Art into Life
https://www.art-into-life.com/
実験音楽/Experimental MusicのCD、レコードの通販、レーベル(Mail order, Record Shop, Record Label) Art into Life32https://www.art-into-life.com/data/a-i-l/image/20120816_68637e.pngjaArt into Life2026-06-01T00:00:03+09:00Mieko Shiomi "Requiem For George Maciunas"[CD+A4 booklet]
https://www.art-into-life.com/product/16268
Label: Art into Life / KIYOSATO MUSEUM OF CONTEMPORARY ART - AIL039 / SOUND ARCHIVE II CD
学生時代に参加…Label: Art into Life / KIYOSATO MUSEUM OF CONTEMPORARY ART - AIL039 / SOUND ARCHIVE II CD
Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.
This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.
This reissue includes an A4-sized, eight-page booklet (in Japanese and English) including a newly written commentary by Shiomi, along with photographs taken in Venice at the time and reproductions of the score.
Mastered by Giuseppe Ielasi.
※In accordance with the composer’s wishes, the CD format presents the original cassette’s A and B sides edited together as a single track.
]]>Art into LifeArt into Life30002026-06-01T00:00:03+09:00shopAMM "Tunes Without Measure Or End" [CD]
https://www.art-into-life.com/product/16272
Label: Matchless Recordings
2000年5月にグラスゴーのフリー・ラジオ・フェスティバルで録音されたトリオ演奏!!Eddie Prevost、John Tilbury、…Label: Matchless Recordings
2000年5月にグラスゴーのフリー・ラジオ・フェスティバルで録音されたトリオ演奏!!Eddie Prevost、John Tilbury、Keith Rowe、AMMトリオ編成の音源として2001年にリリース、一度廃盤となりリイシューもされている約57分に及ぶ名作CD音源[Tunes Without Measure Or End]。トランジスタラジオを近くに配置しハミングのようなフィードバックや耳障りな金属音を発するKeith Rowe、それとは真逆の良質なピアノの音響からまるで子守唄のような演奏を披露するJohn Tilbury、パートが進むに連れ様々なバリエーションを展開するEddie Prevost、一貫して緊張感のある演奏形態がカッコイイ。
AMM and their CDs have an almost comfortable familiarity. The trio's personnel has remained fundamentally the same since the early '80s when pianist John Tilbury joined the remaining founders, drummer Eddie Prévost and guitarist Keith Rowe. Every two or three years they release a CD, usually a single uninterrupted improvisation, about an hour in length, taped in performance. The only way in which these two CDs tamper with that practice is that they were both released in 2001. 'Tunes Without Measure' 'was recorded at Glasgow's free radiCCAls festival in May 2000 ; 'Fine' a year later at France's Musique Action festival. It takes its name from the dancer Fine Kwiatkowski, a silent partner in the performance.
'Tunes Without Measure' is a slowly unfolding dreamscape in which the group attenuates both time and space. In this specific performance, Tilbury and Rowe represent very different sonic vocabularies. Tilbury delights in the acoustic resonance of a good piano, in the clearly articulated tone or cluster. His sounds hang in the air in a way that seems traditionally beautiful. Rowe's fundamental sounds are abrasive metallic ratchetings, humming feedback, treble-loaded pings and bowed guitar that might be attached to nerve ends. And always the presence of his transistor radio, ready to intrude momentarily the outside world in its worst light — "Sushi isn't just for fish!" is this day's clearest message. But together AMM create a sonic space so large here, so fundamentally clear, that there's room for the two approaches to co-exist, as if Rowe and Tilbury sometimes played at opposite ends of the universe. That expansive space is a genuinely collective creation, one that seems to draw on the audience's attention for some of its capacity. It's absurd to point out highlights in work at once as diverse and unified as this, but the combination of sonically distinct, sustained tones from the three musicians in "Tune Two" and Tilbury's lullaby-like playing in the closing "Tune Six" are especially beautiful.
While 'Fine's' opening percussion might suggest that the same ritual is about to be enacted, its first "segment" describes an utterly different world — mechanical, harsh, a world that Tilbury's piano enters warily at first before his metallic string-sweeps arise to complement the maze of feedback electronics and percussion. This world of difference between the two pieces demonstrates how far the AMM improvisation is from conventional ceremony. If it is, in a sense, a ritual of reintegration — of self, community, the senses — then it appears to work only the same way once. That is, it is a process that demands originality, a unique responsiveness to the day's possibilities. It's testimony to AMM's creativity that not only do these performances sound (and ultimately feel) utterly unalike, but either performance sounds different with each new hearing.]]>Matchless RecordingsArt into Life24972026-05-31T23:56:52+09:00shopAMM "Generative Themes" [CD]
https://www.art-into-life.com/product/1868
Label: Matchless Recordings - MRCD06
同レーベルの1983年LPに31分のボーナスを追加した94年リイシューCD。恐らく本作からピアノのJohn Tilbur…Label: Matchless Recordings - MRCD06
One of their finest work - For all the lip service paid to the idea of the liberation of the performer, in contemporary art music creativity has become even more the prerogative of the individual and of the individual composer in particular. The goal of the composer, able to exercise control over all the parameters of every sound in the composition, has become the perfection of the ideal object, to which the composer enjoys a property relation. Instead of a relation between men, art becomes a relation to a thing and as a consequence some of music’s most characteristic and essential qualities are conspicuously missing from much contemporary composition. It has only been by dint of the improvisational ethic that qualities such as spontaneity, dialogue and transience have been rescued and restored. For AMM there is no ideal object to be projected, no ultimate condition, there are only possibilities to be perceived, transcended, made real. Within the possible, themes are suggested - what Paulo Freire described as ‘generative themes’. These generative themes are a consequence of a dynamic medium like improvisation.]]>Matchless RecordingsArt into Life26072026-05-31T23:56:52+09:00shopMatana Roberts "Coin Coin Chapter Three: River Run Thee" [LP]
https://www.art-into-life.com/product/10277
Label: Constellation - CST110-2
180グラム重量盤、DLコード&2枚の大型ポスターつき、とんでもない境地、激ヤバです！！アフリカ系アメリカ人のアルトサックス奏者お…Label: Constellation - CST110-2
180グラム重量盤、DLコード&2枚の大型ポスターつき、とんでもない境地、激ヤバです！！アフリカ系アメリカ人のアルトサックス奏者および作曲家として動き、また実験音楽の視点からアメリカジャズの再定義を行う激ヤバ女性プレイヤーMatana Roberts！！彼女が実験的スコアを用いた演奏や歴史的物語、パフォーマンス劇場を一体化させるという巨大編成マルチメディアプロジェクト"Coin Coin"の第三弾となる[Chapter Three: River Run Thee]。これ以前の過去の大所帯編成録音とは異なる、真骨頂に辿り着いたかのようなエレクトロニクスを多用しまくる完全ソロ音源となっており、フィールドレコーディング、スポークンワード、現代音楽、サウンドアート的アプローチまでを飲み込んだ完全なるアヴァンジャズ(?)。試聴の通り多重録音が多い為、もはやコラージュと言ってもいい程の異端さ。CD & LPフォーマット版あり。この音楽家は大推薦です。
Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. The critical accolades for her multi-chapter Coin Coin work place her at the vanguard of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Roberts has long employed the phrase "panoramic sound quilting" to describe Coin Coin, and with this third chapter in the series she implements this metaphor most overtly, creating a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee unfolds as an uninterrupted album-length flow, in what Roberts calls "a fever dream" of sonic material, inspired by a solitary research-based road trip Roberts took through the American South in early 2014. Fragments of traditional song are the album's main touchstones, with Roberts' singing voice riding atop waves of radiophonic texture, layered spoken word, and an often dislocated, wandering horn. It is the first explicitly solo work in the Coin Coin series, and a fascinating extension of the cycle; yet another adventurous, socially engaged definition of what Jazz can mean in this day and age.]]>ConstellationArt into Life38172026-05-31T23:11:55+09:00shopMieko Shiomi "Requiem For George Maciunas"[LP+A4 booklet]
https://www.art-into-life.com/product/16267
Label: Art into Life / KIYOSATO MUSEUM OF CONTEMPORARY ART - AIL039 / SOUND ARCHIVE II LP
学生時代に参加…Label: Art into Life / KIYOSATO MUSEUM OF CONTEMPORARY ART - AIL039 / SOUND ARCHIVE II LP
Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.
This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.
This reissue includes an A4-sized, eight-page booklet (in Japanese and English) including a newly written commentary by Shiomi, along with photographs taken in Venice at the time and reproductions of the score. The LP edition comes with a download code.
Mastered by Giuseppe Ielasi.
]]>Art into LifeArt into Life44002026-05-31T19:23:54+09:00shopEmile Zener "Sumatra Method" [CD]
https://www.art-into-life.com/product/16294
Label: Critique of Everyday Life
限定150セット、当店大推薦の電子音楽レーベル!!現行の優れたミュージック・コンクレート作家を手掛ける、バルセロナ発Critiq…Label: Critique of Everyday Life
限定150セット、当店大推薦の電子音楽レーベル!!現行の優れたミュージック・コンクレート作家を手掛ける、バルセロナ発Critique of Everyday Life!!作品毎に興味深いテーマを掲げ、主にフィールドレコーディングとアナログシンセを用いた秀逸なミュージック・コンクレートの制作に勤しむ音楽家Emile Zener。インドネシアのホラー、B級映画のセリフ、CIA職員の告白など、VHSから採取した音ネタ&ノイズを使い、緻密なフィードバック・システムにて構築した細部に渡り質の高い音響が飛びだずナイトメア電子音楽。マスタリングはStephan Mathieu。
"One day, when it's safe, when there's no personal downside to calling a thing what it is, when it's too late to hold anyone accountable, everyone will have always been against this." - Omar El Akkad
Sumatra Method sees Émile Zener (otherwise known as Gunnar Haslam) returning to the more explicitly political work he previously focused on with Quaderno Rosso.
An impressionistic portrait of Indonesia in the 1950s and 1960s, Sumatra Method explores one of the hottest theatres of the Cold War through his expansive cybernetic sound collages. As documented in his ongoing YouTube series called "La Synthèse Humaine", Zener approaches the synthesizer like an analog computer, taking cues from ecological and economic systems to create dense feedback systems. In the case of Sumatra Method, primary historical sources are integrated into the network, re-contextualizing B-movie dialogue or confessions from CIA officers into a hallucinatory retelling of Cold War violence and covert operations.
Unstable drones and microscopic noises wrap themselves around VHS static, Indonesian home video horror films, and ghostly radio transmissions. The burst of reactionary violence in “Jakarta Is Coming” and apocalyptic aftermath of “One Day Everyone Will Have Always Been Against This” bring history to the present day - implicating us all.
Sumatra Method explores the dialectic space in between "abstract" and "concrete" by presenting the mess of history as it is. It brings you back to the past - to an event we now accept as horror - and asks you to bring that lesson to the present. It is all to easy to reconcile the system that has made you comfortable with its past sins and tell yourself that it cannot happen again.
“Looking at it this way, the major losers of the twentieth century were those who believed too sincerely in the existence of a liberal international order, those who trusted too much in democracy, or too much in what the United States said it supported, rather than what it really supported—what the rich countries said, rather than what they did. That group was annihilated.” - Vincent Bevins ]]>Critique of Everyday LifeArt into Life24972026-05-31T11:53:16+09:00shopChristina Kubisch & Eckehard Guther “Mosaique Mosaic” [CD]
https://www.art-into-life.com/product/4117
Label: Gruenrekorder - Gruen 131
女流サウンドアートの巨匠Christina Kubischが質の高い環境音作品を連発するドイツGruenrekorderに登場！…Label: Gruenrekorder - Gruen 131
My first visit to Cameroon in summer 2010 occurred thanks to an invitation by the Goethe-Institut Yaoundé and the independent art organization Doual’Art.
During my residency I prepared a sound installation for a festival in Douala in December. I also conducted a workshop, together with Eckehard Güther, for young local musicians and artists on the theme of field recordings. Field recordings?
In the cities people are surrounded by distorted sound systems playing lo-fi illegal copies of Cameroonian as well as international pop music. The sounds from church services, instruments and voices are all amplified as well – the louder the better. A lot of what you hear comes from speakers.
The workshop held surprises for everybody, most of all for us: the participants led us to many hidden places with sounds they thought would be of interest to us. And we noticed that we were mistaken in our prejudice of sounds which might be unheeded: these people did listen, they had the most musical ears, they knew a lot about their “field”. But so far they had not felt any necessity to store these sounds. So we started our exchange: they got the recording facilities and we got a little bit of their ears.
Cameroon is a noisy country with unexpected and subtle soundscapes. We were brought to places we never would have discovered ourselves. This was the basis for a “sound diary” which was continued during a long trip into the North of the country and as well during our second visit in and around Douala in the winter time.
Music is one of the most important forms of communication in Cameroon, a country with hundreds of different languages and ethnic groups, it is a link which binds them all together. I am glad that we could participate in this sonic experience with the help of many local people. The places we recorded were not arranged in advance, we just happened to be there and sometimes the recordings were made with quite simple equipment. Listening was the most important experience and hopefully some of this personal experience will shine through in this release.
All the field recordings are unprocessed, but parts of them are assembled and mixed together. Christina Kubisch]]>GruenrekorderArt into Life24972026-05-31T11:53:16+09:00shopIancu Dumitrescu "Libelocus-(alpha), Libelocus-(beta), Libelocus-(gamma)" [CD]
https://www.art-into-life.com/product/16149
Label: Art into Life - AIL040
滅多にコンサート録音を残さなかった同国ルーマニア出身の指揮者セルジュ・チェリビダッケに師事、氏から学んだ現象学と指揮法を自身の作風に取…Label: Art into Life - AIL040
Romanian composer, conductor, and musicologist Iancu Dumitrescu is often described as one of the leading figures of spectral music, yet he has produced a body of powerful works resonating with explosive sound and friction that places him very much in his own universe. Dumitrescu studied under his compatriot, the conductor Sergiu Celibidache, who rarely left behind concert recordings. From him Dumitrescu absorbed phenomenology and conducting techniques, incorporating them into his own compositional style.
In 1976 he founded the Hyperion Ensemble, leading it in numerous concerts both within Romania and internationally. In 1990 he established the independent label Edition Modern together with Ana-Maria Avram, through which he released more than thirty recordings over many years. In recent years, however, the publication of new recordings had slowed to a trickle.
This work marks a long-awaited new release: a recording of the concert performance of Libelocus, a three-part work performed in London in 2016. It brings together the distinctive style of this singular spectralist—from explosive ensemble passages to electronic music, all contained within the natural flow of a live performance.
Mastered by Giuseppe Ielasi.
Participating musicians :
IANCU DUMITRESCU (composer and conductor)
ANA -MARIA AVRAM (computer)
TIJANA STANKOVIC (viola)
ANDREI KIVU (cello)
MIRCEA ARDELEANU (percussion)
TIM HODGKINSON (bass clarinet)
YONI SILVER (bass clarinet)
COLIN HACKLANDER (percussion)
Concert in London 2016.
]]>Art into LifeArt into Life27002026-05-31T08:32:51+09:00shopAMM "At The Roundhouse" [CD]
https://www.art-into-life.com/product/16274
Label: Matchless Recordings
1972年にIncusから出た7インチ音源の完全版録音!!イギリスのテナーサックス奏者にしてAMMの創設メンバーであったLou Gareと…Label: Matchless Recordings
1972年にIncusから出た7インチ音源の完全版録音!!イギリスのテナーサックス奏者にしてAMMの創設メンバーであったLou Gareと、同じく最初期メンバーにして現在も精力的に活動するEddie Prevost、この二者によるAMMとしての名作[At The Roundhouse]。同国Incusより一度72年に抜粋音源を収録した7インチ盤にて発表された作品の、コンサート全編を収録した2004年完全版CDがコレ。国際実験音響カーニバル"ICES '72"にて披露された、非常にエネルギッシュな圧巻の47分パフォーマンス。
The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey 'Job' Matusow (1926-2002). Jumping off from his associations with the influential Source magazine, Harvey brought together over 300 artists from more than 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts.
Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound -- specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house. Now, for the first time in 30 years, these recordings can be heard.
This first CD in a series documenting the festival features the complete concert given by legendary free improvising group AMM. Represented here by Eddie Prevost and Lou Gare, they offer up powerful explosions of saxophone and drums punctuated with their famous AMM silences. This is the first time this material is available, aside from two short excerpts were published as the only 7" release on Evan Parker and Derek Bailey's Incus Records (and a very rare and desirable record that has become)]]>Matchless RecordingsArt into Life24972026-05-31T03:28:20+09:00shopBudhaditya Chattopadhyay "Elegy For Bangalore From Eye Contact With The City" [CD]
https://www.art-into-life.com/product/3282
Label: Gruenrekorder - Gruen 108
オーストリアのリンツで開催される芸術/メディアアートの祭典アルス・エレクトロニカの表彰作品！！インド南部の都市バンガロールに焦点…Label: Gruenrekorder - Gruen 108
The sound/video installation-project ‘Eye Contact with the City’ (recipient of an Honorary Mention at PRIX Ars Electronica 2011) was the outcome of an artists’ residency in Bangalore in the autumn of 2010. The primary materials used in the installation were the field recordings made and video footage shot at various locations in Bangalore. Materials also included retrieved audio from old reel-to-reel tapes found at the city’s flea markets. The extensive repository of field recordings and other audio materials eventually took the form of this elegiac composition during a subsequent artists’ residency at the School of Music, Bangor University, in the summer-autumn of 2011.]]>GruenrekorderArt into Life24972026-05-30T23:43:31+09:00shopSylvia Lim "Flare" [CD]
https://www.art-into-life.com/product/16303
Label: Another Timbre
素晴らしい1st音源!!ロンドンを拠点とするマレーシア系オーストラリア人作曲家Sylvia Limの6つの室内楽曲を収録したデビューアルバム。音の物質…Label: Another Timbre
On Flare, Sylvia Lim turns six chamber works into a series of luminous close‑ups, magnifying tiny shifts of timbre, breath and touch until fragile sounds bloom into something cathartic, raw and quietly destabilising.
Flare gathers six chamber pieces by Sylvia Lim, a Malaysian‑Australian composer based in London whose work has been described as “ethereal,” “undeniably beautiful,” “strange,” and “playful and profound.” Across these works she stays close to the things that have defined her practice: the materiality of sound, close listening, and a fascination with rawness and instability. Rather than filling the frame with gesture, Lim often begins from a single sound, texture or interval and then explores it in depth, like turning a small object slowly in the light. Silence, breath, bow pressure and the grain of individual instruments become central actors, so that each piece feels less like a fixed composition than a situation in which sound is gently but persistently coaxed into being.
The album’s title points to the moment when something contained suddenly brightens or overexposes, and that dual sense of illumination and fragility runs through the music. Lim’s writing is frequently quiet and intimate, but it is rarely comfortable. Long tones are asked to hover just at the edge of breaking; unstable harmonies are held until they start to shimmer or beat; rhythmic figures unfold at a scale where minor shifts feel seismic. In a work such as shadowfolds, heard here in extract form in advance clips, overlapping lines fold over each other like layers of translucent fabric, creating interference patterns that are as much about perception as about pitch. Elsewhere, pieces use fragile attack, noise elements and microtonal inflections to keep the sound world slightly unsettled, as if the music were continually testing how much tension a single texture can bear.]]>Another TimbreArt into Life25972026-05-30T22:20:35+09:00shopHakon Thelin "echoes and traces, together" [CD + Booklet + Art cards - Box set]
https://www.art-into-life.com/product/16302
Label: No Label
豪華ボックスセットにて登場、当店が激推しするダブルベース・プレイヤーの2026年新録!!間違いなく重要タイトル!!ノルウェー出身のダブルベーシストにして作曲家、ク…Label: No Label
豪華ボックスセットにて登場、当店が激推しするダブルベース・プレイヤーの2026年新録!!間違いなく重要タイトル!!ノルウェー出身のダブルベーシストにして作曲家、クセナキスやベリオをはじめとする現代音楽家の楽曲、また自国の伝統音楽の演奏もしたりする強者プレイヤーHakon Thelin。自主レーベルPeninsula Audio Recordsより2026年4月に出版、同国のノイズミュージシャンLasse Marhaugデザインによるクールなボックス、数種のアートカード、ブックレットという豪華仕様で発表された新録[echoes and traces, together]。タイトルとなっている3つの楽曲はそれぞれエコーとトレースにちなんで名付けられており、本作はこれまでの演奏探求の延長線上にあるもの。シンバルを弦に直接当てその振動を拾う、また26本の等間隔に調律された音叉を叩いて鳴らし続けるといった、拡張した手法にてハードコアな録音に成功しています。
Custom made CD-box designed by Lasse Marhaug with CD, art cards by Hilde Flikke and booklet with texts by Håkon Thelin, Jennifer Wei Gersten, Maja S.K. Ratkje and Jonas Skaarud. Pictures by Jenny Rydhagen, Hilde Flikke and Sarah Ludwig-Simkin.
No instrument attracts purer devotees than the double bass, given that the will to carry such a hulking object out of the house every time one needs to perform requires a selflessness akin to martyrdom. Those besotted enough to volunteer themselves for the task will usually fall prone to a bass-specific nerdery; the instrument’s legacy is dotted with musicians who are not only performers but also researchers par excellence, who have spelunked through the depths of a centuries-old resonance cavern and are emerging still with new ideas and techniques.
Among the most vigorous of the contemporary spelunkers is the preeminent Norwegian bassist and composer Håkon Thelin, who, across the last 30 years of solo and ensemble work across Norway and broader Europe’s leading contemporary ensembles, has also committed himself to a host of idiosyncratic, solitary investigations into his instrument’s capacities. In previous solo albums, Thelin has pristinely encapsulated projects within Norwegian folk music, various tunings, and harmonics. The album at hand—"echoes and traces, together", including three pieces that are named after each component of that title—is in some regards an extension of this previous research, drawing upon the same level of technical precision, novelty, and focus. Simultaneously, Thelin is explicitly reacquainting himself with the fundamentals of his compositional practice, which he has defined, essentially, as negotiating between poles: tension and release, dynamism and stasis, solitude and togetherness. His musical materials, many of which he repeats or remixes throughout these three pieces, seem relatively economical in scope to begin with, but dispense their bounty over time as the listener learns to perceive their direction and resonance.
Much of this material occurs to the ear as fairly natural to execute, which is a testament to how smoothly Thelin conceives of even the works’ unconventional proposals. "echoes..." is also a matter of reconciling the bass with foreign objects that, through the composer’s doing, have found their footing in the instrument’s extended universe. One work enlists a usual suspect from the percussion section—a cymbal, applied directly against the strings for a strange sizzling effect, which, combined with the harmonic progression preceding it, leaves the instrument burning in its own vibrations. Another calls for 26 equally tempered tuning forks, which assistants strike and let ring as the bassist plays a series of repeated notes based on a fingering system, developed by Thelin, that allows the player to access a certain progression of harmonics, or partials. Thelin’s combination of formidable instrumental skill and composerly imagination means that these novelties seem organic in context, just another day in the life of an instrument around which revelation is par for the course.]]>No LabelArt into Life44772026-05-30T22:20:35+09:00shopAnthony Braxton and James Fei "Duet" [CD]
https://www.art-into-life.com/product/16252
Label: Other Minds
インタラクティブ・システム"ロレーヌ"を用いた音源!!シカゴ出身の重鎮米サクソフォニスト/コンポーザーAnthony Braxtonによる、現在進行形のプロ…Label: Other Minds
インタラクティブ・システム"ロレーヌ"を用いた音源!!シカゴ出身の重鎮米サクソフォニスト/コンポーザーAnthony Braxtonによる、現在進行形のプロジェクト[ロレーヌ]を使用した録音が米Other Mindsより登場。既に当店では同システムを用いた4CDボックス音源を紹介済みですが、こちらはそれより以前の2021年に録音されていたAnthony Braxton & James Feiのデュオ音源。演奏よりピッチ情報を継続的に抽出する電子システムがシンプルなエレクトロニクスを自動で放射、演者とのレイヤーが絶えず複雑に変化するエレクトロ・アコースティック的構造が魅力。
Other Minds is pleased to announce the release of Duet (Other Minds) 2021, a new recording by Anthony Braxton and James Fei. The CD features a brilliantly captured live recording of “Composition 429,” a new work that Braxton composed specifically for the duo to perform at our OM 25 festival and dedicated to our Executive and Artistic Director, Charles Amirkhanian.
“Composition 429” is the first piece using a new writing method that Braxton calls “Lorraine.” The composer’s notes to the piece describe Lorraine as “a music system that governs the ‘sonic winds’ of breath.” Saxophonist and longtime collaborator James Fei contributes an essay detailing the Lorraine system, which uses a combination of traditional notation and color-coded symbols of the composer’s design to indicate “specific sound types or performance techniques,” drawing from Braxton’s long history as an artist but always looking to the future of music. This notation is uniquely not reliant on linear type or representation thereof. Also included in the Duet (Other Minds) 2021 package are extensive notes from noted jazz critic Nate Chinen contextualizing the performance.
It’s immediately apparent that the duo have been playing together for decades, Fei having appeared on numerous recordings of Braxton’s work throughout their years working together. Despite this, Duet (Other Minds) 2021 marks their first recording as a duo. Covering the spectrum of saxophones, the pair harmonizes strings of melodies that hover between the angular and the familiar. As Braxton himself puts it, “memories and shadows of ‘beingness’ adorn the ornamentation of old ruins and blessed relics.” The Lorraine system calls for performers to play the written material as composed followed by an extrapolative section where players improvise with the material following an additional layer of more abstract notation, but always in rhythmic unison. In this performance, Braxton and Fei are accompanied by “Diamond Curtain Wall Music,” an electronics system that continuously derives pitch information from their performance. This multitude of layers expands and contracts and interacts in an ever-changing kaleidoscope that even stretches to encompass the composer’s past work - in this case Braxton’s “Ghost Trance Music,” Compositions No. 272 and No. 343. The pair cover a dizzying swath of territory over the course of the piece’s 40 minutes.
Anthony Braxton’s restless creativity is on full display on Duet (Other Minds) 2021, the sound of a composer decades into his career continuing to not only expand the breadth of his oeuvre, but continuing to find the joy and excitement in doing it. This music capitalizes on not only the deep creative partnership between the players, but also the deep relationship between the players and the music - a unique experience even for a composer with the massive catalog of Anthony Braxton. ]]>Other MindsArt into Life29372026-05-30T22:20:35+09:00shopCharles Amirkhanian "Ratchet Attach It" [CD]
https://www.art-into-life.com/product/16250
Label: Other Minds
前作から4年振りとなるアルバム!!カリフォルニアの作曲家にして音響詩作家、ラジオプロデューサー、そしてこの米老舗レーベルOther Mindsの主宰者として…Label: Other Minds
Contains booklet with notes by the composer and liner notes by Dominic Murcott.
Other Minds is pleased to present Ratchet Attach It by the Bay Area composer, impresario, and Chief-Other-Mind Charles Amirkhanian. The work includes a rollicking miasma of drum cadences, fractured player piano rolls of manipulated Rachmaninoff, Harold Arlen's "Stormy Weather," and Armenian folk music, along with interludes for multiple ratchets and cowbells, tastefully crafted into an 11-movement suite sure to delight the most jaded new music ears.
Commissioned by Errollyn Wallen, the UK’s Royal Composer, for the 2021 Spitalfields Festival in London, Ratchet Attach It continues—and crowns—Amirkhanian's career-long fascination with the noisiest of percussion instruments: the ratchet. "The sound up close of a concert orchestral ratchet can be hair-raising," Amirkhanian writes in his composer's notes. "Also, full of bird-chirping-like overtones. I learned this early on by accident while sitting in the enclosed cab of my Volkswagen Bug and turning the handle of this ear-splitting instrument."
Over the course of its 27-minute duration, Amirkhanian dresses up—and dresses down—the ratchet to explore how percussive noise acts in support of, and in opposition to, the keyboard music. "The act of playing this mechanical instrument somehow relates," says Amirkhanian, "to the mechanism of the player piano, with its constant rotating of the paper roll on which music has been encoded." Besides percussive support from Dominic Murcott and the Trinity Laban Percussion Ensemble of London, the work also features pianolist Rex Lawson subverting piano rolls from his vast collection by performing them in unconventional ways, which then are further manipulated by Amirkhanian in the recording studio. ]]>Other MindsArt into Life29372026-05-30T22:20:35+09:00shopPietro Grossi "OSTN" [CD]
https://www.art-into-life.com/product/15499
Label: Gruenrekorder
なんとGruenrekorderからイタリア電子音楽のパイオニアPietro Grossiの音源がリリース!!00年代初頭から出版を開始、取り分け多くの…Label: Gruenrekorder
In the proposed version, for vibraphone and tape, I attempted to enter Pietro Grossi’s sound spectrum of six Ostinati (OSTN) intended as moving soundscapes, maintaining the specific grain of each field as the centre of sound gravity. The vibraphone motor was conceived at different speeds for each field in the search for a vibrant and luminous sound, maintaining, within a sound unit of organic character, two dimensions: figure and background in the dialectic relationship of listening.
In the first ostinato, a constant tremolo from slow to fast covers the entire frequency range of the vibraphone, within the sound field of Pietro Grossi, tending to the extremes with a few single notes „as if illuminated“ in an almost choral of ascending/descending voices. In the second ostinato a tremolo on a single note dissolves into the sound field in a ‚liquid‘ manner with minor-second leaps ‚in the breaths of the tape‘ with a non-melodic legato alternating between the two voices. In the third ostinato a large wave determines a constant pulsation (pulse) with motor off, a regular almost rhythmic pulsation that builds, within the sound field, overlapping layers of density within the white noise like a big breath: (R)es-breath – breath (big breath) – In-breath: an idea of a ‚melody‘ of white noise. The fourth obstinate is „the voice of the dead“ or rather: voices of etheric bodies. In the encounter with the suprasensible, a suspension of the will in Feeling takes place. The vibraphone appears in the background ‚inside the voices‘ as a presence: I hear/ between the notes. They are Voices! In the counter-singing. The fifth ostinato is static with tremolos that fit into Pietro Grossi’s conciliatory and serene sound field. The sixth ostinato rediscovers the presence of the Will, of a will expressed as free, fragmented improvisation: almost furious but diluting…
In conclusion, the vibraphone is understood as an instrument of distance, in the absence of the performer who re-presents himself, in a path of purification, in the sixth ostinato as an improvisational body. What prevails is the sound of the vibraphone in the field: for Pietro Grossi.]]>GruenrekorderArt into Life24972026-05-30T22:20:35+09:00shopchant 1450 Renaissance Ensemble + Sylvain Chauveau "Le Beau du Monde / A Modern View on Early Music" [CD]
https://www.art-into-life.com/product/16262
Label: Sub Rosa
古楽と現代音楽の美し過ぎる融合!!1971年フランス出身、ギターとピアノを中心に弦/管楽器もプレイ、ラモンテやフェルドマン、ケージの曲、またリュック・フェラーリの…Label: Sub Rosa
古楽と現代音楽の美し過ぎる融合!!1971年フランス出身、ギターとピアノを中心に弦/管楽器もプレイ、ラモンテやフェルドマン、ケージの曲、またリュック・フェラーリのオマージュも演奏したりしているベテランSylvain Chauveau。15世紀と16世紀の宗教音楽と世俗音楽を歌うボーカルアンサンブル"Chant 1450"と共に作り上げたハイブリッドな古楽音源。ルネサンス期に活躍した作曲家パスカル・ド・レストカールの[Octonaires de la vanité du monde](1582年)と、ジュネーブ詩篇(1562年)をアカペラで歌い、そして幾つかの楽曲ではSylvain Chauveauによる再構築版を収録、決してアーカイヴ的な発想では無く新たな何かを生み出すという心意気が素晴らしい内容。
CD Digipack + 12 page Booklet
These recordings show a bold mix : breathtaking a cappella interpretations of the Octonaires de la Vanité du Monde by Paschal de L'Estocart (1582)and pieces from the Geneva Psalter (1562) meet the reworkings of Sylvain Chauveau. The voices of chant 1450, trained in early music, sing these pieces with lyrics about transience full of emotion and elegance.
Sylvain Chauveau processed individual pieces electronically, whereby transience remains sonically present in his always surprising versions. The reworkings do not take early music as a fixed, quasi-museum repertoire, but as a starting point for something new - everything is in flux, is reinterpreted, changes. A wonderful stream of fantastic music emerges, with ancient and contemporary music coming closer together than one might initially expect. Le Beau du monde - a modern view on early music is the second collaboration by chant 1450 and Sylvain Chauveau after Echoes of Harmony - Early Music Reworked (SR447, 2017), both released by Sub Rosa.
chant 1450 Renaisance Ensemble sings and plays the sacred and secular repertoire of the 15th and 16th century. Including musicians trained at the widely renowned college for early music Schola cantorum in Basel, Switzerland, chant 1450 appeared live in January 2005 and sang then a highly acclaimed first tour in Switzerland with La contenance angloise - sacred music of the 15th century, followed by more than 250 live performances in Germany, Italy, Czech Republic and Switzerland until today. chant 1450 was invited to major festivals like the Rheingau Festival (Germany), the Montalbâne Festival (Germany), Festival for Early Music Zurich and many more. Artistic Director and responsible for all programmes and recordings including sounddesign is Daniel Manhart, a tenor born in Switzerland.
Sylvain Chauveau has made solo records on labels such as FatCat, Sub Rosa, Flau, Sonic Pieces: minimal compositions for acoustic instruments, electronics and vocals. His music has been reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, BBC, The Washington Post. One of his tracks was published on the compilation
XVI Reflections on Classical Music (Decca/Universal) alongside pieces
by Philip Glass, Gavin Bryars and Ryuichi Sakamoto. He has played live in Europe, America and Asia. He is the co-director of Ensemble 0. Since 2019, he is committed to the reduction of the ecological imprint of music.]]>Sub RosaArt into Life28272026-05-30T20:40:16+09:00shopレイモンド・フォイエ "ハリー・スミス講義録 ナローパ大学の宇宙誌" [Book]
https://www.art-into-life.com/product/16310
Label: カンパニー社
編者 レイモンド・フォイエ
訳者 工藤遥
四六判上製：384頁
発行日：2026年5月
●編集前記（レイモンド・フォイエ）
●序文（ピーター・ランボーン…Label: カンパニー社
The Mahler (in/a) Cage field recording work involves the recording, in situ, from the Casetta di composizione (Composition house) in Dobbiaco/Toblach (Bozen), of the soundscape in which Gustav Mahler composed his last works from 1909 to 1911 and in particular The Song of the Earth (Das Lied von der Erde). The recording session took place over two summer days, from July to August 2020 from 5 am onwards, in the period of the year in which Mahler himself re sided in Dobbiaco to compose at the beginning of the century.
Mahler (in/a) Cage is a field recording work, a process of possible reconstruction of a hypothetical and natural soundscape, within Mahler’s music or rather his musical imaginary following some archetypal signals (e.g. cowbells, birdsongs). All this is traced back to the composition of John Cage Sculptures Musicales (1989): “Sounds lasting and leaving from different points and forming a sounding sculpture which lasts” (Marcel Duchamp). An exhibition of several (sonic sculptures), one at a time, beginning and ending “hard-edge” with respect to the surrounding “silence”, each sculpture within the same space the audience is. From one sculpture to the next, no repetition, no variation. For each a minimum of three constant sounds each in a single envelope. No limit to their number. Any lengths of lasting. Any lengths of non-formation. Acoustic and/or electronic [Peters Edition EP 67348].]]>GruenrekorderArt into Life24972026-05-30T18:10:02+09:00shopMusic Now Ensemble 1969 "Silver Pyramid" [CD]
https://www.art-into-life.com/product/1869
Label: Matchless Recordings - MRCD40
1969年5月ロンドンにて4日間に渡り開催された実験音楽イベント[Music Now]。Sonic Arts Union…Label: Matchless Recordings - MRCD40
1969年5月ロンドンにて4日間に渡り開催された実験音楽イベント[Music Now]。Sonic Arts Union、ケージにラモンテヤング等々、名立たる重鎮達が参加した歴史的イベントより、5月4日に行われたAMMのメンバー達を含む大所帯即興集団[Music Now Ensemble]のパフォーマンスを抜粋〜音盤化したもの。ギシギシとした軋み系の暗黒音響、ドローン状と化した地を這う物音系ノイズ、ジャケに使用されているKeith Roweの硬質ドローイングがピタリと来る激激高内容。初期AMM、Scratch Orchestraファンには間違いなくお勧めです。勿論コーネリアス・カーデューも参加。
The music is continuous. Time codes have been inserted at intervals to assist retrieval.
Recorded at The Roundhouse, London, England as part of a Music Now Festival on 4th May 1969]]>Matchless RecordingsArt into Life26072026-05-30T18:10:02+09:00shopJandek "Glasgow Monday" [DVD]
https://www.art-into-life.com/product/4334
Label: Corwood Industries - Corwood 0785 DVD
Corwood IndustriesのDVDシリーズ。2005年5月23日スコットランドはグラスゴーでの…Label: Corwood Industries - Corwood 0785 DVD
Subtitled: "The Cell"
Recorded live: Centre for Contemporary Arts, Glasgow, Scotland May 23, 2005]]>Corwood IndustriesArt into Life19472026-05-30T16:43:10+09:00shopJandek "Glasgow Friday" [DVD]
https://www.art-into-life.com/product/4333
Label: Corwood Industries - Corwood 0791 DVD
Corwood IndustriesのDVDシリーズ。2005年10月14日スコットランドはグラスゴーで…Label: Corwood Industries - Corwood 0791 DVD
Filmed live at The Sage Gateshead, England, May 22, 2005, shot with two cameras both of which are selectable through the DVD menu.]]>Corwood IndustriesArt into Life19472026-05-30T16:43:10+09:00shopAndrzej Karałow "Stone Music" [LP]
https://www.art-into-life.com/product/16309
Label: Bocian Records
タイトル通り、Zygmunt Krauzeの超傑作[New Piano Sounds]の楽曲を含む超秀逸な演奏集!!ミニマル・ミュージックとクラシック…Label: Bocian Records
タイトル通り、Zygmunt Krauzeの超傑作[New Piano Sounds]の楽曲を含む超秀逸な演奏集!!ミニマル・ミュージックとクラシックをバックグランドに持つ、ポーランドのピアニスト/コンポーザーAndrzej Karalowの1st LP。ここBocian Recordsのオーナーが氏に頼み実現~音源化の流れとなった、敬愛する同国のコンポーザーZygmunt Krauzeが残した73年傑作[New Piano Sounds]をテーマとした作品集。オリジナルに収録された名曲[Stone Music]をはじめ、Tomasz Sikorskiの[Zerstreutes Hinausschauen](1971)までをリアライズ、更には自身の楽曲、同国の現音コンポーザーZaneta Rydzewskaの楽曲も演奏。単なる模倣では無い確かな発展が確認出来る超高内容。
In 2019, or just a little while before, with plans to release Andrzej Karałow's first duo album with analogue and modular synthesiser player Jerzy Przezdziecki's, we not only made plans for further collaboration, but also talked about our inspirations. It turned out that I had not caught such an understanding with any other artists for a long time, and although for Przeździecki the inspiration was early industrial and for pianist Karałow minimal music and the sonoristic tradition of classical music, this seemingly difficult to reconcile world of industrial filth and, on the other hand, fidelity to the avant-garde tradition of the 1960s and 1970s, reminded me of an event when, in the 1980s, I discovered, while still immersed in post-industrial and avant-garde rock (Cassiber), an extraordinary album by Zygmunt Krauze: "New Piano Sounds".
That album was released in the early 1970s, but listened to a dozen years later it shook me and made me feel that nothing was the same as before. The complexity, the uncompromising nature of that music, but also the creative self-awareness of its interpreter was something I was then rather familiar with from the world of musicians such as Chris Cutler, Fred Frith or Irene Schweizer or on the other hands darkness of Dome or Zoviet France. It wasn't until many years later, watching the television program "Silence and Sound", of which Krauze was the author, that I was able to put together in my head, the styles, concepts and ideas of the music of Krauze's composer contemporaries, and listening to this magical vinyl again became something extremely inspiring.
Another couple of decades later, around 2020, I asked Andrzej Karałow if he would make an album referring to that great work. Why him? Well, in spite of the many great pianists, no one combines different musical worlds as comprehensively as Andrzej Karałow. And no one among the pianists I know, given his pedagogical background, his dedication to his teaching work and the ease with which he talks about different composers and what their work means to him, (which is always a sign of self-awareness, but then again, it made me think of the popularising work of Zygmunt Krauze). Finally, the fact that, despite his very young age (b.1991), he has developed his own idiom (to cite his duo recordings with Jerzy Przeździecki), in which one can see certain links with the thinking of composers such as precisely Tomasz Sikorski or Zygmunt Krauze.
These links, however, do not consist in imitating the compositional techniques of these artists and their own aesthetics. What they have in common is a penchant for electronic experiments of a somewhat lo-fi, morbid and catacombic nature, so present in the joyful work of experimentalists from the 1950s or 1960s or the extremely appealing frenetic minimal music. Later, as it turned out in our conversations, this musical phenomenon and adoration of Zygmunt Krauze's work left a deep and lasting mark on the performance aesthetics of this young pianist. Thus, in a sense, all of Andrzej Karałow's performance activity, both solo and in duo with Jerzy Przeździecki, is a development of the ideas Krauze put forward on his album "New Piano Sounds". ]]>Bocian RecordsArt into Life42572026-05-30T16:23:40+09:00shopKeiji Haino & Reinhold Friedl "truly, slightly, overflowing, whereabout of good will" [LP]
https://www.art-into-life.com/product/16308
Label: Bocian Records
既に廃盤、予想を遥かに上回る超高内容!!日本サイケデリック・アンダーグラウンドの重要人物の一人として知られる灰野敬二氏が、高度なテクニックを駆使したピ…Label: Bocian Records
On Truly, Slightly, Overflowing, Whereabout of Good Will, Keiji Haino and Reinhold Friedl strip everything down to voice and piano interior: incantatory howls, whispered fractures and scraped strings tracing a stark ritual of tension, silence and imploding song.
* Limited LP with gold foil print cover * Truly, Slightly, Overflowing, Whereabout of Good Will stages an encounter that feels both inevitable and astonishingly raw: Keiji Haino, the mercurial vocalist and talismanic figure of the Japanese underground, in intimate dialogue with pianist and sonic radical Reinhold Friedl. Rather than meeting in the expected zones of electric guitar overload or full ensemble density, they choose the most exposed configuration possible - voice and piano alone, the latter often played from the inside, strings struck, rubbed and caressed as much as they are conventionally keyed. What emerges is not a collection of “songs” in any familiar sense, but a sequence of charged situations in which timbre, breath and resonance are pushed to their breaking points.
From the opening moments, the album establishes a vocabulary of friction and suspension. Haino’s voice moves between near‑inaudible murmur, prayer‑like chant and full‑throated, torn‑edge cries, shifting register and grain in ways that feel less like theatrical gesture than like a real‑time x‑ray of thought and feeling. Friedl responds from within the piano’s body, drawing out dry, percussive thuds, metallic scrapes and choral overtones that swell out of the instrument’s frame. Sometimes his playing shadows Haino’s phrasing with clustered harmonics, sometimes it cuts against the grain in jagged cross‑rhythms or sudden, rumbling avalanches of sound, sometimes it simply holds a single texture for what feels like a dangerous length of time.
One of the album’s central shocks is its relationship to song tradition. When fragments of recognisable melody or lyric surface, they do so as if remembered from a dream: a contour that hints at blues, a cadence that recalls a folk lament, a line that brushes against the contours of a standard before evaporating into glossolalia. In those moments, Haino’s intensity feels almost unbearable, because it is channelled through forms usually associated with comfort or catharsis. Friedl’s prepared‑piano soundworld amplifies that unease, like an orchestra pit that has been disassembled and scattered across the floorboards, its ghosts still tuning up underfoot. The pair’s patience with silence and near‑silence only heightens the effect; long stretches hover on the brink of eruption, every intake of breath or faint string resonance charged with possibility.
For all its severity, the album is not a blunt assault. There is humour here, in the way dynamics can pivot from apocalyptic to almost lullaby‑soft within a phrase, and there is tenderness in the attention each musician pays to the other’s smallest inflection. You can hear Friedl leaving space for a single crack in Haino’s voice to bloom, or Haino leaning into a microtonal shimmer Friedl has coaxed from the strings, stretching a syllable until it seems to fuse with the instrument’s overtones. That sensitivity makes the record oddly inviting despite its surface extremity; it feels less like being shouted at than like being invited into a very intense, very private conversation and trusted to stay.]]>Bocian RecordsArt into Life45872026-05-30T16:23:40+09:00shopJorn Ebner "Perifaerye" [Purple LP + 24 pages Booklet]
https://www.art-into-life.com/product/16296
Label: Gruenrekorder
コンセプトから装丁に至るまで目茶苦茶にカッコイイ作品!!お見逃しなく!!ドローイングからサウンドアート、ブラウザベースの作品まで、様々なメディアを使い風…Label: Gruenrekorder
Perifaerye is a multi-part work of art comprising of 18 soundscapes, 36 digital drawings and 24 writings. Perifaerye is at once a record release, a book, a website; in the autumn of 2023 a series of playlists were published on billboards, linking the online soundscapes to the real-life physical realm. This publication is an artistic hybrid: a vinyl record / book combining sound, image and text.
The 18 audio works condense the sounds of the urban periphery into a sonic cartography. In Hamburg-Eidelstedt, people live in smaller detached houses and in larger apartment blocks. New housing estates have been developed recently in direct neighbourhood to the motorway, and currently in the district centre; a district where post-war housing estates and architectural remnants from a village past co-exist. Even meadows and fields, surrounded by the noise of motorways and other traffic, aeroplanes (the airport is close by) and railways (passenger and und freight trains, long distance, regional and local services). This collection of soundscapes – each a short composition on its own – presents a sonic portrait of a contemporary urban area.
In the spring 2023, Jorn Ebner recorded the urban spaces of the Hamburg district of Eidelstedt. For each audio piece there is an image. The artist’s writings reflect and accompany the creative process. For this book and record, Sebastian Kokus and Thomas Korf created a very haptic design. Each part of the whole can be experienced as a single piece: the A2-sized poster is part of the outer sleeve; the booklet presents image and text (German only); the record is visible through the holes in the inner and outer sleeves and forms part of the cover. ]]>GruenrekorderArt into Life42572026-05-30T16:23:40+09:00shopEddie Prevost "Material Consequences" [CD]
https://www.art-into-life.com/product/16276
Label: Matchless Recordings
一人スタジオに篭り録音したキレッキレの単独パーカッション音源!!60年代中期に誕生した英グループAMMの創設メンバーであり現在も唯一の継続…Label: Matchless Recordings
Matchless Recordings presents a live concert by Eddie Prévost recorded at Gateway Studio, Kingston, England on 16th of July, 2001. The album includes four tracks performed by Eddie Prévost - Percussion.
"Alone in the studio, it is just me trying to breathe life into the materials I have chosen at hand. I am looking, hoping, that something unexpected will crop up. The gongs, chimes, bells, skins, strings and resonating boxes are a rich environment. You never know for sure what you will dig up. I bow, scrape, pluck and hit direct and glancing blows in my engagement with the materials with which I have to work. I might even draw blood. The point is to mix myself with this stuff. Make it something other than it seems. Make something other of myself too." - Eddie Prévost]]>Matchless RecordingsArt into Life24972026-05-30T16:23:40+09:00shopJuli Deak "Brisk" [CD]
https://www.art-into-life.com/product/16256
Label: thanatosis produktion
循環呼吸法を使った凄まじい技術の名演!!2021年頃よりアルバム発表の構想を開始、実験と即興演奏を通してパーソナルな音楽表現へと踏み込ん…Label: thanatosis produktion
The idea for this album began taking shape in 2021 and has slowly evolved into a seven-track snapshot of Juli Deák’s musical world and artistic thinking. Coming from the challenging, refined, and often seemingly flawless sound of classical music, the flutist began redirecting her musical voice toward a much more personal space through experimentation and improvisation. What eventually grew into this project originally began as a handful of unfinished ideas—which only revealed their true meaning in front of an audience. From the very beginning, the concerts captivated listeners, whose encouragement pushed her to continue the process.
At the core of the album lies breathing. It is not only an essential element of wind instruments but of human life itself. Through close microphone placement and the amplification of nasal breathing, the listener can almost feel the performer’s presence, as if right beside them. By layering contemporary classical techniques such as overblowing, harmonics, and wind tones, the solo flute emerges in multiple voices, creating the impression of the impossible. This is complemented by the constant rhythmic clicks of the flute keys, which provide a continuous beat and pulse.
Another key element is the human: the constant exploration of the performer’s physical limits. By magnifying sounds that are usually hidden or even considered unwelcome in classical music—such as breathy tones, unstable sounds, pitch deviations, squeaks, and loud inhalations—Deák demonstrates an attitude that deliberately turns in the opposite direction. Just as in life, where flaws and inconsistencies are what make us captivating, Deák highlights these sounds as integral to her music. Through the physical, performative form and Deák’s raw expression, she portrays the natural side of the human while still expressing the deeply lyrical, pastoral, and fairy-like personality of her instrument. The album is defined by a fusion of classical precision and technical virtuosity, the freedom of jazz, and the inventive solutions of experimental music. The title reflects the technique of circular breathing—which allows Deák to play continuously without interruptions for inhalation—as well as the organic nature of the project.
Most of the pieces were recorded in spring 2025 at the Church of the Immaculate Conception in Budapest, while Depict and Trace were recorded at the same location on January 2, 2026. All are single-take recordings, with no overdubbing. ]]>thanatosis produktionArt into Life24972026-05-30T16:23:40+09:00shopHannes Seidl, Daniel Kotter "Stadt (Land Fluss)" [CD]
https://www.art-into-life.com/product/11759
Label: Gruenrekorder - Gruen199
サウンドアート界の重鎮女性作家Christina Kubischも参加した激ヤバ物件！！非常に様々な経歴を持つドイツのコンポーザー…Label: Gruenrekorder - Gruen199
A radio play on the sound of the city. Bulldozers flatten the desert, neighbourhoods are fenced in, electricity pervades the informal, crowds of people occupy the middle land. What does, what could the city of the future sound like? In “Stadt (Land Fluss)”, composer Hannes Seidl and media artist Daniel Kötter expand the discourse on the right to the city. The highly interconnected city and the radical effects of the permanent battle over its modification are turned into an acoustic experience. Stadt [Land Fluss] is based on the eponymous music theatre piece by Daniel Kötter / Hannes Seidl.
Composition / Production: Daniel Kötter / Hannes Seidl
Electromagnetic sounds: Christina Kubisch
Music: Sebastian Berweck, Martin Lorenz, Andrea Neumann
Text: Daniel Kötter / Hannes Seidl after quotes by David Harvey, Kathrin Wildner, Thorsten Fausch and others
Photos: Nara Silva das Virgens Merlitz
Graphic Design: Nafiseh Fathollahzadeh]]>GruenrekorderArt into Life27172026-05-30T16:23:40+09:00shopChristina Kubisch, Eckehard Guther "Unter Grund" [CD]
https://www.art-into-life.com/product/6853
Label: Gruenrekorder - Gruen160
女性サウンドアート系のパイオニアChristina KubischのGruenrekorderからは約2年ぶりとなる新作。ヨーロッ…Label: Gruenrekorder - Gruen160
The Ruhr Area lives from and with water. It needs drinking water, water for industrial facilities and water for transportation. Water veins pulse invisibly with groundwater, connecting rivers through subsurface tunnels that also force their way into disused mines. This mine water has to be drained continuously or pumped out from underground (one speaks of unending tasks) to prevent the collapse of old shafts, subsidence damage, and the contamination of drinking water. Without constant pumping of the groundwater the Ruhr Area would transform into a vast marshy landscape.]]>GruenrekorderArt into Life24972026-05-30T16:23:40+09:00shopWolfram "Atol Drone ±" [CD]
https://www.art-into-life.com/product/2996
Label: Bocian Records - BR1017
Monotype Recordsのファンからは知られているポーランドの作家Dominik KowalczykのソロWolfram。J…Label: Bocian Records - BR1017
1, 2, 4, 6 taken from Atol Drone album previously released in 2002 on Polycephal
3, 5, 6 taken from Superrecombination_sys mini-album previously released in 2002 on Mik.Musik.!. These are remixes of sound material from superrityn.ses solo album by Wojtek Kucharczyk (Mołr Drammaz, The Complainer)
8 previously unreleased, assembled in 2012 from the samples prepared in years 2002-2004]]>Bocian RecordsArt into Life24972026-05-30T16:23:40+09:00shopFred Frith + Karen Stackpole "Nature" [CD]
https://www.art-into-life.com/product/16261
Label: Sub Rosa
Fred Frith本人曰く、氏の最も貴重な作品の一つとされるゴング録音が作品化!!Henry Cowの初期から優れた楽器奏者/即興演奏家として知られているFre…Label: Sub Rosa
Fred Frith本人曰く、氏の最も貴重な作品の一つとされるゴング録音が作品化!!Henry Cowの初期から優れた楽器奏者/即興演奏家として知られているFred Frith。氏が1960年代後半にシュトックハウゼンの[Mikrophonie 1]を初めて聴いて以来魅了されたというゴングの音色。1999年にオークランドに移住した際、世界でも数少ないゴング専門のパーカッショニストKaren Stackpoleの存在を知り彼女の演奏会に何度も足を運び共演を依頼、そこから漸く実現に至ったというゴング演奏を主とした音源[Nature]。膨大なゴング・コレクションを細部に至るまで丁寧に配置、ギターすらもゴングの様に鳴らした凄まじい意欲作。
I have been fascinated by the sound and potential of gongs since I first heard Stockhausen's Mikrophonie 1 in the late 1960s. When I moved to Oakland in 1999 I discovered the work of Karen Stackpole, one of the few percussionists in the world specializing entirely in gongs, and attended several of her performances. I always tried to imagine how I could combine my own sonic vocabulary with her incredibly rich array, and we enthusiastically agreed to a musical meeting which somehow kept being postponed, year after year.
According to Fred Frith himself, these recordings are among his most precious ones. Finally, as my teaching career at Mills College was winding down, we succeeded in making an appointment to record
together at Karen's home studio in the Californian hills. As a seasoned professional recording engineer, she had her vast and beautiful collection of gongs meticulously placed and amplified. It was a joy! Guitar as gong, gong as harmony and everything in between, an interweaving that left me breathless.
Fred Frith.]]>Sub RosaArt into Life28272026-05-30T16:15:03+09:00shopJulia Bunnagel "Sound Like ... Vienna" [LP]
https://www.art-into-life.com/product/16300
Label: Gruenrekorder
質感を表現したPVCスリーヴが非常にカッコイイ!!なんとコンクリートで作ったレコードをプレイしたという激ヤバ物件。。。ターンテーブリズムの表現を軸にサウ…Label: Gruenrekorder
Sound performances in public space – an urban soundtrack for Vienna. Julia Bünnagel creates concrete records from molds of sidewalks and street surfaces in Vienna’s urban space. The Cologne artist brings Viennese architecture to life in her DJ set (turntablism). The turntable’s needle reads the architectural texture. The cast surfaces of the streets that are inscribed on the records mix with the sounds of the city during the performances Sounds Like… Vienna. – flooding the square – an architecture rave for Vienna.]]>GruenrekorderArt into Life42572026-05-30T16:05:16+09:00shopQuentin Tolimieri "Monochromes II" [3CD]
https://www.art-into-life.com/product/16178
Label: elsewhere
傑作!! 3CD大作[Monochromes]の続編が登場!!今回もグイグイと惹き込まれる3CD長編!!
『モノクローム II（Monochromes I…Label: elsewhere
‘Monochromes II’ is a collection of twelve solo piano pieces written and performed by Berlin-based composer/pianist Quentin Tolimieri between 2023 and 2025. This is Tolimieri’s second release on elsewhere music, following the 2022 triple album ‘Monochromes’ (elsewhere 022-3).
In this new triple album, Tolimieri delves even deeper than in his earlier Monochrome pieces to explore the countless sonic possibilities and resonances that the piano can produce. Aiming to allow the inherently interesting qualities of the material itself to emerge naturally from the structure, he reduced the material to its simplest form by eliminating elements such as melody, harmony, rhythm, and formal development wherever possible. By stripping away these normally fundamental elements, listeners are able to hear all the complex resonances the piano produces—all the sounds that would go unnoticed when overshadowed by active melodies. Several pieces use extended techniques, such as half-pedaling (moving slowly between no pedal and full pedal) and placing weights on some keys so their strings ring sympathetically while playing, which often create dazzlingly complex layers of sonorities within the piano.
Tolimieri used to believe that one should select one definitive version of a piece and discard the rest. This resulted in noticeable diversity in works and approaches on his previous album 'Monochromes'. For this new triple album, however, he decided to embrace the concept of a series. This approach worked successfully, giving the entire recording a consistent cohesion.
“I think of many Bach fugues, for example, where the fugal subject really isn’t all that inherently interesting, or pretty, and definitely isn’t naturally singable, but rather the formal processes at play in fugal counterpoint take this limited material and spin it out into something quite compelling. I think this is even more true for a lot of Beethoven. I really like this sense of form overwhelming material, so to speak.” — Quentin Tolimieri ]]>elsewhereArt into Life45872026-05-30T16:03:45+09:00shop水野修孝 - Shukou Mizuno "電子音楽全集" [3CD]
https://www.art-into-life.com/product/16247
Label: Three Shells
グループ音楽への参加でも知られる水野修孝氏の電子音楽作品集が3CDで登場!!
【巨匠・水野修孝『電子音楽全集』（CD3枚組）奇跡の音盤化】
日…Label: Three Shells
著者：岡島豊樹（おかじま・とよき）
昭和31年、石川県羽咋市柴垣町出身。主な職歴：ジャズ喫茶勤務、『季刊ジャズ批評』誌編集人、他。共著に『女性ヴォーカル THE EXCITING JAZZ BOOKS』（アドリブ）、『柴垣事典－ネタ帳－』（石川県羽咋市柴垣町町会）。単著に『ソ連メロディヤ・ジャズ盤の宇宙』『東欧ジャズ・レコード旅のしおり』『地中海ジャズの歴史と音盤浴案内』（3冊ともカンパニー社）。
LPレコードの生産が開始されてからしばらくの間、1950〜60年代の日本では10インチ（25センチ）サイズのレコードが主役を務めていました。SPレコード時代の遺産を受け継ぎながら、のちの12インチ・アルバム全盛の時代を準備する約10年間——日本の音楽史において極めて重要なこの時期に制作された古典邦楽の10インチ盤の中から約700枚を選りすぐり、レコードに刻まれたさまざまな物語とともに紹介します。長唄、歌舞伎舞台、義太夫節、古曲、常磐津節、清元節、新内節、端唄、うた沢、小唄、俗曲、都々逸、お座敷遊び、雅楽、能、狂言、箏曲、地歌、尺八、琵琶、詩吟、浪曲、お祭、囃子、太鼓、民謡、さらにわらべうた、童謡、文部省唱歌といった子供向けの音楽に至るまで、珠玉のレコードが皆様を「古典」の世界へお連れします。]]>カンパニー社Art into Life52802026-05-30T14:23:43+09:00shopKlaus Lang "geschrieben in wasser" [CD]
https://www.art-into-life.com/product/16305
Label: Another Timbre
90年代よりWERGOやEdition RZといった現音/クラシックレーベルから音源を出版、当店ではGod Recordsからリリースされた2枚のオル…Label: Another Timbre
90年代よりWERGOやEdition RZといった現音/クラシックレーベルから音源を出版、当店ではGod Recordsからリリースされた2枚のオルガン・ワークスが過去に人気を博したオーストラリアの作曲家/オルガン奏者Klaus Lang。ここAnother Timbreからは2019年にデビュー、本作は関連作を含め通算4タイトル目となる2026年音源[Geschrieben In Wasser]。演奏はApartment Houseが担当、ドイツ語で[水に書かれた文字]をタイトルとした氏が長年抱いてきた儚さと持続性の関心を作品化したもので、ヴァイオリン、ヴィオラ、チェロ、ピアノが静かな音域にて展開、演奏と沈黙が絶えず入れ替わる最小限の構造が非常に美しい内容。
On geschrieben in wasser., Klaus Lang pares the piano quartet down to a faintly breathing organism, letting soft, slowly shifting harmonies hover at the edge of audibility like something written on water just before it disappears.
Geschrieben in wasser. (“written in water”) sets Klaus Lang’s long-standing preoccupation with fragility and duration within the intimate frame of a piano quartet. Scored for violin, viola, cello and piano, the piece unfolds almost entirely in the quietest registers of ensemble playing, where sound and silence continually trade places. Rather than treating the quartet as a vehicle for drama, Lang reduces gesture to the bare minimum: sustained tones, tiny inflections of bow pressure, and chords on the piano that emerge like pale shapes, hang in the air, and then evaporate. The music seems less to progress than to hover, inviting the listener into a state where the slightest change feels momentous.
The title signals the work’s central tension. Writing “in water” implies an inscription that cannot last, and Lang’s materials are chosen to embody that condition. Harmonic fields are narrow, often built from neighbouring pitches that beat gently against each other, producing internal tremors and faint halo-like overtones. The strings frequently move in close formation, slipping almost imperceptibly between chords, while the piano colours their resonance with barely struck tones and resonant decay. Each sonority is treated as a present-tense object of attention rather than a stepping stone in a narrative: the question is not where the harmony is going, but how long it can be held before it dissolves.
In performance, geschrieben in wasser. feels like a meditation on listening itself. Dynamics stay low; attacks are soft; the boundary between intentional sound and ambient noise becomes porous. This forces a recalibration of perception: room acoustics, the grain of bowed strings, and the after-ring of the piano all move to the foreground. Time stretches, yet the piece never drifts into formlessness. Instead, Lang uses subtle shifts of density and register to articulate a series of almost invisible turns, like ripples intersecting on the surface of a lake. The sense is of music constantly on the verge of disappearing, and of an ensemble working with great care to keep it just, and only just, in place.
Within Lang’s broader catalogue, geschrieben in wasser. stands as a concentrated study in his core concerns: near-silence, slow process, and the use of minimal means to open a large interior space. It asks both players and listeners for a particular kind of attention - patient, close, willing to sit with uncertainty. In return it offers a listening experience that is as much about the quality of the surrounding air as about the notes themselves, a quiet but insistent reminder that some of the most affecting music happens precisely where it threatens to vanish.]]>Another TimbreArt into Life25972026-05-30T14:20:55+09:00shopColette Roper "Piano Pieces” [LP]
https://www.art-into-life.com/product/13679
Label: Art into Life / Tochnit Aleph - AIL018 / TA173
彫刻やレディメイド作品で知られる現代美術の偉人Dieter Roth。多くの名作及びカ…Label: Art into Life / Tochnit Aleph - AIL018 / TA173
Jos Smoldersによる2022年リマスタリング版を収録。LP版はDLコード付き。Tochnit Alephとの共同リリース。
Considered one of the most influential contemporary artists, Dieter Roth was consistent in his artistic search for inner self through and produced artworks in the various media, from graphics, drawings, and sculptures, to assemblages / ready-made, sound and music recordings.
Dieter Roth's Verlag was founded in 1974 under the name Dieter Roth's Familienverlag and renamed in 1978. The label gradually acquired something of a cult status the 1970s, and Colette Roper’s “Piano Pieces”, which was released in 1979, was one of the hardest to find album among Dieter Roth's Verlag catalogues. Much is unknown about Colette Roper and “Piano Pieces” was her only album.
The front sleeve features a hand-drawn butterfly on yellow background, the rear sleeve features a photograph of women with a bunch of flowers in their hands and poems. And the work engraved on the vinyl is rough-hewn piano minimalism with a lot of hiss and fragile innocence.
As with Dieter Roth's artworks, there is underlying feel of decay and metamorphosis. Primitive innocence and enigmatic elements featured in this obscure album will provoke various speculations about many other elements hidden inside.
Remastered by Jos Smolder in 2022. LP comes with a download code for the entire album.Split release between Art Into Life and Tochnit Aleph.
]]>Art into LifeArt into Life38002026-05-30T14:11:28+09:00shop高野昌昭 / Masaaki Takano "しずくたち / Shizukutachi”[CD + 48 page booklet]
https://www.art-into-life.com/product/15424
Label: Art into Life - AIL037
50年代前半よりフリーの音響プランナーとして主に舞台音響を担当、80年代中頃からは自作音具と収集した民族楽器による"音あそび”と題した…Label: Art into Life - AIL037
From the 1950s, Masaaki Takano (1927-2007) worked as a freelance "sound planner," mainly creating sound effects for stage productions. In the mid-1980s he began performances called "Sound Play" where he would perform on his own self-created sound instruments and his collection of ethnic instruments. Growing out of his work with sound effects, he became obsessed with the recording of natural sounds from the 1970s onwards, and this album "Shizukutachi" is a record of a high-quality recording of water droplets that he created in the studio using his own self-created suikinchiku system. The reissue includes newly penned, detailed liner notes by Tomotaro Kaneko (owner of the Japanese Art Sound Archive).
Remastered by Giuseppe Ielasi.
The CD comes with a 48-page booklet (Text in Japanese and English).
]]>Art into LifeArt into Life30002026-05-30T13:55:47+09:00shopMaria Monti "Il Bestiario" [LP]
https://www.art-into-life.com/product/14814
Label: Holidays Records
未体験の方は是非、大御所勢がサポートした超名作！！ 60年代はキャバレーにて歌い、70年代に入ってからはアヴァンギャルドな活動へと移行した女性シン…Label: Holidays Records
In 2023 the Swedish bassist and composer Vilhelm Bromander turned heads with the stunning debut album of a new large ensemble, which has now adopted its name— Vilhelm Bromander Unfolding Orchestra—from that recording: In this forever unfolding moment. That album, which earned him the prestigious Gyllene Skivan and Manifest Awards, was an auspicious premiere, that braided many of the passions of the young musician, including his devotion to Indian dhrupad music, the politically charged folk-jazz sound of the music Carla Bley created for Charlie Haden’s Liberation Music Orchestra, and his commitment to close listening, where tuning with other musicians opens up new harmonic vistas. A veteran presence on the energetic Stockholm creative music scene, he eschews any divide between the pure expression in his music and the social activism of his personal choices.
The twinned directness distinguishes the ensemble’s riveting second album Jorden vi ärvde (“the earth we inherited”), which both reflects on the alarming state of our planet while simultaneously delivering the urgent reminder that we don’t own Earth, but we merely get to spend some time here before passing it on to those to come in our wake. Bromander was inspired to compose the music following the birth of his first son, and it is dedicated to him and his little brother. “The album is an attempt to spread light, beauty, hope and resistance, and at the same time to take in the great seriousness that our time has in front of us; right-wing forces on the rise, rearmament, war and climate disasters,” explains Bromander. “We, the people of this time, seem unable to grasp the fact that our time here is on loan from future generations. But what are the consequences if we take this realization seriously and let it influence the way we live our lives? And how can we find the power and hope to change?”
Our world seems on fire, with hope in short supply, which makes this latest transmission from Bromander all the more valuable. The music conveys a deep-seated trust in humanity even as it raises alarms about our degradation of the planet. Rather than succumbing to depression and futility, the music draws attention to the beauty and spirituality that captures humanity at its best. The composer sees that sort of responsible, thoughtful stewardship applying art’s rich history, too, particularly through the lens of its most conscientious practitioners. “It is an attempt to summon the courage, dreams and visions that previous generations of musicians and artists have shown and given us, with a hope to continue working in the same radical spirit.”
The album reveals Bromander’s heightened confidence and burnished facility for writing and arranging for a large band. The music sinks deeper into jazz tradition than its predecessor, while enlisting the ensemble’s stunning cast of musicians to contrast with the meticulously arranged charts, which are not only forever unfolding, but patiently unfolding.
Pianist Alex Zethson introduces a ravishing theme on “Jorden vi ärvde, den skall oss också ärvas,” prying open its beauty with his measured phrasing before Bromander and the legendary bass clarinetist Christer Bothén begin an almost stealthy yet conversational exploration of those contours. Slowly, gauzy arrangements begin to seep in, thickening and evolving into a lush, sweeping propulsion punctuated by a lyrical improvisation from vibraphonist Mattias Ståhl and a tuneful trumpet statement by Emil Strandberg, the latter lifted up the dynamic interplay of drummers Anton Jonsson and Dennis Egberth, who are rejoined by the full orchestra to shepherd the piece toward its elegant recapitulation.
Bromander acknowledges a debt to the Liberation Music Orchestra on his full-bodied ballad “Erde,” which opens with the delicate metallic interplay of the drummers, haloed by sparse, shimmering daubs, before Zethson and the bassist continues large with an astonishing duo passage. The tune underlines the most basic thrust of the album: Bromander calls it “an elegiac fight song,” evoking a battle that’s more mystical than violent. His masterful arrangements simultaneously draw upon the ensemble’s ability to produce the most transcendent, gossamer textures and melodic shapes.
Tenor saxophonist Elin Forkelid boldly takes up the mantle of Dewey Redman, the namesake reedist behind “For Dewey,” which Bromander considers an homage to the elastic beauty achieved by pianist Keith Jarrett’s classic quartet with Redman, Charlie Haden, and Paul Motian. It’s on this triumphant wonder that the bandleader fully displays his knack for orchestration, using his ensemble to produce gorgeous chordal swells, interlocking riffs, and extended improvisation courtesy of Ståhl. The album concludes with “Calliope,” which touches on Bromander’s deep engagement with Indian classical tradition. He calls it “a raga-inspired song where the harp acts as our swarmandal, establishing the tonality,” referring to the zither-like Indian instrument. The multipartite wonder contains a slew of deftly synchronized moving parts, a feast of shifting polyrhythms and changing timbres that cushion jaw-dropping solos from Bothén and saxophonist Martin Küchen, and a hushed benediction from violinist Katt Hernandez.
“The music on this album continues to explore similar themes as In this forever unfolding moment but in comparison, the music presented here is more through-composed,” explains Bromander. “I have sought a directness, where the music is felt and burns. Where there is a presence and a mystery.” On those terms there’s no question he has succeeded, building on his past achievement to create something new that envelops the listener, soothing us even as it calls out for action. ]]>thanatosis produktionArt into Life24972026-05-29T21:39:04+09:00shopタコ "The Alternative Counter Organization" [LP]
https://www.art-into-life.com/product/16183
Label: Spittle Records
初のLP再発!!オリジナルは1983年に国内ピナコテカレコードより出版。山崎春美をプロデューサーに制作された先鋭的グループ"タコ"の歴史的音源が初め…Label: Spittle Records
Taco weaponise the very idea of “tako” - octopus, kite, bunion, drunk, bald head - into a mutating post‑punk organism, a rotating guerrilla cell whose songs behave like incidents rather than compositions.
“Tako” is one of those Japanese words that refuses to sit still. It can mean octopus, kite, bunion; it’s also slang for bald men, shaved heads, red‑faced drunks staggering home. The term slips between bodies, objects and insults, picking up grime and humour as it goes. In the early 1980s it became something else again: the name of a loose music and performance collective whose shows felt less like concerts than controlled disturbances. Taco emerged at the start of the decade as part of Japan’s post‑punk alternative wave, a shifting network of players orbiting Harumi Yamazaki, ex‑member of Gaseneta and the group’s volatile core. Around her gathered friends, acquaintances and fellow travellers from the Tokyo underground, forming a band that refused fixed membership, fixed genre, fixed anything.
From the outset, Taco behaved more like a guerrilla unit than a conventional group. Personnel connected, collected, interrupted, scattered; line‑ups changed from gig to gig, and sometimes from piece to piece. Sound and image were treated as transient weapons to be deployed and discarded. Performances could happen with or without Harumi - reinforcing the sense that Taco was as much an anonymous mercenary outfit as it was a band, a name that could mask any number of combinations and intentions. What remained constant was the drive to send out music and noise that felt like it existed only for that night, that room, that confrontation, and then evaporated.
In 1983 Taco released its first album, an anomalous, collaborative document that detonated across Japan’s underground as something both of and against its moment. The record functioned as a kind of local all‑stars compilation: key figures from the scene dropping in to contribute, while Harumi supplied the lyrics that stitched the whole together. Each track sounded like the reverberation of a particular cluster of people and circumstances - a conglomeration of voices, instruments, mistakes and impulses. Yet running through all of them were Harumi’s words, delivered with a force that turned scattered pieces into a single, bristling wave. The album didn’t simply collect songs; it spawned an “incident,” a disturbance that spread by word of mouth, tape dub and rumour. Then, as suddenly, it was pulled back: a separate scandal over some of the lyrics led to the records being recalled, ensuring that only a small number of copies ever made it into private hands.
A second release followed in 1984: a 12" EP built around a live recording from the end of 1982. If the debut was a collage of sessions and personalities, this document caught Taco as a unit on stage, and what it revealed was an unexpectedly coherent musical engine beneath the chaos. For a band of indeterminate membership that specialised in one‑off performances, the playing here feels locked in without being smoothed out - grooves, fractures and eruptions held in tense balance. The record captures the power of Taco’s legendary live shows, but it’s Harumi Yamazaki’s presence that sears itself into memory: inflammatory, sensational, masochistic. Her muttered phrases and sudden screams ride over, and often wilfully against, the beat, treating rhythm as something to be taunted rather than obeyed. The effect is of a voice confronting the audience like a groundswell, an undertow that doesn’t care whether or not you keep your footing.
One of Taco’s members once described the project as “an alternative counter organization”: a setup in which indeterminate participants fan each other’s heightened desires for personal revenge and retribution. In their words, Taco is “an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.” It’s a metaphor that fits the music: thick, unstable, mutating, made from residues and leftovers as much as from polished ideas. Emotions congeal, are performed, and then rebound on those who unleashed them. The “alternative counter organization” is not a party or a platform; it’s a fragile, dangerous zone where sound becomes a way to test how far you can go before your own force turns back on you.
The Alternative Counter Organization brings this history into focus not by tidying it up, but by acknowledging Taco’s refusal to be pinned down. It honours a group whose performances really were “like nothing before or since,” born from a word that already meant too many things and happy to add a few more.]]>Spittle RecordsArt into Life45872026-05-28T17:22:32+09:00shopEisuke Yanagisawa "Path of the Wind" [CD]
https://www.art-into-life.com/product/9550
Label: Gruenrekorder - Gruen182
当店激人気作!!「フィールド・レコーディング入門」でお馴染み、柳沢英輔氏がドイツGruenrekorderより発表した2018年ソ…Label: Gruenrekorder - Gruen182
The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.
The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.]]>GruenrekorderArt into Life24972026-05-28T17:21:40+09:00shopV.A "Sound of the Wetlands" [2CD]
https://www.art-into-life.com/product/15784
Label: Gruenrekorder
ドイツのフィールドレコーディング/サウンドアート・レーベルGruenrekorderによる注目のタイトル!!チリ・アウストラル大学で長年に渡り行われてい…Label: Gruenrekorder
This album is the result of a collaboration between composers and sound artists based in Valdivia, Chile, and London, UK. It was inspired by the long-running SoundLapse project at the Universidad Austral de Chile, where recordings of the wetlands around Valdivia were used within various ecological, educational, and creative projects. Composers and artists from both cities met to discuss the SoundLapse project, and discussed ways in which we might collaborate. Recordings were subsequently made in two locations – the Valdivian wetlands and at the London Wetland Centre (LWC). Those recordings were shared among the group, and we set about making a collection of works that responded to wetland environments. There was no limit on style or aesthetic, nor any ownership of any particular recording. Instead, everyone involved in the project was free to develop their own creative response to both the recordings and the wetlands. Together, these works offer myriad perspectives on the sounds of the wetlands, and – we hope – encourage reflection on our collective responsibility for their conservation and preservation.
We are very grateful to the London Wetlands Centre, specifically Ruth Thomas and Emily Wiltshire, who were both very generous with their time and enthusiasm. We are all very grateful to Rory Salter, who provided amazing support recording. This project was supported by Global Seed Funding and Social Purpose Funding, University of the Arts, London.
An album of compositions and artworks inspired by the wetlands of Valdivia, Chile, and London, UK.
Adam Stanović and Felipe Otondo ]]>GruenrekorderArt into Life32672026-05-28T17:20:20+09:00shopEnrico Coniglio "TEREDO NAVALIS" [CD]
https://www.art-into-life.com/product/4592
Label: Gruenrekorder - Gruen 188
Touch及び、イタリアSilentes、13に作品を残してきたギタリストにして環境音収集家のEnrico Coniglioが初…Label: Gruenrekorder - Gruen 188
This work represents a further step into my on-going research on the Venetian Lagoon. I was interested to keep an ecological perspective while focussing on a precise aesthetic. In fact, I considered field-recording practice as a tool for critically investigating the territory. The album is based on sounds recorded via electromagnetic sensors, binaural microphones, hydrophones, contact and condenser microphones. It combines compositions where the sound of water, in itself, is almost left behind. All sounds where gathered during night time in the north side of the lagoon, between the islands of Murano, Burano, Sant’Erasmo and their surrounding sandbanks. Here it is possible to find, on the one hand, aquatic spawning grounds for crabbers, high-tide roosts for gulls and native terns; on the other, boats for the public transportation are moving along the main navigation channels. The result is not a sonic postcard, rather a research process documenting through sounds those marginal areas of the lagoon facing a fragile balance between natural environment and man-made actions.]]>GruenrekorderArt into Life24972026-05-28T17:19:51+09:00shopGregory Buttner "Voll.Halb.Langsam.Halt" [CD]
https://www.art-into-life.com/product/9551
Label: Gruenrekorder - Gruen181
旧修道院内での物音作、ケージのカートリッジ・ミュージック的録音等、毎回面白いコンセプチュアル・ワークスを届けてくれるGregory…Label: Gruenrekorder - Gruen181
Voll.Halb.Langsam.Halt“ is based on contact mic recordings, which I recorded on an old steamboat, an ice-breaker from the 1930. I had the chance to take a trip on the ship from Rostock to Rügen over the Baltic Sea in 2010. The body of the ship is completely built from metal, so it is a big resonant room which sounds very different on each spot which I put my contact mics on (I used two contact mics, so I could record in stereo). I walked around the ship, placing my mics on different areas of the ship and also directly on parts of the steam engine, which is still fired by coal. For the composition I only used the pure recordings without additional sound manipulations, only juxtapositions, transitions and cuts.]]>GruenrekorderArt into Life24972026-05-28T17:19:24+09:00shopMerzouga "52°46’ North 13°29’ East – Music for Wax-Cylinders" [CD]
https://www.art-into-life.com/product/4208
Label: Gruenrekorder - Gruen 124
オーストリアの民族音楽学者Erich Moritz von Hornbostelが1900年代初頭に研究の為に集めていたという、…Label: Gruenrekorder - Gruen 124
オーストリアの民族音楽学者Erich Moritz von Hornbostelが1900年代初頭に研究の為に集めていたという、エジソンが初めて開発した録音機"ワックス・シリンダー"にて記録された世界各地の自然/環境音。その録音を、以前ビル・フォンタナに習った環境音ミックス作品[Mekong Morning Glory]を発表したユニットMerzougaが現代に復刻！！「パチッパチッ」「ザザザーッ!」と素材自体がかなりエグイ雑音にまみれており、それを様々にミックス(自身等の演奏も重ねてます)恐ろしいアトモスフィアを創出するMerzougaのセンスがメチャクチャ素晴らしい！！フィールドレコーディングのファンだけでなく、アヴァンギャルド〜コラージュ好きにまで激激オススメ。
The World’s Most Moveable Armchair
Erich Moritz von Hornbostel was an „armchair ethnologist“. Due to his bad health the musicologist was unable to travel to faraway countries. Instead he sat at his desk in the Dorotheenstraße in Berlin and received the world through his phonograph. On from 1900 the world’s music arrived at his office in the form of more than 16.000 wax-cylinder recordings from all over the planet. Due to an edict by the Prussian Emperor all German trading as well as scientific expeditors were bound to travel with a phonograph and send their recordings to Berlin. Today we might put it that way: Hornbostel was in charge of the biggest field-recording project of all times.
In his case being a stay-at-home was definitely an achievement. His immobility gave Hornbostel the chance to develop a completely new perspective, an unprecedented acoustical bird’s eye view, and made him the founder of a new discipline: comparative musicology’s aim was to “unveil the dark and distant past (…) and to extract the timeless and the general from the abundance of our present; in other words: We want to get to know the historic and the basic esthetic principles of musical art.” (1)
Approximately 100 years later Hornbostel’s acoustic present has itself become a dark and distant past. To our ears the 16.000 wax-cylinder recordings of the Berlin Phonogram-Archive sound like treasures from a long lost world. These treasures are not only raised by researchers but increasingly also by artists. The current archive’s management is generously granting them access to the recordings that have been digitalized over the past fifteen years.
Thus Eva Pöpplein and Janko Hanushevsky (aka Merzouga) have become fellow armchair-travelers. They bring along a lot of experience, which they collected as heavy-duty field-recordists on intensive sound-expeditions through India and South-East-Asia. („Good Morning, Rickshaw“ – Deutschlandradio Kultur 2008; „Mekong Morning Glory“ – Deutschlandradio Kultur 2009 / Gruenrekorder 2011). Now they encompass the sonic landscape of the Phonogram-Archive with the same musical sensitiveness that can be found in their previous works. Just like Hornbostel the two are genuinely interested in something timeless, something general: the uniquely beautiful human ability to play with sounds and structures. Janko Hanushevsky integrates his electric-bass improvisations into the historic wax-cylinders’ cracks and scratches. And Eva Pöpplein sparingly applies electronic effects in order to distill precious essences from the sonic material.
The result is a musical position-reckoning between the past and the future of sound-recording: Located at 52°46’ North and 13°29’ East, in the Ethnologisches Museum Dahlem, is the world’s most moveable armchair.]]>GruenrekorderArt into Life24972026-05-28T17:18:18+09:00shopDaniel Blinkhorn "Terra Subfonica" [CD]
https://www.art-into-life.com/product/3509
Label: Gruenrekorder - Gruen 117
Budhaditya Chattopadhyayのアルス・エレクトロニカ表彰作品を出版したドイツGruenrekorderが、そ…Label: Gruenrekorder - Gruen 117
As a composer and sound artist often working closely at the nexus of radiophonic art, environmental sound and electroacoustic music, one of my primary interests is in the exploration of relationships between people and the incredibly rich sonorous environments they populate. In particular, the sounds that exist all around us, however that are often out of earshot (or at least not listened to in any conscious manner), as with the sounds beneath us as we tend our daily lives.
terra subfónica is a radiophonic work reflecting aspects of sub sound through a series of dramaturgical, radiophonic miniatures. Sub sound in this instance is not a term indicating low frequency sound, as in bass material, but rather a radiophonic suite reflecting and meditating on aspects of that which is below us; ultimately mapping a sub sonic terrain lying just below, or on the periphery of our (typically) perceived threshold of hearing. The sounds and sonic fragments chosen to represent different aspects of sub sound have been used as a basis for generating the narrative/ dramaturgical structure in each of the miniatures. Shards of familiar, strange, overlooked and unheard sounds coalesce, as metaphor and sound arcanum guide the listener throughout each of the works in the suite.]]>GruenrekorderArt into Life24972026-05-28T17:17:54+09:00shopDavid Michael / Slavek Kwi "Mmabolela" [2CD]
https://www.art-into-life.com/product/12207
Label: Gruenrekorder - Gruen144
Artificial Memory TraceことSlavek Kwiと、DVDフォーマットを使った特殊な環境音作品を制作している…Label: Gruenrekorder - Gruen144
Note from unwritten diary of David:
3:45 AM. Time to get up. The Bushveld is already awake.
Slávek and I are both dragging a bit, rushing to get out the door and deploy.
After almost two weeks of nonstop recording, we are both tired and a little homesick.
At this point in the residency we have already found a dependable dawn recording location in a dry creek bed just far enough away from Weederdooper homestead so that our microphones will not pick up breakfast activities and just close enough for us to make it back for a nap before the morning field session. In a strange way this location reminds me of another of Slávek’s favorite recording spots on a small tributary flowing into Lake Mamori in Brazil. Slávek and I share a room at Weederdooper, which makes these dawn sessions simple. Our equipment too tends to share space in locations we scout together during many of the field sessions. We each now have many recordings of the exact same events, but from slightly different perspectives. The dry river bed at Umzumbi, the hippos at Mmabolel Rock, the bridge to Botswana, the watering holes. Perhaps when we get back home we will make a CD together.]]>GruenrekorderArt into Life29372026-05-28T17:17:26+09:00shopV.A "Next City Sounds: Interfaces" [CD]
https://www.art-into-life.com/product/5365
Label: Gruenrekorder - Gruen192
2018年8月4日、ドイツの都市カールスルーエの3つの場所で同時に行われた、サウンドアーティスト、ノイズ、フィールドレコーディスト…Label: Gruenrekorder - Gruen192
As part of the 20th KAMUNA (Karlsruhe Museum Night), so-called ›in-situ perfor- mances‹ took place at three locations in Karlsruhe on August 4, 2018:
The project room ßpace, the artist-run space Halo ARS and the pedestrian zone Kaiserstraße were connected to the ZKM via an outgoing audio data stream.
At ßpace, sound artist Lasse-Marc Riek condensed naturalistic field recordings, noise and soundscape recordings into a sonic live collage.
The live electronic duo Lintu + Røyk per- formed with modular synthesizers and broadcasted live electronica from Halo ARS in Karlsruhe’s Oststadt.
The members of KITeratur presented their participative performance ›SYNONiMUS‹ in the pedestrian zone in the Kaiserstraße, while the No Input Ensemble performed in the subspace under ZKM’s blue Cube. At ZKM, all incoming signals were fanned out in a kaleidoscopic manner and pro- cessed artistically in a multi-room sound installation by Yannick Hofmann, Marco Kempf, Benjamin Miller, Barbara Nerness, Sebastian Schottke and Dan Wilcox in the Cube, in the Cube vestibule and in the underground car park at ZKM.
This audio recording was made in the ZKM Cube, where the KAMUNA visitors could determine the sound mixing of the audio data streams via an interactive interface specially developed for this project and experiment with the sound material using a battery of interconnected sound aliena- tors and effect pedals.
Riek’s naturalistic soundscape recordings and field recordings, Lintus + Røyk’s syn- thesized electronic sounds, the voices of the participative speech performance of the university group KITeratur as well as the ethereal sound and feedback noises choreographed by the No Input Ensemble condense proportionally into this 60-minute experimental audio piece, whose tonal quality ultimately oscillates between Ambient, Drone and Musique concrète.
›Next City Sounds: Interfaces‹ took place as part of the EU project ›Interfaces‹ (EU funding programme ›Creative Europe‹) on the occasion of the Karlsruhe Museum Night 2018.]]>GruenrekorderArt into Life24972026-05-28T17:16:44+09:00shopAngus Carlyle "Some Memories of Bamboo" [CD]
https://www.art-into-life.com/product/12205
Label: Gruenrekorder - GRUEN053
フィールドレコーディング作家のアンガス・カーライルによる京都／上桂のサウンドスケープを捉えた音のスケッチ的作品。ドイツのサウンドア…Label: Gruenrekorder - GRUEN053
Kami-Katsura is a small suburban district in Kyoto, Japan. Bounded to the east by residential and light industrial areas that run up to the Hozu River, to the west it is held in check by wooded slopes and valleys where the population falls away as the altitude gently climbs. For all the movement of people and vehicles, the district exudes a certain tranquillity which is reflected in the acoustic atmospheres from before dawn until after dusk.
Angus Carlyle spent three weeks over a period of two years walking up and down a parcel of land measuring 500 metres long and no more than 100 metres wide, looking, listening and recording. Although it was the inspiration behind his return to the Kami-Katsura district, he never quite managed to capture the striking sounds of a bamboo forest animated by wind that he had first heard on his visit in 2006.
Other acoustic events did make their way into his microphones: rain dripping into a cemetery watering-can; the heavy passage of the maroon trains of the Hankyu company gleaming north and south on the Arashiyama Line; the hubbub of one café and the more subdued mood of another; the river bubbling and sliding through the valley, birds and insects marking out the air with their noises; people wandering the forest trail or crossing the asphalt roads.
In “Some Memories of Bamboo”, these unprocessed recordings have been stitched together to evoke the heard life of Kami-Katsura, the district’s textures offered more colour through the short stories that accompany each track in the CD booklet.]]>GruenrekorderArt into Life24972026-05-28T17:16:09+09:00shopMatthias Engelke "Resonant Dowland" [CD]
https://www.art-into-life.com/product/11760
Label: Gruenrekorder - Gruen197
コレはメチャクチャ面白い試み！！素晴らしい内容です！！エレクトリック及びアナログシステムを使い、実に様々な現代演劇の舞台音楽を作曲…Label: Gruenrekorder - Gruen197
Resonant Dowland represents an individual and contemporary interpretation of the songs of Renaissance composer John Dowland. His songs, flying in from the past, become completely subjective by their full integration into an electronically generated world of sound where they are absorbed structurally, gesturally and sonically. This digital recomposition and the aura of Dowland`s songs meld together in a surprising, gentle and respectful, even symbiotic way. The resounding fragments from a mysterious past find their echo in the acoustic chamber of our present world, which receives them into its own digitally-processed musical space without endangering their centuries-old magical essence. Resonant Dowland connects a creative musician of the Elizabethan age, on the threshold of discovering musical individuality, with his colleague who, separated by centuries, lives in an age of digital absorption of sound, in music whose unequal layers shine iridescently through each other. The central idea of this electronic renaissance could be represented by the image of the palimpsest, the res facta of the past, that has seen several lives.]]>GruenrekorderArt into Life24972026-05-28T17:15:42+09:00shopAngelica Castello "Catorce Reflexiones Sobre el Fin" [LP]
https://www.art-into-life.com/product/14060
Label: Gruenrekorder
カッコ良過ぎるインスタレーション録音!!もとMetamkineのオーナーJerome Noetingerや、ベテラン・ジャズギタリストBurkhard …Label: Gruenrekorder
Catorce reflexiones sobre el fin (Fourteen Reflections On The End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own. Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.
During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm? First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return. To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.]]>GruenrekorderArt into Life39272026-05-28T17:15:16+09:00shopGerald Fiebig feat. EMERGE & Christian Z. Muller "Gasworks" [CD]
https://www.art-into-life.com/product/8346
Label: Gruenrekorder - GRUEN179
興味深い音が目白押し！！ サウンドアーティストGerald Fiebigが自身のインスタレーション関連の録音として出版した、その名…Label: Gruenrekorder - GRUEN179
„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank.]]>GruenrekorderArt into Life24972026-05-28T17:14:29+09:00shopKg Augenstern "Tentacles" [Book & CD]
https://www.art-into-life.com/product/12206
Label: Gruenrekorder - Gruen170
Christiane PrehnとWolfgang MeyerからなるアーティストグループAugensternが長年に渡り取り組ん…Label: Gruenrekorder - Gruen170
The artist group Augenstern (Christiane Prehn and Wolfgang Meyer) have lived and worked on the ship Anuschka for many years. In July 2014 the MS Anuschka left Berlin in the direction of Paris before reaching their final destination in the south of France in November 2014. On the way, the crew examined numerous bridges, spanning rivers and canals. Using tentacles installed on board to scratch the bridges, the ship turned into a sensitive, perceiving and sounding laboratory interacting with the territory. Each of the bridges passed has its personal soundprofile, created by its shape, its practical use and its way of construction. During the journey KG Augenstern presented audiovisual performances that could be observed and heard along the banks. Exhibitions of “Tentacles”- installations where shown in contemporary art spaces at Arles and Valence. A complete documentation of the sound recordings can be heard on the SoundWays application.]]>GruenrekorderArt into Life27172026-05-28T17:14:02+09:00shopKg Augenstern "Circles and cycles" [CD + Book]
https://www.art-into-life.com/product/11761
Label: Gruenrekorder - Gruen202
以前、当店にて運河にまたがる"橋"のサウンドスケープ作[Tentacles](同様のBook & CD仕様のもの)を紹介した、Ch…Label: Gruenrekorder - Gruen202
Kg Augenstern (Christiane Prehn and Wolfgang Meyer) have been exploring the world for many years with their “Tentacles,” extendable fiberglass canes that allow them to touch and extract the sounds of the places they are travelling through. These tentacles have become a kind of prostheses to generate subtle experiences that require attentive listening. The various aspects of the project are constantly transformed and presented as audiokinetic installations, live-streams, radio broadcasts or sound installations in contemporary art spaces.
In autumn 2019, the artists explored places in Sicily that have been abandoned within the last few decades. With their tentacles, they scratched circles on the surface of these contemporary ruins to reveal the specific sounds of the various surfaces and their surroundings. A camera installed in the center of the circles recorded the images. The research was accompanied by experiments with raw sheep’s wool and clay as materials corresponding to the ephemeral appearance and transitory atmosphere of the places. The outcome of the research was presented as an exhibition in an old prayer hall in Palermo.
The CD invites listeners to explore 10 abandoned places, including the location of the final exhibition.]]>GruenrekorderArt into Life28272026-05-28T17:13:28+09:00shopV.A "Landscapes of Fear" [2CD]
https://www.art-into-life.com/product/6620
Label: Gruenrekorder - Gruen153
かなり高内容なV.A！！優秀フィールドレコーディング/サウンドアート系レーベルGruenrekordeの2015年最新作。極一部の…Label: Gruenrekorder - Gruen153
A1 –Sebastian Thewes Kölner Bucht Küššk 10:18
A2 –Tim Gorinski Amuse 2 5:07
A3 –Public Demand Random Supply #01 5:56
A4 –Katharina Mayer Erdmännchenstelle Funkstadt 5:26
A5 –Ali Chakav a shimmer of reality 7:48
A6 –Linda Franke inside the alphabet 4:20
A7 –Achim Mohné Fritz!Box 7:33
A8 –Stephanie Glauber, Miriam Gossing Mercure/Mondial 16:11
B1 –zo-on slows our earth is a wounded island as we swing around the sun 7:52
B2 –Alisa Berger Der atmende Raum 16:19
B3 –Axel Pulgar iujk/flame 7:44
B4 –Lena Ditte Nissen Imaginary Orb 8:11
B5 –Tzeshi Lei The wreckage that runs our barrage 06:05
B6 –Renate Boden vear2 4:21
B7 –Random Supply Public Demand #02 5:21
“Landscape is a natural scene mediated by culture.
It is both a represented and a presented space,
both a signifier and a signified,
both a frame and what a frame contains,
both a real place and its simulacrum,
both a package and the commodity inside the package.” (1)
A metal fence, about 6 metres high, in the background. A group of people sitting closely aligned on the upper edge, detained by the presence of the border police. A strip of bushy vegetation for sight protection in front of the fence, a bit farther aside some taller palm trees.
An ascending hill behind the fence, dry grass, rock, soil. The well cared for, wavy green of a golf course in the front, two people dressed predominantly in white standing on the lawn, one of them is about to swing the golf club, the other one regarding the events on the other side of the fence. (2) ]]>GruenrekorderArt into Life28272026-05-28T17:13:03+09:00shopAndrea Polli "Sonic Antarctica" [CD]
https://www.art-into-life.com/product/6194
Label: Gruenrekorder - Gruen064
南極サウンドスケープ、ラジオ放送、気候科学者のインタビューをマテリアルに制作した、女性作家Andrea Polliによるサウンド&…Label: Gruenrekorder - Gruen064
„Sonic Antarctica“ features natural and industrial field recordings, sonifications and audifications of science data and interviews with weather and climate scientists. The areas recorded include: the „Dry Valleys“ (77°30’S 163°00’E) on the shore of McMurdo Sound, 3,500 km due south of New Zealand, the driest and largest relatively ice-free area on the continent completely devoid of terrestrial vegetation. Another is the geographic South Pole (90°00’S), the center of a featureless flat white expance, on top of ice nearly 1.7 miles thick.
The „Sonic Antarctica“ Project is a radio broadcast, live performance as well as a sound and visual installation. It features recordings of the Antarctic soundscape made during Andrea Polli’s seven-week National Science Foundation residency in Antarctica during the 2007/2008 season.
The Antarctic is unlike any other place on earth: geographically, politically and culturally. Larger than the US, it is a frontier where borders and nationalities take a back seat to scientific collaboration and cooperation, a place where the compass becomes meaningless, yet, navigation is a matter of life and death. It is an extreme environment that holds some of the most unique species. But it is also an ecosystem undergoing rapid change. 2007/2008 marks the fourth International Polar Year (IPY), the largest and most ambitious international effort to investigate the impact of the poles on the global environment.
As an artist, Andrea Polli works with digital media. She has exhibited, lectured, and performed nationally and internationally. Polli’s projects often bring together artists and scientists from various disciplines. She is interested in global systems and their effects on individuals. She currently works in collaboration with atmospheric scientists to develop systems for understanding storm and climate information through sound, a process called sonification.]]>GruenrekorderArt into Life24972026-05-28T17:11:21+09:00shopDavid Rothenberg "Nightingale Cities" [2CD]
https://www.art-into-life.com/product/14061
Label: Gruenrekorder
セミや鳥、カエルといった生物と一緒に演奏を行う面白コンポーザー/クラリネット奏者David Rothenbergの傑作2CD!!過去にポーリン・オリヴェ…Label: Gruenrekorder
Five years in the making, David Rothenberg’s Nightingales in Berlin project includes a book, a film, many live concerts, and this double CD, including a 20 page color booklet of stills from the film and music not available in any form online. Here’s what Rothenberg says about the project: “I used to make interspecies music largely on my own, seeing myself as some kind of individual explorer seeking out musical ideas with creatures we can’t even talk to. But in recent years I’ve decided that the point of musical contact with another species is to convince other people to join me. Over five years, from 2014 through 2019, I invited the best and most adventurous musicians I know to connect in musical collaboration—humans with nightingales, in Berlin and Helsinki.
The nightingales have helped me find the perfect sound. By assembling just the right group of kindred spirits, together we dream of a way that humans and nature might live closer together. Our species is warming the planet beyond recognition, and this could mean the end of our reign over this place. Yet there are still these moments during which humans can touch nature through sound happening all around us, as we make music along with the nightingales of Helsinki and Berlin. The paths to animal music sit right before us.
I love to listen to different musicians respond to the song of the nightingale for the very first time. I have played with these birds for several years now, and sometimes I wonder why I keep trying to make music with musicians with whom I cannot speak, who live as birds—such different lives than people who may join the band. Some human critics think it’s all delusion, that I intrude upon the birds’ ancient world of perfect sound and struggle, but whenever I bring a new musician along to play with nightingales, I realize why I began this process in the first place. We all feel such joy and hope when music can carry meaning from one species to another. The planet becomes a more harmonious place.”]]>GruenrekorderArt into Life29372026-05-28T17:10:35+09:00shopMerzouga "Mekong Morning Glory" [CD]
https://www.art-into-life.com/product/1451
Label: Gruenrekorder - GRUEN092
世界でも主要な川の一つとして知られるチベット高原に源流のあるメコン川。ラオス、カンボジア、ベトナムへと南下をしながら、そのメコン川…Label: Gruenrekorder - GRUEN092
Merzouga: Eva Pöpplein & Janko Hanushevsky. Field-Recordings taken by Merzouga in Laos, Cambodia and Vietnam, autumn 2008. Composed by Merzouga in Cologne, summer 2009. Commissioned and produced by Deutschlandradio Kultur-Klangkunst. Premiere broadcast on November 6, 2009. 'The Mekong River is one of the world's major rivers. On its more than 4.000 km long way from its source in the Tibetan Plateau to the Delta in South Vietnam it passes an altitude difference of 5.000 km, travels through seven countries, three climatic zones and three different culture areas. On an extensive journey Eva and I followed the lower course of the Mekong River and travelled downstream through Laos, Cambodia and Vietnam. On its way the Mae Nam Khong, the 'Mother River of All Things', creates all life around it. It determines the flora and fauna, floods rice-fields and synchronizes the life of people. Everywhere along its banks buzzing, fertile, tropical life shoots up. We set off with our microphone to collect the sounds that this bustling activity of life creates. A significant compositional approach is the metamorphosis and the merging of sounds. We examine field-recordings in regard to their musical qualities ('Music in the sense of meaningful sound-patterns'- Bill Fontana) and fuse them with electronically processed electric bass sounds. The piece's compositional arc is inspired by the lower course of the river that flows in a gigantic crescendo-movement towards the sea. As a poetic musical analogy to the dark jungle river we use my prepared bass guitar, this long-waved instrument that generates all the musical sounds in the composition. Using Chinese chopsticks, golf balls, knitting needles and wine corks I have been systematically altering and expanding the sound spectrum of my instrument for the past decade. We embark upon an acoustic journey that begins on the banks of the Mekong but reaches far beyond them. Just like the traveler entering the tropical foreignness, the listener enters an acoustic place that quickly condenses into an unreal world of metamorphosis. (Janko Hanushevsky)'.]]>GruenrekorderArt into Life24972026-05-28T17:09:40+09:00shopSzmt "Parvenu" [CD]
https://www.art-into-life.com/product/1452
Label: Gruenrekorder - Gruen178
養蜂箱から採取したミツバチ録音をもとに作り上げたという、ドイツの孤高の音楽家Tobias SchmittのソロSzmtの最新作。G…Label: Gruenrekorder - Gruen178
arvenu is a work about authoritarian structures and developments.
The narrative is abstract, all sounds are concrete. Every single sound on this recording is based on recordings from three bee hives.]]>GruenrekorderArt into Life24972026-05-28T17:07:53+09:00shopMerzouga "De Rerum Natura / Dance of the Elements" [CD]
https://www.art-into-life.com/product/14062
Label: Gruenrekorder
エジソンが開発した録音機"ワックス・シリンダー"にて記録された世界各地の自然/環境音を使ったコラージュや、チベット高原に源流のあるメコン川に恩恵を受ける…Label: Gruenrekorder
エジソンが開発した録音機"ワックス・シリンダー"にて記録された世界各地の自然/環境音を使ったコラージュや、チベット高原に源流のあるメコン川に恩恵を受ける生態系サウンドなど、常に興味深過ぎるコンセプトにて音源制作を行うデュオプロジェクトMerzouga。2019年に発表された本作[De Rerum Natura / Dance of the Elements]は、共和政ローマ期の詩人・哲学者(紀元前99年頃 - 紀元前55年)の思想を音に変換したという、またまた凄い角度からアプローチした面白音響。リスナーが音の広がる世界を旅するというイメージで制作、全編に渡りフィールドレコーディングをネタとした抽象サウンドが飛び交う有機的で心地良い小宇宙。このユニットの作風は素晴らしい。
In his poem De Rerum Natura (On the Nature of Things) the Roman poet/philosopher Lucretius (c. 99 – c. 55 BCE) explores Epicurean physics and philosophy through richly poetic language and metaphors, as he presents an entire cosmology: based on the principles of atomism, Lucretius tries to explain the nature of the mind and soul, and the development of the world. While some of his ideas have been proven scientifically wrong, some of his thoughts seem strikingly reasonable even for the contemporary reader. Lucretius believes that, while everything in the universe is finite, the smallest elements (“The First Beginnings of Things”) themselves are eternal – moving through the void they collide, create forms and dissolve, just to collide again in order to create new forms.
For Lucretius life is a beautiful chance-driven Dance of the Elements. His ideas, popular and highly controversial in Roman intellectual circles, were soon to be banned and eventually forgotten during the rise of Christianity. The poem was by chance rediscovered in the 15th century by the famous humanist Poggio Bracciolini (1380-1459), most likely in the scriptorium of a monastery in Fulda, Germany. During the renaissance it eventually became a foundation stone of modern western philosophy and natural sciences.
When Soila Valkama, the ars acustica-editor of Finnish broadcaster Yleisradio commissioned us to produce a sound-composition, we suggested to her a playful attempt of a sonic translation of Lucretius’ ideas. The listener embarks on a journey in which a universe of sound unfolds. Smallest sonic elements float through space, dark and chaotic, merge to create concrete forms, transform into different consistencies, from water to wind, from stone to dust, steadily in motion in a constant process of becoming and dissolving.
Late in the piece the sounds of mammals and humans arrive, blurring again into a palimpsest-like structure when the circle is closing.
We used field-recordings of nature, as an analogue for the “concrete forms” that are created by the colliding elements, but also concrete musical structures: fragments of melodies, tonalities, and rhythmic patterns in contrast to the more abstract material. Intertwined with the sound-composition we encounter fragments of Lucretius’ text in English and in Latin, carefully adapted and translated by Janko, and spoken by his brother, the actor Stefko Hanushevsky. The radio-piece consists of six chapters, transposing the structure of Lucretius’ six books into the compositional structure.]]>GruenrekorderArt into Life24972026-05-28T17:06:42+09:00shopAMM, Sachiko M "Testing" [CD]
https://www.art-into-life.com/product/15515
Label: Matchless Recordings
2025年重要作!!現在は主にエディー・プレヴォーとジョン・ティルバリーの2者で動いている英国の伝説的即興コレクティブAMM。日本のサイン…Label: Matchless Recordings
AMM collaborates with Sachiko M on Testing (Matchless Recordings), documenting sessions between the British collective and the Japanese sound artist. The work explores intersections of improvised acoustic techniques and sine wave electronics, presenting careful negotiations between established experimental practices and minimalist electronic intervention.
The legendary British collective AMM joins forces with Japanese sound artist Sachiko M on Testing, a stunning new release from Matchless Recordings that redefines the boundaries of experimental sound. This extraordinary collaboration captures a rare convergence between AMM's decades-spanning tradition of free improvisation and Sachiko M's pioneering sine wave minimalism. Testing emerges as a document of profound sonic exploration, where AMM's core members Keith Rowe, John Tilbury, and Eddie Prévost engage with Sachiko M's crystalline electronic interventions. The result is a work that transcends conventional notions of collaboration, creating an entirely new language of organized sound that speaks to both the collective's storied history and the limitless possibilities of contemporary experimental practice.
Recorded during sessions that allowed for genuine musical conversation rather than predetermined structures, Testing unfolds as a series of delicate negotiations between acoustic and electronic realms. Sachiko M's sine waves, known for their pure mathematical precision, find unexpected harmony with Rowe's tabletop guitar preparations, Tilbury's extended piano techniques, and Prévost's percussion interventions. Each piece becomes a meditation on the nature of sound itself - its emergence, development, and dissolution.
This release stands as a crucial addition to the AMM discography, marking another chapter in their ongoing investigation into the possibilities of collective music-making. For Sachiko M, it represents a rare opportunity to engage with one of experimental music's most revered ensembles, pushing her own practice into new territories of collaborative exploration.
Testing is essential listening for anyone seeking to understand the current state of the experimental avant-garde. Like all great works in this tradition, it offers no easy answers, instead presenting a series of questions about the nature of musical communication, the relationship between intention and accident, and the transformative power of deep listening. This is music that demands attention and rewards patience - a stunning testament to the enduring vitality of radical sound practice.]]>Matchless RecordingsArt into Life26072026-05-28T13:48:00+09:00shopCM von Hausswolff & Chandra Shukla "Travelogue [Thailand]" [CD]
https://www.art-into-life.com/product/16290
Label: Touch
遂に出ました、環境音オーディオダイアリー第三弾!!70年代末から音制作を開始、空港を使った大規模サウンドインスタレーションや非常に難解なアプローチまで、毎回ハードコア且…Label: Touch
遂に出ました、環境音オーディオダイアリー第三弾!!70年代末から音制作を開始、空港を使った大規模サウンドインスタレーションや非常に難解なアプローチまで、毎回ハードコア且つ燻し銀の表現を貫くスウェーデンの重鎮Carl Michael Von Hausswolff。米電子音楽家Chandra Shuklaと共に収集した世界各地の環境音を使い、彫刻の様なサウンドスケープを作り上げるシリーズの第三弾が凡そ三年振りにリリース!!今回は2024年2月に9日間過ごしたというタイ・チェンマイのサウンドスケープを使用。博物館やホテルをはじめ、交易圏となっている辺境の地、仏教寺院や仏塔、メコン川、山々、森林...、観光地や環境を切り抜き騒音に満ちた音のタペストリーを創造。毎度の如く完成度の高さにヤラレる事必至の極上物件。長方形のDVDサイズデジパッック。
Limited Edition Compact Disc in large format DVD package with photography & design by Jon Wozencroft
The third in an ongoing series of collected international audio diaries; the premise is quite simple: the two meet at a mutually agreed upon destination along with the facilitation of something to record audio of these experiences on. The intent is to capture and augment these sonic documentaries of their travels which then are sculpted into soundtracks. This is done by sourcing the culture, environment, persons or events that make their voices available. The result might be pleasantly kind and floating or unpleasantly rough and jarring unveiling a light or dark world.
In February 2024, CM von Hausswolff and Chandra Shukla met in Chaing Mai, Thailand over the course of 9 days. Recordings were made at 31st Century Museum of Contemporary Spirit, Wat Umong (Suan Buddha Dhamma), Wat Phra Singh, Wat Phra That Dot Suthep, Loi Kroh Boxing Stadium, Wat Chedi Luang, Mae Wang Mae Win, Was Pha Lat, Wat Phra That Dot Kham, Wat Rong Khun Chaing Rai, Rong Suea Ten Temple Chiang Rai Ancient City, House of Opium Museum Chiang Saen, The Mekong at The Golden Triangle Chiang Saen, One Budget Hotel Chiang Saen...
von Hausswolff and Shukla rounding off another whirlwind 9 days in Southeast Asia in the unusual setting of the Lanna Kingdom (Kingdom of a million rice fields) of Northern Thailand. A multifaceted location where Thailand shares borders with Myanmar, Laos and China in what is known as The Golden Triangle, a commercial trade zone between the nations. This frontier region is home to hill tribes, countless Buddhist monasteries, stupas, The Mekong River, mountains and forests. All of which can be heard on this recording. Always finding themselves in the most untypical of off the beaten tourist destinations and settings, CM von Hausswolff and Chandra Shukla use the Northern Thai backdrop for more sonic tapestries and meditational sound weaving. Perhaps not always in the calming of ways but more often in the midst of noise laden cacophony.
Mastered by Denis Blackham
Photography by Jon Wozencroft + Travelogue
Design: Jon Wozencroft
Recorded 2-11 February 2024 in ChIang Mai, Chiang Rai, Chiang Saen and other locations in Northern Thailand.
Composed and mixed at the Castle in Stockholm, Sweden and at Dissimulata in Asheville, NC USA, 2024-2025.]]>TouchArt into Life24972026-05-27T22:03:00+09:00shopBarre Phillips, John Butcher, Stale Liavik Solberg "We met - and then" [CD]
https://www.art-into-life.com/product/16286
Label: Relative Pitch Records
米Relative Pitch Recordsが出版した、コントラバス界の重鎮であるBarre Phillips、英サックス奏者Joh…Label: Relative Pitch Records
Comprised of tracks recorded in Münich and Oslo, this is the debut of this collaboration between improviser and doyen of the double bass Barre Phillips, British saxophonist John Butcher and Norwegian drummer, percussionist and improviser, Ståle Liavik Solberg.
Barre Phillips: double bass
John Butcher: saxophones
Ståle Liavik Solberg: drums]]>Relative Pitch RecordsArt into Life24972026-05-27T22:03:00+09:00shopKelly Jayne Jones & Jon Collin "Stockholm, 14 February 2019" [CD-R]
https://www.art-into-life.com/product/16156
Label: Early Music
スウェーデンの重要施設Fylkingenにてレコーディングされた作品!!Jon Collin主催のエクスペリメンタル・フォーク&トラッドレーベルEarly …Label: Early Music
Stamped whitetop CD-r in board-backed kraft brown sleeve with paste-on wraparound cover. Edition of 60 copies]]>Early MusicArt into Life20572026-05-27T22:03:00+09:00shopDas B "Love" [CD]
https://www.art-into-life.com/product/15479
Label: thanatosis produktion
当店激推しレーベルの共同リリース作!!ストックホルムのthanatosis produktion、シカゴのCorbett vs. Dem…Label: thanatosis produktion
当店激推しレーベルの共同リリース作!!ストックホルムのthanatosis produktion、シカゴのCorbett vs. Dempsey、二つのフリージャズ/即興/コンテンポラリー・レーベルが共同制作した、Mazen Kerbaj(トランペット)、Magda Mayas(ピアノ)、Mike Majkowski(ベース)、Tony Buck(ドラム)のカルテットDas Bの2ndアルバム。ジョン・コルトレーンの名盤『至上の愛』の構成とダイナミクスをヒントに、自身らの音楽を根本から徹底的に再構築、結果非常に先鋭的な即興及びジャズ作品に仕上げています。ブックレット付き。
Comes in 350 gr paper digisleeve, with booklet
Thanatosis Records (Stockholm) and Corbett vs. Dempsey (Chicago) are pleased to announce a joint release titled Love, the second record by the quartet Das B. The lineup features Magda Mayas on piano, Mazen Kerbaj on trumpet, Mike Majkowski on bass, and Tony Buck on drums. Taking structural and dynamic cues from the classic John Coltrane record A Love Supreme, Das B totally reinvents the music and in the process meticulously subverts the notion of the tribute or songbook. The release includes both CD and LP, in strictly limited editions.
Mazen Kerbaj – trumpet
Magda Mayas – piano
Mike Majkowski – bass
Tony Buck – drums]]>thanatosis produktionArt into Life24972026-05-27T22:03:00+09:00shopMiroslav Beinhauer performing Terry Riley, Philip Glass, Milan Knízak, Gordon Monahan... "Pieces for Broken Piano" [CD]
https://www.art-into-life.com/product/14931
Label: Sub Rosa
タイトル通り、あの激ヤバ・ピアノ奏者が壊れたピアノを使い重鎮コンポーザーらの楽曲を演奏!!太陽の光と雨が降り注ぐ庭に放置、調律は不可能、鍵盤は部分的にしか動かない…Label: Sub Rosa
Grand Piano Gebrüder Stingl from 1916.
The year is 2021.
The piano is in the garden; the sun shines on it and rain falls on it. The piano cannot be tuned. Some keys work only partially, some not at all. It is Broken Piano.
The first pieces for Broken Piano were recorded on this piano in 2021 and became part of the Fluxus editions Stolen Symphony (2023) and Keep Together (2024). The pieces for this edition were written and provided by Terry Riley and Milan Knízák. Broken Piano, which was acquired by the Opening Performance Orchestra to make live and studio recordings, was the focus of both volumes of this edition between 2021 and 2023.
Compositions for Broken Piano intended for Fluxus editions were recorded by Czech pianist Miroslav Beinhauer. During this time, other new works for Broken Piano were written by a variety of Fluxus and non-Fluxus composers. In the spring of 2022, the Opening Performance Orchestra and Broken Piano participated in an event hosted by Mieko Shiomi. This was a new version of her early work Spatial Poem: it was a moving event, documentation of which was presented at the Aichi Triennale 2022 in Tokyo. During this performative event, consisting of moving any object, Broken Piano was moved from the village Vyzlovka to Unhost, where the SONO music studio is located. It is in the SONO studio that the new compositions for Broken Piano were recorded, written by Terry Riley, Philip Glass, Milan Knízák, Gordon Monahan, Elliott Sharp, Milan Gustar, Yoon-Ji Lee, which form the content of this album.
As a digital bonus, the album includes two tracks recorded outdoors - in the garden of a house in the village Vyzlovka near Prague - by Terry Riley and P.ST. All the new compositions were recorded by pianist Miroslav Beinhauer. Broken Piano is currently lying in the open air in Prague and is subject to gradual decay. A broken but famous piano. ]]>Sub RosaArt into Life28272026-05-27T22:03:00+09:00shopHis Majesty The Baby "Dadayama" [CD + Special Package]
https://www.art-into-life.com/product/16201
Label: St.An.Da.
大推薦!!ダダおよび未来派の偉人の声を使用した演劇的実験ワークス!!特殊パッケージ仕様!!80年代初頭にイタリア実験シーンの中で最もユニークな音楽グループとして…Label: St.An.Da.
大推薦!!ダダおよび未来派の偉人の声を使用した演劇的実験ワークス!!特殊パッケージ仕様!!80年代初頭にイタリア実験シーンの中で最もユニークな音楽グループとして知られるDoubling Ridersを始動したFrancesco Paladino。氏と、同国のライターであるLuca FerrariのプロジェクトHis Majesty The Babyが制作した、ダダイズム、シュルレアリスムの伝統に真正面から向きあった新解釈音源。トリスタン・ツァラ、アンドレ・ブルトン、フィリッポ・トンマーゾ・マリネッティといったアヴァンギャルドの歴史上の巨匠の声を用い、サウンドスケープや室内楽とミックス、サウンドポエトリーと歴史的なアヴァンギャルド演劇が交錯する稀有なサウンドイメージを導き出した傑作。
With "Dadayama", His Majesty The Baby presents a work that stands at the crossroads between music, sound poetry and the theatrical spirit of the historical avant-gardes. The project unfolds as a conceptual suite built from fragments, quotations, soundscapes and vocal interventions that openly engage with the traditions of Dadaism and Surrealism.
The album is the result of a long creative process coordinated by Francesco Paolo Paladino, who also oversaw the artistic production together with Luca Chino Ferrari. Its sonic architecture develops through a dense interplay of keyboards, virtual piano and electronic soundscapes, intertwined with acoustic instruments such as violin, guitar, zither, oboe and clarinet, creating a layered and constantly shifting musical environment.
One of the most distinctive aspects of the work is the presence of historical voices from the avant-garde, including Tristan Tzara, André Breton and Filippo Tommaso Marinetti. These elements function not as simple quotations but as cultural resonances that connect contemporary sound language with the aesthetic revolutions of the early twentieth century.
The vocal dimension of the album is particularly rich. Alongside the contributions of Carmen D’Onofrio, Serena Nono and Carolina Shiaron Moncaleano appear artists such as Dorothy Moskowitz and Edward Ka-Spell, whose performances extend the expressive range of the project, bringing the sung word towards territories close to phonetic poetry and performance art.
At the symbolic core of the album lies the cycle of compositions devoted to Dadayama, an imaginary place mentioned in a 1919 Dada poem by Walter Mehring. In these sections the album becomes a visionary journey populated by linguistic images, paradoxes and surreal inventions.
Pieces such as "Soulless Man" explore the surrealist paradox of presence and absence, while "Bombsong" offers an anti-militarist satire inspired by the pataphysical generals of Enrico Baj. In "This Is Not a Song", the project enters into dialogue with René Magritte’s famous painting and Michel Foucault’s philosophical reflections on representation and reality.
Taken as a whole, "Dadayama" deliberately moves beyond the conventions of the traditional song form. Instead, it inhabits a territory of artistic research where music, language and cultural quotation merge into an open and experimental expressive form.
The result is a surreal sonic landscape: an imaginary place where absurdity becomes a poetic method and where music invites the listener to cross into a universe in which ordinary logic can be momentarily suspended in favour of invention. ]]>St.An.Da.Art into Life33772026-05-27T19:55:27+09:00shopDelphine Dora "A l'abri du monde" [CD-R]
https://www.art-into-life.com/product/16159
Label: Early Music
瞬殺廃盤音源が再プレス!!現在はスウェーデンを拠点に置く孤高のギタリストJon Collin主宰がするEarly Music。このレーベルから2022年に発…Label: Early Music
CDR in heavy board-and-kraft-paper sleeve with black risograph printed pasted on cover, riso-printed insert and obi strip. Edition of 80 copies.
Recorded, composed and played by Delphine Dora between 2019 and 2021.
Vocals, prepared piano, piano, synth, keyboards, objects, field recordings – Delphine Dora
"A l'abri du monde was made from a series of recordings made between 2019 and 2021 at the Val d'Allier Ecopole (Puy-de-Dôme, Auvergne). Located on the edge of a large river, the 140-hectare site, at the gateway to the Clermont-Ferrand agglomeration (center of France) once dedicated to the extraction of aggregates (sand and gravel), has recently undergone an ecological rehabilitation. The quarries have been replaced by two large ponds which now host numerous species of migratory birds and a rich biodiversity. The surroundings of this location are relatively urbanized and a sand quarry is still in operation a short distance from the large pond. It is now primarily a place for local residents to walk and for birdwatchers to observe.
This piece reflects my interest in the specificity of a site, the sounds of the environment, the spaces between city and nature, the disappearance of certain birds species. I drew from this astonishing place to feed my sound imagination and redeploy a personal cartography.
My first motivation was to become more aware of my sound environment, creating a subjective interpretation of the place through a poetic and subjective listening. The real issues of this landscape have a double interest, as it presents a successful hybridization between nature and culture. A hybrid place: on the one hand, a natural site favorable for
contemplation, an experimental space with ecological vocation (bird observatory, place of fishing and organic market gardening), created in response to the environmental mutations in progress (degradation and climate change); on the other hand, an extremely sensitive site threatened by the noise nuisances related to road traffic, perceptible noises of the quarry of extraction, human and industrial activities in the vicinity (companies, stores). It is from the richness of the sound complexity of this place, from multiple sound recordings at different places of the landscape, from a careful listening to the details of the environment and from interaction with the sound matter of the place, that each sound was captured in a haphazard way or carefully selected for its suggestive potential, arranged later - revealing delicate complexities.
I sought to interrogate the spaces between sound and silence, making one feel that sense of quietude, away from urban agitation and that silence threatened by human activity. The atmosphere of this place also translated a striking social and political off-field: the lightness of certain recorded words or scenes of life could contrast with certain political demonstrations or social events that took place during the period of the recording.
Although the Anthropocene and the effects of human activities on animal species and the landscape, and more generally on the relationship between humans and non-humans was an important preoccupation, my primary interest was to question the way in which the sounds we perceive convey a subjective reality and can become inscribed in the memory and imagination of the listener, reconnecting with the sensitive experience, through an interaction between the "active" listening of a place and the creative voice it brings. I have thus musicalized the sound material by adding voices, acoustic instruments (piano, prepared piano) and electronic instruments (analog synthesizer, keyboard, electronic sounds...), blurring the boundaries between instrumentation and field recordings, in order to restore the environment crossed, to create an in-between, a sound space between real/imaginary, concrete/abstract reality, visible/invisible." ]]>Early MusicArt into Life20572026-05-27T19:55:27+09:00shopDavid Grubbs "Prismrose" [CD]
https://www.art-into-life.com/product/15161
Label: Blue Chopsticks
非常に幅広いキャリアを持つ百戦錬磨の音楽家David Grubbs。2014年11月から2015年7月に掛けて録音された、シンプルなエレキギターによ…Label: Blue Chopsticks
Prismrose is a nearly wordless collection of six pieces for electric guitar, all given real time to breathe and mutate. It’s an album that documents what an electric guitar sounds like in David Grubbs’s hands — with Eli Keszler dropping by to pummel some drums — now that we’ve stumbled into the year 2016.]]>Blue ChopsticksArt into Life24972026-05-27T19:55:27+09:00shopAlex York "Black Tupelo" [CD]
https://www.art-into-life.com/product/14465
Label: Helicopter
米Helicopterらしからぬミニマル・アンビエント作!!米オハイオを拠点に活動するエクスペリメンタル/ノイズアーティストAlex Yorkの2023年11…Label: Helicopter
Alex York’s Black Tupelo comments on the obscured line
between American folk music and spiritual minimalism. Through
sampling across analog and digital media, including vinyl, cassettes, and YouTube, Black Tupelo derives all its sonic
material from recordings of Powers / Rolin Duo. In the past, York
has primarily sampled jazz musicians, but gravitates towards
acoustic drones on this record, which lend to collage and
layering. In approaching these samples, York was inspired by a
Roscoe Mitchell live performance in which he plays with a video
recording of himself, as well as the call-and-response recording
technique of Chris Corsano and Bill Orcutt’s Made Out of Sound.
Applying these concepts to his own method, York also adds pitch
shifting to the samples and doesn’t shy away from including little
idiosyncrasies, such as the resonance of someone bumping
into an instrument or tuning during a YouTube live performance.
To make each element a little fuzzier, York’s samples passed
through many permutations amongst tape, computer, and MPC,
ultimately forming a complete blend of analog and digital.
The title of the album, Black Tupelo, refers to the species of
tree found in the foothills of Appalachia where Alex York grew
up. On the record, he emphasizes the minimal qualities of
repetition, drone, and timelessness that are characteristic of the
region’s folk tradition. According to York, he draws upon and
transforms folk to “create minimalism’s spiritual and meditative
qualities.” Structured folk and blues on recordings struggle to
capture the minimal aspects of the tradition, such as how live
folk performances can continue for several minutes, droning
throughout on half of the instrument’s open-tuned strings. York
cites The Carter Family as a significant influence, describing them
as “ghost music, spiritual music” with a lo-fi essence. Listening
to their records is “like listening to a folk band play three rooms
away, from outside of the venue, from outside of the church,” he
said. For York, there has never been a place where American
folk music ends and spiritual minimalism begins. Coreleased by
Fourth Floor & Helicopter. (Hannah Blanchette)]]>HelicopterArt into Life24972026-05-27T19:55:27+09:00shopMagnus Granberg "Night Will Fade and Fall Apart" [2CD]
https://www.art-into-life.com/product/13245
Label: thanatosis produktion
Another Timbreファンは是非、個人的激推し作曲家！！Jurg Freyとの共作や個人名義作、大型アンサンブルSkogenとの…Label: thanatosis produktion
Another Timbreファンは是非、個人的激推し作曲家！！Jurg Freyとの共作や個人名義作、大型アンサンブルSkogenとの共演等々、人気の英室内楽レーベルAnother Timbreお抱えの作曲家にしてピアノ奏者のMagnus Granberg。スウェーデンのコンポーザーという事でthanatosis produktionより待望のソロ音源が登場！！過去の音源でも表現されていた"メランコリック室内楽"なるものを展開、更に瞑想的、また仄暗い静けさを取り入れ凄まじいバリエーションで聞かせる2CD。最初から最後までグイグイと引き込む超名演集です。
"As I perceive it, in much of Magnus Granberg’ work, going back as far as projects such as Sheriff, there’s an in-drawing nurturing of self. However one may read the beautifully poetic, frequently melancholic nature of the titles of the pieces, this is far from a flattening of the nature of existence but rather a celebration of the interior life of the individual, both of the composer and his growing, attentive, audience, accumulated over time due to a remarkably consistent series of releases. Those familiar with Magnus’ work will likely be aware of a 'looseness’, an integrated opening for variations in the reading of the work that gently ‘undermine' the pre-determined elements of composition.
There’s a meditative, haunting stillness to much of Magnus’ work, particularly on this double album of variations on a composition based upon a series of propositions, carefully defined parameters that suggest as much as they direct. The compositional information demarcating boundaries while gamefully opening them up to interpretation allowing for intricate readings by an empathetic company of musicians true to Magnus’ high standards.
This is music for the twilight, the final rays, as our impaired vision of the solidity of things and their accompanying certainties, fall away. When describing Magnus' working process I’ve a desire to flip Cage’s ‘purposeless play’ to ‘purposeful’. It appears to me Magnus knows the coordinates, the conditions under which his ship sails, certain he’ll recognize the destination as a mirror of his own guiding principles, welcoming elements of the unknown within the carefully prescribed parameters of his personal cartography. " – David Sylvian]]>thanatosis produktionArt into Life30472026-05-27T19:55:27+09:00shopTodd W Emmert "A Summer's Day & Night" [CD-R]
https://www.art-into-life.com/product/8985
Label: Chocolate Monk - CHOC390
個人名義、ユニットGlands Of External Secretionを含め、Chocolate Monk常連となっているBa…Label: Chocolate Monk - CHOC390
個人名義、ユニットGlands Of External Secretionを含め、Chocolate Monk常連となっているBananafishマガジンのSeymour Glassが推薦する謎作家Todd Wesley Emmertの1stアルバム。心地よい濁り方のローファイものからシンセポップ、持続音までと、恐らくロック調に寄せたアルバムですが仕上がりは完全なアンビエントテイスト。面白い作風です。限定60。
"No one makes being a visionary seem like an attractive career more than Todd W. Emmert. His beguilingly unassuming compositions slip through the cracks between the cosmic binaries -- your yings and your yangs, the bottom of the aboves and the tops of the belows, the magic hours of twilight and dusk. A Summer’s Day And Night oozes with the sacred perspiration wrung from the garments of the children of the supreme hypno-void getting dizzy on an interstellar merry-go-round. Four opening tracks lull you into a false sense of new age security, better than any vegan restaurant hold muzak, before Emmert goes full ghost story and bakes your head into a wax unagi pie replica in the galley of a Unarius UFO with a series of heavy, scalp-striating distorto drones that have every right to take up entire album sides. A fine, fine distillation of “splashing” and “down.” Huff it." - Seymour Glass
Numbered edition of 60]]>Chocolate MonkArt into Life13972026-05-27T19:55:27+09:00shopJohn Luther Adams "Arctic Dreams" [CD]
https://www.art-into-life.com/product/4225
Label: Cold Blue - CB0060
老舗のコンテンポラリー系レーベルModeやNew World Recordsにもソロ音源を残し、主に自身出身のアラスカをテーマとした楽曲を数多…Label: Cold Blue - CB0060
老舗のコンテンポラリー系レーベルModeやNew World Recordsにもソロ音源を残し、主に自身出身のアラスカをテーマとした楽曲を数多く出版してきた80年代前半より活動を続けるベテランコンポーザーJohn Luther Adams。米Cold Blue Musicよりリリースされた2021年タイトル[Arctic Dreams]。ツンドラで聴いたというエオリアンハープのサウンドを、弦楽四重奏&イヌイットの言語で歌われる持続音歌唱で表現した作品であり、ミニマルながらも時折メロディアスに変貌するレイヤーはひたすらに美しい。ドローン、アンビエントファンにも激激オススメ。
Arctic Dreams is a stunning, gloriously beautiful piece for four string players and four singers, with multiple layers of digital delays that create 32-part canonic textures.
The composer writes:
“This was the first music I composed in my ‘aeolian’ sound world, which grew out of my experiences listening to wind harps on the tundra. As in several of my later string quartets, all the sounds are produced by natural harmonics and open strings. . . . Extensive retuning of the strings is employed.
“The sung text is a series of ‘Arctic Litanies,’ composed of the names of Arctic places, plants, birds, weather, and the seasons, in the languages of the Iñupiat (Alaska Inuit) and Gwich’in (Athabascan) peoples of Alaska.]]>Cold BlueArt into Life24972026-05-27T19:55:27+09:00shopVague - Scillia Lorage & Kiko C. Esseiva [CD-R]
https://www.art-into-life.com/product/1596
Label: Kukuruku Recordings
廃盤。Tasos Stamouが主宰するギリシャのエクスペリメンタルレーベルKukuruku Recordingsの怪しいCD-R。コンクレ…Label: Kukuruku Recordings
廃盤。Tasos Stamouが主宰するギリシャのエクスペリメンタルレーベルKukuruku Recordingsの怪しいCD-R。コンクレート的な作風で知られるKiko C. Esseivaと女性ボイスパフォーマーScillia LorageによるデュオVagueの限定150枚CD-R。テープ操作による不気味なボイス加工。
The duo appearing on "VAGUE" is Scillia Lorage and Kiko.C.Esseiva.
The encounter between them gave birth to this project in springtime 2008 in which their intentions lie in experimental free improvisation.
On this recording, Kiko C. Esseiva played live tape manipulations and Scillia Lorage weaves, with her voice, sounds that are manipulated live on her sampler. With spontaneity, they attempt to build soundscapes and sounds character; sometimes by walking on eggs, some other times trying to save the eggs from a giant...
The concert in Athens presented here, is reproduced in its entirety without editing. Accidents and floating moments give this recording an imperfect character, maybe suitable to a human nature…]]>Kukuruku RecordingsArt into Life11772026-05-27T19:55:27+09:00shopAMM "aura" [CD]
https://www.art-into-life.com/product/14989
Label: Matchless Recordings
素晴らし過ぎる内容!!AMMの2024年新音源!!初期はCornelius Cardewも参加した事で知られる、60年代半ばに英国で結成さ…Label: Matchless Recordings
素晴らし過ぎる内容!!AMMの2024年新音源!!初期はCornelius Cardewも参加した事で知られる、60年代半ばに英国で結成された伝説的フリーミュージック・アンサンブルAMM。現行の編成であるEddie Prevost & John Tilburyのデュオで行われた、2016年シベリウス博物館コンサートホールでの60分に及ぶ即興セッションを収録、なんとJohn Tilburyはピアノ以外にハープシコード(!!)も演奏。ホールの優れた音響を見事に利用した奥深く濃密な対話が記録されています。
Recorded in Turkey in 2016, this extended improvisation features a core duo from later AMM configurations — percussionist Eddie Prévost and pianist John Tilbury, who also performs on harpsichord — captured in the exceptional acoustics of The Sibelius Museum concert hall where the intimate setting elicits profound, beautifully recorded dialogue between these two masterful performers.]]>Matchless RecordingsArt into Life26072026-05-26T22:09:10+09:00shopAMM "Last Calls" [CD]
https://www.art-into-life.com/product/14066
Label: Matchless Recordings
AMMの重鎮Eddie Prevostの80歳誕生日を記念して作られた極上シリーズ!!激ヤバです!!60年代中期に誕生した英グループAMM…Label: Matchless Recordings
AMMの重鎮Eddie Prevostの80歳誕生日を記念して作られた極上シリーズ!!激ヤバです!!60年代中期に誕生した英グループAMMの創設メンバーであり現在も唯一の継続メンバーとして活動、パーカッション・プレイヤーとして多くの名作を残してきた重鎮Eddie Prevost。自身主宰のMatchless Recordingsより、80歳を記念したライブ録音シリーズ"Making a journey to a Bright Nowhere"を始動!!Cafe OTOで披露したパフォーマンスを音源化していくものであり、本作はAMMとしてリリースした2年振りの新録[Last Calls]。Eddie Prevost、Keith Rowe、John Tilburyの3者が揃っており、鬼気迫るシリアスな掛け合いから静謐なピアノ曲までが聴けます。
Format:
CD
'Making a journey to a Bright Nowhere' series - marking Eddie Prévostt's 80th birthday.
Volume 4 - Cafe OTO 30th July 2022]]>Matchless RecordingsArt into Life26072026-05-26T22:09:10+09:00shopAMM "Uncovered Correspondence - A Postcard From Jaslo ." [CD]
https://www.art-into-life.com/product/12102
Label: Matchless Recordings - MRCD78
Eddie Prevost、John Tilbury、2者のAMMによる、2010年5月15日ポーランドにて記録されたコ…Label: Matchless Recordings - MRCD78
Eddie Prevost、John Tilbury、2者のAMMによる、2010年5月15日ポーランドにて記録されたコンサートの模様。Matchlessからリリースされたボックス型紙ジャケ仕様。金属摩擦音と点描的／流麗なピアノが絡む、デュオでの演奏でもその内容は聴き応え充分。是非体感して頂きたい一枚。
Recorded at the concert hall of the Jasielski Dom Kultury (Jaslo Cultural Centre) in southern Poland on the 15th of May 2010.
"It is given to very few artists to have created a language entirely their own, but that is what AMM has done over the years, in various line-ups and configurations, with Eddie Prévost on drums as the only unifying element since 1965, and with John Tilbury on piano for the last two decades, here with just the two of them. You may like them or not, but they have made history, and they still do, with lots of young musicians moving into the broad avenue they created.
They were among the first artists to work with the endless sound possibilities of their instruments, like archeologists carefully unearthing new layers of sounds, and especially those that had never been there in the first place!
This album, subtitled Postcards from Jaslo was recorded at the concert hall of the Jasielski Dom Kultury (Jaslo Cultural Centre) in southern Poland on 15th May 2010, and the entire album resonates with the space that it was recorded in. The music remains fascinating, even more minimalist due to the limited instrumentation, yet equally evocative and expressive as their previous albums. And yes, the approach and the overall sound are predictable - this is AMM beyond any doubt - the preciousness, the sophistication, the inventiveness, the cautious discipline, the love for the sound itself, the incredible tension and sustained sense of anticipation... it is all there, beautifully there...
The absolute brilliance of this music is the attention given to detail. In most other kinds of music, there seems to be an absolute abundance of notes, spent and consumed carelessly, but here, with AMM every note seems and sounds incredibly valuable, as something that has to be used sparingly, in order to really be fully appreciated and savoured. Majestic!" - All About Jazz]]>Matchless RecordingsArt into Life26072026-05-26T22:09:10+09:00shopAMM "Place Sub. V." [CD]
https://www.art-into-life.com/product/12101
Label: Matchless Recordings - MRCD91
Wire誌の"The Wire's Top 50 Releases of 2014”にも選ばれたAMMの2014年2月発…Label: Matchless Recordings - MRCD91
Wire誌の"The Wire's Top 50 Releases of 2014”にも選ばれたAMMの2014年2月発表音源[Place Sub. V.]。2012年ポーランドで行われた前衛音楽フェスティバルにて披露されたライブ録音で、ジワジワと来る静謐な怖さと美しさが絶妙過ぎる超名演。コレは大推薦。
Active since the mid-1960s, England's AMM have become an icon of the free improvisational movement. In the spring of 2004, due to personal and philosophical disagreements, Keith Rowe suspended his involvement with AMM, an association that went back to his role as founding member in 1965 (albeit with an almost decade-long disenfranchisement through the '70s). The remaining members, percussionist Eddie Prévost and pianist John Tilbury, elected to continue on as AMM, and this their latest effort. Tilbury, in duo format, becomes a somewhat more active participant than he often was in the trio, forcing the action a bit more than floating atop it, bursting into abrupt Taylorisms here and there in addition to his more delicate arpeggiating. Prévost, for his part, does a masterful job of sinking into the background, coloring the proceedings with precisely the right shadings and accents, staying almost entirely off of the drum set as such, concentrating far more on gongs, bowed cymbals, metal and wooden objects, and other esoterica. ]]>Matchless RecordingsArt into Life26072026-05-26T22:09:10+09:00shopAMM "The Crypt - 12th June 1968" [2CD]
https://www.art-into-life.com/product/2576
Label: Matchless Recordings - MRCD05
AMMを語る上では絶対に外せないカーデューが参加した68年の歴史的名演。硬質且つ強靭な音響、終始渦を巻くカオスな展開等々…Label: Matchless Recordings - MRCD05
Recorded at the Crypt, Lancaster Road, London W11, 12th June 1968.
Previously released (two editions) as a two-album box set with music duration of just over 78 minutes. This is the first release of the complete session.]]>Matchless RecordingsArt into Life39272026-05-26T19:34:25+09:00shopAMM "Two London Concerts" [CD]
https://www.art-into-life.com/product/12103
Label: Matchless Recordings - MRCD85
2010年の音源から約2年振りにリリースされた、Eddie Prevost & John TilburyのAMMによるC…Label: Matchless Recordings - MRCD85
2010年の音源から約2年振りにリリースされた、Eddie Prevost & John TilburyのAMMによるCD作品。2011年に行った2つのコンサート録音を収録。張りつめた緊張感がビリビリと伝わってくる、切れ味鋭いメタルパーカッション & 激しい打鍵が躍動する久々の暗黒セッション！！46分の2曲目が特に危険。
Two live recordings by master improvisers John Tilbury (piano) and Eddie Prevost (percussion) playing two emotional sets that are quiet at just the right times and allow for a balanced amount of white space, creating beautiful music. "A new AMM album then, always a welcome arrival, capturing two relatively recent London performances from the duo of Eddie Prévost and John Tilbury. one of which I attended, and the other I could not. Both capture really rather wonderful sets of music, the first, from the As Alike as Trees festival in March 2011 being the finest AMM set I have caught live in many a year, though I am fortunate enough to have heard quite a few, though the second recording here, from the Purcell Room in November of the same year is also a lovely set. The last AMM album before this one, Uncovered Correspondence was also a very fine album, the best since the group's reduction to a duo, and these new recordings I think show how Prévost and Tilbury have developed a style to their playing that no longer seems to seek ways to fill the spaces left in the music, as their first performances as a duo seemed to do. These new recordings, while as intensely emotionally charged as ever, if not more than ever, allow a lot more white space and air into proceedings. There is a sense of clarity and precision here that when coupled by the virtually telepathic understanding these two have leads to quite stunningly beautiful music.
The first piece, titled here E1 AMM, a reference to the London postal code of the recording venue, opens with Tilbury crashing his forearm slowly, and repeatedly onto the keys of his piano for a good few minutes as Prévost adds subtle, softly bowed metal percussion, matching the violence with serenity and immediately casting the performance into a state of continually precarious balance. This opening salvo, when seen live left me breathless, and while the removal of the visual elements tones down the intensity of the occasion quite a bit, the passion in the performance, and the uncertainty that such an opening presented both the audience and the musicians with is still audible here. The second recording, SE1 AMM is an undulating, perhaps more familiar affair with quiet, often very quiet passages allowed to build into a series of crescendoes. The passages that close the recording, which was made at a concert put on as part of a Cornelius Cardew celebration, consisting of Tilbury mostly alone, playing slowly, with immense solemnity and beauty are really extraordinarily beautiful, with Prévost joining him right at the very end with some of the gentlest, most poignantly restrained sounds I have ever heard from him. The understanding, the ability to form such perfectly formed, expressive music in the moment together is, in my opinion, unrivalled between two musicians today.
Of course, the instrumentation is as you expect from AMM. Tilbury plays the piano, inside and outside, and Prévost bows and strikes metal objects of various sizes, some of them pressed into the head of a snare drum. With the exception of some unusual, agitated sounds from Prévost here and there on the first piece, there is nothing in the instrumentation or the sounds the duo pull from them that breaks new ground on a particularly cosmetic, obvious level. This sounds exactly like an AMM album, but there is a sense of continual development here, the ongoing conversation, stark discussions in places but held with a fluidity that AMM have not had for a while. Its as if a new language has been learnt, and so now the frank conversations can be more easily held, albeit it with less phrasing, but with precisely the right words chosen and nothing more.
It is easy to throw the usual rapturous applause at anything AMM do, but there isn't a more fully refined and explored musical relationship than Prévost and Tilbury's, and while I seek and desire newly broken ground in how music sounds or is made as much as anyone there is still room to admire and celebrate the way two masters at their particular art go about creating something this thoughtful and beautiful. While familiarity breeds recognisable patterns and musical traits AMM continue to make music that oozes tension, beauty, anger, aggression and a vitality that is perpetuates itself in a thoroughly, nakedly human manner, and that's enough for me."-Richard Pinnell"]]>Matchless RecordingsArt into Life26072026-05-26T17:19:51+09:00shopAMM "Industria" [CD]
https://www.art-into-life.com/product/12029
Label: Matchless Recordings - MRCD105
初期はCornelius Cardewも参加した事で知られる、1960年代半ばに英国で結成された伝説的フリーミュージッ…Label: Matchless Recordings - MRCD105
初期はCornelius Cardewも参加した事で知られる、1960年代半ばに英国で結成された伝説的フリーミュージック・アンサンブルAMM。様々なメンバー編成を経て現在はパーカッショニストのEddie Prevost、ピアニストのJohn Tilburyを軸に動いており、本作はその2者がポルトガルのスペース[Museu Industrial de Bala do Tejo]の歴史に敬意を表して制作した2021年デュオアルバム[Industria]。同スペースにて2015年に披露した54分33秒のパフォーマンスを収録、Eddie Prevostのシンバルの弓弾き&ポツポツと落とすパーカッション、そしてJohn Tilburyのミステリアスで美しいピアノが絡む、全体を通して静謐でスリリングな空気感が味わえる流石の高内容。
The title Indústria was chosen by Eddie Prevost in tribute to the history behind the Museu Industrial de Bala do Tejo, in Portugal where this concert took place by the legendary free improvisation band AMM, represented here as the duo of percussionist Eddie Prévost and pianist John Tilbury, performing as part of the 2015 Out.Fest - Festival Internacional de Musica Exploratoria do Barreiro.]]>Matchless RecordingsArt into Life26072026-05-26T17:17:26+09:00shopAMM "Spanish Fighters" [CD]
https://www.art-into-life.com/product/6577
Label: Matchless Recordings - MRCD94
2014年発表の前作[Place Sub. V.]がかなりの高評価だった、現在ではEddie Prevost & Joh…Label: Matchless Recordings - MRCD94
2014年発表の前作[Place Sub. V.]がかなりの高評価だった、現在ではEddie Prevost & John Tilburyのデュオ編成で活動しているAMM。自身等のMatchless Recordingsから発表の2015年作品[Spanish Fighters]。2012年スロベニアでのテイクをそのまま収録、繊細なバランスちょっとした"恐さ"が同居する暗がりの中に浮かび上がる極上の音。
Recorded at the festival Neposlusno (Sound Disobedience) in Ljubljana, Slovenia in 2012, the AMM duo of Eddie Prevost on percussion and John Tilbury on piano perform an extend improvisation of tension and dynamic, delicately balancing sound in a rich dialog. Incidentally, the title of the album is the name of the venue (Spanski Borci in which the concert was recorded. Both artists felt a certain respect playing in a place with references to the Spanish Civil War and the fascism that prevailed in Spain, which influenced both of their lives, no doubt influencing their playing on this exceptional evening.]]>Matchless RecordingsArt into Life26072026-05-26T17:16:47+09:00shopEddie Prevost - Organum "Flayed - Crux" [CD]
https://www.art-into-life.com/product/1871
Label: Matchless Recordings - MRCD27
Andrew Chalkも参加。1987年にLPリリースされていたOrganumとAMMのEddie Prevostによ…Label: Matchless Recordings - MRCD27
Andrew Chalkも参加。1987年にLPリリースされていたOrganumとAMMのEddie Prevostによる名作コラボのリイシューCD。トラック1[Flyed]は怒濤のドラミング&シンバルの摩擦音が交錯するダークな音響作。続くトラック2[Crux]は膨張する分厚いゴング&フルートを軸とした即興調のドローン。説明不要の名盤。
“Crux an Organum track. Flayed a drumming sequence played by Eddie Prévost.
“....... anyone used to Prévost’s other ventures might get quite a shock......huge flurries of hyperactive, thunderous drumming. Crux creates similarly resonant, intense soundscapes.”]]>Matchless RecordingsArt into Life26072026-05-26T17:15:41+09:00shopKen Ikeda, Eddie Prevost "The Whole Moon Rests In A Dewdrop On The Grass" [CD]
https://www.art-into-life.com/product/12108
Label: Matchless Recordings - MRCD99
激激高内容!!横尾忠則の展示や、デビッド・リンチにも楽曲を提供、そしてパフォーマーとして、ジョン・ラッセル、デヴィッド・…Label: Matchless Recordings - MRCD99
Rare duo set from Japanese musician and artist Ken Ikeda - who has composed and recorded for David Lynch and Moriko Mori amongst others - and English percussionist Eddie Prevost, the seminal figure of free improvised music since the 1960s. Eddie Prevost plays with immense fire, grace and invention. Founder of the essential AMM, collaborator of the greatest improvisers internationally, since the 60's he has kept a continuous contact with the scene and always manages to invent anew his contribution to "meta-music". Ken Ikeda (b. 1964, Japan) is a composer and performer, born in Tokyo. After studying at Berklee College of Music, he has exhibited sound art and visual installations around the world, and has worked with John Russell, Eddie Prevost, David Toop, Simon Scott, Toshimaru Nakamura, Tetuzi Akiyama and many other improvising musicians; He has collaborated with, amongst others, artist Mariko Mori, Hiroshi Sugimoto, Tadanori Yokoo; and composed and recorded for film maker David Lynch. He released CD albums from Touch, Spekk, Baskaru, White Paddy Mountain and Home Normal. Ken Ikeda currently lives and works in London, UK."-Cafe OTO]]>Matchless RecordingsArt into Life26072026-05-26T17:15:16+09:00shopChristian Wolff, Eddie Prevost "Uncertain Outcomes" [2CD]
https://www.art-into-life.com/product/16135
Label: Matchless Recordings
2大重鎮の即興演奏大作!!40年代以降のニューヨークで活動した"ニューヨーク・スクール"の作曲家/実験音楽家Christian Wolff…Label: Matchless Recordings
Two concerts of experimental improvisation from Eddie Prevost and Christian Wolff, two giants of conceptual improvisation and composition, recorded at Ikletick in London in 2015 and at Dartmouth College, in Hanover, New Hampshire in 2016; with superb pacing and brilliant execution, these dialogs between keyboard and percussive instruments explore unique sound worlds with depth, inquisitiveness, and a sense of wonder.]]>Matchless RecordingsArt into Life38172026-05-26T17:11:58+09:00shopJon Collin "The Other Dead Sea" [LP]
https://www.art-into-life.com/product/15698
Label: Early Music
現在レア音源となっている廃盤作品が、ハンドメイドパッケージにて自主レーベルより再プレス!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/…Label: Early Music
現在レア音源となっている廃盤作品が、ハンドメイドパッケージにて自主レーベルより再プレス!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウェーデン孤高のギタリストJon Collin。オリジナルは2022年にイタリアLaboratorio PalestroよりLPリリース、高値で流通していた氏のソロ音源[The Other Dead Sea]が自身のEarly Musicより再出版。ひたすらに内省的で美しい寂れた情景が続く全5曲。マスタリングはGiuseppe Ielasiが担当、リソグラフ印刷のアートワークを糊付け、手書きのタイトル、帯付きという完全ハンドメイドなカバーが最高。
Gold riso-printed paste-on cover on reverse board white sleeves with handwritten titles, black-and-white insert and obi strip
2022 Jon Collin's LP release on Laboratorio Palestro. Repressed this year on Early Music.
Cover photo by Maximilian Rossner
Mastered for vinyl by Giuseppe Ielasi]]>Early MusicArt into Life39272026-05-26T17:09:51+09:00shopJon Collin "Water & Rock Music Volume 2" [CD-R]
https://www.art-into-life.com/product/15938
Label: Early Music
名作が自主制作エディションにて再発!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケー…Label: Early Music
名作が自主制作エディションにて再発!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウェーデン孤高のギタリストJon Collin。2018年に自主出版、その後Feeding Tube RecordsからもLP化される流れとなった、名演ソロ[Water & Rock Music Volume 2]が7年越しでリイシュー。その名の通り水のサウンドスケープをバックにソロギター(アンプリファイなし)を披露するシリーズであり、背景に溶け込むかの様にしっとりとした内省的プレイで統一。ゆったりとした水辺、また風を感じる空気感が非常に素晴らしい。
]]>Early MusicArt into Life20572026-05-26T17:07:19+09:00shopJon Collin"Water & Rock Music Volume 1" [CD-R]
https://www.art-into-life.com/product/16158
Label: Early Music
名作が自主制作エディションにて再発!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケー…Label: Early Music
名作が自主制作エディションにて再発!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウェーデン孤高のギタリストJon Collin。2017年に自主出版、その後Feeding Tube RecordsからもLP化される流れとなった、名演ソロ[Water & Rock Music Volume 1]が8年越しでリイシュー。その名の通り水のサウンドスケープをバックにソロギター(アンプリファイなし)を披露するシリーズであり、背景に溶け込むかの様にしっとりとした内省的プレイで統一。ゆったりとした水辺、また風を感じる空気感が非常に素晴らしい。
Slide guitar recorded on the shores of Lake Mälaren, Stockholm County, spring 2017.]]>Early MusicArt into Life20572026-05-26T17:06:26+09:00shopJon Collin "Fiddle #2" [CD-R]
https://www.art-into-life.com/product/15939
Label: Early Music
名作が自主制作エディションにて再発!!過去に特殊装丁レーベルWinebox Pressを運営、自然の音/現象を柔らかなギタープレイに融合させたサウンドスケー…Label: Early Music
]]>Early MusicArt into Life20572026-05-26T17:05:46+09:00shopSarah Hughes & Jon Collin "Washington DC, 11 April 2019" [CD-R]
https://www.art-into-life.com/product/15701
Label: Early Music
ストックを発見、美しいハンドメイド装丁!!自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウェーデン孤高のギタリストJ…Label: Early Music
Stamped CDr in board-backed manila brown sleeve with printed paste-on cover]]>Early MusicArt into Life20572026-05-26T17:04:36+09:00shopBill Nace & Jon Collin "Philadelphia, 14 April 2019" [CD-R]
https://www.art-into-life.com/product/15702
Label: Early Music
ストックを発見、美しいハンドメイド装丁!!自然の音/現象を柔らかなギタープレイに融合させたサウンドスケープ的音源の発表を続けるスウェーデン孤高のギタリストJ…Label: Early Music
Stamped CDr in board-backed manila brown sleeve with printed paste-on cover]]>Early MusicArt into Life20572026-05-26T17:03:48+09:00shopDietrichs "Catch the Leaves" [CD]
https://www.art-into-life.com/product/16287
Label: Relative Pitch Records
100部限定にてLP化された名演!!ボルビトマグースDon Dietrichと、実の娘Camille Dietrichによる共演タイト…Label: Relative Pitch Records
For more than 40 years Don Dietrich has been one of the three musicians in Borbetomagus, whose music has been described as an unrelenting, take-no-prisoners wall of sound. Camille Dietrich grew up in the crucible of her father's free playing. As a cellist she shares his passionate intensity and brings a playful freshness which Don feeds off. This is the stunning follow-up to their 2017 Pica Disc release.
Camille Dietrich - cello
Don Dietrich - tenor saxophone]]>Relative Pitch RecordsArt into Life24972026-05-26T12:48:34+09:00shopSissy Spacek "Indefatigable Demoralization" [CD]
https://www.art-into-life.com/product/15273
Label: Helicopter
1999年に結成され、現在は主にJohn WieseとCharlie Mummaのデュオで動くグラインドコア/ノイズバンドSissy Spacek。オリジナル…Label: Helicopter
Violent and disgusting noisecore from Isaac Horne/Charlie Mumma/John Wiese. Originally issued on cassette by Blast Addict. Risograph printed cover with obi.]]>HelicopterArt into Life23872026-05-26T06:59:52+09:00shopBang / Duch / Honoré / Toop / Wastell "Wunderkammer" [White LP]
https://www.art-into-life.com/product/15826
Label: Confront
ホワイトヴァイナル180グラム重量盤、David Toopも参加した豪華クインテットによる激シブ録音!!ノルウェーの著名な詩人であるニルス・クリスチャン・モー・レ…Label: Confront
ホワイトヴァイナル180グラム重量盤、David Toopも参加した豪華クインテットによる激シブ録音!!ノルウェーの著名な詩人であるニルス・クリスチャン・モー・レプスタッドへのオマージュとして制作した、David Toop、Mark Wastell、Erik Honore、Michael Francis Duch、Jan Bangらによる、イギリス&ノルウェーの合同アンサンブルによる録音物。エレクトロ・アコースティック~フリージャズ~ミニマリズムを反映させた思考空間で五人の演奏家がセッションを行なった、暗く緊張感のある長編[Wunderkammer]1テイクのみを収録。紙、段ボール、葉、空気、エアロフォンを使うDavid Toopの物体音を中心とした仄暗い構成が非常に素晴らしい。
180g white vinyl
Jan Bang
live sampling, samples & programming, synthesizer
Michael Francis Duch
double bass
Erik Honoré
live sampling, synthesizer
David Toop
paper, cardboard, leaves, friction, activated objects, air, aerophones, bone conduction, cassettes, vibration, voice
Mark Wastell
tam tam, gongs, sticks, beaters
Recorded live at Punkt, Kristiansand on 31 August 2023
Recording and sound engineering by Sven Persson
Recording engineering by Kjetil Walther
The voice of Nils Christian Moe-Repstad was recorded by Jan Bang in 2014
Mixed by Erik Honoré, The Green Room, Oslo.
Mastered by Rupert Clurvaux
Composed by Bang/Duch/Honoré/Toop/Wastell
Texts by Nils Christian Moe-Repstad, translated by Deborah Dawkin
Cover image by Nina Birkeland
Design by Matthew Brandi
Thanks to Agnes Repstad and Øyvind Berg
In memory of Nils Christian Moe-Repstad (1972-2022)
Produced by Mark Wastell
"Proper, zoned-out and dreadfully quiet free-jazz drone psychonavigations revolving around sound objets played by David Toop amid a bush of spectres including Erik Honoré and Jan Bang ov Punkt, helmed by Confront maven Mark Wastell on gongs and sticks. Recorded in Kristiansand, Norway, 2023, ‘Wunderkammer’ is haunted by the 2014 voice recordings of Nils Christian Moe-Repstad (1972-2022), who previously collaborated with Norwegian jazz supremos Honoré & Bang (2/3rds of Punkt, with Arve Henriksen) on David Sylvian’s Samadhisound. Offered in tribute to Moe-Repstad, the singular 38’ tract is defined by a darkly poetic, sublime tension as the quintet players meet in a furrowed, ruminative headspace of electro-acoustic free jazz minimalism. An introductory passage of theatric mise-en-scene lights the way for quietly spectral gestures to flicker from the recording’s evocation of vast negative space, notably resting the plays of Toop’s gently activated objects, Bang’s slanted synth sphere, and Wastell’s metallic shimmers on a bed of exquisitely slow moving bass supplied by Michael Francis Duch. Impressions of Korean classical court music and ethnographic inference guide an elegantly unfolding logic as they proceed thru thickets of metallic strikes to poised chamber music poetry and ultimately lighten up in the latter third, before receding into drone atavism. (Boomkat)
Wunderkammer is an evocative live recording by an Anglo-Norwegian ensemble that pays homage to the late Nordic poet Nils Christian Moe-Repstad. The quintet-featuring Jan Bang, Erik Honoré, Michael Francis Duch, David Toop, and Mark Wastell-unites in a hauntingly poetic and contemplative exploration of electroacoustic free jazz minimalism. Recorded at Punkt Festival in Kristiansand, the piece integrates Moe-Repstad's voice, recorded in 2014, into a soundscape of subtle textures and resonances. Through layers of live sampling, double bass, tam-tam strikes, activated objects, and synthesizers, the ensemble creates a meditative and deeply atmospheric journey. Composed collaboratively, the work traverses vast sonic terrains, blending spectral gestures, metallic shimmers, and profound silence, while maintaining a sense of reverence for Moe-Repstad's memory. (Squidco) ]]>ConfrontArt into Life40372026-05-26T01:54:01+09:00shopMichel Banabila "Singles (2020 - 2022)" [CD]
https://www.art-into-life.com/product/13610
Label: Tapu Records
83年頃からアクティブに活動、Jon Hassellの"Fourth World music"に強い影響を受け、ジャズ、カットアップエレクトロニクス、ワー…Label: Tapu Records
83年頃からアクティブに活動、Jon Hassellの"Fourth World music"に強い影響を受け、ジャズ、カットアップエレクトロニクス、ワールドミュージック、ポップス等を融合させカテゴライズ不可能なスタイルを築き上げたオランダの奇才サウンドアーティスト/作曲家Michel Banabila。2020年から2022年に掛けて発表してきた、個人録音及びコラボレーション録音より厳選した自身監修のコンピレーション音源が登場。しっとりとしたアンビエントから、前衛要素の強いジャズ、コンテンポラリー、ミニマルと、この人物の特徴が様々な角度から発見出来る充実の編集。
The last few years I did a lot of single tracks, often in collaborations, not related to any albums, and I thought it would be nice to collect some of them for a CD release.
A stunning display of Banabila’s versatility, both as a solo artist and in collaboration with others. Apart from the opening and closing tracks, the other nine tracks are collaborations with a variety of artists: Alex Haas & Bill Laswell, Cengiz Arslanpay, Jeff Greinke, Ümlaut (Jeff Dungfelder), Robert Jarvis, Maarten Vos and Gareth Davis.
This list of artists itself guarantees a diverse musical offer. Singles (2020-2022) presents a versatility of styles, yet it is a coherent collection because of Banabila’s skillful direction. Whatever direction the music takes, listeners that are familiar with his work will immediately recognize it as ‘Banabila’. It’s not easy to describe what this exactly is – I guess that’s what we can call the hand of the master.
I guess it’s safe to say that Singles (2020-2022) is a mandatory addition for everyone interested in Banabila’s music. And it’s also a great introduction to his music for those that are not yet familiar with his work. But be warned: once opened up, there’s a giant collection of earlier work waiting to be explored! (Peter van Cooten)
]]>Tapu RecordsArt into Life24972026-05-25T20:08:14+09:00shopChristian Marclay "Conduite Forcee" [Single sided, etched LP]
https://www.art-into-life.com/product/15895
Label: Biennale Son
最終ストックを入荷、この機会をお見逃しなく!!1度限りのプレスにてデジタル版は無し、限定300部!!ストラップをつけたレコード・プレイヤーをエレクトリック…Label: Biennale Son
In 1934, Swiss engineers completed the Chandoline Hydroelectric Plant, channeling Alpine water through 16 kilometers of concrete pipe. By 2023, the turbines had stopped. The plant was empty, silent - a cathedral to obsolete energy with perfect acoustics and nothing left to say. Christian Marclay saw an instrument. For the inaugural Biennale Son in 2023, the artist who made his name destroying vinyl in 1980s New York turned the entire hydroelectric system into a playable object. The concept: open a manhole 4.5 kilometers uphill, drop something in, wait for sound to travel through the mountain. Steel bearings didn't work—too heavy, wrong frequency. So Marclay used golf and tennis balls donated by local clubs. The Valais School of Art rigged the turbine hall with microphones. Then the balls dropped.
Seconds of silence. Then: tumbling, bouncing, accelerating through kilometers of concrete. Not one ball but many, building into something between avalanche and applause as they hit the hall below. Marclay directed remotely, releasing volleys like a percussionist striking a drum the size of a small town. The pipe amplified everything - pure mountain reverb, no processing, just 1934 engineering singing its swan song. The recording, mixed with Alain Renaud, is the Biennale Son's first vinyl release. Side A: fifteen minutes of cascading spheres, industrial archaeology as living sound. Side B: an engraved portrait of Marclay. Unplayable. The performance happened once. The pipe spoke. That's enough.
This is quintessential Marclay - the artist who built the Phonoguitar (1983), scattered records to be crushed underfoot (Footsteps, 1989), won Venice's Golden Lion with The Clock (2011), collaborated with Sonic Youth and John Zorn, and has spent his career proving that everything is already an instrument. Mountains. Vinyl. Film. Time itself. You just need to know where to listen - or where to drop the ball. Always the same question: what music do objects make when you know how to listen? Here, the answer is gravity plus concrete plus expired sporting goods equals something you've never heard before. Conduite forcée means "penstock" but translates as "forced conduct" - water compelled through pipe, sound through space, music from infrastructure. Limited edition. One pressing. No digital. Just the grooves and the ghost of Switzerland's hydroelectric past, pressed into vinyl like water in a sealed pipe. Mountains as instruments. Golf balls as notes. A decommissioned power plant's final performance, conducted by one of contemporary art's most inventive listeners.]]>Biennale SonArt into Life51372026-05-25T16:18:25+09:00shopWilliam Selman "Sanctioned Departures" [CD]
https://www.art-into-life.com/product/16295
Label: Critique of Everyday Life
限定150セット、当店大推薦の電子音楽レーベル!!現行の優れたミュージック・コンクレート作家を手掛ける、バルセロナ発Critiq…Label: Critique of Everyday Life
限定150セット、当店大推薦の電子音楽レーベル!!現行の優れたミュージック・コンクレート作家を手掛ける、バルセロナ発Critique of Everyday Life!!レーベルの立ち上げ人であり、主に自然と人工に関する音作品の制作を行なっている電子音楽家William Selman。環境人類学をコンセプトに数種の音源を発表していますが、今回は数年掛けて完成させたというコラージュの手法を軸とした作品をリリース。"自身の故郷である太平洋岸北西部"、"コスタリカの中央部と西部"、2箇所の熱帯雨林フィールドレコーディングを緻密に組み合わせた構造が美しく、またその素材と対話する様に鳴らされるSerge及びBuchla 200の加工処理が激ヤバ。マスタリングはStephan Mathieuが担当。
The third release from William Selman on his Critique of Everyday Life label (co-curated with Chris Miller aka Gunnar Haslam, Emile Zener) departs from his previous approaches to making sound by collaging sounds thematically. Using a thematic tagging system to categorize the raw material on this album, Selman lets the sounds’ qualitative/imaginative characteristics guide the direction of each track by finding their associative partners. This associative method explores Selman’s fascination with sound’s mysterious ambiguity and the beauty of vague and surreal combinations.
Made over several years, the grounding materials are field recordings made in two types of rainforest: one temperate (his home region of the Pacific Northwest) and one tropical (the central and western regions of Costa Rica). These recordings capture sound material from tidal lagoons, saunas, volcanic springs, forest primates, insect swarms, street sweepers, shellfish farms, fermenting food, and caves. In dialogue with these recordings are tonal elements generated from Serge and Buchla 200 series systems, vibraphone, recordings of electromagnetic fields, and additional sounds and processing in Kyma and other digital tools.
On “Through Frozen Words,” melting ice meets boiling water and steam from a sauna evolving into interlocking rhythms. “Sanctioned Departures” sets up the sounds of rushing liquids against synthesized gong tones and sustained drones of their ringing tails. While on “Outside the Window,” a group of howler monkeys nesting near powerline towers vocalize against recordings of electromagnetic fields and Buchla frequency modulation.
“To sanction” can mean “allow” or its antonym “disallow.” It's a janus word—meaning it can mean its primary meaning or its opposite depending on the context. With the categorization system guiding some control of the compositional process combinations and transitions emerge that are both intuitive and non-intuitive. In other words, qualitatively-defined categories depart into uncategorizable combinations.
The shoreline isn’t clearly demarcated. Water overflows its banks and vessels. Sometimes the boundary of the forest and its opposite are impossible to define. ]]>Critique of Everyday LifeArt into Life24972026-05-25T15:31:25+09:00shop
Label: Art into Life / KIYOSATO MUSEUM OF CONTEMPORARY ART - AIL039 / SOUND ARCHIVE II CD
![Christina Kubisch & Eckehard Guther “Mosaique Mosaic” [CD]](https://www.art-into-life.com/data/a-i-l/product/20131126_5d6260.jpg)
![Vague - Scillia Lorage & Kiko C. Esseiva [CD-R]](https://www.art-into-life.com/data/a-i-l/product/20120611_8c9c88.jpg)
