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




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.











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,