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The forty-disc box set features recordings spanning more than four decades of the composer’s career with the label. The release includes two extensive booklets containing new essays and notes by Timo Andres, Julia Bullock, Robert Hurwitz, Nico Muhly, and Jake Wilder-Smith. This will be released on the 24th of June via Nonesuch. Nonesuch Records releases the forty-disc John Adams Collected Works, a box set featuring recordings spanning more than four decades of the composer’s career with the label. The release includes two extensive booklets containing new essays and notes by Timo Andres, Julia Bullock, Robert Hurwitz, Nico Muhly, and Jake Wilder-Smith.



Nonesuch made its first record with John Adams in 1985. He was signed exclusively to the label that year, and since then the company has released forty-two first recordings and thirty-one all-Adams albums, of which six are full-length operas, oratorios, or staged theatrical presentations. Four of Adams’ Nonesuch records have won Grammy Awards, among other honours.



“John Adams coming to the label was one of the central events in our company’s history,” says Robert Hurwitz, Nonesuch’s longtime President and current Chairman Emeritus. “The idea of a label recording all of the works of its most cherished composers had been long established in the classical record business, most notably the efforts of Columbia with Stravinsky, Decca with Britten, and Deutsche Grammophon with Stockhausen.



“While most of Columbia’s Stravinsky recordings were made decades after the works’ premieres, and many of the admirable Decca Britten recordings came after his death, this Nonesuch collection is unique in the sense that the recordings were done in real time, mostly within a few months of a piece’s first performance. Every recording was either conducted by John, or made under close supervision of the composer, who was in the control booth for every album – when he wasn’t on the podium.”



Hurwitz continues: “As the record business changed, we realised the urgency of preserving this amazing accomplishment in a physical form; the music’s importance to our culture cannot be underestimated and the idea of much of it only being available digitally in the future was difficult to imagine.



“In making the box we left a little extra space, since Nonesuch plans to continue recording John’s work.”



John Adams occupies a unique position in the world of music. Long embraced by the world’s leading orchestras and conductors, instrumental soloists and singers, choreographers and opera directors, his works are among the most performed of all contemporary classical music. Early in his career, Adams was composer-in-residence of the San Francisco Symphony (1982-85), and creator of the orchestra’s highly successful and controversial New and Unusual Music series. Many of his landmark orchestral works were written for and premiered by the San Francisco Symphony, including Harmonium (1981), Grand Pianola Music (1982), Harmonielehre (1985), and Absolute Jest (2012).



In 1985, Adams began a collaboration with stage director Peter Sellars that has resulted in more than three decades of groundbreaking operas and oratorios: Nixon in China (1987) and The Death of Klinghoffer (1991), both to libretti by Alice Goodman; El Niño (2000), Doctor Atomic (2005); A Flowering Tree (2006); The Gospel According to the Other Mary (2012); and Girls of the Golden West (2017).



Since 2009 Adams has held the position of Creative Chair with the Los Angeles Philharmonic where he has been instrumental in the success of that orchestra’s highly creative Green Umbrella new music series.



Adams also has become a significant mentor of the younger generation of American composers. In his liner note, Adams’ label mate, composer and pianist Timo Andres, says: “I don’t think it’s an exaggeration to say that when Road Movies was dropped into my lap as a college freshman, it triggered a chain reaction that led me where I am now… John’s music has been such a constant in my life that it’s reached a base level of my consciousness – it’s part of the way I hear all music now.”



This year launched with a major focus on Adams’ music in Zürich with the Tonhalle Orchestra, from January to March. Orchestras around the world will likewise present major performances of his works including Cincinnati Symphony, NDR Elbphilharmonie, Hong Kong Philharmonic, Budapest Festival Orchestra. This spring, Adams’ piano concerto Must the Devil Have All the Good Tunes? tours to orchestras around the world: Seattle, St. Louis, Cleveland, Zürich, Iceland, Gothenburg, and San Francisco; Adams conducted a performance of it by the Cleveland Orchestra and Jeremy Denk earlier this year. In September 2022, Adams’s new opera Antony & Cleopatra will open the San Francisco Opera’s centennial season.



Nonesuch Records has historically had close relationships with modern composers. During the years of Tracey Sterne, the label made multiple recordings of Elliott Carter, George Crumb, Charles Wuorinen, and William Bolcom. Since 1985, Nonesuch has made multiple recordings of works by Philip Glass, Stephen Sondheim, Laurie Anderson, Caroline Shaw, Louis Andriessen, John Zorn, Adam Guettel, Henryk Górecki, Timo Andres, Nico Muhly, and Donnacha Dennehy. For Steve Reich, like John Adams, Nonesuch has recorded every new piece of his music since 1985 and will also release a collection of his complete works – in 2023.



While Nonesuch recordings comprise thirty-five of the forty discs in Collected Works, the set also includes recordings from other labels, including: the Los Angeles Philharmonic’s recordings of The Gospel According to the Other Mary and Must the Devil Have All the Good Tunes?, with Yuja Wang, on Deutsche Grammophon; a recording by Christina and Michelle Naughton of Roll Over Beethoven on Warner Classics; and the San Francisco Symphony’s recordings of Absolute Jest and Grand Pianola Music. The Berlin Philharmonic’s recording of Harmonielehre, conducted by Adams, is the final CD in the set, serving as the bookend to the piece’s first recording, by the San Francisco Symphony led by Edo de Waart on Nonesuch that is the first disc of the set.

The original album "12" released on January 17, 2023, is now available in analog form! Encore Limited pressing of the standard version is now available!

On January 17, 2023, we released our first original album "12" in 6 years since the release of "async" in 2017. This is a collection of 12 songs selected from the musical sketches he created as if he were writing a diary while he was still fighting an ongoing illness, and compiled them into a single album. The jacket was drawn by Lee Ufan, an international artist representing the "Mono-ha" school. The first limited edition analog version sold out immediately and became a mirage! This is an encore pressing in the standard specification. (The "Self Sketch | Music Score Print" from the limited first pressing will not be included, and the vinyl will be black instead of color vinyl.)

Tracks are same as Rzjm-77655-6

4 LP compilation of recordings made in Istanbul for Gramophone Company and His master's voice (HMV) during the first years of the 20th century.
Sound restoration at Abbey Road studios.

»In June 2017, I was due to perform in Moscow when I met Kirill Gilels, the grandson of the famous pianist Emil Gilels. He listened to what our Phoenix Mastering® restoration process, can achieve, and made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. In Berlin, Moscow and Saint Petersburg, we came across a treasure trove, stunning in terms of both the quality and consistency of Emil Gilels’s playing. We were fully aware that he was one of the greatest musicians of the twentieth century. It was in Amsterdam where at last, we succeeded in extracting this fabulous recital from 1976 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one, we did not utter a word, so overcome were we by the beauty of what we heard.« (F. D’Oria-Nicolas) Considered one of the most important pianists of the twentieth century, he was a pupil of H. Neuhaus. He wins the current Queen Elizabeth Competition in Brussels and takes on an international stature. In 1955, he was the first artist to be welcomed in the United States since the war: if the public, somewhat circumspect of Carnegie Hall, in New York, accompanies his entry on stage of a troubled silence, it is under a thunder of uninterrupted applause that he will refuse to leave the stage!

This famous Alexander Gibson/New Symphony Orchestra of London collection from 1958 debuted at the dawn of the RCA Living Stereo era. It became one of the most sought-after Living Stereos with music by Arnold, Liszt and Mussorgsky amongst others, all with a spooky, witchy theme. The performances remain today as characterful and incisive as they were then.
We've taken this classic and given it the full Analogue Productions reissue treatment, featuring a remaster by Germany's Willem Makkee from the original analog tapes, and plating and 200-gram pressing by Quality Record Pressings. Toping it off is a thick cardboard Stoughton Printing tip-on jacket.
If such music didn't cast the right sort of spell, so many listeners wouldn't be returning to it on so many occasions, somehow feeling constantly refreshed.

The six Cello Suites, BWV 1007-1012, are suites for unaccompanied cello by Johann Sebastian Bach. They are some of the most frequently performed and recognizable solo compositions ever written for cello. Bach most likely composed them during the period 1717–23, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was Suites à Violoncello Solo senza Basso (Suites for cello solo without bass).

Due to the works’ technical demands, étude-like nature, and difficulty in interpretation because of the non-annotated nature of the surviving copies, the cello suites were little known and rarely publicly performed until they were revived and recorded by Pablo Casals in the early 20th century. They have since been performed and recorded by many renowned cellists and have been transcribed for numerous other instruments; they are considered some of Bach’s greatest musical achievements.

Yo-Yo Ma performed the Bach Unaccompanied Cello Suites in its entirety – nearly three hours! – in London at The Proms concert to more than 5,000 people. And the reviews were fantastic: “Without doubt, we were in the presence of a great musician, and a great man. One to file in the concerts of a lifetime.”– BBC Music Magazine“
The cellist’s grand interpretation at Prom 68 would have left the composer astonished and incredulous.”– The Guardian

Yo-Yo Ma won a Grammy Award for Best Instrumental Soloist Performance for his performance of The six Cello Suites in 1985.

No information available.

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004.

Over the course of two decades, we've ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop us, to moments of near defeat when we almost threw in the towel. Let's be honest:

Making a career out of music is not exactly choosing the easy path. But epic tales aside, today we look back with pride at having created something that, in our humble view, is genuine. To celebrate Lapsus' journey and what lies ahead—and also keeping an eye on what is yet to come—we've gathered some of the artists who have joined us along the way, musicians we consider friends and for whom we have the deepest admiration. In a way, Vint (Catalan for “twenty”) is like a sonic photo album, a tracklist that tells our story better than we could ourselves, a collection of unreleased music that celebrates the fact that we've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music (a-z): Claraguilar, Gazzi, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pépe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and μ-Ziq.

Vint is our way of thanking you for your unwavering support over these 20 years. We hope you enjoy it!

Ambivalence has the tendency to dance to its very own beat because of its implied ambiguity. It’s the antithesis to any kind of middle of the road business. And it’s something that rings particularly true for Joram Feitsma’s sophomore album “Flux“. Giving home to fifteen songs that were composed between 2017 and very late 2020, “Flux“ is the result of multiple years of experimenting with different styles, different tones, different feelings, exposing an emotional spectrum you thought you’ve lost in the fire for good. It’s sensual. it’s sensitive. It’s even a bit otherworldly. It’s a testament to the idea that we’re all capable of immense love regardless of its possible disillusionment and consequential losses. Hand numbered/limited to 200 copies.

With Solo Piano, Glass presents himself 'unplugged' - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. 'Metamorphosis' was written in 1988 and takes it's name from a play based on Kafka's short story. It's second track, 'Metamorphosis Two', formed the basis of one of the main musical themes in the film 'The Hours'. It is also the song that the American rock band Pearl Jam uses as their introduction music to concerts. 'Mad Rush' was written for the occasion of the Dalai Lama's first visit in New York City. 'Wichita Vortex Sutra' is the result of a chance meeting between two long-time friends, Glass and poet Allen Ginsberg, in a bookstore in the East Village. 'We decided on the spot to do something together, reached for one of Allen's books, and chose the poem 'Wichita Vortex Sutra'.Solo Piano is available as a limited edition of 2000 individually numbered copies on black & white marbled vinyl and includes an 8-page booklet.

Welsh harpist Amanda Whiting returns on Jazzman Records following on from her successful debut album ’After Dark’ (2021).

New explorations and global changing events have led Whiting to ‘Lost in Abstraction’. The Reynolds/ Thorne/ Whiting trio is joined again by the mesmerising lines of flautist Chip Wickham, resuming their conversation reminiscent of Dorothy Ashby and Frank Wess.

‘Lost in abstraction’ was written during a period of the unknown when Whiting, like most, explored her own sense of self. The world paused, with no timeframe, and the fragility of life was laid bare. A time when humanity was left searching for purpose. Freedom and the dependable structures of familiarity were dissolved in most aspects of life. But music stayed constant. Creativity kept weaving its thread, connecting music and its makers in an indissoluble bond.

The album explores the questions and realisations whilst confined. The spiritual findings, the playful curiousness and the reflective moments of loss. Whiting’s writing indulges the listener with the spiritual ethereal washes of sound demanded of the harp, whilst also embracing her influences across many genres. Classically trained, her roots are evident. But with an emotionally charged energy and spiritual questioning, a new soundscape of modernity has emerged.

So often associated with Ashby and Coltrane, the harp finds itself in the hands of a new voice which tells the story of a period of time where the world was unified in reflection.

So what is that feeling when you resonate? When your breath steadies and you let go Lines no longer restrict or choke Energies envelop, yet set you free Are you lost or found?

Amanda Whiting - harp Chip Wickham - flute Aidan Thorne - bass Jon Reynolds - drums Baldo Verdú - percussion

About Amanda Whiting Following on from her sold out album ‘After Dark’ on Jazzman records, Amanda Whiting is making a name for herself on the British Jazz scene.

From Wales, the home of the harp, Amanda has taken her classical roots and forged them in the path of jazz harpist Dorothy Ashby and Alice Coltrane. Her unique style resulted in her nomination for the Jazz FM “2021 Instrumentalist of the Year.”

She has toured extensively with Matthew Halsall and the Gondwana Orchestra performing at Jazz festivals around the world. More recent collaborations have included touring with Chip Wickham, Greg Foat and Rebecca Vasmant. She also performed at the We Jazz festival, Finland in November 2021.

2022 will see the release of her new album ‘Lost in Abstraction’ and performances in Helsinki and other festivals throughout the year. She will also be performing at XJazz Berlin and We Out Here with the Rebecca Vasmant Ensemble.

Gold Vinyl. The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru - profound and deeply moving home cassette recordings made amidst political upheaval and turmoil. These songs, recorded between 1977-1985, are different from anything previously released by the artist. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy's finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy dreamt of releasing this music to a larger audience before her passing in March of 2023. We are proud to release this music, in collaboration with her family, now, in what would have been her 100th year. LP comes with a 16-page booklet full-color booklet. Gold cover first edition, pressed in both black and gold vinyl editions.

Factory Benelux presents a box set collection of the first five albums released by the celebrated Factory Classical imprint in 1989, featuring modern classical works composed by Benjamin Britten, Elliott Carter, Paul Hindemith, Theodore Lalliet, Gyorgy Ligeti, Steve Martland, Olivier Messiaen, Francis Poulenc, Dmitri Shostakovich and Michael Tippett.

The new Factory Benelux clamshell box set includes a 24 page booklet featuring the original Factory commissioned liner notes from 1989, as well as a contemporary essay by writer Stuart Huggett and an interview with Tony Wilson. Each individual CD is housed in a card wallet which reproduces the original artwork by designers Peter Saville, Trevor Key, Ben Kelly, Mark Farrow, Neville Brody and Trevor Johnson.

The 5 CDs have been newly re-mastered in 2022 by Peter Beckmann at Technology Works.

Curated by Durutti Column viola player John Metcalfe, the performers include the Kreisler String Orchestra, German pianist Rolf Hind, The Duke Quartet and oboist Robin Williams, with Steve Martland’s material performed by Residentie Orkest Den Haag and pianists Gerard Bouwhuis and Cees Van Zeeland.

Explained Factory founder Tony Wilson: ‘The idea I had in mind was people like Peter Saville, the Factory designer, and his girlfriend - art school kids brought up with Bowie and Roxy Music, into punk, maybe they find acid house interesting, but they’re looking for something else. For people like them or younger, there is no easy way into classical music, because it’s all quite exclusive. They’re scarcely likely to read Gramophone magazine, or make head or tail of it if they did.’

‘I was a relatively angry young man at that time,’ adds Metcalfe, ‘and chose to channel some of that into a rather naïve disapproval of standard classical industry practices. The white tie and tails and very, very boring, reproductions of Constable paintings on album covers, all that stuff. So I had a chat with Tony and he said, “Off you go, fill your boots”.’

Largely drowned out by relentless Acid House beats and faddish Madchester guitar rock in 1989, the bold, contrarian Factory Classical catalogue is now ripe for re-appraisal by much the same audience identified by Wilson. Indeed since 1989 Metcalfe has worked as an arranger for artists such as Peter Gabriel, U2, Blur, Coldplay and Bat for Lashes, as well as performing and recording with the Max Richter Ensemble. Sadly contemporary composer Steve Martland passed away in 2013.

Unreleased Neo Classic tracks by Max Richter. Hauschka, Johann Johannsson, Dustin O’Halloran, Sylvain Chauveau, etc. on Fat Cat's sub label 130701.

Cover with ring wear

Limited Edition.
Includes booklet.

Composer David Julyan has until now existed just beyond the image — soundtracking celluloid stories on film and television. Best known for his work with cinema auteur Christopher Nolan, his atmospheric and achingly beautiful scores have time again perfectly melded subtle orchestra with electronics — conjuring music in the post-classical genre.

More recently, away from the deadlines and drama of others, it was time to reflect and reconnect with his own musical voice. The result of this introspection is the album Hireth.

In film, the music is defined before you even find a note or melody. As David puts it: “I realised that film music is written back to front. When scoring a scene I know the length of the cue to the exact second; I know the emotions and journey of the piece. All this before I've played a single note.” With Hireth the approach is different: allowing the music to lead and evolve into a journey across this album landscape to somewhere new or unknown.

A swirl of drones, pulses and piano greets us with ‘Wires’ — setting the tone and framework for what is to follow. ‘Labyrinth of the Night’ continues with a palette of synthesisers before blending into the string quartet which features throughout the album — an unexpected but welcome transformation. When beginning the project, David decided to start with two recently-bought vintage analogue synthesisers: Roland Sh-2000 and Roland Vp-330. Like Brian Eno’s idea of working with limitations, the rule he gave himself was to only write using these two keyboards. Of course, as it was his own rule, he was free to stretch and bend it, and the project evolved into what you now hear: those synthesisers, plus a few others, along with piano and a string quartet.

‘Hireth’ is a Cornish word that has no direct translation, yet could describe a feeling of homesickness, of nostalgia, of longing. Or, perhaps, a beautiful melancholy — which perfectly describes David’s music. With this title track you hear the piano being woven into the fragile strings, resulting in his trademark tapestry of emotive melancholia.\

As the album continues, we ponder questions of science, physics and quantum mechanics in ‘An Uncertainty’; while ‘Forever Beyond Our Reach’ references the limits of our knowledge about the nature of the universe — the title coming from a line in the short film which accompanies the piece by writer and director Barbara Stapansky.

This album will not be confined to its studio origins and David will be performing it live accompanied by a string ensemble. As well as the album, performances will feature a new version of David’s score to Nolan's Memento: taking the original electronic score and reworking it with the quartet — a work that has already been performed at London's Union Chapel as part of the Daylight Music series.

The word Hireth has no direct translation, and the language or voice of the composer, likewise, can’t be placed in a box: it has its own timbre, depth - its own emotional weight - which is why this extraordinary album further reveals itself with repeated listens.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

"We Will Live On" by Deru was made with a Disklavier (an acoustic piano outfitted with solenoids that allowed it to be digitally controlled) and custom made software to sequence it. This made the piano appear to play itself. Technology seemingly embedded with humanity.

The first new album in over 40 years by composer, pianist, and digital audio pioneer Loren Rush (b. 1935). Active in the Bay Area new music scene since the late 1950s alongside composers such as Robert Erickson and Pauline Oliveros, he also co-founded the Stanford University’s Center for Computer Research in Music and Acoustics in 1975. The title piece "Dans le Sable" (1967-68, 70) covers the first side of the record, the second piece on the album “Song and Dance” begins with the watery held tones of “Song.” Melancholy phrases are deconstructed and stretched in different retellings, invoking a harmonic fog. We are then thrust into “Dance,” one of the first orchestral pieces to employ computer-generated digital synthesis. A hypnotic and percussive march is propelled into a storm of early computer-processed cannonades.

In celebration of Specialty Records’ 75th anniversary, a new Sam Cooke compilation featuring tracks from his Specialty catalogue focusing on his pop-leaning tracks plus the live recordings from the legendary 1955 Shrine Concert that has never been available on vinyl before. 3x10″ released in a triple-gatefold jacket, featuring replica flyers and other ephemera included as inserts in the packaging.

In The Early Months Of 2020, When The Covid-19 Outbreak Ravaged His Home Country Of Italy, Prolific Composer Brunobavota Did What We All Would Eventually Do: Isolated Andwaited. What Followed Was A Year Of Fear, Anxiety, And Dread.Eventually, Fear Gave Way To Fatigue, And The Anxietymetamorphosized Into Nervous Energy. The Compulsion Tocreate Became More Powerful Than The Compression Andweight. And So Were Born Apartment Songs And Apartmentloops.Representing Two Separate But Intersecting Paths Of Bavota'screative Journey, Apartment Songs Is A Suite Of Sparse Soloacoustic Piano Works, While Apartment Loops Are Expansiveexplorations For Synthesizers And Outboard Effects Processors.Though In Theory The Two Sets Should Sound Disconnected Andunrelated - Given Their Disparate Creative Approaches Andinstrumentation - It's Bavota's Uncanny Sense Of Melody Andspace That Easily Unites Them As Two Halves Of A Singularvision.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Some dreams take longer to come true. For many years we trusted in Orka's musical talent and were hoping that one day we will spin the turntable and listen with our eyes closed. That moment is now at your fingertips.
Strictly limited 100 copies made for absolute musical joy. Seven tracks including three awesome remixes which warp classical music to electronic universe. Superb cover by Silvie and Marika. Shines in your collection like a pearl.

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.

Over the past few years, Judith Hoorens, well-known as pianist of Belgian post-rock band We Stood Like Kings, has been working on a series of neoclassical solo piano compositions that will be released in June 2022 under the name La Reine Seule.The album is called "Visages" and contains eight untitled tracks based on an identical musical cell of three notes. In each track this small cell takes on different forms,moods, rhythms, from minor to major, from melody to harmony, from one voice to another. They are like the perpetual changes we undergo in the course of a lifetime.A contemplative trip across landscapes of human emotions.