28 мая 2013 г.

Erik Knive Skodvin



Born 1979, raised in Langesund, Norway. Currently lives and works in Berlin after a long period in Oslo. Works freelance as graphic designer (Miasmah design) mostly for record labels, artists and within music business. He also makes music himself under the aliases Svarte Greiner & Deaf Center + runs the record label Miasmah Recordings.


Erik Skodvin


Xhale


Svarte Greiner


Deaf Center (Erik K. Skodvin, Otto A. Totland)

B/B/S/ (Aidan Baker, Andrea Belfi, Erik Skodvin)


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19 мая 2013 г.

Baudouin Oosterlynck - 1975-1978




Recordings of prepared piano, voice and objects of which most material previously unreleased.

Baudouin Oosterlynck (born 1946) works as a sound artist researching the phenomena of hearing and listening. An autodidact, he has developed over 200 sound works since the early 70's, along with 60 installations and 50 "listening aids" that emphasize the relationship between silence and sound, and has published books about sound and art. Oosterlynck applies a variety of methodologies and concepts to his work, including compositions with microscopic sound and field recordings, pieces for voice from oddly traditional to peculiarly bizzare (especially "Refuge"); percussive works with string or metallic sources; moody abstract sound compositions; open narratives over drawn strings environments (particularly "In Memoriam Collegi"); all of which are beautifully recorded and rendered and sequenced in a way that makes this a captivating listen. Oosterlynck has obsessively searched for outdoor sources of sound, reportedly traveling over 15,000 km on foot and bicycle throughout Europe in search of variations of silence. The works on these 4 CDs, recorded between 1975-78, are primarily based around the prepared piano, and utilize found objects, voice, and other unlikely devices to create compelling sound environments and statements. Exhibiting primarily in his native Belgium, this magnificent box is a great introduction to the work of this intriguing artist, in sound, words, and black & white photography.




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17 мая 2013 г.

Brad Rose




How has being located in Tulsa had an impact on Digitalis? And on North Sea?
I'm sure it has though it's hard to pinpoint how, exactly. Tulsa's pretty isolated in some ways in that there's not a ton going on with the local scene or shows and what not, so in some ways it's like being on an island. The biggest impact it's had is that it's so cheap living here that Eden & I are able to pay our rent/bills by working part time, so it leaves a lot more time and energy to put toward the label and music.

Do you have any thoughts on the remarkable vitality of fringe music in Middle America?
I think a lot of it stems from living in places where there's not a ton of stuff always going on, so we've got to find new and fun ways to stay inspired, creative and moving forward.

Are there other scenes, in America or internationally, that are exciting to you right now?
I dunno - it's hard to say since I haven't done a ton of traveling recently. I will say that I've got a deep affinity for Madison, Wisconsin and Chicago, but part of that is just from the fact we were up in both cities recently. With the kind of music I'm interested in, it's impossible to ignore Portland, OR and all the incredible stuff coming out of there.

Tell me a little about the beginnings of Digitalis -- did you have a clear idea of the kind of music you were interested in releasing?
Yes and no. I mean, I've never had a clear idea about it beyond it being something I was really into, so that's why our stuff can be sort of all-over-the-map soundwise. But I like that... for me, nothing is off-limits so it keeps everyone on their toes.

How would you say the label has changed, and is changing, since you first started it?
The biggest change has just been in our ability to get stuff out to a wider audience, I think. Obviously over the years we've done a multitude of formats and now we're hoping to transition into doing mainly vinyl and cassette releases (w/ digital versions available of some). I'm just figuring it all out as I go along.

I'm also curious about your North Sea project, how long it's been going, what it started out as, how it's different from Ajilvsga and Alligator Crystal Moth?
The North Sea started in 2002 though has its roots in an early project I did in the mid-to-late '90s called Ukraine. Sound-wise, I'm not sure how different it is from other projects but the main difference is that it's generally just me, doing all the sounds. This isn't the case on the new album, "Bloodlines," on which Mike Weis of Zelienople plays drums on the whole thing. But generally, it's just me.

So I just read that Not Not Fun is starting to digitalize their out-of-print back catalog so people could listen to otherwise unavailable music on ipods -- do you think other underground labels will start going in that direction?
Most of our CD releases (and some vinyl releases) are already available via digital download. The way I look at it is that anything that gets released on whatever format, some rip or mp3 version of it is going to end up on blogs, torrent sites - whatever. And generally, I'm cool with that - I want people to hear it. But I figure there is some population out there who doesn't really buy physical media (which is their loss, in my opinion, but still - music fans are music fans, whatever format they prefer) - so I figure why not give them the option of a format they want
in a way that supports the bands and the label?

And:
What are your five favorite bad pop records (I will let you interpret that as you like)?
I don't know about five favorite, but some 'bad' pop records I'm listening to a lot these days are Erasure's "The Innocents" (I really gotta get that recent 21st anniversary edition); Lady Gaga; Miley Cyrus' "Party in the USA" (which was seriously my favorite song of 2009); The Cardigans; and I can't get Ke$ha out of my head lately.


The North Sea


Charlatan


Ajilvsga (Brad Rose + Nathan Young)


Godseye (Ajilvsga + Eden Hemming Rose)


Indian Weapons (Ajilvsga + Eden Hemming Rose)


Corsican Paintbrush (Brad Rose + Eden Hemming Rose)


Altar Eagle (Brad Rose + Eden Hemming Rose)


Eagle Altar (Brad Rose + Eden Hemming Rose)


Sun Milk (Brad Rose + Eden Hemming Rose + Keith Wood)


The Golden Oaks (Brad Rose + Keith Wood)


Eastern Fox Squirrels (Brad Rose + Eden Hemming Rose + Robert Horton)


The Juniper Meadows (Brad Rose + Chris Skillern)


Alligator Crystal Moth (Brad Rose + Michael Donnelly)


Servant Sun (Brad Rose + Peter Wright)


Jade Emperor (Brad Rose + Wilson Lee)


Mike Tamburo And The Universal Orchestra Of Pituitary Knowledge (Brad Rose + Mike Tamburo + many others)


Hanging Thief (Brad Rose + Eden Hemming Rose + Evan Caminiti + Jon Porras)


Aerial Jungle (Brad Rose + Rachel Evans)


Angel Food (Brad Rose + Dylan Aycock)


Mohawk Park (Brad Rose + Dylan Aycock)


Concessionaires (Brad Rose + Pete Fosco)


Ossining (Brad Rose + Kevin Danchisko)


Silvercone Calicos (Brad Rose + Lexus Fur)

Safiyya (Brad Rose + Pat Murano)






See also some compilations with different Brad's aliases and groups participation:

(Ocasek is Brad Rose and John Mulhausen duo, Ukraine is Brad's alias, Little Jupiter is Brad Rose too)

(Oxblood Reincarnations is Brad Dixon and Brad Rose duo. And also Brad's projects which represented above: Alligator Crystal Moth, The North Sea, The Golden Oaks, The Juniper Meadows)

(The North Sea, Alligator Crystal Moth, Ajilvsga)

(Autumn Galaxy is  Brad Rose and Ville Moskiitto duo, Alligator Crystal Moth again)

(Altar Eagle)


(The North Sea)
 
(Mohawk Park)





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11 мая 2013 г.

Ensemble Musica Negativa ‎- Music Before Revolution



Four disks included:

Side 1: Credo In Us (John Cage, 1942), Imaginary Landscape No. 1 (John Cage, 1939)
Side 2: Concerto for Piano and Orchestra, Solo for Voice I, Solo for Voice II (John Cage, 1957/1958/1960), Rozart Mix (John Cage, 1965)
Side 3: Folio (Earle Brown, 1952/53)
Side 4: Four Systems (Earle Brown, 1954), Inbetween Pieces for Three Players (Christian Wolff, 1963), Electric Spring 2 (Christian Wolff, 1966/70)
Side 5: For Franz Kline (Morton Feldman, 1962), THe Straits fo Magellan (Morton Feldman, 1961), Between Categories (Morton Feldman, 1969)
Side 6: Sapporo (Toshi Ichiyanagi, 1962), Life Music (Toshi Ichiyanagi, 1964)
Side 7: Conversations with John Cage, Christian Wolff, Hans G Helms
Side 8: Morton Feldman, Earle Brown, and Heinz-Klaus Metzger in Discussion




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