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Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition

Ellen Fullman & Okkyung Lee - The Air Around Her

Still Light, Outside is the fourth album by John Chantler, and one which marks his departure from London and his relocation to Sweden. Over the four month period leading up to his departure, Chantler made several hours of raw recordings of the pipe organ at London’s St John-at-Hackney church. These were then subject to extended processing at Stockholm’s Elektronmusikstudion EMS and combined with additional electronic parts created there. Still Light, Outside is an extended suite in four parts that combines passages of stark minimalism centred at the bodily invasive extremes of the organ’s register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. --- Recorded August–November 2014 at St John-at-Hackney, London & Elektronmusikstudion EMS, Stockholm. Additional recording/mixing January–March 2015. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Design: John Chantler / Photography: Fabio Lugaro  --- John Chantler / pipe organ, processing --- Recorded August–November 2014 at St John-at-Hackney, London & Elektronmusikstudion EMS, Stockholm. Additional recording/mixing January–March 2015. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Design: John Chantler / Photography: Fabio Lugaro. Thanks to Bradford Bailey, Lawrence English, James Hammond, Mike Harding, Carina Thorén & Kate Walters. This work was made possible with support from the Australia Council for the Arts, the Australian Government’s arts funding and advisory body.

John Chantler - Still Light, Outside

Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition

Ellen Fullman & Okkyung Lee - The Air Around Her

Edition Wandelweiser co-founder Jürg Frey presents the starkly beautiful minimalism of ’24 Wörter’, a song cycle based around the album’s evocative song titles, and performed by the trio of Regula Konrad (soprano), Andrew Nathaniel McIntosh (violin), and Dante Boon (piano). They’re mostly very succinct works with no detectable fat to trim, forming a gorgeous, dreamlike archipelago of experimental contemporary classical compositions... “Jürg Frey in conversation with Thomas Adank: JF: The 24 words are the titles of the individual pieces, and they are at the same time the entire text. They are also a list that shows how the piece gets from a beginning to an end. It is, in a sense, a cycle not simply a collection of pieces - a cycle which begins, makes a journey and ends at a different place. TA: If I had to categorize this list of words, it seems to me they are addressed to quite different areas. Herzeleid (Heartbreak) for example, sounds old-fashioned, Einsamkeitsmangel (Lack of Loneliness) almost sounds like a neologism, as do Halbschlafphantasie, (Half-Sleep Fantasy) Sehnsuchtslandschaft (Landscape of Longing), Vergessenheitsvogel (Bird of Oblivion). Others, such as Tod (Death), Schlaf (Sleep), Glück (Happiness), Wind (Wind), are very often used in everyday life. Did you, as you compiled this list, consider these categories? Or did you tell yourself a story that made these words necessary? JF: I was thinking in categories. At first I really wanted to make an even more rigid sequence. As it now stands, with the long words at the end and the short words in the middle, you can still feel a little of this structure; also at the beginning, which has many words with "e" and "ei". However, now it is not so strict. The words developed lives of their own, and this displaced some of the original structure. Some are everyday words, others are made by combining words, and some words found individual paths into the piece, including some very personal things. L'oiseau d'oubli ("Vergessenheitsvogel",Bird of Oblivion) comes from Edmond Jabès and is a tribute to this author I adore. But I also think that here Jabès has given me the perfect word. --- Dante Boon / pianoRegula Konrad / vocalsAndrew Nathaniel Mcintosh / violin --- Recorded 16.17 September 2013, Aarau, Schweiz.

Jürg Frey - 24 Wörter

Dedicated to the memory of Tony Marsh The recordings on this double LP are taken from the first night of Roscoe Mitchell's inaugural two day residency at Cafe OTO in 2012 and his first time playing with drummer Tony Marsh and double bassist John Edwards. It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities. Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play. Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist. Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the 1960s as a bandleader, mentor, collaborator and teacher. Mitchell was a founding member of Chicago's Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique (check the lengthy stretch of sustained circular breathing on SIDE C) and an arresting, fractured melodic sensibility. On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts. John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role. No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed (no kick or hi-hats) he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass. You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later.
 "Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward – that's why Tony was hip in the most meaningful sense … And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." - Evan Parker 

 (Quoted in John Fordham's Obituary for Marsh)

Roscoe Mitchell / Tony Marsh / John Edwards - Improvisations

Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition

Ellen Fullman & Okkyung Lee - The Air Around Her

Before the spectral, romantic electric guitar miniatures for which he is celebrated today, Loren Connors recorded a string of nine solo acoustic guitar improvisations under the name of Loren Mazzacane between 1979 and 1980. The records feature Loren’s contorted impressions of Delta and country blues, persistently kneaded into sidelong guitar excursions entangled with wordless, mournful vocal utterances, hummed and moaned in imitation of the dogs that often howled outside his window. Originally released on Loren’s own Daggett Records—named after the street he lived on in New Haven, Connecticut—these LPs slipped into obscurity after Daggett’s distributor went bankrupt, forcing the guitarist, who didn’t have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Tommy McCutchon of Unseen Worlds, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, New York in front of a live audience at the Creative Music Studio (the improvised music nonprofit founded by Karl Berger, Ornette Coleman, and Ingrid Sertso), Unaccompanied Acoustic Guitar Improvisations Vol. 10 provides a welcome addition to the canon of Loren’s early solo releases and is the first contemporary vinyl publication of material from his Daggett Street period. As with the original Daggett records, the LP is issued in handmade covers with paste-on art featuring a replica of a recent drawing included in Loren’s October 2018 art exhibition Wildweeds, presented by Blank Forms. One of the world’s most singular guitarists, Loren Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades on labels like Table of the Elements, Drag City, Ecstatic Yod, and his own Daggett Records, Connors has wrung distinct shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek.

Loren Connors – Unaccompanied Acoustic Guitar Improvisations Vol. 10 LP

Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition

Ellen Fullman & Okkyung Lee - The Air Around Her

"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

Kan Mikami / John Edwards / Alex Neilson - Live at Cafe OTO

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN. 

HAINO KEIJI / JOHN BUTCHER - LIGHT NEVER BRIGHT ENOUGH

In Tom Mudd's work, the conceptual and technological processes are paramount. For this particular release, both are embedded in the Gutter Synthesis algorithm and software which was created for and used in all six tracks. An inevitable consequence of this way of working is that masses of material can be created, which then requires both selection and editing. Once these decisions havetaken place a strange, apparently contradictory, perceptual shift takes place towards the material. The listener is confronted with complex, intense and emotionally charged musical events. This was not Tom Mudd’s intention as he’s not overtly concerned with personal expression. A deep interest in algorithmic computer processes is his guiding principal. Yet from this apparently cold approach to making music comes vivid, dramatic, sound art, packed with rich emotional layers that never operate at the level of the trite and illustrative. There is also a strong formal and structural quality to his pieces that allows, in the best possible sense, the listener to ‘immerse’ themselves in this challenging sound world. John Wall, London, December 2017Gutter Synthesis software Gutter synthesis is a purely digital synthesis process that creates very physical, acoustic-like sounds using a network of resonant Duffing oscillators. The software was created specifically for this project, and is included with the release as an equal part of the creative output. The downloadable version uses an interrelatedset of eight Duffing oscillators and associated filter banks.

Tom Mudd - Gutter Synthesis CD/software

PRAH Recordings is delighted to present an extraordinary new release from the violinist Aisha Orazbayeva, following on from recent, critically acclaimed collaborations with artist Tim Etchells (Seeping Through) and pianist Mark Knoop (for the Another Timbre label). Best known for her performances of music by postwar modernists, here Orazbayeva returns to the classical violin repertoire and boldly re-envisages Georg Philipp Telemann’s popular solo fantasias. Through a set of deeply personal interpretations, Orazbayeva brings her trademark palette of raw, delicate and extreme textures to Telemann’s baroque polyphony.  The recordings comprise six of the twelve fantasias, and were first used in a 2015 production for Pina Bausch’s Tanztheater Wuppertal dance company, "In Terms of Time" by Tim Etchells. Telemann was a key figure in the transition between the late Baroque and early Classical periods in western music. Like his other solo works, the violin fantasias (published in 1735) are often contrapuntal, demanding a weaving together of compound melodic forms by a single performer. While seminal works like this were at the heart of Orazbayeva’s classical training, she has since tended to work instead with contemporary composers and on experimental and improvised projects. With their deep explorations of extended technique, these activities inform the whole spectrum of her work - including her approach to older repertoire: “Some of the techniques used on the record are often used in works by composers including Luigi Nono, Salvatore Sciarrino and Helmut Lachenmann. What inspires me the most about pieces like Lachenmann’s Toccatina, Sciarrino’s 6 Caprices and Nono’s“La Lontananza Nostalgica Utopica Futura”is the way they radically change our perception of the violin which challenges musical expectations and conventions. This change in our perception of the violin is something that has become central to my everyday practice offering me more freedom to interpret new and old repertoire as well as my own music-making.“

Aisha Orazbayeva - Telemann Fantasias CD

Edited by Lawrence Kumpf with Joe Bucciero and Mark Harwood. Contributors include Henning Christiansen, Thomas Groetz, Diedrich Diederichsen, Dick Higgins, Lars Morell, Per Kirkeby, Bjørn Nørgaard, Helmer Nørgaard, Thorbjørn Reuter Christiansen, Anton Lukoszevieze, Hans-Jørgen Nielsen, Michael Glasmeier, Ute Wasser- mann, Stíne Janvin Motland, Mark Harwood, Lucy Railton, Graham Lambkin, Áine O’Dwyer, Lia Mazzari, Ursula Reuter Christiansen, Francesco Conz, and Emily Harvey.  The third issue of Blank Forms’ journal is released in conjunction with Freedom is Around the Corner, a retrospective exhibition and performance series devoted to the work of pioneering Danish composer and artist Henning Christiansen (1932–2008). Perhaps best known for his collaborations and artistic affinities with notable artists such as Joseph Beuys and Fluxus members like Nam June Paik and Dick Higgins, Christiansen, who worked primarily on the remote Danish island of Møn, moved beyond his Fluxus roots to create a vast, often ineffable body of work that spanned music, performance, film, and visual art over the course of a fifty-year career. Yet Christiansen’s work has remained under the radar, even in the ten years following his death: only a few of his recordings were available until recently, and his prolific compositional and visual outputs have rarely been performed or exhibited in the United States. Freedom is Around the Corner—the exhibition, the performance series, and the journal—seek to present Christiansen’s life and work in a holistic manner that befits his dynamic practice. Like previous issues of the Blank Forms journal, Freedom is Around the Corner collects a combination of newly discovered, never-before published, and newly translated materials; in this case, many of the materials were found in the Henning Christian- sen Archive during the exhibition’s curatorial process. The issue begins with the first of four newly translated interviews with Christiansen himself, conducted circa 2006 by the German writer Thomas Groetz. Two others, conducted by Francesco Conz and Michael Glasmeier in the 1990s, come later in the issue; together these three interviews, which had only existed as audio recordings before, offer a well-rounded picture of the late-career Christiansen through his own, good-humored lens. The fourth interview, a more experimental text conducted by Helmer Nørgaard, was originally published in Danish in the magazine DMT, in a 1986/87 issue devoted to Christiansen. In this issue we’ve created a translated facsimile of that DMT issue, which also featured texts on Christiansen by his prominent Danish collaborators, the writer Lars Morell and the artists Per Kirkeby and Bjørn Nørgaard. We hear from other Christiansen collaborators through correspondence—including in transcribed letters from Emily Harvey and Dick Higgins, whose messages to and from Christiansen were recently discovered in the Archive—and through interviews, including newly conducted interviews with his wife and longtime collaborator, Ursula Reuter Christiansen; Bjorn Nørgaard, who spoke with Christiansen’s son Thorbjørn Reuter Christiansen; and later musical collaborators Werner Durand and Ute Wassermann. Except Nørgaard, these collaborators will all speak or perform as part of the Freedom is Around the Corner programming; a section of this issue features many of the other performers as well, younger artists who have grappled with Christiansen’s legacy. Represented through interviews (Lucy Railton), original artworks (Graham Lambkin, Áine O’Dwyer, Stíne Janvin), and essays (Mark Harwood, Anton Lukoszevieze of Apartment House), these artists demonstrate the lasting and diverse impact of Christian- sen’s work on today’s musical landscape. Lukoszevieze’s essay introduces a newly translated libretto for Dejligt vejr i dag, n’est-ce pas, Ibsen, a 1964 opera with music by Christiansen and libretto by Hans-Jørgen Nielsen which Apartment House, commissioned by Blank Forms, will perform twice during the run of the exhibition. Taken together—and even more, in conjunction with the exhibition and performances—the texts in this journal provide an in-depth look, previously unavailable, especially in the United States, at a towering but overlooked figure in the postwar musical as well as artistic avant-garde. Support for Freedom is Around the Corner comes from the Nordic Culture Point, the Nordic Culture Fund, Snyk, the Danish Arts Foundation, the Royal Norwegian Consulate, Goethe-Institut, the Danish Consulate General, Music Norway, and Ultima Contempo- rary Music Festival.

Blank Forms Journal 3: Henning Christiansen – Freedom is Around the Corner book

Following his investigation into experimental music and sound recording in Records Ruin the Landscape, David Grubbs turns his attention to the live performance of improvised music with an altogether different form of writing. Now that the audience is assembled is a book-length prose poem that describes a fictional musical performance during which an unnamed musician improvises the construction of a series of invented instruments before an audience that is alternately contemplative, participatory, disputatious, and asleep. Over the course of this phantasmagorical all-night concert, repeated interruptions take the form of in-depth discussions and musical demonstrations. Both a work of literature and a study of music, Now that the audience is assembled explores the categories of improvised music, solo performance, text scores, instrument building, aesthetic deskilling and reskilling, and the odd fate of the composer in experimental music. About The Author David Grubbs is Professor of Music at Brooklyn College and The Graduate Center, City University of New York, and author of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording, also published by Duke University Press. As a musician, he has released fourteen solo albums and appeared on more than 180 commercially released recordings. Grubbs is known for his cross-disciplinary collaborations with poet Susan Howe and visual artists Angela Bulloch and Anthony McCall, and his work has been presented at the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Tate Modern, and the Centre Pompidou. Grubbs was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has appeared on recordings by Tony Conrad, Pauline Oliveros, Will Oldham, and Matmos, among other artists. Grubbs has written for The Wire, BOMB, Bookforum, and the Süddeutsche Zeitung.

David Grubbbs - Now that the audience is assembled book

"In London, in the fall of 1965, a group of four musicians dissatisfied with the constrictions they had encountered in the British jazz scene, came together with a highly thought-out agenda to revolutionize the way music was created, rejecting rules firmly in place then (and still today) among even the most forward-looking of musicians: no repertoire, no solos, no regular rhythms, no melodies, no fear of silence, 100% improvised. Keith Rowe was one of the founding members. They called themselves AMM and soon added the composer Cornelius Cardew, an associate of John Cage and Karlheinz Stockhausen, who was seeking to escape what he thought were equivalent strictures in the avant-garde classical world. As a quintet, AMM created music unlike anything else being done at the time and, being immersed in the London scene of the mid-60s in which musical boundaries were amorphous, found themselves on the one hand sharing bills with nascent bands like Pink Floyd, The Who and Cream while on the other working with and alongside Yoko Ono and Christian Wolff. "Rowe, a guitarist trained as a painter, adapted to his guitar the lessons he’d learned in the visual arts, placing it flat on a table or the ground as Jackson Pollock had done with his canvases, using it as a sound source to be approached with all manner of implements, opening up a vast new territory of exploration, one which would be enormously influential in rock, contemporary classical, and the field of free improvisation. "Over 12 years in the making and via exhaustive research and exclusive interviews Brian Olewnick has traced Rowe’s life from childhood through the present, with focuses on London’s mid-60s experimental music scene, the political unrest of the late 60s, the radical politics of the early 70s, the ongoing saga of AMM through the 90s and the accompanying advance of creative music over that time period, centered around Rowe’s participation in those events and his major contributions to the contemporary avant-garde environment. Through the many ups and downs of AMM and beyond, Rowe has become an éminence grise to generations of musicians and is still today continuing to push the boundaries of what is possible in the world of sound. "Brian Olewnick is a new music writer and visual artist. He helped run the avant-garde jazz loft Environ from 1976-1980 and was eventually seduced into writing about contemporary music in various forms from jazz to modern classical, free-improvisation and beyond. He has written for All Music Guide, The Wire, Time Out New York and other publications in addition to his blog, Just Outside, one of the principal sites for analysis of new music where he has published over 2,000 reviews since 2006. He has given talks on the craft of writing about contemporary music in Philadelphia, Västerås, Sweden and Sokołowska, Poland. He lives with his wife, Betsy, in Kinderhook, New York."

Brian Olewnick - Keith Rowe: The Room Extended Book

Reception is the first comprehensive examination of how Robert Rauschenberg and John Cage embraced and employed radio in some of their most sophisticated and experimental works between 1942 and 1991. This includes Rauschenberg’s artworks Broadcast (1959) and Oracle (1962-1965), and Cage’s compositions, Imaginary Landscape No. 4 (1951), Water Walk(1959), and Variations VII (1966). Author, Alana Pagnutti’s discussion considers how (influenced by renowned Canadian media philosopher, Marshall McLuhan), they both used the medium of radio to foster and provoke new qualities of experience and elicit the participation of their audiences. The foreword is written by Angus Carlyle, co-director of Creative Research into Sound Arts Practice (CRiSAP) at London College of Communication (UAL). As the UK prepares to switch off FM radio in favour of DAB (digital radio) between 2017-2022 (a transition happening globally), Pagnutti’s thoughtful and engaging book serves as a timely prompt to re-examine these radio-works before advances in technology change them forever. ‘Pagnutti makes us into fellow witnesses. After finishing the book for the first time I looked at the index, it was like reading a glittering recipe for some magical potion, the very thing I had only just inhaled.’  – Richard Wentworth To celebrate the launch of this book the first ever UK performance of Cage’s, Water Walk (1959) was hosted by Cafe Oto, London, in July 2017.

Alana Pagnutti - Reception: The Radio-Works of Robert Rauschenberg and John Cage Book

Screenprinted on thick, quality paper. Design by Maja Larsson. Limited poster to celebrate the two day residency by the legendary and uncompromising Patty Waters.  From original listing:  Patty Waters must be acknowledged as a vocalist who has tested the limits of the human voice’s capabilities. Since her brief recording career in the mid-6O’s – after Albert Ayler brought her to the attention of ESP Disk – and despite performing very rarely, her influence has spread far beyond the realms of avant-garde and jazz. She has received much critical acclaim for her two ESP Disk recordings - Patty Waters Sings and Patty Waters College Tour. Waters' interpretation of Black is the Color of my True Love's Hair still remains a bold testament to the power of human expression. With a repertoire ranging from hushed piano solo ballads – in which her voice can fade to a whisper, barely audible – to performances using her voice as an instrument, conveying an incredible range of emotions, Waters is a singular artist and we're delighted to host her for a very rare two-night residency alongside Burton Greene (piano) and Tjitze Vogel (bass). “One of the best fucking singers alive.” – Rolling Stone “Praised by people like Miles Davis. her range moves easily from intimacy to introspection to rage. and her evocation of “Black is the Color of My True Love's Hair” has no parallel In musical history.” – San Francisco Sentinel “Hear her voice with the ears of wolves. A sound contour never before heard in American music and poetry. It transcends virtuosi vocalizing. It is presented as Shamanic ritual. The most perfect realization of Jazz song as siren song. Compels a revisioned understanding of the lure of the sweet woman's voice as a passage to paradise.” – Village Voice

PATTY WATERS – TWO DAY RESIDENCY A2 SILKSCREENED POSTER