Extremes are extreme, extremely. For Philip Corner, a lifelong commitment to extremes - extreme expression, extreme beauty, extreme noise, extreme silence - developed a mastery of expression, any one extreme may result in all of the others. In gripping new recordings by the duo of Silvia Tarozzi, violin, and Deborah Walker, cello - with assistance from Rhodri Davies, harp, and Philip Corner, piano - Corner's early ensemble works from 1958 are paired with newer, late works from 2015-2016. The works from 1958, "Two-part monologue" and "FINALE," were composed while Corner was teaching at City College and still finishing his Masters at Columbia University under Henry Cowell and Otto Luening. Extremes being extreme, they were too extreme for Columbia. Yet, Corner completed his degree and continued to stretch on, creating works somewhere between the supercomputer-refined micro-tunings of James Tenney and the ecstatic enactments of Malcolm Goldstein, his Tone Roads bandmates. Now, with the world (somewhat) caught up, we can appreciate Philip Corner's EXTREEMIZMS, early and late, together.
Following the widely acclaimed 3LP collection, Electronic Music from the Seventies and Eighties, Unseen Worlds has compiled a second, 2LP collection of favorite and unreleased Carl Stone works. Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone's slow-evolving, time-bending composition. While we can't always identify the source, we can hear that his sounds come from somewhere, and that there is a "correct" or "complete" version of them in theory; and so we can hear when they are being changed. What drives Stone's music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of "Mae Yao"'s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of "Sonali," or the slow, ambient evolution of "Banteay Srey". "Woo Lae Oak," issued in a single side edit for the first time, is an exception. Its samples - a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone locates the inherent emotional properties of the sounds and takes them into unexpected expressive territory.
Maria Monti's 1974 LP Il Bestario is a rare item even in its native country. Monti is an Italian singer and actress with a noteworthy career, performing as a cabaret singer in the 60s, an ambitious avant-garde folk artist in the 70s, and starring in films by directors such Sergio Leone and Bernardo Bertolucci all the while. In addition to lyrics by the infamous poet Aldo Braibanti, Il Bestiario features arrangements and synthesizer from legendary avant-garde composer Alvin Curran, as well as the soprano saxophone of jazz-great Steve Lacy. The music of Il Bestiario is a prime example of "the new art-song" of the 1970s, as Alvin Curran calls it - lush, dynamic and full of intelligence and beauty. Sourced from the original master tapes and remastered by Taylor Deupree.
Privately pressed to LP in 1978 under the name "J. Jasmine" and made especially for the Ann Arbor Film Festival, with artistic collaboration from the festival's founder and Once Group artist, George Manupelli, My New Music is the debut album by Jacqueline Humbert and David Rosenboom. Featuring a cast of Mills College personalities like David Behrman and Sam Ashley on backup vocal duties, this song cycle is at every turn boundary pushing and intent upon gender-busting, yet still hilarious, sweet, and genuine, all delivered in a post-genre, art-song, cabaret musical style that happens to boast some serious avant-garde chops, courtesy of Rosenboom. If it weren't so spot on, you'd swear it was a guilty pleasure. As J. Jasmine writes, My New Music is a collection of personal stories and private desires, exposed, articulated, performed and dedicated to the hope that one person's fantasies can contribute to another person's freedom. Get lost in J. Jasmine's world for a little long while.
A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style - from his industrial-avant-garde works on Nurse With Wound's United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow - Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh's in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.
"British composer Robert Haigh has brought another style to the fore in what's already a gloriously varied musical career: he's previously worked within industrial avant-garde as well as ambient drum n' bass as Omni Trio. With Creatures of the Deep, mysteries are allowed to shine weakly, emerging through the speakers at a slow rate, the airy ambient textures and the ghostly passages of the fathoms offering glints of something much biggerâ€¦monolithic, even, exploring a world in tones that pacify instead of terrify." - James Catchpole, Fluid Radio
"simply any place where [there is] a slight deviation in sound can be stunningly beautiful" - Duncan Edwards, Brainwashed