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Artist: CURRAN, ALVIN
Title: The Alvin Curran Fakebook
Format: Book
Label: Alvin Curran
Country: USA
Price: $43.00
2015 release. 300-page paperback book, 11.7 x 8.3 x 1.8 inches. "The alvin curran fakebook is an atypical autobiography in notated compositions, a journey through my musical thought and practice within and without the system, designed and edited by Susan Levenstein. Not just sheet music but a multifaceted compendium, richly designed with photos, writings, and sketches, for anyone to pick through, enjoy, and make their own. The more than 200 works range from raw sonic materials to conceptual musics, fragments, suggestions, itineraries, and completed compositions, containing no secret codes other than my own DNA. They can be played as is, recomposed, looped, arranged, freely improvised on, remixed, layered, spatialized, staged, troped on, or tripped on. A resource and source of pleasure for composers, performers, improvisers, sound artists, scholars, teachers of composition and improvisation, fans, amateurs, terminal avant-gardists, bloggers, buskers, and art book lovers. In some of the 9 sections the music is written out for piano, but the possibilities of instrumentation are limited only by the imagination. The first section consists of sequences, simple strings of single tones that can be used to form looping patterns or as melodic or harmonic generators. The mels were born as pure monophonic melodies but can also be played in quasi-unison by multiple instruments, or overlaid in precise or random ways. The next sections are octaves (rarefied pieces featuring the octave or extended octave interval), music for two parts (just that), and beats (regular and irregular rhythmical patterns that swing, mostly but not only for percussion instruments). The strummz, alternating or rapidly repeated tones or chords, can be used by any chord-capable instrument or ensemble. The 3- and 4-part chorales in choral reefs, for any instruments or voices, bring triadic harmony to another brink. Most of the songs and dances, which were originally applied musics for theater, film, and dance, are presented in conventionally arranged lead sheets. The open aires are large- and small-scale structured improvisations for voices and/or instruments, mostly performed outside the concert hall. This fakebook is a democratic compost heap of musical scraps in the grand tradition of American experimental music. Available for delectation and use by anyone -- without artistic, social, or philosophical limits -- interested in my work or in contemporary musical/performative practices in general." - Alvin Curran.

Artist: CURRAN, ALVIN
Title: Natural History
Format: Cass
Label: Art Into Life
Country: Japan
Price: $16.00
"Beginning in the 1980s Edition Giannozzo Berlin released many works by famous artists like Rolf Julius, Bill Fontana, and Akio Suzuki. "Natural History" was a weird cassette, released on the label in 1983 by Alvin Curran, the founder of the Rome-based improv group MEV. Its an unparalleled piece of musique concrete that takes uniquely observed images of everyday life and weaves lyrical interconnections between them. Remastered in 2016 by Kiyoharu Kuwayama (Lethe). Limited edition of 150." - Art Into Life.

Artist: CURRAN, ALVIN
Title: Natural History
Format: LP
Label: Black Truffle
Country: Australia
Price: $26.00
"Black Truffle present the first-ever vinyl issue of Alvin Currans Natural History, originally released on cassette by Edition Giannozzo Berlin in 1983. A founding member of the radical electronic improvising group Musica Elettronica Viva, since the early 1970s Curran has developed an idiosyncratic body of solo work that occupies a unique position in the post-Cageian experimental tradition. Singularly undogmatic, Currans work takes the Cageian experience as the starting point for a radical openness to all forms of music and sound. Refusing to abstract music from its human functions, his work draws on existing musical genres, cutting-edge electronics and environmental recordings to craft compositions that mimic the hazy texture of everyday life, moving from the abstract to the referential, from the observational to the emotive, from the structured to the random. As he reflects in the liner notes written especially for this edition: "This infinite stream of sound became my life and my music all at once". Currans other classic solo works of the 1970s and 1980s, such as Songs and Views of the Magnetic Garden (1975) and Canti Illuminati (1982) are elaborate collages that combine keyboard and voice improvisation and composition with field-recorded environments. Natural History consists entirely of field recordings from Currans archive, arranged as a series of "still lifes", sometimes layered, but without any additional processing. Sounds recorded over the course of nearly twenty years, at Currans home in Rome or while traveling: constructions sites, insects, childrens toys, a piano being tuned, foghorns, familiar to admirers of Curran masterful Maritime Rites (2004), lovemaking, a singing neighbor. It is, as Curran says, an attempt to "put the sound of the entire world on a cassette tape". Heard against the backdrop of the increasing prevalence of field recordings in contemporary music over the last few years, Natural History is like a refreshing breeze, suffused with the joy of discovery. Gatefold sleeve with liner notes and photos by Alvin Curran and design by Stephen OMalley. Vinyl cut by Rashad Becker at Dubplates." - Black Truffle.

Artist: CURRAN, ALVIN
Title: Under the Fig Tree
Format: LP
Label: Die Schachtel
Country: Italy
Price: $28.00
"Two masterpieces of the early 70s by Alvin Curran, released by Die Schachtel for the first time ever. Using VCS3 live electronics and environmental sounds, Alvin Curran created a hypnotic and meditative transcendency of minimalist beauty. Limited deluxe vinyl LP edition." - FE. "The two works presented here are seminal pieces of two genres from which a great part of my musical practice springs, and to this day, continues to evolve from. Under The Fig Tree is, in fact, the realization of one monophonic piece contained in my well known early collection of single line melodic compositions entitled Music For Every Occasion. The version I present here was originally made for a performance of trombonist Giancarlo Schiaffini, playing against the recording. It is realized by myself playing a VCS3 (Putney) synthesizer, one of the first in a famous line of portable electronic synthesizers from the early 70s. Notable are electronically produced timbres which approximate acoustic flutes, clarinets, trombones and tubas -- long before the availability of multi-track tape machines, these tracks were recorded on multiple Revox tape recorders and mixed on a custom-made mixer. The Magic Carpet is, remarkably, my first sound installation, long before that phrase came into our daily vocabularies. It was inspired by a project of my dear friend and sculptor Paul Klerr -- an American with Italian-Jewish roots, who lives in Rome. He had this brilliant idea to fill a gallery with steel and gut wires, to which I suggested that he was actually building a fantastic musical instrument which could even be played by the visiting public -- so my intervention in this spontaneous collaboration was to figure out how to amplify this jungle of long steel wires -- which I did with simple contact microphones placed at various connecting points; and further adding a vertical element of sounding glass chimes plus aluminum and brass tubing and occasionally placed metal chimes." -Alvin Curran
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Artist: CURRAN, ALVIN
Title: Canti Illuminati
Format: CD
Label: Fringes
Country: Italy
Price: $20.00
"Complete reissue of the rare LP, originally issued by Fore in 1982, with original cover and liner notes, plus an updated presentation written by the composer. Two side-long beautiful piece for voices, synthesizer, tapes and electronics, and one of Currans best works. The music of this period and place, never a formal movement, was anchored both aesthetically and philosophically in the vital secrets of minimalism, in the sounds of the environment, however unassuming or flawed, in the cyclical generation of tones and voltage controlled substances, solo voice, and the whole body as solo performer, in men and women as equals, in stories of ordinary people, in gestures of eloquent simplicity as well as open spirituality, in irony as well as transcendental yearning. Improvisation and composition were reconciled as children of the same parents and immaculate mathematical structures could easily cohabit under the same roof with chance . Instrumental virtuosity and implacable drones were augmented to their human limits. And Rock music and musique concrete both contributed new values to amplification beat and noise. Canti Illuminati , was of course my early tribute to the human voice, as the most natural source of music known. In this period there were many experiments going on in the world based on collective vocal improvisation -- Pauline Oliveros Deep Listening work at UCSD, Roberto Laneris Roman group Prima Materia, David Hykes and his Harmonic Choir in New York, now based in France, and my own work in group vocal Improvisation at the Accademia Nazionale dArte Drammatica in Rome, where I taught between 1975 and 1980. I always told my students: dont forget! when the electricity gets turned off, you always have your voice/ your entire body as a basic musical instrument. When this work was being considered for an LP recording I decided to make it into a two part piece, which, on side one, explores a variegated soundscape of structured choral improvisation, and from this (side two) there emerges a solo platform for my own voice, tape delayed feedback, and my then trusty Serge Synthesizer and Sequencer. In later solo performances I concentrated entirely on this latter music, developing an intense and slowly expanding microtonal unison by matching my voice with a finely detuned keyboard. In retrospect this could be seen as a direct homage to Giacinto Scelsi, who opened avenues of magical perspectives to many of us young composers in Rome at that time." -- Alvin Curran, October-November 2002.
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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