| Asphodel |
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The titles in our catalogue are available to pre-order. You may use the basket or send an e-mail to bitstream(at)microsuoni(dot)com with the titles you would like to preorder. Payment will be done when the items ordered are ready to ship. |
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artista : Otomo Yoshihide | |
| titolo : The Multiple Otomo Project | ||
| etichetta : Asphodel | ||
| formato : DVD + CD | ||
| cod. nr. asp3007 | ||
 | 2007 | |
| _________________ | ||
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On Monochrome Otomo presents 18 pieces that illustrate the entire range of his solo work from pieces constructed entirely of feedback, static and randomly generated radio noise, to sine wave experiments that bring to mind the humming of the solar wind as it wafts through intergalactic space. There are also rhythmic bursts of feedback and percussion that are almost danceable and subtle Zen like meditations full of slow sustained notes that fill the air with otherworldly overtones.
The Multiple Otomo DVD provides a dizzying compliment to Otomo’s music, full of jittery images both real and manipulated, flashes of visual white noise, strobe-like quick cuts, multiple split screens and extreme close ups that put the instruments Otomo is using into a new visual context. The 30 segments feature improvisations on turntable and guitar complimented by the imaginative video work of Masako Tanaka, Michelle Silva, and Tim Digulla “Vinyls” has Otomo taking scratching to an extreme level, using recorded music to destroy our notions of what music should be. On “Plucks” Otomo plays rubber bands stretched and anchored to turntable knobs, tone arms and spindles, using LPs as mallets and caressing the rubber bands with a violin bow; the music is pensive and playful. “Frets” showcase Otomo’s guitar skills in stark black and white video. The piece is full of clanging feedback and rhythmic noise producing what may be the ultimate metal guitar workout. “Tone Generator” is an oscillator solo that moves from gritty feedback to smooth pulsing sine waves accompanied by acid washed video effects. The program ends with two calming interludes: “Blue Feedback” is a combination of gentle thrumming feedback and throbbing abstract color, while “Turntable Graveyard” is a slow, meditative eulogy for the machinery Otomo has destroyed in his performances. Staccato strings or perhaps plucked rubber bands supply a funereal soundtrack while the camera pans over the ruins of records and turntables suggesting battlefields and graveyards. |
| Prezzo : € 24,00 |
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artista : Reinhold Friedl (performed by Zeitkratzer) | |
| titolo : Xenakis (A)live! | ||
| etichetta : Asphodel | ||
| formato : DVD + CD | ||
| cod. nr. asp3005 | ||
| 2007 | |
| _________________ | ||
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Equal parts composer, performer and curator, Berlin's Reinhold Friedl is a veritable renaissance man. In conjunction with his highly regarded orchestra zeitkratzer ("time scratcher" in German) as well as in collaboration with such artists as Lou Reed, Lee Renaldo and Merzbow, Friedl has helped set new standards for Europe's new music scene, crossing every conceivable line that separates chamber from computer music, and piano from studio composition.
On Xenakis [a]live!, Friedl and zeitkratzer paint an impressionistic tribute to Greek composer and electro-acoustic pioneer, the late Iannis Xenakis (1922-2001). Quite literally a stylistic dedication to the flavor of Xenakis' classic tape compositions through the use of amplified orchestral instruments, Xenakis [a]live! recreates acoustically what were once primarily studio generated sounds. The dramatic results convey an aesthetic link to zeitkratzer's other homage to the early seventies, Lou Reed's Metal Machine Music. With both projects Friedl and his associates compared the "orgiastic" and "holistic" elements of these dense sonic architectures from two socially distinct composers of a common historical era. What emerges from giving an ear to zeitkratzer's flesh and blood transformations realized in Xenakis [a]live! and its Metal Machine Music companion (both on Asphodel) is a re-orchestrated aural expedition that musically refreshes & correlates these epic textural excursions. Unlike Metal Machine Music, Xenakis [a]live! is not a literal transcription of any specific Xenakis works; it instead focuses on the listening experience. Hearing these pieces invokes and transforms the amalgamation into Reinhold's acoustical perception of Xenakis' broad electronic influence and prevalent stochastic techniques. You've never heard a full chamber orchestra sound quite like this! Directed and created by Lillevan (from Rechenzentrum), the accompanying video is equally inspired by Xenakis' mathematical compositional technique. Based on photographs and film fragments of the Iranian city of Persepolis, this award-winning German video artist manipulates his source material beyond recognition, using it as the raw material for a full-length film which organically reflects the dynamic intensity of Xenakis[a]live!. |
| Prezzo : € 24,00 |
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artista : Zbigniew Karkowski - Atsuko Nojiri | |
| titolo : Continuity | ||
| etichetta : Asphodel | ||
| formato : DVD + CD | ||
| cod. nr. asp3003 | ||
| 2007 | |
| _________________ | ||
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If any recording constitutes the sum total of an artist's career to date, it is Continuity. Both a career overview and a glimpse into renown polish sound artist Zbigniew Karkowski's promising future, the compositions on this hybrid release sample and re-interpret the entirety of the Tokyo resident's rich catalogue of work.
A master sound manipulator, Karkowski employs a variety of tools to process and rework original acoustic instrument recordings. The pieces presented on Continuity demonstrate Karkowski's relentless attention to detail, and provide more than ample explanation for repeated invitations to perform at prestigious galleries, museums, and venues around the globe. The Continuity DVD contains visual interpretations of Karkowski's compositions by Japanese video artist Atsuko Nojiri. Rather than simply functioning as graphic replications of the original musical works, all three of Nojiri's pieces seamlessly wrap themselves around Karkowski's sounds as though they were integral parts of their own larger multimedia compositions. In the process, Nojiri's videos become independent of the original musical works that they purport to document. An argument for the indivisibility of sound and vision, or the emergence of a new aesthetic medium? Quite evidently, the answer is both. *The included CD contains over an hour of unreleased material by Karkowski: 1. Mass-Flow-Rate - 26:10 2. Perceptor - 41:37 Track Listing DVD Float - 16:22 Tritonal Rapture - 10:53 Membrane - 14:18 |
| Prezzo : € 24,00 |
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artista : Zeitkratzer - Lou Reed | |
| titolo : Metal Machine Music | ||
| etichetta : Asphodel | ||
| formato : DVD + CD | ||
| cod. nr. asp3002 | ||
| 2007 | |
| _________________ | ||
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Lou Reed's Metal Machine Music may be the most misunderstood work ever created by a popular musician. The original two record set, released in 1975, was mostly noise: feedback squalls, amplifier hums and the tortured screech of electronic gadgets. The consensus at the time was that it was not music, but a protest by Reed to his then - record label, RCA. People may not know that avant-garde musicians like John Cage, LaMonte Young, Iannis Xenakis and Reed's Velvet Underground partner John Cale had a considerable influence on the way he approached composition, even his more accessible rock and roll songs. Metal Machine Music was in some way a logical extension of atonal romps like "Heroin" and "Sister Ray."
Today Metal Machine Music has become accepted by the avant-garde and highly regarded for its contribution to the "noise" movement in popular culture. Directed by Reinhold Friedl, the 11-member ZEITKRATZER ensemble from Berlin gave Reed's album a thorough listen and and Ulrich Kreiger, the group's saxophonist transcribed the sounds to create an acoustic music score for their ensemble to play live. Those familiar with the oft-criticized two-disc album might wonder how they pulled this off. ZEITKRATZER has the will and the musical ability to give the music the attention it deserves, having already produced minimalist reworkings and collaborations with artists like Keith Rowe, Lee Renaldo of Sonic Youth, Carsten Nicolai and Elliott Sharp. Says Lou Reed, "Let me give you a little background. Metal Machine Music was made 32 years ago. It was taken off the market three weeks after it was released. Still, time goes by and people get more used to what you call loops and electronics and noise and feedback. Okay? ZEITKRATZER gets in touch with me, 'Can we play Metal Machine Music live?' I said, 'It can't be done.' They said, 'We transcribed it. Let us send you a few minutes of it and you tell us.' They sent it, I listened to it, and the results were unbelievable. I said, 'My God! Okay, go do it.' They said, 'Will you play guitar on the third part of it?' So Metal Machine Music finally got performed live at the Berlin Opera House. It's extraordinary, because all those years ago it was considered a career ender. And it almost was, believe you me." Reed's pronouncements on his most infamous opus have always been confusing, perhaps deliberately so, forcing listeners to come to their own interpretation about what they're hearing. Whatever the truth is, there's no denying the musicality (yes, the musicality) of ZEITKRATZER 's interpretation. With the 11 musicians – Burkhard Schlothauer, violin; Christian Messer, viola; Ulrich Maiss, violoncello; Alexander Frangenheim, contrabass; Ulrich Krieger, soprano and tenor saxophones;, Franz Hautzinger, trumpet; Melvyn Poore, tuba; Reinhold Friedl, piano; Luca Venitucci, accordion; Adam Weisman, percussion and Lou Reed, solo guitar - spread out over a large stage, the ear is free to wander into and around the music, picking out rhythms, overtones, hints of melody and other nuances that were largely submerged in Reed's original all guitar and amp onslaught. The relentless sound forces the mind to put aside its preconceptions about what music is supposed to sound like, or feel like, or look like. The brain starts to implode, or explode, or dissolve Zen-like into the controlled chaos of the performance, discovering a strange exhilaration, accepting an invitation to explore the outer reaches of texture and timbre and experience a sonic freedom that's rare in any art form. |
| Prezzo : € 24,00 |
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artista : Oren Ambarchi - Martin NG | |
| titolo : Fateless | ||
| etichetta : Asphodel | ||
| formato : DVD | ||
| cod. nr. asp3009 | ||
| 2006 | |
| _________________ | ||
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1. Vigilance 40:28 (Visuals by Tina Frank) 2. 8 Seconds of Weightlessness 43:51 (Visuals by Robin Fox) Asphodel's premiere DVD release features the Australian duo, turntablist MARTIN NG and guitarist OREN AMBARCHI in collaboration with visual artists TINA FRANK and ROBIN FOX for an AV expedition into the sublime and fascinating worlds of Fateless. Since their teens, the Australian electronic composers have produced with congruent obsessions in mind. After AMBARCHI crashed one of NG's experimental basement jams with other local improvisers, they discovered their unique love for buddhist harmonics and harmonic sound phenomenology. Their convergent interest in weird sound lead to a long-lasting, musically productive friendship. In the summer of 2000 after AMBARCHI's own "What is Music" Festival, the two began formally producing together as respite from what they refer to as "a particularly long hot summer of antipodean improv noise fests." Commonly containing improvisational chaos with contemporary computer music's standards of pulses and glitches, the duo maintains balance of consonance and dissonance. Like the harmonic meditations, space is filled with bold resonance, expanding and contracting in tandem with TINA FRANK and ROBIN FOX's visual experiments. Since the duo's first release, NG and AMBARCHI have worked very closely with TINA FRANK (house artist of the Mego label). Tina has designed the artwork of both "Reconnaissance" and "Vigil", NG and AMBARCHI's previous 2 CD/CD-rom releases on Staubgold. The precursor to Fateless, TINA FRANK's illusory creation of destabilized and flickering lines on indiscernible planes, was built for a performance at Mutek. The live performance was a premeditated concept. AMBARCHI and NG sent FRANK ‚Vigliance' demos for her to visually adapt and play with in her visual vocabulary, and as a result she created a library with which the audio output would be digitally generated into visual output in a live context. The collaboration is described by Res magazine's SANDY HUNTER as "Tron-like grids that slowly morphed into more distinct forms to fluidly flowing motion graphic moments which perfectly reflected the otherworldly tones filling the space. The performance, focusing on the interplay between sound and image, left a packed house glued to the mats scattered across the floor. These moments were the `tough act to follow' of the Mutek festival." For those who weren't at Mutek for the performance, ‚Vigilance' has a similar effect. Overlapping modular harmonic geometries articulate the visual artist's hesitant back and forth, a common visual element for FRANK, known for her sleeve-designs for Mego and video works with SKOT, FLORIAN HECKER, and CHICKS ON SPEED. FRANK's luminous pixels leak in carousel structures around an imagined axis, subtly introducing interfering waves of color and distorted currents of digital flourishes. The optical interaction with the eye comes as a challenge to one's persistence of vision, furthering the notion of the work's harmony, through the speed of pixels across the screen, the tension and release of kaleidoscopic color and the masterfully controlled sound. 8 Seconds of Weightlessness', a studio project with ROBIN FOX, was composed and recorded by AMBARCHI and NG in the summer of 2005 at NG's studio, araçá azul, in Sydney, Australia. Fox, a manipulator of currents, lasers, and the senses, presents his unique evolution of an ancient analogue tool, the cathode ray oscilloscope. Using his mastery of signal trickery, FOX programmed a computer algorithm to analyze the sound from the composition and processed it to excite the oscilloscope, resulting in a vision of bright green light photons across a phosphorous screen. ‚8 Seconds of Weightlessness' provides a frantic, yet contained, perspective to the harmonic shimmers and shifts. Creeping frequencies mesmerize and entrance as the viewer transitions from familiar geometries to restless rays and jumping digital graffiti from one coordinate to another, returning to less foreign geometric landscapes. The two visual works mediate NG and AMBARCHI's resonating tones with mathematical light patterns, playing with dimensionality and the cloudless unnerving consonance of sensory activity. Each work is informed by the composers' vision, creatively engaging sonic electricity with iridescent shards of spectral light, color, and movement. The combination of guitar and turntable remains mysteriously uncharacteristic of their sources, but this package of optical and sonic apparitions provides an eloquent passage into the realms of a separate reality. Music: OREN AMBARCHI AND MARTIN NG Visuals: TINA FRANK, ROBIN FOX |
| Prezzo : € 26,10 |
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artista : Daniel Menche & KK Null | |
| titolo : Raijin | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2035 | ||
| 2006 | |
| _________________ | ||
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Raijin, five untitled tracks constructed by noise artists Daniel Menche and KK Null, hit like a violent storm in this electrically charged collaboration by two masters of dense sound sculpture. Like Raijin and Fujin, Shinto Gods of thunder and lightning, Menche and Null command attention with the ability to create a powerful sensory presence. Their treatment of drum, voice, trumpet and electronics roars and tumbles through these collating waves of noise and electro-acoustic ambience. Menche's thunderous drums resonate like a shockwave as Null's lightning sheds light upon those seeking shelter on land.
Each armed with a penchant for sonic destruction and a massive discography, Menche's concussions pound between Null's electronic noise terror. These five unnamed and unstable atmospheres manifest absolute pure thunder! |
| Prezzo : € 18,00 |
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artista : AGF.3 + Sue.C | |
| titolo : Minimovies | ||
| etichetta : Asphodel | ||
| formato : CD+DVD | ||
| cod. nr. asp3004 | ||
| 2004 | |
| _________________ | ||
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The Compact Disc: Loping, wine-soaked electrical r+b, AGF's third album (her first for Asphodel) finds her dropping neu beat poetry over cookie crumb beats and snaking across sly bass and piano. Antye Greie's tales of friendship, longing, and wandering through anonymous city streets permeate the airwaves. 19 tracks of lopsided pop and soundtrack interludes, sparse and torch lit, Mini Movies is the complete sound of disastrous freedom. The Digital Video Disc: The Main Movie (fourtythousand3hundred20 memories) SUE.C (Sue Costabile; Gold Chains collaborator and solo video artist in her own right) and AGF worked together to put together this patchwork mystery of everyday life in the shadows of capitalism, socialism, communalism and community. It is about personal history and personal relationships. Filmed in New York, Long Island, Berlin, London, San Francisco and elsewhere, this Mini Movie is a travel diary at once familiar and strange but overall it is a tribute to friendship. The soundtrack is one continuous piece from which most of the tracks on the CD were derived. Extras: - Artist's commentary - Subtitles in 6 languages - Behind the scenes - Interview with AGF.3 & SUE.C - Calligraphy exhibition - 5.1 Surround mixes by Ron Macleod - Mini Movie Movement (a series of 1 minute or so shorts by SUE.C and others) |
| Prezzo : € 23,70 |
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artista : Li Alin | |
| titolo : All In | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2034 | ||
| 2006 | |
| _________________ | ||
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Li Alin has worked with many other media art forms before landing in the music world. From her experiences in building mobile sculptural robotics to crafting virtual sperm banks for the internet she brings very unusual perspectives to her fascination with reproduction, science fiction and soundtrack . "ALL IN" is an audio diary of "pop noir" love songs that chronicles an exploration of a deeper, more intimate side to her engaging sphere of contradictory personalities.
These ten French and English parables were conceived in Li's isolated "Nesthetik" lab in downtown Montreal where the themes of loneliness, erotic hope and transformation became restless acquaintances. Selections to focus upon include "Killing Time is Killing Me" "Little Girl" and the final "J'aspire" track for those seeking an introduction to the album. The other songs like the opener "Feu" and the piano and voice mysteries of "Leave Me Alone" & "Folie" etc. depict a more personal poetry, solitary in scope and expansive in character.. Stylistic references may touch upon hints of Marlene Dietrich, Nico or aspects of Serge Gainsbourg, but the listeners for Li Alin are apt to find themselves in a fresher , fragile universe navigated by the obsessive nature of this spare and rigorous euphoric voice. |
| Prezzo : € 18,00 |
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artista : Fe-mail | |
| titolo : Blixter Toad | ||
| etichetta : Asphodel | ||
| formato : CD x 2 | ||
| cod. nr. asp2033 | ||
| 2006 | |
| _________________ | ||
| FE-MAIL, MAJA RATKJE and HILD SOFIE TAFJORD, have crafted a site-specific survey of the chaparrals of noise music. As half of the Scandinavian female improv quartet, SPUNK, they began to adapt their mediums of french horn and voice to multiple formats for musical arrangements. In working for film, installation, studio, and performance they began to evolve their musical process to a compulsive physical act, opposing their standards. Exposure to distorted live sampling and field recordings allowed MAJA and HILD to grab the limit and make it their instrument. Through synched communication and developed improvisation, their project further evolved into their newest release for Asphodel, Blixter Toad. This two disc set is best described as the taxonomic designation of feminine conviction through gadgetry and acoustic archaeology. Two embryonic visual studies (videos) by MASAKO TANAKA are included, featuring shot surveillance from the live sessions for the recording of Blixter Toad. The chromatic genus of the species call is best known by its vocal sac that blows up like a balloon and bellows "scheweeeeeeeee" riffs. Their cut up crescendos of piercing frequencies appear like rattle snakes you find under the rocks, as you search for a jewel-encrusted music box, unsure if they'll poison you or cure you. A voice screams like an effected guitar in the distance, reminding you to come home from the thicket before the animals become more aggressive. Blixter Toad's final track coalesces into the Sunday morning dew collecting on the surface of FE-MAIL'S electro-acoustic lily-pads. |
| Prezzo : € 24,00 |
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artista : Daniel Menche | |
| titolo : Concussions | ||
| etichetta : Asphodel | ||
| formato : CD x 2 | ||
| cod. nr. asp2031 | ||
| 2006 | |
| _________________ | ||
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Portland, Oregon's Daniel Menche is a sound artist whose credo is straightforward and distinct.
Since his first release, "Incineration" in 1993, the works of Portland-based sound artist Daniel Menche have often been portrayed as that of just one more dogmatic purveyor of harsh and horrible power electronics. Simply lumping him in with noise behemoths such as Merzbow and Aube, however, is a mistake. Menche himself would balk at such terminology being applied to his work, preferring to see himself as a sound sculptor, trading in the currencies of order and cohesiveness as opposed to chaos. His is a quest for 'vehement beauty'; to put it in his own words, "to interpret and convey through pure sound and music the forceful emotions found externally in nature and the deep internal emotions of humanity." Daniel Menche is usually known for towering infernos of densely droning layers of incinerating sound . For his new "CONCUSSIONS" project the sonic stakes are even taken further into a relentless world of the propulsive pulse, Powerful, poly-rhythmic percussives pound and merge together into an intense avalanche of overdriven noise blasts that actually rock hypnotically in a periodic way seldom heard before. This ain't no drum circle to be sure and fans of the recent Boredoms material or the primitive metal banging from Einsturzende Neubauten / Test Department industrial strength era will be pummeled by an accelerated experience with this opus... Daniel takes the perpetual beat engine of 49 locomotives and rides down the 20 untitled tracks and stampedes off a cliff. This is the true METAL! Flex your muscles! |
| Prezzo : € 24,00 |
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artista : Badawi | |
| titolo : Safe | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2030 | ||
| 2006 | |
| _________________ | ||
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On this, his second full length release for Asphodel, Raz Mesinai finds his Badawi spectre offering what may truly be considered his piece de resistance. Spires of piano, flute, violin, and cello rise up over Saharan expanses of percussion to create a vibrant and emotionally charged soundscape. Mesinai, joined by such notable performers as violinist Eyving Kang and guitarist Marc Ribot, has composed an album that travels the distance from dub to jazz, darbuka to drone, manifesting his nomadic shifts from Jerusalem to New York City and his conceptual shift from Sub Dub to Badawi. Culturally informed analog and digital distortions from the divinities to the avant garde yield this beautifully crafted call to the intimate sanctuary of sound. Safe continues Badawi's renowned sound clash style, layering the desolation of the desert with the comfort of a captivating beat. The players: Raz Mesinai : piano, percussion, flutes, drum programming & processing Eyvind Kang: viola Mark Feldman: violin Marc Ribot: guitar Jane Scarpanton: cello Marcus Rojas: tuba Shahzad Ismaily: electric bass |
| Prezzo : € 18,00 |
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artista : Marclay - Tone - Wolff | |
| titolo : Event | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2032 | ||
| 2005 | |
| _________________ | ||
| Originally recorded in early 1998 when it was improvised for a performance of the Merce Cunningham Dance Company, Event is a three way tug of war of formats. Marclay using his trademarked turntables and records, Tone with prepared CD's and CD players and Christian Wolff utilizing a cassette recorder/player (plus bass, various percussion and a melodica). The result is an ocean of screams, bleets, chirps, howls and drones with each player stepping into the spotlight periodically and seemlessly. Just as tides ebb and flow, so does the "trichotomy" of these three wise men. |
| Prezzo : € 18,00 |
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artista : Antimatter | |
| titolo : Our Lady Of The Skies | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2028 | ||
| 2005 | |
| _________________ | ||
| antimatter is Xopher Davidson. "Our Lady of the Skies" is the second album by antimatter (who is Xopher Davidson). None more fitting a title could there be; "Our Lady of the Skies" is bass heavy, aggressive and at the same time pastoral. Heavy and repetitive, antimatter creates an album sounding not unlike Tangerine Dream, Michigan space/psych legends f/i and the better side of Bristol's mid-90's space rock scene. This, of course, is only a quick name drop so that hip record store clerks will know what to tell hip record buyers what is sort of, kind of sounds like "Our Lady of the Skies" was created using old tone generators, broken telephones, re-moded analog synths and something called a guitar. Its production is huge sounding, epic in scope. And by epic, we mean epic as in those long, panoramic scenes in Lawrence of Arabia or documentaries about Antarctica. "Our Lady of the Skies" is an intense, crushing blow followed by the warm fuzzies and sparkling lights that aren't really there. |
| Prezzo : € 18,00 |
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artista : Curtis Roads | |
| titolo : Point Line Cloud | ||
| etichetta : Asphodel | ||
| formato : DVD + CD | ||
| cod. nr. asp3000 | ||
| 2004 | |
| _________________ | ||
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Asphodel is proud to announce the long awaited premier of Point Line Cloud by the California composer and pioneer of granular synthesis, Curtis Roads. Point Line Cloud is a deluxe two-disc CD + DVD featuring all new audio material by Curtis Roads along with interviews and original videos realized especially for this project by the brilliant young San Francisco artist Brian O'Reilly. In the composer's own words: Beneath the level of the note lies the realm of sound particles. Each particle is a pinpoint of sound. Recent advances let us probe and manipulate this microacoustical world. Sound particles dissolve the rigid bricks of musical composition-the notes and their intervals-into more fluid and supple materials. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as the density of particles increases. Sparse emissions produce rhythmic figures. By lining up the particles in rapid succession, one can induce an illusion of tone continuity or pitch. As the particles meander, they flow into liquid-like streams and rivulets. Dense agglomerations of particles form clouds of sound whose shapes evolve over time. Point Line Cloud has been performed around the world at venues as diverse as the Paris Planetarium, All Tomorrow's Parties UK, the El Rey Theater in Los Angeles with Autechre, the new Sonic Arts Network concert hall in Belfast, and in cities such as Melbourne, Barcelona, Venice, Parma, Porto, Istanbul, Zurich, New York, and San Francisco. Point Line Cloud received the prestigious Award of Distinction at Ars Electronica in 2002. |
| Prezzo : € 24,00 |
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artista : DACM | |
| titolo : Stéréotypie | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2027 | ||
| 2004 | |
| _________________ | ||
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DACM is a collaboration between the musician Peter Rehberg (Pita), and the singer Tujiko Noriko, whose songs bring softness and melody, and punctuate Stéréotypie with moments of solace. Stéréotypie is a choreographic and theatrical proposal which presents a world where setting and human bodies can belong to the same visual intention. This is a place where fiction permeates reality through the fantasy of perfection; where the friction between perfection and imperfection seems more attractive than ever.
As the body, seen as a draft, is made to strive towards perfection - the perfection of a dreamed body. This ideal, as a conglomeration of homemade fantasies, seems to unveil the limitations and the obsolescence of making a fantasy of physical and mechanical perfection come true, and also uncovers all the excitement attached to this fantasy, by fulfilling obsessions about norms and evenness together with a certain imperfection. |
| Prezzo : € 18,00 |
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artista : Philip Jeck & Janek Schaefer | |
| titolo : Songs For Europe | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2026 | ||
| 2004 | |
| _________________ | ||
| "Songs for Europe" is the highly anticipated recording by two of the most respected names in experimental music. Philip Jeck and Janek Schaefer are best known for their work using vinyl and record players in creative ways through performance and installation. On their debut album together they have produced music that bursts with energetic character, fleeting melodies and skittering rhythms that all translate an evocative sense of place. |
| Prezzo : € 17,70 |
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artista : Christian Marclay | |
| titolo : djTRIO | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2023 | ||
| 2004 | |
| _________________ | ||
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djTRIO is a rotating trio founded by Christian Marclay in 1996 to showcase the talent of some of the world's best avant-garde turntablists. Rooted in the context of free-improvisation, Marclay's latest musical project continues pushing forward the definition of what deejaying is. The new CD features four of the most forward thinking turntablists of the new music scene: Toshio Kajiwara, Erik M., DJ Olive and Marina Rosenfeld. djTRIO features the deejay as an instrumentalist working collectively in a group instead of performing as a soloist. Over the course of the past seven years djTRIO has also included Otomo Yoshihide, Pita, and Tom Recchion, among others. The follow-up to Marclay's 2000 collaboration with Otomo Yoshihide, Moving Parts (Asphodel) djTRIO continues to demonstrate that a lot more can be done with turntables than just scratch beats. The new CD was compiled by Marclay from live recordings of numerous performances at museums and clubs in the US, France, Switzerland, and Portugal. |
| Prezzo : € 18,00 |
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artista : [The User] | |
| titolo : Abandon | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2016 | ||
| 2003 | |
| _________________ | ||
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abandon is a composition written for the abandoned Silo #5 grain elevator in the Port of Montréal's Quai des Ecluses. It's a piece of music which employs no musical instruments other than the building itself, to which [The User] gave the name 'Silophone.' This instrument incorporates the astounding acoustics of a series of grain storage cylinders, which possess a stunningly beautiful echo and a reverberation time of up to twenty seconds. The Silophone instrument is unique in that it is almost always played at a distance, using telecommunications technologies such as the internet or telephone.
Silo #5's unique geometry -- 88 tall empty cylinders, each 8 metres wide and 25 metres high -- forms a series of air columns which have the same acoustic properties as flutes, organ pipes or panpipes, but on a much bigger scale. In abandon, [The User] sought a way to play these pipes using no conventional musical instruments, letting the building literally sing for itself. To do this, they hung loudspeakers and microphones inside the silo's bins, connected them to a sound mixing console at the top of the building, and manipulated the controls of that console to create carefully controlled feedback inside the cylinders. [The User] found that by varying the controls of the mixing console, they could excite the different resonant frequencies of the building's interior: the equivalent of overtones on conventional wind instruments. By mixing inputs from various microphones, different sound colours were generated. Because the sound was so loud, one can occasionally hear the windows of the building shaking in sympathetic vibration. At other times the wind blowing outside is audible. Ambient temperature at the time of recording was -18 degrees Celsius (0 degrees Fahrenheit). abandon was composed by the two members of [The User], Emmanuel Madan and Thomas McIntosh. They were joined by Stéphane Claude of the Montreal audiovisual collective AELAB in the performance of the work. [The User] will be supporting the release of abandon with live performances, installations and events in Canada, the United Kingdom and Finland between August and October. Their most recent release -- "Symphony #2 For Dot Matrix Printers Part 5" -- was included on a Karl Lagerfeld-comissioned and designed compilation released in France in the Spring of 2003 by Lagerfeld himself, including Bjork, Thomas Brinkmann, Chicks on Speed and Death in Vegas. |
| Prezzo : € 18,00 |
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artista : Yasunao Tone | |
| titolo : | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2011 | ||
| 2003 | |
| _________________ | ||
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Yasunao Tone's near-half century's worth of work links contemporary electronic music with the historical avant-garde. One of the founding members of Japan's Fluxus Movement and an early associate of Yoko Ono and the late John Cage, 67 year-old New York resident Yasunao Tone has been composing experimental sound pieces since the early 1960s. A member of Japan's first computer art group, Team Random, who programmed Univac mainframes to perform Tone's own compositions, Tone has maintained a lifelong fascination with manipulating technology for his own musical ends.
Tone's first composition using CD players, the appropriately titled "Music for 2 CD Players," made its NEA-sponsored debut in 1982. Not long thereafter, Tone began composing pieces based on overriding the error-correction systems of consumer CD players in order to generate new strings of random digital sound. A pioneer in the use of prepared CDs, Tone first scratched his own self-described "wounded" scotch tape and pinhole-punctured compact disc in 1985. With previous works performed by John Cage, commissions on behalf of the Merce Cunningham Dance Company, installations at 1990's Venice Biennale, and 1993's Whitney Biennale, and releases on the Lovely Music (Musica Iconologos) and Tzadik labels (Solo For Wounded CD), Tone makes his Asphodel debut with this new full-length recording of intensely visceral, conceptual noise. Ars Electronica's 2002 Golden Nica Award winner, Tone will be performing at April's Autechre-curated All Tomorrow's Parties festival in the UK. |
| Prezzo : € 18,00 |
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artista : Antimatter | |
| titolo : Antimatter vs Antimatter | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2010 | ||
| 2003 | |
| _________________ | ||
| antimatter vs antimatter is the debut Asphodel full-length of Bay Area sound artist mixture 151, AKA antimatter. Featuring seventeen tracks of classic Powerbook based-DSP interpretations of selections from antimatter's own discography, antimatter vs antimatter is both a career overview and a remix record. Incorporating elements of musique concrete, sampled loops and haunting guitar drones, antimatter vs antimatter's eclectic sound sources and spacious arrangements will recall the sounds of Christian Fennesz and Einsturzende Neubauten alike. Previous full-lengths include 2002's pulsating wave and drone collaboration with Polish sound artist Zbigniew Karkowski, Function Generator, on Portugal's SIRR imprint, 1999's Transfixion on Artifact Records, as well as various compilation appearances including antimatter's remix of Iannis Xenakis' Persepolis on 2002's Persepolis + Remixes Edition 1 and the critically-acclaimed Asphodel anthology, 1996's Storm of Drones. |
| Prezzo : € 18,00 |
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artista : Iannis Xenakis | |
| titolo : Persepolis + Remixes | ||
| etichetta : Asphodel | ||
| formato : CD x 2 | ||
| cod. nr. asp2005 | ||
| 2002 | |
| _________________ | ||
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In 1971, former Iranian dictator Muhammad Reza Shah hosted a lavish and highly choreographed event amidst the ruins of the ancient Persian capital of Persepolis in order to celebrate the 2500th anniversary of Iran's founding by Cyrus The Great. This commemoration of modern Iran's beginnings was part of the Shah's own struggle with the country's increasingly politicized Shi'ite Muslim clerics, led by the late Ayatollah Khomeini, to secularize Iran. Declaring himself to be heir to Cyrus' legacy, the Shah presided over a cast of 6,200 vintage Persian costume-wearing vassals in an outlandish ceremony affirming the Shah's own interpretation of Iranian history, one which paid little deference to Islam.
The third annual Shiraz arts festival was held that same year at Persepolis. In keeping with the 2500th national anniversary celebrations, the Shah commissioned Greek composer and computer music pioneer Iannis Xenakis (1922-2001) to write a piece of music exalting ancient Persia's aristocratic pre-Islamic religious culture. Selecting Xenakis to author such a work could not have been more symbolically appropriate. A central figure in the development of computer composition, this half-blind former architect, WWII resistance fighter and associate of Le Corbusier evolved a new approach to music, most notably one that employed mathematical probability functions as a compositional methodology. Titled Persepolis, in honor of the location in which it was to be performed, Xenakis composed a fifty-six minute, eight-track tape piece of musique concrète for the occasion. A noisy, apocalyptic-sounding work distinguished by rising waves of intensity, Persepolis' debut must have been quite an experience for those lucky enough to be in attendance. Persepolis takes on an even greater significance when listened to as a musical work whose purpose was to serve a failed secularist ideology overtaken less than a decade later by a fundamentalist Islamic revolution. In light of the events that have consumed the world since September 11th 2001, the notion that a radical composer would align himself with a political figure like the Shah shows how very few places such a brilliant artist could go to receive support for their work. Creative modernism is left with choosing between authoritarianism and religion. Hence the inclusion of a second disc of remixes in this edition of Persepolis. Disc 2 of this recording contains nine remixes of Persepolis by an international cast of avant-garde musicians, transforming Xenakis' original work in entirely distinct contexts, imbuing it with compellingly new meanings. Otomo Yoshihide, Merzbow, Ryoji Ikeda, and Construction Kit contribute Japanese readings, while Spanish artist Francisco Lopez, Polish musician Zbigniew Karkowski and German Ulf Langheinrich bring the so-called noise from Europe. Americans Antimatter and Laminar round the global aspect of this collection out by providing their own compelling takes on the original. Despite their distinctiveness, what unites all of these remixes is a shared sense that all great works of art can transcend the contexts in which they were first conceived in order to explore, and perhaps fulfill their greater purpose. Track Listing Iannis Xenakis : Persepolis (GRM Mix) (60:42) Otomo Yoshihide : Persepolis (Otomo Yoshihide remix) (9:20) Ryoji Ikeda : Per Se (8:35) Zbigniew Karkowski : Doing By Not Doing (15:12) Antimatter : Persepolis (Antimatter mix) (9:59) Construction Kit : Glitché (5:00) Francisco López : Untitled #113 for Iannis Xenakis (10:05) Laminar : Whorl (7:05) Merzbow : Persepolis (Merzbow mix) (7:01) Ulf Langheinrich : Persepolis (Ulf Langheinrich mix) (7:34) |
| Prezzo : € 24,00 |
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artista : Thomas Dimuzio | |
| titolo : Mono::Poly | ||
| etichetta : Asphodel | ||
| formato : CD x 2 | ||
| cod. nr. asp1001 | ||
| 2002 | |
| _________________ | ||
| Thomas Dimuzio's Mono::Poly is the first joint production between Asphodel and Dimuzio's own Gench Recordings label. A double CD set, Mono::Poly anthologizes the best of Dimuzio's live solo performances and collaborations with fellow experimental musicians, moving across multiple genre and cultural boundaries. Spanning the years 1997-2002, each track on this anthology displays Dimuzio pushing the envelope of contemporary processing technology to truly epic, post-rock proportions. Featuring the talents of collaborators and friends such as Invisbl Skratch Pikl Q-Bert, Tigerbeat6 hip-hop deconstructionist Wobbly, Henry Cow alumni and noted soloists Chris Cutler and Fred Frith, Scott Jenerik, Atau Tanaka and more, Mono::Poly is a terrific introduction to a brilliant artist working at the top of his form. |
| Prezzo : € 24,00 |
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artista : Christian Marclay - Otomo Yoshihide | |
| titolo : Moving Parts | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp2001 | ||
| 2000 | |
| _________________ | ||
| the two create an intense, noisy tapestry of sound, encompassing a wide range of sources -- from the baroque-sounding flute and harpsichord snippet that opens the cd to squalls of hendrix-flavored guitar, opera, flamenco, movie soundtrack music, and purely electronic sound. marclay firmly favors the analog, intentionally letting his records get scratched and even gluing pieces of vinyl together, while yoshihide employs mainly digital methods. the combination is potent and compelling. unlike a lot of the people identified with turntablist world, they never go for laughs with sharply contrasting stylistic juxtapositions or the ironic use of spoken-word records. sometimes the source materials are pummeled and entirely reshaped, and other times a melodic quotation will stand out untreated; the results are at times reminiscent of stockhausen's 'hymnen' or eric salzman's 'nude paper sermon. |
| Prezzo : € 18,00 |
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artista : John Cage | |
| titolo : Atlas Eclipticalis & Winter Music / 103 | ||
| etichetta : Asphodel | ||
| formato : CD x 4 | ||
| cod. nr. asp2000 | ||
| 2000 | |
| _________________ | ||
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Track Listing Atlas Eclipticalis & Winter Music (disk one) (76:55) Atlas Eclipticalis & Winter Music (disk two) (73:18) 103 (disk one) (30:14) 103 (disk two) (59:54) Atlas Eclipticalis & Winter Music - Recorded May 19, 1993 at Grosser Konzerhaus Berlin, Germany The Orchestra Of The S.E.M. Ensemble Piano : David Tudor 103 Recorded November 21, 1998 at Philharmonic Hall, House of Culture, Ostrava, Czech Republic Orchestra : Janacek Philharmonic Orchestra |
| Prezzo : € 34,80 |
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artista : Iannis Xenakis | |
| titolo : Kraanerg | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp0975 | ||
| 1997 | |
| _________________ | ||
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"I originated in 1954 a music constructed from the principle of indeterminism; two years later I named it "stochastic music." The laws of the calculus of probabilities entered composition through musical necessity… But other paths also let to the same stochastic crossroad -- first of all, natural events such as the collision of hail or rain with hard surfaces, or the song of cicadas in a summer field. These sonic events are made out of thousands of isolated sounds; this multitude of sounds, seen as a totality, is a new sonic event. This mass event is articulated and forms a plastic mold of time, which itself follows aleatory and stochastic laws. If one then wishes to form a large mass of point-notes, such as string pizzicati, one must know these mathematical laws, which in any case, are no more than a tight and concise expression of a chain of logical reasoning… " -- Iannis Xenakis, from Formalized Music, 1955 This release of Kraanerg contains extensive liner notes from Paul D. Miller, aka DJ Spooky. |
| Prezzo : € 18,00 |
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artista : Datacide | |
| titolo : Flowerhead | ||
| etichetta : Asphodel | ||
| formato : CD | ||
| cod. nr. asp0964 | ||
| 1996 | |
| _________________ | ||
| Formerly available only in a tiny edition of 500 on Atom Heart's Rather Interesting label, this meeting of A.H. and Tetsu Inoue is one of the pinnacle releases in the whole German ambient scene from the early/mid 1990s. Those who know it even speak of it in tones more reverent than those normally reserved for the better-known FAX releases. What you get here is slow, spaced-out, trippy sound that goes on for over an hour, never dissatisfying. Occasionally, a slow-mo dubby groove will develop, only to dissipate like something being caught up in a gentle breeze and blown away. One title here seems to sum it all up: 'Sixties Out of Tune'...and that's not a bad descriptor, as it all sounds like some ultra-relaxed thing that would be more in place at some stoned gathering, playing quietly on some stereo in another room. A benchmark release from 1995; if anyone wants to hear psychedelic ambient, "Deep Chair" is worth the price of admission alone. |
| Prezzo : € 18,00 |
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