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CD

Isostasie

Product Type: 
Number of Tracks: 
10
Duration: 
76 Minutes
SKU: CDE0042
Price: £15.00

Natasha Barrets wonderful new CD straddles the worlds of sound ecology and electroacoustic composition - Three Fictions (2000), Displaced, Replaced, (2001), Red Snow (1998 rev. 2001) The Utility of Space (2000), and Industrial Revelations (2001)

Three Fictions (Northern Mix) (2000, 10'34)  
Utility of Space (2000, 13'25)  
Viva la Selva (1999, 17'28)  
Displaced:Replaced (2001, three extracts, 7'00)  
Red Snow (2001 remix, 15'39)  
Industrial Revelations (2001, 11'32) 

Bouteilles de Klein

Product Type: 
SKU: CDE0095
Price: £18.00

Bouteilles de Klein contains two types of compositions: works composed for a traditional concert or listening situation (disc 1) and works originally designed as installations (disc 2), where the public is free to approach the work from which ever temporal, spatial or listening strategy they wish.

Sub Terra (2008, 16'26)   
The complete Sub Terra cycle (Three parts, 2008, 23'00) >
Mobilis in Mobili (2006, 8'08) 
The complete Barely Project 
Rhizaria (Barely: part-4)(2008, 12'54)   
Gentle Sediment (Barely: part-3, 2008, 9'35) 
ABEMOLPAS (2003, 10'50) 

Kraftfelt

Product Type: 
Number of Tracks: 
3
Duration: 
58 Minutes
SKU: CDE0072
Price: £14.50

Natasha Barret's latest CD comes in 2 versions - in 5.1 surround sound and as a standard stereo CD.

3 works - …fetters…, Prince Prospero's Party and Explorato Invisibilis.

… fetters… (originally … the fetters of a dream…) was commissioned by Norsk Rikskringkasting (NRK) in 2002. 
Prince Prospero’s party was commissioned by the 3rd Practice Music Festival and the Molden Centre for the Arts, Richmond, USA 2002. 
Exploratio invisibilis was commissioned by the Ultima Festival 2003.

Polyphonie - polychrome

Product Type: 
Number of Tracks: 
3
Duration: 
63 Minutes
SKU: CDE0089
Price: £13.50

It is Patrick Ascione who perhaps first formulated the idea that electroacoustic music—employing magnetic tape or other supporting media—was comparable to a painting in sound.

Labyrinthe

Product Type: 
Duration: 
57 Minutes
SKU: CDE0054
Price: £15.00

Pierre Henry says of Labyrinthe - "For the first time during my journey and ventures into the world of creation, I dreamt of a breath of fresh air deriving from the electronic realm." Ten amazing tracks from this pioneer of electronic music.

Primitive Espaces-Paradoxes

Product Type: 
SKU: CDE0090
Price: £15.00

M Chion writes: Without him, I could have never elaborated upon the notion, which is often used today, of “fixed sounds’ a notion which seems to me to characterize the essence of this genre. But these few lines are above all meant to express my esteem and admiration for the work of a composer whose world is personal and intense. The music of Patrick Ascione possesses a unique character, which comes not from any particular outside process, but directly and authentically from within. It speaks to me like a multi-voiced expression, fantastical, haunting. At least to my ears; others may find it more abstract and plastic, and others still in a completely different way. It is due to its richness that this music is at the same time both fleeting and captivating.

Alien Bog - Beautiful Soop

Product Type: 
SKU: CDE0008
Price: £15.00

During her year as first director of The Tape Music Center at Mills Callege (now Center for Cantemporary Music-CCM) in Oakland, California. Pauline Oliveras completed Beautiful Soop (1966) and Alien Bog (1967) utilizing the original Buchla Box 100 series created for the Tape Music Center by Dan Buchla and her tape delay system. The take up reel was on tape machine I and the playback reel on tape machine II. Through patching the playback signals from tracks 1-4 were re-routed back to the recording head of machine I in a variety of configurations controlled by the composer. An excerpt of Alien Bog was released on an album Music From Mills - produced by David Rosenboom in 1986. Beautiful Soop is released for the first time.

"I was deeply impressed by the sounds from the frog pond outside the studio window at Mills. I loved the accompaniment as I worked on my pieces. Though I never recorded the frogs I was of course influenced by their music. Since that time many other composers have also been influenced by the sounds from the pond. Sadly, the pond will soon give way to a new building to expand the quarters of the CCM. It will no doubt be haunted by ghost frogs!" -Pauline Oliveros

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