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Artist: BLANK FORMS
Title: Blank Forms, Vol. 2: Music from the World Tomorrow
Format: Book
Label: Blank Forms
Country: USA
Price: $20.00
"Music from the World Tomorrow, the second issue of Blank Forms journal, brings together a combination of never-before published, lost, and newly translated materials. Featuring Marshall Allen and the Sun Ra Arkestra on the cover, this issue also includes John Corbetts writing on the enigmatic annotations found on Sun Ras reel-to-reel tape archives. Visionary avant-garde jazz vocalist Patty Waters speaks with Larry J. Nai about the art and experiences that moved her from childhood to the then-now, touching upon her mysterious 70s and 80s period of musical inactivity, in a rare 1997 Halana interview reprinted here. "I struggle," a prose poem by Matana Roberts, explores the creative conundrum of making American music in a state of national crisis under POTUS #45. Maryanne Amacher remains a focal point of this second issue, with three pieces here: scholar Amy Cimini contributes a text detailing the genesis, score, and theoretical underpinnings of Amachers Adjacencies; Joan Brigham presents Scott Fishers account of his career working with virtual reality and 3D stereoscopic imaging; and an excerpt from science-fiction writer Olaf Stapledons Last and First Men is reproduced, a favorite of Amachers. Tony Conrad is represented twice: Filmmaker Andrew Lampert introduces a selection of Conrads OLD IDEAS in full color -- handwritten notes from the mid-1960s through the mid-1970s; and a new transcription of a 1989 phone interview by Alan Licht. Conversely, in her rediscovered 2001 interview with Marcus Boon, Swedish minimalist Catherine Christer Hennix praises La Montes revival of just intonation. This issue also features a transcription of a 2017 Annea Lockwood talk and conversation with crys cole, discussing Lockwoods Tiger Balm (1970) and Ear-Walking Man/Woman (1996). Bassoonist Dafne Vicente-Sandoval contributes a text that sheds light on the performance of Jakob Ullmanns threshold compositions Muntzers stern (2015) and Solo II (1992), forthcoming on Editions RZ (RZ 1038-39CD). And Klaus Lang provides both an aphorism about cow behavior and a manifesto for compositional strategies. Krautrock group Animas 1981 US tour diary has been newly translated from German for inclusion here. A chapter from David Hopkinss recent translation of legendary Japanese folk singer Kan Mikamis autobiography is featured. Composer Tashi Wada contributes a print titled Double Vision. And Japanese sound art pioneer Akio Suzukis self-published 2008 Aki-nyan, tora no maki gets a full reprint. Edited by Lawrence Kumpf and Joe Bucciero. 333 pages; 6x8 inches; Edition of 750." - Blank Forms.

Artist: BLANK FORMS
Title: Magazine
Format: Book
Label: Blank Forms
Country: USA
Price: $20.00
"Magazine is the inaugural issue of Blank Forms journal, bringing together a combination of never-before published, lost, and new materials that supplement the non-profits live programs. It is envisioned as a platform for critical reflection and extended dialogue between scholars, artists, and other figures working within the world of experimental music and art. Following "Let Freedom Fry" -- a short statement by Joe McPhee drawing out the contemporary political climate in relation to his practice as a creative improviser -- the magazine is bookended by four texts surrounding the practice of pioneering sound artist Maryanne Amacher; an essay by Bill Dietz on his collaborations with Amacher and his work with her archive; an unpublished 1988 interview highlighting Amachers ideas around her Long Distance Music and Mini Sound Series; a conversation between Marianne Schroeder, Stefan Tcherepnin, and Lawrence Kumpf revealing the archival questions raised by Amachers work; and science fiction writer Greg Bears short story Petra, a tale of gargoyles coming to life and breeding with humans in a post-apocalyptic Notre Dame, from which Amachers 1991 piece got its name. This issue also includes Branden Josephs interview with The Dead Cs Bruce Russell, accompanied by Russells essay exploring the Situationist tradition of "mis-competence" in New Zealand electronic music. Charles Curtis contributed notes on the interpretive challenges posed by a posthumous performance of Terry Jenningss minimalist classic Piece For Cello And Saxophone. Shelley Hirsch, Richard Skidmore, and Dennis Hermanson provide a series of writings on and remembrances of the late Ralston Farina, whose scarcely documented "visual poetry" was an important precursor to what we now call "performance." And from her own 2016 performances at the Emily Harvey Foundation, Dawn Kasper supplies her original proposal document and score notes for an improvisational interpretation. Magazine features two new French-translations: an excerpt from François Bonnets book of phenomenology, The Infra-World, translated by Robin Mackay, and a Christophe Broqua interview with enigmatic huntress of sounds Anne Gillis, translated by Adrian Rew. Ian Nagoskis rare 1998 conversation with Éliane Radigue, conducted and largely ignored at a time when there was little interest in her music, provides one of the clearest overviews of the visionary composers early work and life. Supplementing the texts are numerous archival photos and documents, plus "Dark Matters", a poem by Joe McPhee. Edited by Lawrence Kumpf and Joe Bucciero." - Blank Forms.

Artist: CONNORS, LOREN
Title: Unaccompanied Acoustic Guitar Improvisations Vol. 10
Format: LP
Label: Blank Forms
Country: USA
Price: $26.00
"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 Lorens 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 Lorens own Daggett Records (named after the street he lived on in New Haven), these LPs slipped into obscurity after Daggetts distributor went bankrupt, forcing the guitarist, who didnt have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Unseen Worldss Tommy McCutchon in the archives of Columbia University, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, 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 Lorens 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 Lorens October 2018 art exhibition Wild Weeds, presented by Blank Forms. One of the worlds most singular guitarists, 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 distinctive 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 ORourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek. Creative Music Studio is an ongoing organization that engages musicians and listeners from all backgrounds to deepen and broaden their musical sensitivity, expression, and understanding through workshops, recordings, and concerts worldwide." - Blank Forms.

Artist: CONNORS, LOREN
Title: Unaccompanied Acoustic Guitar Improvisations Vol. 10
Format: LP + Art
Label: Blank Forms
Country: USA
Price: $100.00
Edition of 100 with original drawings by Connors. "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 Lorens 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 Lorens own Daggett Records (named after the street he lived on in New Haven), these LPs slipped into obscurity after Daggetts distributor went bankrupt, forcing the guitarist, who didnt have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Unseen Worldss Tommy McCutchon in the archives of Columbia University, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, 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 Lorens 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 Lorens October 2018 art exhibition Wild Weeds, presented by Blank Forms. One of the worlds most singular guitarists, 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 distinctive 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 ORourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek. Creative Music Studio is an ongoing organization that engages musicians and listeners from all backgrounds to deepen and broaden their musical sensitivity, expression, and understanding through workshops, recordings, and concerts worldwide." - Blank Forms.

Artist: HAIRBONE
Title: Earth to Momma
Format: LP
Label: Blank Forms
Country: USA
Price: $20.00
"Hairbone is a New York-based power trio of artists Raúl de Nieves, Jessie Stead, and Nathan Whipple, formerly known as Haribo. Functioning mainly in the art world, Hairbone has inflicted audiences from museums to decrepit basements with their carnivalesque live shows for nearly a decade. Each unique, thematically pointed multimedia performance narrative features frontman de Nieves inhabiting new personae in a sculptural actionist mode, brandishing oversized text-emblazoned props as if they were picket signs before their eventual destruction as Hairbones near-opera burlesque freak shows unfurl. Obliquely political, theirs is a protest music without didacticism. Despite Hairbones prolific, obsessively-documented life as a performance art group, Earth To Momma is the bands first studio LP, distilling their sprawling live shows into 12 distinct pieces of lyrical, art-damaged rock and pop music. Their institutional success begs for comparisons to artists bands like Destroy All Monsters or Die Tödliche Doris, but Hairbones confusion of high and low culture fits them equally into peerdom with the classic American underground of the Butthole Surfers and Sun City Girls. A native of Mexico, de Nieves bi-lingual incantations are bolstered by Steads synthetic drum sampling and acid-fried neoclassical shredder excess courtesy of guitarist Whipple. The record is a shapeshifting suite that fits veiled commodity critique, volcanic convulsions, blasé songcraft, and a breezy instrumental into a hallucinatory vision haunted by abject clowns and the grain of twisted emergency police calls. With tongue set firmly in cheek across Steads ode to Chateau Diana bodega "wine product" and de Nieves simulated Kim Gordon sighting, Hairbone maintain an irreverent authenticity in an era when the mere notion has become a barren field. With cover art by Jessie Stead, the record also features guest appearances from Mudboy, Lucy Jean Powers, Sergei Tcherepnin, and Yu Yamaguchi. Edition of 500." - Blank Forms.

Artist: PALESTINE, CHARLEMAGNE
Title: STTT THOMASSS DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY
Format: Cass
Label: Blank Forms
Country: USA
Price: $12.00
"In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrads 77th birthday. Charlemagne Palestine is a composer, performer and visual artist born in Brooklyn in 1947. Often labeled as one of the founders of minimalism alongside Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a "maximalist", eschewing the clinical stereotypes of the former term in favor of a full-blown erotics of possibility that in its ritualistic performance conjures a sense of sacredness without specificity. But before the intoxicating overtones of the Strumming Music (SR 297CD, SSH 003LP) for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestines first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised "klanggdedangggebannggg" sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instruments keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrads work on the carillon and contributing music to his film Coming Attractions(1970). On March 7th, 2017, Palestine climbed the spiral stairs of the Saint Thomas Churchs bell tower once again. This cassette features a full recording of STTT THOMASSS ""DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY, preceded by a brief incantation delivered one month later at a Tony Conrad memorial." - Blank Forms.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label