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Search Result for Label POGUS
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POGUS 21064
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"I was going to write about how this is an absolutely beautiful and disturbing record, but I think quoting from the liner notes of James Pritchett really does sum it up. Frances White invites us to take a walk through her Resonant Landscape. Where are we going? We are walking through the woods, marshes, and streams of New Jersey. She points out the birds and frogs that make their home there, the water that flows through it and the wind that shakes the trees. But then we turn and there is that other sound world, the one in which these woodland sounds are transformed, or in which we find sounds altogether new: spectral birds singing to us through a sparkly haze; distant colored winds, like the breath of giants; the air around us, alive, charged with long, low drones and sudden electric crashes. There is something magical about this other world, and (like most magic) there is something disturbing here as well. We move between the two worlds almost at random, bumping into one sound after another. We find ourselves rising off the path and floating, then falling abruptly into silence, reappearing in a marsh full of geese and blackbirds. This is more than a sonic postcard from Princeton: it is a journey into the inner world of Frances White. We could call it an electroacoustic dream drawn from her memories of hikes in the woods."
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POGUS 21062
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"The new 2CD magnum opus by If, Bwana (Al Margolis) has been almost three years in the making. It is the first time he has composed works (usually with prerecorded sounds) specifically for another ensemble. 'Gilmore's Girls,' 'Ringing (Ano)the(r) Bell,' and 'Diapason,' maybe were specifically written for Trio Scordatura. 'Cicada 4AA' was the first piece of If, Bwana's they played (though not written for them in particular). 'E (and sometimes why)' and 'All for Alf(run)' were both composed after the initial recordings and used materials from those sessions. 'The Tempest,' Fuggit,' used some of Trio Scordatura's sounds and combined them with an absolutely awesome, over-the-top performance/reading of a section of Shakespeare's The Tempest by Michael Peters (of Poemrocket). We hope that answers the burning question why If, Bwana with/and/by Trio Scordatura? There may not be a better way to describe their involvement with this recording -- they played with If, Bwana and they played If, Bwana and they were played with and by If, Bwana."
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POGUS 21060
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"Leo Kupper was born in Belgium in 1935. He worked with Henri Pousseur at the first electronic music studio in Belgium and is founder and director of the Studio de Recherches et de Structurations Electroniques Auditives in Brussels. This is his third release on Pogus and he remains a master at working with electronics and the human voice. Of the six works presented on this CD, five involve the human voice. Sung by Barbara Zanichelli, Anna Maria Kieffer, and Nicholas Isherwood, their microphone recordings were integrated into Kupper's digital computer sessions, hence the title Digital Voices. The remaining work is for the santur. All the songs on this recording are abstract, which allows both composer and singer a certain artistic liberty. Kupper's stated goal in this recording of digital songs is to encourage the internationalization of spirituality through a musical language that accepts both sung and instrumental world sonorities that can be mixed with electronic sounds derived from the voices of the singers."
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POGUS 21063
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"Active in electronic composition since 1971, Noah Creshevsky delights in presenting extreme and unpredictable juxtapositions in which the integration of electronic and acoustic sources and processes creates virtual 'superperformers' by using the sounds of traditional instruments pushed past human capacities. Creshevsky uses the term Hyperrealism to describe his electroacoustic language constructed from found sounds, handled in ways that are exaggerated or intense. Creshevsky's first full length CD on Pogus (and hopefully not his last) works his sampling wizardry on performances by Sherman Friedland (clarinet); Lisa Barnard Kelley and Tomomi Adachi (voices); piano improvisations by Stuart Isacoff; Gary Heidt (voice and guitar); Rich Gross (lap steel/banjo); Orin Buck (bass); Juho Laitinen (cello). As always his music needs to be heard to be believed. A truly singular voice."
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POGUS 21061
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"The Almond started as a short study for trumpet for the British website Compost and Height. Wooley, a rising young composer known mostly for his radical recontextualization of the trumpet in improvisation and jazz music, was, at the time, feeling constricted by the sound based language he had been using up to that point in both his live solo playing and his earlier solo records. His goal was to make a true solo trumpet record, using only the trumpet as it was intended to be played with no extended techniques. This challenge spawned a 20-minute piece that, at the surface level, was a quick, arcing narrative made up glacially shifting textures of pure pitched sound. The process behind the piece was much more complex, however, as each pitch heard in the piece was made up of anywhere from three to ten different recordings of the trumpet recorded in different mutes, tunings, with different microphones, and in different rooms. The result was each note of the piece, now expanded to 70 minutes in its final version, takes on a synthesized aspect, sometimes sounding like a voice, others like an organ, but always maintaining some timbral tie to the trumpet. With the exception of one very low pedal tone, all the pitches are played on a regular embouchure, again a far cry from Wooley's usual work."
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POGUS 21058
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Subtitled: By Philip Corner for The Violin Of Malcolm Goldstein. It has been a while in the works, but finally Pogus can proudly announce the release of this wonderful disc. Five works spanning 30 plus years by experimental composer Philip Corner, interpreted by his friend and fellow composer and utterly amazing violinist Malcolm Goldstein. These works consist of early pieces with notes though not notated in the traditional, linear way, as well as later pieces with graphic and/or verbal notation as with the gamelan series. And the graphically notated scores themselves are quite lovely. As noted above, four of the works are from live performances and they are must hears (as of course is the fifth recording 'The Gold Stone' taken from the out of print Sounding the New Violin by Goldstein. The interpretation/performances are intense and magical and should be savored. The long friendship and working relationship of these two are probably best summed up by Goldstein: 'I have had the pleasure & honor of playing Philip's music since the early 1960s. Always his music opened up new dimensions for me; compositional structures that incorporated a variety of improvisation frameworks, with sonic materials that focused the performer within the full spectrum of sound-texture qualities, that invited the musician to participate in the realization of the music and revealed unique realms of music making/thinking.' Amen to that."
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POGUS 21059
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"This recording consists of eight electro-acoustic compositions and two pieces by each of the four composers. Pauline Oliveros: 'Mercury Retrograde, 'Cyber Talk.' Francisco Lopez: 'untitled #270,' 'untitled #273.' Doug Van Nort: 'Outer; Inner.' Jonas Braasch: 'Web Doppelganger,' 'Snow Drifts.' The works span a vast sonic terrain, challenging listener and performer alike through a seamless blend of deep listening and absolute noise, moving between ever-fluid improvisation and carefully controlled sound manipulation. The quartet convened for two improvisational sessions between February and May of 2010, with Lopez sitting in on a Triple Point (Oliveros/Van Nort/Braasch) recording session and bringing his finely crafted sonic objects-as-instruments, further spanning the electro-acoustic divide that has become Triple Point's calling. The four later re-formed for their debut concert at the Deep Listening Institute in Kingston, NY in September of 2010. These sessions have since become raw material for the individual artists to construct new visions of this shared sonic body through extensive and thorough evolution of the recordings--personal reflections culled from a collective tapestry."
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POGUS 21057
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"Pogus is extremely delighted to release this 2 CD set of recordings of works by Alvin Lucier. He is one of the key experimental artists of the 20th and 21st centuries, and is one of my favorite composers. A unique and individual artist: No one sounds quite like Alvin Lucier. Lucier writes about the genesis of the works on this release: 'Since the early 1980s I have made a series of works for conventional musical instruments. Before that time I had been mainly occupied with the exploration of such phenomena as echolocation, brain waves, room acoustics and the visual representation of sound. Often these works required special equipment -- hand held pulse wave oscillators ("Vespers"), differential amplifiers ("Music for Solo Performer"), horseshoe magnets ("Music on a Long Thin Wire"). Then players began asking me for pieces. Now I needed to find a way of achieving the same poetry with acoustic instruments as I did with electronic means. One of the things I discovered was that players could create rhythmic patterns by closely tuning with electronically generated pure waves or with each other, producing audible beats. Often, to get continuous motion, I have one or more voices sweep up or down at various speeds against fixed sustained pitches. As a wave approaches a sustained pitch the audible beating slows down to zero when it reaches unison, then speeds up again as the wave leaves the pitch. Almost New York employs slow sweep pure wave oscillators, Broken Line, flute glissandi. In "Twonings" two different tuning systems collide and in "Coda Variations" slight variations in pitch are heard chronologically.'
Recorded by Charles Curtis, Joseph Kubera, Robert Dick, Danny Tunick, and Robin Hayward - some of the leading new music performers of our era, these works are essential additions to the Alvin Lucier oeuvre, as well as satisfying anyone interested in great experimental music."
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POGUS 21056
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"Pogus is very pleased to release its second recording by composer Dimitri Voudouris, a South African composer of Greek birth. As Massimo Ricci wrote in his Touching Extremes review of the first Pogus release:
'Voudouris is interested in the 'research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes'. Don't let the composer's difficult description fool you into thinking about some kind of cerebral pretentiousness, though, as this album contains instead four magnificent examples of his approach, music that's always challenging and, in many of its expressions, of extraordinary beauty.'
This description applies just as well as to this new recording. ΑΛΘ=Φ (for text to speech synthesis with computer assisted processing for 24 speaker interactive robotic ensemble) is a comparative study of pathways in communication between Man and Machine and is composed using fragments of processed speech synthesis; UVIVI is a computer music piece that is Voudouris's fourth work that was composed for contemporary dance theatre. UVIVI originates from Zulu -- meaning 'daybreak'. This computer music composition focuses on linearity and infinite memory in the kinetic flow of vehicular traffic. Four languages were chosen to represent the composition of 1:ΘΨ4 (singing synthesis for four artificial female voices) namely Greek, Spanish, Portuguese and Italian. ONTA (for voice and electronics) is a project that discusses the daily tensions encountered and focuses on the energy building up, exploding, or imploding from these tensions in the city, be it organically or inorganically created; this promotes musical creativity integrated into everyday life, of familiar places and natural behaviours."
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POGUS 21055
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"Gen Ken Montgomery's sound worlds are full of activity. Not in the sense of sinuous melodies and chord progressions that try to set flea-hopping records. The sounds conjure up images and atmospheres of workshops where people busy themselves with assembling and repairing a variety of contraptions. Places where humans and tools intermingle, where technology (both hi and lo) appears as a trusted and respected companion. It is as much accepted as an integral part of the human sphere as a dog or a cat might be - and it sounds equally homely. That is not to say that all sounds you'll hear in his music are commonplace, mundane. Many of them are immediately recognizable. Many of them can be traced to their source, even through dense veils of modification. Some derive clearly from instruments, some from birds. But many are absolutely singular, there's no telling what produced them. And to tell you the truth (my truth): it doesn't really matter. Regardless what sounds or sources form the components of this music (everyday or extraordinary objects; musical instruments or electronic tools; his own voice or environmental recordings), what is important is the mind that processes them and welds them together into the independent entities that we call songs. It is evidently an open mind that enjoys toying with sounds. His music sounds as if he works with what he finds. Obviously he has prepared materials to be used. But the way he puts everything together makes the impression of someone following his judgment of the situation on the spot. These are not guided tours, mapped out beforehand. These songs are explorations. Trips into an unknown. They aren't, however, excursions done in seclusion. Everywhere he goes Ken Montgomery creates a buzz. He creates a sphere of sound around him that feels humane, sociable. A warm cloud of sonic strangeness. But a loud cloud, too, mind you."
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