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

 

 

 

 

 

 

 

MORGAN EVANS-WEILER «STRATEGIES/ TACTICS»

 
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Strategies/Tactics is a series of graphic scores that explores varying levels of collaboration between the score maker and ensemble. The project uses as its starting point the writings of Michel de Certeau and Fernand Deligny. These writers imagine ways of moving through space and traversing everyday experiences as a creative and often revolutionary process. Certeau imagines our movements as political; our travels through the city are considered subversions of the systems of order enacted by the state. Deligny sees our movements as creative and intuitive; our wander lines illustrate something fundamental to the lived human process. These contrasting concepts of creative, collective, and political uses of space form the foundation for this project.

Each score in the series is a map of overtone relations and dissonant connections, of assembled movements through an imagined space. Players simply allow themselves a time and space to explore their correspondences, movements, and relationships in an interweaving meshwork of sympathetic and empathetic responses. From a simple direction, ensembles develop cohesive tactics that will help them move through each element of the score.

The Strategies/Tactics project imagines the relational potentials of bodies (and their soundings) in space - using cartographic concepts as the impetus, these scores offer material and spatial frameworks for players to consider their sounds as movements. The scores are places for players to travel collectivity - to create webs of arachnean complexity through the experience of making sound together.

—Morgan Evans-Weiler

 

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This release comprises two CDs with six realizations of «Strategies/Tactics,» including two performances by Skogen and one each by Tse; Ordinary Affects; an ensemble consisting of Quentin Conrate, Bruno Duplant, Matthieu Lebrun, and Frédéric Tentelier; and the duo of Sarah Hennies and Annie Lewandowski. The release also includes one copy of each of the six scores by Morgan Evans-Weiler and an additional informational sheet providing credits and track listing.

 
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CD I

1.   Skogen: Erik Carlsson, percussion; Anders Dahl, sine waves; Magnus Granberg, clarinet; Anna Lindal, violin; Eva Lindal, violin; Henrik Olsson, percussion, contact microphones, mixing board

 

2.     Tse: Ryoko Akama, piano; Pierre-Yves Martell, treble viol, pitch pipes, and miniature harmonicas; Cyril Bondi, shruti box, harmonica, and pitch pipes; Christoph Schiller, spinet

 

3.   Quentin Conrate, percussion; Bruno Duplant, contrabass; Matthieu Lebrun, clarinet; Frédéric Tentelier, Fender Rhodes

 

 

CD II

4.   Skogen: Erik Carlsson, percussion; Anders Dahl, sine waves; Magnus Granberg, clarinet; Anna Lindal, violin; Eva Lindal, violin; Henrik Olsson, percussion, contact microphones, mixing board

 

5.   Ordinary Affects: Laura Cetilia, cello; Jordan Dykstra, viola and objects; Morgan Evans-Weiler, violin; J.P.A. Falzone, Fender Rhodes; Luke Martin, guitar

 

6.   Sarah Hennies, vibraphone; Annie Lewandowski, prepared piano

 

 

 

 
 
 
 
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.
 
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

 

TAKU SUGIMOTO/MICHIKO OGAWA/SAMUEL DUNSCOMBE

«2 CLARINETS +  GUITAR»

 

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1. Clarinet duo   (4:16)                                 
2. Two clarinets and guitar   (15:21)                                    
3. Trio 10   (12:23)                                   
 
4. Improvisation 2018-06-10   (26:40)           

                               

 

We began working together in 2016, when Michiko and I commissioned a new quintet work from Taku (which we later recorded and released as the CD Taku Sugimoto Quintets: Berlin, San Diego on the “Meena” division of the Japanese label “Ftarri").  Since that time, we would meet regularly in Tokyo to play improvised music together, mostly at the Ftarri store in Suidoubashi, but sometimes also at l-e osaki.  We began to make scores for each other to play, and our concerts would usually take the form of three scored pieces of music, followed by a long improvisation.  What you can hear on this CD is a sort of recreation of that concert experience, with three scored works and one improvisation.  Tracks 2 and 3 (compositions by Samuel Dunscombe and Michiko Ogawa) were recorded live at Ftarri, and the improvisation on track 4 was recorded at l-e osaki.  The first track, Taku Sugimoto’s clarinet duet, was recorded in Michiko Ogawa’s front room.

 

The three works have a shared sense of aesthetic, but each explore quite different ideas.  Taku’s piece is an exploration of just intonation within a non-rigid but linear timeline, mine looks at “spectral scordatura” (to borrow Radulescu’s phrase) filtered through a starkly reductive lens, and Michiko Ogawa’s work is an endless compulsive re-sounding of a simple series of pitches in free flowing time (but always with a set order).

 

 —Samuel Dunscombe

 

Each copy of «2 Clarinets + Guitar» includes a glass-mastered CD containing recordings of each of the three compositions—one by each member of the trio—as well as a recording of a group improvisation. Also included are copies of the three scores, each printed on a postcard that is addressed to the individual composer. Should the listener be so inclined, they are invited to sacrifice the scores in favor of providing feedback, recording their thoughts or reflections, or expressing their appreciation directly to the artists. 

 

Samuel Dunscombe: clarinet
Michiko Ogawa: clarinet
Taku Sugimoto: guitar
Recorded and mixed by Samuel Dunscombe
 

 

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Samuel Dunscombe Is a performer-composer specializing in the use of clarinets, computers, and microphones. His work spans areas including free improvisation, complex-notated repertoire, field recording, audio engineering, and live electronics. He has collaborated with a range of artists, from Anthony Pateras to Eva-Maria Houben; Taku Sugimoto to Iancu Dumitrescu and Ana-Maria Avram; Richard Barrett to Toshimaru Nakamura; Pierluigi Billone to Klaus Lang; and Cat Hope to The Necks. His recordings are available on Editions Wandelweiser (DE), Ftarri (JPN), and Marginal Frequency (USA). In 2018, he was awarded a Doctor of Musical Arts from the University of California (San Diego), with a dissertation focusing on the plasmatic music of Horaţiu Rădulescu and the creation of new performance-ready scores of Rădulescu’s works from the 1970s. Dunscombe subsequently lived in Tokyo and Melbourne (where he held the position coordinator of woodwinds at Monash University) before moving to Berlin in 2019. He works as the official archivist for Lucero Print and the Horaţiu Rădulescu Archives in Daillens, Switzerland.

Taku Sugimoto is a composer, guitarist, and improviser who has been a crucial figure in experimental music since the 1990s. Currently, he is increasingly active as a composer while maintaining a strong interest in improvisation. In recent years, he has performed, worked, and collaborated closely with Radu Malfatti, Manfred Werder, Stefan Thut, Cristian Alvear, Christian Kobi, Simon Roy Christensen, Johnny Chang, Takeshi Masubuchi, and Minami Saeki. He is a member of Suidobashi Chamber Ensemble, an ensemble focusing on performing compositions of contemporary or experimental music.

Michiko Ogawa is a musician specializing in the clarinet, born and raised in Tokyo, Japan. She performs not only classical repertoire but also contemporary and experimental music, including free improvisation and film soundtrack work. She has appeared at many festivals and concert series, including the Tokyo Experimental Festival (2013), Supersense Festival of Ecstatic Music (Melbourne, Australia 2015), the Monday Evening Concert series (Los Angeles, 2016), WasteLAnd (Los Angeles, 2016), Inland (Melbourne, 2015, 2016), Kontrakrang (Berlin, 2017), Maerzmusik  (Berlin, 2018, 2019), and Brisbane International Film Festival (Brisbane, 2018). She has worked with composers including Toshi Ichiyanagi, Helmut Lachenmann, Richard Barrett, Hunjoo Jung, Cat Lamb, and Chikako Morishita and with performers including Charles Curtis, Anthony Burr, Erik Carlson, Greg Stuart, Taku Sugimoto, Vicki Ray, Erika Duke-Kirkpatrick, and Shalini Vijayan, among others. She also has been collaborating with musicians Samuel Dunscombe, Taku Sugimoto, James Rushford, Carolyn Chen, and Manuel Lima.  She frequently collaborates with visual artists, such Angela Jennings, Lindsay Bloom, and Brianna Rigg. In 2019, Michiko was awarded a doctorate (DMA) from the University of California (San Diego), under Prof. Anthony Burr with a dissertation focusing on the film music of Teiji Ito.

 

 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

PATRICK FARMER/

DAVID LACEY/

THOMAS MARTIN NUTT «METRE»

 

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The SI base units (kilogram, second, metre, Ampere, mole, candela, and Kelvin) underpin measurement in all science and technology. In May 2019, the International System of Units inaugurated the final SI base units' derivation from invariant constants of nature, quietly heralding a new era of reliability in metrology.

 

«The SI Base Units» is a modular set of graphic scores by the British artist Thomas Martin Nutt that charts the scale of the SI base units within the range of human experience, from micro to mega. The creative space is demarcated between the precision of metrology and the mutability of meaning.

 

In June 2018, having been lucky enough to obtain a residency at the Sirius Arts Centre in Cobh, Ireland, we spent 5 days walking, eating, and recording. We arrived with minimal equipment and a handful of scores, and after exploring the town it became evident that «Metre», by Thomas Martin Nutt, would be a good way to orientate time to space. Using the score to plot distances for playback and reabsorption, we recorded the infrasound of passing cruise ships and each note of a carillon (itself positioned in a tower high above the town, where each bell can travel the length and breadth of the locale). We utilized these recordings as ways to further fill space and reach a natural state of collapse, or resonance. —Patrick Farmer and David Lacey

 

 

Each copy of «Metre» includes a single CD containing two recordings by Patrick Farmer and David Lacey and a copy of the complete score of «The SI Base Units» by Thomas Martin Nutt, which is presented in a 90-page booklet.

 

 

 

 

 

                   

Patrick Farmer is a co-founder of Compost and Height, editor of the new-music journal Wolf Notes, founder of the Sound I’m Particular lecture series and Significant Landscapes Festival, and a curator of the audiograft festival. He teaches in Oxford and lives on the Malvern Hills. Farmer has published several books and written compositions for groups such as Apartment House and the Set Ensemble. Festival appearances and residencies include The Wulf (Los Angeles), Ftarri (Tokyo), LMC (London), I & E (Dublin), Geiger (Gothenburg), The Proms (London), Blurred Edges (Hamburg), and Forestry Commission England (Cumbria). Farmer is currently working on a project concerned with dis / embodied listening.

 

          
 

  

 

David Lacey is a musician from Dublin, Ireland, working at the intersection between improvisation and composition. He uses percussion, objects, field recordings, cassettes, and crude electronics as well as making studio constructions. He has performed and recorded with musicians such as Rhodri Davies, Keith Rowe, Annette Krebs, and Derek Bailey. Current projects include Rainfear (with David Donohoe), duo collaborations with Patrick Farmer and Andrew Fogarty, and the Reception concert series, which he organizes with composers Rob Casey and Conal Ryan. He has been featured on releases from labels such as Another Timbre, Caduc, Confront, Copy for your Records, Fort Evil Fruit, and Room Temperature.

 

 

Thomas Martin Nutt is a British artist with an interest in sound and language. He is currently researching relationships between auditory and visual perception and new ways of employing the primary devices with which we write music. He lives and works in Japan.

 

 

 

 

 

 

 

 

 

 

 

 

Suppedaneum

 

 

 

 

CAROL GENETTI/

GWYNETH ZELENY ANDERSON

 «CHYME»

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$15 + shipping/handling: OUT OF PRINT

 

 

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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Suppedaneum

 

 

 

JOSEPH CLAYTON MILLS

«THE WIDOW»

 

 

 

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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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Suppedaneum

 

 

Suppedaneum

 

 

 

COPPICE

 «BLUEBERRY»

suppedaneum_tumbleweed

 

 

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»

 
suppedaneum_tumbleweed

 

 

“‘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.

 

 

IMG_3514  IMG_3515

 

ensemble

 
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.
 
 

 

 

 

 

 

 

 

 

MorgQuad2 (1)

 

 

 

 

 

 

 

 
 

 

 

Suppedaneum

 

 

 

 

 

 

LANCE AUSTIN OLSEN

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

 
suppedaneum_tumbleweed

 

 

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

 

 

lanceaustinolsenjpg

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.

 

IMG_3500

 

 

 

 

 

 

 

 

 
 
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,

 

 

 

 

 

 

 

 

 
 

 

 

Suppedaneum

 

 

 

 

 

 

L’ENSEMBLE INSTABLE

 «D’UN VERRE D’EAU»

 
suppedaneum_tumbleweed

 

 

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]

IMG_3517

IMG_3518 (1)

 

https://mail.google.com/mail/u/0/?ui=2&ik=f55929&view=att&th=15795123ae68c&attid=0.1&disp=safe&zw

 
 
 
 

 

 

FullSizeRender (11)

leverredeau

 

 

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: 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.

 

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

 

 

 

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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

 

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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.