Classical Music 111 Items

Through the course of time, DSR Lines (David Edren) never loses his intimate and profound connection to the universe of modular synths. These recordings made during 2014 in a residence at the Cem/Worm studio in Rotterdam, represent a further magical compendium of his Organic Electronic Music. In particular, here he draws from his expressive arsenal the cosmic and galactic potential of the Arp 2500, which happily floating throughout. A rigorous magician of vaporous, oscillating patterns, sidereal frequencies, nebulous dust; an explorer of inter-zonal paths, he unveils new dreamlike dimensions en route to unfold planets. Between Kraut-Kosmische accelerations and a personal approach of gentle minimalism, he always forges rare atmospheres of rhythmic pulsation, full of enveloping, spherical and spiralling sounds, luminous and radiant in their hypnotic aura, or magnificently ecstatic and ascending. Originally released by Ultra Eczema.

Close to VG+. Cover is missing.

Vinyl is close to NM. Tiny wear.

Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Includes original insert.

Still in shrink, but opened, with hype sticker

White vinyl!

Overall close to NM. Download included.

Piano sheet music inside. Vinyl close to NM

Cover with small seam split!

Still in shrink but opened.

Limited edition repress

Still shrink wrapped but opened.

CD comes in a soft case, instead of the original crystal case.
All booklets included.

CD comes in a soft case, instead of the original crystal case. All booklets included.

Sealed copy!

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir´s sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it´s taken them this long to collaborate. All that´s left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

The latest in a brilliant run of releases from the 130701 label this year, ‘The Sea at The End of Her String’ is a seven-track EP that highlights three adventurous, hugely talented female artists from the current roster of FatCat’s pioneering 130701 imprint. Featuring seven exclusive new tracks, the EP is available both digitally and in a limited edition, one-time-only vinyl pressing of 300 copies to be sold exclusively on a short, triple-bill UK tour this Autumn. Both tour and EP feature the same three artists – French pianist / composer Emilie Levienaise-Farrouch, Polish cellist Resina and Swedish-Iranian pianist Shida Shahabi, whose debut LP, ‘Homes’, will be released in mid-October.

Björk presents a strings version of her highly-acclaimed eighth studio studio album Vulnicura, officially titled Vulnicura Strings. The original version of Vulnicura layered the boom and crack of electronic beats with an intense vocal melody and incredible string arrangements by Björk which have been performed live with a fifteen chair orchestra. The new version is musically wholly comprised of strings, with new violin solos by Una Sveinbjarnardóttir and strings recorded by a Viola Organista. Björk used the only Viola Organista in the world to perform some of the arrangements; an instrument which was designed originally by Leonardo Da Vinci but not built until after his lifetime. The instrument uses a friction belt to vibrate individual strings (similar to a violin), with the strings selected by pressing keys on the keyboard (similar to an organ). The instrument was recorded in Krakow, Poland by it's constructor Slawomir Zubrzycki and here is where the album reached completion.