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viewing 1 To 25 of 42 items
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PP 054CD
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Compendium coffin closer from Pat Klassen's Barn Sour project. A project where the batshit crazy defies the beautiful whilst relishing in unease. Animals appear as phantasms, humans expel intense emotional states. Borderline music and borderline funny this is not for the faint of heart. Soap & Glue collages material from all six Barn Sour releases on a variety of labels, Staighre, Careful Catalog, 72 Fold Mane, etc. alongside a small sprinkling of exclusive material. The final Barn Sour release is the ultimate Barn Sour release and all you need to engage with one of the most twisted outfits to emerge from the underground in recent years.
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PP 053CD
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Penultimate Press releases one of the most audacious and unrelenting entries in the entire minimal cannon. A collection of recordings from a true American eccentric maverick pioneer, Sam Esh. Originally available as double-cassette in tiny editions on Mike Rep Hummel's OldAge/NoAge label these are now bound together on a double-CD set which does not interrupt the unrelenting creativity of Mr. Esh. Picture Moondog taking a turn for the far worse morphing into a way further crazed Legendary Stardust Cowboy who eschews any song tradition for an unrelenting hypnotic acoustic hurricane complete with glossolalia vocals. This is raw primitive repetitive street blues, an acoustic freight train barreling through your brain.
"It was Ron House that first steered me to the music of Sam Esh circa 1990. Sammy would bring his self-made cassettes to Usedkids Records and Ron thought it would be something that would interest me, which indeed it did. I had a cassette-only label I started in 1985 called OldAge/NoAge which had just started to garner interest in the outside world thanks to a RARE cassette review in Byron Coley's Underground column for Spin Magazine . . . Sam often sang and played in drug induced states hence this unique lingual hodgepodge streams direct from his altered temporal reality. A large part of it has to do with a tragic event in Sam's life 50+ years ago. He and his wife were in San Francisco during the late '60s and imbibed in most of the indulgences that time and place was known for. They 'took a trip' to a remote area of Baja Mexico, and during an extended acid trip Sam caught dysentery, a bacterial disease that results from contaminated food or water. Being he was in a rural undeveloped area at the time, and under the influence of said drugs Sam very nearly died from lack of proper medical attention, and was severely affected cognitively by this near-death experience. The result of this trauma was a cognitive state that has ever since required medications psychotropic medications that do not mesh well with alcohol which Sam has been on and off for decades. Regardless Sam liked to drink, and when he did he developed something of a 'Jeckyl-Hyde' personality as a result. Sam was never violent or antisocial, but often quite difficult to relate to for most people . . . Through six months of amazing shows (I drummed for the band he recruited to back him up called Hard Black Thing) Sam was quite charismatic on stage. We recorded the Incendiary release 'Sam Esh & Hard Black Thing / Montezuma Baby Duck' released on Siltbreeze Records from '92..." --Mike "Rep" Hummel
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PP 015LP
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Following the first ever vinyl reissues of Aurore and Royaume/Aimant + Aimant, Penultimate Press make available the final part of this extraordinary trilogy. Bleu is the final gesture and culmination of this period of creation where poésie and la nature form a magical alliance that resonates as an alchemical wedding. Having the conviction that Bleu was the ultimate arc based on the purity of natural sound and poetry, leaning towards a mystical spiritual search towards their own souls the band moved into comradery and collaboration with friends and ideals such as Lydia Lunch and Alan Vega.
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PP 051LP
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The four pieces on this record all date from the late 1980s and predate any officially released material: "Cords" was entirely realized in Chicago, and the others realized, or at least finished, upon arriving in Seattle in 1990. The pieces were originally privately released on cassette in micro-editions of five to seven copies and given to friends. In 2009-2010, Petri Supplies, which had a complete set of those early privately released tapes, rereleased some of that material (including these four pieces) in small-run bootleg cassette editions.
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PP 050LP
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Offering is Mark Harwood's second LP and is an album of songs about geography and placement and the way people choose to move across the surface of our planet. His simple tools of acoustic guitar, voice, tapes and bric-a-brac give Mark the freedom and clarity of vision to offer hope in song to those who choose to hear him. Offering is more than we deserve in these lousy times -- it is calm and it is forgiving, but it is also sharp and can cut. It is wise and all-inclusive but Offering is never blind and sees the world as truth, as if on a TV screen. Recorded in Berlin 2021 and mixed/edited in London by Graham Lambkin, Offering is only that, but it asks to be accepted. Recorded in Berlin, Winter/Spring 2021. All music/words Mark Harwood. Mixed/edited by Graham Lambkin. Mastered by Bhob Rainey. Artwork by Graham Lambkin and Mark Harwood "Guillaume-en-Égypte".
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PP 049LP
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Tim Goss (The Shadow Ring, Call Back The Giants) returns with his first outing under his birth name. Afterfly is a mature and compelling work that observes life as a set of repeating patterns, no matter the apparent differences everything has already happened. After one fly comes another and another and another ad infinitum. You have the face of an old man, catch me if you can. Afterfly serves as an initiation into a more thorough overview of Tim's current practice followed with a book of recent illustrations to be released on Penultimate Press in 2022. Comes with a booklet with a story to be read alongside Fly 4 (merely a rehash of the conquistadors, life forever repeating with no obvious improvement). Edition of 300.
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PP 048LP
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"... The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture -- only as ghosts or unliving effigies. A Year Closer tells you in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn't working, warned by the storm clouds and a ticking bedroom clock in 'Dark Skies'. We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in 'We Had Time' or the romantic lament of 'When I Drink.' In 'Work Last Monday,' all of life passes with cold automatism in an 'office apartment,' as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of 'Over the Hill' isn't apparently afraid of growing older and becoming a 'man,' but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. 'Angel of Mercy' tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of 'The Price' speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide..." --Paul Buchholz Includes A4 insert; edition of 283.
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PP 047LP
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"A Perfect Punctual Paradise Under My Own Name is a two-part audio drama that charts the life of a middle-aged Australian man in the throes of an existential crisis, brought about through a series of unforeseen circumstances that collectively threaten to undermine the fundamentals of his existence. It's a work that explores the sound of a mind collapsing under pressure, where lucidity is traded for mania, and eloquence reduced to a scattershot of primal rambling and abstract self-reflection. It's man-as-animal, cowering in a cage, teeth exposed, as vulnerable as it is unpredictable. It's the sad musings of a failed musician turned stand-up comic, left alone in his squalid flat to reflect on life's undelivered promise with only the constant playback of his odd routines for distraction. It's a palimpsest of derelict ideas and unloved skits, etched onto the tattered skin of Salmon Run and worn before an audience of no one. It's a series of wrong turns and dead ends, a puzzle, a game, a confession, but above all else, A Perfect Punctual Paradise Under My Own Name is the greatest record Astor never made." --Graham Lambkin Edition of 300.
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PP 046LP
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Penultimate Press present the debut full-length from Komare, a UK outfit based somewhere between south-eastern edges of London borough and the Swale. Komare is Dominic Goodman and Peter Blundell who also make up two thirds of Mosquitoes. Somewhat of an estranged cousin to Mosquitoes take on re-ruffled rock, Komare resides more as a dub influenced exploration of the outer fringes, creating a thick vibrational delusion. Somehow like Zweistein mixing a Robert Ashley record, Komare is an exceptional space and time stretching disorientation. In the process of rendering reality redundant Komare gleefully lead the listener into a netherworld of holographic, hallucinatory audio. Shades of Monoton and Pyrolator may also be detected as can the impression of intoxicants wafting around the mixing console. This is a state where humans and machines, though present, are smeared of all traceable attributes. The depths of the journey move further into a netherworld as the album progresses/disintegrates. Not necessarily one for the beauty seekers, Komare is an extremely deep trip concocted by two unbridled creative crusaders. Clear vinyl in a screen-printed wrap around sleeve; edition of 400.
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PP 005CS
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soft tissue is a collaboration between Glasgow-based artists Feronia Wennborg and Simon Weins. Penultimate Press present their debut release which has grown out of a collaborative process where recordings from everyday life rub alongside experiments with analog feedback. Exploring the sonic relationships between physical objects, pre-recorded material, and digital processing the duo plays within networks of micro amplification, blurring the boundaries between conscious interventions and environmental sounds. soft tissue welcomes you to a subtle serving of subliminal sound, both baffling and bewitching.
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PP 045LP
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Literally taking off where the acclaimed Precious Waste in our Wake LP (PP 041LP, 2019) finished off, London based outfit Triple Negative return with another exemplary amplified jigsaw puzzle. The playback of this reality is garnished with humor, bedlam, beauty, and a robust fear of the predictable. As payback for your acknowledgment our international line-up delivers a disparate mix of genres and histographies rendered into a devious dish of rhythm, song, balladry, and nerve. This is Not This Heat. A.Kostis/Kostas Bezos's "Stin Ypoga" (1930) is the template for "Bad Emotional Investments" whilst the haunting "Fine Cargo Lacquer" takes flight from the morbidly on point novel The Death Ship by B. Traven (1926). God Bless the Death Drive could be construed as a compass to navigate the wayward wonder we inhabit or it can just be enjoyed. This second full-length steers into scathed realms of everyday junk and poignant punk, all pressed down on the lowest quality ethylene and chlorine. Triple Negative return with another stamped digest of hope as joke, noise and song, rollicking rhythm and seasick soul. High gloss sleeve with printed comic book inner sleeve; Edition of 500.
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PP 040LP
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Penultimate Press (UK) and Aimless Wander (Australia) present the debut album from Brisbane's Pious Faults. With Old Thread this young Australian group have crafted a remarkably lucid and original vinyl debut. A sonic whirlwind of wonderfully deconstructed hardcore punk -- songs stripped of inheritable form, leaping from stone to leaf to puddle in a unique, abstract manner. Pious Faults careen through nine tracks on this 45rpm 12″, balancing short, disaffected hardcore punk blasts with an experimental urgency, as referenced across tracks like the massive "Worship the Surface." The tense physical interplay between instruments feeds powerfully beneath uninhibited, wonder-full snarls that depict a landscape of the destructive external and a keyhole view into the bruised internal. Experience is exposed here by Pious Faults. Watch on and see no mind tied to its own leap. This record is born solely out of love, amusement, and all the motions that follow in their wake. Tracked and mixed by Luke Walsh, mastered by Mikey Young. UK/Australian pressing limited to 300 copies, includes booklet.
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2LP
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PP 044LP
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Pancrace is a quintet from France comprising Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel, and Jan Vysocky. Pancrace began with a residence in 2015 at the Saint Pancrace church in Dangolsheim where the instrument inventor Léo Maurel resides. Pancrace's debut self-titled double-LP was released by Penultimate Press in 2017 and ended up on The Wire's best releases of that year. After the first record and subsequent tour the band were despondent that the main character of their story, the church organ, was not there. A series of meetings and chance encounters resulted in the band developing their own organ which they named "Organous". The approach of Pancrace is based on the physicality of sound, a choice of specific tone qualities within a given spatial contextual awareness. Therefore, the manufacturing and usage of the musical instrument are constantly reassessed. Consequently, playing with the mechanical aspect of the instruments is central to their musical approach and narrative. Designing an unbound pipe organ -- though emulating some of the mechanical idiomatics of the initial Pancrace church organ -- seemed the obvious way to gain more spatial control over a vast choice of places. This allowed them to approach their music from a totally new angle and work from within the organ. The results of these experiments are captured here, on their second opus, The Fluid Hammer. This new beast of an instrument, somewhere between a spider or an octopus, led Pancrace to compose from the frontality of the instrument as well as with the interactive tone possibilities brought by other instruments. With its six panels display (two bass registers, two treble, and a pair of crumhorns) the organ projects sound like the musique concrèt Acousmonium giving the listener a spatialized perception of a wide range of tones and harmonics. Fluid Hammer is the result of the research and experiments undertaken with the Organous and other instruments. Fluid Hammer is a more rhythmic and percussive affair than its predecessor, bringing to mind the experiments of Conlon Nancarrow as well as fairground barrel organs. The wide range of polyrhythmic patterns generates a constant tension between the machine and the human play. Music for Organous (spatialized and MIDI-controlled pipe organ), Uilleann pipes, Pi-synth, piano, motorised bow, boîte à bourdons, gaida, Baroque violin, hurgy toys, toy piano, componium, bodhran, low whistle, bird calls, AM radio, and shaker.
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PP 703EP
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Who Will Listen to Aches That Everyone Has is a telaesthetic document of disquiet, distance, and disintegrating memory. Careful mantels, rumors of summer, a nocturne, the black inside; Septembers wither, sentiments wane, the chamber-band plays. MB - violin, piano, spokes, hotel bell, lighthouse bell; LR - cello; ML - pianette; LF - cutlery; SM - silhouette. Edition of 150.
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PP 704EP
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Nether neither either ether [C.B.]. Bad bad grace back for a death-affirming day. Hard-to-reach claimants born in the wrong place (Bayern Tāmaki Makaurau, Arkhangel district), put out too tender and possessed by spite. 3 x negation = 15 years Philosophie Queen, 18 Meanstricken, meaning totgeschlagen! No end to the keratodermic bouzouki, knock-off glock, plastic reed, Tascam Spiel. There's nothing not superficial about it. Edition of 150.
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PP 041LP
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Debut full-length from London-based three-piece originally hailing from New Zealand (Matthew Hyland), Germany (Anja Büchele), and Romania (Dennis Debitsev). Precious Waste In Our Wake (full title written nowhere: "The Fucking Terrible Receding Shapes, We Shed Precious Waste In Our Wake") is an endlessly beautiful, dense, and chaotic crawl through so many forms it can be difficult to ascertain what is actually at play here. Ostensibly a "rock" band carved from the same plank as previous outfits Philosophie Queen, The Mean Streaks, etc., Triple Negative have appeared in a somewhat complacent London with their wildly original blend of chaos shifting alongside the suggestion of a maelstrom of politics, spite, and humor. Bloodclaat Orange, Fatna Bent Lhoucine, The Associates, Aby Ngana Diop, Royal Trux, Brigitte Fontaine/Areski, and Babyfather are all somehow wished into the scenario, either suggestively, explicitly quoted or manifesting as some malformed degree of inspiration. Precious Waste features bloody-minded Schlagzeugspiel by Stephen Robinson (Aufgehoben) and Rohan P. Thomas (The Mean Streaks, Sigma Editions) with guest verses by Maria Callas/P.P. Pasolini, Marlene Dietrich, and actually existing urban foxes of Northeast and South London. Also contains "Destroyer", the first song written by Cameron Bain for The Mean Streaks (2000. complete lyric sheet: "Destroyer!"), followed immediately by Dr Moreau-style fusion of Herman Melville and Peter Perrett in glass-all-void "Immigrant Song". Also, bass sound of the miraculous Stylophone Beatbox, plus Casio MT 45 psychick dancehall, and three pairs of strings, not four, on the bouzouki. Following on from the quietly released Towers, Open, Fire/Looking For Business 7" towards the dying end of 2018 (PP 704EP), Precious Waste In Our Wake is a malediction forbidding mourning, a portfolio of old pathologies folded into a sleek new nervous wreck. Precious Waste In Our Wake exists as a hulking ride of audacious rhythmic passages swaying alongside the meanest of melodies suddenly swept over by flights most fragile. High gloss sleeve with insert.
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PP 042CD
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Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative, and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans, and air compressors, alongside loose performative structures, to respond to places and situations. He plays in Al Fresco (with Lia Mazzari and Tom White) and regularly collaborates with Ben Pritchard, he has also worked with Ashley Paul. He continues to run the event series Muckle Mouth which he founded in 2014. Mark Harwood is a musician and performer born in Ferntree Gully and living in London. His output veers towards uncanny audio both delicate and unsettling whilst his performances rely on teasing out and playing with the mood embedded within any given environment and audience situation. He has collaborated with Graham Lambkin, Aine O'Dwyer, Timo Van Luijk, and MP Hopkins and runs the Penultimate Press label which brings forth this very release. The Blue Horse is a beautiful strange journey through a landscape where little is familiar but all are welcome. Made from predominantly acoustic sources, The Blue Horse gracefully hisses, puffs, wheezes, whirls, and clunks its way through a series of distinct musical and non-musical environments. Sounding both at times like a dark and stormy night, and "an elephant trying to get laid", the ambiguous style of The Blue Horse conceals the artists' unsettling, fantastical, and quietly humorous sensibility. Whilst The Blue Horse lacks any obvious precursors, its elemental and environmental leanings potentially tread a path initially mapped out by Moniek Darge and Godfried-Willem Raes in the works coming out of the Logos Foundation in Ghent, Belgium in the mid '80s. The Blue Horse is the debut recording from Sholto Dobie and Mark Harwood and features a guest appearance from cellist Judith Hamann.
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PP 037LP
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Melbourne-based artist Arek Gulbenkoglu presents A Gift Like A Hollow Vessel, his second full-length album for Penultimate Press. Following on from the 2017 release Three Days Afterwards (PP 029LP), A Gift Like A Hollow Vessel sees a sharper scalpel at play, resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia. Material source from voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, samples of old Folkways records, and Esperanto text-to-voice translations. A Gift Like A Hollow Vessel is striking and intimate musique concréte, a work of confounding beauty created by one of the most unique voices operating in the orbit of psychedelic music as it appears today. Artwork by Matthew Revert.
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PP 038LP
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Having released four full-length albums framed around more song-oriented spheres, Melbourne artist Francis Plagne has concurrently moved around collaborative endeavors with Andrew Chalk, Joe Talia, and Crys Cole. He was also a part of that Food Court record released on Graham Lambkin's Kye label in 2014. Which brings us to Moss Trumpet, Plagne's first solo album which exclusively orbits a more abstract domain. Taking inspiration from Costin Miereanu's Luna Cinese (1975), this gentle curiosity records the private use of flute, harmonium, keyboards, microphones, organ, paper, percussion, recorder, synthesizer, tapes, tuba, voice, whistle, and zither. Like Miereanu's master stroke, these recordings were then collated in semi-random layers creating shifting beds of subtle startling sound. Moss Trumpet is a timeless affair, warm and woozy as if it is drifting over two sides where each could be either, where the audio perpetually falls in on itself creating a bed of sound inexplicably eschewing standard movement and progression as it unfolds out and around the listener. Artwork by John Nixon.
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PP 036LP
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Debut recording from two troubadours of oppositional creep, MP Hopkins and Mark Harwood. Inspired by Philip K. Dick and the useless machines that haunt us all, Disfigured With Abbreviations is a roundtable exquisite corpse which crawls through a miraculous environment, at once sensual and sinister. How is it that the perpetual promise of a future lands us in a deeper quagmire? How do two gentlemen with scruffy vocabularies fall into a sonic landscape of such haunted beauty? Following their debut live performance on the rooftop of a bakery in Northcote, Victoria in January 2018, Harwood and Hopkins soon set about making a recording. Initially structured with individual recordings placed on each other regardless of content and positioning the works soon evolved into a rich labyrinth of found sound, field recordings, electronics and voice with all elements mapping out a landscape heroic in its embracing of utter failure. Artwork by Hopkins and Harwood. Printed inner disco sleeve and reverse board jacket.
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PP 035LP
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Second in a series of two previously unreleased soundtracks Henning Christiansen made for the films made by his partner and collaborator Ursula Reuter Christiansen. Den Røde Skov ("The Red Forest") was Ursula's second film made in 1986. In stark contrast to the exquisite romantic melancolia of their first collaboration, The Executioner (PP 034LP), Den Røde Skov resides as one of the wildest recordings in the entire Christiansen catalog. Aligned more with works like the legendary collaboration with Nam June Paik and Joseph Beuys, Abschiedssymphonie (1988), Den Røde Skov unfolds as a delirious and demonic audio exhibit, at once deeply eccentric and utterly enthralling. Featuring the exceptional sound work of Ernst Kretzer and contributions from Ursula Reuter Christiansen, Addamaria Reuter Christiansen, Bjørnstjerne Reuter Christiansen, Carla Tató, and Werner Durand this is a rich tapestry of sounds, voice, and obtuse atmospheres drifting from the deeply meditative to the outright hysterical. Remastered by Giuseppe Ielasi from the original master tapes sourced from the Henning Christiansen Archive. Comes in a full-color gatefold sleeve incorporating a full-sized eight-page booklet with a selection of striking images from the original film; Red vinyl; Edition of 500.
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PP 034LP
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First in a series of two releases unveiling the previously unissued soundtracks made for the films of Ursula Reuter Christiansen by her partner and collaborator Henning Christiansen. The Executioner ("Skarpretteren") is Ursula's first film from 1971 and is now considered one of the most important works of early Danish feminist art. A highly praised recent show at the Statens Museum for Kunst in Copenhagen highlighted the pertinent themes and ongoing urgency which lies within this bold symbolic work. The exquisite score is one of the key neo-romantic works in Henning's far reaching output. A deeply melancholic set of vocal based works which place the listener deep within the tension and despair of Ursula's themes. This unique vinyl presentation also features nature sounds recorded for the film on the island of Moen along with surprising works that defy anything else in Henning's output. Assembled from the original master tapes sourced from the Henning Christiansen Archive by Mark Harwood. Remastered for vinyl by Giuseppe Ielasi. Comes in a reverse board sleeve with printed gloss inner sleeve featuring a host of images from the film; sorrowful black vinyl; Edition of 500.
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PP 031CD
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Op.192 Umwälzung - Fluxorum Organum 1990 Eurasienstab Ist Immernoch Angelpunkt is a previously unissued work by Henning Christiansen from 1990. Around the formation of the European Union, Henning approached his original Eurasienstab organ recordings from 1968 as a platform to remold a vast amount of audio he made over the subsequent years This special two-CD release comprises two different mixes of Umwälzung that were made for Werner Durand in 1990 to be used as backing tapes for a performance at Ballhaus Naunynstrasse in February 1990. Umwälzung is unique in Henning's output as it resides in a more contemporary landscape positioning itself more as a "mix" than a stand-alone recording -- one which retains the skewered sensibility that only Henning could conjure. The two-hour long versions of Umwälzung are haunted with tape hiss, weird interference, and a deeply melancholic aura that moves from the original Eurasienstab organ recordings through to the somewhat hysterical 180 Hammer Blows Against War Monkeys , resulting in an epic and hypnotic excursion. Presented here in full cooperation with the Henning Christiansen estate. Comes in a mini-album gatefold sleeve; Edition of 500.
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7"
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PP 702EP
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Two previously unreleased works from the late Danish composer, musician, publisher, artist, and Fluxus actionist Henning Christiansen. "Rødhætte" (1985) is a rendition of Little Red Riding Hood featuring Ursula Reuter Christiansen as narrator. All the hallmarks of Henning's unique approach to music/sound appear as the tale goes deeper into the depths of animalistic frenzy. "Ruinmusic" (1984) inhabits the last breath off the piano housed within the former Marienborg Manor. Prior to the destruction of the estate, Henning Christiansen played a final haunting melody before the instrument was dumped down in the dirt. Artwork by Ursula Reuter Christiansen; Edition of 500.
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PP 030LP
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What constitutes an unidentified sighting, the rarely heard "alien" clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press present My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, New York, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation's New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brötzmann, Evan Parker, Raymond Boni, among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music's outer limits. "His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he's reaching for jazz's outer limits" --Time Out, New York. Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique. Personnel: Joe McPhee - B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer; Bryan Eubanks - Open-circuit electronics (sinetones). Artwork by Jerry Starpoli; Liner notes by Joe McPhee; In memory of Jerry Starpoli. Edition of 499.
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