Beth Anderson Peachy Keen-O (Pogus 21030-2)
This CD has pieces with an auctioneer, a Kentucky farm with birds & clover, a jazz dancer, a quivering, vibrating, sexually tinged piece full of women saying supplication, a saint dying in flames, a drum piece about frustration, mother/daughter miscommunication, a pipe organ, and punk rap with overtones of yoga. Many of Anderson's compositions from 1973-1979 use words or parts of words to make either all or part of the music. Sometimes the music is derived from the words. Some of it is considered to be part of the genre known as text-sound.
Jorge Antunes Savage Songs - Works From 1961-1970 (Pogus 21027-2)
"Pequena Peça para Mi bequadro e Harmônicos" (1961); "Valsa Sideral" (1962); "Música para Varreduras de Freqüências" (1963); "Fluxo Luminoso para Sons Brancos I" (1964); "Contrapunctus contra Contrapunctus" (1965); "Três Estudos Cromofônicos" (1966); "Canto Selvagem" (1967); "Movimento Browniano" (1968); "Canto do Pedreiro" (1968); "Cinta Cita" (1969); "Auto-Retrato sobre Paisaje Porteño" (1969/1970); "Historia de um Pueblo por Nacer or Carta Abierta a Vassili Vasilikos y a todos los Pesimistas" (1970).
Ellen Band & David Lee Myers Two Ships (Pogus 21035-2)
Performances by Ellen Band and David Lee Myers blend sonic environments and specialized electronic circuitry. Myers generates his signature "Feedback Music" using custom-built devices that "sing their own songs." The resulting sounds represent nothing other than the free circulation of electrons within, prompting one observer to describe them as arising "from the ether." Band carefully builds swirling layers of sonorous, textural, tone/noise clusters by mixing and processing lengthy samples from her field recordings of real-world sounds. Though their individual working styles are very different, their combined effort yields lush sonic densities that continually pulse and morph while complementing and contrasting each other's sonic expression.
Big City Orchestra Greatest Hits & Test Tones (Pogus 21005-2)
Five of BCO's greatest performed by dAS, Robo, Daevid Allen, Brook Hinton, Mic Gendreau. Four test tones specially mixed by John Duncan, Monte Cazazza, G. X. Jupitter-Larsen.
Ross Bolleter Crow Country (Pogus 21021-2)
Australian Ross Bolleter's new disc features five compositions. Four of them are solo works: "Unfinished Business" for ruined piano; "Under Rookwood" for double bass; "Labyrinth Tango" for accordion; and "Piano Dreaming" for ruined pianola. "That Time (Simulplay II)" is for a duo of prepared piano and double bass.
Chris Brown Talking Drum (Pogus 21034-2)
Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99.
Warren Burt Harmonic Colour Fields (Pogus 21028-2)
"Harmonic Colour Fields is a set of five computer pieces which explore static microtonal harmonic fields. This means that once a piece begins, harmonically, it's going to stay pretty much the same for it's entire duration. The pieces are descended from the 1970s 'drone' pieces of such composers as La Monte Young, Charlemagne Palestine, Hal Budd, and myself, but they make greater use of slow harmonic progressions to make more varied musical surfaces. I wanted to make pieces where the quality of the harmony was the primary focus, and so used very simple rhythms, plain electronic timbres, and a minimum of melodic structuring. In fact, in these pieces, any sense of melody is simply the result of how the harmonic material is articulated. That is, change in harmony, and not construction of melody was my aim in making these pieces. The title refers to the 'colour field' minimalist painters of the '60s and '70s. I thought of these pieces as analogous to those paintings, in that the explore the varieties and shades of one particular harmonic musical colour."
Crawling With Tarts Ochre Land, Blue Blue Skies (Pogus 21039-2)
Ochre Land, Blue Blue Skies was composed by Michael Gendreau (1996-7), incorporating conceptual information from Suzanne Dycus-Gendreau. Instruments designed by Michael Gendreau and Suzanne Dycus-Gendreau. Grand Surface Noise Opera Nr. 7: The Decadent Opera (Rococo) was composed by Suzanne Dycus-Gendreau and Michael Gendreau (1994).
Long overdue, long-promised release. This may be the last Tarts track (and opera) and one of the first solo-composed Gendreau recordings. Or I could be making that all up. Anyway, wonderful music and sounds—it is a Crawling With Tarts opera, and OLBBS is a killer.
A musician since age 6, Gendreau went along to work with several group organizations, culminating in Crawling With Tarts (1983-1998), and using this group as a medium (along with the various uses made of it by co-founder Suzanne Dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis. These final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in Gendreau's studio using a decrepit lathe. More recently, in composition and performance, Gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician-primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions.
David Dunn Four Electroacoutic Pieces (Pogus 21026-2)
Composer and sound artist David Dunn was born in 1953 in San Diego, California. From 1970 to 1974 he was assistant to the American composer Harry Partch and remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research.
Flies In The Face Of Logic - Digital Piano Music by Nick Didkovsky, C.W. Vrtacek and Steve Maclean (Pogus 21008-2)
Nick Didkovsky (Dr. Nerve), C.W. Vrtacek (Forever Einstein) and Steve MacLean fly in the face of their "usual" musical situations. This is music surrounded by blurry boundaries: indistinct borders among technology, human invention, fixed composition, and indeterminate processes. The CD opens by dropping a piano on the face of traditions and expectations, and the twenty-two remaining tracks are dedicated to reconstruction.
Kenneth Gaburo Tape Play (Pogus 21020-2)
Ten tape compositions: Fat Millie's Lament, The Wasting of Lucrecetzia, For Harry, Lemon Drops, Dante's Joynte, Rerun, Mouthpiece II, Hiss, Few (in collaboration with Henri Chopin), and Kyrie.
Tom Hamilton/Al Margolis/Mike Silverton Analogue Smoque (Pogus 21029-2)
Tom Hamilton, sounds and assemblage; Mike Silverton, text and voice; Al Magolis, sounds.
"Analogue Smoque's deportment owes much to Dada, which positions it some 85 years late for lunch. The work's disjunct, shard-like character looks in significant measure to the manner in which it came together as a pastiche of youthful bits." -- Mike Silverton
If, Bwana Breathing (Pogus 21010-2)
"Breathing" is for two didjeridus, cello, oboe, and tapes. "R.Ism V.2PF" is for tape, two pianos, sampled flute, and electronics. "Barump Poc" is for winds, organ, chorus, tapes, etc., etc., etc. The "orchestral" piece. Assisting Bwanettes on this disc are Jane Scarpantoni, Dave Prescott, Brian Charles, Dan and Detta Andreana, Danielle Reddick, Paul Richards.
If, Bwana Clara Nostra (Pogus 21019-2)
The rumbling continued. Matt slowly opened his eyes, then getting out of bed (hopefully remembering to put on some underwear) wandered into the common area of the loft. "What the !@#$%^&*() is that!" "Clara Nostra" Matt (his roommate and not his deranged alter ego/split personality) replied. "That tells me alot." "New If, Bwana disc" Matt blurts out, somewhat embarrassed by his obvious poor taste in listening habits (not to mention his rather lax attention to personal hygiene). "Well that does explain a lot," Matt says as he heads back to his room. "No wonder it doesn't go anywhere. Kind of annoying isn't it?" Matt looked at Matt just before Matt disappeared out of sight. "I like it." Al says "If 62 minutes of 156,000 clarinets rumbling and grumbling slowly through your speakers with no destination home is for you, well you're home. On the other hand if that sounds like something to drive.
If, Bwana I, Angelica (Pogus 21024-2) 2-CD Set
"Into the rackets are ya, punk?" "Yeah, that's my story and I'm sticking to it." "Get outta here, ya punk." I headed down the steps and out the front door. "!@#$%^&* nogood goddamn !@#$%^&* noisemaker," I heard them mutter behind my back. (wow - I always wanted to write one of these). Yeah, I'm one of them.
So there you have it. I, Angelica, the noisy loud new double If, Bwana cd - trying to clear a backlog of recordings out - at a not double cd price. I, Angelica should be played loud. Real loud. Works for computer, electronics, voice (?), guitars, synthesizers.
Oh. So what else is there to say when a new If, Bwana cd comes out other than: "AAaaaaaaaahhhhhhhhhhhhhhhhhhh..."
If, Bwana 33 Birds Went (Pogus 21007-2)
Al Margolis (electronics, tapes, etc.), Ellen Christi (vocals), Brian Charles (oboe, bass clarinet, soprano sax). Special guest appearances by Jane Scarpantoni (taped cello), and Kevin Sparke (percussion).
If, Bwana Tripping India (Pogus 21013-2)
Consisting of 3 compositions, TRIPPING INDIA is the 3rd IF, BWANA release on Pogus. On this recording If, Bwana is joined by, among others, Paul Marotta (Styrenes/Electric Eels/Mirrors) on 3 Out of 4 Ain't Bad, a conceptual work for 3 different pianists, playing 3 different pianos at 3 different times to the same tape. The final version is for 3 pianists, no tape. PR-DR is an electroacoustic work for processed/manipulated percussion. The title piece combines audio "snapshots" of a wandering through India with multiple tracks of manipulated and processed drums and percussion. The end result is an "audio travelogue for 2 (highly) manipulated percussionists."
Tom Johnson Kientzy Plays Johnson (Pogus 21033-2)
Daniel Kientzy, saxophones; Meta Duo; Tom Johnson, narrator.
It is a great pleasure for Pogus to present this recording of Daniel Kientzy playing the works of Tom Johnson.
Leo Kupper Electro-Acoustic (Pogus 21009-2)
The works on Electro-Acoustic are "Electro-Acoustic Santur" (1989), for 2 santurs, 4 micro-processors and electronic sounds. "Guitarra Cubana" (1988) is presented in the form of 3 sequences. The first two sequences combine guitar sounds and phonetic sounds, the last one uses only guitar sounds. "Inflexions Vocales" (1982) with Françoise Vanhecke (soprano) is a vocal composition for soprano with accompaniment by a stereo tape. The final work is "Le Reveur au Sourire Passager" (1977) with Jean-Claude Frison (reciter). La composition, à travers le poème, décrit un monde obscur, profond, incompréhensible et mystérieux.
Leo Kupper Ways Of The Voice (Pogus 21018-2)
Rezas Populares do Brasil, Anamak, Amkéa and Annazone, are vocal works. All the sounds on this disc originate with the Brazilian singer Anna Maria Kieffer. Two works, Anamak and Amkéa, have an "orchestral accompaniment", composed of tropical bird songs. Making use of elements of electroacoustic music and sound poetry, the music expresses wonder at Brazil's tropical beauty and, ultimately, an intense love of the abstraction of words and musical forms.
Rune Lindblad Death Of The Moon (Pogus 21011-2)
This disc is a reissue of lps on Pogus and Radium. Rune Lindblad (1923-1991) was an early pioneer in electronic and concrète music. Lindblad did not see these genres as mutually exclusive. Important and wonderful works by a composer who represented no institutionalized school of thought. At a concert in 1957, the critics called his music "pure torture." With a recommendation like that, WHAT ARE YOU WAITING FOR?
Rune Lindblad Objekt 2 (Pogus 21014-2)
Volume 2 of the music of RUNE LINDBLAD (1923-1991). This CD consists of the remainder of the long out-of-print Radium double lp. These works cover the years 1962-1988. Lindblad, a Swede, began composing music in 1953. Ignored by the musical establishment in Stockholm, Rune went his own merry way, composing over 200 works of electronic music. Limited in the early years to often primitive equipment, he carved out his own musical niche. The sounds were often raw, occasionally scary.
Al Margolis/If, Bwana Rex Xhu Ping (Pogus 21038-2)
New Al Margolis release features Margolis' compositions for tapes, electronics, voice, drones. Rex Xhu Ping (pronounced 'rex-shoe-ping') features Margolis (tapes, electronics, clarinet, and sundries), Laura Biagi (vocals), Dan Andreana (speaker, tapes), Detta Andreana (tapes, bowed cymbals), and Orchestre de Fou.
Pauline Oliveros Alien Bog/Beautiful Soop (Pogus 21012-2)
This exciting new release by Oliveros takes us back to the beginnings of her innovative journey, which she described in The Wire as "There was only one place I was interested in going with what I needed to express and that was inside." The music dates from 1966-67 at Mills College in California when Oliveros was using a Buchla Box synthesizer.
Pauline Oliveros No Mo (Pogus 21023-2)
Pauline Oliveros' electronic music from the 1960s. No Mo and Something Else were created at the University of Toronto Electronic Music Studio, using tone generators, noise, and tape delay. They demonstrate the vast musical range of sounds possible even with simple technical resources. Bog Road, along with other of Oliveros' Bog series, which was inspired by a frog pond behind her studio on campus, was created with the Buchla Electronic Music Box in 1967 at the Mills Tape Music Center (now the Center for Contemporary Music).
Matthew Ostrowski Vertebra (Pogus 21016-2)
Former WFMU dj, denizen of New York's A Mica Bunker scene, former Krackhouse (not head) member, and ARP whiz—now living in The Netherlands, having studied elektronische musik in Utrecht. At last, his long overdue first CD. Matt says: "My music runs without stopping, and at a vertiginous speed. The architecture is simultaneity.…Not to perceive noise as music, but music as noise. This is a recording of a live performance: one member of a set of possible solutions. Vertebra is a computer program, an environmental construction, a scaffold, in which the activity of making sense and it's suspensions are not merely illustrated, but actually taking place.
Hans Otte Minimum:Maximum (Pogus 21037-2)
Minimum:Maximum (1973): texts / sounds / pictures. An environment (Simultaneous concert in Stockholm and Bremen) for two organists: Karl-Erik Welin and Gerd Zacher, keyboard instruments. orient:occident (1977): for two woodwind-players and tape: Ingo Goritzki, oboe; Hans-Wilhelm Goetzke, clarinet
German composer Hans Otte is perhaps best known for his piano work Book of Sounds. While Hans Otte was an enthusiastic, one might say visionary promoter of fellow composers, such as John Cage and David Tudor, whose impacts had registered to the general public long after their force reached the surface, he nevertheless remained deeply committed to his own music. In the seventies, his aesthetic creed became increasingly clear: "the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. The composer understands the dialogue with sounds as the discovery of their nature." (Ute Schalz-Laurenze)
Otte's writings, simple lines that say: "words are just something added on"; "all great things laugh"; "when something is reminiscent of nothing"; and, "it's really something - that voice that was once in the mouth," all direct us to his music, because: "everything always happens: Now." It is Otte's music that betrays his particularity of thought to what (is everything), how (it happens), and when (is now). Words are just something added on.
Collectively, these aphorisms reflect an aesthetic that dispenses with words which may address themselves to an understanding of the world. Here, however, the world to be understood is indescribable. What is everything? When is now? How does it happen? The message is that words tell, music is. Listen.
The titles "orient:occident" and "minimum:maximum" suggest a relationship between seemingly disparate things to remind us of Otte's adage: "It is the gardener who owns the garden." (From Daniel Rothman's liner notes)
Born December 3, 1926, Hans Otte studied in Germany, Italy, and the USA (Yale University). He has received numerous composition awards and fellowships and was Director of the Music Department at Radio Bremen from 1959 to 1984. He was active internationally as pianist. In addition to his compositional works—vocal and instrumental music in many styles—numerous experimental performance pieces giving new articulation to sounds, spoken word, image and gesture, as well as various projects using objects, spaces, and environments to make the experience of sound even more direct.
Roger Reynolds All Known All White (Pogus 21025-2)
Pogus is delighted to be reissuing these three long out-of-print works.
From the liner notes: "...the serpent-snapping eye (1978) was composed for trumpet, percussion, piano and 4-channel tape. The work is twenty minutes long, divided into three roughly equal sections. In the first, the primary aim of the performers is to match, submit to and intensify the taped sounds. The second, in which the synthesized sounds are sparse, introduces a felling of independence as the performers respond, reflecting on models provided by the tape. In the final section, the live performers complement and elaborate upon—they attempt to augment—the synthesized sound. Ping and Traces were composed to complement one another. Ping represents a continuing interest in theater and intermedia running through Reynolds' compositions since The Emperor of Ice Cream (1961-62). In live performance the three strands of events occur simultaneously but are not synchronized. As a recorded performance, Ping is a self-sustained composition of instrumental improvisation over taped and electronic music. Traces was written for the composer-pianist Yuji Takahashi. Scored for solo piano, with flute, cello, ring modulator, signal generator, and 6 independent channels of taped sound, this work is concerned not only with events but their residues (traces)."
Roger Reynolds Process And Passion (Pogus 21032-2)
This recording explores the "extra"-ordinary potential of the CD not only as a carrier of traditionally recorded instrumental sound (CD 1), but also offering a different view through binaural encoding of the same materials spatialized (CD 2).
First you are presented with two solo compositions—Kokoro and Focus a beam, emptied of thinking, outward…and the duo Process and Passion, in an acoustic recording, albeit with each instrument deliberately confined to one side of the stereo field. Then all three pieces are presented with extravagant sound processing, using spatialization concepts and binaural encoding, revealing unsuspected depths and energies within the sound of each of the pieces' ideas and unfolding.
"Architectures of sound"-meaning how things sound-form the shape of the compositions' emotional traversal. For the two solo pieces, this is a relatively simple idea: Kokoro (the violin solo) has twelve sections that are in every way timbrally/sonically/articulatively unique from one another. Focus a beam, emptied of thinking, outward… (the cello solo) provides an organic unfolding, nevertheless revealing the dynamic potential of its basic material development-contrast grows out of the unfolding. But the duo Process and Passion draws further complexity to this world, partly by being a stated collage of the two solo pieces' worlds, but also by having an outside, visceral-even scary-narrative gravitational pull. Poetic text excerpts are drawn from Reynolds' explorations of the Oresteia, but they are left out of the final score.
It is hoped that the binaurally encoded disc included in this set will suggest to the solitary listener, in the comforts of his or her own headphones, how powerfully a choreographing of musical lines and gestures can dimensionalize musical experience. This realm and its satisfactions are only now coming into reach.
David Rosenboom Invisible Gold (Pogus 21022-2)
David Rosenboom (b. 1947) has been widely acclaimed as a pioneer in American experimental music since the 1960s. He is a composer, performer, conductor, interdisciplinary artist, author, and educator having explored ideas in his work about the spontaneous evolution of forms, languages for improvisation, new techniques for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multi-media, compositional algorithms, and the structure of the brain and nervous system. These two works, "Portable Gold and Philosophers Stones" (1972) and "On Being Invisible" (1976-77), are classics of live electronic music involving extended musical interface with the human nervous system.
Robert Rutman 1939 (Pogus 21017-2)
This release reissues Robert Rutman's Pogus lp (P201-1) and includes an additional track. Rutman (b. 1930) has been building and performing on his homemade metallic instruments for many years. This recording features his buzz chime, steel cello, and bow chime, along with tabla, Tibetan horn, and Rutman's vocal chants. Rutman caresses the metal, drawing out eerie drones and overtones that buzz and trumpet. The music in turn can be as fragile as glass or reach the depths of resonance, as if one has just come upon singing whales at sea. Beautiful music and long overdue on CD.
Trigger All These Things (Pogus 21006-2)
Featuring Fred Lonberg-Holm on cello, Paul Hoskin on contrabass clarinet and Leslie Ross on bassoon. These 3 excellent musicians tread the fine line between composition and improvisation. And to be quite honest, they often cross over that line—in both directions. Their unique instrumentation often leads them to the dark end of the street.
Various Artists Diy Canons (Pogus 21036-2) 2 CDs
CD 1: Kyoko Kobayashi Cat Canon/Bruno Ruviaro Entrei Pelo Canon 1a/Mike Swinchoski Canon No 1; Transmissions; Freeze Dried Canon/Mike Winter Filter IV - P.I.L.X. Study No 1/Ross Craig Barbie's Phone Canon/Giuliano Lombardo Canoni Pitagorici 00-05/Simon Wickham-Smith Kullankeltaiset Päivät (Larry-lle)
CD 2: Steven M. Miller Twin Canon; Pulse Canon/Masaki Kubo Pizzicato Canon/Drew Krause Canon for LP/George Zelenz Thermohaline/Stefan Tomic Ringtone Canon/Bo Bell Metrocard Canon/Philip Corner/Mike Winter MENS 5/4; MENS 9/8
Okay. Really cool, kind of fun, double cd compilation based on a work of Larry Polansky's. Pieces are constructed from the sounds of cats, screams, MIDI instruments, computer, Barbie Phone, samples, wooden flutes, piano, bass clarinet, Ringtones, Metro Cards, contrabass, and more. I have some of my favorites - which keep changing each time I listen to the discs. Perhaps you will too. Read on too get a "real" description from the curator of this project.
"The pieces on this CD are all based on the ideas in Larry Polansky's four voice canons, a series of pieces he began in 1975. These canons are usually "mensuration canons," which means that the tempi of successive voices is proportional to their start times, so that the voices end together. They also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. A set of Polansky's canons was produced on Cold Blue Records as four voice canons (CB0011).
Polansky described these ideas in Four Voice Canon #13 ("DIY Canon"), a kind of open-source meta-canon score. He distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. Composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." - Simon Wickham-Smith, curator.
Various Artists Travels Of The Spider - Electroacoustic Music From Argentina (Pogus 21015-2)
Seven electroacoustic works by five young Argentinian composers: Daniel Schachter, Tiempo Quebrado (1993); Ricardo Dal Farra, …Due Giorni Dopo (1988) and Ashram (1991), with Joseph Celli on mukha veena; Martín Alejandro Fumarola, Callejuelas (1996) and El peregrinar de la araña (1995); Alejandro Iglesias-Rossi: Ascención (1998); and Teodoro Cromberg, Marimbágenes (1996), with Angel Frette, marimba.
Christian Wolff, Larry Polansky, Chris Mann, Douglas Repetto, Tom Erbe Trios (Pogus 21031-2)
Christian Wolff, piano, bass, percussion, melodica; Tom Erbe, recording, editing, processing; Chris Mann, voice, texts; Larry Polansky, fretted and fretless electric guitars; Douglas Repetto, computer, electronics, recording.
"It's organized sound! (Re)assembled improvisation!!" Trios is a collaboration between five musicians, over time, and over space. It combines instrumental and electronic improvisation with non-real-time computer processing and editing.
Pogus Productions feature releases of Electronic, Electro-Acoustic, and Experimental music. Uncompromising, non-commercial, and definitely not for everyone (unfortunately), these releases are geared towards discerning listeners. For more information about the label, go to www.pogus.com.