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Artist: LINDBLAD, RUNE
Title: Objekt 2
Format: CD
Label: Pogus
Country: USA
Price: $14.00

Artist: OTTE, HANS
Title: orient:occident / minimum:maximum
Format: CD
Label: Pogus
Country: USA
Price: $13.00
minimum:maximum (1973): texts / sounds / pictures. An environment (simultaneous concert in Stockholm and Bremen) for two organists: Karl-Erik Welin and Gerd Zacher, keyboard instruments. orient:occident (1977): for two woodwind-players and tape: Ingo Goritzki, oboe; Hans-Wilhelm Goetzke, clarinet. "Perhaps best known for his piano work Book of Sounds these two works by German composer Hans Otte were composed in the 1970s. In that decade his aesthetic creed became increasingly clear: the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. The composer understands the dialogue with sounds as the discovery of their nature. (Ute Schalz-Laurenze). While Hans Otte was an enthusiastic, one might say visionary promoter of fellow composers, such as John Cage and David Tudor, whose impacts had registered to the general public long after their force reached the surface, he nevertheless remained deeply committed to his own music. Ottes writings, simple lines that say: words are just something added on; all great things laugh; when something is reminiscent of nothing; and, its really something - that voice that was once in the mouth, all direct us to his music, because: everything always happens: Now.  It is Ottes music that betrays his particularity of thought to what (is everything), how (it happens), and when (is now). Words are just something added on. Collectively, these aphorisms reflect an aesthetic that dispenses with words which may address themselves to an understanding of the world. Here, however, the world to be understood is indescribable. What is everything? When is now? How does it happen? The message is that words tell, music is. Listen. The titles of these works: orient:occident and minimum:maximum, suggest a relationship between seemingly disparate things to remind us of Ottes adage: It is the gardener who owns the garden."

Artist: V/A
Title: DIY Canons
Format: Double CD
Label: Pogus
Country: USA
Price: $20.00
"The pieces on this CD are all based on the ideas in Larry Polanskys four voice canons, a series of pieces he began in 1975. These canons are usually mensuration canons, which means that the tempi of successive voices is proportional to their start times, so that the voices end together. They also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. A set of Polanskys canons was produced on Cold Blue Records as four voice canons. Polansky described these ideas in Four Voice Canon #13 (DIY Canon), a kind of open-source meta-canon score. He distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. Composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." - Simon Wickham-Smith, curator. Features: Kyoko Kobayashi, Bruno Ruviaro, Mike Swinchoski, Mike Winter, Ross Craig, Giuliano Lombardo, Simon Wickham-Smith, Steven M. Miller, Masaki Kubo, Drew Krause, George Zelenz, Stefan Tomic, Bo Bell, Philip Corner.

Artist: V/A
Title: Source Records 1-6 Music Of The Avant Garde, 1968-1971
Format: Triple CD
Label: Pogus
Country: USA
Price: $40.00
"The digital reissue of the Source LPs on 3 CDs: CD1: Source Records 1 And 2 featuring Robert Ashley - "The Wolfman" (1964); David Behrman - "Wave Train" (1966); Larry Austin - "Accidents" (1967); Allan Bryant - "Pitch Out" (1967). CD2: Source Records 3 and 4, featuring Alvin Lucier - "I Am Sitting In A Room" (1970); Arthur Woodbury - "Velox" (1970); Mark Riener - "Phlegethon" (1970); Larry Austin - "Caritas" (1971); Stanley Lunetta - "Moosack Machine" (1971). CD3: Source Records 5 And 6, featuring Lowell Cross - "Video II (B)/(C)/(L)" (1965); Arrigo Lora-Totino - "English Phonemes" (1971); Alvin Curran - "Magic Carpet" (1971); Annea Lockwood - "Tiger Balm" (1971). "Pogus is extremely proud to reissue the recordings included in the seminal new music journal, Source: Music Of The Avant Garde, Vols. 1-6, Issues 1-11, Source Records 1-6, 1967-1973. The original six ten-inch LP Source Records contained some of the most important experimental music of the nineteen-sixties to mid nineteen-seventies -- and they have now been reissued as a 3 CD set. Source ended publication in 1973, having published, since 1967, contemporary musical materials, scores, articles, interviews, photo essays and recordings over seven years, with up to 2000 subscribers to the semiannual journal: the subscribers avidly anticipated receiving two new and critically acclaimed issues each year during that period. Most of the original tape masters for the records, after over forty years, have vanished or have seriously deteriorated; hence, we have carefully transferred, noise-reduced, and crackle-removed all the actual LP record tracks to the digital medium, then mastered to the compact disc format for this reissue: the result is an authentic recreation of the original LP, characteristic sound." Includes 20-page booklet." -Pogus

Artist: WICKHAM-SMITH, SIMON
Title: Love & Lamentation
Format: CD
Label: Pogus
Country: USA
Price: $13.00
"The Sandokai (The Harmony of Difference and Equality) is a prayer written by the eighth century Japanese Zen teacher Sekito Kisen. The basis for this piece was a tape given to Wickham-Smith by a nun of a recital at her monastery. He wanted to create of this sample a prayer without borders, a follow-up to an earlier work, Ave Regina Caelorum (2000, released on Extreme Bukake), in which he used the Latin plainsong of a prayer to the Virgin Mary in much the same way. The organ sample at the end is from a piece by Erik Satie, whose spirituality was equally strange and eclectic. All the samples have been stretched and pitch-shifted beyond (immediate) recognition; to the ears they have melded into something that seems at once both ethereal and solid. The Kin-kindness of Beforehand grew out of his Multiple Tongues project, a series of pieces in which Wickham-Smith exposed the spoken word in many different languages to a series of digital manipulations. The Kin-kindness of Beforehand is divided up into several distinct sections, each of which took on a particular persona during its creation. For the composer, this was the most complex of all the Multiple Tongues works, because he wanted to use specific strings of words and the quality of writer Rachel Beckers voice somehow to comment on each another. Love & Lamentation started life as a setting for voice and electronics of part of the biblical Book of Lamentation, but it quickly became clear to that the literal setting of words was not going to convey the melancholic intimacy that needed to be expressed. As a teenager Wickham-Smith had heard Alain Gheerbrants wonderful ethnomusicological recordings of a blind Turkish troubador and had fallen hopelessly in love with his voice and exquisite playing of the saz. About the same time, through his friend Richard Youngs, he had discovered also the ex tempore psalm singing of the Scottish Isle of Lewis. Fifteen years later, he decided that these two could be made somehow to work together to show the love and lamentation which he felt they both held in their deeper recesses, and which he wanted to present in this new piece. The result is a strange melée of feelings, repetitions and textures."-Pogus

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