Radigue

Eliane Radigue - Backward (2021) {Dot Dash Noise, LLC}
FLAC (tracks) - 16bit/44.1kHz - Digital Download -> 337 Mb | MP3 @320 -> 203 Mb | Cover | 5% repair rar
© 2021 Dot Dash Noise, LLC
Musique Concrète / Electronic / Ambient / Experimental

Éliane Radigue was born in Paris, France. She studied electroacoustic music techniques at the Studio d’essai at the RTF, under the direction of Pierre Schaeffer and Pierre Henry (1957−1958). In 1967−1968 she worked again with Pierre Henry, as his assistant at the Studio Apsome. Her music, its source an Arp synthesizer and medium recording tape, attracted considerable attention for its sensitive, dappled purity. She was in residence at the electronic music studios of the University of Iowa and California Institute of the Arts in 1973.

Charles Curtis - Performances & Recordings 1998-2018 (2020) {3CD Set, Saltern, Digital Issue}
FLAC (tracks) - 16bit/48kHz - Digital Download -> 662 Mb | MP3 @320 -> 328 Mb | Cover | 5% repair rar
© 2020 Saltern | Digital Issue
Classical / Modern Classical / Medieval / Microtonal / Minimalism / Cello

Saltern presents its fifth release, Charles Curtis: Performances & Recordings 1998-2018, the first comprehensive collection of recordings surveying the career of renowned, American cellist Charles Curtis. Selected by Curtis and Tashi Wada from recordings spanning the past two decades, the collection offers a broad, inclusive view of Curtis’s activities across the diverse worlds of music he inhabits, containing rare, unreleased recordings, and never-before-released music by Terry Jennings, Richard Maxfield, Éliane Radigue, Alison Knowles, and Curtis.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination. Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first - a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress - recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike…