Date

Notice Recordings

Recorded live, this album presents Lonberg-Holm in an intimate relationship with his cello, beautifully recorded by Joaquim Montes at Studio Namouche in Lisbon. Using a variety of extended techniques, he conjures a barrage of multiphonics, interwoven timbral excursions, and minuscule textural knots lined along the peripheral architecture of these pieces. Lonberg-Holm alludes to his music having a non-denominational devotional presence in his life, and this relationship is evident in these deeply personal improvisations. This is visceral playing: heavy, dry, honest, and unpretentious. Lonberg-Holm has performed in an exceptional number of free jazz and free improvised ensembles, not to mention with a variety of indie rock bands; one can hear this experience permeating the seasoned playing in these recordings.----Artist's statement:"Over the years, I have made a number of solo recordings, some in studios such as the now demolished Airwaves in Chicago and the first ESS location (now gone as well), some in concert halls (e.g., Mills College), some outdoors (my father’s farm in central NY as well as the Florida Everglades), and a few at various homes I have lived in. Location has an obvious impact and my long and affectionate relationship with Lisbon inspired me to want to make a solo document there. I have recorded with a variety of projects at Studio Namouche in the Benfica neighborhood of Lisbon and love it. That was where I wanted to make this solo recording.Anyone who has been to Namouche knows it is a magical place. A faded version of its once probably grand self, Namouche is a sort of small RCA studio A that somehow survived the tumults of the recording industry; it still has the right proportions and materials on the walls, floor and ceiling. Add in good mics, a mixing desk, and the very capable ears of head engineer Joaquim Montes and it’s about perfect.I’ve described the cello as a “four string busy box” for many years but only recently did I realize it also acts as a “safe space” for me. Although the outcome of pressing the various levers is more unpredictible on a cello than a busy box, I still feel that if I follow the material where it wants to go, nothing can go wrong. It is an act of faith.For many years, “religious” music has been a source of entertainment and inspiration for me. In spite (or because?) of my lack of religious identity I find beauty in many types of music for worship. Over the years, at different times, I have been obsessed with Hindu, Muslim, Christian, Jewish and Buddhist musics, sermons and chants. While I sometimes fantasize about making a record of religious music, the only faith I can claim to have any real relationship with is Christianity and a recording of Christian music might be misunderstood so . . . I refrain. Instead, I like to think that my solo cello improvisations are a kind of non-denominational devotional music.During the period when this was recorded, I was listening a lot to Alfred Reed. He seems to favor a very low A (almost A flat) and I experimented with tuning my cello down as a result. Some of the tracks are at that lower pitch and others are closer to A440.Namouche has a very fine grand piano and a number of other excellent keyboards. They also have some derelict pianos. Most noticeable are the two in the front vestibule and the one in the live room. The short piano pieces were recorded using only the piano in the live room. Because such wrecks aren't found in most good studios, I couldn’t resist playing it. The juxtaposition of a derelict instrument and an incompetent pianist in a great room with excellent equipment was simply too good to pass up." --- Fred Lonberg-Holm / cello, unprepared piano --- Recorded March 21, 2019 by Joaquim Montes at Namouche Studios, LisbonMastered by Branic Howard, Portland OR

Fred Lonberg-Holm – Lisbon Solo

Notice Recordings’ Chicago origins were heavily galvanized by regularly seeing sets by cellist Fred Lonberg-Holm and multi-instrumental improviser Zoots Houston. Both have since separately relocated to Kingston, NY, where they continue to engage with the kinds of musical exchanges exemplified here. This set, recorded live at Chicago’s Elastic Arts, finds them performing with percussionist Ben Bennett. Bennett, a musician and performance artist, is a notable figure in the current and vibrant free improv and jazz scene in NYC; recent collaborations include Michael Foster and Jack Wright, among others. All three players metaphorically deconstruct their instruments while scattering pockets of agitated hot air on the performance floor, augmented with pedals, radioesque static sweeps, tightly propelled breaths, and extended techniques. This is dry, heavily structural, bristling stuff, with periodic digressions into melody and a strong control of focused and at times uncomfortably magnified timbres. Much of the material is urgent and electronic, filling the space and remaining firmly gestural. These two sidelong sets display slices of time coming from strong voices within this niche of contemporary improvisation. ---Ben Bennett / percussionZoots Houston / synthesizer, objectsFred Lonberg-Holm / cello ---Recorded live at Elastic Arts, Chicago by Dave Zuchowski, July 21, 2016Mastered by Branic Howard, Open Field, Portland, ORArtwork and layout by E. Lindorff-ElleryLetterpress printed by Small Fires Press, New Orleans

Ben Bennett, Zoots Houston, Fred Lonberg-Holm – Pinkie No

We first became aware of Mike Weis through his drumming in Chicago's Zelienople, in which he blended hypnotic, delicate grooves and shimmering auxiliary percussion into the band's unique downcast drone-folk. In recent years, Weis has expanded his exploration into meditation and ritual in music performance, exemplified by this set recorded for the 2018 Winter Solstice. Weis' mix of such unconventional percussion instruments as tongue drum, dholak, and changgo, as well as gongs, bells, and objects, all performed live, is typical in its unerring time, tightly controlled dynamics, and dense yet drifting atmosphere. The music settles in places which aren’t visible upon first sight, and, like walking through a foggy, mid-December field, pock-marked with patches of snow and tufts of brown grass, sounds reveal themselves for a moment of recognition and familiarity, only to recede, vignetted by the enveloping atmosphere. Mike Weis has been deeply admired by Notice since our inception, and In Low Light provides an engaging illustration of his practice. --- Mike Weis / mbira, tongue drum, dholak, changgo, bass drum, cymbals, gongs, singing bowls, bells, dharma bell, moktak, field recordings --- Tracklisting: 1. Number 1 - 07:062. Number 2 - 05:343. Number 3 - 03:014. Number 4 - 05:145. Number 5 - 02:486. Number 6 - 05:357. Number 7 - 03:538. Number 8 - 05:16 --- Recorded early Winter 2018 Pre-mastering by Matt Christensen Mastered by Branic Howard, Portland OR

Mike Weis – In Low Light (Music for the Winter Solstice)

Notice Recordings is pleased to present the release of Portland, Oregon-based percussionist Matt Hannafin’s “John Cage: Four Realizations for Solo Percussion”, which offers attentive, probing interpretations of pieces that bookend the final thirty years of the composer’s work. Simultaneously restless and nuanced, Hannafin’s performance demonstrates Cage’s continued relevance and enduring ability to push performers beyond their performative biases and toward the unexpected.Written with no instrumentation, “Variations II” (1961) and “Variations III” (1963) both provide toolkit-like sets of marked-up transparencies which are allowed to fall into random overlapping patterns. “c Ȼomposed Improvisation for One-Sided Drums with or without Jangles” and “One4” (both 1990) are two of only five pieces Cage wrote specifically for solo percussion, and explore Cage’s late-career interest in directed improvisation. “c Ȼomposed Improvisation” was written for percussionist Glen Velez, with whom Matt Hannafin studied just three years after the piece was created.Commissioned by Notice Recordings, these four performances are in dialogue not only with each other but with Notice itself, which has its roots in the underground/DIY realm while also exploring contemporary/academic composition. The accessibility, inventiveness, and challenge of compositions like these make Cage a unique pivot point between these two worlds.

John Cage & Matt Hannafin – Four Realizations for Solo Percussions

On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, Magnetic Fields, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms. --- Field Lines: Composed and recorded October 2013 - May 2014 for Yvonne Ng's dance piece, Magnetic Fields, which premiered in May 2014.Nick Storring / various percussion and found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric (NS Designs NXT4) and acoustic cellos, electric bass, electric mandola, violin, hammered dulcimer, Hohner Pianet T, Yamaha CP60M, Hohner Clavinet D6, flutes, harpsicle, strumstick, guitalele, steel pan, harmonica, melodica, pitch pipes, hulosiSpecial thanks to Yvonne, Marie-Josée Chartier, Mairead Filgate, Luke Garwood, Christopher Willes. Thank you to Germaine Liu for the use of her vibraphone, and John Farah for the use of his Pianet.Yield Criteria:Composed and recorded February - June 2014.Nick Storring / NS Designs NXT4 electric cello, electric bass, electric mandola, thunder tubes, Yamaha CP60M, toy piano, harmonica, duck call, voice, hand bells, glockenspielElements were used in Eva Kolcze's film, All That Is Solid. Thank you to Eva, Spencer Barclay, Jason Doell, Brandon Valdivia, and Bryan Bray.Processing and manipulation performed on the above sound sources (and the sound of a blank, chemically-treated 16mm film sound-strip) using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; (contact) microphones.Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman.Gratitude also to all who listened and offered feedback.Artwork and layout by E. Lindorff-ElleryPrinted by John Fitzgerald at Fitzgerald Letterpress, New Orleans

Nick Storring – Exaptations

Judith Berkson, a composer, singer, and pianist based in NYC, has been honing her Liederkreis project since 2016, which features electronically-augmented vocal interpretations of lieder by such composers as Franz Schubert and Robert Schumann, as well as purely electronic pieces engaging noise and feedback-oriented vignettes. This new release finds Judith continuing a more song-oriented approach, as previously explored on her 2010 ECM release Oylam. The pieces contained on Liederkreis II are deeply haunting, timbrally sensuous, and a notably divergent aesthetic for Notice Recordings. Judith is taking her electronically-processed vocals and conforming them to the slowly dripping, contorted melodies of Schubert and Schumann’s lieder, firmly within the lineage of such artists as Klaus Nomi and Kraftwerk. Liederkreis II exists as a commentary of a hypermodern relationship with classical music: both an admiration and a recontextualisation. This is music that is at once both personal and emotional, and formal and mechanical. It is both beautiful and anxious. It is within this contrast that the album retains such an alluring presence, and we are honored to facilitate its existence. -- Liederkreis - voice, electronics, synthesizer Recorded and mastered at Menegroth the Thousand Caves by Colin Marston. Woodhaven, Queens, New York Castle is an interpretation of Liederkreis op. 39 No. 7 Auf einer Burg by Robert Schumann (1810-1856) Doppelgänger, Harpers, Suns, Der Kreuzzug are interpretations of lieder by Franz Schubert (1797-1828) Thank you to Franz, Franke, Sigmund, Saul, Robert and Clara and Joseph Gabriel Esther Maneri Artwork by E. Lindorff-Ellery"Relaxing in the Desert Under an Overcast Sky in the Sunset", 2020evanlindorffellery.com Letterpress printed by Small Fires Press, New Orleanssmallfirespress.com

Judith Berkson – Liederkreis II

Kahn (American, living in Zurich) and Olive (Canadian, living in Japan) recorded these pieces while on tour in Japan in May 2014. This release features two unhurried explorations for radio, synthesizer, and mixing board (Kahn) and magnetic pickups (Olive). “Fukuoka,” presents a series of gradual unfurlings; pockets of pockmarked, dented and torn glass clusters, tumbling upon and over each other, perhaps briefly interlocking by way of some fragile barb, only to instantaneously break loose. “Osaka” is more comfortably structured, framed by a few small squalls abetting the range of synth and radio static; an instrumentation that resides between thin layers of shifting, jittery translucent timbres.Kahn and Olive both demonstrate exceptional attention to unrecognized sounds (see Kahn's ongoing Unheard Cities project), and one of the unique attributes of these pieces is their ability to make sounds whose sources, even with limited tools, aren't quite placeable. Their sound palette occasionally finds tension between understood words and speech as sound: hearing a sound that may or may not be speech, and speech that may or may not be understandable. They possess a unique resourcefulness on this release that makes it a surprising listen. --- Jason Kahn / analogue synthesizer, radio, mixing board, mixing, masteringTim Olive / magnetic pickups ---Mixed and mastered by Jason KahnArtwork, layout - E. Lindorff-ElleryPrinted by Fitzgerald Letterpress

Jason Kahn & Tim Olive – Fukuoka / Osaka

On Hot Shaker Meet Lead Donut, Prants – the duo of Chris Cooper and Bhob Rainey – fan out beyond established positions as prankish, innovative improvisers. As ever, musical playfulness and seriousness coexist marvelously, but the fascinating atmosphere has mutated further beyond traditional instrumental performance. Squelchy synth madness, howling squeals, and minimal note-making are fastened onto recorded snippets and quietly drifting drones, built deceptively within the formality of collage. Embracing a structured impulsiveness, these pieces provide a jaggedly damaged new angle on the dynamic and textural extremes that have made the musicians’ work so engaging in the past. --- "Who is Prants? Is it a typo? Are we talking about Pants? But no, it’s no typo; it’s a duo, a collection of two humans doing a thing together! Prants features two TMT favorites, Bhob Rainey (of nmperign, The BSC, and so on) and Chris Cooper (Angst Hase Pfeffer Naser, Caroliner, Fat Worm of Error), making sounds together. They’ve got a new cassette containing the sounds they’ve made together and recorded, and it’s called Shaker Meet Lead Donut. It’s available now on Bandcamp and from Notice Recordings. Marked by what the press materials call a “structured impulsiveness,” the two sides of the limited tape (only 100 copies out there!) zip and buzz in all sorts of jagged directions. The second piece, entitled “Igotu Otius,” features contributions from Mary Lattimore and Jesse Sparhawk on harps, June Bender on viola, Eric Coyne on cello, and Matt Stein on contrabass. It also credits “various” with “dry ice.” I don’t know exactly how that works, but I’m into it. If you’re familiar with Rainey’s free-improv maybe-kinda-sorta-possibly jazz work or with Cooper’s sound-stacking whack-attacks, then you can probably form at least a tentative notion of what you’re in for, but no slouching!" - Tiny Mix Tapes --- Performed and mixed by Bhob Rainey and Chris CooperOn Igotu Otius you shall hearCello - Eric CoyneContrabass - Matt SteinHarp - Jesse Sparhawk, Mary LattimoreViola - June BenderDry Ice - VariousMastered by Bhob RaineyArtwork and layout by E. Lindorff-ElleryPrinted by Fitzgerald Letterpress

Prants – Hot Shaker Meet Lead Donut