Produced by Andi Toma (Mouse on Mars) and released at the beginning of the 90’s, elpmas is a genuine concept-album which uses the woody tones of the marimbas, numerous field-recordings and borrowings from Japanese musical forms to sketch an ode to nature and a manifesto against the ill-treatment of the aboriginal peoples. Twenty-five years later, this message is still awfully relevant. Read backwards, the title of the album is ‘’sample’’, evoking the sound material commonly used in electronic music. To shape the album, Moondog sampled the entire range of a marimba, note after note, used sound recordings of natural environments and different sound treatments and loops, all with the help of a ‘’computer’’.
Chicago based pianist Mabel Kwan (Ensemble Dal Niente) releases the premiere recording of Georg Friedrich Haas' Trois Hommages, a beguiling work for two pianos tuned a quarter tone apart and played by one performer. Dedicated to Steve Reich, Gyorgy Ligeti, and Josef Matthias Hauer, Haas' expansive work deconstructs stylistic elements of prominent modern compositional aesthetics as well as the central association the piano has with equal temperament and its impact on music history.
Originally considered a pet project of Led Zeppelin manager Peter Grant and his new label, Swan Song, it took no time for Bad Company to find their own niche in the rock pantheon.
Even though the sound expanses traversed by ambient music often evoke feelings of horizontality, layered planeness and volatile textures tranquilly billowing out, it is also true that the greater representatives of the genre and its sub-branches – like mountaineers – mostly seek for sky-scraping verticality. Ranking high in the pantheon of atmosphere architects, Rafael Anton Irisarri certainly has nothing left to prove. Since his beginnings over ten years ago, his output has gained a density that very few can boast having reached, establishing a sound that has the power to haunt your nights and the crucial energy to bring your most buried existential dreams out of mothballs.
‘Discretion’ is the brand new album by pioneering guitar legend Robert Fripp and flautist/saxophonist Theo Travis made available for Bowers & Wilkins Society of Sound in stunning 24 bit high quality digital format. The music follows on from the duo’s previous album releases and combines almost telepathic interplay with a deep understanding of musical texture and space, the building of long slow melodies, and the creation of slowly shifting harmonic soundscapes.
He was born Louis Hardin, but the world knew him as Moondog—and his avant-garde compositions influenced a generation of minimalist composers like Philip Glass and Steve Reich. Now, Moondog, The Viking of 6th Avenue’s seminal 1969 album recorded with producer James William Guercio, will be reissued on white vinyl, its first pressing in over a decade. Featuring original symphonic and classically-inspired works (including material dedicated to Charlie Parker and Benny Goodman), Moondog is an album that must be heard to be believed.
Belgian composer, keyboard player and educator Dominique Lawalrée, born in Brussels in 1954, studied music in Namur and began composing in 1973. With a name inspired by his love of The Beatles (I Am the Walrus, 1967), Lawalrée launched Walrus records in 1976 when he was only 22 years-old. Walrus was the vehicle of choice for the release of his own music, though he also published a great 2xLP compilation with Baudouin Oosterlynck, Eric de Visscher and Robert Fesler in 1984 (W.L.S. 012/13). Lawalrée’s music until the mid-1980s is a delightful mix of synthesizer exploration in the vein of Brian Eno and Roedelius, piano minimalism à la Satie, as well as personal ideas in the form of field recordings, sound collages and spoken word – for instance, his 1983 mini-LP Six jours à Barcelone (6 Days in Barcelona) included bird sounds.
A veteran composer, Charles Fussell has served as an important figure in the musical lives of Boston and New York for over 20 years. As evidenced in this recording, Cymbeline, Fussell writes for the voice comfortably and idiomatically. He has an authentic gift for text setting and his vocal lines are unabashedly lyrical and expressive. After writing thoroughly chromatic music in his Eurydice (1973) and Etudes and Portraits (1977), Fussell wanted to bring something fresh to tonality in Cymbeline.