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Aranis: s-t
Code:5158
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Arcane Device (Myers, David): Engines of Myth
Code:2171
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Art Bears: Hopes and Fears
Code:770
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| The first Art Bears record. This shows the group at its most formidable stage in terms of composition. The pieces are often highly complex, with ideas that zig-zag through a maze of musical imagery, highlighting the group at their peak of virtuosity. DAGMAR KRAUSE's vocal prowess is stunningly effective as a narrative point to the lyrical subject matter, and the recording itself was edited in a sequence where re- peating themes and studio wizardry present the album as a cycle of related, "songs".
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Art Bears: The World as it is Today
Code:2655
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| The third and final Art Bears record proper is a scathing, brutal and disturbingly honest venture into the horrors of contemporary inhumanity and political digression. Here ART BEARS forage even more boldly into aspects of using the recording studio as a compositional instrument : A tape of a lawnmower is slowed down several steps to convincingly create the sounds of machine-gun fire and bombs. A Geiger counter is emulated by radically E.Q-.ing drum sticks played on a tile flooring in the studio. No punches are pulled, and the band goes all-out on this, their final recording. The playing is aggressive and hefty, and the sound immaculate, intense and, at times, downright scary.
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Art Bears: Winter Songs
Code:2656
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| The second Art Bears record is no less experimental, but offers an even stronger, clearer set of artistic visions. Here the trio of ART BEARS stand alone, and the stripped- down sense of instrumentation, which almost resembles a standard combo (guitar, bass, piano, drums and singing), makes a simpler (though more poignant) musical statement. Often Fred Frith's penchant for angular melodies is forestalled, and re- placed with single note, "non-melodies" in a sort of minimalist, rhythmic accordance to the text's settings. Experimental studio work and effects abound, yet the sound is more economical and hard-hitting than the band's earlier work.
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BAKU: Symphony of Sirens
Code:7681
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| These two CDs and 72 page clothbound book offer the most comprehensive presentation of the experiments and innovations in the exploration of sound by the historical Russian Avantgardes ever attempted. This publication is based around the sounds themselves. Though much was not documented at the time, and some has been lost, what remains is collected on the second CD, which centres around Dziga Vertov's prescient environmental sound composition for the 1930 film Enthusiasm..The Dombass Symphony - and also collects together for the first time 22 original recordings of Mayakovsky, Mossolov, Jakobson, Khlebnikov, Lenin, Lunacharsky, Kollontay, Trotsky, Pasternak, Meytuss, Akhmatova, Mandelstahm, Naum Gabo, Shostakovich, and others.
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Belleli, Avi: Strawberry Cream And Gunpowder
Code:6780
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| Born in 1963, Avi Belleli is one of the Middle East's most notable and successful composers. He is best known as the leader, songwriter, vocalist and bass player for the Tel Aviv-based rock band, The Tractor's Revenge, who have made seven albums on Israeli labels, most of which have gone Gold. Despite massive success as a commercial personality, Belleli has never turned his back on the more artistic and progressive aspects of his endeavors. "Strawberry Cream and Gunpowder" is, by Israeli standards, a radical recording of music for a dance piece by the same name by the young choreographer, Yasmeen Goder. The performance, (which features Belelli playing live on stage amongst the dancers) has already enjoyed several critically acclaimed runs in Europe, Japan, Israel and New York. The project is influenced by recent events in the Middle East, and with regards to the global terror atmosphere in general, but in more of a psychological than political way: It questions the connections between power and fear, sex and control, gender issues and personal crisis, whilst examining ways by which individuals can learn to cope with sudden, radical (and sometimes horrifying) changes in their lives.
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Berliner Ring: Orbital
Code:7680
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| What the London orbital is to the English capital, the Berliner ring is to Berlin: a circular highway that surrounds the city.
The first contemporary release from Art Yard amalgamates disparate elements: electro mechanical devices, invented instruments, modified keyboards, delays, customised rhythm and string machines: a half man, half machine driven trip into the Electro-Mechanical sub-underground, built around a combination of moods and themes drawn from the Berlin landscape.
Berliner Ring work toward a brew of forms and techniques, creating geographical references and representations, 'tonal landscapes', an unfolding of ambient instrumental stereologues.
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Bill Gilonis - Chantale Laplante: Zurich / Bamberg
Code:7631
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| Bill Gilonis and Chantale Laplante worked on Zürich-Bamberg intermittently for three years. The CD comprises a series of pieces that fall loosely into a category that could be called "electro-acoustic Hörspiel." However, with Bill in Zurich and Chantale based firstly in Bamberg, Germany and later in Montreal, Canada, it was difficult to find a way of collaborating by conventional means. But, by ping-ponging audio file CDs between these cities they managed to develop a practical, and in some ways advantageous, composition and recording strategy. For this project conventional instrumentation has been virtually abandoned. What we hear on these recordings - collaged and sometimes manipulated via processing technology - is street noise, household clatter, fragments of radio, close-miked objects, etc. By and large the pieces are constructed from precisely the sounds that our ears are constantly and automatically filtering out; but by orchestrating these sounds into pieces to be listened to - as opposed to heard - listeners are introduced to a radically personal world.
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Biota: Cape Flyaway
Code:7800
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| After 5 years of extensive and careful work, the new and much anticipated CD by this extraordinary collective, who have no parallels, no rivals and no peers, is at last complete. It's a dense and indescribable orchestration of electric and acoustic guitars, clavioline, trumpet, Hammond organ, micromoog, biolmellodrone, electric and acoustic violins, bass, mandolin, accordion, piano, rubab, kit percussion and sometimes voice, layered and radically processed in the unique Biota manner. There is a leitmotif of folk elements in this piece that emerge from the roiling, swirling quicksand of sound we now expect from Biota, with texts by WB Yeats and snatches, arrangements and influences floating by way of Christy Moore, June Tabor, Judy Collins, Sandy Denny, Bert Jansch, the Bothy Band and older traditional sources. Biota craft sonic worlds that relate to, but are not built like, the music with which we are familiar; for them time is a continuum rather than a sequence of events;
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Biota: Half a True Day
Code:7465
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| Six years in the making, this is the sixth CD released by ReR from the visual/sonic art group Biota. Unique in their history and method, Biota painstakingly construct complex, organic structures that mix extensive studio processing and musique concréte techniques, with a highly eclectic orchestra of acoustic and electronic resources - from kit drums, through mediaeval winds, strings and barrel organs, to early experimental electronic instruments. Their works are always performance driven and interleaved with successive stages of lamination, imbrication of parts, and radical pre- and post-processing. The interaction of staggered, overlapping elements reveals a changeable truth about the whole as the parts variously harmonize or dissent; reinforce or cloak one another in their unfolding. The project is, at heart, about uncertainty. Players encounter the shifting interplay between previously recorded parts juxtaposed with instrumental snippets - out of context - introduced from the group's archives. Electronic processing programs are employed to apply semi-random and semi-intentional alterations to the proceedings.
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Biota: Invisible Map
Code:760
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Biota: Object Holder
Code:1295
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Blast: Altrastrata
Code:1795
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Blast: Sift
Code:7698
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| This is the second release, after a long wait, from this unique ensemble. Equally at home with the discipline of composition and the tightrope of improvisation Blast have evolved a fluid, pointillistic, unfathomable but transparent musical language that seamlessly integrates - over very short durations - highly complex writing and very free ranging improvisation, allowing the two languages to merge and combine into a new kind of logical exposition that makes sense but can't be reverse-engineered into its component parts. This is a music that lives through detail and exposition; neither resolving into composition, nor able properly to be understood as improvisation. In this respect Blast have solved a problem that has defeated many in the last 40 years.
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Blegvad, Peter with Greaves, John / Culter, Chris: Hangman's Hill
Code:781
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Blegvad, Peter with Greaves, John / Culter, Chris: Just Woke Up
Code:779
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Bole, Andy: Ramshackle Pier
Code:5345
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| This is the first Compact Disk re-issue of RAMSHACKLE PIER, voted "ALBUM OF THE YEAR" by the prestigious FOLK ROOTS MAGAZINE in 1984. Herein Andy Bole performs some stunning acoustic guitar work, adding some electric passages here and there (for good measure and variety), which make the arrangements both richly engaging and hauntingly beautiful. Bole is a master of guitar techniques from the world over, and many are handsomely displayed here ( including an innovative plectrum style, belaying his love for the bouzouki and Greek Rembetika music). He's performed in Europe and N. America alongside members of both ELO and Fairport Convention, as well as Progressive Rock mainstays, Mike Oldfield and Dave Stewart. It is seldom that a musician following in the wake of such luminaries as Bert Jansch and John Renbourn will steer away from those influences enough to truly become a unique sort of "Troubadour" in his/her own right; But by means of a combined foray into the worlds of virtuosity and eclecticism, and by creating music so skillfully inventive in this sort of "candid" setting, Andy Bole has done exactly that.
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CMCD: Six Classic Concrete, Electroacoustic and Electronic Works
Code:856
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Camberwell Now: All's Well
Code:6911
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| This definitive edition collects the entire released output of Camberwell Now (two EPs and an LP), newly re-mastered by the band and repackaged with full notes, lyrics, additional photographs and artwork. Chronologically, Camberwell Now immediately succeeded This Heat, Charles Hayward continuing to work with This Heat's last bassist Trefor Goronwy, and the two of them joining forces with Stephen Rickard who, for the new band, designed his unique 'cassette switchboard', a kind of proto-sampler - though that's not the half of it (Steve's article fully explaining the device is reprinted in the new, expanded booklet that comes with the CD).
Musically, Camberwell both followed and departed from the style of This Heat. Formally and gesturally there are common elements, but there is far greater transparency and the sound palette is quite different: the music is more placed than grown, as the slow accumulation and evolution of material in This Heat gives way to a more immediate and orderly development of the material in Camberwell Now. The songs - nostalgic, scary, and quietly desperate - peer into the future to find harbour but confront only fragments of ruin.
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Cassiber: The Way It Was
Code:7804
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| Cassiber (phonetically: 'a message smuggled out of prison') crashed like a locomotive into the Deutsche Neue Welle. Founded by Heiner Goebbels, Alfred Harth, Christoph Anders and Chris Cutler (his first major project after News From Babel), Cassiber managed to fuse materials and attitudes drawn from experimental rock, fringe jazz, punk, pop, plunderphonics, improvisation, close structure and musique concrete into an energetic and complex form of studio (and then concert) composition unique in its fusion of highly diverse experimental approaches to form with risky, emotional and expressive execution. This CD collects unreleased live recordings and studio sketches, sequences like a typical concert and, as luck would have it, these turn out to be great recordings that paint the best - and most devil-take-the-hindmost - picture of this extraordinary, groundbreaking band. The sound is exemplary and the music constantly thinks itself around corners. Plus you have all the complexity and serendipity of live interaction and spontaneous rearrangement - you can hear the band is having a good time, even when some of the sounds seem to come out of nowhere. The programme is radical, mixing music, dramaturgy and cultural debris with organised noise, rhythmical intensity, lyricism and semantic complexity.
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Charming Hostess: Punch
Code:2613
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Cooper, Lindsay: Rags/The Golddiggers
Code:1634
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Coxhill / Hayward / Hopper / Robinson: Clear Frame
Code:7541
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| "Featuring the all-star cast of Charles Hayward, Hugh Hopper, Lol Coxhill and Orphy Robinson (vibraphone, steel drums), with guest Robert Wyatt on cornet. Eight strong pieces in a rock-inflected, improvisation-empowered, loose - but not too loose - free-associating open style that has become as rare as hen's teeth today. Clearframe refers back to time when free jazz, rock and all the experimental fringes were converging in search of a polyglot musical language eschewing the exclusions and rules that hedged their different genres about; and all the participants here (except Orphy Robinson - too young) were part of that project and have been shifting genres and evading labels ever since. To my ears, this record returns to unfinished business and does so at the highest level. These chaps know their way around. Clearframe offers a rare opportunity to listen to masters at work in an almost non-existent field. And it's great to hear Lol in full flight."-Chris Cutler, ReR Megacorp
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Curran, Alvin: TotoAngelica
Code:2744
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Cusack, Peter: Baikal Ice
Code:2579
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Cusack, Peter: Sounds From Dangerous Places (2 CD's + 90 Page Hardback Book)
Code:7799
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| Two remarkable and important CDs of very diverse site recordings, made in Chernobyl - (occupying the whole of CD1), the Caspian Oilfields around Baku (Azerbaijan), and in various UK sites, including Lakenheath, Dungeness, Sellafield, Snowdonia &c. (CD2). The CDs are accompanied by a beautifully made 90 page hardback book filled with a huge number of original colour photographs, background information, interviews and detailed documentation of the recordings, their collection, the history of the environments recorded and the curious and inadvertent inverse relation between human hazard and broader environmental recovery. This is an essential and unusual document.
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Cusack, Peter: Where Is the Green Parrot?
Code:868
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Cutler, Chris & Steve Maclean: Year of the Dragon
Code:7798
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| A collection of 5 songs and 4 instrumental pieces that explore equally - and simultaneously - spontaneous performance values, close compositional detail and extensive processing. Made out on the rocky coast of Maine with just a TV eye keeping tabs on a world skidding to hell in a handcart, all the basic work was done by MacLean and Cutler with Julie Thompson (voice) added later alongside additional parts played by Frank Gross (bassoon), Michael Bierylo (laptop, samples, circuits) and Titus Abbot (bass clarinet and saxophone). These are complex, focused pieces, some highly rhythm-rooted - mostly at rapid bpm rates - generally wide open with a close receptivity to timbral nuance and non-linearity.
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Cutler, Chris / Dimuzio, Thomas: Quake
Code:767
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Cutler, Chris / Frith, Fred: 2 Gentlemen in Verona
Code:783
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Cutler, Chris / Parkins, Zeena: Shark!
Code:784
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Cutler, Chris and Dimuzio, Thomas: Dust
Code:1146
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Cutler, Chris and Lutz Glandien: Domestic Stories
Code:1192
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Cutler, Chris: Solo
Code:1147
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Cutler, Chris: There And Back Again
Code:6909
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| Like its companion 'Twice around the Earth (ReR CC2), 'There and Back Again' is derived from a selection of the 365 location recordings made for Cutler's daily Resonance FM radio programme 'Out of the Blue Radio' (2004-2005). It takes extracts from 44 of these environmental recordings to explore - amongst other things - the way memory works, and how the experience of passing time is constructed. That's subtext. More important, it should make enjoyably complex listening: surprising, serendipitous, mundane but alien - the commonplace transfigured. There and Back Again offers an agglomeration of inadvertent sounds, made haphazardly by the world - and some of its inhabitants, that were never meant to survive, and were certainly not meant to be listened to repeatedly. And yet... Since about a quarter of the locations, though not the extracts are the same as those on 'Twice', reading across the two CDs adds another dimension of listening to the memory puzzle that these fleeting but permanent works explore.
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Cutler, Chris: Twice Around the Earth (an experiment in listening)
Code:2612
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Dimuzio, Thomas: Headlock
Code:880
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Dimuzio, Thomas: Slew
Code:2566
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Dockstader, Tod & Myers, David Lee: Bijou
Code:5118
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Dockstader, Tod & Myers, David Lee: Pond
Code:2578
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Dockstader, Tod & Reichert, James: Omniphony 1
Code:1330
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Drake, Bob: 13 Songs and a Thing
Code:1792
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Drake, Bob: Little Black Train
Code:859
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Drake, Bob: Medallion Animal Carpet
Code:661
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Drake, Bob: The Shunned Country
Code:2611
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Drake, Bob: The Skull Mailbox
Code:853
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Drake, Bob: What Day Is It ?
Code:5338
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| What Day Is It ? is the re-issue of Bob's very first solo disc (originally self-manufactured in art packaging – here tho, professionally packaged for mass market sales). It already exhibits Bob's characteristic traits: golden fingers, hi-wire vocals, eyebrow-raising country-picking, loose-but-right-in-the-pocket drums, eccentric chord inversions, and a bass-guitar sound to die for. Sitting happily with the fantasy 'Yes' Euro-progressive surface is the rather more substantial depth of a bluegrass and rooted-rock American culture; an almost unique combination and one hard to imitate (or even imagine, until you hear Bob do it). But then, Bob has always marched to the beat of a different drummer, manifestly careless of the fashion or of the easier, more superficial aspects of the music he has absorbed.
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Dumitrescu, Avram, Cutler, Hodgkinson, Hyperion Ensemble: Musique Action
Code:890
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EC Nudes, The: Vanishing Point
Code:870
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