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Together they proceed with masterful nuance and inexorable tension; We Are All Hopeful Farmers, We Are All Scared Rabbits is the sound of effigy mounds slowly rousing from prehistoric slumber. - Xeric.\u003c\/p\u003e","brand":"Xeric","offers":[{"title":"CD","offer_id":51873389511,"sku":"5518-XERIC","price":16.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-973782-1179565275_jpeg.jpg?v=1571717540"},{"product_id":"xeno-staccato-caras-kiss-jardins-d-ete","title":"XENO \u0026 STACCATO - Caras Kiss\/Jardins d ete","description":"\u003cp\u003e\"Xeno and Staccato is a self-released-Ç 7 inch vinyl single, with two songs,-Ç Caras kiss-Ç and-Ç Jardins dété.Self-made design with specially printed cover with insert on quality-Ç paper, limited numbered edition of 500.-Ç Xeno and Staccato is a collaboration between-Ç Liz Wendelbo of Xeno \u0026amp; Oaklander (Brooklyn, also featuring Sean of Martial Cantrel), and-Ç Ramiro Jeancarlo of Staccato-Ç duMal (Miami). Xeno \u0026amp; Oaklander and Staccato-Ç duMal were both featured on the deluxe Wierd Records triple LP\/7\" compilation of contemporary \"minimal synth\" artists. Liz Wendelbo - vocals, lyrics, concepts; Ramiro Jeancarlo - synthesizers, drum machines.\"\u003c\/p\u003e","brand":"Xeno \u0026 Staccato","offers":[{"title":"7\"","offer_id":51877879943,"sku":"6652-XENO \u0026 STACCATO","price":7.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1028587-1460906871-4930_jpeg.jpg?v=1571717608"},{"product_id":"billy-bao-accumulation","title":"BILLY BAO - Accumulation","description":"\u003cp\u003eHeaps of noise and feedback, insistent arrhythmic pounding, and desperate hot screams coalesce into a textured, deeply layered wall of sound that is more compelling than any of its more-or-less revolting constituent parts on this new 7-inch by BILLY BAO. The concept behind the record is accumulation, as each track (uniformly 1 minute per track) adds an additional element--noise, voices, instruments. Accumulation is the engine of capitalism, and this record, which transforms accumulation into a sound, shows it to be as unpretty as one might expect. Perhaps the sound is meant to evoke the non-stop, bursting-at-the-seams chaos and disorder of Lagos, the place Billy tells us he began his journey. But of course no one, it is said, begins in Lagos; its a place where people end up. Its a city that accumulates people and detritus, or people as detritus. If Billy managed to escape, it was only physically--because judging by this record, his spirit remains in the clinking, scrounging fetters of the megapolis. Less metallic than the recent 10-inch, though still rather throbbing, this 7-inch is one of those uncommon records that you put on either to start or end a party, depending on what kind of party it is. Obscure referents: Demo-Moe, Z, Church Police, Agonia, SPK, Doden.--Stuart Schrader\u003c\/p\u003e","brand":"Xerox Musik","offers":[{"title":"7\"","offer_id":51897732999,"sku":"7163-XEROX MUSIK","price":8.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2467632-1344271473-1327_jpeg.jpg?v=1571717641"},{"product_id":"v-a-shiftless-decay-new-sounds-of-detroit","title":"V\/A - Shiftless Decay: New Sounds of Detroit","description":"\u003cp\u003eFeaturing Tyvek, Little Claw, Human Eye, Terrible Twos, Frustrations, Fontana, The Mahonies, Johnny Ill Band, THTX, Odd Clouds, Tentacle Lizardo, Heroes \u0026amp; Villains.\u003c\/p\u003e","brand":"X!","offers":[{"title":"LP","offer_id":51920087239,"sku":"8906-X!","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/Ni5qcGVn.jpg?v=1751490214"},{"product_id":"tyvek-future-junk","title":"TYVEK - Future Junk","description":"","brand":"X!","offers":[{"title":"7\"","offer_id":51920123271,"sku":"8910-X!","price":4.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1324241-1209704090_jpeg_7d807620-e2f2-4724-93f0-8868b67df757.jpg?v=1571717776"},{"product_id":"corner-philip-40-years-and-one-philip-corner-plays-the-piano","title":"CORNER, PHILIP - 40 Years And One: Philip Corner Plays The Piano","description":"\u003cp\u003e\"Solo piano works, performed by the composer, recorded in 1998. Philip has vision, he did something nobody else did, he brought the expressive into indeterminacy (he calls it non-compulsive indeterminacy). Hes also one of the only composers I know who can give you a handful of worlds (notes) for a score, suggestions and alternatives for a realization and create wonderful expansive vistas of music and sound. Philip loves sound(s), he really listens and relishes (cherishes) the sensual aspects of perception. When he plays the piano there is a tremendous sensitivity (sensibilité), his own art of touching and caressing the keyboard. He also loves embellishments, whether in Korean classical music or in the late French baroque of Marin Marais or Fran-ɬßois Couperin. Theres humor too, hes very funny (as many of his fluxus performances and art works will show) and his universal and non-conformist approach to life is extremely refreshing in a (music-al) world still dominated by the dull mainstream of academia.\" -- Anton Lukoszevieze. Featured pieces: 1. 7 Joyous Flashes (3:45) 2. Concerto for Housekeeper (5:58) 3. Short Piano Piece IV (2:51) 4. Short Piano Piece IX (2:07) 5. Short Piano Piece XIII (1:50) 6. Flux \u0026amp; Form No. 2 (solo) (4:01) 7. Flux \u0026amp; Form No. 2 (3 versions mixed) (4:39) 8. Pulse: a Keyboard Dance\/C Major Chord (25:43) 9. \"perfect\" (on the strings) (21:49).\" -XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":51944290247,"sku":"14621-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI125CD_CU.jpg?v=1574433165"},{"product_id":"first-david-privacy-issues-droneworks-19962009","title":"FIRST, DAVID - Privacy Issues (Droneworks 1996-2009)","description":"\u003cp\u003e2010 release. Featuring Chris McIntyre and Peter Zummo, trombones; \"Blue\" Gene Tyranny, keyboards; and The Black Jackets Ensemble. \"This was something unexpected and truly different: pulsing electronic textures that derived their rhythm from the beating patterns of closely-tune pitches -- as if Alvin Lucier and Philip Glass had gone on a blind date to CBGBs... David put the beat in beating patterns\" --from the liner notes by composer Nic Collins (on his initial exposure to Firsts music in 1987). This special and specially priced set (three CDs for the price of two) contains nine works composed between 1996 and 2009. \"1996 was the beginning of a new period for me,\" says First. \"I had spent the prior five or six years creating a lot of music for other players and larger ensembles -- culminating in 1995 with a couple of mountings of my opera, The Manhattan Book of the Dead. I was a little burned out on this and decided to return to a more personal, intimate format -- one that ended up including an even more extensive exploration of tunings, alternative compositional softwares and how my playing techniques interacted with these things. I think I just wanted to go deeper and have more control over the results. During the ensuing years Ive had a few pendulum swings -- forays into beat-oriented pop music with lyrics and vocals and, of course, the re-animation of my rock band from the late 70s -- The Notekillers. But Ive continued, through all of the changes, to maintain my grounding in my love of the drone and associated acoustical phenomena -- a love affair that began in my teenage psychedelic years and will, no doubt, be a most significant aspect of my music path for as long as I am at it. The tracks here represent almost every major work created from 1996 to the present and Im grateful that they will be heard by a wider swath of people than those who lived in NYC or happened to be at one of my touring performances during these years.\" - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Triple CD","offer_id":52002517831,"sku":"16667-XI","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-2728514-1298353423_jpeg.jpg?v=1571718225"},{"product_id":"watson-david-fingering-an-idea","title":"WATSON, DAVID - Fingering an Idea","description":"\u003cp\u003e2007 release. \"Fingering an Idea (a phrase pulled from a Chris Mann piece) resulted from a Phill Niblock invitation to make a double CD for bagpipe and guitar. A bagpipe CD is a particular challenge. A high beam spatial explorer, it is the kind of unstable phenomena that is hard to enjoyably reproduce on your stereo player. The first pipe recording session was an ensemble piece, the score including walks around the concert hall. The second, a solo multi-track session. The third with Rob Ramirez, recorded material was played back in the concert hall through an eight-channel MSP patch. A carnival of colliding pans, exits and entrances, re-recorded for stereo. For -¢‚Ǩ-ìSinister,-¢‚Ǩ¬ù an old cassette recorded at Amica Bunker was the original germ. A sequence of re-tuning and de-stringing, starting with six strings pitched across a whole-tone and ending with an improvisation on one string. This old piece was dusted off and reworked through an image of bell-ringing, another outdoors vernacular.\" --David Watson.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002526471,"sku":"16669-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1121472-1258895519_jpeg.jpg?v=1571718226"},{"product_id":"burt-warren-the-animation-of-lists-and-the-archytan-transpositions","title":"BURT, WARREN - The Animation of Lists and the Archytan Transpositions","description":"\u003cp\u003e2006 release. -¢‚Ǩ-ìThere are any number of ways to hear Warren Burts music for tuning forks; as many ways as there are listeners, probably. The most immediate one is simply to revel in its beauty and enjoy the music as sound. Or, to be more accurate, as clouds of sound; sonic colors that momentarily hover here and there, as they move slowly across the musical horizon. Of course, Warren Burts music may also be heard as the mature work of a major experimental composer, one secure in his craft, and still filled with a sense of sonic adventure. An explorer in sound. A composer willing to experiment with multiple versions of the same piece, not to mention one who allows chance to determine the precise placement of the composite pitches of his three individually composed lines. Each aggregate of the combinations of tones -- because the tuning is acoustically pure and non-tempered -- sounds clearer and more colorful, with unique personalities, and, sometimes, more of an edge. In this tuning, the chance-determined pairings of the composed lines always ring true, with even the dissonances vibrating cleanly, free of acoustic distraction, and with no sonic clutter to muddy up the sound. And within this microtonal world, sounds combine without losing their individuality, as the music slowly reveals its pitch and rhythm in slow, unhurried, chance-determined clouds of sound. In Warren Burts hands, these tuning forks become some strange new instrument, complete with its own exotic tuning system, singing its songs somewhere on the verge of memory.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002534471,"sku":"16671-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-809125-1487297978-3585_jpeg.jpg?v=1571718226"},{"product_id":"behrman-david-my-dear-siegfried","title":"BEHRMAN, DAVID - My Dear Siegfried","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e2005 release. \"David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions. Sam Behrman and Siegfried Sassoon met in 1920, when Behrman, then a young writer working at The New York Times, was sent to interview Sassoon at the start of the English poet's postwar American lecture tour. In that tour Sassoon was billed as \"England's Soldier-Poet.\" He had a reputation both as a war hero and an anti-war poet and peace activist. Many years later, each author wrote about this youthful meeting, which inaugurated a long-lasting friendship and a correspondence, mostly conducted via trans-Atlantic letters between England and America, which continued into the 1950s. \u003ci\u003eMy Dear Siegfried\u003c\/i\u003e provides a performance environment in which musicians interact with texts by the two authors and with music software designed to respond to the performers' actions. The texts and the software elements are arranged as a linear thread along which the piece progresses. In \u003ci\u003eQSRL\u003c\/i\u003e (1998) a sensor listens to what the performer is doing and a computer music system provides responses to information the sensor takes in. \u003ci\u003eViewfinder\u003c\/i\u003e (2002) is a sound installation using software based on homemade synthesizer music of the early 1970s. In \u003ci\u003eA New Team Takes Over\u003c\/i\u003e (1969), homemade synthesizer modules were used in this piece to distort recordings made off the air of press conferences by members of the new Nixon administration following the American election of 1968. \u003ci\u003eTouch Tones\u003c\/i\u003e (1979), from the early days of music done with the help of newly-available, small, inexpensive \"microcomputers,\" made use of a kind of primitive artificial intelligence scheme. \u003ci\u003ePools of Phase Locked Loops\u003c\/i\u003e (1972) was one of four pieces made in response to commissions to the artists of the Sonic Arts Union (Robert Ashley, Alvin Lucier, Gordon Mumma, and Behrman). The recording is from a live performance at Radio Bremen in May 1972.\" - XI.\u003c\/div\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002534599,"sku":"16672-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-791297-1159160591_jpeg.jpg?v=1571718226"},{"product_id":"licht-alan-a-new-york-minute","title":"LICHT, ALAN - A New York Minute","description":"\u003cp\u003e2003 release. -¢‚Ǩ-ìAlan Licht wears many hats. Over the years, hes been a curator of music as well as a tireless performer. And hes as well-known an author as he is a musician. Its one thing to have eclectic tastes; its another to make a practice of them. While Lichts earlier records have seamlessly melded his improvisational guitar playing with extended plundered sounds, A New York Minute takes things a few steps further. Instead of fusing the many sides of Licht into one monolithic mega-mix, this disc separates them into discrete compositions. Theres a lot more at stake here: the guitar pieces are showcased as guitar pieces and the plundered works are just that. The conceptual tendencies in Licht no longer hide behind his talent as a guitarist; likewise, the guitar pieces are no longer propped on hooky concepts that take our attention away from his fretwork. The good news is that both work: Licht is as strong a conceptual artist as he is a composer.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002534855,"sku":"16673-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1016072-1184392704_jpeg.jpg?v=1571718226"},{"product_id":"schumacher-michael-j-room-pieces","title":"SCHUMACHER, MICHAEL J. - Room Pieces","description":"\u003cp\u003e2003 release. -¢‚Ǩ-ìMuch has been written to guide listeners through the course of a preconceived form. Although Michael J. Schumachers music is distinctly his own it has been inspired by David Tudor and Morton Feldman as well as La Monte Young. Like their music it is about hearing sounds in themselves, about allowing the ear to register sonorities and then the hearing imagination may go to work, navigating amongst temporal realities and imaginary spaces, negotiating between a sense of control and perceived randomness, stasis and movement, finitude and limitlessness, Schumacher thrives on those creative tensions. At its most personal and expansive his singular music has the capacity to convey \"intimate immensity.\" Room Piece provides a unique solution and musical experience in reference to \"the room.\" Generated by a specific method and possessing a decidedly emotional character, Room Piece is not merely \"ambient music\" but creates a bridge between the \"eventfulness\" heard in Cage-ian and serial music, and the new American drone music that has arisen intuitively to create the sound of a vibrant universe with rich interior activity.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002535047,"sku":"16674-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-693198-1148460417_jpeg.jpg?v=1571718226"},{"product_id":"montgomery-gen-ken-pondfloorsample","title":"MONTGOMERY, GEN KEN - Pondfloorsample","description":"\u003cp\u003e2002 release. -¢‚Ǩ-ìThese two discs represent some of Gen Ken Montgomerys sound art and compositional work from 1981-2001. Pondfloorsample is a collection of sonic explorations utilizing common devices meant to hold something other than sound. As with much of his sound work, the sonic material contains many sounds of everyday life. Having composed extensively for multi-channels, Pondfloorsample was specifically designed as a stereo audio piece enabling Montgomery to reach a larger audience. His work always begins with listening to the world. He works within processes, defining a set of conditions by which a piece will unfold itself. Sometimes he takes the familiar -- sounds of icebreakers, radiators, laminators, egg slicers, bath drains, etc. -- amplifying their familiarity, all the time asking us to hear the world a little differently. Other times he constructs a vapor of mesmerizing sound that is entirely disassociated with things that you know or instruments that can be visualized. These are sounds that you can see. He has a Cageian appreciation of ambient noise.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002555655,"sku":"16675-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-703966-1458004362-3219_jpeg.jpg?v=1571718226"},{"product_id":"band-ellen-90-post-consumer-sound","title":"BAND, ELLEN - 90% Post Consumer Sound","description":"\u003cp\u003e2000 release. From the liner notes by Tim Perkis: \"Ellen Bands work... lies in the path it takes, leading one from listening to recordings of natural sounds to, before one knows it, being immersed in a dense and complex field of sound which, though built completely from natural elements, is something quite transcendent and otherworldly. Bands music seduces us into perceiving the sensuous properties of familiar sounds by building dense and complex sound environments out of these elements. By sheer sensory density we are brought face-to-face with the physical, vibrational reality of sounds, bringing us to a state of attention to what we perhaps have lazily ignored through over-familiarity. The ever-active yet somehow static nature of some of these pieces, as they reach very rich sonic densities, start opening like rich noise sources, providing a field for auditory illusion and hallucination. Its as if our perceptual apparatus, brought to a high state of awareness by the odd combination of familiarity and extreme density, begins providing its own guesses about the meaning of it all -- aural hallucinations.\" From the liner notes by Brenda Hutchinson: \"At the end of each of Ellen Bands pieces, we return to the -¢‚Ǩ-ìreal world-¢‚Ǩ¬ù as it was heard in the beginning. The sounds are now full of memories with the residue of where they have been. Its hard to hear a simple, familiar sound again without imagining what its -¢‚Ǩ-ìother life-¢‚Ǩ¬ù is like.\" - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002564679,"sku":"16676-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-779318-1157903222_jpeg.jpg?v=1571718226"},{"product_id":"johnson-tom-the-chord-catalogue","title":"JOHNSON, TOM - The Chord Catalogue","description":"\u003cp\u003e1999 release. \"Tom Johnson composed The Chord Catalogue in 1986 and has performed it numerous times around the world since then. This is the first recording. The score consists of a set of verbal instructions and is included in the CD booklet.-¢‚Ǩ¬ù - XI. \"Extreme and, one would think, extremely simple. A lesser man would have arranged those 8178 chords in some symphonically meaningful, or else quasi-random order. But Johnson proceeded methodically up the chromatic scale from two notes at a time, three, four, and so on to 13. By the time we reach ten note chords, the information overload was such that the differences were hardly perceptible, a situation reminiscent of serial music. Far from being heavy handed minimalism, The Chord Catalogue was a pointed lesson in music history and the relativity of perception\" --Kyle Gann, The Village Voice. \"I have often tried to explain that my music is a reaction against the romantic and expressionistic musical past, and that I am seeking something more objective, something that doesnt express my emotions, something that doesnt try to manipulate the emotions of the listener either, something outside myself. I like to think of The Chord Catalogue as a sort of natural phenomenon -- something which has always been present in the ordinary musical scale, and which I simply observed, rather than invented. It is not so much a composition as simply a list.\" - Tom Johnson.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002573063,"sku":"16677-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/XI123CD_CU.jpg?v=1707425938"},{"product_id":"goldstein-malcolm-the-seasons-vermont","title":"GOLDSTEIN, MALCOLM - The Seasons: Vermont","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e1998 release. \"\u003ci\u003eThe Seasons: Vermont\u003c\/i\u003e is a soundscape of Vermont as charted through the changes of its yearly soundings. It is a composition in four parts (Summer, Autumn, Winter, Spring) for magnetic tape collage with an unspecified live instrumental\/vocal ensemble. Though the actual composing of the music was completed between 1980 and 1982, it is the realization of a ten-year composition project. Goldstein listened closely and became attuned to what was the particular sound quality of each season in Vermont. He then took the sounds that he had recorded and made a tape collage which, for him, arrived at that particular, essential quality of each season. This recording is the complete, unedited premiere performance that took place on Feb. 26 1983 at Real Art Ways in Hartford, CT. The booklet contains examples of the scores as well as excerpts from Goldstein's journals from 1977-1982.\" - XI.\u003c\/div\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002593415,"sku":"16680-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI120CD_CU.jpg?v=1574433537"},{"product_id":"lockwood-annea-ruth-anderson-sinopah","title":"LOCKWOOD, ANNEA\/RUTH ANDERSON - Sinopah","description":"\u003cp\u003e1998 release. \"This is not an album of environmental sound for relaxation, though listening to it might have a calming effect. Nor is it sonic nostalgia for a tame or even cute nature. Some of these sounds (especially if played loudly on speakers with good bass response) can bite!\" --Warren Burt. \"World Rhythms\" originated as a ten-channel live improvisation in which the audience was surrounded by ten loudspeakers. The recorded sounds include volcanic eruptions, earthquakes, radio waves, geysers and pools, and tree frogs. These sounds are a physical manifestation of energies which shape us and our environment constantly, energies of which we are not always aware, but which powerfully influence and interact with the rhythms of our bodies. \"i come out of your sleep\" follows a tradition of sound poetry, or text-sound, begun in part by Kurt Schwitters Ursonate and expanded by composers such as John Cage, Charles Amirkhanian, and Jackson Mac Low. The piece is based on the speech vowels in Louise Bogans poem, \"Little Lobelia.\" The vowels are whispered and elongated; their shapes become breathed melodic arcs and tones, and that breathing becomes the core of a stylized meditation.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002609031,"sku":"16682-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-415721-1110392960_jpg.jpg?v=1571718226"},{"product_id":"logos-duo-works","title":"LOGOS DUO - Works","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e1995 release. \"\u003ci\u003eLogos Works\u003c\/i\u003e contains eight works by the Logos Duo featuring both Moniek Darge and Godfried-Willem Raes on various instruments, as well as other performers on a wide range of instruments. \"This latest recording comes as they look back upon 25 years of collaboration as the Logos Duo. More than a retrospective, we see them affirming a long artistic relationship and forging new horizons -- together and on divergent musical paths. In this, their work is a metaphorical journey: an inward exploration of the elegance of algorithmic composition and a voyage out into distant soundscapes. This CD from Godfried-Willem Raes and Moniek Darge is both a literal and figurative journey; in sound and music we have the Yin­Yang energy that is the Logos Duo. Enjoy listening!\" - Douglas Quin.\u003c\/div\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002609991,"sku":"16683-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI117CD_CU.jpg?v=1574433653"},{"product_id":"zummo-peter-experimenting-with-household-chemicals","title":"ZUMMO, PETER - Experimenting with Household Chemicals","description":"\u003cp\u003e1995 release. \"Experimenting With Household Chemicals explores a trombone-specific method for generating melodic movement, as well as a collection of related, \"spinoff\" melodic material for ensemble. This method is a new way of seeing and combining slide and lip movements, so that performance can precisely follow well-defined mental diagrams while generating unexpected melodic material not conditioned by other, more common musical habits.\" - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002614983,"sku":"16684-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-614584-1138649334_jpeg.jpg?v=1571718226"},{"product_id":"lainhart-richard-ten-thousand-shades-of-blue","title":"LAINHART, RICHARD - Ten Thousand Shades of Blue","description":"\u003cp\u003e2001 release. -¢‚Ǩ-ìBronze Cloud Disk (1975) for multitracked, processed bowed tam-tam; Two Mirrors Face One Another (1976) for multitracked, processed bowed Japanese temple bells; Cities of Light (1980) for multitracked, processed voice; Ten Thousand Shades of Blue (1985) for realtime interactive computer music system; Staring at the Moon (1987) for realtime interactive computer music system with bowed and struck vibraphone; Walking Slowly Backwards (1989) for vibraphone.-¢‚Ǩ¬ù - XI. \"Lainharts music rings true to the spirit of possibility that once defined electronic music. It brings with it a sense of past, present and future that transcends time, technology and cultural assumptions. Its a music that is beholden to no one, yet informed by a diverse sphere of appreciations, rich in both intellectual and emotional interest, at once distant and interior, actual and implied\" --Ron Goldberg. \"Lainharts sounds change slowly in their overall shapes. But the changes are slow to keep us aware of the processes of transition that the sounds contain. As Lainhart says it, The natural processes that I tend to like and observe are slow processes, that bear up under active listening... and that active listening at a level of greater detail, so my sounds are sufficiently complex so that they can be listened to in depth.\" --Joel Chadabe.\u003c\/p\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":52002615239,"sku":"16685-XI","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-596801-1136495320_jpeg.jpg?v=1571718226"},{"product_id":"niblock-phill-music-by-phill-niblock","title":"NIBLOCK, PHILL - Music By Phill Niblock","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e1993 release. \"\u003ci\u003eMusic by Phill Niblock\u003c\/i\u003e features The Soldier String Quartet performing in \u003ci\u003eFive More String Quartets\u003c\/i\u003e, a piece for five multi-tracked string quartets and in \u003ci\u003eEarly Winter\u003c\/i\u003e for flute, bass flute, string quartet, and synthesizer, also featuring Susan Stenger (flute) and Eberhard Blum (bass flute). In \u003ci\u003eFive More String Quartets\u003c\/i\u003e the musicians are tuned to specific pitches by calibrated sine tones as they play and the sound they produce is recorded, unprocessed, to multitrack tape. The piece is built up by means of multitrack recording. \u003ci\u003eEarly Winter\u003c\/i\u003e has a different structure: a mixing of recorded instruments, computer controlled electronic instruments, and live instruments in the studio.\" - XI.\u003c\/div\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002615751,"sku":"16686-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI111CD_CU.jpg?v=1574433414"},{"product_id":"mac-low-jackson-open-secrets","title":"MAC LOW, JACKSON - Open Secrets","description":"\u003cp\u003e1993 release. -¢‚Ǩ-ìOpen Secrets features Mac Low and Anne Tardos performing works for multi-track voices; and Robert Bethea, Andrew Bolotowsky, Daniel Goode, and Gabriela Klassen performing instrumental pieces. \"Winds\/Instruments\" for flute, clarinet, trombone, violin, and narrator could well become a classic of new music, not only being beautiful, but also displaying Mac Lows witty use and love of words. Jackson Mac Low was first published in 1942. His multi-faceted career covers music, poetry, painting, performance, radio, and multimedia. Widely recognized for his work in the 1960s Fluxus movement, Mac Low has continued to produce musical works that meld aspects of several disciplines. In 1954 he adopted nonintentional procedures, including chance operations, indeterminancy, and related methods, but has also written and composed extensively by intentional methods. His many \"simultaneities\" include musical, verbal, and visual elements, usually involving guided improvisation and indeterminancy.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002615943,"sku":"16687-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-751235-1155083251_jpeg.jpg?v=1571718226"},{"product_id":"johnson-tom-music-for-88","title":"JOHNSON, TOM - Music for 88","description":"\u003cp\u003e1992 release. -¢‚Ǩ-ìSimplicity and clarity have always been among Tom Johnsons chief concerns as a composer. They led him to research number theory, particularly by Pascal, Fermat, and Euclid. These sources suggested musical structures somewhat more complicated than those he had used before. Music for 88 contains nine sections (six of which are on this recording), each of which is a musical demonstration of a mathematical phenomenon.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002628039,"sku":"16689-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-415700-1110391961_jpg.jpg?v=1571718226"},{"product_id":"behrman-david-unforeseen-events","title":"BEHRMAN, DAVID - Unforeseen Events","description":"\u003cp\u003e1991 release. -¢‚Ǩ-ìUnforeseen Events is one of many pieces David Behrman has made with computer software designed to interact in real time with a solo performer. The four sections recorded here were made specifically with Ben Neills performance style in mind. The electronic timbres are intended to complement the sounds of his instrument, the admirable and humorous mutantrumpet, with its three separately-mutable and playable bells. Refractive Light consists of three small pieces based on an interweaving and overlapping of simple phrases. A musician strikes pitches that trigger responses in the form of sustained tones. The tones die out after a few seconds. While a tone is on it deflects the pitches of other \"on\" tones, so that harmonic changes occur at the on-and-off edges of overlappping layers. The idea can give rise to a kind of fanning or breathing rhythm that adapts itself to different styles of playing, and to a harmonic vocabulary with dozens or scores of family members.-¢‚Ǩ¬ù - XI.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002631623,"sku":"16690-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-415693-1110391329_jpg.jpg?v=1571718226"},{"product_id":"niblock-phill-four-full-flutes","title":"NIBLOCK, PHILL - Four Full Flutes","description":"\u003cp\u003e1990 release. -¢‚Ǩ-ì-¢‚Ǩ¬ùPhill Niblocks music has no precedents, invites no comparisons, and doesnt even suggest any metaphors to me. It is simply itself and must be heard to be believed,-¢‚Ǩ¬ù wrote Tom Johnson in The Village Voice a decade ago. The same is true today--no one is doing what Phill Niblock is doing. Niblock takes the building blocks of music and stacks them in inimitable formations. In Four Full Flutes, adjacent tones beat violently against one another while clouds of harmonics hover above the wavering drone... When the piece ends, it takes the listener a few moments to recover. This physiological experience, when the ossicles slow their vibrating and the membrane hairs come to a standstill, is probably the only aspect of the music not regulated by the score... Playing this compact disc in a different room or moving around the room while the disc is being played actually alters the outcome. Similarly, the music can be experienced anew through different combinations, extra speakers, home stereo pyrotechnics, and volume level alterations. The effects intensify with louder levels of volume. The higher the volume goes, the higher you go\" --Neil Strauss. \"The aural effect is minimal to the max, but it isnt simplistic. The tones vibrate and glow, the densely packed texture shifting hues like a sonic aurora borealis\" --John Rockwell, The New York Times. \"The four pieces on this 80-minute CD are for multiple tracks of alto flutes, flutes, flutes and alto flutes, and bass flutes, performed by Petr Kotik, Susan Stenger, and Eberhard Blum.\" --Phill Niblock.\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":52002635271,"sku":"16691-XI","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-415670-1277237356_jpeg.jpg?v=1571718226"},{"product_id":"ross-leslie-drop-by-drop-suddenly","title":"ROSS, LESLIE - Drop By Drop, Suddenly","description":"\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eXI Records releases \u003c\/span\u003e\u003ci\u003eDrop By Drop, Suddenly\u003c\/i\u003e\u003cspan\u003e, a two-CD set of eleven compositions for bassoon composed and performed by \u003c\/span\u003e\u003cb\u003eLeslie Ross\u003c\/b\u003e\u003cspan\u003e. Ross is not only an internationally renowned instrument builder but is also an uncompromising creative musician. The first disc starts with a series of short seed pieces that play primarily with the timbral and microtonal differences highlighted between tone-holes, forming a layered effect while playing with only one fingering, single note or multiphonic. They range from the strictly tonal or modal pitch-centered to a thicker atonal and dissonant collection of frequencies. Pieces progress to longer complex ones by the second disc, some of which have as minimal material as the shorter ones, but make more extensive use of live multi-track recordings and frequency filters to further bring out changes in frequencies or accentuate specific multiphonics. The electronics used were created explicitly for each composition using the computer-based program MAX\/MSP. Save for the unconventional 15 microphones of the \"prepared bassoon\", these recordings include pieces with no sound processing whatsoever, as well as pieces that do involve sound processing and multi-tracking. Importantly, however, any processing is made in real time, not post-recording. All recordings are single-take recordings where four speaker channels along with room microphones have been mixed down to stereo. Key clicks occasionally get picked up in a loop recording to return sometimes processed, sometimes not, while in circular breathing a multiphonic might drop out before sounding again. What might sound like clicks or occasional drop outs on some pieces are not overlooked mastering faults but the result of this live processing, presenting these pieces as they would be in performance. With a formal background in classical music and early performance practice, Leslie Ross took a plunge into the free improvisation scene of downtown New York in the mid 1980's and has immersed herself in experimental music ever since. Her connected, parallel, work as a baroque bassoon builder also opened up concurrently into explorations of invented instruments and sound installations. She has presented solo programs, both acoustic and electro-acoustic throughout Europe and the US over the past three decades. In the mid 2000's she returned her music focus to a detailed exploration, analysis and understanding of bassoon multiphonics. It is through this exploration of multiphonics and the subtle changes made when playing with resonance keys that brought her to the music presented on \u003c\/span\u003e\u003ci\u003eDrop By Drop, Suddenly\u003c\/i\u003e\u003cspan\u003e.\" - XI.\u003c\/span\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":13056164429887,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI141CD_CU.jpg?v=1571718518"},{"product_id":"lopez-cecilia-red-machinic-fantasies","title":"LOPEZ, CECILIA - Red \/ Machinic Fantasies","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\"Cecilia Lopez's work is a perfect combination of flavors that slowly reveal themselves as you spend more time enjoying it. It has marvelous layers of sonic explorations that slowly unfold and draw you in. \u003ci\u003eRed\u003c\/i\u003e is more than a musical composition. It roots lie in its physicality. Nestled on a large cargo-like cable web are an array of small speakers and contact microphones. As this web sways the speakers and microphones come in and out of proximity and form an evolving feedback network, which slowly reveal themselves as a myriad of permutations accompanied by sympathetic synthesizer tones. Zero-input mixing works seem to be very popular now, but \u003ci\u003eRed\u003c\/i\u003e takes feedback further, beyond the electronic domain, by its use of a multi-faceted instrument creating a sonic architecture intertwined with the resonances of acoustical spaces. Her \u003ci\u003eMachinic Fantasies\u003c\/i\u003e, a kind of performed installation, explores another set of instruments she has constructed using two hand-rotated, 55-gallon drums each having a speaker inside with multiple cutouts that act as acoustical filters. Her sound materials, derived from field recordings to spoken word and live acoustic\/electronic instruments, are fed into the oil drums and emanate through the holes and are at the same time amplified using microphones placed near the rotating holes. Driven by a detailed score, this recording resulted from a music commission at Roulette in Brooklyn, New York combining the two rotating drum instruments with instrumentalists Jean Carla Rodea, Julia Santoli, Christopher McIntyre, and Joe Moffett. \u003ci\u003eMachinic Fantasies\u003c\/i\u003e also has multiple dimensions with the resonances of the performance space excited by the instruments, the musicians weaving their sounds into the space from different locations, and the ongoing physical rotations of the spinning drums to create a swirling almost hypnotic music.\" - XI.\u003c\/div\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":14007560405055,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI140CD_CU.jpg?v=1571718597"},{"product_id":"childs-mary-ellen-kilter-xi-records-cd","title":"CHILDS, MARY ELLEN - Kilter","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/D7tIWsZCRbU\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e1999 release. \"Kilter is significant as a title because it displays Mary Ellen's habit of insisting we remember what, if left to ourselves, we'd be quite happy to forget. She's moved on, compelled like the rest of us to negotiate a strange, often lovely land, in an oddly menacing time. What she writes are signposts in that land, or lanterns which led the way home one night\" --Bill Morelock, NPR. \"In 'Parterre' transformation works as an almost psychedelic fantasy. Childs juggles a kaleidoscopic assortment of musical colors that are presented as layer upon layer of energized pulsations. These colors later develop and mutate with a wonderfully rich and warm sense of expansion. Childs creates a world where we feel anything could happen -- a truly universal world that's primordial in its understanding of humanity. In the work of Minneapolis composer Mary Ellen Childs, transformation is used to guide carefully and interpret the combined emotional and intellectual experience\" --Bunita Marcus, Elle. \"An enveloping and entrancing audio quilt composed of organic reeds, sylvan accordion, timepiece xylophone, seductive polyrhythms, and somewhat histrionic wordless vocals. 'Parterre' is an altogether surprising, accomplished, beautiful work that creates its own little universe\" --Tom Surowicz, Twin Cities Reader. Performed by Guy Klucevsek (accordion), the SoHo Quartet (Mary Rowell, Mark Feldman, Lois Martin, Erik Friedlander), Relâche (clarinets, saxophones, bassoon, accordion, voice, perc.), Anthony de Mare (piano), Kathy Suprov (soprano), Dora Ohrenstein (soprano), Phillip Bush (piano).\u003c\/p\u003e","brand":"XI","offers":[{"title":"CD","offer_id":31313489788991,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI114CD_CU.jpg?v=1574436453"},{"product_id":"goode-daniel-clarinet-songs-xi-records-cd","title":"GOODE, DANIEL - Clarinet Songs","description":"1993 release. \"Daniel Goode's Clarinet Songs has long been a favorite on the new music concert circuit. It is a 75-minute suite for solo clarinet which Goode began writing for himself in 1979, and reached its current form in 1991. It uses all of Goode's virtuosic techniques distilled into sixteen \"Songs without Words,\" a poetics of the new clarinet. It is made up of a series of individual pieces, each a sound world of its own, based on some unique material, perhaps a specific technical, poetic, or sonic idea, or some synthesis of these. Most use circular breathing for continuity and use alternate fingerings which produce non-tempered intervals with unusual, striking timbres.\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313489887295,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI113CD_CU.jpg?v=1574436455"},{"product_id":"krieger-ulrich-raw-respace-xi-records-2cd","title":"KRIEGER, ULRICH - \/RAW:ReSpace\/","description":"\"Ulrich Krieger's \/RAW:ReSpace\/ is the first ever experimental noise-metal saxophone solo album, changing and redefining how the saxophone can sound and what saxophone playing means. No saxophone player has ever dared to explore these uncharted outer realms of woodwind expression. RAW brings together noisescapes, electronica, death- and doom-metal approaches, and contemporary instrumental composition techniques, while ReSpace combines soundscapes of dark ambience and controlled feedback with a reductionist approach to create eerie ambient sound-fields. All sounds are saxophone-produced and performed live, with no sampling and no purely electronic sounds. RAW and ReSpace are part of the ongoing Universe series. Krieger is well known as a saxophone player in the worlds of rock, noise, contemporary composition, and free improvised music, and as a composer of chamber music and electronic music. He has been active in pushing the boundaries of saxophone playing in general and the function of the saxophone in rock and noise in particular, collaborating with Lou Reed (Metal Machine Trio, Lou Reed Band), Lee Ranaldo (Text of Light), Faust, and Zbigniew Karkowski, in addition to leading his own death-doom-noise-metal band Blood Oath. His original compositions vacillate between just intonation, silent music, noise, and instrumental electronic, often asking for elaborate amplification, and exist in the abysses of rock culture, refusing to accept stylistic boundaries. In his distinct style of amplified saxophone playing, Krieger processes refined acoustic and quasi-electronic sounds, using his saxophone more as an analog sampler than a traditional finger-virtuoso instrument. By amplifying his instrument in various ways, he gets down to the grains of the sounds, changing their identities and structures from within. Ulrich Krieger: electric tenor saxophone, saxophone-controlled feedback, pedals, delays, ¼-inch jack cable, vocals; Joshua Carro: drums (CD 1 tracks 3 and 5). In his liner notes, Ivar Bjørnson of Enslaved writes, \"When Ulrich introduced his 'acoustic electronic' concept, there was another door blown wide open, and another glorious field of pure expression revealed. There is an openness, and a level of abstraction to the music that leaves room for 'me' to exist within the music; I can bring my own associations, patterns and inner visuals -- and let it blend, mutate and morph into the intended delivery from the artist. The acoustic element in Ulrich's music makes the sonic reality deeper, as the organic qualities of acoustic-to-electronic resonate with the mind and flesh in a way electronic-to-electronic cannot.\"\" - XI Records.","brand":"XI","offers":[{"title":"Double CD","offer_id":31313490739263,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI137CD_CU.jpg?v=1574436456"},{"product_id":"klucevsek-guy-flying-vegetables-of-the-apocalypse-xi-records-cd","title":"KLUCEVSEK, GUY - Flying Vegetables of the Apocalypse","description":"1991 release. \"Guy Klucevsek is teaching the accordion to whoop and wheeze in strange new ways. Once condemned to drunken requests for \"Who Stole the Kishka\" and \"The Happy Wanderer,\" this virtuoso now plays deconstructed, reconstructed art songs and dance tunes, translated into a metalanguage of his own making. His is a musical Esperanto fashioned from hocketed melodies, giddy with arabesques; Henry Cowell-style tone clusters; the eerie difference tones of \"acoustic phenomena\" composer Pauline Oliveros; the hypnotic phasing and locomotive ostinatos of early minimalism; low-register drones punctuated by high-register yips, in a manner reminiscent of Scottish bagpipe and Bulgarian accordion music; dark, György Ligeti-ish sound clouds, lit from within by lightning-like melodic flickerings; the metric modulations of Elliot Carter; a Morton Feldmanesque sense of grand gestures, and of microscopic movements; an appropriation aesthetic shared with John Zorn and other New York avant-gardists; and a rollicking, roisterous energy borrowed from dance forms and folk music the world over. In Flying Vegetables of the Apocalypse, Klucevsek gives us a postmodern conundrum: dance music informed by avant-garde styles designed to be listened to in a straight-backed chair, wearing starched duds and too-tight shoes; art music enlivened by dance musics best appreciated while slipping and sliding over sweat-slick floors. It is, refreshingly, a holistic postmodernism rather than an explosion in the Toontown sound-effects department. The identities of the Slavic, South American, and American idioms from which the composer draws inspiration are preserved, while the twentieth century classicism that is his anchor remains unshakable. Ensemble pieces for strings, percussion, guitars, and woodwinds on Flying Vegetables of the Apocalypse feature Bobby Previte, Tom Cora, David Hofstra, John King, Laura Seaton, and more.\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491230783,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI104CD_CU.jpg?v=1574436458"},{"product_id":"cameron-allison-raw-sangudo-xi-records-cd","title":"CAMERON, ALLISON - Raw Sangudo","description":"1995 release. \"Allison Cameron's compositions can be characterized as rigorous forms within which specific sound worlds are explored. She experiments with the physicality of sound on various instruments, using pithy material to exploit instrumental colors. Most of her works to date have been written for a variety of chamber ensembles encompassing both traditional and unusual groups of instruments. \"Cameron takes her ideas and plunges them into darkness. There is nothing objective in this approach. Cameron's music has something to hide. By highlighting only a few musical features while restricting all others, Cameron puts a tiny corner of the musical world into very fine focus. It is like illuminating the universe with a pen-light. Compare this to the barely contained brutality of 'A Blank Sheet of Metal.' This piece is never quiet -- its soft moments are full of the tension of loud, powerful, angry arguments being forcibly held back. The restraint is deafening: those moments when the tension erupts or the loopy melody at the end can't clear the ominous air. It is a dark and unclean ritual, a terrifying vision of the world. Allison Cameron's great strength is that she has lifted that lid -- slightly, not enough to let the terrifying mixture spill out, but just enough to give a sense of the darkness, the dirt, and the raw, crude power of real life.\" --David Lang\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491263551,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI112CD_CU.jpg?v=1574436459"},{"product_id":"leach-mary-jane-celestial-fires-xi-records-cd","title":"LEACH, MARY JANE - Celestial Fires","description":"1993 release. \"The works of Mary Jane Leach explore the physicality of sound, working very carefully with the timbres of instruments, creating combination, difference, and interference tones. Space is also an important concern: how sound changes when it is moved around a room. \"Either enmasse or in antiphonal clusters, Ms. Leach's slow-paced and soothing music seemed intent on filling this high-ceilinged space with different densities of sound\" --Bernard Holland, The New York Times. Celestial Fires features the New York Treble Singers (Virginia Davidson, conductor) performing four eight-part pieces for a capella women's voices; Shannon Peet performing \"Feu de Joie\" for seven bassoons; and Barbara Held and Ms. Leach performing \"Trio for Duo\" for alto flute and voice.\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491296319,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI107CD_CU.jpg?v=1574436462"},{"product_id":"joseph-dan-electroacoustic-works-xi-records-2cd","title":"JOSEPH, DAN - Electroacoustic Works","description":"\"Electroacoustic Works collects three major pieces from the early 21st century New York-based composer Dan Joseph. This double CD release includes Set Of Four, a group of fixed-media sound collages using the processed hammer dulcimer as the primary sound source, two live performances of Dulcimer Flight for electroacoustic hammer dulcimer, and a 64-minute version of Periodicity Piece #6, a mixed-media work that originated as a multi-channel sound installation. With roots in early minimalism, ambient music, and acoustic ecology, the works herein represent a significant subset of the composer's larger body of work from the past twenty years that he has developed alongside an active career as a composer of instrumental chamber music. Dan Joseph began his career as a drummer in the punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground. He spent the '90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran, Mel Powell, and Terry Riley. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music.\n\nFrom the liner notes by Alan Licht: \"What's striking about Dan Joseph's music is that it's drone oriented but also mindful of timekeeping. This would seem to be a paradox: most drone-based music and\/or classic minimalism often reaches for a feeling of cosmic timelessness, or a sense of perpetuity via repetition, but the pieces on these discs all demarcate time in some way . . . Duration, another minimalist conceptual hallmark, is a means to an end rather than an end in itself for Joseph: the combination of simple harmonic material and extended lengths of time allows for more activity that is readily perceived, rather than to set up a near-static hypnotic state that is only occasionally jostled by a subtle shift in the music . . . In the computer age, digital memory and storage capacity are crucial technological attributes and an everyday concern; Dan's electroacoustic pieces set up their own kind of memory banks for both the performer and the listener. The musical information is being supplied to and retrieved from both electronic and mental repository systems. This is post-minimal music where repetition is a mnemonic device, rather than a tool for trance or head-clearing.\"\" - XI Records.","brand":"XI","offers":[{"title":"Double CD","offer_id":31313491361855,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI138CD_CU.jpg?v=1574436463"},{"product_id":"forward-fast-same-same-xi-records-cd","title":"FORWARD, FAST - Same Same","description":"1995 release. \"Fast Forward is a composer and performer best known for his compositions for percussion, and music theater works for diverse instrumentation. His compositions push the juxtapositions of structured rhythms and total chaos to their limit, delivering a sonically dense and theatrically gripping performance. Same Same is a collection of live recordings from three concerts that took place in New York City during the period 1990-1994, with Takehisa Kosugi, David Moss, Ben Neill, Ikue Mori, David Shea, James Lo, Yuval Gabay, Guy Klucevsek, Michelle Kinney, Alex Tobias.\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491492927,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI108CD_CU.jpg?v=1574436465"},{"product_id":"schumacher-michael-j-five-sound-installations-xi-records-dvd-rom","title":"SCHUMACHER, MICHAEL J. - Five Sound Installations","description":"2007 release. \"Five Sound Installations is a DVD-ROM (for Mac and PC) that contains five sound compositions generated in \"real time\" by a computer algorithm. The works are: \"Room Piece Twenty-Four\"; \"Noema\"; \"Steiner Suite\"; \"Unintending\"; \"Scene.\" Sound Art, algorithmic composition, chance operations, multi-channel sound systems, immersive installations, computer music; these terms all intersect at a point defined by Michael J. Schumacher's Five Sound Installations. Schumacher is a composer, curator (he runs Diapason, NY's only \"sound art\" gallery), and performer. His output at the time of this release includes five solo CDs, but these were by necessity adaptations of works designed for more or less \"permanent\" listening situations, in which auditors could explore various modes of listening within sound environments. These works were composed with installation settings in mind -- they had no \"beginning-middle-end\" (even out of order) in the traditional sense. For the CD releases, the pieces needed to be manipulated in various ways to accommodate the medium. A better way needed to be found. Schumacher has always been interested in creating algorithmic works that extend the boundaries of the genre, investing them with hundreds of constituent parts that form sonic mobiles in space and time. Now he presents the ambitious (and technically savvy) listener with a means to experience Schumacher's installations in the home, through up to eight separate speaker channels and for as long as the computer keeps running. No question, this is not an iPod experience! For some, just understanding the reason for such a project will be difficult. But the composer and XI believe that the time is apt for challenging a complacent public and industry. This release, more than anything else, is a challenge to break boundaries in both content and distribution, a call for a new way of thinking about sound in the home, which is more than ever the predominant place for listening. NOTE: These compositions must be installed on a computer to be heard. Instructions are enclosed. Minimum system requirements: one gig processor speed, five gig free disc space; Mac OS 10.3 or Windows XP.\" - XI Records.","brand":"XI","offers":[{"title":"DVD-ROM","offer_id":31313491558463,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI133DVD_CU.jpg?v=1574436466"},{"product_id":"fullman-ellen-body-music-xi-records-cd","title":"FULLMAN, ELLEN - Body Music","description":"1993 release. \"Body Music is music for Ellen Fullman's unique Long String Instrument, an 80-foot long instrument with approximately 80 strings. Fullman has long been developing this instrument for longitudinally vibrating long strings. Having received a BFA in sculpture, her interest in music began with the resonance of materials used in making sculpture. When she started making the Long String Instrument, she saw it as \"sculpture as music\"; now she has come full circle in conceiving \"music as sculpture.\" For the most part, the music in Body Music relies harmonically on the diatonic scale. Because of the prominence of overtone content, more complex harmony is suggested. Through her studies of extended harmony, Fullman has come to realize that harmony is \"dimensional.\"\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491623999,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI109CD_CU.jpg?v=1574436468"},{"product_id":"radigue-eliane-trilogie-de-la-mort-xi-records-3cd","title":"RADIGUE, ELIANE - Trilogie de la Mort","description":"2019 restock; 1998 release. \"Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.\" - XI Records.","brand":"XI","offers":[{"title":"Triple CD","offer_id":31313491689535,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI119CD_CU.jpg?v=1574436469"},{"product_id":"vierk-lois-v-simoom-xi-records-cd","title":"VIERK, LOIS V. - Simoom","description":"1990 release. \"Lois V Vierk creates music with a distinctiveness that flows from a mixture of the intense analytical disciplines of her composition teacher Leonard Stein, and the gentle admonitions of her Japanese Court Music teacher Suenobu Togi to \"just do it.\" The influences of Vierk's long study of Gagaku (the Imperial Court Music of Japan) do not show on the surface. Rather they are heard in knowing that what has happened and what will happen are part of a sure path toward fulfillment. Gagaku unfolds with ceremonious slowness. Time seems to be suspended before the taiko drum sounds its next musical heartbeat. But the drum does sound, and when it does, it divides the music that has just passed and that which is to follow, all part of an elegant musical order. The elegance and order of Vierk's music, like Gagaku, touch the heart of the person who listens, who takes time, who is open. On Simoom we hear three of Vierk's works for \"big instruments,\" that is, multiples of the same instrument, treated more like single entities than like groups of voices: \"Go Guitars\" for five electric guitars tuned microtonally around \"E,\" \"Cirrus\" for six trumpets, and \"Simoom\" for eight cellos. All three works employ what Vierk describes as \"Exponential Structure,\" which utilizes exponential relationships to control time, pitch movement and rates of change. Within this system, Vierk creates very directional compositions possessing high energy. As in Gagaku, they unfold slowly. Although clearly building on the work of minimalist composers, Vierk's music is much more concerned with constant development and climax. This disc offers virtuoso performances by David Seidel, electric guitar; Gary Trosclair, trumpet; and Theodore Mook, cello.\" - XI Records.","brand":"XI","offers":[{"title":"CD","offer_id":31313491722303,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI102CD_CU.jpg?v=1574436470"},{"product_id":"waller-michael-vincent-the-south-shore-xi-records-2cd","title":"WALLER, MICHAEL VINCENT - The South Shore","description":"\"XI Records is pleased to announce the debut full-length release from Michael Vincent Waller, The South Shore, featuring chamber works from 2011 through 2014, with album art photography by Phill Niblock. Waller has collaborated with numerous musicians and ensembles to bring this album to life. This kind of listening is for the brain to relax and enjoy, for the soul and emotions together as art for the universal. Reveling in subtext and subtlety, a symbiotic exploration of the history and future of musical life. \"Blue\" Gene Tyranny, in his liner notes to The South Shore, writes, \"The music of Michael Vincent Waller offers a welcome and rare alternative to the tempo and noise of modern life. These touching miniatures employ the pure modal scales first described by ancient Greek philosophers and sustained through millennia in the folk song of many lands, in religious chant, and in the modern era by the works of composers such as Erik Satie (especially his monodrama Socrate) and Terry Riley (especially A Rainbow in Curved Air). Waller's music convinces us by its honest emotion, which avoids any artifice that would dramatically pull us toward some effect. Although it is the first time we have heard these works, we seem to immediately understand the intimate feeling they refer to.\" Experimental Intermedia Foundation, founded in 1968 by Elaine Summers, has been presenting performances since 1973, produced and curated by composer Phill Niblock. As an offshoot of Experimental Intermedia, XI Records was formed in 1990, with the main purpose of presenting a series of compact discs highlighting the music of contemporary artist-composers whose works are original and galvanizing. The intent of XI is to extend the experience of these engaging and pioneering works beyond the performance space into the home. XI's catalog includes Phill Niblock, Éliane Radigue, Tom Johnson, David Behrman, David First, David Watson, Lois V. Vierk, Ellen Fullman, Philip Corner, Malcolm Goldstein, Annea Lockwood, and many more.\" - XI Records.","brand":"XI","offers":[{"title":"Double CD","offer_id":31313491755071,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI136CD_CU.jpg?v=1574436472"},{"product_id":"morrow-charlie-toot-xi-records-3cd","title":"MORROW, CHARLIE - Toot!","description":"2011 release. \"Charlie Morrow (b. 1942) is a sound artist, composer, sound poet, event maker. Charlie Morrow is a conceptualist whose music- and sound-work explores many styles and forms, from events for media and public spaces to commercial soundtracks, new media productions, museum installations and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Charlie Morrow, for an artist who has been making music for over 50 years, has been vastly underrepresented on recordings. This three-CD retrospective set attempts to rectify that situation to some degree. The 15 works on these discs span the years from 1957-2007 and include: Morrow's first major work, Very Slow Gabrieli, a super slow motion performance of G. Gabrieli's Sonata Pian e Forte for double brass ensemble; Book of Hours of Catherine of Cleves, a beautiful polychromatic, almost tactile collage where chattering sparrows and mellifluous songbirds join the measured undulations of devotional voices. Brass rings out over cradles of bells, doves coo, gulls mew and the wash of the tide ushers in the late medieval intricacies of dulcimer, recorder and viol. You can experience the sound made by herds of instruments through the two instances of Wave Music included in this set. As well as environmental works, chanting pieces, audio collages, and so much more.\" - XI Records.","brand":"XI","offers":[{"title":"Triple CD","offer_id":31313491853375,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI135CD_CU.jpg?v=1574436473"},{"product_id":"rogalsky-matt-memory-like-water-xi-records-2cd","title":"ROGALSKY, MATT - Memory Like Water","description":"2006 release. \"The six (or seven) pieces on these CDs document live performance works which span 1996 to 2006. Most of the solo pieces are structured improvisations, in that they have a broad form which is repeated from performance to performance while the detail is always quite different. Conceived as two halves of a single piece, Resonate (noise) and Resonate (tones) seamlessly crossfade from one to the other. Both are sustained-sound pieces, the first exploring noise textures, the second exploring dense, quasi-orchestral harmonic territory. The three works titled Kash are all related in that they employ the same original software instrument (of that name) initially developed in 2001 and still in use at the time of this release. This software enables me to interact with live performers (or other sound sources) in fluid and lively improvisational situations, accumulating and processing fragments of low-level sounds (the \"spaces between the notes\"). Kash (vln) is a collaborative improvisation between myself and violinist Jane Henry. Sprawl (western magnetics) is a document of a live solo performance. Transform is a manipulation of a live radio signal, tuned to any music station; the frequency content of the source radio program is brought out by a series of tunable delays which create strong harmonic resonances.\" - Xi Records.","brand":"XI","offers":[{"title":"Double CD","offer_id":31313534550079,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI131CD_CU_cdd1ece3-1fed-403c-953c-1f277b8fe229.jpg?v=1574436502"},{"product_id":"granstrom-david-a-distant-color-secluded-xkatedral-12","title":"GRANSTRÖM, DAVID - A Distant Color, Secluded","description":"\u003cp\u003e\"Stockholm-based label XKatedral proudly presents the first full-length release of the work of Swedish composer and sound artist David Granström. In four interrelated pieces, Granström’s new collection of sound work – A distant color, secluded – invites us to take part in the creation and destruction of perceptual worlds; worlds whose interiors are at once manifestations of vast topological complexity, and of minimalist, pure non-dimensionality.\u003c\/p\u003e\n\u003cp\u003eUpon entering the modalities of Granström’s A distant color, secluded, chordal identities emerge, blend and dissolve in cyclicly repeating patterns of activity. As if continuously traversing an ever-expanding field of materialized harmonicity, this collection of sustained sound skillfully explores the formation of sensory withins and withouts, gradually guiding the listener toward a state of complete immersion.\u003c\/p\u003e\n\u003cp\u003eFrom the point of view of method, Granström proceeds algorithmically when structuring these sounds, both on a level encompassing intricate precision control over the timbral quality and exact tuning of individual tones, and on the level of larger-scale formative patterning. Employing the medieval principles of isometricity and just intonation, Cagean aleatorics, and advanced real-time sound synthesis, Granström gives rise to a rare form of stability, a sense of multifaceted uniformity, in harmony and in structure. Although technically rigorous, this work is by no means a mere demonstration of technical mastery. Rather, the sound of this music is as direct as space itself; a sounding display of synthesized gravitational light.\u003cbr\u003e Symmetrically reoccurring harmonic enclosures – as if repeatedly expressing the sonic laws governing the currently manifesting world, the patterned resonance of Granström’s work functions syntactically to reflexively establish its own form.\u003c\/p\u003e\n\u003cp\u003eBeneath this apparent rule-boundedness, however, rests the implicit, and arguably primary force of Granström’s minimalist project: this modal structurality, and ultimately the entire work itself, is only here to support its own dissolution; a dissolution embodied by the shift from conventionally engaging in the act of listening-to to the complete abiding in the state of listening-with; a dissolution into intensity itself.\u003c\/p\u003e\n\u003cp\u003eDavid Granström (b. 1987) is a composer and sound artist based in Stockholm, Sweden. His sound work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of\u003cbr\u003e both synthetic and acoustic origin. In 2014, he received a Master’s degree in Composition of Electronic Music from the Royal College of Music in Stockholm and has, since then, worked as a teacher of composition, sound synthesis and advanced spatialization, in part at the Electronic Music Studio (EMS) in Stockholm. Part of Granström’s practice consists in researching new methods for working algorithmically with real-time sound synthesis and precision-tuned harmony, a work which is technically realized by employing tools that he himself develops in the SuperCollider programming environment.\u003c\/p\u003e\n\u003cp\u003eEarlier releases of Granström’s sound work includes the limited-edition cassette Ephemeris, also on XKatedral.\" - XKatedral.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2T160qBIy_Q\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"XKatedral","offers":[{"title":"LP","offer_id":31645306945599,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/a2730468038_10.jpg?v=1579279809"},{"product_id":"dorf-phill-niblock-the-baobab","title":"DORF\/PHILL NIBLOCK, THE -  Baobab","description":"\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCo-released with Umland Records, Germany. On one night in 2019, \u003c\/span\u003e\u003cb\u003eThe Dorf\u003c\/b\u003e\u003cspan\u003e (German for \"village\") took a heavy dose of the music of \u003c\/span\u003e\u003cb\u003ePhill Niblock\u003c\/b\u003e\u003cspan\u003e. The impact on the musicians, gathering to play a double-length version of Niblock's \"Baobab\" and (in a second set) three \"Dorf\" tunes, was deep. It felt a bit like going to church -- a truly spiritual experience. At first, the audience did not believe the announcement that the \"drone\" piece would last for 46 minutes. Afterwards, their reactions showed the impression Phill's music had made on them. After a 20-minute break, three pieces followed -- a different game altogether, but connected to \"Baobab\" in the way that the energy and the feel for the evening had been thoroughly set by Mr. Niblock. Already his physical presence changed the reception for both musicians and listeners and the taste for this \"wall of sound\" was palpable. The Dorf (in itself already an orchestra of something like 25 people) had been augmented by friends to a total of 35 musicians -- almost too big to be true. In the second part of the evening, \u003c\/span\u003e\u003cb\u003eKatherine Liberovskaya\u003c\/b\u003e\u003cspan\u003e projected along to the music some of her outstanding video work, which is obviously not documented on this album. Play the record at a not-too-soft volume and stick with it. One way or another, the music will get to you. Recorded live on September 19, 2019, domicil Dortmund Germany. Personnel: \u003c\/span\u003e\u003cb\u003eMoritz Anthes\u003c\/b\u003e\u003cspan\u003e - trombone; \u003c\/span\u003e\u003cb\u003eMarvin Blamberg\u003c\/b\u003e\u003cspan\u003e - drums, sampler; \u003c\/span\u003e\u003cb\u003eJulia Brüssel\u003c\/b\u003e\u003cspan\u003e - violin; \u003c\/span\u003e\u003cb\u003eSimon Camatta\u003c\/b\u003e\u003cspan\u003e - drums, sampler; \u003c\/span\u003e\u003cb\u003eDenis Cosmar\u003c\/b\u003e\u003cspan\u003e - sound; \u003c\/span\u003e\u003cb\u003eMarie Daniels\u003c\/b\u003e\u003cspan\u003e - vocals; \u003c\/span\u003e\u003cb\u003eFelix Fritsche\u003c\/b\u003e\u003cspan\u003e - saxophone; \u003c\/span\u003e\u003cb\u003eSebastian Gerhartz\u003c\/b\u003e\u003cspan\u003e - saxophone; \u003c\/span\u003e\u003cb\u003eChristian Hammer\u003c\/b\u003e\u003cspan\u003e - guitar; \u003c\/span\u003e\u003cb\u003eFlorian Hartlieb\u003c\/b\u003e\u003cspan\u003e - computer; \u003c\/span\u003e\u003cb\u003eStefanie Heine\u003c\/b\u003e\u003cspan\u003e - saxophone; \u003c\/span\u003e\u003cb\u003eDavid Heiss\u003c\/b\u003e\u003cspan\u003e - trumpet; \u003c\/span\u003e\u003cb\u003eVolker Kamp\u003c\/b\u003e\u003cspan\u003e - bass; \u003c\/span\u003e\u003cb\u003eOona Kastner\u003c\/b\u003e\u003cspan\u003e - synth, vocals; \u003c\/span\u003e\u003cb\u003eJan Klare\u003c\/b\u003e\u003cspan\u003e - saxophone, directing; \u003c\/span\u003e\u003cb\u003eAnja Kreysing\u003c\/b\u003e\u003cspan\u003e - accordeon; \u003c\/span\u003e\u003cb\u003eMaika Küster\u003c\/b\u003e\u003cspan\u003e - vocals; Katherine Liberovskaya - visuals; \u003c\/span\u003e\u003cb\u003eRaissa Mehner\u003c\/b\u003e\u003cspan\u003e - guitar; \u003c\/span\u003e\u003cb\u003eAlexander Morsey\u003c\/b\u003e\u003cspan\u003e - sousaphone; \u003c\/span\u003e\u003cb\u003eJohannes Nebel\u003c\/b\u003e\u003cspan\u003e - bass; \u003c\/span\u003e\u003cb\u003eFabian Neubauer\u003c\/b\u003e\u003cspan\u003e - keyboards; Phill Niblock - composition; \u003c\/span\u003e\u003cb\u003eKai Niggemann\u003c\/b\u003e\u003cspan\u003e - Buchla; \u003c\/span\u003e\u003cb\u003eAdrian Prost\u003c\/b\u003e\u003cspan\u003e - trombone; \u003c\/span\u003e\u003cb\u003eGilda Razani\u003c\/b\u003e\u003cspan\u003e - Theremin; \u003c\/span\u003e\u003cb\u003eGuido Schlösser\u003c\/b\u003e\u003cspan\u003e - synth; \u003c\/span\u003e\u003cb\u003eLudger Schmidt\u003c\/b\u003e\u003cspan\u003e - cello; \u003c\/span\u003e\u003cb\u003eHanna Schörken\u003c\/b\u003e\u003cspan\u003e - vocals; \u003c\/span\u003e\u003cb\u003eOliver Siegel\u003c\/b\u003e\u003cspan\u003e - synth; \u003c\/span\u003e\u003cb\u003eMaria Trautmann\u003c\/b\u003e\u003cspan\u003e - trombone; \u003c\/span\u003e\u003cb\u003eLuise Volkmann\u003c\/b\u003e\u003cspan\u003e - saxophone; \u003c\/span\u003e\u003cb\u003eMartin Verborg\u003c\/b\u003e\u003cspan\u003e - violin; \u003c\/span\u003e\u003cb\u003eAndreas Wahl\u003c\/b\u003e\u003cspan\u003e - guitar; \u003c\/span\u003e\u003cb\u003eFlorian Walter\u003c\/b\u003e\u003cspan\u003e - saxophone; \u003c\/span\u003e\u003cb\u003eMax Wehner\u003c\/b\u003e\u003cspan\u003e - trombone; \u003c\/span\u003e\u003cb\u003eEmily Wittbrodt\u003c\/b\u003e\u003cspan\u003e - cello; \u003c\/span\u003e\u003cb\u003eAchim Zepezauer\u003c\/b\u003e\u003cspan\u003e - electronics.\" - XI.\u003c\/span\u003e","brand":"XI","offers":[{"title":"Double CD","offer_id":32382950670399,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI142CD_CU.jpg?v=1589920402"},{"product_id":"seidel-dave-involution-xi-records-2cd","title":"SEIDEL, DAVE - Involution","description":"\"From the liner notes by Dean Rosenthal: XI Records announce the release of Dave Seidel's new double-CD, Involution. The work contained on this recording represents Dave Seidel's second foray into the realm of releasing a full-length recording. But this new milestone was not reached until he had long immersed himself in the experimental scene in NYC in the 1980s and 1990s, working closely with established experimental music pioneers Lois V Vierk and Guy Klucevsek among others. Seidel's own composing and performing grew, blossoming into live performances in the 2000s and 2010s, allowing further exploration into programming and experimenting with sonority and algorithmic sonification. What we hear on this recording is the care and detail of his passion for these two features of composition and a steady integration of them. This leads us to the two pieces heard here: \"Involution\" and \"Hexany Permutations\".  In thinking of sonority, Seidel has spoken of the strong influence of La Monte Young's use of perfectly-tuned intervals and Young's ideal of previously unheard sounds, those that may engender new sensations and emotions in the listener. But Seidel also confirms the influence of the work of Alvin Lucier, in particular the Orpheus Variations. For Seidel and his sonorities, he has found little use for the 12-note chromatic tempered system, no doubt the ubiquity of this universal tuning of Western music having too few possibilities for his ear. The question then appears: how does he apply this desire to explore new forms of sonority outside the well-tempered system and, for our purposes, in these pieces? The first CD in this set presents Seidel's composition \"Involution\", heard in three sections. The music is presented as an expansion of slowly-changing sonorities that explore the harmonic spaces inherent in certain microtonal tunings and scales, or modes within those tunings. Each section employs a different tuning and a different set of scales or modes and uses a combination of all the different technologies Seidel has been working with over the past several years: Csound, modular synthesizer, and pedals. \"Hexany Permutations\", the music that the second CD of this release contains, hints at the same concerns of sonority heard in Involution but tackles the composing slightly differently, with musical results of differing proportions. In this piece, the structure of the piece plays an equal if not more dominant role than the microtonal sonorities explored.\" - Xi Records.","brand":"Xi","offers":[{"title":"Double CD","offer_id":39834163708093,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI143CD_CU_3d73e9b9-ad4c-4d4f-8cac-0635b196235d.jpg?v=1621774073"},{"product_id":"damon-song-of-a-gypsy-xenos-cd","title":"DAMON - Song Of A Gypsy","description":"\u003cp\u003e2021 warehouse find, last copies. \"Damon. This is the artistic name of David Del Conte, a genius American gypsy musician who is responsible for probably the rarest and most sought-after psychedelic music album of all time. We're talking about his debut album, Song Of A Gypsy, which was originally released in 1969. This album has a totally unique sound, with the 'crooner-like' voice of Damon, the omnipresent melodic fuzz guitar of Charlie Carey and truly atmospheric melodies. Vernon Joynson, on his latest Fuzz Acid \u0026amp; Flowers book, says about this album: 'If there really is such a thing as psychedelic music, this is surely it. The Damon album is an essential purchase.' This is a new CD version of the album. Reproduction of the original first pressing, in textured carton and golden graved lettering, gatefold cover with brief liners in the inside.\" - Xenos.\u003c\/p\u003e","brand":"Xenos","offers":[{"title":"CD","offer_id":40734986338493,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XENOS001CD_CU.jpg?v=1632272113"},{"product_id":"chiu-tom-the-live-one-xi-records-2cd","title":"CHIU, TOM - The Live One","description":"\"XI Records announce the release of Tom Chiu's new double-CD, The Live One, a diverse and thoroughly engrossing album that showcases the multiple facets of Chiu's visions. Chiu is a polymath who is as comfortable with lyricism and the beauty of tonality as he is with process-based works and challenging conventions of composition. Chiu specializes in creating spatial experiences and altered states of mind with his music, with a singular, questing path. On the album opener, \"Into The Forest\", melancholic themes build and become wrapped in echoes that reverberate like a skipping stone casting ripples in a pond. Dry and delicate melodies emerge that float spatially. The piece is an assemblage of over 60 musical fragments composed by Chiu, which coalesce seamlessly into a homogeneous whole. \"BABIP\", a solo performance, begins with Chiu's pizzicato which evokes the spirit of gamelan, and builds through increasingly intense gestures, woozy double stops and extended techniques until he starts transforming the sound of his instrument with live effects. The functionally-titled \"Duo Improvisation 16741\" sees Chiu pairing with sound artist and composer Michael Schumacher. Together, they create a hypnotically jarring sonic whirling dervish. Chiu's live effects invoke undertones of Tuvan throat singing as glissandos layer with insistent bell tones. The insistent piece thrillingly morphs into electronic pulses and sirens, journeying deeply into sonic abstraction. The track \"Birave Trifecta\" sees Chiu performing with Dan Joseph on hammer dulcimer and Jason Cady on modular synthesizer under the moniker JCC Trio. The trio's piece begins as almost a folk stomp, with echoes of minimalism in its insistence. It builds to euphoric intensity with Chiu's bravura playing, sawing at his instrument with fierce abandon. \"RETROCON\" is a work performed by FLUX Quartet. The epic piece unfolds like a mini symphony, with the quartet creating a stunningly rich sonic world. The layers of the string quartet swell and undulate like a small boat in the middle of the ocean negotiating the waves of an impending storm, then wail plaintively before returning with clustered hives of notes. A startling and insistent monolithic pulsing then seems to summon dark deities before receding with a delicate beauty. The final piece on the album, \"deKonstruct\", is an improvisation which quotes from existing materials, colliding Bach and Chiu. Chiu uses a looping pedal to create a bed for his hyper-kinetic performance which mutates through his arsenal of sonic manipulation, to mesmerizing effect. (from the liner notes by JG Thirlwell)\" - Xi Records.","brand":"Xi","offers":[{"title":"Double CD","offer_id":40734986404029,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI144CD_CU.jpg?v=1632272115"},{"product_id":"niblock-phill-nudaf-xi-records-cd","title":"NIBLOCK, PHILL - NuDaf","description":"\"A 65-minute electroacoustic composition featuring Dafne Vicente-Sandoval, bassoon. \"The aural effect is minimal to the max, but it isn't simplistic. The tones vibrate and glow, the densely packed texture shifting hues like a sonic aurora borealis\" --John Rockwell, The New York Times. NuDaf (2020) is the second longest piece in Phill Niblock's repertoire of recorded audio works. NuDaf is a departure from his previous pieces in that he makes extensive use of multiphonics and constructed the work with fewer tracks than usual, creating uniquely transparent and ephemeral textures. The piece is the result of a collaboration between Niblock and the stellar bassoonist Dafne Vicente-Sandoval. Her musicality and breadth of knowledge, extended bassoon performance, and uncanny timing inspired the piece. This is the first of three collaborative projects between XI Records and Akoh Media. Akoh initiated the project, suggesting that Phill confront a longer form that also seemed eminently suitable to Dafne Vicente-Sandoval's interests. Akoh, as is its tradition, presents the work in a limited numbered edition of a one-of-a-kind Petri dish that incorporates Niblock's photos in an exquisite and unique design. From the liner notes by Michael Pisaro-Liu: \"... over the course of the long duration of NuDaf we listen to a slow-motion explosion that frees it, creating a spectacular shape, right before our ears.\" - Xi Records.","brand":"Xi","offers":[{"title":"CD","offer_id":40734986502333,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI145CD_CU.jpg?v=1632272116"},{"product_id":"panhuysen-paul-partitas-for-long-strings-xi-records-cd","title":"PANHUYSEN, PAUL - Partitas for Long Strings","description":"1998 release. \"Voted one of the top 50 records of 1999 by the writers and critics of The Wire, Partitas for Long Strings is the first album in 12 years to document Paul Panhuysen's work with long string installations. Included with the CD is a 32-page booklet which details the history of Paul Panhuysen's work with installations through pictures and text. \"Since 1982 Panhuysen has created over 200 such installations, playing the strings with his fingers, connecting them to pianos, letting them vibrate in the wind, always changing, always finding new sounds, and doing so with a particularly good sense of how the strings should look, and how they should relate to the architecture around them\" --Tom Johnson. \"Two aspects were of central interest to him: different tunings and density of sound. He made an installation in the large space of Het Apollohuis, stretching four strings lengthwise and attaching them to the wooden wall on the far end, which served as a resonator. He did not use automatons or electric amplification. He played the strings by brushing them, walking back and forth at an even pace. His aim was to make his playing as continuous and even as possible. For each partita he recorded his playing four times, superimposing these recordings over each other and listening to the earlier recordings over headphones whilst playing. The total sound of each partita is produced by sixteen strings. The three partitas differ in the systems according to which the strings are tuned. These tunings can be regarded as the score for each piece. In 'Partita I' all strings are tuned to the same pitch. In 'Partita II' and 'III' each string is tuned differently, and after each take they were tuned to new pitches... The result is a considerable difference in overall texture between the three pieces.\" --René van Peer\" - Xi Records.","brand":"Xi","offers":[{"title":"CD","offer_id":40734986567869,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI122CD_CU.jpg?v=1632272117"},{"product_id":"leonard-neil-sonance-for-the-precession-xi-records-lp","title":"LEONARD, NEIL - Sonance for the Precession","description":"\"Excerpts from a sound installation based on alto saxophone recordings and electronic sound. \"Mr. Leonard creates a haunting, rhythmic, chantlike score, secular spiritual music for a New World. After leaving the gallery I kept hearing it, with delight, in my head, on the street, all afternoon.\" --Holland Cotter, The New York Times. The electroacoustic composition Sonance for the Precession was commissioned by Williams College Museum of Art (WCMA). The piece furthers Leonard's practice in large scale sound installation, with recent commissions by documenta, Venice Biennale, and Fujiko Nakaya of Experiments in Art at Technology. The original composition, created for the quad adjacent to WCMA, played from the dome of the historic Hopkins Observatory, the oldest working astronomical observatory in the United States. The durational work explored ancient ideas connecting the precession, or movement, of the equinox with the harmonic series. Each day, the music began just a minute or two earlier than the previous day -- mirroring the disappearing sunlight as day turned to night and autumn shifted to winter. 30 minutes of the composition played daily. The composition provided a context to reflect on how Hindu and Greek theories of astronomy and acoustics developed through intercultural exchange as far back as prehistoric times. Working closely with WCMA and producer\/engineer Joe Branciforte, Leonard remixed Sonance for the Precession specially for LP and stereo listening. The result is a stunning long form composition that brings the sense of contemplation, cosmic motion and intimate timbral nuance of the installation to your living room, headphones and\/or car stereo.\" - Xi Records.","brand":"Xi","offers":[{"title":"LP","offer_id":40734986600637,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/XI146LP_CU.jpg?v=1632272119"}],"url":"https:\/\/www.fusetronsound.com\/collections\/label-x.oembed?page=2","provider":"fusetron","version":"1.0","type":"link"}