard again.” ~ Pauline Oliveros, 2007\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1.    Horse Sings From Cloud\u003c\/p\u003e\n\u003cp\u003e2.    Rattlesnake Mountain\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e“A quixotic body of work that seems to hover - like that of John Cage, to whom she is often compared - somewhere in the interstices among composition, philosophy, religion and self-help.” ~ San Francisco Chronicle\u003c\/p\u003e\n\u003cp\u003e\"Her solo accordion work 'Rattlesnake Mountain' was a simple, haunting melody over a pulsating drone. Few composers can summon such gentle majesty from this instrument.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"Oliveros' music makes you listen afresh to the simplest sounds.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"A particularly beautiful example of experimentalism - genuine musical individuality.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.\" ~ New York Times\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807346692,"sku":"imprec140","price":12.0,"currency_code":"USD","in_stock":false},{"title":"LP (Black)","offer_id":39738751156298,"sku":"","price":30.0,"currency_code":"USD","in_stock":false},{"title":"LP (clear)","offer_id":39738751909962,"sku":"","price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/accordion1.jpg?v=1649862596"},{"product_id":"imprec141","title":"Pauline Oliveros - The Wanderer - LP \/ CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003ePauline Oliveros' \u003cem\u003eThe Wanderer\u003c\/em\u003e is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity. Clear vinyl limited to 200 copies exclusively for Imprec mailorder. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAn utterly essential document of early American minimalism from this Pauline Oliveros. \u003cem\u003eThe Wanderer\u003c\/em\u003e is the sister record to \u003cem\u003eAccordion \u0026amp; Voice\u003c\/em\u003e, also available on LP from Important Records.\u003c\/p\u003e\n\u003cp\u003eThe Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and \u003cspan\u003e⅜\u003c\/span\u003e. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.\u003c\/p\u003e\n\u003cp\u003eThe Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting.\u003c\/p\u003e\n\u003cp\u003eHorse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and\/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion \u0026amp; Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.\u003cbr\u003e\u003cbr\u003eCD: \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the first time The Wanderer has been made available on CD, having been out of print for over 20 years. Included as a bonus track is a lengthy live recording of Oliveros with David Tudor that was discovered on the reels during the digital transfer! Remastered from the original analog tapes by Carl Saff.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Duo For Accordion \u0026amp; Bandoneon\u003c\/p\u003e\n\u003cp\u003e2. The Wanderer\u003c\/p\u003e\n\u003cp\u003e3. Horse Sings From Cloud\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e“A quixotic body of work that seems to hover - like that of John Cage, to whom she is often compared - somewhere in the interstices among composition, philosophy, religion and self-help.” ~ San Francisco Chronicle\u003c\/p\u003e\n\u003cp\u003e\"Her solo accordion work 'Rattlesnake Mountain' was a simple, haunting melody over a pulsating drone. Few composers can summon such gentle majesty from this instrument.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"Oliveros' music makes you listen afresh to the simplest sounds.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"A particularly beautiful example of experimentalism - genuine musical individuality.\" ~ New York Times\u003c\/p\u003e\n\u003cp\u003e\"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level.\" ~ New York Times\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807348356,"sku":"imprec141","price":12.0,"currency_code":"USD","in_stock":true},{"title":"LP (Black)","offer_id":39738745749578,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP (Clear)","offer_id":39738745782346,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/wanderer1.jpg?v=1649797684"},{"product_id":"imprec114","title":"Conrad Schnitzler - Trigger Trilogy - 3CD","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eConrad Schnitzler is a genuine legend in the Krautrock and electronic music worlds. Schnitzler studied under Joseph Beuys before joining an early Tangerine Dream. Their first album, Electronic Meditation shows a band highly influenced by Schnitzler's unique, singular approach. Schnitzler left Tangerine Dream to form Kluster with friends Dieter Moebius and Hans Joachim Roedelius. When Schnitzler left Kluster they changed their name to Cluster, eventually merging with Michael Rother (of Neu!) to form Harmonia, a group who Brian Eno once called the most important rock group on the planet. Schnitzler also founded Eruption in 1970 along with Klaus Schultz, Manuel Gottsching (Ash Ra Tempel), and Klaus Freudigmann.\u003c\/p\u003e\n\u003cp\u003eLooking back at Conrad Schnitzler's career, it becomes obvious that he was an architect who helped draw the blueprints for some very significant musical movements. Perhaps overlooked, or at least desperately underappreciated, it hasn't slowed Schnitzler down. Since leaving Kluster, Conrad Schnitzler has composed diligently for electronics and piano. Now located in Dallgow, Germany he continues to accumulate equipment and recordings of what he says is “cold, hard electronic sound.”\u003c\/p\u003e\n\u003cp\u003eTrigger Trilogy consists of three discs, each selected from hundreds of hours of Schnitzler's private recordings. Each represents one of the few unique approaches that Schnitzler takes to recording, each uniquely identified and defined by Schnitzler. Within each of these recordings one can hear how Schnitzler influenced a generation of artists not only in Germany, but the world; and how he's brought those sounds into the modern day. It's also apparent in these recordings that Schnitzler is thoughtful and enlightened, a total pioneer floating freely in a world of sound.\u003c\/p\u003e\n\u003cp\u003eTrigger One consists of what Schnitzler calls his Solo Voices or Solo Electronics. This particular recording happens to be rhythmically based electronic work. Recognizing that in traditional music the melodic line is subordinate to the ensemble, leaving it no true impression of its own, Schnitzler has liberated the solo voice in his own music and given it its own vocation as noise, tone and sound. By superimposing several voices or forming a sound environment by mixing, Schnitzler has created new dimensions; worlds of sound where the individual voice is no longer subservient to synchronization or the conductor's baton. The results are sound combinations which adhere to no logic. ”The strength of the individual voice lies in its freedom from vis-a-vis any sound.” ~ Conrad Schnitzler\u003c\/p\u003e\n\u003cp\u003eTrigger Two is what Schnitzler refers to as Free Concert Mix Solos:\u003c\/p\u003e\n\u003cp\u003e“From solo to mix, from melodic line to ensemble. Accumulation of voices, note clusters which are not opposed to one other but are equal and parallel in a free play of energy. The mix of solo voices produces concentrations of notes and noises, tangles, compressions, sound constellations, sound catastrophes, acoustic phenomena's. The individuality of each voice is absorbed into the chaos of the overall sound, is held there and blurred. Musical developments emerge from the atmosphere of the individual voices of the ensemble and its variations. Sound sequences spill forth, revealing tight and loose webs of notes, changes in tempo, varying expressions of volume and dynamics and shifts in the direction of the sound pattern. A sound chaos which appears to change automatically becomes perceptible. The indeterminate starting order for the solo voices create an open unfinished work, containing a wealth of episodes with sound sequences, environmental associations, stylistic devices from other worlds and interplays of nature and technology.” ~ Conrad Schnitzler\u003c\/p\u003e\n\u003cp\u003eTrigger Three, the final disc in the Trigger Trilogy, is a Con-Cert. This is a tradition that Schnitzler has been working in for quite some time. Originally using cassettes and now using compact discs Schnitzler creates live mixes of multiple recordings. The sounds are intentionally designed, shaped, constructed and composed in specific relation to one another.\u003c\/p\u003e\n\u003cp\u003e“The articulation of sound in an era where new technology allows for the creation of an unlimited number of new sounds calls for new recording techniques. These are offered by tape, CD or computer hard disks. In the past I used conventional cassettes to create my concerts, but now the sounds are recorded on CD and can be used in the concerts thanks to their enhanced quality. The individual tracks have fixed starting points which can be adjusted by a number of seconds and thus produce different results. The volume of the individual tracks can be adapted to the acoustics of the location, and the listening experience will vary for each location as a consequence.” ~ Conrad Schnitzler\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eDisc One - Trigger 1\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDisc Two -\u003c\/span\u003eTrigger 2\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDisc Three \u003c\/span\u003e- Trigger 3\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/outerspacegamelan.blogspot.com\/2006\/11\/conrad-schnitzler-trigger-trilogy.html\" target=\"asd\"\u003eOuter Space Gamelan\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"3xCD","offer_id":9807387140,"sku":"imprec114","price":33.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/R-937059-1174859204_0.jpeg?v=1446136218"},{"product_id":"imprec113","title":"Conrad Schnitzler - Klavierhelm - CD","description":"\u003cp\u003eConrad Schnitzler is a genuine legend in the Krautrock and electronic music worlds. Schnitzler studied under Joseph Beuys before joining an early Tangerine Dream. Their first album Electronic Meditation shows a band highly influenced by Schnitzler's unique, singular approach. Schnitzler left Tangerine Dream to form Kluster with friends Dieter Moebius and Hans Joachim Roedelius. When Schnitzler left Kluster they changed their name to Cluster, eventually merging with Michael Rother (of Neu!) to form Harmonia, a group who Brian Eno once called the most important rock group on the planet. Schnitzler also founded Eruption in 1970 along with Klaus Schultz, Manuel Gottsching (Ash Ra Tempel), and Klaus Freudigmann.\u003c\/p\u003e\n\u003cp\u003eThe piano is certainly an instrument with which Conrad Schnitzler is not often associated. However, his compositions on Klavierhelm exhibit his highly expressive and free approach to the piano. Calling to mind Erik Satie and Cage, Cecil Taylor and even Carl Stalling. Limited edition of 1000. Cover design by Conrad Schnitzler.\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":9807387716,"sku":"imprec113","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/schnitzler_klavier_web.jpeg?v=1446136219"},{"product_id":"imprec054","title":"Henry Jacobs - The Weird Wide World of Henry Jacobs\/The Fine Art of Goofing Off - CD\/DVD","description":"\u003cspan\u003e\"During a house renovation in Mill Valley a couple of years ago, a stash of reel-to-reel tapes and 45s was discovered beneath the floorboards. Caked in grime, the collection found its way to nearby resident Jack Dangers of Meat Beat Manifesto, whose own large sound archive included several records released by the owner of the collection: Henry Jacobs. Remarkably preserved for all the exposure to the elements, the more than eighty tapes chronicle wild collaborations with close friend and theologian Alan Watts, San Francisco soundscapes, riffs with Ken Nordine, fictitious radio spots, warped tabla beats, feedback mayhem, hipster parodies, and goof conversations. In collaboration with Henry Jacobs, Jack Dangers has selected, restored, sequenced and mastered this audio stew into a seamless travelogue. Equipped with a reel-to-reel, a microphone, and insatiable curiosity, Jacobs created a breathtakingly original approach that deserves to be appreciated by a much wider audience.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Concerning the Henry Jacobs’ archival tapes, the several of them found underneath Henry’s old house in Mill Valley, you should know that Sandy, which is Henry’s nickname, has tapes hidden away in many places, usually along long stretches of inaccessible beaches, hence his nick name. The fact that this set of tapes was found under one of his houses and not along along beach is a deviation from the norm, one that history will thank you for.\" ~ \u003c\/span\u003e\u003cspan\u003eKen Nordine, Father of Word Jazz\u003c\/span\u003e","brand":"Imprec","offers":[{"title":"CD\/DVD","offer_id":9807468932,"sku":"imprec054","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/054_henry_web_0.jpeg?v=1446136279"},{"product_id":"imprec263","title":"Eliane Radigue, Pauline Oliveros, Yoshi Wada, Sun Circle - Attention Patterns - 2LP\/Booklet","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\u003cspan\u003eBeautiful limited edition double LP set printed in an addition of 600 housed in letterpress sleeve, and includes a 48 page book - co-released with Che Chen's Black Pollen Press.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBooklet Contents:\u003c\/p\u003e\n\u003cp\u003eInterview with Eliane Radigue by Maxime Guitton\u003cbr\u003eArticle by Charles Curtis about his collaboration with Eliane Radigue\u003cbr\u003eInterview\/Article with Pauline Oliveros by Che Chen\u003cbr\u003eSonic Meditations by Pauline Oliveros\u003cbr\u003eInterview with Yoshi Wada by Che Chen\u003cbr\u003eInterview with Sun Circle by Che Chen\u003c\/p\u003e\n\u003cp\u003eAttention Patterns is a 2 LP set featuring new and archival compositions by Pauline Oliveros, Eliane Radigue,Yoshi Wada and Sun Circle, as well as a 48 page booklet containing interviews with the composers and related texts. This release brings together composers with shared affinities for long, slowly unfolding durations and unconventional, harmonic approaches to tuning. Each has contributed a full LP side to the compilation. Edition of 600. Two LPs, 48 Page Booklet, Letter-pressed Sleeves.\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros’ Horse Sings from Cloud (Encore) is a live performance from 1977 that finds her at her most distilled, performing alone with her justly tuned accordion and voice. Eliane Radigue’s electronic work Biogenesis from 1973 uses her ARP synthesizer and recordings of human heartbeats as its main constituents and is the only piece included on the LPs that has been previously released. Sound artist and instrument builder, Yoshi Wada, appears with Reed Modulations, a new work for harmonium, audio generators and bagpipe, made in collaboration with his son, Tashi Wada. Greg Davis and Zach Wallace, better known as Sun Circle, have contributed For Yoshi Wada, an ecstatic and fitting tribute with its oddly tuned free reed drones and percussion. \u003cbr\u003e\u003cbr\u003eThe accompanying booklet includes several of Oliveros’ Sonic Meditations - verbal scores that formed the basis for her concept of Deep Listening - and interviews with Radigue, Wada, and Sun Circle, as well as an in-depth article on collaborating with Radigue by cellist Charles Curtis. Attention Patterns was compiled by Che Chen (whose other outings as anthologist have included the no longer extant, O Sirhan, O Sirhan, a zine that counted Henry Flynt, Bruce McClure, Sir Richard Bishop, Sublime Frequencies, Jessica Rylan, Animal Collective, Deerhoof, Jorge Boehringer and others among it’s features) and is a co-release between his new imprint, Black Pollen Press, and Important Records. \u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eLP1:\u003c\/p\u003e\n\u003cp\u003eA - Eliane Radigue: Biogenesis\u003c\/p\u003e\n\u003cp\u003eB - Pauline Oliveros: Accordion and Voice\u003c\/p\u003e\n\u003cp\u003eLP2:\u003c\/p\u003e\n\u003cp\u003eA - Yoshi Wada: Reed Modulation\u003c\/p\u003e\n\u003cp\u003eB - Sun Circle: For Yoshi Wada\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"LP","offer_id":9807521796,"sku":"imprec263","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec263_attention_sized.jpeg?v=1446136330"},{"product_id":"imprec308","title":"Cluster \u0026 Farnbauer - Live In Vienna - 2CD","description":"\u003cp\u003ePackaged in a deluxe six-panel digi.\u003c\/p\u003e\n\u003cp\u003eLive in Vienna is the eighth full-length album by German electronic music outfit Cluster, and their first and only album with Joshi Farnbauer. It is the first of three live albums recorded by Cluster. Until now Cluster \u0026amp; Farnbauer had never been reissued on compact disc.\u003c\/p\u003e\n\u003cp\u003eOn June 12, 1980 Cluster performed at the Wiener Festwochen Alternativ with Farnbauer. The performance was recorded and released as a limited edition cassette on the British York House Records (YHR) label. It was reissued in Germany on the Transmitter label of \"Grüne Kraft\" owner Werner Pieper. The style of the music is highly experimental and discordant, very reminiscent of Moebius and Rodelius' early work with Conrad Schnitzler in Kluster, albeit with updated electronic instrumentation.\u003c\/p\u003e\n\u003cp\u003eLive in Vienna was the only Cluster release never reissued on CD, and this CD reissue includes archival material as well as newly mastered audio \u0026amp; new artwork created by Cluster member Dieter Mobius.\u003c\/p\u003e\n\u003cp\u003eCluster was formed around 1971 when Roedelius and Moebius left Conrad Schnitzler's group Kluster. Along with Kluster they have had a tremendous influence on the development of contemporary electronic music. Julian Cope has placed three Cluster albums in his Krautrock top 50, and The Wire included the first Cluster album in their list of One Hundred Records That Set the World On Fire. Along with Neu! co-founder Michael Rother Cluster formed the remarkable group Harmonia. Between 1976 and 1979 one of Cluster's most frequent collaborators was \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Brian_Eno\"\u003eBrian Eno\u003c\/a\u003e.\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"2xCD","offer_id":9807553540,"sku":"imprec308","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/imprec308_cluster.jpeg?v=1446136350"},{"product_id":"yoshi-wada-off-the-wall","title":"Yoshi Wada - Off the Wall - LP","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003eFirst vinyl reissue of composer and Fluxus artist Yoshi Wada's second album, Off the Wall, originally released in 1985 by famed free jazz label FMP. Recorded in Berlin on May 11 and 12, 1984, by a quartet featuring Yoshi Wada and Wayne Hankin on bagpipes, Marilyn Bogerd on adapted organ (hand-built by Wada), and Andreas Schmidt Neri on percussion. Edition of 750. Mastered by Rashad Becker and housed in old-style gatefold jackets printed by Stoughton.\u003c\/p\u003e\n\u003cp\u003e\"Off the Wall belongs somewhere between the exuberant harmolodic ritual of Ornette Coleman's Dancing In Your Head, a damp, medieval dirge and the inner ear soundings of composer Maryanne Amacher.\" ~ David Keenan, The Wire\u003c\/p\u003e\n\u003cp\u003e\"It may be more accurate to think of Wada as a sculptor than as a composer, because his music seems to be a physical reality, like wood or stone, and also because of the way he treats this material. Most composers work with ideas. Their basic interest is in melodies, harmonies, thematic relationships, tone rows, tonal centers, emotional qualities, and other rather abstract things, all of which can then be conveyed in sound, but none of which really are sound. Wada, on the other hand, works directly with the sound itself. His music would sound silly arranged for church organ for example. And if he prefers to preserve some improvisatory freedom rather than to notate specific musical ideas, this is at least partly because he is not so interested in the kinds of musical ideas that can be written down on paper. He wants to maintain direct contact with the physical reality of the sound.\" ~ Tom Johnson\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/254772996\u0026amp;color=ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\" scrolling=\"no\" height=\"166\" frameborder=\"no\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eSide 1 - Off the Wall I\u003c\/p\u003e\n\u003cp\u003eSide 2 - Off the Wall II\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"LP","offer_id":19438695876,"sku":"SLT003","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/wada.jpg?v=1464043217"},{"product_id":"eleh-tara-jane-oneil","title":"Eleh\/Tara Jane O'Neil - Split - LP","description":"\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/234528448\u0026amp;color=ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\" frameborder=\"no\" scrolling=\"no\" width=\"100%\" height=\"166\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSound sculptures and gongs by Harry Bertoia unite the sides of this split LP from Tara Jane O'Neil and Eleh. Packaged in deluxe letterpress printed jackets in an edition of 800. The first 300 copies are on metallic gold vinyl.\u003c\/p\u003e\n\u003cp\u003eO'Neil's composition was commissioned by Venessa Renwick for her Medusa Smack video installation (originally screened in 2012 at the Oregon Biennial). The piece is partially comprised of sounds recorded by Harry Bertoia on his own Sonambient sound sculptures, as well as a recording Tara made of Athanasius Kircher's Bell Wheel at the Museum of Jurassic Technology.\u003c\/p\u003e\n\u003cp\u003eEleh's side consists of 100 gongs synthesized on a Serge modular system to honor the centennial of Bertoia's birth in 2015.  \u003cbr\u003e\u003cbr\u003e\u003ca href=\"http:\/\/importantrecords.com\/visualshop\/circle-four-100-gongs-arieto\" target=\"_self\"\u003eA titled, signed and numbered screen print of the cover artwork is available.  \u003c\/a\u003e\u003c\/p\u003e\n\u003ch2\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003e1. Tara Jane O'Neil - Medusa Smack\u003c\/p\u003e\n\u003cp\u003e2. Eleh - Circle Four: 100 Gongs For Arieto\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"LP","offer_id":21495360836,"sku":"imprec430","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Gold LP","offer_id":21495360900,"sku":"imprec430","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/IMG_5727.jpg?v=1651072007"},{"product_id":"pauline-oliveros-oscillator-dial-shirt","title":"Pauline Oliveros Oscillator Dial T Shirt","description":"\u003ch4 class=\"big\"\u003eREVERBERATIONS\u003c\/h4\u003e\n\u003cdiv class=\"apparel-details\"\u003e\n\u003cp\u003eProceeds from sales of the shirt will support the reissuing of two essential Oliveros compositions.\u003cbr\u003ePrinted on an Anvil soft t-shirt.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"Small","offer_id":21808568964,"sku":"","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Medium","offer_id":21808569092,"sku":"","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":21808569156,"sku":"","price":20.0,"currency_code":"USD","in_stock":true},{"title":"X-Large","offer_id":21808569284,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/oliverosT.jpg?v=1469746014"},{"product_id":"adnos-frame-ii","title":"Adnos Frame II - Eliane Radigue - T Shirt","description":"\u003cp\u003e\u003cspan\u003eWater based white print (looks grey) on soft Anvil light grey shirt. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigned \u0026amp; printed by John Brien for IMPREC.\u003c\/span\u003e\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Small","offer_id":21809087492,"sku":"","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":12586280976458,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":12586281566282,"sku":"","price":15.0,"currency_code":"USD","in_stock":false},{"title":"X-Large","offer_id":21809087556,"sku":"","price":15.0,"currency_code":"USD","in_stock":false},{"title":"2X-Large","offer_id":39749126979658,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/adnosframe2_shirt_sized_0.jpg?v=1469746491"},{"product_id":"henry-jacobs-tape-recorders","title":"Henry Jacobs \u0026 Nagra Tape Recorders - T Shirt","description":"\u003ch4 class=\"big\"\u003eELECTRIC BLUE ON NAVY\u003c\/h4\u003e\n\u003cdiv class=\"apparel-details\"\u003e\n\u003cp\u003eAlan Watts on Henry \"Sandy\" Jacobs in his book In My Own Words: \"Sandy records everything and is, in fact, seldom seen without a Nargra slung over his shoulder.\"\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"Small","offer_id":21943007236,"sku":"","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":21943007364,"sku":"","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Large","offer_id":21943007492,"sku":"","price":10.0,"currency_code":"USD","in_stock":false},{"title":"X-Large","offer_id":21943007684,"sku":"","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/jacobs_shirt.jpg?v=1470160320"},{"product_id":"tape-a-thon","title":"San Francisco Tape Music Center\/Pauline Oliveros - Tape-A-Thon *SIGNED*","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e**** If purchasing a print, or multiple prints, please create separate orders for your print purchases. Prints must ship separately. ****\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e20\" x 33\" reproduction of the original poster for Pauline Oliveros' July 22, 1967 Tape-A-Thon, a 12 hour event during which she presented most of her electronic compositions before moving from San Francisco to San Diego.\u003c\/p\u003e\n\u003cp\u003eSigned \u0026amp; numbered by Pauline Oliveros in an edition of 100.\u003cbr\u003eScreen printed on Neenah Sundance smokey-blue paper stock.\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Default Title","offer_id":22006417284,"sku":"","price":140.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/po_print_big.jpg?v=1470346342"},{"product_id":"harry-bertoia-clear-sounds-perfetta","title":"Harry Bertoia - Clear Sounds\/Perfetta - LP","description":"\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eYour purchase directly supports the preservation of Harry Bertoia's Sonambient archive.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003eAfter nearly 40 years of silence, Harry Bertoia's Sonambient label has been resurrected in order to release the best of Bertoia's unheard recordings from his recently preserved archive of 1\/4\" tapes. \"Clear Sounds\" b\/w \"Perfetta\" (F\/W 1033) was cut straight from the original reels and is a true analog pressing (AAA).\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003eThese two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoia's metal rod sculptures.\u003c\/p\u003e\n\u003cp\u003eBoth Harry Bertoia and his brother Oreste composed extensively in the Sonambient Barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, Clear Sounds is a Harry Bertoia piece from June 30, 1973 and Perfetta is an Oreste Bertoia piece from June 28, 1971.\u003cbr\u003eBackground:\u003cbr\u003eHarry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone \"Pennsylvania Dutch\" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.\u003c\/p\u003e\n\u003cp\u003eHarry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.\u003c\/p\u003e\n\u003cp\u003eLearning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book. www.Sonambient.com.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eA. Clear Sounds \u003cbr\u003eB. Perfetta\u003cbr\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.washingtonpost.com\/news\/style-blog\/wp\/2015\/03\/27\/sculptures-you-can-hear-why-harry-bertoias-sonambient-art-still-resonates\/\" target=\"_blank\"\u003eWashington Post feature article\u003c\/a\u003e by Marc Masters\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.factmag.com\/2016\/02\/21\/harry-bertoia-sounding-sculptures-sonambient-important-records\/\" target=\"_blank\"\u003eSonambient interview\u003c\/a\u003e ~ Fact  \u003c\/p\u003e\n\u003cp\u003e\"This is the real deal, pure art in all manifestations, and it's possibly the quintessential collection of ambient music ever made.\" ~ \u003ca href=\"http:\/\/www.factmag.com\/2016\/02\/24\/february-reissues-susumu-yokota-harry-bertoia\/11\/\" target=\"_blank\"\u003eFact Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"'When I know a man's sound, that's this man,\" stated John Coltrane in a 1966 interview. He was speaking of what he called music of the individual, and no better example can be found than sculptor and improviser Harry Bertoia. This massive and expertly documented set encapsulates the work of Bertoia's last 20 years, when he built what he came to call his sonambient sculptures, and there is absolutely no other music like it.\" ~ Fanfare\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Complete Sonambient Collection offers deep listening of the highest order. These are sounds which are as worthy of heavy contemplation as any, but they're even better when you just let go and feel them like so much sand between your toes, as an eternal sound for which there can be no words. ~ \u003ca href=\"http:\/\/thequietus.com\/articles\/19517-harry-bertoia-the-complete-sonambient-recordings-review\"\u003eThe Quietus \u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \"\u003cspan style=\"font-size: 13.008px; line-height: 1.538em;\"\u003eOne hears not just the rumble and reverberation of stroked gongs, struck metal sheets, or colliding rides, but the dimensions of Bertoia's studio. The experience is not merely sensual, but follows hearing and feeling back to the conscious and unconscious sentiments stirred by them.\" ~ \u003ca href=\"http:\/\/dustedmagazine.tumblr.com\/post\/139497454610\/harry-bertoia-sonambient-the-recordings-of\"\u003eDusted\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"The supremely well-curated and tirelessly hard-working Important Records finally present one of the most important and anticipated editions in their enviably impressive catalogue to date, a staggering, lushly packaged box-set with the complete Sonambient Collection, featuring all 11 Bertoia Sonambient releases newly restored from the original master reels.\" ~ \u003cem\u003eSoundOhm\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.frastuoni.it\/?p=3105\"\u003e\u003cem\u003eFrastuoni\u003c\/em\u003e \u003c\/a\u003e (Italian)\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.wsj.com\/articles\/how-metal-master-harry-bertoia-made-sound-from-sculpture-1462578270\"\u003eWall Street Journal\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.vogue.com\/13434305\/harry-bertoia-museum-of-arts-and-design\/\"\u003eVogue\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.domusweb.it\/content\/domusweb\/en\/news\/2016\/05\/07\/atmosphere_for_enjoyment_harry_bertoia.html\"\u003eDombus\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.thenational.ae\/arts-life\/the-review\/how-legendary-designer-harry-bertoia-made-sounds-from-sculpture\"\u003eThe National\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.curbed.com\/2016\/5\/12\/11664642\/metal-music-designer-harry-bertoia-s-beautiful-resonant-sound\"\u003eCurbed\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"http:\/\/www.aaa.si.edu\/files\/resources\/OHProgram\/PDF\/bertoi72.pdf\"\u003e\u003cbr\u003eFull Bertoia interview via Archives Of American Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/tlmagazine.com\/harry-bertoia-at-mad\/\"\u003eTL Mag\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":32096876164,"sku":"F\/W1033","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Test Pressing- #'d in screen printed sleeves","offer_id":32096876228,"sku":"F\/W1033","price":50.0,"currency_code":"USD","in_stock":true},{"title":"Gold LP","offer_id":32096876292,"sku":"F\/W1033","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/NewBertoia.jpg?v=1478126407"},{"product_id":"pauline-oliveros-and-connie-crothers-live-at-the-stone","title":"Pauline Oliveros and Connie Crothers - Live At The Stone - CD","description":"\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003eLive At The Stone was intended to be Pauline Oliveros' tribute to the life and work of pianist Connie Crothers who passed away on August 13, 2016. Sadly, Pauline Oliveros passed away on November 25, 2016. This CD, Pauline's memorial for Connie, is now a memorial for both women.\u003c\/p\u003e\n\u003cp\u003ePauline's original dedication:\u003c\/p\u003e\n\u003cp\u003eThis recording resulted from my one and only performance with Connie Crothers at her invitation during her amazing residency at The Stone in August 2014. I was honored to play with Connie and did not realize that this would be a memorial recording. We have lost an extraordinarily original musician too soon on August 13, 2016. Here is her statement about her week-long residency:\u003c\/p\u003e\n\u003cp\u003e\"I will be performing in every set with these great musicians–from Tuesday, August 19 through Sunday, the 24th. I am very happy about this, especially since every set will be very different from the other sets. Not only are the musicians different, the way they approach improvisation is different. A friend, noting this, said, 'You like a challenge.' I responded, 'Yes, I thrive from a challenge. That is where the fun is.' That's also where the surprises are, and the joy.\"\u003c\/p\u003e\n\u003cp\u003eI certainly was challenged by the energy and power of Connie's performance during our set. Like Connie I thrive with challenges. The concert felt remarkable and very satisfying for me. I am grateful that Connie had the foresight to arrange for this excellent recording.She was looking forward to this release. May this recording be a tribute to Connie Crothers. Her spirit will always be present in the wonderful community of musicians in New York and around the world and most certainly in my heart.\u003c\/p\u003e\n\u003cp\u003ePauline Oliveros - 2016\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eFirst Meeting Still Sounding (40:22)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":36637718543,"sku":"imprec450","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/OliverosCrothers.jpg?v=1487190739"},{"product_id":"christina-kubisch-eleh-split","title":"Christina Kubisch\/Eleh - Split - LP","description":"\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003eRelease date: Nov 17, 2017  --  [expected to ship by the last week of October]\u003c\/p\u003e\n\u003cp\u003eThis split LP is packaged in a letterpress printed jacket in an edition of 500 copies. This record is being released at the same time as a new full length from Eleh titled Home Age.\u003c\/p\u003e\n\u003cp\u003eChristina Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world. In this piece Kubisch considers whether this is the future Tesla envisioned, and what remoteness means in an age where remoteness hardly exists at all. Tesla's Dream includes electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, security systems, advertising and the sounds of discharges and activities of Tesla's own devices - recorded all over the world.\u003c\/p\u003e\n\u003cp\u003eEleh's composition \u003cem\u003eOhmage\/Resistor\u003c\/em\u003e utilizes a new kind of spaciousness and was composed for piano \u0026amp; Serge STS modular synthesizers. Though Tesla was not a consideration when the piece was recorded it takes on a new meaning and is well paired with Kubisch's.\u003c\/p\u003e\n\u003cp\u003eFrom Christina Kubisch:\u003c\/p\u003e\n\u003cp\u003e\"The figure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. He was the one who invented radio controlled devices and other new technologies beyond the generally known limits of technology. Tesla had been picking up radio signals in New York since 1895 receiving them as far as thirty miles away. He was not only an inventor whose work was the basis for the development of many electrical inventions and communication techniques of today but was as well a very special person, a visionary who was unable to realize many of his ideas because of money problems and as well his 'difficult' character.\u003c\/p\u003e\n\u003cp\u003e\"I discovered his work during my studies of electronics in Milan at the end of the 70s. In that period I started to use the system of electromagnetic induction for my sound installations. Tesla had invented and patented the first telephone amplifier in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifier with incorporated small coils to listen to the sounds in my installations. Later on my work with electromagnetic induction had developed into the series 'Electrical Walks,' city walks with special headphones which make audible the usually hidden electromagnetic fields around us. In 2012, I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got special permission to test them. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece about electrical remoteness.\u003c\/p\u003e\n\u003cp\u003e\"Tesla grew up in a remote small village in Austria (now Croatia) where electricity, radio, cars, telephones, movies etc. were unknown. As a boy he loved nature more than everything else. But already at the age of thirty-six, in 1893, his inventions made it possible that the world expo in the city of Chicago was illuminated by100,000 electrical lamps.\u003c\/p\u003e\n\u003cp\u003e\"The new technologies concerning light, radio, radar etc. were developing with such an incredible speed then, like the components of the digital world today.\u003c\/p\u003e\n\u003cp\u003e\"I always asked myself what Tesla would have thought about the internet, google, twitter, facebook, apps etc.? Was this the vision he had in mind when he invented his system of wireless transmission of electrical signals? His working places were full of big heavy coils, oscillators, metal towers etc. by which he tried to transfer energy without wires. Today we almost forget that digital communication and storage is not based only on invisible remote waves in the ether but that it needs server rooms which are much bigger and heavier than Tesla's equipment.\"\u003c\/p\u003e\n\u003cp\u003e\"Teslas Dream\" opens with the magnetic fields recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Tesla's devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual fields of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. The composition ends with the sounds of a luminous advertising, recorded recently in a shopping centre in Las Vegas, accompanied by the faint vibrations of other signals from the ether.\u003c\/p\u003e\n\u003cp\u003eTesla wanted to reach the most remote places of the earth with electrical energy. Nothing today is remote anymore.\u003c\/p\u003e\n\u003cp\u003eThe glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch. The original electrical field recordings were made in Austria, Germany, Slovakia, Britain, Czech republic, New York, Las Vegas and the Hoover Dam.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eChristina Kubisch - Tesla's Dream\u003cbr\u003eELEH - Ohmage\/Resistor  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"LP","offer_id":55024680975,"sku":"Imprec451","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Handmade version","offer_id":13607644823626,"sku":"imprec451","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/kubieleh.jpg?v=1506538892"},{"product_id":"harry-bertoia-sonambients-the-sound-sculpture-of-harry-bertoia","title":"Harry Bertoia Sonambients: The Sound Sculpture of Harry Bertoia - CD\/DVD","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eVideo trailer:\u003c\/span\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=GpaogYl9RnQ\"\u003e \u003cspan style=\"font-weight: 400;\"\u003ehttps:\/\/www.youtube.com\/watch?v=GpaogYl9RnQ\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eYour purchase directly supports the preservation of Harry Bertoia's Sonambient archive. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonambients: The Sound Sculpture of Harry Bertoia is a deluxe CD\/DVD package containing historic recordings made in Harry Bertoia's Sonambient barn.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe DVD, a film titled \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonambients: The Sound Sculpture of Harry Bertoia\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, by Jeffrey \u0026amp; Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplatively through his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA separate CD contains four exclusive, recently discovered audio recordings. Included are the two earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA 16-page booklet includes many never before seen production stills shot by Jeffrey Eger. These iconic images capture the essence of the artist in practice. All of this is packaged in a heavy duty, tip-on style, gatefold sleeve printed with metallic inks at Stoughton Printing in California.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA limited edition version of this release, containing a letterpress printed limitation card and a piece of film from the original release can be obtained through the Harry Bertoia Foundation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e_________________________\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMaking the film\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Sonambients: The Sound Sculpture of Harry Bertoia\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e by Jeffrey Eger:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiriam and I heard through a distant friend of an acquaintance that Harry Bertoia, a Pennsylvania artist, designer and sculptor wished to have a film made about his recent sound sculpture work. We called Harry in November of 1970 and within a week met him in his studio where he introduced us to his sculpture and to his sounds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe ate lunch in a diner and talked about the songs of whales and wolves and his Sonambients. We then visited his Soundings Barn where everything we learned about film and its visionary possibilities became crystal clear. We absorbed the sound ambience and left with such a bubbling excitement that we knew that it was written in the stars that we would make this film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWithin a week we spoke to Harry and he was convinced that we were the right people to bring his Sonambient world to the screen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eI sent Harry a one page description of how we would shoot the film and hopefully how the film would look. He loved the one page treatment. And he reminded us that he did not want to see himself welding in the movie.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBy early January 1971 we were ready to descend on the barn in Barto. We arrived with our cameraman and sound man. The interior of the barn was freezing. We set up quartz lights, checked out shots, and rigged nine hanging microphones from the loft. We had determined that in order to allow Harry to fully improvise his movement amidst the rows of sculptures, we would shoot ten minute takes without any interruptions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn this way the cameraman would shoot handheld a continuous flowing performance. The Eclair 16mm camera and Nagra tape recorder were connected by crystal sync which was a relatively new improvement over actual cables connecting camera and recorder. Harry would be free to move unencumbered wherever the creative moment took him.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe were all ready to roll. Then the sound man took off his headphones and told us that there were occasional popping sounds on the sound track. We replayed the sound test. Popping sounds with little echoes. We city folk were baffled. Harry Bertoia with acute country sound hearing said, \"Hunting season. Deer Hunting season. There is nothing we can do about it. We have to wait until hunting season was over.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA month later in the middle of February of 1971, we returned without the sounds of distant shots and echoing recoil. It took us two days to shoot the whole film. About two hours of footage edited down to a final sixteen minutes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA month later we returned with a final cut and sound mix. With a rented a 16mm projector, we screened the film for Harry on a bed sheet hung from the rafters of his studio. He loved it and did not want one frame to be changed. And to paraphrase Robert Frost, \"and that has made all the difference.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJeffrey Eger, April 9, 2016\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e________________________\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCredits for Sonambients: The Sound Sculpture of Harry Bertoia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDirector and producer - Jeffrey Eger; Editor - Miriam Eger; Camera - Paul Goldsmith; Sound - Petur Hliddal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Kenesaw Films Production. Copyright 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJeffrey Eger was born in 1946 in New Jersey. He studied English and Comparative Literature and graduated from Rutgers University in 1968. He continued his graduate work at the London School of Film Technique in 1968-69. He majored in film writing and directing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThroughout his film career Jeffrey Eger has written, directed and produced many short and long form documentary films for museums, television, schools, international World's Fairs, and governments. He has also worked as a writer and researcher for a number of museums including the Statue of Liberty Museum for its Centennial 1986 Celebration. He is the author of numerous books and is the editor of The Journal of the Thomas Nast Society.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor the last twenty years he has been an antiquarian bookseller specializing in books, auction catalogues and periodicals in the arts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMiriam Szamosi Eger was born in 1944 in Budapest, Hungary. She emigrated with her family to Israel in 1949. In Israel, she studied architectural drafting and building engineering. She continued her education at The London School of Film Technique in 1968-69. She majored in film editing. Her first work in the film industry was as an assistant\/associate editor on the Woodstock Music Festival film. Her second film was The Sonambients film. Miriam edited many documentary films for museums, World's Fairs, industrial exhibitions, and artists. She and her husband Jeffrey frequently worked together through their two film companies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor the serious collector or anyone interested in a complete limited edition set, for $100, the exclusive edition (of 500) sets are available through the Harry Bertoia Foundation. Included:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e16-minute documentary of Harry Bertoia performing in the Sonambient Barn (available for the first time since 1971)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e20-minute interview of Harry Bertoia explaining Sonambient (never before released)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFull-length CD of all three Bertoia siblings – Harry, Oreste, Ave – performing in the Barn \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA physical piece of the original 16 mm film\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e10-page booklet with color photographs of the shoot and description of the filming process \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSee further details at http:\/\/harrybertoia.org\/shop\/\u003c\/span\u003e\u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD\/DVD","offer_id":55497981967,"sku":"FW-1034","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/Bertoia_3.jpg?v=1536250017"},{"product_id":"pauline-oliveros-reverberations-i-2xlp","title":"Pauline Oliveros - Reverberations I - 2xLP","description":"\u003cp\u003e*** Please do not purchase the new Pauline Oliveros Electronic Music double LP from Sub Rosa. This record was released without the permission of Pauline's estate and contains tracks that overlap with this official release ***\u003cbr\u003e\u003cbr\u003eImportant Records and the Pauline Oliveros Trust are pleased to announce the beginning of a series of releases aimed at keeping Pauline Oliveros' music and philosophy alive. \u003cbr\u003e\u003cbr\u003eReverberations 1 is the first vinyl release from the Reverberations box set which was released in conjunction with Pauline Oliveros' 80th birthday celebrations. This historic box set contains 11 CDs of Pauline's unreleased electronic work recorded between 1959 and 1970.\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/505517364\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e","brand":"Imprec","offers":[{"title":"2LP","offer_id":12577219248202,"sku":"Imprec454","price":45.0,"currency_code":"USD","in_stock":false},{"title":"2LP - Clear Vinyl","offer_id":12577229045834,"sku":"imprec454","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/Oliveros_Reverb1.jpg?v=1536253449"},{"product_id":"eliane-radigue-geelriandre-arthesis-lp","title":"Eliane Radigue \"Geelriandre-Arthesis\" - LP","description":"\u003cp\u003e*remaining copies of black vinyl covers have corner bumps\/bends*\u003c\/p\u003e\n\u003cp\u003e200 clear copies exclusively for Imprec mailorder. (more info below)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/530453367%3Fsecret_token%3Ds-PfD5P\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eEliane Radigue's Geelriandre \/Arthesis was pressed at RTI in this first edition of 1000 copies.\u003c\/p\u003e\n\u003cp\u003eGeelriandre\/Arthesis is named for the pieces that fill its two sides. Geelriandre, realized on an ARP 2500 synthesizer in 1972, featuring Gérard Fremy on prepared piano, for whom the piece was originally composed. Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B.\u003c\/p\u003e\n\u003cp\u003eEliane Radigue has received much deserved praise for her transcendent compositions for tape, synthesizers and acoustic instruments. Her work is deep, slowly changing and timelessly resonant with timbre so dense you can listen through the sound to find infinity. Accute physicality, overtones and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here\/hear. \u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Black LP","offer_id":15383359881290,"sku":"imprec463","price":20.0,"currency_code":"USD","in_stock":false},{"title":"Clear LP","offer_id":15383359914058,"sku":"imprec463","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/IMPREC464_cover_web.jpg?v=1542313858"},{"product_id":"phill-niblock-music-for-cello-cd","title":"Phill Niblock - Music For Cello - CD","description":"\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp\u003e\u003cstrong\u003e Pre-Order: Release date Jan 3, 2019\u003cbr\u003eMore info below... \u003c\/strong\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/543578961\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n3 To 7 - 196 (1974, 24 minutes)\u003cbr\u003eDescent Plus (1978\/1995, 22 minutes)\u003cbr\u003eSumming II (1981, 32 minutes)\u003cbr\u003e\u003cbr\u003ePhill Niblock's\u003cem\u003e Music For Cello\u003c\/em\u003e collects three pieces from the 70's and early 80's, performed by cellist David Gibson. \u003cbr\u003e\u003cbr\u003eThis CD includes a 16 page unpublished interview with Phill Niblock. \u003cbr\u003e\u003cbr\u003eSince the late sixties Phill Niblock has been composing long-form acoustic drones with a focus on the rhythms and overtones that rise from closely tuned instruments. His highly original and influential music is an exploration of timbre, microtonality, stability, duration and psychoacoustic phenomenon. \u003cbr\u003e\u003cbr\u003e \"3 to 7 - 196 is very direct, aggressive, and gritty. The overtone patterns that are produced by the proximal pitches become more prominent with louder volume. So please, play this piece very loud. This was the first piece of mine in which the musician was precisely tuned, in which I chose exact pitches in hertz. We used a sine wave oscillator and frequency counter for the tuning.\u003cbr\u003e\u003cbr\u003e Descent Plus has four cello tones descending one octave over twenty-two minutes, from 300 hertz to 150 hertz. David Gibson played these tones without lifting his bow from the strings, constantly retuning. I made four different scores, manually changing an oscillator to which he was tuning, for each track's recording. For the revision, we added six more tracks, with David playing long tones which were not descending. The second part of the recording was made nearly twenty years later.\u003cbr\u003e\u003cbr\u003e Summing II (one of four parts) is mellow and sonorous. David plays two strings simultaneously, one of which is retuned for each successive recording of that pair of tones. This is a mix of an eight track tape. It's better played loud also.\" - Phill Niblock from liner notes\u003cbr\u003e\n\u003cdiv class=\"reviews\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":15844692066378,"sku":"imprec443","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/443_Niblock_WEB.jpg?v=1544460063"},{"product_id":"lucier-feldman-chamber-music","title":"Anthony Burr and Charles Curtis - Chamber Music: Alvin Lucier \u0026 Morton Feldman - CD","description":"\u003cp class=\"p1\"\u003e1. Alvin Lucier: August Moon (2015)\u003cbr\u003e\u003cspan class=\"s1\"\u003e2. Morton Feldman: Two Instruments (1958)\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e3. Alvin Lucier: Trio For Clarinet, Cello \u0026amp; Tuba (2008)\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e4. Morton Feldman: Three Clarinets, Cello And Piano (1971)\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e5. Alvin Lucier: Step, Slide and Sustain (2014)\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e6. Morton Feldman: Durations 2 (1960)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e(scroll down below audio for more info)\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/589986528\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/589990260\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello \u0026amp; Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier. \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e “For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes. \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e“Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e \u003c\/p\u003e\n\u003cp class=\"p3\"\u003e \u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":16208476766282,"sku":"imprec468","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/IMPREC468_300DPI.jpg?v=1552324524"},{"product_id":"alvin-lucier-orpheus-variations-cd","title":"Alvin Lucier - Orpheus Variations - CD","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eOrpheus Variations (After Stravinsky) 31:23\u003cbr\u003e\u003cbr\u003e(scroll down for more info)\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/590007144\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003eOrpheus Variations is a new composition by Alvin Lucier for solo cello and seven wind instruments. It is based on a particular sonority from the first movement of Igor Stravinsky’s ballet score, Orpheus; a sonority that has haunted Lucier for decades. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eOrpheus Variations is one of eight large-scale compositions made expressly for Charles Curtis by Alvin Lucier in the last 15 years. This performance was conducted by Petr Kotik, with Charles Curtis playing solo cello alongside members of the SEM Ensemble.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e \u003c\/p\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":16208518283338,"sku":"imprec469","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/IMPREC469_digi_PB.jpg?v=1552324951"},{"product_id":"harry-bertoia-experimental-i-mechanical-i-lp","title":"Harry Bertoia - Experimental I \/ Mechanical I - LP\/CD","description":"\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eYour purchase directly supports the preservation of Harry Bertoia's musical archive. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"imprec-left-bottom\"\u003e\n\u003cdiv class=\"details\"\u003e\n\u003cp style=\"text-align: center;\"\u003eThis LP is cut straight from the original master tapes maintaining a straight analog signal path. The CD version contains a bonus track called Long Sounds.\u003c\/p\u003e\n\u003cp\u003eScroll past the Soundcloud link for more info.....\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/621701460\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cbr\u003eWhen Harry Bertoia's Sonambient label was resurrected, our intention was to tell the story of Bertoia's groundbreaking Sonambient work as revealed through his extensive collection of notes and recordings. When the first new LP was released in 2016 we were only in possession of 1\/20th of the archive. Now, in 2019, we're excited to release the first LP of new material from the full archive and we present it to increase understanding of what Bertoia was doing in his sound-barn deep in the Pennsylvania woods. \u003cbr\u003e\u003cbr\u003eThe recordings contained on this LP were selected because of their relationship to Bertoia's body of recorded work. The titles are from from Bertoia's notes which Bertoia placed in each tape box, indicating date and describing briefly. Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: \"experimental,\" \"mechanical\" and \"long sounds.\" \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eExperimental I: \u003cbr\u003e\u003cbr\u003eVery few of Bertoia's early experimental sessions survive on tape: he did not record many and often erased those he taped. Most were not recorded and those that were recorded were often erased. Those that remain, however, offer fascinating insights into how Bertoia likely worked in the barn when the tape machine wasn't running. Although he left behind hundreds of tapes, one can only begin to imagine the amount of unrecorded sessions that took place in Bertoia's barn. \u003cbr\u003e\u003cbr\u003eExperimental I shows the artist stretching out, in no hurry and avoiding any bombastic explosiveness. We imagine Bertoia looking around the barn much as he is seen on this album's cover; searching for the next sound in his forest of metal wires. Unheard combinations of sculptures, percussion and long strummed sections make this recording unique. This piece has a an effortless, natural flow. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eMechanical I: \u003cbr\u003e\u003cbr\u003eThere appear to be at least 10 tapes from 1969-1975 that Bertoia noted were “Mechanical.”. Bertoia thought of his sculpture as a collaboration with industry since the diameters of his rods were, ultimately, determined by what was available from the factory that manufactured them. In that sense, Bertoia's music could, quite literally, be considered industrial and this piece has the metallic rhythms of a factory pulsing through it. \u003cbr\u003e\u003cbr\u003eLong Sounds I: \u003cbr\u003e\u003cbr\u003e(CD only)\u003cbr\u003e\u003cbr\u003eBertoia mentions \"long sounds\" often in his notes. It's likely he used this phrase to describe the moments when he would allow a gong or tonal sculpture to reverberate and decay. As a result, passages or entire tapes where this phrase is used tend to be more spacious and reverberant, slower, calmer, grounded. Bertoia rustles up big bursts of sound and then lets them slowly recede, analyzing the results and considering the possibilities of including them in his sonic canvas. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBio: \u003cbr\u003e\u003cbr\u003eHarry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone \"Pennsylvania Dutch\" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.\u003cbr\u003e\u003cbr\u003eHarry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.\u003cbr\u003e\u003cbr\u003eLearning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.\u003c\/p\u003e\n\u003cp\u003ewww.Sonambient.com\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eTRACK LISTING\u003c\/h2\u003e\n\u003cdiv class=\"tracklist\"\u003e\n\u003cp\u003eLP\u003c\/p\u003e\n\u003cp\u003eA. Experimental I\u003cbr\u003eB. Mechanical I\u003c\/p\u003e\n\u003cp\u003eCD\u003cbr\u003e\u003cbr\u003e1. Experimental I\u003cbr\u003e2. Mechanical I\u003cbr\u003e3. Long Sounds\u003cbr\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch2 style=\"padding: 0; margin-top: 30px;\"\u003eREVIEWS\u003c\/h2\u003e\n\u003cdiv class=\"reviews\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.washingtonpost.com\/news\/style-blog\/wp\/2015\/03\/27\/sculptures-you-can-hear-why-harry-bertoias-sonambient-art-still-resonates\/\" target=\"_blank\"\u003eWashington Post feature article\u003c\/a\u003e by Marc Masters\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.factmag.com\/2016\/02\/21\/harry-bertoia-sounding-sculptures-sonambient-important-records\/\" target=\"_blank\"\u003eSonambient interview\u003c\/a\u003e ~ Fact  \u003c\/p\u003e\n\u003cp\u003e\"This is the real deal, pure art in all manifestations, and it's possibly the quintessential collection of ambient music ever made.\" ~ \u003ca href=\"http:\/\/www.factmag.com\/2016\/02\/24\/february-reissues-susumu-yokota-harry-bertoia\/11\/\" target=\"_blank\"\u003eFact Magazine\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"'When I know a man's sound, that's this man,\" stated John Coltrane in a 1966 interview. He was speaking of what he called music of the individual, and no better example can be found than sculptor and improviser Harry Bertoia. This massive and expertly documented set encapsulates the work of Bertoia's last 20 years, when he built what he came to call his sonambient sculptures, and there is absolutely no other music like it.\" ~ Fanfare\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Complete Sonambient Collection offers deep listening of the highest order. These are sounds which are as worthy of heavy contemplation as any, but they're even better when you just let go and feel them like so much sand between your toes, as an eternal sound for which there can be no words. ~ \u003ca href=\"http:\/\/thequietus.com\/articles\/19517-harry-bertoia-the-complete-sonambient-recordings-review\"\u003eThe Quietus \u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \"\u003cspan style=\"font-size: 13.008px; line-height: 1.538em;\"\u003eOne hears not just the rumble and reverberation of stroked gongs, struck metal sheets, or colliding rides, but the dimensions of Bertoia's studio. The experience is not merely sensual, but follows hearing and feeling back to the conscious and unconscious sentiments stirred by them.\" ~ \u003ca href=\"http:\/\/dustedmagazine.tumblr.com\/post\/139497454610\/harry-bertoia-sonambient-the-recordings-of\"\u003eDusted\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"The supremely well-curated and tirelessly hard-working Important Records finally present one of the most important and anticipated editions in their enviably impressive catalogue to date, a staggering, lushly packaged box-set with the complete Sonambient Collection, featuring all 11 Bertoia Sonambient releases newly restored from the original master reels.\" ~ \u003cem\u003eSoundOhm\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.frastuoni.it\/?p=3105\"\u003e\u003cem\u003eFrastuoni\u003c\/em\u003e \u003c\/a\u003e (Italian)\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.wsj.com\/articles\/how-metal-master-harry-bertoia-made-sound-from-sculpture-1462578270\"\u003eWall Street Journal\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.vogue.com\/13434305\/harry-bertoia-museum-of-arts-and-design\/\"\u003eVogue\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.domusweb.it\/content\/domusweb\/en\/news\/2016\/05\/07\/atmosphere_for_enjoyment_harry_bertoia.html\"\u003eDombus\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.thenational.ae\/arts-life\/the-review\/how-legendary-designer-harry-bertoia-made-sounds-from-sculpture\"\u003eThe National\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.curbed.com\/2016\/5\/12\/11664642\/metal-music-designer-harry-bertoia-s-beautiful-resonant-sound\"\u003eCurbed\u003c\/a\u003e\u003cbr\u003e\u003ca href=\"http:\/\/www.aaa.si.edu\/files\/resources\/OHProgram\/PDF\/bertoi72.pdf\"\u003e\u003cbr\u003eFull Bertoia interview via Archives Of American Art\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/tlmagazine.com\/harry-bertoia-at-mad\/\"\u003eTL Mag\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Imprec","offers":[{"title":"CD","offer_id":28552192557130,"sku":"F\/W1035","price":12.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":28552192589898,"sku":"F\/W1035","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Gold LP","offer_id":28552192622666,"sku":"F\/W1035","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/Bertoia_FW1035.jpg?v=1559231982"},{"product_id":"harry-bertoia-new-years-day-1971-cassette","title":"Harry Bertoia - New Years Day 1971 - Cassette","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003cspan data-mce-fragment=\"1\"\u003eYour purchase directly supports the preservation of Harry Bertoia's \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eSonambient\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e archive.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eImprec ~ Products ~ Harry Bertoia - New Years Day 1971 - Cassette ~ Shopify\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLimited edition handmade cassette in an edition of 25 copies. Also available digitally via Sonambient.com\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Imprec","offers":[{"title":"Cassette","offer_id":28552243511370,"sku":"Tape1","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0972\/4654\/products\/tape.jpg?v=1558031239"}],"url":"https:\/\/importantrecords.com\/collections\/pioneers.oembed?page=4","provider":"Imprec","version":"1.0","type":"link"}