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SED 073LP
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Sedimental presents the newest work, A Rift In the Horizon's Wall (ARITHW), from Paris-based electronic musician and sound artist Kassel Jaeger (François Bonnet), realized during a week-long artist residency at Epsilon Spires in Brattleboro, Vermont in June of 2023. In addition to creating and performing ARITHW he also performed Eliane Radigue's "L'île resonante," bookending the week. ARITHW was developed during an artist residency at the Epsilon Spires art center based in Brattelboro, VT, USA. During this residency, François J. Bonnet appropriated the space to create original music. Using their 1906 Estey 3-Manual Organ Pipe as his primary source, Bonnet then set about exploring secondary instrumental sources, such as the in house grand piano, but also, and perhaps more importantly, the acoustics of the three-tiered sanctuary of the former historic church (built 1889) that is now Epsilon Spires. ARITHW unfolds like an interstice, a gap between two frames on a flat surface generated by the organ, a surface that shatters to reveal an unclear, ghostly, and elusive space. In this work, Bonnet focuses on more instrumental material, only to subvert it and dilute it further before melting it into an uncertain acoustic space that evokes reminiscences of Erik Satie, Walter Marchetti, or even Eliane Radigue, as well as his own previous music and the liminal electroacoustic climates that have been his trademark for many years. A profound work of subtle complexity and suspended tension. ARITHW also refers to the vernacular literary mythology of New England, a land, at the same time, still attached to Europe and torn from it. The album artwork consists of works by Bonnet, with the first edition accompanied by a limited edition of 70 unique engravings produced by the artist at Brattleboro-based First Proof Press. The residency and project were made possible by a Jazz & New Music Creation Grant from FACE Foundation, Supporting French-American Cultural Exchange in Education and the Arts. François J. Bonnet is a Franco-Swiss composer and electroacoustic musician based in Paris. He is a writer and theoretician: his books The Order of Sounds: A Sonorous Archipelago, The Infra-World, and After Death are published in English by Urbanomic. He is also the co-editor of the SPECTRES series of publications. As a musician, Bonnet often works under the project name Kassel Jaeger. He has collaborated with artists such as Oren Ambarchi, Giuseppe Ielasi, Stephan Mathieu, Stephen O'Malley, Jim O'Rourke, Akira Rabelais, James Rushford and Gisèle Vienne.
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SED 072CD
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Sedimental brings to light this long overdue release of material from 2007 of the distinctive and esteemed improvising trio Mawja (Mike Bullock, Mazen Kerbaj, and Vic Rawlings) during their residency at STEIM in Amsterdam (NL). Already established as highly respected improvisors, both Bullock and Rawlings being key figures in the fertile improvising scene of Boston codified as "lowercase" and Kerbaj instigating and synergizing the free music scene in Lebanon simultaneously, the trio came together in 2004 while Kerbaj was in the U.S. for the first time. Material was generated during Kerbaj's residency at STEIM in Amsterdam (with Bullock and Rawlings guests), yet these recordings never came to light as a formal release until now. These recordings sound as exciting and vital as ever, and complete the full audio record of this important project, providing an opportunity to re-assess the material on its own terms but also in the context of each of these respected and still active artists' careers, before and since. Musically the four tracks (one live long piece and three shorter studio excerpts), reveal the vigor and confidence of these players. This is pure improvised work, restrained but determined, that asks the listener to be the active fourth participant. The acoustic instruments of trumpet, contrabass and cello weave and hover and share equal weight with the electronic elements, often not clearly distinguished but fused, and then not. At the casual macro level, seemingly two dimensional, but at the microgranular level, quite active and multi-dimensional, encouraging increased listening volume. Kerbaj, also known for his art and illustrations, provides the artwork and drawings, playful and humorous, clearly a nod to the participants themselves and the trio as well.
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SED 070LP
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Elevator Bath and Sedimental are honored to co-release the newest work from legendary Texas-based electronic musician Rick Reed, arguably the linchpin of Austin's experimental scene for the past few decades. Reed's distinguished reputation has been justifiably lauded and this new collection of works is thus cause for celebration. The Symmetry of Telemetry, Reed's first new release since 2018, was recorded at his home studio during 2020 and 2021. Reed employs Buchla and Moog synthesizers, organ, vocoder, and found radio sounds. "I've long been fascinated by the radio" says Reed. "But usually more atmospheric blasts like short wave static, rather than accidental juxtapositions of ironic voices or music." Reed's mastery lies in his matchless ability to combine these disparate elements into tightly organized audio collages, each bearing his stamp of singularity. The resultant album contains three new stories conveyed as highly distinctive, personal electronic music. Side A's "Dysania" is an atmospheric rumination on the lethargy so prevalent during the early days of the pandemic. Tinged with melancholy, it is an occasionally serene but deceptively complex study -- and one of Reed's finest compositions to date. Side B kicks off with "Space Age Radio Love Song," a dense pastiche of Buchla bleeps and bloops with frequent radio interruptions and a ring-modulated vocal coda. It's a varied and surprisingly vulnerable construction, a love song in its essence. Side B ends with the moody and intriguing "Leave a Light on for Tony," dedicated to the great artist of light projections, Tony Martin, who passed away the same day Reed finished this piece. The gorgeous artwork on the album's cover consists of two recent paintings by Reed, the most fitting visual accompaniment imaginable for his music (and vice versa). The images are presented here on a heavy, full-color jacket with spot gloss printing, designed by Colin Andrew Sheffield. The vinyl is housed in a poly-lined inner sleeve with beautiful full-color labels.
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SED 070X-LP
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LP version. Clear vinyl.Elevator Bath and Sedimental are honored to co-release the newest work from legendary Texas-based electronic musician Rick Reed, arguably the linchpin of Austin's experimental scene for the past few decades. Reed's distinguished reputation has been justifiably lauded and this new collection of works is thus cause for celebration. The Symmetry of Telemetry, Reed's first new release since 2018, was recorded at his home studio during 2020 and 2021. Reed employs Buchla and Moog synthesizers, organ, vocoder, and found radio sounds. "I've long been fascinated by the radio" says Reed. "But usually more atmospheric blasts like short wave static, rather than accidental juxtapositions of ironic voices or music." Reed's mastery lies in his matchless ability to combine these disparate elements into tightly organized audio collages, each bearing his stamp of singularity. The resultant album contains three new stories conveyed as highly distinctive, personal electronic music. Side A's "Dysania" is an atmospheric rumination on the lethargy so prevalent during the early days of the pandemic. Tinged with melancholy, it is an occasionally serene but deceptively complex study -- and one of Reed's finest compositions to date. Side B kicks off with "Space Age Radio Love Song," a dense pastiche of Buchla bleeps and bloops with frequent radio interruptions and a ring-modulated vocal coda. It's a varied and surprisingly vulnerable construction, a love song in its essence. Side B ends with the moody and intriguing "Leave a Light on for Tony," dedicated to the great artist of light projections, Tony Martin, who passed away the same day Reed finished this piece. The gorgeous artwork on the album's cover consists of two recent paintings by Reed, the most fitting visual accompaniment imaginable for his music (and vice versa). The images are presented here on a heavy, full-color jacket with spot gloss printing, designed by Colin Andrew Sheffield. The vinyl is housed in a poly-lined inner sleeve with beautiful full-color labels.
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CD+DVD
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SED 068CD
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From the creative well of upper Franklin County in the Pioneer Valley of Western, MA springs the Lovelights Sisters, a lovingly crafted children's TV program featuring five magical sisters: Chella, Viola, Novella, Elda, and Dot as they prepare for a Ladies Club tea party. Debuted in 2019 the program is a swirling feast of eye candy packed with song, incidental music and everything else in between. Charming, idiosyncratic, and irresistible for all ages. CD is the complete soundtrack of eighteen tracks featuring Big Blood, Jeremy Pisani, Ruth Garbus, Leaf Peepers, Liz Tonne, Feathers, Wendy Eisenberg, and many more. Also features Shannon Ketch, Kevin Smith, Omeed Goodarzi, Beverly Ketch, Dose Lonely Boys, The Highland Circle Old Time Players, Annabell Cole, Gordon Spencer-Blaetz, Jason Martin Animal Power System, Helen Rush, and Sam Gas Can. DVD features the full first episode plus bonus films. DVD is NTSC format, region free.
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2CD
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SED 069CD
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Thirty-three audio collages created with original contributions from 69 artists from nine countries including members of Fugazi, Minutemen, Mission of Burma, Trumans Water, Sebadoh, Olivia Tremor Control, Reynols, Wolf Eyes, and a host of contemporary sound explorers. The alarmingly creative and industrious Eric Hardiman has anchored in Albany, NY a multi-decade hub of individual, collaborative and cross-pollinating experimental music activities and projects, recently manifested in the Sky Furrows (2020) and the Spiral Wave Nomads (2021), his ongoing CD series with John Olson, solo as Rambutan and complemented the prolific Tape Drift label he curates and runs. As Hardiman writes: "This project is a collection of collage works that I created during 2020 and early 2021. As a way to keep my mind busy and fend off the creeping dread of the pandemic, I invited a group of friends, acquaintances and musical heroes from across the globe to contribute an original recording. My task was to take the raw sounds and combine them in new and unexpected ways. I imagine each track as its own 'parallel system', a mysterious sonic world of its own. As the tracks began to emerge, I envisioned the various contributors working together in the same room in a true collaboration. Imagining these weird social and sonic juxtapositions helped guide the project. In the end, there were 69 contributors from nine different countries, spread across 33 tracks. Although many of the sounds have been edited, excerpted, mangled, and otherwise manipulated, my primary goal was to let the musical DNA and personality of each person shine through."
Collage works created with original contributions from: Mike Barrett, Jeff Barsky, Frank Baugh, Sindre Bjerga, Andreas Brandal, Gayle Brogan, Mike Bullock, Fraser Burnett, Grant Capes, Jon Collin, Roberto Conlazo, Anla Courtis, Euan Currie, Phil Donnelly, Malcy Duff, Paul Fagoaga, Bob Fay, Tim Feeney, John Fernandes, Rob Forman, Glen Galloway, Jennifer Gelineau, Mike Griffin, Paul Haney, Ben Harbert, Claire Hardiman, Eric Hardiman, Graham Hardiman, Ray Hare, Ceylan Hay, Holland Hopson, A.F. Jones, Michael Kiefer, Campbell Kneale, Thomas Lail, Todd Lent, Brian Lucas, Walker Martin, Sandy Milroy, Melanie Ó Dubhsláine, John Olson, Andrew Paine, Arttu Partinen, Guy Picciotto, Jefferson Pitcher, Michael Potter, Peter Prescott, Chris Robert, Ali Robertson, Derek Rogers, Donna Savoy, Jon Schlesinger, Karen Schoemer, John Schoen, Mary Staubitz, Howard Stelzer, Steubs Rhian, Thompson Phil, Todd Antti Tolvi, Michael Troutman, Joe Tunis, Scott Verrastro, Russ Waterhouse, Mike Watt, Patrick Weklar, Matt Weston, Turner Williams, Peter Wright.
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SED 060LP
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"Ten years, five records, and The Weird Weeds remain a band without a country. With songs too lopsided and winding to rock and tunes too overt for stuffier experimentalists, they happily occupy a territory all their own -- strange and singular, but not devoid of a knotty interior logic. After a career built on left turns, the band takes its boldest self-departure to date; appropriately, their first self-titled record feels the most alien and most self-assured. What once splintered now sprawls and pithiness blossoms into widescreen vision. The elements of the band's previous incarnations -- Aaron Russell's spiraling guitar arcs, Nick Hennies' nuanced drumming, Sandy Ewen's guitar squeaks and scrapes -- are now underpinned by a new rhythmic intensity, a loping, sun-beaten motorik replacing the skewed pop of previous releases. Across nine untitled instrumental tracks, songs freeze in loops that unwind under their own weight or gather into busy, flickering swarms. From the Alvin Lucier shimmer of the opening track to the stunning dovetailed rhythmic cells of the album's centerpiece to the twilight keening of its elegant coda, The Weird Weeds is an object lesson in purposeful repetition: songs expand into exploded diagrams that reveal new sonic and emotional contours with the slightest change in perspective."
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SED 059LP
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"Sedimental deviates from its carefully fostered experimental music identity to release the debut of this Austin based indie pop trio. Given the quality of the songs, the simplicity and clarity of the musicianship, and the pedigree of the musicians themselves it was a rather easy and natural decision, not to mention indulging our own personal, highly eclectic tastes in the process. With its hypnotic drumming, driving bass, boy/girl dream-pop vocals, and chiming arpeggiated guitars building to swirling blasts of distorted reverb, Transit of Venus is a woefully beautiful and darkly powerful sonic commentary on a modern world gone mad." Includes download card. Housed in a full-color gatefold sleeve that's truly worthy of finding it's way onto some kind of "album art of the year" list.
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SED 058CD
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"Byron Westbrook has been performing Corridors live around the US and EU for the last four years, however this audio CD is the first physical release of the project and Sedimental is ecstatic to be releasing this very committed young artist's debut. Since 2004 Westbrook has been the technical coordinator for Phill Niblock's Experimental Intermedia Foundation. While assisting and collaborating with Niblock and other luminaries of experimental music, Westbrook began developing Corridors as a multi-channel performance system for live guitar feedback. Shortly after the completion of a month-long tour with Rhys Chatham's Essentialist, Westbrook began performing the project. Corridors has since evolved to encompass the improvised performances of other musicians, recordings of which are processed into phrases or texture units for playback from ipod or minidisc players through the multi-channel system. The results are sweeping and fluctuating textures that place distinct frequencies in different parts of a room, creating an intense opening and closing of space over time for the listener. The pieces were recorded in large spaces (churches, concert and university halls) using a mixture of binaural and mid/side microphone techniques, to allow for the most accurate imaging in a stereo field. The recording process spanned a three year period, during which many different performances of the works were documented. These recordings were carefully edited together, taking the most representative moments of each performance, to make this CD containing three frequently performed pieces. These pieces are loosely structured works, always performed in conjunction with single or multiple light projections. An element of improvisation exists within each performance in that every room is different and the sounds respond uniquely to different rooms. There is a beginning, middle and end that has been worked out, but where the sounds exist and for how long will change for each performance. Limited to 500 copies and housed in a custom oversized sleeve."
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SED 057CD
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"Wanke continues to amaze us with his sensitive, detailed and spacious soundworks. to r.s. follows up his lauded debut Caves on Sedimental with another stunner. For to r.s. Wanke uses electric and acoustic guitars, acoustic piano, objects and natural sounds. The 53 minutes of this unique piece divided in four parts combine static compositions, drones and looped music. Structurally viewed as a classical composition, the music takes shape with flat harmonic profiles and acoustic events that are layered and coupled together in elliptical and hypnotic loops and echoes. The piece is dedicated to and inspired by Robert Schumann's music. Born in Genova, Italy in 1977, established in Milan from 1982 until 2005, multi-instrumentalist and composer Ricardo Dillon Wanke lives and works in Lisbon. He has been working in the experimental music field since 2000 (long term collaborations with Giuseppe Ielasi, Stefano Pilia, Francesco Dillon, Renato Rinaldi, David Maranha, Manuel Mota, Rafael Toral among others). He is member of Medves group. He set up a trio with David Maranha and Manuel Mota, 'dru' and collaborated with Italian classical cellist Francesco Dillon with whom he co-founded 'Amuleto'-collective. His work with guitars, acoustic and keyboards (piano and rhodes) and sax has started from pure radical improvisation and has drawn to the investigation of drones sounds, static and looped music related to the minimalism."
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SED 056CD
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"Linda Aubry Bullock's subtle emergence on to the Boston experimental music scene in 2002 was a smile inducing surprise for those of us who knew her solely as a visual artist. It was quickly apparent however, that this was no novelty as she excelled in a range of projects with her unyielding analog electronic contributions. After seeing Bullock perform many times over the years and then hearing the menacing piece 'Ray of Dark' on the Rare Frequency radio program in August of 2008, we were inspired to commission her to submit a full length's disc of material for a long overdue debut release. While LAB does fly solo, she truly thrives in collaborative settings, several with her partner, the composer Mike Bullock, who appears here with Twilight of the Century. What we love about her work is its directness and purity. Her electronics recall certain bleak atmospheres and sensibilities of many mid-80s post-industrial artists: menacing, pulsating, and droning. Her work is not overt or obvious though, instead inserting its way into your system like a deadly parasite or virus. The order of material on the disc was skillfully assembled to work as a whole in this way and we recommend listening to it rather loudly with the shades drawn."
artist statement: "'Twilight of the Century' is a collaboration between Century Plants (Eric Hardiman and Ray Hare) and rise set twilight (Linda Aubry Bullock and Michael T. Bullock). The first 4 tracks are our reaction pieces to this performance -- material taken from 'Twilight of the Century''s performance on July 31, 2008 in Albany, NY. The other two pieces on this album, while not directly involving 'TotC' are related to the time that the group was forming. I feel that A Specific Gravity is the shadow self of 'TotC.' It was recorded by Michael T.Bullock during a residency at STEIM in Amsterdam, NL in June 2009. If I drew a Venn Diagram, the center would contain The Story of Mike, the sets being friendship, family, and places. It was inspired by a recording of Seth Cluett and Jennifer Eberhart as they were conjecturing on the origins of MTB."
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SED 055CD
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"Alessandro Bosetti is a longtime friend and a musical colleague of many of our friends as well. We have followed Bosetti's creative development over the years and admire his challenging and often discomfort inducing works and live performances. Though we assumed that his sharing the recording of Zwolfzungen with us a few years back was just to keep us abreast of another of his unique projects( this one originally as a piece for German radio), it's power and musicality struck us as being his most realized work up that point and it was clear and without hesitation that we should make it tangible via the label. We feel it is a perfect synergy of Bosetti's deep interest in text based works combined with all of his broad and dexterous musical abilities. A subtle and understated masterpiece. We are also proud to once again be working with Shelter Bookworks(re: Area C) on the creation and design of the handmade cardstock sleeve. Their attention to the detail of materials and execution is unmatched. The inclusion and choice of the eerie and charming drawings of Erin Womack as the artwork for the panels help make this document more than the sum of its parts and something to behold."
Artist statement: " I like to listen to languages I don't understand. I like the moment when the understanding of words stops and every language starts to 'make noise'. All languages have a special sound, some more than others have particular acoustic characteristics that delight this musician's ears. For Zwolfzungen I colllected recordings of eleven languages I'm not, or partially, able to speak and understand. Eleven languages I encountered in my travels, whose sound I especially liked. Moreover, I invented a twelvth one, developed and learned during the past years and featured as a last instalment of the series. Zwolfzungen could be translated as twelve languages as well as twelve tongues. I try to 'misunderstand' each one of those languages as much as I can. They include, among others: Dogo, Basque, Urdu, Mandarin, Cherokee, Japanese and Zulu. For each language's recording I developed a specific piece of music, dis-engaging from the meaning of the words and instead concentrating on its sound and rhythm. The pieces are not intended as features or documentaries as I'm not inserting any explanatory aspect into their context. I used whatever compositional ideas and methods the source material inspired : tape collage, electro-acoustic processing, max/msp, low-fi sound devices and then performed them live, mixing my voice with pre-recorded and realtime electro- acoustic materials. Each piece is a unique musical universe and be may listened to individually or as a total group. Zwolfzungen was originally commisioned in 2005 as a radio art piece for DeutschlandRadio Kultur in Berlin and re-worked as a multi-channel live performance in 2007."
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2CD
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SED 054CD
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"In live collaboration with Black Forest/Black Sea, Eyes Like Saucers and Mudboy. Double full length CD release limited to 500 copies housed in a stunning and uniquely designed handmade, hand assembled letterpress cardstock sleeve by discerning artist Amy Borezo at her Shelter Bookworks studio in Western MA. We have been fans and have closely followed Providence's Area C project for several years. It was simply a matter of time before we would release something by this dynamic artist and these special recordings presented themselves as the obvious choice. Area C's work has always appealed in its ability to be at once hypnotically accessible balanced by subtle and brooding dark elements under the surface. It recalls both post-rock elements as well as the more experimental works of classic '70s German space rock groups. The live collaborations with the other Providence-based artists push Area C's distinctive sound in compelling directions. This document represents over two hours of carefully selected music taken from many evenings of performances."
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SED 053CD
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"Novi_sad's work came to our attention via our good friend Susanna Bolle (Non-Event and Rare Frequency) in Boston. A superbly keen ear, Bolle felt that his work and our label should connect. Though Novi-sad has only a few years of practice behind him, the quality and maturity of all of his efforts is striking. The proposed Jailbirds material for Sedimental was totally complete and not only of the highest quality, but also of a truly unique vision. What is significant in his work is the multiplicity of its action on the listener. It is a density of sound, acting in three-dimensions, not as auditory 'sound effect' but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones and overtones into a unified whole. Sedimental is truly excited to be an early anchor of this young composer and sound artist's serious oeuvre. Novi_sad (Thanasis Kaproulias, b. 1980) is a graduate student from the Economic University of Piraues. He lives and works in Athens, Greece, where he began generating sounds in 2005. His debut album Misguided Heart Pulses, A Hammer, She And The Clock received worldwide critical acclaim. Recently, Novi_sad did a recording session at the prestigious VPRO studios in Amsterdam, for the Dutch National Radio, which will be released by Staalplaat in the Mort Aux Vaches series. A recent piece called 'Dramazon' is available on TouchRadio from the publishing house Touch. He is currently working on a project based on various methods of audio analysis called 'Sirens' in which he explores the aesthetics of information on sound by using quantitative data from major stock market crashes in history."
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SED 7002EP
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"Proposed for Sedimental as a 'glorious masquerade' by Boston-based Bhob Rainey (BSC, Nmperign, and infinite collaborative scenarios) with the opportunity to also release solo work by Western MA's Chris Cooper (Fat Worm Of Error, XO4, Buddies, BSC, etc.) in his Angst Hase Pfeffer Nase guise proved too devastating a proposition to avoid. So we did not avoid it. Here we have a circular 'cover' project, or a 'which came first,' a 'who is who' conundrum. Those who know the respective artists work well enough should be able to suss the jig, and despite a label-less disc, there are other ways. So, what do we have here, musically? Densely-collaged musique concrète-ism edited at a rather brisk pace, essentially. What matters, besides each artist's specific musical means, is both the sensitivity and the breadth the artists bring to the project. Concise. Humorous. Kick-ass. Classic. Do we really need to discuss Rainey's 'importance' on things experimental at this point? I hope not. Chris Cooper, on the other hand, does deserve a bit more elucidation. Though well enough known through the circles in the above-mentioned projects, it seems that his particular genius through the discipline of his guitar work is still not wholly understood. He possesses notable music knowledge as well as theoretical approaches that are generally not employed in the lo-fi, experimental noise and punk worlds in which he operates. His contribution to this artifact is yet another important piece of evidence that continues to build an airtight case for his necessary-ness."
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SED 023CD
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New edition of the first Stars of the Lid release. "This was Sedimental's first CD release back in 1994. Robert Overtz (Ultrasound) mentioned this guy Adam who was doing amazing 4-track stuff at home. I think the name of the tape he gave me was called Ombudsman. The success of this release was a nice surprise and certainly having Joel at Cargo champion it, who was just getting Kranky going as well, certainly put us both out there. Ultimately, SOTL ended up at Kranky and are still making amazing recordings for them. Many say this is still their favorite Lid release, although I am partial to the Ballested Orchestra, too. It certainly remains a powerful touchstone for and precursor to, the post-whatever independent music scene and still sounds incredibly solid and undated today. Though Stars founder Adam Wiltzie has admittedly distanced himself from the release in artistic terms, he felt it was time to revisit and refresh the work with a new mastering job, as well as having new artwork designed by long-time visual collaborator, Craig McCaffrey. Sedimental has always kept the document in print in its original form with a remarkably steady stream of sales, but we welcomed the opportunity to update the release and make it more widely available to a new generation, so to speak."
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SED 052CD
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"Fragments & Compositions is a collection of long-processed recordings that began at several universities and art centers visited frequently from 2005 to 2007. Working with classically-trained musicians recruited on a whim, Dunn recorded the often awkward sounds of the sessions and sparse notes of the musicians as Dunn dictated. The music addresses amongst other aspects: the pace of meeting people and their vanishing, the human condition, the nothingness of being, indifference, the ephemeral, the bleak and the misery of mid-winter and mid-summer. Yet also the warmly humanist acceptance of these negative terms and things. Sedimental has been following Dunn's sensitive and world-wise drone works closely for many years, and with this brilliant new release we hope to expand his presence on many levels." "...there's an austere classical air to Dunn's compositions, recalling the geometry of cathedral domes and the interlaced ribs of vaulted ceilings." --The Wire
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SED 049CD
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"Certainly amongst our most challenging releases, Sillage is the mind-blowing collaboration of Brendan Murray and Seth Nehil and is the result of a first meeting in a live setting from 2004, a performance that was loud, powerful, and very successful. This event combined with knowing these electronic sound artist's previous work as generally maximalist and full makes Sillage both curious and nearly shocking in this light, as here the material is continually turning inward, trying to push out but always being submerged. This document takes many, many listens and can remain baffling and impenetrable. Yet with patience one does get underneath it, and once this happens the sonic rewards are otherworldly and deep. Followers of either or both artists' work should recognize his particular contribution, but this venture has provoked new and uncharted territory from both."
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SED 048CD
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"This trio features very distinct musical personalities and caught us off guard simply by its appearance at all, but we sure did smile when we heard it as we knew it would pack the goods. Both Zach (percussion) and Doneda (reeds) lay sturdy frameworks with Ielasi (guitar) adding an almost alien warmth to the group sound. Intense sonic impact yet transparent and sparse enough to navigate with alert senses, the whole disc has an ambitious arc that one may miss when caught in the web. Doneda's comments: 'The music unfolds from known materials, offering clues. The fleeting nature of the colors, tones, dynamics and rhythm coalesce and then dissolve. Often, the sound seems to dig in an invisible soil, and then the quest stops, often at a new place, but then another layer appears. Each musician weighing the sounds in the most real sense... perfectly independent in a unique and definitive community without specific roles or hierarchy.' All true."
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SED 047CD
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"The Bhob Rainey/Ralf Wehowsky collaboration overcame many gruelling attempts, musical dead-ends and a five full years to realize its outcome and man, was it worth the wait! Both artists sit firmly in their unique and highly regarded (and earned) musical positions these days and are both truly fearless in attempting and pursuing new musical activities for themselves. Here are three powerful, often hair-raisingly intense pieces that allow no room for complacency on the part of the listener.... at all. Here is what Dan Warburton says in the newly posted February issue of Paris Transatlantic: 'Listen to how the title track emerges slowly from a shell into which fragments of recognizable noises are being sucked as backwards sound files, taking nearly seven minutes to reach the open air, where distant sounds of children at play, footsteps and tiny smears of saxophone multiphonics and all manner of sonic building blocks both recognizable and tantalizingly inscrutable are gradually brought together to construct the musical equivalent of a Gothic cathedral... from where I'm sitting this is one of the most important works of electronic music (or musique concrete, if you prefer) to appear this decade.'"
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SED 044CD
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"Olivia Block's Heave To is her fourth full release under her own name (her first two are on Sedimental, the most recent on Jason Kahn's Cut label) and marks both a new maturity in her compositional prowess and also a new confidence. Heave To, a composition in three movements, is an investigation into the deep structures of maelstroms. A roiling mixture of crashing waves and wind, jagged strings, clanging metal, complex electronic textures, and clusters of chamber instruments. In our opinion, this is her strongest work since her debut, Pure Gaze. Olivia Block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. In the process, 'organic' sound becomes subtly processed, digitized and abstracted; 'inorganic' sound becomes self-replicating and animate; and 'musical' elements such as chamber instruments are defamiliarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound."
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SED 045CD
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"The Suncrows Fall and Tree bolsters Stefano Pilia's small but substantial and well received body of solo work (LVD, Time-Lag) along with his participation in the highly lauded 3/4HadBeenEliminated project with Valerio Tricoli and Claudio Rocchetti. The new document contains two 20-minute long sound arcs that are sweeping and focused, essentially drone pieces. They are beautiful in their restraint but not 'pretty' and are grounded in the subtle use of acoustic and natural sound elements. The work was composed and recorded between 2003 and 2005 in Bologna, Milano, Codroipo and Arbatax using the following sound sources and devices: electric guitar, field recordings, microphones, piano, tape noise, instruments played by wind, sine waves, PVC tubes, filters with an additional contribution from Andrea Belfi of high frequency synth. Besides the above mentioned projects, Pilia is also a member of the Medves project and a collaborator with Black Forest/Black Sea and has contributed to numerous installation and film sound works."
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SED 042CD
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"Antiguos Dolmenes del Paleolitico ('Ancient Palaeolithic Dolmens') is a composition in four parts created exclusively with processed no-input feedback and inspired by these stone monuments. It was created in early 2004 and is the first full-length solo CD from Argentinian composer Alan Courtis, a founding member of the group Reynols. Courtis currently lives in Buenos Aires, and has toured extensively in USA, Europe, Japan & Latin America collaborating with artists such as: Pauline Oliveros, Damo Suzuki, Toshimaru Nakamura, Makoto Kawabata, K.K. Null, Rick Bishop, Thomas Dimuzio, Jason Kahn, Solid Eye, Birchville Cat Motel and Lasse Marhaug."
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SED 043CD
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"Res Extensa is a tape piece based on the superposition and juxtaposition of different layers of sound 'registers.' These registers are layers of sound materials related to our everyday sound environment and coming from different origins: marginal sounds from electric devices, analog sources, field recordings, amplification of microsounds, recordings of machine noises, digital 'errors' and 'heard' musics. These sounds do not carry a traditionally codified expressive meaning but rather an emotional register linked to our everyday experience, an affective and tactile charge related to what we are exposed to. Within them, a great variety of articulations and nuances are connected to our feeling and understanding (of the world). The aim of the piece is to unfold, friction and break up these matters to expose them in their affective characters and our connection to them. Recorded sound can be thought of as a specific kind of acoustic event. This, as well as the sounds of all kinds of electric phenomena, have become part of our listening culture. The fragments used in Res Extensa, different levels of 'recorded' sound, are not a representation of the world but rather extracts of our vibrational experience, of our shared surface of perception, feeling and thought. The idea is to create a musical event based on the assemblage of different modes of listening. In Res Extensa, sound matters and their implied listening habits are put against each other. The idea is to build a dramaturgy of the grain of sound in which each layer unfolds an array of sensations, a plane of continuous movement stripped of the acquired mechanisms of perceiving 'musical' sound. Music as a language of matter, but language as an articulation of experiences rather than as a representative system."
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SED 041CD
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"EKG is the duo of Kyle Bruckmann and Ernst Karel. EKG's music is situated between acoustic and electronic, improvised and premeditated, disruptive and meditative; it crackles and hums with precariously restrained potential energy. Combining traditional and extended wind techniques with anachronistic (non-digital) electronic processing, they carefully sculpt a bizarre yet organic sound world of shifting tones, sudden and creeping textures, elusive suggestions of possible melody, and microscopic noise. No Sign is their third release, combining sessions from makeshift studios amidst Chicago snow and San Francisco fog."
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