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Search Result for Label SUB ROSA
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3CD
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SR 300CD
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Sub Rosa presents the seventh and final volume in their An Anthology of Noise & Electronic Music series. These seven volumes represent a strong listening base, as incomplete as it may be -- the basis for a near-infinite exploration through one's self, in the present tense. All in all, there are 176 tracks, created between 1921 and 2012, for a total of almost 18 hours of music. The sphere of geographical propagation was kind of programmed at the start (between 1952 and 1970 there have been over 100 national studios, mostly tied to radio, on all five continents), but it accelerated exponentially with the appearance of the first home studios, and later with the advent of the laptop computer. Following the spread with each surge of emerging creators, 42 nations are represented. In Europe: United Kingdom, Ireland, France, Belgium, The Netherlands, Germany, Austria, Switzerland, Greece, Italy, Spain, Sweden, Norway, Finland, Denmark, Poland, Hungary, Czech Republic, Slovakia, Slovenia, Bulgaria, Lithuania, Russia. In the Americas: United States, Canada, Mexico, Argentina, Peru, Chili, Brazil. In the Middle East: Israel, Iran, Turkey. In the Far East Asia: Japan, China, Hong Kong, South Korea, Thailand, Indonesia. In Africa: Egypt. In Oceania: Australia, New Zealand. This triple CD of concrete, destructured and electronic music contains rare or unpublished works by Henry Jacobs, Tziga Vertov, Bebe & Louis, Luciano Berio, Bülent Arel, Don Preston, Slawek Kwi + Siobhan McDonald, Benjamin Thigpen, Helmut Schäfer, Novi_sad, Saule, Bebe & Louis Barron, E-L Scott de Martinville, John Oswald, Sin:Net, Israel Quellet, Alan Courtis, Fausto Romitelli, Justin K. Broadrick, Storm Bugs, E.A.R., Henry Cow, Osso Exotico, Eugeniusz Rudnik, Eduardo Polonio, Cabaret Voltaire, Mika Vainio, Alma Laprida + Juan Jose Calarco, Klangkrieg, Gintas Kraptavicius, Warong Rachapreecha, The New Blockaders, The Haters, The Rita, To Die, Agro, Jamka, Erin Sexton, Gustavo Serpa , and Anonymous Noise. It also includes a 84-page booklet of critical and biographical notes.
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CD
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SR 349CD
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Following up on their 2005 Tzadik release Scorched Lips, Zahava Seewald and Michaël Grébil have delivered a new collaboration exploring more intimate spaces. From My Mother's House is haunted from within by a sustained breath that unfolds through Jewish poetry. This work can be experienced like a novel, a piece of prose, a Hörspiel, an introspective form of cinema for the ear. The music unfolds in layers, like entangled photographic impressions. Field recordings, poems, film quotes, instrumental music, document archives, and concrète sounds are conjured up in a disorganized fashion, on a single plane of existence. Each element contributes to the whole, with the same basic intention: all these worlds coincide and exist in a single space, forming what could be called a sonic Menschmozaik. Images emerge and intermingle to form deeper, more complex pictures, through a series of associations. And this flow of conscience carries a dialogue where the voice of the living answers the voice of the dead, sonic matter being their point of contact, a ferryman, an intimate landscape; a gleaner harvesting layers of memories buried in the past along with still-fresh layers deposited by the present. Sound becomes a receptacle for the word, and the voice becomes the contemplator of the landscape getting sketched. Then, base lines get drawn, like so many themes developed by the poetry: the long thread of generations unfolding, parentage, the dialogue between a mother and her daughter, the daily life, the trite, the terrible, death, barbarism, beauty, innocence, the mother tongue. Sehnsucht.
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2CD
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SR 368CD
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New Series Framework is an extension of Sub Rosa's Concrete Electronics Noise, a mix-up of unusual conceptions of sound material by young unknown composers, well-known not-so-young composers and old but clever composers. Limited editions. For Lith, Francisco López and Aernoudt Jacobs shared their original sound recordings from the Brazilian Amazon, Mexico, and the UK and created four compositions with each other's recordings. Francisco López is internationally-recognized as one of the major figures of the sound art and experimental music scene. Over the past 30 years, he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in 60 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 200 record labels worldwide, and he has been awarded three times with honorary mentions at the competition of Ars Electronica Festival. Aernoudt Jacobs' (1968, lives and works in Brussels) work is both phenomenological and empirical. It originates from acoustic and technological research and investigates how sounds still can yield sonic processes which will trigger the perceptive scope of the observer. His work focuses on a central question: how can the complexity, richness and stratification of our direct, daily environment be translated into something that can really be experienced?
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SR 353CD
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"For me, to write for the piano, the instrument that led me to a career in music, is always to 'get back to' something: back to my first musical feelings, but also my first writing techniques, which were quite remote from my current aesthetical concerns. Back to the music pieces engrained in my fingers through practice; finally, back to the numerous hours of free improvisation of my lazy youth. In my case, the piano, this old buddy of mine, is not the medium through which I hoped to shine in front of other people. It is the tool I keep using to meet the music of my mentors and the music of my peers. Therefore, in essence, these Back To... are works about memory." --Jean-Luc Fafchamps
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SR 365CD
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"My second complete Sufi word -- or cycle -- consists of five contrasting letters -- or movements -- calling for various combinations of soloists [2, 3, 4, 5], instrumental ensemble [1, 3, 5], and real-time electronics [2, 4, 5]. It confidently extends a global poetic design made of a quest for meaning, a taste for extraordinary adventures, an interest in the perfume of mystical ecstasy, and the pleasure of carefully sculpting the time and shapes that make up writing." Jean-Luc Fafchamps initially devoted himself to writing for small groups in which the piano plays a central role ("Dynamiques," for two pianos; "Melencholia si...," for two pianos and two percussionists; "Neurosuite," for a keyboard trio), before his interest in non-tempered harmonies and polyphonies of timbres led him towards other sound combinations ("A Garden," for wind quintet; "Bryce," for clarinet quintet, etc.). He is currently moving towards working for larger formations in which his taste for paradoxical constructions and his sense of synthesis are blossoming into mutually referential pieces. He is working on the development of a vast network of cycles - the Lettres Soufies - a manifesto for writing, stylistic openness as rhetoric and the use of analog correspondences as the basis for a system: "T" for ensemble and electronics, "K" for orchestra, "A" for ensemble and orchestra, "Z3" for trombone and electronics, and so on.
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LP
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SR 340LP
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180 gram LP version. Limited to 500 copies; on white vinyl.
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2CD
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SR 340CD
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For the second time in 20 years Charlemagne Palestine and Z'ev performed together, and this was the first time they recorded it. Part of the Sub Rosa/Laboratoire Central sessions, this is unreleased material from Charlemagne's lair -- a place now called "Charleworld," where both fellows spent three days in June 2010. "I first started to play the bells while at a high school for music and art in the '60s at St. Thomas Church across the street from the Museum of Modern Art in Manhattan. I played every day for years. In the '80s I met Z'ev in Amsterdam. I'd known him for 20 years before he suggested one day that we perform together, which we did at Lem Barcelona in 2007. Later after seeing and hearing the carillon at my studio in Brussels he suggested that we perform and record together there, which we did in 2010. Here's/hearsz what we did." --Charlemagne Palestine
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SR 354LP
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Sub Rosa presents two substantial pieces from electro-acoustic musique concrete innovator Luc Ferrari: "Programme commun pour clavecin et bande magnetique" (1972), performed by Elisabeth Chojnacka, and another previously-unreleased piece that he held dear: "Les emois d'Aphrodite" (1986/1998), performed by San Francisco's MC Band under his direction. "'Programme commun...': Although cheerful, this piece of music asks a serious question: can one separate one's political and artistic concerns, either directly, as a film can allow, or indirectly, as in this music? Mostly though, this music is my way of commemorating the signing, in 1972, of the Programme Commun. 'Les Emois d'Aphrodite': From the 1986 version I have retained the character of this piece, a kind of disjointed rock that periodically pops up as Aphrodite's dance. I have added harmonic 'manipulations,' or a progression toward disjointed harmony, which is what I currently look for (I have not said 'which is my current aesthetics'). Finally, the introduction of samplers makes it possible to convey the liveliness of time to disjoint tones." --Luc Ferrari
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CD
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SR 359CD
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This is #11 in Sub Rosa's limited edition Framework series -- an extension of their Concrete Electronics Noise series. Luca Forcucci is a bi-national Swiss and Italian composer and artist. His work observes the perceptive properties/relations of sound and space (and vice versa) through sound installations, visuals, compositions, and performances. In order to explore the field of possibilities for sound in a context of music and art as an experience, the works converge with dance, digital performance, poetry, architecture and neuroscience. In this context, he is interested by perception and consciousness. His compositions have spanned through the years from electronic music, which was produced by Al Comet from The Young Gods, to field recordings collected around the world in urban contexts like São Paulo, Shanghai, San Francisco, and natural ones like the Amazon forest or the Swiss Alps, to name a few. "After 12 hours of flight and some sleep deprivation, I landed in San Francisco in Spring 2011. Because of or thanks to my state of consciousness, I heard a distinct and beautiful sound. It took me a while to understand if I was really hearing it or dreaming it: the sound of the fog horns." --Forcucci
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SR 360CD
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This is #12 in Sub Rosa's limited edition Framework series -- an extension of their Concrete Electronics Noise series. Antimatter is the sound work of Xopher Davidson -- an ongoing exploration into the material of sound. Xopher builds his experiments in electronic sound from a basis in painting, photography, and film, and through an interest in electronic circuits going back to building radios and homemade circuits as a kid. Over the last 11 years he has built and explored the sound world of a homebrew modular synthesizer comprised of surplus laboratory equipment: various oscillators, pulse generators, filters, and an "analog computer." He has released four albums as Antimatter: Transfixion, Antimatter vs. Antimatter, Our Lady of the Skies, and Reset. As an audio engineer, Davidson has worked on projects composed/performed by: the League Of Automatic Composers, John Cage, Marcel Duchamp, Subtropic, Diamanda Galas, Kid 606, DJ Rupture, Darwin's Bitch, Once 11, Mix Master Mike, Hans Grusel, Phoenecia, Jonah Sharp, We, Zbigniew Karkowski, and Iannis Xenakis. Zbigniew Karkowski is one of the most influential electronic music composers working today. Linking the worlds of modern composition and industrial music, he is a pivotal figure in the development of advanced noise. Constantly on the road, he is a frequent performer on the geographical fringes of experimental music culture as well as a mainstay on the established festival circuit.
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viewing 1 To 10 of 237 items
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