SIMF 2014 day 3 - Andrea Neumann and Bonnie Jones

Andrea Neumann & Bonnie Jones preparing to play

Last night was the final night of  the 29th edition of the Seattle Improvised Music Festival at the Chapel Performance Space in the Wallingford neighborhood of Seattle WA. I headed to Wallingford earlier than I did yesterday as recent Vancouver transplant Joda Clémant had come down to see the Bonnie Jones/Andrea Neumann duo again (and planned to followed them Dead-Head style to Portland). Snow had been threatening all day and it was a cold, bleak trip featuring missed busses and other low comedy.  I met up with Joda at the Chapel and as we walked the couple of blocks to 45th where the restaurants and such are a very light snow began to fall. After vegetarian Thai and beers in Wallingford we returned to the venue and it had clearly snowed throughout dinner and we were trudging through a half inch or so with no sign of the snow ceasing. We made it to seats at the front left about two minutes before the first set.

SIMF 2014 Day 3 (02.08.14)

SIMF 2014 day 3 - Andrea Neumann and Bonnie Jones

Andrea Neumann & Bonnie Jones beginning their set
The duo of Bonnie Jones and Andrea Neumann was what I (and Joda for that matter) were there to see. Happily they’d placed them in the lead off position which means they would a) have an actual soundcheck and b) I’d be able to take off at any point afterwards as I knew the snow was going to mess things up. As I noted yesterday I’ve seen Andrea and Bonnie in various combinations but had only heard their duo from their CD green just as I could see on Erstwhile Records. They were setup on a single table Bonnie with her collection of electronics and various objects at the end of the table stage left. Behind the table on the stage right end Andrea was setup with her autoharp, mixer, preparations and other electronics and objects.  There was short introductions and then they came out to play.

 
SIMF 2014 day 3 - Andrea Neumann and Bonnie Jones

Andrea Neumann & Bonnie Jones

The set began with Bonnie picking up pedals and connecting them together while Andrea sorted through her preparations and began to work the autoharp. What followed was a engaging approximately thirty minute continuous improvisation. It was quite a diverse set that flowed though a variety of techniques and approaches to the duo’s instruments revealing a wide array of interpenetrating sounds.   Andrea early on used eBow on the strings of the zither creating a very pure tone, agited the strings with little metal mallets creating a wash of sounds which she then muted with a rubber object (looked like a sandpaper holder but could be ink printing related),  brought out a fan which she hovered over the strings exciting the pickups, a return to the eBow toward the end and even some plucked out notes. Bonnie as noted began with putting her kit together in a deliberate, sound generating fashion eventually moving on to manipulating her open circuits. In front of their table was red plastic keg cup which turned out to have a speaker in it, which Bonnie picked up and manipulated during the set. At one point she picked up her little singing bowls and bells and dropped them on the floor, picking them up and dropping them again. She also did further percussive work with the cable ends that she uses on the exposed circuits of her pedals.   Later in the set she moved the cup out into the audience and returned to more aggressive static outbursts from the pedals now emerging from the speakers behind the duo and the cup out among the seats. Two times during the set she played vocal samples, the first of what sounded like a teenage girl recounting something like a dream or from a diary or perhaps a report to an authority figure; flat, unaffected and tense. The second was much more heavily processed and it was a choir, or chanting but with enough reverb and echo and maybe multracked that it was more of a wash. This more solemn sample was playing at the end which was a sort of deconstruction with Bonnie vigorously moving things about and Andrea creating a more wall of sound with feedback and such.  A strong ending with the contrast between this seemingly less focused playing and this created sound with it’s pointing toward the profound.
 
A really excellent set all around and I’m really glad I braved the weather to see it.  In many ways these two work with sounds that have become quite standard material in this particular tiny corner of the improv world.  Many of the techniques and processes used could be heavily associated with various musicians and isolated moments would be difficult to ascribe to a particular individual. But it just goes to show that what this music is about is not actually the material, it is the intentionality behind these sounds, the choices that are made, both beforehand and in the moment. There is an understanding of structure, that even if little of that is worked out beforehand, but that intuitively knows that you can move between events in a certain way, relaying upon a compatible partner to do the same and that it is the interpenetration of this disparate events, that are assembled in the heads of the audience that really creates the music.
 
SIMF 2014 day 3 - Gust Burns, Jacob Zimmerman and Joe Morris

Gust Burns, Jacob Zimmerman and Joe Morris

Joe Morris/Jacob Zimmerman/Gust Burns
It had continued to snow and I’d planned to just head out after the duo but based on the previous night I knew there would be another set without much of a break and then a short intermission before the third. So I figured I’d just check out the second group and head out at the break. Less disruptive and I could make farewells on my way out.  So this set was guitar/alto sax/piano (respectively) and was much more free improv of the the older school. Based on Joe’s performance the day before this wasn’t a surprise and while Gust often works in more experimental areas I’ve seen him several times in these more traditional free improv type ensembles. Jacob  Zimmerman was new to me but apparently he is a local boy having come from Seattle Garfield High which is famous for it’s jazz programs.  I really don’t have the vocabulary to talk about this kind of music – it really has never been my thing and while I’ve seen a number of examples I don’t really have much to say about it.  It went on way to long – five individual pieces adding up to nearly an hour of performance. Which is quite unheard of at these shows – last night for instance all three sets was about an hour and half. The most interesting playing was from Gust I thought who generally does a kind Cecil Taylor-ish type playing in these settings.  But quite often tonight he would play super quietly which at least the first time he did it brought the playing of his compatriots way down, becoming much softer and less aggressive.  But overall with the length and such I found this set tiring and so headed home afterwards missing the third set of Matt Ingalls, Greg Campbell and Paul Kikuchi.

There was a pretty good spread of snow out there now, perhaps as much as two inches. I talked a bit with Joda at the entrance to the Chapel and it turned out that the venue that Bonnie and Andrea were going to play in Portland had suffered from burst pipes and the show was canceled. They were looking to line up a house show or something, but from what I’ve seen PDX seems pretty shutdown. Eventually I made my farewells and walked to the bus. The bus kept being delayed (I could see this on the fantastic One Bus Away app) so I kept walking between stops. Eventually I was at a stop in the U-District where I had a couple of options to catch busses up Capitol Hill and I just waited it out. Eventually got on one that made it about 2/3rds of the way up the hill and then encountered a virtual bus graveyard – a steep section that had buses parked all along it and toward the top a jackknifed bus completely blocking the road. Ended up walking home from there on the icy roads. Lot’s of walking in the cold and snow but I think it was all worth it.

SIMF 2014 day 3 - Walking Home

Walking home
Photos from SIMF day 3: SIMF 2014 day 3
Check out all of my photos from SIMF 2014: SIMF 2014

 
 

SIMF 2014 day 2 -

Last weekend was the 29th edition of the Seattle Improvised Music Festival held as it has been for years now at the Chapel Performance Space in the Wallingford Neighborhood of Seattle WA. This year among others they invited Bonnie Jones and Andrea Neumann whose work I’ve enjoyed for quite some time. Bonnie of course plays in the excellent duo English with Joe Foster and Andrea has been a stalwart of the Berlin scene performing on numerous great albums. They’ve been playing as this duo for some time now and of course put out the excellent green just as I could see on Erstwhile Records. So even though it’s been so cold and it constantly threatens to snow I made out Wallingford to see them perform. They played days two and three of the festival, their duo on the third day and in combinations with Seattle based improvisors on the second.

SIMF 2014 Day 2 (02.07.14)

SIMF 2014 day 2 - Joe Morris closeup

 

Joe was playing a hollow body electric guitar run through a simple amp with minimal (or no) effects. He played three short improvisations, generally favoring a pretty continuous stream of sound with a mix of melodic and more abstract elements. The first was sort of harmonic Fahey-ish bits interspersed with Bailey-esque angular bits. The second piece, which I found the most interesting, was based around continuously strumming a few strings which generated a really un-guitar-like metallic high pitched effect. This he moderated by chording high on the neck and the interactions of this created some odd tones and lingering overtones. The last piece seemed to be the longest and it again explored more melodic territory.  It seemed pretty wandering and not much of it really stuck in my mind except the ending which was with a harmonic that seemed to surprise Joe a bit and which he immediately recognized as a sign to end. A nice ending to a set that was very well done for what it was, though what it was isn’t necessarily my thing.

 
SIMF 2014 day 2 - Andrea Neumann, Gust Burns

Andrea Neumann/Gust Burns
Andrea on autoharp, electronics, Gust on seemingly on turntable. I have to admit I was expecting a duo of Gust on piano and Andrea on her custom piano guts.  But perhaps that would have been to obvious?  This turned out to be pretty interesting and riskier I think. The sounds were rather cut up with piano samples from Gust (perhaps a record of himself?), a chopped up and frequently cut-off speaker, perhaps a recorded lecture, (couldn’t tell if who was doing this, Gust I suspect) with Andrea initially tapping on the heavily amplified strings which generated a compellingly rich ponging sound.   She later worked feedback in various forms, plucked out a little melody on the strings toward the end placed a contact mic on her throat and mixed in some sub-voclizations. At various times throughout the piece there were silences but I have to say these came across as rather forced. The noise floor from Andrea’s setup is pretty high and when you go from that to silence you either let that hum play out or fade it down. She did the later and that I think is what came across as pushing the sounds around. I tend to think it’s best to let it ride but I know there are those who feel that gives a floor upon which the improvisor can rest. Always choices.

 

SIMF 2014 day 2 - Day 2, set II:  Naomi Siegel, Bonnie Jones, Jonathan Way

Bonnie Jones/Jonathan Way/Naomi Siegel
This trio featured Bonnie Jones playing her usual open circuits but she also has added a small laptop, contact mic’s and percussion elements to her setup. Jonathan Way, of Seattle Phonographers Union fame (and whom I played with in EyeMusic) seemed to be processing field recordings. He stuff was soft and subtle, often sounding as washes or wind and faint environments. Naomi Siegel, whom I don’t recall having seen before, played trombone with and without mutes and recordings via her smart phone.  The ensemble did two fairly short pieces. The first featured Bonnie  on open circuits most of the time, though she also did some contact mic work. There was this rather tribal-ish percussive bit at one point that could have been Bonnie playing from her laptop though it certainly could have been a field recording from Jonathan.  Jonathan primarily seemed to work with  processed field recordings, winds and washes and pretty subtle ambient stuff. There was some overlap between his and Bonnies’s sounds at times which nicely layered and merged together and I didn’t expend much energy separating them. Naomi primarily worked with extended techniques on her trombone mostly in the static-y, sputtery realm but she also would drop in these melodic phrases almost like a jazz quotation. At least once she held her smart phone up to her mic and played some recorded sounds of what sounded like crowds, or conversation of some sort.  In the main I found she didn’t quite fit with the electronic duo, though sometimes the more abstract and subtle trombone bits mixed in nicely.

 

Their second piece began with Bonnie playing percussive stuff with two cable ends, banging on the frame of her chair and the table and eventually hitting little bells and metal bowls on her table. Jonathan layered in some wind sounding washes and via her smartphone Naomi dropped in distant vocal samples. This piece was more episodic with silences and near silences between it’s several “movements”. After the initial percussive intro, Bonnie moved open circuits and Naomi returned to the trombone.  Later she did more percussive work, tapping around the body of the ‘bone. The piece concluded with a wash of sound that gradually increased in volume and intensity with radio from Bonnie and sputtery trombone from Naomi.  Jonathan increased the volume of his wash of sound until they all dropped out and he quickly faded his sound out a moment later.  This piece varied a bit in structure and elements from the first, which did have a bit of testing each out to it.  While still a bit mixed I definitely enjoyed this one and it was a good ending to this night.

 

 

Photos from SIMF day 2: SIMF 2014 day 2
Check out all of my photos from SIMF 2014: SIMF 2014

ArtOfDavidTudor

 

Having let go of my obsessive following of music I still found myself with more than enough great music to listen to this year.  Being able to judiciously select what discs (or increasingly preferable, digital files) to buy I found that I liked almost all that I bought. Curiosity and what seems to be a decrease in criticism (R.I.P. Paris Transatlantic, Dusted (though semi-revived) &c) and perhaps the move to more gated preserves from the commentariat did lead to my purchasing a few duds, but I’m sure I missed more good stuff than bought bad.  Having lost touch with those dusty corners of the nets where all music finds itself eventually (or even before it hits the virtual shelves) I can only express endless gratitude to Alastair Wilson’s excellent radio programme Admirable Restraint for providing lengthy tastes of music new and old. Alastair has put out a fine collection of new pieces from artists old and new for a good cause for which I can only recommend you dig deep: by gum it’s a compilation. The loss of my record player last year and the refusal to acquire a tape deck (I was buying music during the heyday of cassette and we pretty much despised it then as every playback degraded the tape) has led to a few things missed so let me just add a word of praise for those labels who put their boutique format releases up for digital downloads as well.  I think I’ve listened to more solo piano this year than anything everything from Beethoven to Feldman to Jurg Frey to Cage &c &c. I’m happy to report it was a great year for the kind piano musics I like. You’ll see plenty of it represented in the selections below.  Finally a hearty thanks to all the musicians, producers, labels, writers and listeners out there (also to all those who compiled their year-end lists early: got a lot of great stuff in just the last few weeks).  There is plenty of great vital music being made and if I only listed here what touched me the most deeply out of the small fraction I heard it doesn’t really mean all that much.

artOfDavidTudorDiscs

David Tudor  The Art of David Tudor (New World Records)

When this set was announced there was no doubt in my mind that this would be the release of the year, if not the decade.  New World Records  epic Music for Merce box set contains excerpts of the bulk of the pieces contained in this set and serves in a way as a sampler and impetus for this set. Throughout my lengthy five part review of Music for Merce I was continuously thrilled to hear these pieces but just as constantly lamented their excerpted nature. More than once I urged New World to release a box set of Tudor’s uncut performances. I doubt that I had any influence on this subsequent release but I can’t say how pleased I am it came about.  New World really did yeoman’s work on this set with seven discs spanning the entirety of Tudor’s career from his electro-acoustic interpretation of Cage’s Variations II to Neural Network Plus with it’s complex combination of computer and live electronics.

This set deserves an equally lengthy discussion as  Music for Merce but really delving into Tudor’s music demands an  amount of research and work that basically hasn’t been undertaken. In my Music for Merce reviews I discuss each of the pieces that were excerpted, all of which are included on this set.  Since I don’t do a minute by minute discussion of them they serve quite well regarding these pieces.  Of course there are a few things on this set not included there: Tudor’s first major piece Bandonean !,  two versions of Rainforest IV, another performance of Variations II that is a welcome edition to the other two available, the epic Cage/Tudor overlaid pieces Mesostics re: Merce Cunningham/Untitled and most notably the Anima Pepsi pieces from the 1970 Osaka World Fair. My preview post of this set upon it’s initial announcement discusses the significance of all of these pieces. Regarding the material shared between the two sets you can find my write up on the these pieces in the following links: Virtual FocusNeural Network Plus, Phonemes WeatheringsWebwork and Christian Wolff’s For 1, 2 or 3 People.

In trying to analyze Tudor’s live electronic work James Pritchett found himself constructing his own circuits and began to work out how the music works from the ground up (I think this is from this interview: RWM SON[i]A #166). This is the equivalent of doing score analysis for conventionally notated pieces (though a far greater undertaking) and I think a necessary first step in understanding his process and methodology. From there a theory could be worked out (something like my (incomplete) Network Instrument Theory which starts from my electronic music making and builds up). Pritchett eventually gave up on this task which is a shame as it appears no-one else has undertaken it.  A book covering the entirety of Tudor’s compositions, similar to Pritchett’s Music of John Cage is I think a needed resource.  But for now the music itself will have to serve and this set, while alas still only a portion of Tudor’s work (though the major pieces I think it’s fair to say) does so admirably.

novemberDennis Johnson  November [R. Andrew Lee, piano] (Irritable Hedgehog)

As a reader of Kyle Gann’s always informative and frequently amusing blog, Post Classic, I have been able to follow along with the rediscovery of Dennis Johnson’s November.  Remembering November which Gann posted in later 2007 was the beginning of this odyssey and there are quite a few posts documenting his transcription of the piece from a hissy tape and a few notes, to the locating of Dennis Johnson himself (who had “given up on the 21st century in 2007” and thus disappeared from internet communication), to posting an mp3 of himself and Sarah Cahill performing the piece (currently unavailable AFAIK) to finally the release of R. Andrew Lee’s recording on the increasingly indispensable Irritable Hedgehog label.  All this posts and many more can be found by searching for November on Gann’s blog.

I downloaded a lossless version of November from Irritable Hedgehog’s Bandcamp page which allows for one to do seamless playback of the nearly five hour piece. It has been played over and over again since that time. It’s meandering  spare piano lines becoming increasingly varied with moments of more density, or intensity or lyricism I find endlessly captivating.  I’ve listened to it straight through but also have just put on one of the “discs” as I’ve gone to bed. Some nights I hear less than others but there have been those nights where I heard the whole thing.  Beautiful music, but more than that as it weathers any degree of scrutiny.

psi847

Eliane Radigue  Ψ 847 (Oral)

Along with November this album has probably had the most spins in my abode this year. Admittedly this again due to it being amenable to being put on as I attempt to sleep but as with all albums that meet that criteria that simply means that I’ve listened to it in the dark primarily focused on it as sleep remained at bay.  This one has been a long time coming as it was recording in 1973 and it initially planned to be released by Halana Magazine years ago in an edited form which of course never materialized. Various reports of concerts featuring the piece mixed live from the original master tapes certainly wetted the appetites of those of us who love her electronic work.  So when this was finally announced in a double CD form with a live and studio mix by Lionel Marchetti it was beyond welcome. The piece is another masterful Arp 2500 introspection utilizing spare tones carefully drifting and a bit of tape echo and some really stunning resonant filter ringing.  Both versions are fascinating with the live one somehow even more stripped down than the studio. The applause at the end always comes as a shock.  Things like this often don’t (or can’t) hold up to the legend and it is doubly rewarding when they do.

fremdezeitaddendum4Jakob Ullmann fremde zeit addendum 4 · solo III für Orgel (Edition RZ)

The release from last year was Edition RZ’s three CD Jakob Ullmann box Fremde Zeiot Addendum which oddly enough contained a piece of cardboard inside it to prevent the contents from rattling about.  It turned out that 2013 brought us a fourth disc that replaces that piece of cardboard and makes this vital set even more tremendous.  A piece for solo organ that is heads and shoulders above any contemporary composition I’ve heard for the instrument since Messian.  There have been a number of attempts to do highly minimal music on the church organ that to my ears have really fallen flat.  This instrument, which I love so much, has really proven an insurmountable challenge to apply to this domain. Until now that is.  Ulmann’s piece and the masterful playing of Hans-Peter Schulz beautifully recorded by Edition RZ finally reveals this unrealized potential of the instrument.

Closed Categories in Cartesian WorldsMichael Pisaro  Closed Categories in Cartesian Worlds [Greg Stuart, perc] (Gravity Wave)

This one was one of those I got late in the year but I am sure glad I did.  As a long time fan of pure tone music from the clinical precision of Alvin Lucier to the all encompassing intensity of Sachiko M, to the piercing interiority of Mitsuhiro Yoshimura (not to mention my own explorations) this has long been a domain I’m fascinated with. Hewing closer to the Lucier mode of operation (and indeed the piece is dedicated to him) with a very precise composition utilizing electronic sine tones of specific duration in concert with the inherent variability of bowed metal.  Michael Pisaro put it this way on his blog:

The physics of the crotale are very interesting, since like all metal instruments, its actual motion is relatively chaotic. It is not the absolutely stable and regular sound that it appears to be, but has fluctuating character, perhaps a bit like the reflected glare of any shiny object.

The piece was composed at percussionist, and frequent Pisaro collaborator, Greg Stuart’s request and his performance here is nothing short of inspired.  The combination of the bowed crotals and the uncompromising electronic tones is just a shear physicality. Those of us who already appreciate Sachiko or Lucier already know that sine tones of sufficient cycles beat in your ear and undermine your sense of balance as well as subtly varying and shifting as you move around and this album delivers these effects in spades.  But it isn’t nearly as clinical as Lucier often comes across as though it is as precisely defined as his pieces. The crotales I think are the special sauce here and Stuarts virtuosity.

sixteenStanzasAntoine Beuger Sixteen Stanzas on Stillness And Music Unheard [Greg Stuart, perc] (l’innomable)

At the same time I received Closed Categories in Cartesian Worlds I also received this disc. Which like the aforementioned Pisaro composition this one also involved Greg Stuart bowing metal, this time the chimes on a vibraphone. The recording is very quiet and slowly increases in volume across it’s duration. Like the crotales of the previous entry the bowed vibraphone has a very pure almost electronic sound but with a bit of warmth of instability.  The music here is far less physical – the lack of high register, relentless electronics means there is only the acoustic sounds – but it is achingly beautiful.  Less demanding and intense it is an excellent companion piece and probably my favorite composition yet from Antoine Beuger.

makingAKeith Rowe/Graham Lambkin Making A (Erstwhile Records)

2013 has seen the fewest releases from Keith Rowe in years with this collaboration with Graham Lambkin being one of the few. This duo was put together by Jon Abbey of Erstwhile records and interestingly the two musicians independently decided to primarily utilize contact microphones and drawing supplies.  Keith has been placing contact mic’s on his table and drawing with charcoal on it for some time now (I think I first witnessed this in 2008 at the Amplify fest in Kid Ailack Hall) and the whispery scratches have become a feature of his sound world. With Lambkin utilizing similar technique as well as the brittle, mid-range nature of contact mics this is truly an album of layers. Another layer is that the second track, the titular Making A, is a Scratch era composition by Cornelius Cardew erstwhile Rowe comrade.  I can’t say that much of Lambkin’s work has appealed to me and I was a bit skeptical by this collaboration (though always curious). But once again Abbey’s ear for duo’s has born fruit and this really is a remarkable recording, one that I’ve returned to again and again throughout the year.

variationsV

John Cage  Variations V (Mode Records)

It’s sort of surprising how much Cage is still unavailable especially from his electronic period. Only in the last couple of years was Variations VII made available and it took until this year for Variations V to be available outside of special order from the Merce Cunningham Dance Company.   A truly collaborative piece, it involved sound sources monitored by Cage, Tudor and Mumma trigged by the MCDC. The piece is the dance, is the live electronics is the composition.  It of course inherently indeterminacy due to the live electronics, thee variability in the spaces performed and in the dancers not to mention the fragility of the electronics.  This excellent DVD from Mode presents a German Television shows broadcast of an in studio performance those allow us to experience this truly multimedia piece with the dance and video by Nam June Paik and Stan VanDerBekk as well as (occasionally) see the musicians working their electronics. It  also includes an audio only recording from a live performance earlier in the tour which I think helps to understand this continually variable piece.  Two interviews with dancers Carolyn Brown and Sandra Neel with Gus Baker provide some context, add details and more than a few amusing anecdotes.

tramVibrationHaco/Toshiya Tsunoda  TramVibration (skiti)

I am in agreement with many that Toshiya Tsunoda is one of very (very) few field recordists doing vital work but even he has as many duds as successes. It seems to be his more conceptual pieces that turn out to be more interesting in concept than in execution so I was naturally skeptical about this recording he made along with Haco of a moving tram (I also was confusing Haco with a vocalist and I couldn’t imagine how that would work). However I was willing to watch this video, The Tram Vibration Project, to get a sense of how this turned out. I pretty much immediately ordered this disc after watching it.  Of all the releases I heard from 2013 this one seems the most sound focused. It is about finding the sounds of this tram as it moves along. It’s structured by the trams passage and the choices of where to place one’s microphones (and apparently massive editing by Tsunoda).  And what a rich world of crackles, hums, shakes, rumblings and other indescribable and downright fascinating sounds are revealed here.  Watch the video, it is much better than anything I (or anyone) could write on this one.

justReproachJohn Tilbury/Oren Ambarchi  The Just Reproach (Black Truffle)

John Tilbury’s magnificent touch on the piano and his effortless shifting from the abstractions of the body and insides of the piano, to pure romantic lyricism are fully present and are indeed the core of this album.  Oren Ambarchi though gives this music it’s spine with a deft touch and breathtaking subtlety. One can’t help but think of Tilbury’s collaborations with Keith Rowe but the only similarity here is perhaps those moments before Keith has really begun to play and the buzzing and hums of his setup provide a tapestry upon which the piano rests. Ambarchi barely adds more than that grounding but mines that background radiation for all that it’s worth. The few times he surfaces are in delicate counterpoint to Tilbury’s playing and it almost comes across as the piano resonating into alien space.

This alas was a vinyl only release but happily the kind folks at Beatport have made it available for lossless download which you can find here: The Just Reproach.

and the rest

Graham Stephenson/Aaron Zarzutzki Touching  (Erstwhile Records)
John Cage Solo for Piano [Sabine Liebner, piano] (Wergo)
Eva Maria Houben Piano Music [R. Andrew Lee, piano] (Irritable Hedgehog)
Bryn Harrison Vessels [Philip Thomas., piano] (Another Timbre)
Stephen Cornford & Samuel Rodgers Boring Embroidery (Cathnor Recordings)
John Cage The Ten Thousand Things [I Ching Edition] (Microfest Records)
Toshiya Tsunoda O Kokos Tis Anixis (edition.t)
Meridian Hoquet (Accidie Records)
Eduard Artemiev Solaris Original Soundtrack (Superior Viaduct)

 

sketches of pain

Next Page »