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viewing 1 To 17 of 17 items
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LP
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CRSLP 5102LP
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Caution Radiation Area is the second album of the jazz fusion band Area and was released in 1974. This is the first album that contains the better known line up, with Ares Tavolazzi replacing Patrick Djivas on bass. This album is notable also for being the first one in which experimental music is introduced. For example "MIRage? Mirage!" contains a part in which the whole band can be heard whispering readings (for example a negative review of "Arbeit Macht Frei", a TV guide...), and "Lobotomia" (which means "lobotomy") is constructed using loud synth noise, with the clear intention to disturb the listener (as pointed out on the booklet). Quotes of opening themes of Italian TV programs are heard during the track. The lyrics for "Cometa Rossa" are sung in Greek. "Brujo" means "wizard" in Spanish.
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CD
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CRS 006CD
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2002 CD reissue of the LP originally released in 1977 on Cramps Records. On this album Italian prog rock band Area featured the voice of Demetrio Stratos, plus members Giulio Capiozzo, Patrizio Fariselli, Ares Tavolazzi, and Paolo Tofani. Furious, mind-bending rhythms and melodies balanced with humor and the avant-garde.
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CD
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CRA 138582CD
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2002 digipak CD reissue of the 1996 live album by Italian prog rock band Area, recorded in Paris in 1976. Excellent performances and some charming French asides from Demetrio Stratos. Crucial documentation of possibly the single most vital Italian progressive rock group of the '70s.
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CD
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CRA 139092CD
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2006 remastered digipack reissue of the 1976 LP originally released on Cramps Records. Electric Frankenstein was guitarist/multi-instrumentalist Paolo Tofani, who played in progressive rock band Area.
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2CD
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CRA 136532CD
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2006 reissue of the double LP originally released on Cramps in 1979. Recorded live in Milano, Italy in 1979. Featuring Kaos Rock, Area, Francesco Guccini, Eugenio Finardi, Roberto Ciotti, Venegoni & Co., Angelo Branduardi, Carnascialia, Adriano Bassi & Italo Lo Vetere, Antonello Venditti, Skiantos, Gaetano Liguori & Tullio De Piscopo, and Banco Del Mutuo Soccorso, Giancarlo Cardini and Roberto Vecchioni.
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CD
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CRA 138652CD
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2002 release. Issued for the XLV Biennale di Venezia with support from The Institute For Contemporary Art, New York, Mudima Fondazione per l'Arte Contemporanea, Milan, Italy. All John Cage excerpts are from John Cage's "Silence and One Year from Monday," recorded at 222 Bowery in New York City, December 1968 and March 1969, courtesy of Giorno Poetry Systems. Featuring David Byrne, Debbie Harry, Arto Lindsay, Ars Hell and Mutt, John Zorn: Naked City, Chris Stein, Amy Denio, David Weinstein and Shelly Hirsch, Lee Ranaldo, Ann Magnuson and John Cale, Jello Biafra and Eugene Chadbourne, Lou Reed, Elliot Sharp, and Joey Ramone.
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CD
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CRA 141302CD
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2005 reissue; originally released in 1976 as number nine in the Nova Musicha series. Founded in Italy between 1964 and 1965, the world's first composers collective, Gruppo Di Improvvisazione Nuova Consonanza, sought to unhem the purposefulness of their respective instruments and the primacy of composition in order to open up a space for the emergence of free music and unintentional noise sounds. The music sways between nearly inaudible whir, clatter and scrape, and bubbling blasts of sound. Their overtures to noise, anti-musical operations, and compositional experiments on this disc, like their English brethren AMM, completely anticipated a strategic break with the standards of virtuosity. This work represents the earliest incarnation of the Gruppo and features Ennio Morricone, better known for his soundtrack work, Franco Evangelisti, Egisto Macchi, Antonello Neri, Giovanni Piazza, and Italian Instabile Orchestra member Giancarlo Schiaffini. Contains previously unpublished photos and original notes by Franco Evangelisti.
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CD
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CRS 1112CD
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2012 release. A deep investigation of a very few simple principles; acoustic instruments rub ambiguously up against electrified objects and electronics, but these in the main provide atmosphere and harmonic complexity. Taking its cue from John Cage, the trio began sticking contact mics to anything that sounded and amplified their raw sounds. Alvin Curran, Paolo Tofani, and Mauro Tespio share a common interest in electrifying objects; one might say that this represents the bridge between the ancient music experience and contemporary music technology. "Technology is one of those myths that return cyclically to haunt all of us, now then and surely in the future. . . . I began to record the world or sound around me, knowing intuitively that it was an on-going and never-ending symphony of immense beauty. . . ." Alvin Curran: piano, prepared piano, sampling keyboard, percussion, shell, tube, shofar; Paolo Tofani: trikanta veena connected to an Axon Ax50 Apple MacBook Pro MIDI converter by a GK-2 resophonic Roland; Mauro Tespio: trumpet, Tibetan bells, percussion, balafon, EMS Synthi AKS.
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CD
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CRSJB 023CD
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2003 reissue; originally released in 1977. "Although Rocchi is probably better known for his earlier material on other labels, his offering on Cramps from 1977 A Fuoco (originally Cramps CRSCD 023) is a good showcase for his own talents (vocals, synthesizers, songwriting, and production) as well as his knack for surrounding himself with top notch musicians. Ostensibly a pop-singer, his skillful mastery of dynamics and clever arrangements put him on a par with the pre-glam/pre-disco work of David Bowie (circa Hunky Dory) or perhaps even later post-folk Donovan. Indeed, many of the tunes are driven by simple acoustic guitar or piano, and then built upon with full arrangements of synths, bass, drums, saxes, violins, and more. . . . fine music." --Exposé
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CD
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CRS 211CD
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2011 release. The final album by Italian prog singer-songwriter Claudio Rocchi (1951-2013). Rocchi was a bassist in the group Stormy Six, and appeared on their 1968 debut album, Le idee di oggi per la musica di domani. Italian newspaper la Repubblica described his 1971 album Volo Magico N.1 as "one of the definitive albums of the Italian psychedelic music, perhaps the only true classic of the genre ever produced in our country."
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CD
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CRS 163CD
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2011 release. Costellazione Seconda is the follow-up to Daniele Lombardi's 1978 Costellazione, a piano exploration based on a map of constellations planned as the first step of a large work focused on the exposition and performance of constellations maps, planetaria, and maps of the heavens. Costellazione Seconda is broken up into 21 short piano movements concentrated on incredibly short staccato notes that sting violently between fractured harmonics, leaving plenty of momentum-puncturing silences to really heighten the sense of disorientation -- as well as two long (over 20 minutes) piano excursions.
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CD
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CRA 154562CD
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2014 digitally remastered reissue; originally released on LP in 1973 as number 16 in the Nova Musicha series. This work is an exploration of space and sound through feedback; the album features two long tracks -- "Mix A" and "Mix B" -- and both appear to involve spare sounds in space, filtered through additional electronics, often with the effect of a microphone feeding back, then suddenly halted. Tudor manipulates the sounds enough to pull out some compelling waveforms, especially on "Mix B" -- and the album offers up a much darker side of his music than one might expect from the early years. Recorded at Center for Contemporary Music, Mills College, Oakland, California. Includes 12-page booklet with photographs, score, and liner notes in Italian.
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CD
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CRS 117CD
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1989 reissue; originally released in 1977 as number 17 in the Nova Musicha series. Recorded at the Center for Contemporary Music, Mills College, Oakland, California, Cheap Imitation is a piece for solo piano by John Cage, composed in 1969. It is an indeterminate piece created using the I Ching and based, rhythmically, on Socrate by Erik Satie; it consists almost exclusively of a single melodic line, with occasional doublings, as an "imitation" of original score.
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CD
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CRA 154752CD
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2004 reissue; originally released in 1975 as number eight in the Nova Musicha series. The extraordinary Cramps label classic. Croatian composer Martin Davorin-Jagodić's great (Nurse With Wound-listed) Tempo Furioso, a work of creepy, sometimes droning, electronic musique concrète. Stockhausen meets Luc Ferrari with a hint of Xenakis. This breaks all the rules and invents new cross-genre concoctions, atmospheric to wild to totally perplexing. Beautiful digipack edition with printed booklet. Should make fans of musique concrète (especially the early stuff) very happy.
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CD
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CRA 154742CD
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2004 reissue; originally released in 1976 as number ten in the Nova Musicha series. A breathy recording with lush piano elegies awash in a radical sonic realm that is profoundly reminiscent of Charlemagne Palestine but in a very hectic/spirited way. Truly an excellent and underrated recording that explores new piano possibilities. Beautiful digipack edition with large booklet.
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CD
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CRS 059CD
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2013 reissue; originally released in 1977 as number seven in the DIVerso series. An outstanding recording, and an unjustly neglected contribution to prepared piano performance by Area member Patrizio Fariselli with an energy somewhere between John Cage and Cecil Taylor! At times, Patrizio Fariselli plays with a great sensitivity to silence -- letting it emerge with as much force as his well-placed work on the keys of the piano. But at other times, he comes off with a full, frenzied sound that's really dynamic and almost explosive -- so much so that one is left wondering about the state of the piano after he's walked away.
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CD
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CRS 103CD
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2002 reissue; originally released in 1974 as number three in the Nova Musicha series. Robert Ashley's minimal masterpiece centered on John Barton Wolgamot's experimental book-length poem "In Sarah, Mencken, Christ and Beethoven There Were Men and Women." It consists of one sentence repeated over and over, and the only changes from sentence to sentence are that different names are inserted -- "In their very truly great manners of Jesus Christ very heroically Geoffrey Chaucer, Rupert Brooke . . ." Ashley's fascinating liner notes to this album offer a very reasonable interpretation of the very bizarre text. And the music? It's wonderful -- Ashley and Paul DeMarinis's electronics bubble in the background, and Wolgamot's words sound beautiful when read by Ashley, who delivers the text in his usual sprechstimme-on-downers style.
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