Suppedaneum is a label presenting limited-edition sound works revolving around issues of composition, notation, and interpretation. Each release comprises a score and an audio recording. The explicit goal of the label is to produce objects, documents, and recordings that test the boundaries of what constitutes compositional structure, examine definitions of musical representation, and consider the relationship between sound and the material and linguistic forms in which it is encoded.

 

 

Suppedaneum

 

 

 

 

CAROL GENETTI/

GWYNETH ZELENY ANDERSON

 «CHYME»

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$15 + shipping/handling: PREORDER

 

 

Chyme is an audiovisual collaboration between vocal improviser and composer Carol Genetti and visual artist Gwyneth Zeleny Anderson. Published in a limited edition, Chyme consists of a CD containing four tracks composed and performed by Genetti, paired with four screen-printed “listening scores.”

Chyme is concerned with the visceral experience of losing a sense of separation between oneself and everything else. It takes its name from the semifluid “cocktail” of gastric juices and partially digested food in the stomach. Chyme carries out the seemingly alchemical process of synthesizing nourishment: it's a mediator of external and internal, dissolving what we consume and absorbing it into our blood and organs. Similarly, Chyme aims to digest the boundaries between performer and audience, human and environment, power and passivity, and sound and body.

Genetti's pieces act as an evisceration of sound from the body, blurring the edge between her individuality and the environment around her. Yet instead of disembodying the voice completely, she reembodies it, as the sound waves are poured into other bodies –– tubes and piano housing — to mix and create a different type of extended voice. These sounds are then processed through electronic postproduction studio techniques, resulting in immersive shifting layers of sound textures that nonetheless retain the ineradicable grain of her voice.

Rather than a composition for generating sounds, Anderson's listening scores provide a visual framework for perceiving Genetti's compositions: screen printed marks and text prompt the listener to engage with the audio in different sensory and conceptual ways. Layers of color shift and lose alignment along a trajectory marked in time code as the intricately folded scores emulate the folds of the small intestines.

This release, presented together in an organ-like vinyl pouch, includes a glass-mastered CD containing four pieces by Genetti, one copy of each of the four listening scores by Anderson, and an additional informational sheet providing credits and track listing.

This is Suppedaneum no. 16.

 
1. Prompt [4:20]
2. Transference [11:20]
3. Transference Coda [5:40]
4. Tubes - Voice [15:30]

 

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Carol Genetti is a Chicago-based vocalist and composer whose work extends to sound and visual art media. Her palette is primordial, existing in a hypothetical space where “language” and “music” have yet to be formed and formulated into familiar cultural patterns. Genetti’s aesthetic is one of raw power, yet also delicate, subtle, and precise. An exquisite soloist, she is often also heard in the company of other improvising musicians. She has been performing in North America and Europe, mostly as a vocal improviser, mostly in collaborations with other musicians and dancers, including Jack Wright, Eric Leonardson, Peter Maunu, Olivia Block, Andrew Clinkman, Albert Wildeman, Jeff Kimmel, Birgit Ulher, Aaron Zarzutzki, Asimina Chremos, James Falzone, Jim Dorling, and Jim Baker.

carolgenetti.info

 

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Gwyneth Zeleny Anderson is a depressive animist composed mostly of water. Her practice is rooted in the ubiquity of sensation, shaped by the handmade animation process, and fueled by awe for how, at any scale, individuality is made of plurality. She has presented projects in galleries, festivals, forests, and empty lots throughout the Northern Hemisphere, including with Roman Susan, Roots & Culture, the Hyde Park Art Center, 6018 NORTH, and the Experimental Sound Studio in Chicago; MoMA PS1 Print Shop in New York; FRISE in Hamburg; and @ptt in Geneva.

gwynethvzanderson.com

 

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JOSEPH CLAYTON MILLS

«THE WIDOW»

 

 

 

$12 + shipping/handling: PREORDER

 

 

 

Structured around revisitation and remembrance, The Widow is distilled from multiple recordings made in and around the Lincoln Tomb, located in Oak Ridge Cemetery in Springfield, Illinois. The tomb serves as the final resting place of Abraham Lincoln, Mary Todd Lincoln, and three of their four sons.

 

Crowned with an enormous obelisk and elaborate statuary groups honoring the four branches of the Union military, the tomb can be entered through a heavy steel door to the south. Visitors enter into a rotunda, from which hallways—finished in highly polished and resonant marble, trimmed with bronze—lead off to the burial chamber. President Lincoln's remains are interred in a concrete vault ten feet below the marble floor of the burial chamber and marked with a massive granite cenotaph. Crypts in the south wall of the burial chamber hold the remains of Mary, Edward, Willie, and Tad Lincoln.

 

Recordings were made during multiple visits to the tomb and the surrounding cemetery over the course of several years. These recordings were played back and rerecorded in situ during later visits and subsequently woven together with additional recordings made elsewhere, including in Batavia, Illinois, where Mary Todd Lincoln was briefly confined to an asylum in the years following her husband's assassination. In accordance with the score, each of the four tracks explores a different season of the year, documenting the passage of time and the changing environment both within the tomb and in the encompassing landscape—visited by families of tourists in the summer, empty and near silent in the winter. As a whole, the work attempts to evoke the overlapping resonances—private, public, and political—that gather around the site.

 

Each copy of The Widow includes a glass-mastered compact disc, a copy of the text score, and a card containing additional information on the recording.

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1.         Summer [6:49]

2.         Autumn [9:30]

3.         Winter [10:55]

4.         Spring [14:49]

 

 

Bell, birdcall, cassette tape, cellular telephone, coins, contact microphone, doors, field recordings, footfalls, gravel, hearing aid, portable cassette player, piano, tuning fork, violin, voice, walking stick, whistle

 

Performed and recorded in and around the Lincoln Tomb, Oak Ridge Cemetery, Springfield, Illinois 2015-2017; Batavia, Illinois, 2015; and Shiloh, Tennessee, 2016.

 

“Old Rosin the Beau” recorded by Michael Burns, San Francisco, California, August 2015

 

This is Suppedaneum no. 17

 

 

 

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Joseph Clayton Mills Is an artist, composer, and performer working at the intersection of language, composition, and archival practice. A former Chicagoan, he remains an active participant in the improvised and experimental music community there, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Partial), Jason Stein, Michael Pisaro, and Olivia Block, among many others. His recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in collaboration with Noé Cuéllar, he launched the label Suppedaneum to focus on releasing scores and their realizations. He has received commissions and grants from the Chicago Film Archive, Black Cinema House (Rebuild Foundation), the Illinois Arts Council, the Experimental Sound Studio, and, in 2016, was artist in residence at the Sonic Arts Research Unit at Oxford Brookes University, UK.

 

 

 

 

 

 
 

 

 
  
 
 

 

 

 

 

 

 
 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

SETH

COOKE

 «TRIANGULAR

TRADE»

 

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__________________________________________________________________

$10 plus shipping and handling: OUT OF PRINT

 

«TRIANGULAR TRADE» takes its name from the system of trading between three ports or regions, the most notorious example of which was the transatlantic slave trade. Commissioned by the Arnolfini to thematically accompany John Akomfrah’s 2015 film, ‘Vertigo Sea’ – a film that explores oceanic migration, slavery and exploitation – Cooke conceived the composition to address the significance of situating the film’s UK premiere in Bristol, a city that has yet to reconcile its current consciousness with its participation in the slave-based Atlantic economy. Since that initial installation, Cooke has continued to rework, refine, and add to the material. The piece triangulates themes of slavery, migration, and climate change—from West Africa, the Americas, and England; to Liverpool, London, and Bristol; to local ambivalence toward Edward Colston, Bristol's historic benefactor, whose wealth was built, in large part, upon the transatlantic slave trade.

Each copy of «TRIANGULAR TRADE» includes an archival CDr containing a single 45-minute sound recording; eight text-based collages created by Cooke that provide context, raise further questions, and connect the broader thematic implications of the work; and a sheet providing information on the source material, instrumentation, and recording process.

 

 

 

Diasporic lives are characterised by an absence of ruins. There are no monuments that even as ruins attest to your existence, of your passing through a space. This then means that the intangibles, be they sound or words, become necessary building blocks. Lives that are not legitimised in the official monument can then be given a certain kind of legitimacy.”

John Akomfrah, Sound and Music interview

 


“How do people migrate from being human begins to cockroaches? What do you have to forget? Amnesia is a constant sea.”

John Akomfrah, TateShots interview

 

1.   TRIANGULAR TRADE [45:55]

This is Suppedaneum no. 15.

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Seth Cooke is a sound recordist, drummer and process performer based in Bristol, UK. His location-based work explores aberrant mapping and perturbed environments. His solo performances involve feedback and resonance. As a percussionist, he plays traps and waste disposal sink. He sometimes enjoys the flexibility of improvisation, open composition, and field recording. He used to play drums for Hunting Lodge and Defibrillators. Current projects include a duo with Dominic Lash and the Every Contact Leaves a Trace CDr label. He co-founded the Bang the Bore collective with Clive Henry in 2009.

 

External links: Seth Cooke (official site)/ R-U-Ready (supplemental mix tape)

 

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AKAMA/MILLS/

MONTGOMERY

 «INSCRIPTIONS»

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$10 + shipping/handling: OUT OF PRINT

 

 

Proposal (/prəˈpōzəl/) noun 1. A plan or suggestion, especially a formal or written one, put forward for consideration or discussion by others. 2 An offer of marriage.

Presenting realizations by Will Montgomery and Joseph Clayton Mills of two compositions by Ryoko Akama, inscriptions is the second in a series of releases documenting Akama’s “proposal” scores. The use of this word, “proposal,” is deliberate and crucial. It makes clear that Akama’s compositions are suggestions, put forward for consideration and exploration, rather than directives to be obeyed. As with acceptance, released by Suppedaneum in 2016, each proposal in the series draws on a similar compositional vocabulary—arrows, shaded boxes, and fragments of text—but each is also subtly different, written to reflect the particular character of the musician to whom it is dedicated. The scores themselves are open and allusive, occupying an ambiguous middle ground between drawing, poetry, and instructions, and the question of how these elements are to be assembled and understood is left unresolved. Or, rather, it is left to the imagination and understanding of each performer. Each score thus originates as a kind of portrait but, in the act of realization, becomes just as much a self-portrait. What each performer brings to Akama’s proposals—how they chose to recognize themselves in what she has given them, and how they accept, resist, or reinscribe her compositions—becomes as crucial as what she offers them.

This release, presented together in a wooden veneer envelope, includes an archival CD-R containing realizations of each piece, one copy of each of the two proposals, a brief text from each performer describing their approach to Akama’s score, and an additional informational sheet providing credits and track listing.

This is Suppedaneum no. 14.

 
1. a proposal - six, for Will Montgomery [27:00]
2. a proposal - seven, for Joseph Clayton Mills [27:00]

 

 

All compositions by Ryoko Akama

 

Mastered by A.F. Jones at Laminal Audio, San Diego, California.

 

 

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Ryoko Akama is a composer and performer whose work, ranging from text compositions to sound installations, pursues minimal, reductive, cumulative, and contemplative experiences in sonic art practice. She directs the melange edition label and is coeditor of the independent publisher mumei. http://www.ryokoakama.com.

 

Joseph Clayton Mills Is a musician, artist, and writer who lives and works in Chicago, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Partial), Sylvain Chaveau, Jason Stein, Michael Pisaro, and Olivia Block, among many others. His recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in collaboration with Noé Cuéllar, he launched the label Suppedaneum to focus on releasing scores and their realizations.

 

Will Montgomery is a UK-based musician and writer whose audio releases include Crystal at the Lips (Organized Music from Thessaloniki, 2015), Thames Water (Every Contact Leaves a Trace, 2014), Heygate (Winds Measure Recordings, 2013), ‘2009/5’ (Cathnor, 2010), Legend (with Brian Marley, Entr’acte, 2009) and Non-collaboration (with Heribert Friedl, NVO, 2008).

 

 

 
1. Performed by Will Montgomery
         (piano, electronics)

 

2. Performed by Joseph Clayton Mills

         (field recordings, bbs, cups, bowl, microfiche reader)

 

 

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“Originally influenced by Sol LeWitt, I began to study the idea of sequences in shape, color, and direction. Each piece includes additional comments to support my proposal for the performer to refuse or to accept.”

 

Ryoko Akama

 

 

 

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Suppedaneum

 

 

D’INCISE

 «UKIGUSA (the sky is as blue as a tragedy)»

 

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__________________________________________________________________

$10 plus shipping and handling: OUT OF PRINT

 

 

«UKIGUSA (the sky is as blue as a tragedy is a composition for prepared vibraphone and two players. Composed in ten distinct parts—eight of which are realized by d’incise and Cyril Bondi on the accompanying CD-R—the piece incorporates sheets of aluminum, cardboard cups, Styrofoam, acacia beans, and other disparate objects and extended techniques in combination with the vibraphone to explore pitch, timbre, and the delicate interplay of materials. The result is by turns austere and lush, abstract and organic; it is also unfailingly beautiful. «UKIGUSA» is released in a limited edition of 100 archival CD-Rs, each of which is accompanied by the complete score; two sheets of origami paper, one of which carries the track listing and additional credits; and a hand-folded origami swan that bears the Suppedaneum logo.

 

 

 Ukigusa (the sky is as blue as a tragedy) is a piece on a shore, where one would hesitate between ground and water. If it can be seen as an instrumental piece, its roots are in a practice of collecting objects, finding pitches in them, manipulating them, looking for the materiality of the vibration and its capacity to propagate or interact with other objects. The instrument is turned again into a primitive artifact, resonating plates of metal activated by two people, four hands, or four bows.

In Ukigusa, one will find tonalities and harmonies that should be listened to for what they are, but which are also merely the context or the door for much more to happen on an intimate scale, small sonic architectures, a poetics of the decay, parasites, slowness, the lost sometime of control over things, and the distanciation between the gesture and its consequences. Beauty is not something to be ashamed of in this piece, nor is its melancholic mood.”

d’incise

 

1.   I wonder if the boat will be late again (no. 2) [15:11]
2. Don’t leave anything behind (no.3) [10:01]
3. Just… hold… your… horses (no. 4) [6:50]

4. She sent me a postcard (no. 6) [8:24]

5. I’m not so sure now (no. 7) [12:36]

6. But I want you to remember me from time to time (no. 8) [9:22]

7. You’re all so quiet tonight (no. 9) [8:15]

8. He always left like that, with a heavy heart (no. 10) [7:03]

 

Performed by Cyril Bondi and d’incise.

Recorded in September 2016, Insub. Studio, Geneva, Switzerland.

With the support of the Foundations Nicati De-Luz and Henneberger-Mercier.

This is Suppedaneum no. 13.

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d’incise (Geneva, 1983) is associated with no particular instrument, instead using whatever can be considered as such: software, recordings, objects, percussion, harmonium, and so on. He is interested in radicalism, reductionism, repetition, and conceptual approaches, assembling a specific set-up for each new occasion, whether in an improvised or composed context. He tends to focus on the smallest details of the elements with which he works and appreciates slowness and the obsessive exploration of simple processes. For many years, with Cyril Bondi, he has been responsible for the INSUB. label, orchetra, the Diatribes duo, and many other projects. In addition to his work with sound, he is a graphic designer. In recent years, he has composed pieces for various situations, including a sextet for the Vortex Ensemble, a solo for a modified guitar for Cristian Alvear, a double bass solo for Félicie Bazelaire, and a piece for any number of prepared snare drums and loudspeakers (ILHAS, released on Suppedaneum in 2014). These pieces combine attention to tuning, electroacoustic listening, and references to baroque or traditional music.

 

External links: d’incise (official site)

 

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COPPICE

 «BLUEBERRY»

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Blueberry is an object induced by manipulated magnetic fields.

Opportunities to receive Blueberry were extremely limited; none remain available at this time.

For more information, please contact suppedaneum@gmail.com.

This is Suppedaneum no. 12.

 

 

Coppice is Noé Cuéllar and Joseph Kramer. www.futurevessel.com/coppice

 

 

 

 

 

 

MORGAN EVANS-WEILER «ENDLESS OVERTONES IN RELATIONAL SPACE»

 
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“‘Endless Overtones in Relational Space’ is a modular score intended to create further scores and investigations into a simple idea. Any individual desiring to realize the piece may create their own personal score that explores any number of dissonant connections between fundamental pitches and their overtones.

For this disc, I created three different realizations: two with solo instruments and sine tones, and one with an ensemble of instruments. The versions for solo instruments and sine tones are minimal to the point that the listener can clearly hear the relations being explored. During the ensemble performances, the connections are often obscured and made increasingly complex through the addition of instrumental overtone spectrums.

The concept of this piece can be infinitely extrapolated and used in any means that the performer(s) desire.  It can be combined with other ideas and developed into further pieces. My recent research has led to the creation of pieces that utilize this technique in juxtaposition with other compositional approaches and techniques.”

—Morgan Evans-Weiler

 

 

This release comprises an archival CD-R with realizations of «Endless Overtones in Relational Space» for violin, ensemble, and piano; copies of the notated score for each of the three versions; an accompanying text to guide performance; two drawings by Evans-Weiler, giving a visual representation of the overtone patterns generated by the piece for ensemble; and an additional informational sheet providing credits and track listing.

1. Violin [19:12]
2. Ensemble (1) [7:14]
3. Ensemble (2) [6:53]
4. Ensemble (3) [7:26]
5. Ensemble (4) [7:11]
6. Piano [19:45]
 
$10 + shipping/handling: OUT OF PRINT

 

 

 

 

 

 

Violin performed by Morgan Evans-Weiler (violin, sine tones). Recorded @ Studio 1.

Ensemble (1–4) performed by Eve Boltax (viola), Chuck Furlong (bass clarinet), Valerie Thompson (cello), and Morgan Evans-Weiler (violin, sine tones, e-bow guitar). Recorded @ Studio 1.

Piano performed by Emilio Gonzalez (piano) and Morgan Evans-Weiler (sine tones). Recorded @ Clarendon Hill Church, Somerville, Massachusetts.

Recorded, mixed, and mastered by Morgan Evans-Weiler 2016.

 

 

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Morgan Evans-Weiler is a Boston-based artist and performer whose work explores the physical properties of sound, the act of listening, and the experience of place. He creates drawings and scores that contemplate processes of repetition, time, space, and architecture. He directs the ensemble Ordinary Affects and produces the Standing Waves concert series.
 
 

 

 

 

 

 

 

 

 

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LANCE AUSTIN OLSEN

 «BATTLE MAPS, BATTLE HYMNS: THE VAST FIELD OF LIBERATION»

 
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Each copy of «Battle Maps, Battle Hymns: The Vast Field of Liberation» includes two archival CD-Rs, a unique combination of two of the images from the score printed on 5 × 7 cards, a copy of the instructions that were given to the musicians to guide their performance, a vintage photograph, the text of “Letter to Mother,” and an additional informational sheet providing credits and track listing.

Disc 1. Part I (white) [59:16]
Disc 2. Part II (silver) [1:01:54]

_DSF0213     _DSF0224
 
$12 + shipping/handling: OUT OF PRINT

 

 

 

“I had been working on a set of small, 7” × 3” images in my pocket sketch book using ink and tea, with the tea bags acting as the brush to apply the tea washes. I had some notion of using these images as a graphic score, but the project had not fully gelled in my mind as yet when I showed the images to an artist friend, Jeff Molloy. He said, ‘They look like battle maps to me.’ This statement almost instantaneously solidified the whole concept in my mind.

I sent two images—different for each person—together with a brief text describing my intentions for the project to each of the musicians who appear on the album. The instructions guiding how the images should be interpreted were very open, but some constraints were given—for example, I requested that each performance, echoing the 7-inch length of the images, be 7 minutes long.

I have spent many years in and around zen meditation, and I asked Paulette Wilkins, one of my Sangha sisters, if she would chant the Zen Robe Chant for me to use to perfume the recordings and tie them together.

At the same time I was going to visit an old friend, Graham Walmsley, and I emailed him this note: “You are a grunt in the trenches, you are going over the top and will be dead tomorrow, write a letter to your mother and I will record when I see you” The result was fantastic.

None of the participants heard (except for me) what any other artist had done. I recorded my own sections and edited and arranged the other recordings, making almost no other revisions to the submitted work.

Jeff Molloy passed away a few months ago—a wonderful artist, sorely missed.”

 

—Lance Austin Olsen

 

 

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Photograph by Jamie Drouin

 

Performed by Joda Clément, Bruno Duplant, Lee Noyes, Lance Austin Olsen, Mathieu Ruhlmann, and Gil Sanson. “Letter to mother” written and read by Graham Walmsley. Zen Robe Chant performed by Paulette Wilkins. Score and mixing by Lance Austin Olsen. Mastered by A.F. Jones at Laminal Audio, San Diego, California.

 

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Joda Clément has been performing and composing experimental music for over 15 years. His work utilizes analog and acoustic instruments, field recordings, and feedback to carefully construct listening environments that transcend a distinction between sound, site, and source. His music has been released internationally on labels such as Alluvial Recordings (US), Mystery Sea (BE), Unfathomless (BE), Simple Geometry (CA), caduc (CA), and Notice Recordings (US).

 

Bruno Duplant is a composer, sound manipulator, and multi-instrumentalist based in the north of France whose primary instruments include the doublebass, percussion, organ, electronics, and field recordings. A frequent collaborator with a wide range of musicians from around the globe, his recordings have been published by labels including Another Timbre, Notice Recordings, B-Boim, Diafani, Engraved Glass, Ilse, Impulsive Habitat, Con-V, Unfathomless, and Mystery Sea, among many others. Together with his friend Pedro Chambel, he founded and continues to run the label Rhizome.s..

Lee Noyes is an improvising musician, instrumentalist, and composer who works in multifaceted ways within experimental music, noise, free improvisation. Works primarily with feedback systems, piano and percussion. A long-time resident of Dunedin, New Zealand now based in Gothenburg, Sweden, he has performed across Australasia and in Europe and had music published on various labels in Europe, Scandinavia, North America and Australia. Latest release, Threhhlasb Andng Nmer, with Miguel A. Garcia and David Gómez is available now on Tanzprocesz.

Lance Austin Olsen is a visual artist, improviser, and composer based in British Columbia.  His working method is uniform across both his visual art and his sound work: a surface is endlessly reworked, with each subsequent piece forming a record or narrative of ongoing discovery. “Only the present moment is lit.”

Mathieu Ruhlmann is a sound artist residing in Vancouver, British Columbia.  Ruhlmann’s work seeks to broadcast small intimate sonic happenings and phenomena through the use of field recording, natural material, and found objects and in doing so develop and arrive at a dialogue with the inaudible and tactile space of the environment.

Gil Sanson is a multimedia artist and composer currently based in caracas. His audio work emphasizes the nature of sound and its capability to transcend stylistic boundaries. He has worked with improvisers such as Ben Owen, Dave Gross, and the EA Collective. His work as a composer includes verbal scores as well as random processes and fixed forms using compositional techniques applied to concrete sound. His preoccupation with paradox and a nonlinear relationship with the technological continuum are his main interests regarding the medium of sound,

 

 

 

 

 

 

 

 

 
 

 

 

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L’ENSEMBLE INSTABLE

 «D’UN VERRE D’EAU»

 
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Drawing on three excerpts from the work Francis Ponge, Bruno Duplant’s score for d’un verre d’eau balances a profound openness—musicians are not instructed what to play and are given only the barest suggestion of how to play—with restraint, symmetry, and delicate control (“careful & mutual listening will be requested”). The texts that Duplant invites the musicians to read and reflect upon before performing establish a mood and a set of shared concerns, and the division of the piece into six discrete sections of approximately equal length gives the work a fragile form and clarity. To realize his score, Duplant assembled an extraordinary group of musicians—l’ensemble instable—who are each equally well versed in improvisation and the rigors of classical performance. In their hands, the score becomes a vessel—“clair, transparent, limpide”—for the musician’s to fill.

 
$10 + shipping/handling: OUT OF PRINT

 

 

 

This release includes an archival CD-R containing a single realization of d’un verre d’eau mounted on Plexiglas; a copy of Duplant’s score and of those excerpts from the writings of Francis Ponge on which it is based; a brief essay by composer and musicologist Jennie Gottschalk discussing the piece; a mirror; and an additional informational sheet providing credits and track listing.

 


Eva-Maria Houben: harpsichord

Irene Kurka: soprano

Bileam Kümper: violin

Koen Nutters: doublebass

Rishin Singh: trombone

Bruno Duplant: organ and electronics

 

Score by Bruno Duplant

Prepared and recorded during 2016 in Germany

Edited, mixed, and mastered by Bruno Duplant

 

1.   d’un verre d’eau [45:00]

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Bruno Duplant is a composer, sound manipulator, and multi-instrumentalist based in the north of France whose primary instruments include the doublebass, percussion, organ, electronics, and field recordings. A frequent collaborator with a wide range of musicians from around the globe, his recordings have been published by labels including Another Timbre, Notice Recordings, B-Boim, Diafani, Engraved Glass, Ilse, Impulsive Habitat, Con-V, Unfathomless, and Mystery Sea, among many others. Together with his friend Pedro Chambel, he founded and continues to run the label Rhizome.s.

 

Jennie Gottschalk is a composer and independent scholar based in Boston. Since receiving a doctorate in composition from Northwestern University in 2008, she has traveled extensively to gather first-hand information about experimental music practices. She is the author of Experimental Music Since 1970, published by Bloomsbury in 2016.

 

Eva-Maria Houben studied Music Education at Folkwang-Musikhochschule Essen and the organ with Gisbert Schneider. She received her doctorate and postdoctoral lecturing qualification in musicology and was called for lectures at Gerhard-Mercator- Universität Duisburg and Robert-Schumann-Hochschule Düsseldorf (Germany). Since 1993 Professor Houben has been lecturing at Dortmund University`s “Institut für Musik und Musikwissenschaft,” with both music theory and contemporary music as her focus. As she is related to the “wandelweiser-group” of composers, her compositions are published by “edition wandelweiser”, Haan.

 

Bileam Kümper studied music education at TU Dortmund University, where he is now working in the music department's technical staff. He frequently performs on a wide variety of different instruments, among them violin, viola, tuba, and electronics, where he likes to explore new sounds, sometimes leading to new compositions or installations.

 

Irene Kurka studied voice at the Musikhochschule in Munich with Reri Grist, at the Meadows School of the Arts (SMU, Dallas) with Barbara Hill-Moore and at the University of British Columbia (Vancouver, Canada) with Nancy Hermiston. A versatile soprano, she has received numerous awards and scholarships, and has given recitals and participated in operas and oratorios around Europe and the United States. Among the leading contemporary composers who have creasted works specifically for her to record or perform are Eggert, Corbett, Weeks, Muntendorf, Frey, Kampe, Seither, Brass, Beuger and Pisaro. She has premiered over 130 works. Since 2009, she has focused almost exclusively on the repertoire for unaccompanied voice. She works with the instrumental groups e-mex, notabu, musikFabrik, Klangkonzepte, Schlagquartett Köln, chronophonie, Kölner Vokalsolisten, La Tenerezza, socell 21 and SOPRAKKORDEON.

 

Koen Nutters plays upright bass, objects, consumer electronics, and sine tones. He lives and works in Amsterdam and Berlin. He is a musician, composer and organizer of music, bands, events, concert series, exhibitions, installations, and performance pieces. He is one of the founding members of the international "N collective" (2002–2009), the artistic director of the DNK-Amsterdam concert series, a freelance curator, and a (founding) member of many bands and projects with a host of international musicians and artists creating music through structured improvisation, composition or more conceptual operations and collaborative forms. His pieces range from post-Cagian compositions for ensemble to spatialized sound pieces and environments for prerecorded and manipulated music and sound.

 

Rishin Singh is a musician, artist, and writer living in Berlin. His work has been exhibited in London, Leuven, Sydney, and Berlin. Selected festival appearances include the NOW now (Sydney), Audio Art (Krakow), Klangraum (Düsseldorf), and DAAD Mikromusik (Berlin). His writing has been published by RealTime (Australia), Insub Records (Switzerland), and Lateral Addition (USA) among others.

 

 

 

 

 

 

 

 

 

 

 
 

 

 

Suppedaneum

 

 

 

 

RYOKO AKAMA

 «ACCEPTANCE»

suppedaneum_tumbleweed
$10 + shipping/handling: ORDER

 

 

Proposal (/prəˈpōzəl/) noun 1. A plan or suggestion, especially a formal or written one, put forward for consideration or discussion by others. 2 An offer of marriage.

 

Ryoko Akama: acceptance is a collection of three closely related scores—or rather, as Akama terms them, “proposals”—and their corresponding realizations. The use of this word, “proposal,” is deliberate and crucial. It makes clear that they are suggestions, put forward for consideration and exploration, rather than directives to be obeyed. Each is dedicated to a particular individual, and what each of these performers—Stefan Thut, lo wie, and Johnny Chang (accompanied by Catherine Lamb)—brings to Akama’s proposals is as crucial as what she offers them. The scores themselves occupy an ambiguous middle ground between drawing, poetry, writing, and instructions. Each utilizes a similar formal vocabulary of shaded boxes, arrows, numbers, and fragments of text, yet each varies from the others in subtle ways, and the question of how these elements are to be assembled and understood is left unresolved. Or, rather, it is left to the imagination and understanding of each performer. It speaks to Akama’s faith in her collaborators and her trust in their ability that so much is left for their elaboration. These evocative pieces are invitations to enter into a kind of intimacy, a relationship of equals conditioned on mutual respect. These are proposals in the fullest sense of the word, and it is up to the musicians who perform them—and those who listen—to refuse or to accept.

This release, presented together in a wooden veneer envelope, includes an archival CD-R containing realizations of each piece, one copy of each of the three proposals, and an additional informational sheet providing credits and track listing.

 
1. a proposal - one, for Stefan Thut [18:00]
2. a
proposal - two, for lo wie [9:01]
3. a
proposal - three, for Johnny Chang [18:09]

 

All compositions by Ryoko Akama

 

proposal two._excerptjpg

 

Ryoko Akama is a UK-based composer and performer whose work, ranging from text compositions to sound installations, pursues minimal, reductive, cumulative, and contemplative experiences in sonic art practice. She directs the melange edition label and is coeditor of the independent publisher mumei. http://www.ryokoakama.com.

 

Johnny Chang is a Berlin-based composer and performer who engages in extended explorations of the relationship between sound and listening and the areas of overlap between improvisation, composition, and performance. He is a member of the Wandelweiser composers collective. He currently collaborates with Peter Ablinger, d'Incise, Claudia Garbe, Catherine Lamb, Hannes Lingens, Radu Malfatti, Mike Majkowski, Koen Nutters, Morten J Olsen, Derek Shirley, Rishin Singh, Taku Sugimoto, Takako Suzuki, Stefan Thut, and Manfred Werder. http://www.johnny-chang.tk.

 

Stefan Thut is a composer, cellist, and performer who is interested in processes and scores being relatively determined but still unpredictable in their sonic results. In addition to traditional instrumentation, phonography and everyday materials serve as components in his work. Notably, cardboard and paper play a role in his latest series, beginning with "two strings and boxes." His recent scores have been realized at the Kunstraum Düsseldorf, Spanski Borci Ljubljana, Gez-21 St. Petersburg, and Säulenhalle Landhaus Solothurn, where he curates a concert series. http://www.timescraper.de/stefan-thut.html.

 

lo wie is a member of A.Typist, in which she collaborates with Ryu Hankil, and the writer Kim Taeyong. She organizes the music composition concert series namsan in Seoul. http://lo-wie.blogspot.com.

 

 
1. Performed by Stefan Thut.

 

2. Performed by lo wie. Recorded by Ryu Hankil

 

3. Section 1: First realization. Version for one performer. Performed by Johnny Chang (viola and arrangement). Recorded by Johnny Chang. Section 2: Second realization. Version for live performance, two violas, and mono speaker.Performed by Johnny Chang (viola and arrangement) and Catherine Lamb (viola). Recorded by Adam Asnan.
 
 

 

 

 

“Originally influenced by Sol LeWitt, I began to study the idea of sequences in shape, color, and direction. Each piece includes additional comments to support my proposal for the performer to refuse or to accept.”

 

Ryoko Akama

 

 

“The recorded performance applied architecture and objects of a former mountain farm, precisely three windows and seven wooden volumes. They provided acoustic filtering of the water flowing in the valley. While handling the objects, the wood unexpectedly also amplified the movements of my joints, through the touch between body and wood. The score enabled me to discover sonic aspects that otherwise go unheard.”

 

—Stefan Thut on a proposal - one

 

 

“The instruments are two big windows in the living room of my old flat, which I moved out of last week. As I moved the two windows according to your score, they were sliding from right to left, from left to right. I loved the moments when I could hear the voices or noise from outside when the windows were open.”

 

—lo wie on a proposal - two

 

 

“To Ryoko— Within the paths taken to traverse the landscape of a proposal - three, I discovered possibilities of additional access points and staging areas of departure.

 

a question: I wonder if and how often you encounter this—the struggle to decide between:

 

(1)  staying with an original concept (or line of enquiry)  and realising a score according to the original intent, or

(2) a different version (development?) of the original which seem clearer from a listener's** point of view—more tangible, so to speak.

 

** here, the word "listener" means the audience or even myself, having temporarily stepped outside of the role of composer/performer.

 

I know what I would end up deciding for in the end, as I always have done in the past. However, I am curious to hear of your experiences, so please don't worry that my "environment of encounter", as you put it, would be somewhat compromised by what you decide to write (or not decide to write..).

 

By the way: In fact, my realisation follows your score somewhat literally, even if it may not sound so.”

 

—Johnny Chang on a proposal - three

 

 

 

 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

 

 

JOSEPH CLAYTON MILLS

«THE LETTER»

 

 

 

$5 plus shipping/handling: OUT OF PRINT

 

 

 

«The Letter» is a piece of music designed to approach disappearance. To create it, a single 22-minute recording, incorporating piano, field recordings, electronics, and voice, was transferred to one side of a Maxell Communicator Series C45 cassette. This initial cassette was then duplicated onto another cassette, which was in turn duplicated onto still another cassette, and so on. With each generation of this iterative process, a certain amount of deterioration was introduced in the audio fidelity of the recording. This procedure was repeated until 100 unique artifacts had been produced.

 

This limited-edition release comprises 100 unlabeled, hand-duplicated cassettes, each accompanied by a copy of the score that inspired the piece (“Abscission” 2015), a photograph, and a brief explanatory text. Copies of the release will be issued strictly in sequence.

 

 

 

 

Recorded 1989-2015
Assembled by JCM in Chicago 2015

 

 

 

letter_tree_score

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   

The Botticellian Trees

William Carlos Williams

 

 

   The alphabet of

   the trees

 

   is fading in the

   song of the leaves

 

   the crossing

   bars of the tin

 

   letters that spelled

   winter

 

   and the cold have been illuminated

 

   with

   pointed green

 

   by the rain and sun–

   The strict simple

 

   principles of

   straight branches

 

   are being modified

   by pinched-out

 

   ifs of color, devout

   conditions

 

   the smiles of love–

   … …

   until the script

   sentences

 

   move as a woman’s

   limbs under cloth

 

   and praise from secrecy

   quick with desire

 

   love’s ascendancy

   in summer–

 

   In summer the song

   sings itself

 

   above the muffled words– 

 

 

 

 

Joseph Clayton Mills Is a musician, artist, and writer who lives and works in Chicago, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Partial), Sylvain Chaveau, Jason Stein, Michael Pisaro, and Olivia Block, among many others. His recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in collaboration with Noé Cuéllar, he launched the label Suppedaneum to focus on releasing scores and their realizations.

 

 

 

 

 

 
 

 

 
  
 
 

 

 

 

 

 

 
 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

AKAMA/CHAUVEAU/CHEN/

FARMER/HUGHES/MILLS/

PISARO/SONDERBERG

«SIFR»

 

US ($12 + $6 shipping
and handling): OUT OF PRINT

 

International ($12 + $13  shipping

and handling): OUT OF PRINT

 

 

 

 

 

1. Sifr (42:00)

                               

 

The premise behind «Sifr» is a simple one. Seven composers with diverse approaches to experimental sound and composition were each presented with the same piece of music and asked to create a score to accompany it—a score from which the given music could conceivably have derived.

 

By reversing the trajectory of the relationship between a score and its interpretation—by making the music, in essence, a “score” for composition—«Sifr»  plays with issues of authority, musical representation, and what constitutes composition. Each of the seven composers—Ryoko Akama, Sylvain Chauveau, Jonathan Chen, Patrick Farmer, Sarah Hughes, Michael Pisaro, and Adam Sonderberg—approaches the problem in a unique way, which allows their individual compositional styles and concerns to be directly contrasted. What affinities and dissimilarities exist between them? Where are the points of overlap? Which aspects of the piece struck each composer as most significant? Which elements of the music are essential to its identity as a coherent work, and which are incidental or accidental? And how does one trace a line between?

 

Each copy of «Sifr» includes a single CD-R and one copy of each of the following seven scores.

 

 

 

 

                   

Ryoko Akama: Place Identified
Revisiting and writing through Georges Perec’s Species of Spaces

 

Patrick Farmer: Proprioception
Printed in microscript, with accompanying magnifying glass

 

Sifr_Ryoko_img1   Sifr_Ryoko_img2

Sifr_patrick_img1   Sifr_patrick_img2

 

 

 

 

Sylvain Chauveau: Sketchbook #54

 

Image from a series of minimalist graphic scores— an entrance ticket to Nanzen-ji temple in Japan

 

Sarah Hughes: Twenty furlongs of self-determination (or the springtime of life)
Following two paths
SIFR_Sylvain_img1   SIFR_Sylvain_img2

Sifr_sarah_hughes_img1   sifr_sarah_hughes_img2

 

 

 

Jonathan Chen: Reverse Score
Four layers to be assembled in any order

 

Michael Pisaro: Drip Music no. 13
One hundred words to Joseph Clayton Mills, via Georg Brecht
Sifr_chen_img1   sifr_chen_img3

sifr_pisaro_img1   Sifr_pisaro_img2

 

 

 

Adam Sonderberg: for JCM 4/2015
One of three potential realizations

    

Sifr_sonderberg_img1   Sifr_sonderberg_img2

 

 

 

 

 

 

Ryoko Akama Is a UK-based sound artist, composer, and performer whose work—frequently employing the vintage EMS synthi—pursues minimal, reductive, cumulative, and contemplative experiences in sonic art practice. Akama runs the Melange Edition label and is the coeditor of Reductive Journal.

Sylvain Chauveau Is a composer and musician whose minimal, quiet works for piano, strings, woodwinds, electronics, and voice incorporate silence as an important compositional element. Chauveau has released recordings on labels such as FatCat, Type, Brocoli, Flau, Nature Bliss, and Creative Sources and runs the label Onement, which releases one-copy LPs of experimental music.

Jonathan Chen Is a composer, improviser, and sound artist who creates work either through conceptual foci or through experimentation with materials. Chen has a PhD in Electronic Arts from Rensselaer Polytechnic Institute, a Master of Arts in Music Composition from Wesleyan University, and a Master of Music in Violin Performance from Northwestern University. His work has been released on the Asian Improv, Interval, and Striking Mechanism labels.

 

Patrick Farmer is the cofounder of the online curatorial platform Compost and Height and the coeditor of the new-music journal Wolf Notes.  Farmer has performed and exhibited internationally with artists such as Angharad Davies, Michael Pisaro, Sarah Hughes, and Jason Kahn. Festival appearances and residencies include Audiograft (Oxford), the Wulf (Los Angeles), LMC (London), I & E (Dublin), Geiger (Gothenberg), Blurred Edges (Hamburg), Forestry Commission England (Cumbria), Q-O2 (Belgium), and MOKS (Estonia). His work has been released on labels such as Another Timbre, Nadukeenumono, and Winds Measure.

Sarah Hughes is an artist, composer and performer, producing work that ranges sculpture, installation, composition and music. She is the cofounder of Compost and Height, a curatorial platform that focuses on new music and composition. She is also coeditor of the new music journal, Wolf Notes, and co-founder of BORE, a publication dedicated to experimental text-based and graphic scores. Hughes’s work has been exhibited and performed internationally, including at Supplement, London; V22, London; Sydney Non Objective, Australia; Oriel Davies, Wales; Center for New Music, San Francisco; Constellation, Chicago and the Wulf, Los Angeles. Hughes is Composer-in-Residence at South London Gallery 2015-2016.

 

Joseph Clayton Mills is a musician, artist, and writer who lives and works in Chicago. His recordings—solo and as a member of the groups Haptic, Partial, and Maar—have appeared on numerous labels, including Another Timbre, FSS, Umor Rex, and Entr’acte. In 2013, in collaboration with Noé Cuéllar, he launched the label Suppedaneum to focus on releasing scores and their realizations.

Michael Pisaro Is a member of the Wandelweiser composers collective and teaches music composition at the California Institute of the Arts.

Adam Sonderberg Is a composer working predominantly with concrete-based compositions that use the computer as a discreet processing and assembly tool. He is one-third of Haptic, former codirector of the Dropp Ensemble, and former curator of Longbox Recordings.

 

 

 

 

 

 

Suppedaneum

 

 

CARRIE OLIVIA ADAMS/JOSEPH CLAYTON MILLS/DEANNA VARAGONA

«HUNTRESS»

 

US ($15, includes shipping): BUY

 

International ($20, includes shipping): BUY

 

 

 

Were it not for the distance

That sphere of elements, iron, minerals

Might be less than cold and more

Like your memory of it on a gravel road

Refracted subtly on tired cheekbones

 

 

1. Oceanus   (1:49)                                 
2. Diana   (19:19)                                    
3. Artemis   (2:48)                                  
 
4. Transverse Orientation   (6:18)           
5. Lacus   (14:52)    

                                

 

«Huntress» is an experiment in cross-media collaboration between poet Carrie Olivia Adams and musicians Joseph Clayton Mills and Deanna Varagona that reimagines the moon—understood both as a celestial body and a cultural trope—as an elaborate recording device, positing the disc of the lunar surface as a literal and metaphorical site of inscription, projection, and mirroring. Taking the twenty lunar lacus—the “lakes” of the moon—as a formal structuring principle, Adams composed a poem in twenty five-line stanzas. Simultaneously, Mills translated topographical data about the landscape of the moon into a series of pitch relations, durations, and other musical parameters that provided a framework within which Varagona improvised on piano and cello. Varagona’s performances were then augmented with electronics, field recordings, and additional instrumentation—including samples drawn from historical and archival recordings ranging from Dvorak to the moon landings—and were reconfigured and expanded by Mills into a series of pieces that explicitly and implicitly draw on Adams’s text for their imagery and inspiration. In the 50-page <<Huntress>> booklet, Adams’s poem is accompanied by a series of found images that provide a supplemental, parallel narrative, referencing both the text and the accompanying music and bridging the gap between the two. Produced in a limited edition of 50 archival CD-Rs with accompanying text.

Carrie Olivia Adams: text / Joseph Clayton Mills: electronics, field recordings, piano, tape loops, guitar / Deanna Varagona: piano, cello

 

Assembled by JCM in Chicago 2013-2014

 

     moonintheroom2

 

 

 

 

 

 

 

 

 

 

 
http://quarterlyconversation.com/constant/wp-content/themes/themasterplan_tma_v1.4/tma/images/thumbs/CARRIE.jpg  http://www.mwardmusic.com/images/cast_varagona.jpg
 
 
 

 

Carrie Olivia Adams Is a poet living in Chicago. She is a book publicist for the University of Chicago Press and the co-founder and poetry editor for the small press Black Ocean. Adams is the author of the poetry collection Intervening Absence and, most recently, Forty-One Jane Doe’s, both published by Ahsahta Press.

 

Joseph Clayton Mills Is a musician, artist, and writer who lives and works in Chicago, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Partial), Sylvain Chaveau, Jason Stein, Michael Pisaro, and Olivia Block, among many others. His recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in collaboration with Noé Cuéllar, he launched the label Suppedaneum to focus on releasing scores and their realizations.

 

Deanna Varagona was a longtime member of the warped Nashville neo-countrypolitan ensemble Lambchop and has also lent her talent as a vocalist and saxophonist to such artists as Vic Chestnutt, M. Ward, Yo La Tengo, Neutral Milk Hotel, Steve MacKay, and a number of others. The Southern-born Varagona has also recorded under her own name, crafting sparse windblown acoustic music descended from the Appalachian folk tradition.

 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

 

D’INCISE

 «ILHAS»

 

suppedaneum_tumbleweed

US ($14, includes shipping): OUT OF PRINT

 

International ($17, includes shipping): OUT OF PRINT

 

 

«ILHAS» is a limited edition of 50 archival CD-R’s presenting two realizations of a score composed by Swiss-based experimentalist d’incise—the first performed by d’incise himself, and the second by Hannes Lingens and Jamie Drouin—as well as a series of 38 combinations of frequencies (“chords”), based on the 22 tones of the shruti scale, that are used as an activator for prepared snare drums. These chords constitute an “audio score” and allow a performer to generate new versions of the piece, using unique materials to interact and interfere with the frequencies. Each copy of «ILHAS» is accompanied by a limited-edition linocut print by Seonaid Valiant.

 

 

 There are 38 chords, each separated by 4 seconds of silence. Each chord is a multiple of 10 seconds in duration (e.g., 10 seconds, 20 seconds, 30 seconds, and so on). The sequence of the chords is fixed, but the durations assigned to each chord can be varied for each performance, such that the total duration, included the chords and intervening silences, is 20 minutes. Each drum is prepared with a few lightweight materials (e.g., aluminum, paper, cardboard, or plastic, such as those used in the packaging of this record). The preparations should be different for each drum.

The series of frequencies should be played through a medium-sized, handheld loudspeaker, one for each performer, with each speaker playing the same mono sound file. Each performer holds a speaker just above or against the skin of the snare drum. Performers are encouraged to search for subtle vibrations and timbres and to adjust the tuning of the drum as needed by applying pressure to the skin. The drum preparations can be modified during performance; however, such adjustments should be made sparingly. The intention is to avoid regular rhythms or frequent and obvious changes within each event. The piece should be played pianissimo.

Attention should be given, not simply to vibrating the objects on the drum, but also to using the drum as a resonator to inflect and reveal the chords. The chords sometimes contain relatively low frequencies, which I feel can work too well in generating vibrations and obscure the higher frequencies. In my own approach to performing the piece, I therefore tried to mute the drum skin in to draw out the upper frequencies of the chord. This kind of internal contradiction in the piece, in which the performer has to struggle to control an unpredictable system, is interesting to me.

Recorded versions of the piece and live performances should be considered equally valid realizations. In the event of a recorded version, multiple tracks can be layered."

d’incise

 

1. ILHAS (d’incise) [21:16]
2. ILHAS (Lingens/Drouin) [21:16]
3.
 ILHAS (chords) [20:00]

 

dincise_solo_1

 

20140223_121846

 

 

 

dincise_print
 

 

 

       

 

                   

 

 

 

 

 

d’incise is an electroacoustic musician, improviser, and composer whose works range from electronica to musique concrete. His works have largely focused on the generation and manipulation of acoustic sound sources and objects; frequently incorporate feedback, glitches, and other “errors;” and are often characterized by an attention to minute detail and the slow, obsessive exploration of simple processes. He coordinates the Insubordinates netlabel, dedicated to improvised music, and was an active participant in the Audioactivity collective and netlabel.

 

Hannes Lingens is a drummer and accordionist active in the field of contemporary and experimental music. He lives in Berlin, where he is part of the ensembles Obliq, Konzert Minimal, [ro], and Die Hochstapler. In each of these groups, he focuses on open form and democratic music making in its various shapes. In addition, he has worked with improvisors like Tetuzi Akiyama, Christof Kurzmann, Olaf Rupp, Alexander Frangenheim, and many more. As an interpreter he has collaborated with composers Peter Ablinger, Antoine Beuger, Philip Corner, Sven-Åke Johansson, Christian Kesten and Manfred Werder among others.

 

Jamie Drouin (b.1970, Canadian) is Berlin-based sound artist who explores landscapes in transition due to the effects of climate change and the influence of electronic noise pollution on the environment. Through installations and recordings, Drouin creates a detailed sonic experience of the complex interactions of sounds which define ‘place’ whether they are of the natural world or the residue of technology. Drouin’s work has been featured at numerous international venues, including the Biennial of the Americas (Denver), Mutek (Montreal), TodaysArt (The Hague), Decibel Festival (Seattle), Montréal Museum of Contemporary Art (Montreal), Henry Art Gallery (Seattle), Communikey (Boulder), La Société de Curiosités (Paris), and General Public (Berlin). His recorded works have been published through Caduc, con-V, Oral, Rhizome_s, Dragon’s Eye Recordings, Mutek_Rec, Rope Swing Cities, and Infrequency Editions. He has collaborated with several international artists including recent projects with Konzert Minimal, Lucio Capece, Johnny Chang, Mike Majkowski, Crys Cole, Olaf Hochherz, Hannes Lingens, Seiji Morimoto, Lance Austin Olsen, Mathieu Ruhlmann, and Sabine Vogel. Jamie Drouin is also the co-founder/curator of Infrequency Editions.

 

External links: d’incise (official site); Hannes Lingens (official site); Jamie Drouin (official site)

 

 

 

 

 

 

 

 

 

Suppedaneum

 

BRUNO DUPLANT/ RYOKO AKAMA « Espèces d’espaces»

 

suppedaneum_tumbleweedBottom

US ($16, includes shipping): OUT OF PRINT

International ($19, includes shipping): OUT OF PRINT

«Espèces d’espaces» (Species of Spaces) is a limited edition of 50 archival CD-R’s presenting realizations of four scores by Bruno Duplant and Ryoko Akama based on the text of the same title by Georges Perec. For this project, Duplant and Akama each contributed two scores, with both artists together performing each composition. The approaches that are taken to transforming Perec’s work are diverse and include graphic notation, text-based composition, and concrete poetry reimagined as a musical score.

Each copy of «Espèces d’espaces» includes the scores themselves, elaborately presented, in the playful spirit of Perec, in the form of a jigsaw puzzle, text with transparent overlays, and vintage maps.

brunopuzzle

“Species of Spaces. Everything is inscribed in this title: the games
with language and the wordplay; the desire to dissect, classify,
assemble, and reassemble; the invitation to envision a space, both
physical and mental (somewhat in the manner of Gaston Bachelard).

Space becomes, under his poetic pen, literally inventive; it is at the
same time the container and the contents.

Words on a white page, places, memories; so many species of spaces,
real and fictitious; senses and sensations that work alone or
together.

The work of Georges Perec, taken as a whole, is a magnificent hymn to creation.

The choice of graphic scores (with and without text) speaks for
itself, as does the decision to collaborate with Ryoko Akama, whom I
knew would have the taste and talent for such an adventure.

–Bruno Duplant

1. Espèces d’espaces 01 (Duplant) [10:02]
2.
 Espèces d’espaces 02 (Duplant) [10:02]
3.
 Espèces d’espaces 03 (Akama) [10:20]

4. Espèces d’espaces 04 (Akama) [10:00]

1 and 2 composed by Bruno Duplant; 3 and 4 composed by Ryoko Akama; 1-4 performed by Duplant/Akama

20140223_132723-1

 

 

 

 

 

http://www.ryokoakama.com/rmike.jpg

 

 

 

Bruno Duplant is a composer, improviser, and multi-instrumentalist based in the north of France whose primary instruments include the doublebass, percussion, electronics, and field recordings. A frequent collaborator with a wide range of musicians from around the globe, his recordings have been published by labels including B-Boim, Diafani, Engraved Glass, Ilse, Impulsive Habitat, Con-V, Unfathomless, and Mystery Sea, among many others. Together with his friend Pedro Chambel, he founded and continues to run the label Rhizome.s

 

Ryoko Akama uses diverse media to create sound art and compositions and performs on electronics and objects. She is a PhD candidate at the University of Huddersfield (UK), where she studies with Monty Adkins and Phillip Thomas and co-organizes the HudHack DIY electronic workshop and re.sound concert series. Her aesthetics explore silence, time and space, and texts. Having studied with Eliane Radigue, she pursues the quality of minimal, reductive, cumulative, and contemplative experiences in sonic art practice. She runs the melange edition label and has released numerous recordings on other labels.

 

 

External links: Bruno Duplant (discography); Ryoko Akama (official site);

 

 

 

 
Suppedaneum

 

 

CHEN BROTHERS

«Ally»

 

US ($7 + $3 shipping shipping): OUT OF PRINT

 

International ($7 + $6 shipping): OUT OF PRINT

 

 

The Chen Brothers’ «Ally» is a limited edition of 50 archival CD-R’s in recycled, hand-made packaging designed and printed by Jeremy Chen with sound by Jonathan Chen. In a reversal of the usual procedure, the packaging—designed by Jeremy, complete with track titles and times—was made before the music that it accompanies and served as the score for Jonathan, who used the specified titles and timings as a framework within which to improvise.

 

 

 

 

“Several years ago, my brother Jeremy and I began discussing the possibility of a collaborative project. Our initial idea was just that the collaboration would have something to do with the creation of an album: I would be responsible for the sound, and Jeremy would be responsible for the visual. As our discussion continued, we decided that Jeremy would design the sleeve before I would make the music, reversing the way recordings normally proceed. Thus, Jeremy would determine all the visual content of the sleeve, including the track names and times, and I would create the music to fit these parameters. This turned out to be a difficult task for me. I wasn’t used to accommodating a time frame in such a specific way as a composer. I made several versions of a couple of the tracks, but I didn’t feel like they were right.

 

“Meanwhile, the sleeve, which had the year 2006 printed on it, was missing its well past due CD. I had put the project aside for a couple of years when I decided on a different approach. I decided that maybe my brother was the composer here and that I was the performer/improviser. He had determined the track times and the instruction to me was to “do something within that time.” I treated each of the times as a stopwatch score with the instruction being to start and stop within the given time frame. Within that given time frame I improvised on electronics, in this case feedback. The recording was made at the Experimental Media and Performing Arts Center in Troy, NY”

 

. –Jonathan Chen

 

 

 

 

 

 

 
 
chenrecord
 

 

1. Stretch [0:26]
2. Flow [1:15]
3.
 Anti-podal Testament [4:37]
4.
 Zero Sum + One [5:54]
5.
 One Possibility Is [3:29]
6. Failure (Hitting the Fan) [0:48]
7. Resistance [2:02]
 
All sound by Jonathan Chen
CD track titles, times, and design by Jeremy Chen
 
The packaging of «Ally» was produced by the Chen brothers and released in collaboration with Suppedaneum
 
 

 

Jeremy Chen is an artist and educator producing work in three areas: individual practice (print, drawing, sculpture); collaboration with other artists; and work with the public or specific communities. He is a founding member of The Moving Crew, a collaborative group of cultural workers engaged in activities including site responsive events, installations and performances. Chen received an MFA in Printmaking and Center for the Book Arts Certificate from The University of Iowa. He lives and works in Grinnell, Iowa.

 

Former Chicagoan Jonathan Chen’s work, including composition, improvisation, and installation, has been performed or installed in the US and internationally. Some works have a conceptual focus out of which materials emerge, other works are born out of experimentation with the actual materials involved in the work. He received an interdisciplinary PhD in Electronic Arts from RPI in upstate New York and is currently based in Brooklyn.

 

External links: Jonathan Chen (official site)

 

 

 

 

 

 

Suppedaneum

 

 

 

 

 

 

 

SARAH HUGHES

 «ACCIDENTS OF MATTER OR OF SPACE»

SECOND EDITION

suppedaneum_tumbleweed
US ($15 + $5 shipping/handling): OUT OF PRINT

 

International ($15 + $13 shipping/handling): OUT OF PRINT

The second edition of Sarah Hughes’ «Accidents of Matter or of Space» is a limited edition of 15 archival CD-Rs, packaged in a 5 x 7 inch box and accompanied by a series of letterpress cards containing the score to (can never exceed unity), as well as a series of colored wooden rods that present the score in sculptural form. In addition, a complementary informational card includes credits and track list.

This release brings together a solo zither improvisation recorded in a disused transmission station in mid-Wales with three realizations of the 2011 composition (can never exceed unity), performed by Rhodri Davies, Patrick Farmer, Jane Dickson, Neil Davidson, and Dimitra Lazaridou-Chatzigoga.

1. Criggion (after Only) [20:02]
2. 
(can never exceed unity) – Realisation #1 [20:03]
3. 
(can never exceed unity) – Realisation #2 [10:05]
4. 
(can never exceed unity) – Realisation #3 [4:22]

 

All compositions by Sarah Hughes
Liner notes by Dominic Lash

 

Download a PDF of the liner notes by Dominic Lash HERE.

 

 

 

1 Recorded at Criggion transmission station, Powys. Recorded by Patrick Farmer

 

2-4 Recorded at St Paul’s Huddersfield, West Yorkshire. Recorded by Simon Reynell

 

1 Solo improvisation by Sarah Hughes (zither)

 

2-4 Performed by Rhodri Davies (harp) Neil Davidson (guitar) Jane Dickson (piano) Patrick Farmer (electronics) and Dimitra Lazaridou-Chatzigoga (zither)

 

 

  

Sarah Hughes is an artist, composer and performer, producing work that ranges sculpture, installation, composition and music. She is the cofounder of Compost and Height, a curatorial platform that focuses on new music and composition. She is also coeditor of the new music journal, Wolf Notes, and co-founder of BORE, a publication dedicated to experimental text-based and graphic scores. Hughes’s work has been exhibited and performed internationally, including at Supplement, London; V22, London; Sydney Non Objective, Australia; Oriel Davies, Wales; Center for New Music, San Francisco; Constellation, Chicago and the Wulf, Los Angeles. Hughes is Composer-in-Residence at South London Gallery 2015-2016.

 

 Sarah Hughes (official site) /  Compost and Height