and/OAR

Hideki Umezawa: Suido-Kan

2012-01-21T19:20:00.000-08:00

catalog number: moar4

artist: HIDEKI UMEZAWA

title: Suidô -Kan

format: CD

link: http://and-oar.org/moar_catalog_moar4.html

Featuring a re-mix by Tomas Phillips.

Kiyoshi Mizutani & Kiyoharu Kuwayama: Interlude

2011-09-22T13:42:00.000-07:00

catalog number: either/6

artist: KIYOSHI MIZUTANI & KIYOHARU KUWAYAMA

title: Interlude

format: CD

link: http://and-oar.org/pop_either_6.html

Celer: Levitation And Breaking Points

2011-09-22T13:31:00.000-07:00

catalog number: and/38

artist: CELER

title: Levitation And Breaking Points

format: CD

link: http://and-oar.org/pop_and_38.html

Luigi Turra: Ki

2011-06-12T10:33:00.001-07:00

catalog number: and/37

artist: LUIGI TURRA

title: Ki

format: CD x 3

link: www.and-oar.org/pop_and_37.html

KI 1: ENSO 48:00
KI 2: ANCIENT SILENCE 45:00
KI 3: SHASEKISHU 45:00

A first version of ENSO was originally released by Small Voices in 2007,

but the release suffered from peak-volume distortion due to being

mastered too loud, plus the use of compression altered the sound of

the work. Here, it is free from distortion and compression. ANCIENT

SILENCE was originally self-released as a limited edition CDR EP in 2007.

Presented here for the first time is the full length version. SHASEKISHU

is a previously unreleased third part of the KI trilogy.

KI traverses and transcends dimensions of time and space, so all

notions of past, present and future defy linear logic. Ephemeral

occurrences turn into frozen memories suspended in the air like clouds

of dust in sunlight. An epic and outstanding example of reductionist

sound cinema. A truly visionary work.

Lethe: Dry Ice On Steel Tables

2011-05-29T12:46:00.000-07:00

catalog number: either/live2

artist: LETHE

title: Dry Ice On Steel Tables

format: CD

link: www.and-oar.org/pop_either_live2.html

Kiyoharu Kuwayama: dry ice, steel tables & candles.

A remarkable document of a live performance recorded on September

11th, 2003 at No, 20 warehouse, Nagoya Port, Japan. The sounds

heard in this recording were created by Kiyoharu's application of dry

ice to four steel tables which were heated by candles. No electronic

processing or post-production editing of the performance was done.

2011-03-17T22:37:00.000-07:00

Between now and the end of March 2011... when you purchase

and/OAR CDs at Experimedia, 100% of the sales money will

go to the Japan Earthquake Relief Fund set up by

Japan Society in New York.

Kraig Grady: Our Rainy Season / Nuilagi

2011-02-18T01:05:00.000-08:00

catalog number: either/5

artist: KRAIG GRADY

title: Our Rainy Season / Nuilagi

format: CD

link: www.and-oar.org/pop_either_5.html

Kraig Grady: composer, metallophone

Jim Denley: bass flute, alto saxophone and wooden flute

Mike Majkowski: upright bass

Erin Barnes: metallophone

Jonathan Marmor: metallophone

1. Our Rainy Season (49:12)

2. Nuilagi (25:54)

Kraig Grady is a composer/decomposer/sound explorer. Since 1975 he

has pursued the formation of ensembles of acoustic microtonal

instruments of his own design/modification to explore an interaction with

environmental spaces, the contextual influence of visionary space, and

psychoacoustical pitch phenomena. Seeing personal fulfillment as not

possible within the confines of specialization, he has also engaged

extensively as a shadow puppeteer, tuning theorist, filmmaker, world

music radio DJ and concert promoter. His compositions often include

interactions with his own silent films and shadow plays.

Favorites From 2010

2011-01-06T19:12:00.000-08:00

and/OAR releases are obviously among the favorites during any given year,

but they are not included in my annual lists.

Top 20 From 2010 (alphabetical by first letter):

- ANDREW CHALK: The Cable House (Faraway Press) CD

- ANDY GRAYDON: Geomancy (mAtter) CD + DVD

- CEDRIC PEYRONNET + TOY BIZARRE ORCHESTRA: kdi dctb 216 [DATA] series (Kaon) 3" CDR x 12

- DANIELLE BAQUET-LONG [AKA Chubby Wolf]: Ornitheology (Digitalis) CT

- ERIC LA CASA: Zone Sensible 2 / Dundee 2 (Room40) CD

- ERNIE ALTHOFF: Colour Chart (Antboy Music) CDR

- FRANCISCO LOPEZ: Machines (Elevator Bath) CD x 2

- JANA WINDEREN: Energy Field (Touch) CD

- LASSE-MARC RIEK: Harbour (Herbal) CD

- LETHE: Catastrophe Point 7 & 8 (Invisible Birds) CD x 2

- MAX EASTLEY: Installation Recordings [1973-2008] (Paradigm Discs) CD x 2

- MICHAEL NORTHAM: Solar Night (Mirror Tapes) CT

- MURAL: Nectars Of Emergence (Sofa) CD

- TRISTRAM CARY: It's Time For Tristram Cary (Trunk) CD

- NICHOLAS SZCZEPANIK & JUAN JOSE CALARCO: Lack Affix (Unfathomless) CD

- PIETRO GROSSI: Combinatoria (Die Schachtel) CD x 2

- RICHARD CHARTIER: A Field For Mixing (Room40) CD

- SEIJIRO MURAYAMA & ERIC LA CASA: Supersedure (Hibari Music) CD

- SETH NEHIL: Furl (Sonoris) CD

- THOMAS TILLY / TÔ: Cables & Signs (Fissur) CD

Top 2010 Acquisition Favorites From Previous Years (alphabetical by first letter):

- ARZA ANAIAK: Txalaparta '75 Iraila (Cramps / Strange Days) CD

- CRAIG KUPKA: Clouds - New Music For Relaxation (Folkways) CDR

- DALE GORFINKLE & ROBBIE AVENAIM: Sonic Systems Laboratory (Splitrec) CD

- FRANCISCO SEMPRUN & MICHEL CHRISTODOULIDES: Metamorphoses (Unidisc) LPR

- FREDERIC NOGRAY: Nelki (Prele) CD

- GIACINTO SCELSI: Quattro Pezzi Per Orchestra / Anahit / Uaxuctum (Accord) CD

- HIROKI SASAJIMA: Nine (self released) CDR

- JACQUES LASRY: Chronophagie (Columbia) LPR

- JOHN MITCHELL: The Way of Eiheiji (Folkways) CDR

- JORGE REYES: The Flayed God (Staalplaat) CD

- JOSEF ANTON RIEDL: Klangregionen 1951-2007 (Edition RZ) CD x 2

- KARLHEINZ STOCKHAUSEN: Musik Im Bauch (Deutsche Grammophon) LPR

- MARC BEHRENS: Sleppet (Cronica) CD

- MICHIKO TOYAMA: Waka And Other Compositions (Folkways) CDR

- MIGUEL ANGEL CORA: En Rouge Et Noir (Cramps / Strange Days) CD

- NINO ROTA: Fellini Satyricon (United Artists) LPR

- PETR KOTIK: First Record (Cramps / Strange Days) CD

- ROLAND KAYN: Electronic Symphony 1-3 (Rieger-Records-Reeks) CD x 2

- VARIOUS ARTISTS: The Tomorrow People (Trunk) CD

- VARIOUS ARTISTS: Folk Music From Sweden: Lockrop & Vallatar (Caprice) CD

Other Favorite Discoveries From Previous Years, But No Physical Copy Yet:

- Akio Suzuki: "Suzuki Type- Glass Harmonica" (Gelbe Musik) CDR

- Alain Kremski: Musiques Rituelles Pour Cloches Et Gongs (Auvidis) LPR

- Dr. Jeffrey Thompson: Sri Yantra (Center for Neuroacoustic Research) CD

- Joel Andrews: The Violet Flame (The Group, Inc) LPR

- Marie-Claude Robert: Supranatural (Editions Montparnasse) LPR

- Master Wilburn Burchette: Psychic Meditation Music (Burchette Brothers) LPR

- Pierre Henry: Spatiodynamisme (Éditions Du Griffon) 7"

- Peter Van Riper: Room Space - New Music For Saxophones (VRBLU) LPR

- Sergio Montori & Gian Paolo Chiti: Quadri Antichi (Duse Records) LPR

- Tchen Gi-Vane: Song Of Une Noyade Et Le Shadow (S3TI Production) CD

Michelangelo Antonioni - Trilogy And Epilogue

2010-10-12T19:36:00.000-07:00

artist: VARIOUS ARTISTS

title: Michelangelo Antonioni - Trilogy And Epilogue

catalog number: and/36

format: CD x 2

link: www.and-oar.org/pop_and_36.html

- ASHER

- OLIVIA BLOCK

- MARC BEHRENS

- JUAN JOSÉ CALARCO

- ALAN COURTIS

- EKG (Kyle Bruckmann & Ernst Karel)

- LAWRENCE ENGLISH

- FHIEVEL

- COREY FULLER

- RICHARD GARET

- MARIHIKO HARA

- I8U

- JASON KAHN

- DALE LLOYD

- ROEL MEELKOP

- PALI MEURSAULT (with Ici-Même)

- BEN OWEN

- GABRIEL PAIUK

- J. WINSTON PHILLIPS

- TOMAS PHILLIPS

- ANTTI RANNISTO

- ADAM SONDERBERG

- STEINBRÜCHEL

- LUIGI TURRA

- TYLER WILCOX

Jim Denley & Kim Myhr: Live In Munich

2010-08-26T15:14:00.000-07:00

catalog number: either/live1

artist: JIM DENLEY & KIM MYHR

title: Live In Munich

format: CDR

link: http://www.and-oar.org/pop_either_live1.html

A special limited edition release that will mostly be available

at their 2010 tour performances. Only a small number of

copies will be available in the and/OAR Diffusion shop.

The discs are professionally made in digipaks.

Olivia Block & Kyle Bruckmann: Teem

2010-06-03T20:52:00.000-07:00

catalog number: either/4

artist: OLIVIA BLOCK & KYLE BRUCKMANN

title: Teem

format: CD

link: www.and-oar.org/pop_either_4.html

Bruckmann and Block’s creative relationship dates back to the

recording of Block’s 1999 release Pure Gaze, shortly after both

artists entered into Chicago’s vibrant experimental music

community. Their decision to create a collaborative duo ensued,

but remained in the realm of good intentions until shortly before

Bruckmann’s relocation to the San Francisco Bay Area.

They then began playfully stockpiling sounds from a myriad of

sources, collecting field material, and recording duo improvisations

in various spaces using hallway intercom systems and unorthodox

microphone placements, among other processes and techniques.

This initial activity was followed by five years of collaborative

editing, processing and mixing, resulting in the emergent expanse

that is Teem.

Ernst Karel: Heard Laboratories

2010-04-27T22:25:00.000-07:00

catalog number: and/35

artist: ERNST KAREL

title: Heard Laboratories

format: CD

link: www.and-oar.org/pop_and_35.html

Heard Laboratories is a sonic ethnography of scientific research environments

at Harvard University, made using Schoeps cardioid mics in ORTF stereo

configuration and a Sound Devices audio recorder. The sounds of equipment,

devices, and activities draw attention to the physical processes underlying

scientific research, the work underway which provides a ground for our highly

technologized society. In the name of human progress, enormous resources

are devoted to and consumed by such activities, which are both hidden and

taken for granted. Heard Laboratories brings this background to the fore.

More info and samples can be found at the link above.

Canadian debut of John Grzinich's new film

2010-04-06T18:19:00.000-07:00

John Grzinich's new film entitled, "Sound Aspects Of Material Elements"

(scheduled for future DVD release on a/O) is having its Canadian debut

in Calgary this month, so be sure to check it out!

John should be on hand to chat and answer questions.

http://films.calgaryundergroundfilm.org/soundaspects

Vincent Paillard: untitled

2010-03-15T16:12:00.000-07:00

catalog number: either.p33

artist: VINCENT PAILLARD

title: untitled

format: MP3

link: www.and-oar.org/pop_eitherp33.html

Richard Garet: Four Malleable reviewed at Tokafi

2010-03-04T10:16:00.000-08:00

http://www.tokafi.com/newsitems/richard-garet-four-malleable/

Tokafi interview with Billy Gomberg

2010-02-24T11:36:00.000-08:00

http://www.tokafi.com/15questions/15-questions-billy-gomberg/

Adrián Demoč: Zikkurat / Variations For Piano

2010-01-09T19:48:00.000-08:00

catalog number: either.p32

artist: ADRIÁN DEMOČ

title: Zikkurat / Variations For Piano

format: MP3

link: www.and-oar.org/pop_eitherp32.html

The either/OAR division continues to refine and define its parameters with the

latest free online release by Slovakian composer Adrián Demoč. Adrián's work

ranges from composition in the European classical tradition (as featured here)

to highly experimental improvised work using electronics and instruments.

I hope the usual followers of and/OAR will give the work time to settle in and

take hold, because once it does, it should reward the attentive listener with

a moving experience. I'm very happy to have the opportunity to present work

of this nature via either/OAR and hope to do so again in the future. Enjoy!

(DL)

best of the year lists 2009

2009-12-30T21:45:00.001-08:00

I decided to try moving the annual best of the year lists to the blog

and see if this works better. This way, anyone can feel free to add

their personal lists whenever they want in the comments section.

I'm usually exposed to hundreds and hundreds of releases every year,

so one can imagine how challenging it can be to decide on 20 (or 40).

Often, I find that many of my favorite releases acquired during any

given year actually were from previous years, so this always makes me

wonder what I missed from the current year that will end up on next

year's list since I always create two separate lists for current and older

releases. As usual, I do not include a/O releases because it's obvious

that I think highly of them and they would take up space in my list

that could be used for other label's releases. Below my lists, you will

find those of different friends/colleagues/customers of a/O.

DALE LLOYD (and/OAR)

Favorite 2009 releases (alphabetical):

- ÆRA: Paean No. 1 (Faith Strange Recordings) first edition CDR

- GILLES AUBRY: s6t8r (Winds Measure Recordings) CD

- JUAN JOSE CALARCO: Darsena Intera (Mystery Sea) CDR

- CELER: Levitation And Breaking Points (self released) 3" CDR x 3

- CELER: Compositions For Cassette (Digitalis) cassette

- YANNICK DAUBY: Songs Of The Frogs Of Taiwan (Kalerne) CD

- RICHARD GARET & ANDY GRAYDON: Subtracted / Untitled [Altbau] (White_Line) 3" CDR

- BILLY GOMBERG & OFFTHESKY: Flyover Sounds (Experimedia) CDR

- GRAHAM HALLIWELL & LEE PATTERSON: Terrain (Confront) CDR

- LISSOM: Nest Of Iterations (Dragon's Eye Recordings) CDR

- MEW: No More Stories (Columbia) CD

- MOTH ELECTRET: Tocasin (Diophantine) CD

- SETH NEHIL: Flock And Tumble (Sonoris) CD

- YUI ONODERA & THE BEAUTIFUL SCHIZOPHONIC: Radiance (Basses Frequencies) CD

- TOMAS PHILLIPS: Six Notes (Koyuki) 3" CDR

- ROBERT RICH & FARYUS: Zerkalo (Faria) CD

- TARAB: Take All The Ships From The Harbour And Sail Them Straight Into Hell (23Five) CD

- PETER THOMAS: Chariots Of The Gods? (Polydor Germany) CD re-issue with bonus tracks

- WAN-SHUEN TSAI & YANNICK DAUBY: Village, Vestiges (La CoLLombier) CD + book

- EDWARD WILLIAMS: Life On Earth (Trunk Records) CD

Favorite 2009 acquisitions from previous years (alphabetical):

- ALVA NOTO & RYUICHI SAKAMOTO: UTP_ (Raster-Noton) CD + DVD

- ANDERS DAHL: RGB Tapes (Conv) CDR

- FRANK DENYER: Music For Shakuhachi (Another Timbre) CD

- TAYLOR DEUPREE & KENNETH KIRSCHNER: May (Room40) CD

- DUNGEN: Ta Det Lugnt (Kemado) CD x 2

- MORTON FELDMAN: Crippled Symmetry (Col Legno) CD x 2

- MORTON FELDMAN: For Philip Guston (Wergo) CD x 4

- FENNESZ: Black Sea (Touch) CD

- FRITZ HAUSER & MICHAEL ASKILL: Space (Celestial Harmonies) CD

- TOSHIO HOSOKAWA: Deep Silence (Wergo) CD

- ALFREDO COSTA MONTEIRO: Anatomy Of Place (Monotype Rec) CD

- STEFANO PILIA: Action Silence Prayers (Die Schachtel) CD

- POPOL VUH: Die Nacht Der Seele - Tantric Songs (SPV) CD

- ELIANE RADIGUE: Adnos I - III (Table Of The Elements) CD x 3

- ANN SIDEN: Man's Need Of Comfort Is Without End (Firework Edition) CD

- VOLKER STAUB: Suarogate (Wergo) CD

- TAUS (Tim Blechmann & Klaus Filip): The Organ Of Corti (L'innomable) CD

- TOSHI TSUCHITORI: Dotaku / Sanukaito / Sounds Of Prehistoric Cave / Jomonko (Victor) 4 separate CDs

- YOSHI WADA: The Appointed Cloud (EM Records / Omega Point) CD

- V/A: Bauhaus Reviewed 1919 - 1933 (LTM) CD

- V/A: Japanese Masterpieces For The Shakuhachi (Lyrichord) CD

DVDs (alphabetical):

- LUIS BUÑUEL: Simon Of The Desert (Criterion) DVD

- ILDIKÓ ENYEDI: Simon Magus (Navigator) DVD

- ZOLTÁN HUSZÁRIK: Szindbad (Mokep) DVD

- JEAN PAINLEVÉ: Science Is Fiction: 23 Films (Criterion) DVD x 3

- RICHARD SCHENKMAN: The Man From Earth (Anchor Bay) DVD

- PETER WEIR: The Truman Show (Paramount) DVD

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STEVEN HESS (Dropp Ensemble, Haptic, On)

www.stevenrhess.com

Best of list for 2009:

- ARVO PÄRT: In Principio (ECM)

- SUPERSILENT: 9 (Runegrammofon)

- KTL: IV (Editions Mego)

- LOKAI: Transition (Thrill Jockey)

- GÜNTER MÜLLER: CYM_BOWL (Mikroton)

- ELEH: Retreat (Important)

- STEPHAN MATHIEU + TAYLOR DEUPREE: Transcriptions (Spekk)

- ROBERT HAMPSON: Vectors (Touch)

- NICK CAVE & WARREN ELLIS: White Lunar (Mute)

- ELIANE RADIGUE: Triptych (Important)

- WILLIAM BASINSKI: 92982 (2062)

- STEVEN R. SMITH: Cities (Immune)

- JON HASSELL: Last Night The Moon Came Dropping Its Clothes In The Street (ECM)

- WILLIAM FOWLER COLLINS: Perdition Hill Radio (Type)

- SUNN O))): Monoliths & Dimensions (Southern Lord)

Movie:

- THE ROAD (Dir. John Hillcoat)

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KEVIN WIENKE (Alluvial Recordings)

- PHILL NIBLOCK: Touch Strings (Touch) CD x 2

- LEIF ELGGREN: Death Travels Backwards (Errant Bodies) DVD

- THOMAS KÖNER: La Barca (Fario) CD

- WILLIAM BASINSKI: 92982 (2062) CD

- GIANCARLO TONIUTTI: The Early Tape Years (VOD) LP x 3 + 10" Boxset

- JOHN DUNCAN: Live In Brussels 2007 (AQM) CDR

- MILES DAVIS: The Complete Columbia Album Collection CD x 70 + DVD (Columbia /Legacy)

- JESU OPIATE: Sun (Caldo Verde) CD

- ANDREW CHALK: The Cable House (Faraway Press) LP

- SPIRACLE: Ananta (Helen Scarsdale Agency) CD x 2

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ADAM SONDERBERG

Top 11 + 3 in Alphabetical order:

- GILLES AUBRY: s6t8r (Winds Measure Recordings) CD

- JEAN BAUDRILLARD: Le Xerox et l'Infini (Tapeworm) cassette

- CANNIBAL CORPSE: Evisceration Plague (Metal Blade) CD

- RICHARD GARET: Four Malleable (and/OAR) CD x 2

- DAVID GRUBBS: Hybrid Song Box.4 (Blue Chopsticks) CD

- JEPH JERMAN: Vinyl (Easy Discs) CDR

- PHILIP JULIAN: Low Activity Computer Solo (Free Software Series) FLAC

- PATRICK KOSK: Mondweiß (Edition RZ) CD

- MORRISSEY: Years of Refusal (Attack) CD

- NURSE WITH WOUND: The Surveillance Lounge (Dirtier) CD

- CHARLEMAGNE PALESTINE / CHRISTOPH HEEMANN – Saiten in Flammen (Streamline) LP

- POLWECHSEL / JOHN TILBURY: Field (Hatology) CD

- ELAINE RADIGUE: Naldjorlak (Shiin) CD

- ERIK SATIE: 42 Vexations (Sub Rosa) CD

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BILL MAJOR

Best 2009

- ALFRED HARTH: Red Canopy (?)

- MARAL YAKSHIEVA & ANTHONY BRAXTON: Improvisations (Solyd Records)

- DROPP ENSEMBLE: Safety (and/OAR / either/OAR)

- JOHN BUTCHER GROUP: somethingtobesaid (Weight Of Wax)

- JACK WRIGHT QUARTET: Tenterhooks (Bug Incision Records)

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WILL LONG (Celer / Floor Sugar)

artificialcolors.blogspot.com/

thesingularwe.org/fs

- ELAINE RADIGUE: Triptych (Important) CD

- CHRISTOPHE CHARLES: Undirected / Dok (Ritornell) CD

- ANDREY KIRITCHENKO - Misterrious (Spekk) CD

- MESO MESO: Spoon (Yacca) CD

- ASUNA: live video at Syofukiji Temple (YouTube)

- AKI ONDA: Bon Voyage!: Cassette Memories Vol. 2 (Improvised Music From Japan) CD

- DALE LLOYD: Akasha For Record (Elevator Bath) LP

- SIX ORGANS OF ADMITTANCE: RTZ (Drag City) CD

- BILLY GOMBERG: Comme (and/OAR / mOAR) CD

- CHUBBY WOLF: Meandering Pupa (CW) CDR

- FM3: Buddha Machine II (FM3)

- MIKA VAINIO: Vandal (Raster-Noton) LP

- FJORDNE :The Setting Sun (Kitchen) CD

- PAWN: Glass + Breath (Dynamophone) CDR

- HIROKI SASAJIMA: Nine (Self-released) CDR

- COREY FULLER: Seas Between (Dragons Eye Recordings) CDR

- EVOL: Fart Synthesis (Presto!?) cassette

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KURT LIEDWART (Mikroton Records)

No particular order. These are which I played a lot during the year.

1. CHRISTOF KURZMANN & BURKHARD STANGL: Neuschnee (Erstwhile) CD

2. JASON KAHN: Vanishing Point (23five) CD

3. WERNER DAFELDECKER, CHRISTOF KURZMANN, JOHN TILBURY & STEVIE WISHART: Violet (Mikroton) CD

4. BURKHARD STANGL & KAI FAGASCHINSKI: Musik — Ein Porträt In Sehnsucht (Erstwhile) CD

5. GÜNTER MÜLLER WITH ALAN COURTIS, PABLO RECHE, SERGIO MERCE, GABRIEL PAIUK: Buenos Aires Tapes (Monotype) CD x 2

6. DAVID SYLVIAN: Manafon (Samadhisound) CD + Book

7. CAPECE, ECKHARDT, KESTEN, MALFATTI, NAKAMURA & SUGIMOTO: Wedding Ceremony (Cathnor) CD

8. RHODRI DAVIES, MICHEL DONEDA, LOUISA MARTIN, PHIL MINTON & LEE PATTERSON: Midhopestones (Another Timbre) CD

9. THE AFTERNOON SAINTS: The Shirley Jangle (Kraak) LP x 2

10. PHOSPHOR: Phosphor II (Potlatch) CD

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SEAN O'BRIEN (SPIRIT HOUSE Eastside Radio 89.7FM, Sydney, Australia)

22 in no particular order, all great listening:

1. M SQUARED RARE RECORDINGS 1978-1983: (Vinyl On Demand) LP x 6

2. GERM STUDIES: For Guzheng & DX7 (Splitrec) CD x 2

3. JIM DENLEY & KIM MYHR: Systems Realignment (and/OAR / either/OAR) CD

4. THE NECKS: Silverwater (Fish Of Milk) CD

5. ROIL: Meaning (Rufus) CD

6. CANDLESNUFFER: Mimosa (hellosQuarerecordings) CD

7. JOHN BUTCHER GROUP: somethingtobesaid (Weight of Wax) CD

8. AN ANTHOLOGY OF CHINESE EXPERIMENTAL MUSIC (Sub Rosa) CD x 2

9. DAVID SYLVIAN: Manafon (samadhisound) CD

10. JON HASSELL: Last Night The Moon Came Dropping Its Clothes In The Street (ECM) CD

11. ALVA NOTO & RYUICHI SAKAMOTO: utp (Raster-Noton) CD x 2

12. TU'M: Monochromes Vol. 1 (12k / L-ne) CD

13. OREN AMBARCHI: Intermission 2000-2008 (Touch) CD

14. BIOSPHERE: Wireless (Touch) CD

15. BROADCAST & THE FOCUS GROUP: Witch Cults Of The Radio Age (Warp) CD

16. PEOPLE BAND: 69/70 (Emanem) CD x 2

17. TOMOKO SAUVAGE: Ombrophilia (and/OAR /either/OAR) CD

18. POLWECHSEL & JOHN TILBURY: Field (Hat Hut) CD

19. GHANA SPECIAL: Modern Highlife, Afro-sounds & Ghanaian Blues 1968-81 (Soundway) CD x 2

20. ROB MAZUREK QUINTET: Sound Is (Delmark) CD

21. LAURA ANDEL ORCHESTRA: Doble Mano (Rossbin Records) CD

22. HARMONIA & ENO '76: Tracks & Traces re-released (Gronland) CD

& a year of great concerts in Sydney, including:

1. HARMONIA, Basement, Sydney, January

2. PURE SCENIUS - ENO with the NECKS, Sydney Opera House, June

3. JON HASSELL, Sydney Opera House, June

4. MIDDLE HEAD PROJECT, Middle Head, Sydney, November

5. GERM STUDIES, Carriageworks, Sydney, December

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STEINBRÜCHEL

- GIUSEPPE IELASI: Aix (12k) CD

- LAWRENCE ENGLISH: A Colour for Autumn (12k) CD

- MARK WASTELL: After Hours (Cathnor) 3" CDR

- STEPHAN MATHIEU: The Key to the Kingdom (Dekorder) 10"

- RICHARD YOUNGS: Like a Neuron (Dekorder) LP

- ATILLA FARAVELLI: Beneath the Surface (Die Schachtel) CD

- HÄLSNINGAR FRAN SKOGEN: Compilation (Kning Disk) CD

- NILS FRAHM: The Bells (Kning Disk) CD

- RICKARD JÄVERLING: The Valleys (Kning Disk) CD + 7"

- BILLY GOMBERG: Comme (and/OAR / mOAR) CD

- FREDERIC NOGRAY: Nelki (Prele Records) CD

- ATOM TM: Liedgut (Raster Noton) CD

- IN THE COUNTRY: Whiteout (Rune Grammofon) CD

- SOISONG: XAj3z (Soisong) CD

- LOKAI: Transition (Thrill Jockey) CD

- NANA APRIL JUN: The Ontology of Noise (Touch) CD

- JACOB KIRKEGAARD: Labyrinthitis (Touch) CD

- WIXEL: Clouds (Self released, 2009 series) CDR x 12

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ERIC LANZILLOTTA (Dissonant Plane / Ri Be Xibalba / Anomalous Records)

www.dissonantplane.com

www.ribexibalba.com/ar/

- AFCGT: AFCGT (Uzu Audio) LP

- LAURIE SCOTT BAKER: Gracility (Musicnow) CD x 2

- L. BERNER: Blackout Nights (Zen Enthusia) cassette x 2

- SIR RICHARD BISHOP: The Freak Of Araby (Drag City) CD

- CRYSTAL HELL POOL: Wind Blows Through Me (Crippled Symmetry Recordings) CDR

- DROPP ENSEMBLE: Safety (either/OAR / and/OAR) CD

- LUC FERRARI: Labyrinthe De Violence / DANCE (Alga Marghen) 12"

- IBLISS: Supernova (Garden Of Delights) CD

- THE INNER SPACE: Agilok & Blubbo (Wah-Wah Records Sound)

- DEMIAN JOHNSTON: Forever (Dead Accents) cassette

- DEMIAN JOHNSTON: Still (Dead Accents) cassette

- DAVE KNOTT: Sweet Little Guitar Ditties (self released) CD

- R MILLIS: 120 (Etude Records) CD

- HIROAKI MINAMI: Obscure Tape Music Of Japan Vol.10: Electronic Symphony No. 1 (Edition Omega Point) CD

- ELAINE RADIGUE: Triptych (Important) CD

- ELAINE RADIGUE: Vice Versa, Etc. (Important Records) CD x 2

- MATT SHOEMAKER: The Sunken Plethora Consumes All (Mystery Sea) CDR

- OMAR SOULEYMAN: Dabke 2020: Folk And Pop Sounds Of Syria (Sublime Frequenices) CD

- SPERM: Shh! Heinäsirkat (De Stijl) LP

- SUN CITY GIRLS: Napoleon & Josephine [Sun City Girls Singles Volume 2] (Abduction) CD

- AKIO SUZUKI: Ki-date (Ichinomiya City Memorial Art Museum of Setsuko Migishi) DVD

- GIANCARLO TONIUTTI: The Early Tapes Period (Vinyl-On-Demand) LP x 3 + 10"

- UNICAZÜRN: Temporal Bends (uZu Music) CD

- SIMON WICKHAM-SMITH: A Seventh Persimmon (Tape Drift Records) CDR

- ZAÏMPH: Serpent's Bite (Heavy Blossom) CD

- V/A: 1970's Algerian Proto-Rai Underground (Sublime Frequencies) CD

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INVISIBLE BIRDS

www.invisiblebirds.org

- ALVA NOTO & RYUICHI SAKAMOTO: utp (Raster-Noton) CD + DVD

- ALVA NOTO: Xerrox Vol. 2 (Raster-Noton) CD

- WILLIAM BASINSKI: 92982 (2062) CD

- RAN BLAKE: Driftwoods (Tompkins Square) CD

- BILL CALLAHAN: Sometimes I Wish I Were an Eagle (Drag City) CD

- ELEGI: Varde (Miasmah Recordings) CD

- ELEH / NANA APRIL JUN: Observations & Momentum (Touch) CD

- AMBROSE FIELD & JOHN POTTER: Being Dufay (ECM) CD

- FIRE: You Liked Me Five Minutes Ago (Rune Grammofon) CD

- GRIZZLY BEAR: Veckatimest (Warp) CD

- HARMONIA & ENO '76: Tracks & Traces re-released (Gronland) CD

- JON HASSELL: Last Night The Moon Came Dropping Its Clothes In The Street (ECM) CD

- TIM HECKER: An Imaginary Country (Kranky) LP

- LETHE: Catastrophe Point #5 (Intransitive Recordings) CD

- STEPHAN MATHIEU: The Key to the Kingdom (Dekorder) 10"

- MOUNTAINS: Choral (Thrill Jockey) CD

- MOUNTAINS: Etching (Thrill Jockey) LP

- PHILL NIBLOCK: Touch Strings (Touch) CD x 2

- NILS ØKLAND: Monograph (ECM) CD

- ADAM PACIONE: Still Life Series (Bee Eater Recordings) 3" CD

- ARVO PÄRT: In Principio (ECM) CD

- ELAINE RADIGUE: Triptych (Important Records) CD

- ELAINE RADIGUE: Vice Versa, Etc. (Important Records) CD x 2

- COLIN ANDREW SHEFFIELD: For Tomorrow (Bee Eater Recordings) 3" CD

- MATT SHOEMAKER: Erosion of the Analogous Eye (Helen Scarsdale Agency) CD

- MATT SHOEMAKER: The Sunken Plethora Consumes All (Mystery Sea) CD

- SIX ORGANS OF ADMITTANCE: Luminous Night (Drag City) CD

- STEVEN R. SMITH: Cities (Immune) CD

- TAMARU: Figure (Trumn) CD

- RICHARD YOUNGS: Under Stellar Stream (Jagjaguwar) CD

- MIROSLAV VITOUS & MICHAEL PORTAL: Remembering Weather Report (ECM) CD

- YOSHI WADA: Earth Horns With Electronic Drone (Edition Omega Point) CD

- ROBERT WYATT: Box Set (Domino) CD x 14

- TOWNES VAN ZANDT: Live at the Old Quarter, Houston, Texas (Fat Possum Records) LP

An extended list is here: theartofmemory.blogspot.com/2009/12/pre-2010.html

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BARTOLOMÉ SANSON (Kaugummi)

www.kaugummi.fr

- ROBEDOOR: Pagan Drugs (Ketchup Cavern)

- ANTIQUE BROTHERS: Season’s Feast (Not Not Fun)

- BARN OWL: The Conjurer (Root Strata)

- HIGH WOLF: Incalpulco (Winged Sun)

- SILVESTER ANFANG II: untitled (Aurora Borealis)

- EMERALDS: untitled (Wagon)

- SUN ARAW: Heavy Deeds (Not Not Fun)

- YOGA: Megafauna (Holy Mountain)

- SUPER MINERALS: Clusters (Stunned)

- POCAHAUNTED: Passage (Troubleman Unlimited)

- HEAVY WINGED: Walking, Shaking (Aurora Borealis)

- POCAHAUNTED: Radioshow @ Amsterdam (unrealesed)

- BEAR BONES, LAY LOW: Vallee De Dith (Kraak)

- SILVER BULLETS: Free Radicals (Stunned)

- SOCIAL JUNK: Born Into It (Digitalis)

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DANIEL CROKAERT (MYSTERY SEA/UNFATHOMLESS)

non exhaustive list of some zenithal 2009 audio-journeys (alphabetical order)

- JIM HAYNES: Sever (Intransitive) CD [special edition version with “Severed” 3”CDR bonus disc]

- JAMES McDOUGALL: Double Tilde (Mandorla) MP3

- STEVE RODEN: Ecstasy Showered Its Petals With The Full Peal Of The Bells (Ferns) 3”CD

- JANA WINDEREN: Heated – Live In Japan (Touch) CD

- ALIO DIE: Tempus Rei (Hic Sunt Leones) CD

- GILLES AUBRY: s6t8r (Winds Measure Recordings) CD

- MAX BELLANCOURT: The Stone Tape (Dead Sea Liner) CDR

- JUAN JOSÉ CALARCO & DAVID WELLS: Foce (SiRiDisc) CDR

- LOREN CHASSE/ADAM SONDERBERG & KATHERINE YOUNG: Characters At Water Margin/Speech Acts (Compost & Height) 3”CDR

- CHUBBY WOLF: L'histoire (Gears Of Sand) CDR

- JONATHAN COLECLOUGH & ANDREW LILES: Burn (October Editions) CDR

- JONATHAN COLECLOUGH: Flutter (October Editions) 2CDR

- STEPHEN CORNFORD: Two Works For Turntable (Permanent Gallery) 7”

- STEPHEN CORNFORD : Air Guitar (Sculpture Recordings) CDR

- ROBERT CURGENVEN/JEZ RILEY FRENCH : Largo Affettuoso – Aria II, 8th movement/pelure #6 (Compost & Height) 3”CDR

- ROBERT CURGENVEN : Silent Landscapes (Recorded Fields) CDR

- C.S.K.A.: Tapesong (Low Point) 3”CDR

- EARLABS 3: Helix (Entr'acte) CD

- ENTIA NON & SYLVIE WALDER: Bewilderment (Resting Bell) MP3

- ENTIA NON: Disinter (Sentient Recognition Archive) CDR

- ERIC LA CASA/TARAB: Les Vibrations Dans La Masse De Son Roulement/Utility (Compost & Height) 3”CDR

- PATRICK FARMER: Apis Mellifera, Moved To And Fro (Organized Music From Thessaloniki) CDR

- FIVE ELEMENTS MUSIC: Ctok (Still*Sleep) CDR

- FIVE ELEMENTS MUSIC: Pictures From Sand : Boiling Line (Still*Sleep) CDR

- RICHARD GARET & BRENDAN MURRAY: Of Distance (Unframed) CD

- HANDS OF SAND: A Quiet Reverie (BLURB) Book + CDR

- HAPSBURG BRAGANZA: Hatchling (Idiosyncratics) CD

- IAN HOLLOWAY: She Loves The Sky (Quiet World) CDR

- IAN HOLLOWAY & BANKS BAILEY: A Brief Sojourn (Quiet World) CDR

- HUM: Le Pilote De L'onde Vive (Self Released) 3”CDR

- JGRZINICH: Time's Arrow Landing (Maheeli Editions) MP3

- PETER JØRGENSEN: To (Monotype) CD

- FERGUS KELLY: Fugitive Pitch (Room Temperature) CDR

- FERGUS KELLY: Swarf (Room Temperature) 3”CDR

- DALE LLOYD: Akasha_For Record (Elevator Bath) PICTURE DISC LP

- FRANCISCO LÓPEZ: Untitled #228 (Ini,Itu) LP

- JAMES McDOUGALL: An Opening In The Canopy (Compost & Height) MP3

- JAMES McDOUGALL: Kin Kin (Q-Tone) MP3

- BEN FLEURY-STEINER & CHRISTOPHER McFALL: The Dirty & The Clean (Con-v) MP3

- CHRISTOPHER McFALL: Red Is The Color Of Price By Relation (Moving Furniture) CDR

- NATHAN McNINCH: When You Went Into Churches (mOAR) MP3

- JUAN ANTONIO NETIO: Divisions Of Space (Experimedia) MP3

- MICHAEL NORTHAM: beliefs, like a ruined piece of paper lost at the bottom of an infinite pocket (Semperflorens) MP3

- MICHAEL NORTHAM & SEIJIRO MURAYAMA: Moriendo Renascor (XING-WU) CD

- YANN NOVAK: The Breeze Blowing Over Us (Infrequency) CDR

- YANN NOVAK & JAMES DROUIN: + room- room (Henry Art Gallery) CD

- BEN OWEN: Two (Gruenrekorder) CDR

- LEE PATTERSON: Seven Vignettes (Shadazz) CD

- CÉDRIC PEYRONNET & TOY.BIZARRE ORCHESTRA: Kdi dtcb 216 – the Data series (Kaon) 3”CDR

- JONAS RUCHENHEVER: Somber (The Pyngwen Society) CDR

- HIROKI SASAJIMA: Monogenic (Sentient Recognition Archive) CDR

- HIROKI SASAJIMA: Renz (Q-Tone) CDR

- HIROKI SASAJIMA: Nine (Self Released) CDR

- SEASONS (PRE-DIN): Stars And Lights : We Fall Together (Thy-rec) CDR

- MATT SHOEMAKER: Erosion Of The Analogous Eye (Helen Scarsdale Agency) CD

- MATT SHOEMAKER: Wayward Set (Human Faculties) CDR

- PHILIP SULIDAE: Southwest (Audiotalaia) MP3

- NICHOLAS SZCZEPANIK: The Chiasmus (Sentient Recognition Archive) CD

- SUBLAMP: Breathletters (Dragon's Eye) CDR

- PHILIP SULIDAE: The Cause Of Others (Ripples) CDR

- SEATTLE PHONOGRAPHERS UNION: S/t (Mimeomeme / and/OAR) CD

- TARAB: Take All The Ships From The Harbour, And Sail Them Straight Into Hell (23Five) CD

- TZESNE: Crossing TierraHueca (Taâlem) 3”CDR

- MIRKO UHLIG: Gyokuro (Gears Of Sand) CDR

- DAVID VELEZ: Impulsive Habitat (Test Tube) MP3

- DAVID VELEZ & JAMES McDOUGALL: Sonoridades Industriales (Ripples) CDR

- ESTHER VENROOY & HELEEN VAN HAEGENBORGH: Mock Interiors (Entr'acte) CD – late discovery !

- V/A: In The Rhetoric Of Rupture & Reappropriation (Ripples) CDR

- V/A: Tori No Kaigi [San] (Trente Oiseaux) MP3

- V/A: Tori No Kaigi [Yon] (Trente Oiseaux) MP3

- DAVID WELLS: Efegin (SiRiDisc) MP3

- DAVID WELLS: 05 (SiRiDisc) MP3

- SIMON WHETHAM: Ratcha Anachak Thaï (Con-v) MP3

- JAMES WYNESS: Figure And Ground (Khora) CDR

- XIPHIIDAE: Transresonance Formation (Stunned) CDR

Other crescendos:

- Robert Curgenven @ Atelier Mommens (Bxl)

– Esther Venrooy performing “Vessel” @ Q-02 (Bxl)

- Jez Riley French @ Q-02 (Bxl)

– the birth of Impulsive Habitat netlabel

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EAMON SPROD (Tarab)

2009 favourites: five new & five old

Favorite 2009 (alphabetical):

- GILLES AUBRY: s6t8r (Winds Measure Recordings) CD

- LETHE: Catastrophe Point #5 (Instransitive) CD

- RAIONBASHI: In Teufel's Küche (Ignivomous/Absurd) 10" vinyl

- SEATTLE PHONOGRAPHERS UNION: Seattle Phonograpers Union (Mimeomeme / and/OAR) CD

- MIKA VAINIO: Aineen Musta Puhelin (Touch) CD

Favorite 2009 acquisitions from previous years (alphabetical):

- JOE COLLEY: Psychic Stress Soundtracks (Antifrost) CD 2005

- G*PARK: Yack Park (Zabriske Point) CD 1993

- G*PARK: Reuters (Tochnit Aleph) LP 2008

- THE NEW BLOCKADERS: Changez Les Blockeurs (VOD re-issue) LP 2004

- SMALL CRUEL PARTY: Islands Of Sleep (G.M.B.H.) LP 1998

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CARLO GIORDANO

Favorites list for 2009

- RHODRI DAVIES: Over Shadows (Confront)

- THOMAS KÖNER: La Barca (Fario)

- CM VON HAUSSWOLFF: Operations Of Spirit Communication (Die Stadt)

- ARVO PÄRT: Fratres (?)

- BIGLIETTO PER L'INFERNO: Un Biglietto Per l'inferno

- ERIC LA CASA: L'empreinte De L'ivresse (Digital Narcis)

- ERIC LA CASA: Quelque Chose De Cela, Le Désert (Collection Mémoires)

- ETANT DONNES: Royaume (Touch)

- FOVEA HEX: Allure (Die Stadt / Janet Records)

- JOHN WATERMANN: Dummyhead (?)

- LIONEL MARCHETTI: Noord Five Atlantica (Césaré)

- NOISE-MAKER'S FIFES: Legnica (Impulsy Stetoskopu)

- SIGUR RÓS: Ba Ba Ti Ki Di Do (EMI)

- STILLUPPSTEYPA: Has [Or Has Not] Happenned (Meme)

- TELEVISION POWER ELECTRIC: Argiiindar (Ertz)

- TROUM: Seeing-Ear Gods (Discorporeality Recordings)

- CLINT MANSELL: Requiem For A Dream OST (Nonesuch)

- ALAN LAMB: Primal Image (Dorobo)

- JÓNSI & ALEX: Riceboy Sleeps (Parlophone)

- BERNARDO PASQUINI: Opere per Organo e Clavicembalo [Lorenzo Ghielmi - performer] (?)

- MANU HOLTERBACH: Aare Am Marzilibad (Erewhon)

- MINORU SATO: Perturbation Field And The Equilibrium (WrK)

- VACUUM BOYS: Songs From The Sea Of Love (Fire Inc)

- POPOL VUH: Affenstunde (?)

Film

- REQUIEM FOR A DREAM

- THE WRESTLER

- THE DARK KNIGHT

- ETERNAL SUNSHINE OF THE SPOTLESS MIND

- DOUBT

- MATCH POINT

- QUANTUM OF SOLACE

- FRANKLYN

- WALTZ WITH BASHIR

- GATTICA

- INSIDE MAN

- MEMENTO

--------------------------------------------------------------------

YANN HASCOËT (Matière Brute)

- OREN AMBARCHI: Intermission 2000-2008 (Touch) CD

- CELAN: Halo (Exile On Mainstream) CD

- DROPP ENSEMBLE: Safety (and/OAR / either/OAR) CD

- EARLABS: 3 Helix (Entr'acte) CD

- ROBERT HAMPSON: Vectors (Touch) CD

- HAPTIC: The medium (Flingcosound System) 12"

- HAPTIC: Trebuchet (Entr'acte) CD

- KHANATE: Clean Hands Go Foul (Daymare) CD

- GÜNTER MÜLLER: Cym_Bowl (Mikroton) CD

- NARROWS: New Distances (Deathwish) 12"

- OXBOW: Songs For The French (Hydra head) 12"

- RADIAN: Chimeric (Thrill jockey) 12"

- TARAB: Take All The Ships From The Harbour And Sail Them Straight Into Hell (23five) CD

--------------------------------------------------------------------

FÉLICIA ATKINSON

http://feliciaatkinson.be

Records

- MOUNTAINS: Choral (Thrill Jockey)

- SYLVESTER ANFANG: Sylvester Anfang II (Aurora Borealis)

- FOLLE EGLISE: Anna's Present (Kaugummi)

- EMERALD: What Happened (No Fun)

- DUCKTAILS: Ducktails (Not Not Fun)

- PAN AMERICAN: White Bird Release (Kranky)

- BARN OWL: The Conjurer (Root Strata)

- ALTAR EAGLE: Judo Songs (Digitalis)

- SYLVAIN CHAUVEAU: Touching Down Lightly (Creative Sources)

- GREGG KOWALSKI: Tape Chants (Kranky)

- BILL CALLAHAN: Sometimes I Wish I Were an Eagle (Drag City)

- POCAHAUNTED: Passage (Troubleman Unlimited)

Best Shows 2009

- Robbie Lee + Sawako @ Monkey Town, Brooklyn

- White Lichens @ Fondation Cartier, Paris

- Mountains + Benoit Pioulard @ Compilotheque, Bruxelles

- Le Ton Mité + Reiko & Tori Kudo @ Compilotheque, Bruxelles

- Brown Bird @ Brick Bat Books , Philadelphia

- Peter Broderick @ Instants Chavirés, Montreuil

- Pillars Of Fire @ Cinema 104, Pantin

- Paul Labrecque + Theo Angel, Espace en Cours, Paris

- Pocahaunted, Les Voutes, Paris

- Tomoko Sauvage + Andres Goncalves; Festival Electoni-k; Rennes

- Liars, Villette Sonique, Paris

- Sunn O))) + Jesus Lizard, Villette SOnique, Paris

- Omar SOuleyman, Instants Chavires, Montreuil

- Quatuor Bela / Moriba Koité, Corbel, Festival Nuits d'Ete

- Nlf trio, Botanique, Bruxelles

- Jerome Rothenberg, Charlemagne Palestine, Charlemagne Palestine 's house, Bruxelles

- Gregg Kowalski + Brethern of the free spirit, Schipp, Bruxelles

- Fennesz + Sparklehorse, Ghent

+ i am still listening a lot to Charalambides, Grouper, Neil Young, Smog, Sybille Baier, David Grubbs, John Fahey,MV and EE, Oren Ambarchi, Fennesz Brethern of the Free Spririt, Lau Nau, Celer, Jim O'Rourke, Liars, Larkin Grimm, Magik Markers, Tenniscoats, Fursaxa, Leonard Cohen, The Angels of light, Morton Feldman, Webern, Bach, Chopin.

new version of website for 2010

2009-12-29T14:15:00.001-08:00

In October I began working on new logos and a new version

of the website, and it seems that it was good that I didn't wait

until December because it ended up taking far longer than

anticipated... especially the logos. The new version of the site

is up now and I hope to start working on the next project:

the annual best of the year lists!

In the past, I created a page on the website that I would leave

up for a few months, but have considered moving it to this blog.

Stay tuned!

Wishing everyone a great new year for 2010!

Dale

and/OAR

www.and-oar.org

Seattle Phonographers Union

2009-12-14T06:35:00.000-08:00

artist: SEATTLE PHONOGRAPHERS UNION

title: Seattle Phonographers Union

format: CD

link: www.and-oar.org/pop_and_mim1.html

A Mimeomeme release in cooperation with and/OAR.

This release encapsulates some of the finest performances over the span of

four years from 2004 to 2008. Longtime followers of and/OAR's catalog and

history (e.g. the compilations produced for Phonography.org) will be familiar

with names of most of the members of SPU featured throughout this release:

Steve Barsotti, Peter Comley, Christopher DeLaurenti, Katie Gately,

Mark Griswold, Doug Haire, Susie Kozawa (also of Aono Jikken Ensemble),

Dale Lloyd, Perri Lynch, Robert Millis (also of Climax Golden Twins),

Toby Paddock, Heather Perkins, Steve Peters and Jonathan Way.

Richard Garet: Four Malleable

2009-11-20T10:47:00.000-08:00

catalog number: and/34

artist: RICHARD GARET
title: Four Malleable
format: CD x 2
link: www.and-oar.org/pop_and_34.html

"My work over the last several years has focused on the investigation of

aural phenomena, environment, spatial listening, structure, natural and

evolving processes, function, possibilities, and materiality. My interests

have led me to explore acoustics, psychoacoustics, binaural beats, and

diverse methods of recording sound, and the application of systems and

strategies, which have served as the fundamental departure towards

achieving my work."(Richard Garet)

"I'm very happy to announce and present Four Malleable, which comprises

what are among Richard's best compositions from four different years:

Imaginative Elements (2004), From Modified Tapes (2005), Sceneries

(2006), and Nocturne (2009). Four previously unreleased works that

place the mind's eye inside malleable forms and blurred locations. As is my

tendency to often draw comparisons to the world of cinema, this release

at times can feel very reminiscent of the well known scene in Antonioni's

"Deserto Rosso" where actress Monica Vitti watches as her friends slowly

fade into the hazy distance without anyone actually moving. While this

connection was not intentional on the part of Richard, it is quite

pertinent to a/O since he is to have a track featured as part of the

upcoming CD project entitled "Michelangelo Antonioni –Trilogy & Epilogue"

which casts its conceptual lens on Antonioni's tetralogy of films which

includes "Deserto Rosso". It was partially because of hearing the works

later featured on Four Malleable (among other works) that he was invited

to participate in the project." (Dale Lloyd - a/O)

Nathan McNinch: When You Went Into Churches

2009-10-29T23:29:00.000-07:00

catalog number: moar.p34
artist: NATHAN MCNINCH
title: when you went into churches
format: MP3
link: www.and-oar.org/moar_catalog_moarp34.html

A little beauty from Petite.Sono's founder/curator.

Flymodus: Milky Seas

2009-09-14T23:30:00.000-07:00

catalog number: either.p31
artist: FLYMODUS
title: Milky Seas
format: MP3
link: www.and-oar.org/pop_eitherp31.html

Håvard Volden: acoustic 12-string table top guitar & lo-fi electronics
Martin Taxt: tuba

a/O is happy to finally present its first online release via the either/OAR division,
and also glad to continue bringing attention to a new generation of very talented
Norwegian improvisational musicians (in addition to Kim Myhr) who have been quietly
establishing themselves over the past few years with performances in Norway and
abroad.

Dani Baquet-Long (1983-2009)

2009-07-09T11:49:00.000-07:00

It is with great sorrow that I have to report the passing of Dani Baquet-Long
who was best known around the world for her work (with husband Will Long)
as the duo called Celer. Only knowing both of them for more than two years,
I already feel I have lost a good friend and family member, so it is inconceivable
how Will is coping with this right now. My thoughts and prayers have been
going out to Will and Dani ever since I received the news yesterday afternoon.

Will's phone call prompted me to immediately halt label activities for the rest
of the day, so no orders were shipped, however I am resuming with
operations today. Below is the message that Will Long has been sending out:

------------------------------------------------------------------------

Dear friends, With great sadness I have to announce to you, our friends, that
Dani passed away yesterday, July 8. On Tuesday morning I woke to find her
unconscious, and not breathing. The medics were called, and she was revived,
but fell directly into a coma and didn't wake up. She passed away yesterday at 3pm,
with her family by her. All that is known to say why is that her heart stopped,
for no foreseeable reason. The only relation is that her father died in the
same way, of a cardiac arrest at the age of 29. She was 26. Right now I don't
know how to express the loss and sadness I feel, knowing that someone so
ultimately close to me, and such an inspiration and friend to so many other
people in the world is gone. All I can say is that she won't be forgotten, or
pushed aside only because she's gone. She'll always be with me, as my inspiration,
my love, my everything. All I can say is I miss her, every second. Right now I
won't be able to answer many emails, as there's only so much I can talk about this.
Time will heal this, but I know the sadness will never go away. This, I'm ok with,
as I never want to forget every way she changed my life, and touched my heart.
I appreciate all your support and love, and even though many of you only
knew her through her poetry, or her music, I hope they are good memories.

Enclosed is a favorite photo of her, taken at her beach, at home.
Also, here was her favorite quote:

"The Meaning is in the Wonder"
- Kenneth Patchen

Sincerely, Will

Bagatellen interview with Jim Denley & Kim Myhr

2009-07-07T19:34:00.000-07:00

Al Jones, founder of Bagatellen kindly interviewed Jim and Kim
regarding their new "Systems Realignment" CD on the either/OAR
division of a/O. A very nice one too! Thanks to Al for asking the
right questions in order to dig deeper into the album.
LINK

For that matter, I would also like to thank all the people who have
took time out of their busy schedules to conduct insightful interviews
for and/OAR up until now.

Al also wrote a review for the Dropp Ensemble CD here:
LINK

and/OAR interview: Isobel Clouter & Rob Mullender

2009-06-16T15:52:00.000-07:00

Jez riley French talks with Isobel Clouter & Rob Mullender about their
latest CD entitled "Myths Of Origin: Sonic Ephemera From East Asia".

*This is the third of an ongoing series of artist interviews revolving around
the latest releases on the and/OAR label.

JrF: In the sleeve notes to ‘Myths’, Isobel comments that it is often a story that
begins her interest in field recordings. I asked Isobel if she could relate the
story behind the trips to China & Japan that resulted in this release:

Isobel: I guess the starting point was trying to find a way to understand
man’s relationship to the sounds of the environment, something that is
actually very difficult to describe. I began by looking into cultural
mythologies relating to sounds of the environment and the selection of
singing sands as a starting point allowed us to look at a cross-cultural
approach. I guess the ignition for the trip came when I failed despite my
best efforts to find any actual recordings of the sands, even though they
were so well documented in literature as several sources revealed.
Starting close to home we travelled to the Isle of Eigg where Paul Burwell
had apparently recorded sounds and with good weather and good fortune
we managed to locate and record our first sample of singing sand.

Why East Asia? Well there were two main reasons, one was to meet with
the members of the Japanese soundscape association who had developed
the project ‘100 soundscapes of Japan’ which looked directly at the
Japanese cultural relationship to the sounds of the environment. Among
the 100 soundscapes were two of the singing sand beaches which were
of great interest to me and a range of myths and sounds which were
recorded as part of my trip. The other reason was to meet with Professor
Shigeo Miwa whose amazing work and website brought together stories
of sounds of the sands from around the world and it was through him I
was to learn more about the sands, environmental pollution and how to
access the booming sands of China.

Just as an aside it may be of interest to know that we made a
concerted effort to record sounds of booming dunes in Sinai in 2000 but
this attempt failed due to the fact that area we wanted to access was
in a military zone. Just to point out that not all trips are successful.....
there is a risk....

JrF: For me a sense of enjoyable exploration is essential when making
recordings – it’s the reason I enjoy it & if I didn’t enjoy it I wouldn’t
do it. I guess I have little interest in the scientific end of field recording.
So with that in mind how much of the content on the CD is made up of
sounds that you went to Asia intending to capture and how much did
you allow yourself to abandon any preconceived goals? Did you, for
example, have a responsibility to achieve certain results?

Rob: Well the project does have a professed environmental flavour to it,
since the whole 'musical sand' thing is very susceptible to pollution, and
part of Isobel's remit in going to get the booming sand recordings was to
highlight this issue. I wasn't present during the Japanese leg of the trip,
which is where the more travelogue-y recordings were made, having
joined Isobel in Beijing afterwards.

We ended up recording a fair amount of stuff in Dunhuang, which had
no specific purpose other than to hang onto events which caught my ear
- the odd parade of drummers (surprisingly, quite a few), and a bike ride
along the main road to the Mingsha sand mountain stick out in my memory.
Field recording as an act for and of itself isn't something that I do that
often - I tend to embark on a project to articulate a particular idea; or
rather, let ideas and materials find each other, so to speak. If that can
be done in an environment with a microphone of some sort, then all well
and good, but this puts material that I've recorded incidentally into an odd
category. It's not noise, but its not entirely signal either.

JrF: Next, the prickly question! I wonder whether you had any qualms
about using terms such as ‘singing sand’ or ‘booming sand’? I know there
is sometimes an institutional requirement for things to be given a name
but perhaps there is a danger, especially given that these recordings
were partly initiated to serve as founding material in the British
Libraries soundscape archives and indeed that Isobel is curator of these
archives, that applying or reaffirming these names will result in a loss of
wonder for those that go to hear these sounds in-situ? In short, if we
give a name such as ‘singing sand’ to the natural phenomenon it
represents do we not run the risk of taming it in some way or turning
it into an event with defined human expectations?

(nb: this question came into the equation following a comment in the
sleeve notes stating that the recording of ‘booming sand’ was one of
only two in existence. There are in fact several others that I know of
& no doubt others. These include recordings used in film soundtracks to
emulate airplane formations flying overhead. Perhaps there are only
two with the name ‘booming sands’ attached to them?)

Rob: We do stake out territory when ascribing names, but occasionally
the referent is a special case, and the actual experience of it will stand
up to all sorts of prior abuse. I imagine though, that nothing would
contribute more to the dynamic that you describe than distributing a
recording of the thing itself... The sands occupy an odd position with
respect to most other recorded 'natural' sounds, because unless you are
very lucky, and get some 'natural booming', human agency is a key
ingredient in the recording. in all but one of the Badain Jarain recordings,
considerable effort was required to get the sands sounding, and so that
put us squarely in the auditory 'action'. I do feel that perhaps from this
angle , one is in a position to be a little more anthropocentric in one's
attitude toward the thing. It occurs to me now, that at the risk of
sounding trite, perhaps we had a go on the world's biggest musical
instrument...

JrF: When & why did you become interested in field recording?

Isobel: I had a sort of epiphany when I was at the National Film and
Television School in England in 1997. I came from a background in
architecture and was studying production design and art direction at
the N.F.T.S when I got the chance to make my own short film. While
working with the sound designer and composer I was struck by the
amazing possibilities that design in sound allowed. Having spent years
designing what was to go in front of the camera, dominated by actors
and governed by the perspective of the camera lens, the sound world
allowed 360 degrees of possibility. I could tell what was behind a
closed door, or far away in the distance, behind my head, up close,
the range of perspectives and palette was extraordinary and the
freedom to create worlds so inspiring. I soon began experimenting
with recordings and found a world that continues to interest me and
evolve on a daily basis…

Rob: Probably from collecting old ethnographic albums from labels
like Ocora, Phillips Unesco and Barenreiter Musicaphon, maybe fifteen
years ago now. I began to listen to the acoustic context within which
things were recorded much more critically, and began to understand
how this was an entire cultural artifact in its own right.

JrF: How do you use your field recordings in your own artistic output?

Isobel: For me from the outset any interest in field recordings begins
with a story, I guess this is a hangover from my interest in narrative in
film and the relationship between man and the sounds of the
environment. I am a researcher by nature and I like sounds to have a
meaning, or cultural context so projects are usually governed by an
initial idea which may come from a literary quote and the artistic
envelope develops as part of the approach to recording an event. I am
primarily interested in the relationship between sound and the
imagination and the real sounds which are often referenced in art.
The results so far have been primarily a form of documentation and
capture. I like sounds to stand up by themselves without my
reinterpretation of them muddying the waters, although I have some
ideas for projects where that may be appropriate, so far I am merely
lifting a curtain and helping others to hear something (that was not
previously available)

Rob: The recordings I make at the moment are not generally of
sound, but of voltages generated by light sources, which I then
treat as audio. There's a lot of activity happening in front of our
noses (literally) which goes unnoticed because of our visual flicker
threshold. The temporal resolving power of the ear enables us to
hear what we can't see - for example, some digital lighting systems,
such as the ones you find in up-market shops, seem to use techniques
such as pulse width modulation as a way of 'dimming' light. All they're
doing is altering the amount of time when they're on, compared to
when they're off, but at frequencies way above what we can detect
with our eyes. When 'sonified' though, they can be surprisingly musical.
Natural systems of modulation, such as water, smoke, or foliage tend to
have a strong noise element to them.

I tend not to compose too much with what I record, or alter the
sound. The interesting part for me happens at the 'light' stage of the
process. For example, a window is a mixer, by virtue of it reflecting as
well as transmitting. Likewise, the sea.

(nb: JrF: there are several recordings of windows operating in this
manner available – for example Minoru Sato & Toshiya Tsunoda’s –
‘Ful’ & indeed my own recordings of windows at the Josef Sudek
atelier in Prague – egcd029)

I'll probably go back to recording normal audio more in the future.
For example, I'm working on a sound-driven cutting tool which I'm
going to use to interview retired engineers, using their own lathes as
a recording device. The cylinders will most likely be lengths of 4"
PVC soil pipe, which can be played back on any lathe with the
correct screw cutting pitch and chuck speed selected, and the
right shaped 'needle'.

Jrf: Are the terms 'music' & 'sound' important to you, either in the
way you feel about the sounds you capture and use or in the way
your work is viewed by others.

Isobel: Mmmmmmmmmmmmmm … I like to think that there is some
musical element involved in the recordings, either tonally, rhythmically
or otherwise, but having just listened to the entire and/oar catalogue
which I was accessioning for the British Library Soundscape collections,
I don’t think I could claim to approach the recordings from a purely
musical aesthetic. As soon as you make a recording and remove it from
its natural context you have changed the shape of that sound and
moved it into another realm, I have not tried to bend the recordings to
suit that realm (musical), rather I hope that the recordings find a niche
of their own where someone comes along and finds them and enjoys
them for what they are… (bagpuss aesthetic)

Rob: In terms of 'music', these things are in the ear of the behearer,
and are contingent upon unknowable conditions; I know I've already
used the term 'musical' above though, so I suppose it must mean
something. My ears tend to perk up when discreet pitches arise from
unusual contexts. Does that count as musical? 'Sound' is slightly
different, in so far as I tend to make a distinction between sound
and audio. Infra and ultra sound are inaudible (although the former may
be felt), and so need to be thought about differently, in my opinion.
Maybe events too quiet, or too short to be heard should be on the
'not audio' list. Or too boring.

JrF: What effect (positive or negative) has the act of making field
recordings had on the way you listen to your everyday surroundings and
how has it affected the way you listen to other music / sound (if at all)?

Isobel: There are many parallels between sound and production design in
film, you only notice it when it is bad or exceptionally expressive yet the
work that goes into making even simple sound requires a good palette to
start with, which I realised as I started to experiment with sound and that
is when I started to really listen. I am a big fan of radio and am very aware
of a well recorded programme that uses sound. Unfortunately in the main
domestic market not much has changed in the last few years, it is still rare
to hear good sound on radio, it tends to pop up in specifically focussed
programmes as opposed to the norm. I wish there was more attention
focussed on sound in radio and programme formats allowed to develop
naturally… there is so much more we could hear.

From a musical point of view my head is going through a phase where I
can’t seem to do anything else sometimes when I listen to music, my
brain seems to focus in and I get lost there for a while (not unusual but
particularly hazardous at the moment)… I had an extraordinary experience
last year when I was recording Fingal’s cave where the sea began its own
concert and I literally couldn’t move, part fear in the big cave with waves
booming and resounding and the unexpected sounds of voices with no
bodies that appeared in my ears and on the recordings, and part locked
in syndrome, the sound was so amazing to be immersed in, truly
pleasurable… but that really is the sounds themselves……

Rob: This is a difficult question to answer. In terms of natural audio (as
opposed to photophonics), I live in the west end of London, so my sonic
environment is characterised by a heavy preponderance of brown noise,
with a bit of screaming and smashing glass added. This tends to blunt
your reception to the more subtle things going on around you, and this
has had an effect on my enthusiasm for recording my sonic environment,
but made me more receptive to other peoples' recordings, perhaps...
I'm answering the question backwards... It most likely has changed the
way I listen, but I would have a hard time explaining how. I would have
similar difficulty answering how taking photographs has changed how I
see my surroundings or reproduced images... part of me wants to say
that these things are just tools, but I know that It's rather more complex
than that. I should think that several books could be (have been)
written on this subject.

I feel it allows the listener to imagine what it’s like to be there....

Tomoko Sauvage: Ombrophilia & Billy Gomberg: Comme

2009-06-15T21:44:00.000-07:00

and/OAR couldn't be happier to present two highly anticipated debut CDs
that also happen to be the third CD releases from both either/OAR and
mOAR divisions of and/OAR.

catalog number: either/3
artist: TOMOKO SAUVAGE
title: Ombrophilia
format: CD
link: www.and-oar.org/pop_either_3.html

Ombrophilia was praised by Momus in Wire magazine and given a spotlight
on the Wire website months before the CD was even released. I knew
Tomoko's work was something special from the moment I heard it, so to
have such high profile attention paid to it was pleasantly surprising
as it was affirming. After a break spent in Japan, Tomoko plans to return
to Europe (where she's lived for many years) for some live dates.

catalog number: moar3
artist: BILLY GOMBERG
title: Comme
format: CD
link: www.and-oar.org/moar_catalog_moar3.html

"Electronic sound caught gazing at its own physicality,
acoustics in love with their own abstraction."

If this statement exemplifies Comme to a fault, then the cover
art would only confirm it. Music that seems to take on a personality
of its own immediately after birth during the first track, then
gradually wandering off to further contemplate its place in a new
found sonic world with Billy and the rest of us following along as
dazed observers.

Billy was one of the artists who performed at the and/OAR
label showcase in New York City, and he plans to do a west coast
tour later in 2009 (starting from Vancouver BC, Canada), so keep
an eye out for cities and dates on Billy's website and MySpace page.

Five Elements Music: Green Noise & Gintas K: Frozen Time

2009-05-21T19:55:00.000-07:00

catalog number: and.p36
artist: FIVE ELEMENTS MUSIC
title: Green Noise
format: MP3
link: www.and-oar.org/moar_catalog_andp36.html

catalog number: moar.p33
artist: GINTAS K
title: Frozen Time
format: MP3
link: www.and-oar.org/moar_catalog_moarp33.html

Tomoko Sauvage featured in Wire magazine

2009-04-22T14:23:00.000-07:00

In the May issue of Wire magazine, Electronic artist Momus writes
about Tomoko Sauvage's upcoming CD on the either/OAR division,
in his "Epiphanies" article. Samples are also featured on the Wire website.

Jasper Leyland: Sediments

2009-03-22T20:53:00.001-07:00

catalog number: moar.p32
artist: JASPER LEYLAND
title: Sediments
format: MP3
link: www.and-oar.org/moar_catalog_moarp32.html

Finally after more than a year, a second online release from the
mOAR division! We jump start things with Jasper Leyland,
a U.K. sound artist who has garnered much well deserved praise
for previous efforts such as the exhilarating "Fieldstone" release.
and/OAR is happy to present the next chapter of his work for
your listening enjoyment.

Dropp Ensemble: Safety

2009-02-25T20:55:00.000-08:00

catalog number: either/2
artist: DROPP ENSEMBLE
title: Safety
format: CD
link: http://www.and-oar.org/pop_either_2.html

The second of the first two either/OAR releases has arrived and is now
available for your enjoyment!

Honestly, it was because of hearing their 7" entitled "Ingen Tid" and this
release as a demo that made me have a relisten to the second Dropp
Ensemble CD and other Sonderberg productions of previous years that I
had only given a cursory listen to. I was amazed at how my perception
had shifted. I basically heard them 'anew' after being 'informed' by "Safety"
and "Ingen Tid". I suddenly knew 'what' to listen for. It was like being
initiated into some kind of secret knowledge that I wasn't ready for until
the time was right. Well the right time is now for the uninitiated and
initiated alike. Welcome to ' Safety'.

Jim Denley & Kim Myhr: Systems Realignment

2009-02-23T21:38:00.000-08:00

catalog number: either/1
artist: JIM DENLEY & KIM MYHR
title: Systems Realignment
format: CD
link: http://www.and-oar.org/pop_either_1.html

I’m very happy (and relieved) to finally announce this first release on the
either/OAR division. Ever since I first heard Kim Myhr’s guitar work, I knew
I had to have him launch the new division, not only because he is so good,
and because he is relatively unknown outside of Norway and a small group of
international improv people, but also to set the bar high in paving the way
for things to come on this divison of the label. Last year I jumped at the
chance to publish this stellar CD of recordings with amazing improv veteran
Jim Denley.

Watch out for these guys live, for they might end up performing at a town
near you, since they are touring quite often these days.

Lasse-Marc Riek: Das Teilen Der Flügel

2009-02-23T21:10:00.000-08:00

catalog number: and.p35
artist: LASSE-MARC RIEK
title: Das Teilen Der Flügel
release year: 2009
link: http://www.and-oar.org/pop_andp35.html

It might be hard to believe at times upon listening , but the next online
release from the main division of and/OAR features one composed work of
unprocessed field recordings and one straight field recording (again, with
no processing). Just as the image for this release appears to have been
derived by a lot of processing, it only features a simple overlay of two
photographs, much like the first track of this release, so sometimes even
simple things are not what they seem!

Anyway, and/OAR is happy to feature a release by this German sound artist
(and founder of the recording label Gruenrekorder)! Lasse has not only been
a very active recordist, but he's also been very active in the global field
recording community over the past few years, and has done a lot in helping
raise awareness about environmental sound and field recording as an artistic
pursuit. We owe a lot to his continued efforts and enthusiasm.
It's very impressive.

Dale Lloyd interviewed by Tanner Menard

2009-02-17T20:20:00.000-08:00

"Dale Lloyd: An Open Book"
http://tannermenard.archaichorizon.com/?p=323
After reading the introduction, read the interview by scrolling
back up and clicking the "dale lloyd interview" link above the
photograph.

NYC update plus review of performances at The Stone

2009-02-15T18:09:00.000-08:00

Olivia Block and Adam Sonderberg @ The Stone, NYC.

The events in NYC went very well and I was very happy with the
performances. Richard Garet was more than a gracious host during my
stay and it was great to hang out with him, Ben Owen, Kamran Sadeghi,
Gill Arno, Adam Sonderberg, Olivia Block, Billy Gomberg and Richard
Kamerman before and after the shows. There are some photos posted
on the a/O MySpace and Facebook pages. Thanks to Sawako for photos
taken at The Stone and thanks to Billy Gomberg for recording the
performances at The Stone. We shall see if any of the recordings will see
the light of day on the a/O site in the future. Unfortunately,
no recordings were made at Diapason.

Brian Olewnick wrote a review of the Stone event:
http://olewnick.blogspot.com/2009/02/attended-andoar-label-showcase-at-stone.html

Ben Owen and Richard Garet @ Diapason, NYC.

Sawako @ The Stone, NYC.

Billy Gomberg @ The Stone, NYC.

Kenneth Kirschner and Asher @ The Stone, NYC.

Christopher DeLaurenti: Found Soundscape: C-SPAN Presidential Inauguration

2009-02-03T09:10:00.000-08:00

catalog number: and.p34
artist: CHRISTOPHER DELAURENTI
title: Found Soundscape: C-SPAN Presidential Inauguration, January 20, 2009
release year: 2009
link: http://www.and-oar.org/pop_andp34.html

This was originally posted on Internet Archive.org, but funny enough as
I sent an e-mail to Chris indicating that I would have liked to have featured the
track as an a/O online release, the file on Internet Archive became corrupted
and had to be removed anyway... So as luck and perfect timing would have it,
here it is on the a/O site for free download!

and/OAR showcase events 2009

2009-01-28T15:30:00.000-08:00

Well, if you're going to do your first label showcase event in your 8 year
history, you might as well do it BIG, and what better city in the USA to
do it BIG than the BIGGEST city in the country: NEW YORK CITY!

I should clarify that the Diapason date is $10 suggested donation, which
implies a sliding scale policy.

Special thanks to Shannon Fields (of Stars Like Fleas) for being the person
who kindly initiated the first show at The Stone, Michael Schumacher
for kindly setting us up at Diapason and Richard Garet for his generous
help on various fronts.

and/OAR interview: oSone

2009-01-03T23:57:00.000-08:00

Corey Fuller talks with oSone about their
work and the latest CD entitled "Passerelle"
released on and/OAR.

*This is the second of an ongoing series of artist interviews
revolving around the latest releases on the and/OAR label,
conducted by sound artist Corey Fuller.

CF: Could you please briefly explain your individual/collective activities
previous to this work?

O: We all have a musical background connected to musique concrète,
field recordings and improvisation. Listening to the most usual and
being open to the unexpected is the most important for all of us.
Recording environments and composing with these sounds is a common
element in our practices. But Christophe has also an instrument-based
background, meanwhile Hughes has experience in sound installations,
and Yannick has an obsession for nature sounds...

CF: Could you briefly explain the background of this particular
ensemble/group? How did this particular collaboration come about?
Do you all have a shared interested in site specific works?

O: The first experiments we did were the answer to an invitation to
make a site-specific work in Passerelle, a center of art in Brest. This
beautiful building is quite wide and is a former fruit and vegetable
cooperative. For preparing this work, Christophe let us invade his
mother's farm. There, in an abandonned shed, we experimented all
together with vibrations of found materials. Separately we already
had tried alternative ways of producing sounds without the help of
regular loudspeakers : Hughes was using parabolic home-made
speakers, Christophe was working with piezo-ceramic discs buried
into polystirene stuff, and Yannick was enjoying objects resonance
with the use of low-frequency vibrators. We wanted to confront our
first attempts into a collective work that would be specifically
connected to an architectural place. As field recordists, all of us have
a high interest for uncontrolled recording sessions, outdoor. Because
field recording is a kind of dialogue, of a real-time relationship to
our environment, through listening. Site-specific works are, in a way,
the composer's counterpart of these field recording activities.

CF: Regarding, 'Passerelle', what was your inspiration for coaxing
sounds/harmonies/melodies from this building/structure? Was your
intention to draw/direct one's attention to the sounds inherent and
imbedded in structures like this, or was your intention to coax music
out of these structures, or something else?

O: Usually when invited into a gallery, one would make a plan then
realize it, then open the space to the public. Because we were invited
to make a one-week long intervention we could not use such a process.
So we decided to make a hybrid between a performance, an exhibition
and some pedagogic activities. Which means that we didn't stop
working in the place, sleeping inside, during one week. Sometimes
some musicians were coming to work with us, temporarily, sometimes
some students with their teachers were visiting us. Three persons is
enough to make these parallel activities. And moreover, we were able
to test different acoustic systems (from home-made speakers to
microphone feedback), improvising on them, composing in the space
for the space. We had a series of recording sessions, by night,
documenting the various steps of the work. Nothing was planned in
term of sounds or composition before entering the place, we just had
intuitions about how to make the space resonate.

CF: There are moments in the work where you seem to be 'playing' the
building/structure and the space as if it were an instrument. How did
you approach this structure in creating this work? Was it treated as a
fourth member of your ensemble that you were collaborating with,
more like an instrument or something entirely else?

O: In this space, we had about 6 or 7 places ready for playing with.
Each one had its own specificities, offering its own way of
playing-the-building. We wandered through long improvisations, it
gave us a lot of combinations to play with. It's so interresting to react
to what the others are doing while hearing them through two rooms
with 20 seconds of concrete reverberation! Working in this way also
avoids keeping a kind of center room, from where we would control all
the sounds. It forces us to move and test different locations, in a
similar way to the audience.

For sure the building was much more than an acoustic space or an
instrument. We built a very strange relationship to this architecture:
because we almost didn't get out of it during one week, permanently
listening to it and thinking of its sound. And trying to reveal its
potential voices, testing its reaction to our own electronic voices. We
were using it as an extension of our musical tools, as an extension of
our equipment. But, of course, it had its own resistance, its
limitations. Or maybe we felt like if we were ourselves the sonic
extension of this building. Maybe not unlike a boat for a sailor...

CF: I'm curious as to the process behind 'Passerelle'....Are these
sounds purely amplified and rendered in their raw state or are they
processed further? How much processing/post-processing of the
sounds did you do? How much arranging/organizing of sounds took place?

O: The CD published by Dale Lloyd is a recorded walk through the
sound installation, an extract, an overview of some moments of this
work. It is a selection amongst our recordings done in the space. They
were realized acoustically in the space with two condenser microphones,
using ORTF stereo configuration. We didn't feel the need for rebuilding
something from the recordings. We thought it was self-sufficient.
We consider that site-specific sites like sound-installations can't be
represented through a CD. Therefore, we are quite aware that this
recording is not a documentation but has its own life... For this reason,
we didn't want to include explanation and descriptions about the
situation in the real space. The listener of the CD may rebuild it.

CF: What current or upcoming projects are you presently working on?

O: We recently finished a project which is a kind of survey about the
soundscape of a small village which hosts a thermo-electric plant,
"Cordemais écoute l'électricité". And now we are trying to be physically
present in the same area ! Our collaborations are the most interesting
when we are together in the same location and these days we are
living quite far away from each other. Yannick lives in Taiwan, Hughes
is regularly visiting Burkina Faso and Christophe stays at home working
with the sounds he recorded during a road-movie style trip in the
United States... We each develop some activities related to
environment, site, architectures and soundscapes. The list is a little bit
too long to be described there. We hope to develop another project,
Phono3graphy, which is based on field recordings: each of us recording
a space simultaneously but from different moving points. The only way
for us to develop our project is a long period of collective work and
experimentation, possible only as artist residency, and we would like to
spend time in Taiwan or in Northern Europe. So we are waiting for a
good meeting opportunity!

best of 2008 lists

2009-01-03T23:42:00.000-08:00

The annual page is finally up and usually stays up until early March.
If you haven't contributed your list yet, send it to the e-mail
address on the "contact" page of the a/O site.

Various Artists: Translations Of Opacity - For Michelangelo Antonioni

2008-12-21T15:11:00.000-08:00

catalog number: and.p33
artist: VARIOUS ARTISTS
title: Translations Of Opacity - For Michelangelo Antonioni
format: MP3
info: http://www.and-oar.org/pop_andp33.html

Happy Holidays everyone!
A free gift, just under 2 hours in length!
Enjoy.

Isobel Clouter & Rob Mullender: Myths Of Origin

2008-12-05T17:13:00.001-08:00

catalog number: and/32
artist: ISOBEL CLOUTER & ROB MULLENDER
title: Myths Of Origin - Sonic Ephemera From East Asia
format: CD
info: http://www.and-oar.org/pop_and_32.html

Jumping back a bit in the catalog sequence,
I had to delay this one a little longer, but I'm very
happy to say that it is now available and ready to ship!

Andrea Borghi: Selected Works: 2001 - 2006

2008-11-17T22:20:00.000-08:00

Relaunching the online catalog in free mode with a debut solo release
from yet another fine Italian sound artist, Andrea Borghi.
This collection highlights Borghi's monolithic electronic oeuvre circa
2001 to 2006. www.and-oar.org/pop_andp32.html

and/OAR interview: Andrea Gabriele (Mou, Lips!)

2008-11-11T16:10:00.000-08:00

Corey Fuller talks with Andrea Gabriele of 'Mou, Lips!'
about life and the latest CD entitled "Untree"
released on the mOAR division of and/OAR.

*This is the first of an ongoing series of artist interviews
revolving around the latest releases on the and/OAR label,
conducted by sound artist Corey Fuller.

Andrea Gabriele is a musician, sound designer, software developer
and events curator. He has played music since 1994 with electronic
devices, acoustic instruments and all the sounds around.
He composes original music and sound design for videos,
commercials, exhibitions and realizes interactive audio video
installations.

Andrea has worked for brands such as MTV, BMW, Breil, Pirelli,
Tudor, Arena, Heineken, Ballantyne Cashmere etc. He has
released records with the band Tu m' (until 2003), next as
'Mou, lips!' , since 2003 as Pirandèlo together with Claudio Sinatti
and Marita Cosma, and with many other projects from
experimental to disco music.

Andrea's shows, featuring real time audio video interaction, have
been presented at the main electronic arts festival around Europe
(Netmage, Peam, Avril.dot, Dissonanze, Sintesi, Kals'art, Sprawl..),
and events like Venice Biennale. His records are distributed world
wide.

Together with Luigi Pagliarini, Andrea is the main curator and
organizer of PEAM (Pescara Electronic Artists Meeting). He gave
lectures about sound design and interactive installations at art
schools such as Istituto Europeo di Design (IED) and Nuova
Accademia delle Belle Arti (Naba) in Milano. He works as creative
artist and events curator at Post Post Studio.

CF: Could you briefly explain your previous background and activities
leading up to Mou, Lips!?

AG: I grow up in Pescara, Italy. A small nice town in southeast Italy,
sun... sea... hills...food.. family... Started to study pop guitar and
electric bass at 12, and started to play with tape and everything
that could make sounds the same year. While doing my unconscious
experiments all alone, I became a bass and double bass player...
and I played many different kinds of music... from shit Italian folk
music, to pop rock, reggae, and lots of jazz and Latin music. Bizarre
jazz oriented remix of old songs was my main job as music player.

In '97 or '98 i started to play with the Tu m' trio, and knew more
about the experimental music world, so i finally realized that i wasn't
totally crazy after realizing a few records with Tu m'. Mou, lips! was
a duo with Emanuela De Angelis started right after this and I found
myself more free to do my own music. Next I kept studying music
and the experimental world where I found myself free to do my own
music... so records cames out.. gigs... and jobs and so on...
Now I'm writing you from my house here, where I live with my wife
and 3 year old daughter, and just back from Madrid where I did
music, sound design and sound generator software for a Rolex (....)
commercial event...

Tomorrow I need to wake up to take Joy to school... and next setup
an interactive audio video installation for an exhibition.. where a
drop of water generates everything and today Fiat asked me to play
a gig.... life is weird.... you never know what (will) happen the day
after... I could never imagine 14 years ago that it would be like this...

CF: How did you approach the composition of these songs?
Were your methods for 'Untree' a departure or a continuation of your
previous working methods?

AG: I made them a long time ago... so can't remember exactly the
method... I guess that usually I play and record lots of different
instruments and sounds... rearranging and "destroying" the original
mood on the computer. But the real story is that every track has
something deep and intimate... that I can't "simply" identify as
"sounds" made by "instruments"... They are made of "words".. each
of them remind me a very precise time and situation of my life...
they are my diary.

For example, there's one track that talk about 2 people very close
to me and it's an incredible story... One of them is very very old
and has a problem with depression (going from very happy
moments to big depression) and the other one is young and had
mental problems. And so, they were helping each other... in a very
natural and lovely way... I recorded a message on the answerphone
saying " please please please... come come come... com'n...
please... do it... com'n..."

Thinking to another track on my Pirandèlo record for Baskaru,
"Rebus Malrisolto" it's a totally different situation of me and Marita
living in a seaside flat in the spring time (that means lot of light
and flowers and great sea without a lot of people and lot of fresh
food) and we sang a few words we quickly wrote recording the
sounds with the headphones... having fun.... Why did i never
record those voices again in the studio, or try to make them more
in-tune and in the right tempo? Because... this way... there's more...
"love"?

CF: What roles does improvisation play in your music?

AG: Most of the tracks on the record are half improvised. I prepare
the material using various software and then play, play, play and
record... Improvisation is like nature...I'm thinking of plants...
they start to grow with seed, earth and water. Next they take
different directions due to what's happening around.

CF: Yes, your music does feel very 'natural' in that sense. The
structures and arrangements feel like they have a natural and
organic asymmetry to them. In structural terms, does "chance" or
"randomness" play any role in your music? If so, how?

AG: Well, as it's not written music, so I think so. Also there's a big
intimate and personal matter on my tracks, that sometimes come
out from titles or on field recordings that are stored on them...so
sometimes i see them like untouchable improvisations. It's like
writing on a diary for a writer maybe?...

CF: I'm equally curious of your wide array and selection of sound
sources/instruments used in the work. Did you consciously set
out to make an album with a wide variety of instruments and
sources or is this a case of what was simply "lying around?"

AG: :) I don't know... it's simply my way of doing music... I do
beats using my daughter toys... or use lead instruments to create
tunes... (harmony)... put what's supposed to stay in the
background on top... vinyls on loop... cheap instruments together
with hi quality sound processing... and so on... we could say it's
maybe close to a ready-made mood of doing things. I have lots of
unplayable instruments like old mixers or analog synths for
harmoniums... things that everyone who makes electronic music
would hate... broken guitars and mandolins and things like that...
that I always found useful... I guess they have something to say...
even one note..

CF: I'm particularly intrigued by the album title. What was your
inspiration or reason for this title?

AG: That was an Emanuela's idea. She took a lo-fi snapshot of a
small tree without leaves... so un-tree.... sounded good...

CF: Could you briefly explain your current projects and activities?

AG: After 10 years of being into experimental music I did many
different projects trying to keep my own voice safe... My actual
experimental music projects are Pirandelo and Symbiosis Orchestra,
but I also play disco music with Clap Rules or techno with
Mario Masullo, or electro pop with Ococo, and do original sound
design and music for fashion events.

Dino Bramanti 1969 - 2008

2008-11-10T03:41:00.000-08:00

I was just informed by sound artist Andrea Borghi that his
friend and collaborator Dino Bramanti died of a heart attack
back in July... I was in contact with him myself over the
past year, but had not heard from him in a while.

Dino might be best known around the world as a member of
the group Sinistri who has released work on the Hapna label in
Sweden. There has been a collaboration release planned by Dino
and Andrea entitled "Quaalude" on and/OAR since last year,
but sadly I haven't been able to get to it before his untimely
passing. Plans are indeed still in the works for 2009.
"Quaalude" was a performance / installation that premiered
in 2002 at the Galleria C'Arte D'Identita' in Pietrasanta, Italy.
Here is Dino's bio (taken from the Sinisti website):

Dino Bramanti lived in Pietrasanta (Italy) where he was
born in 1969. His cultural background is a mixed affair
between classical humanistic education and
mathematical and technical studies. In 1988 graduated
at Liceo Classico in Viareggio and in 1996 took PhD in
Telecommunications Engineering at the University of Pisa,
working on statistical noise modelling. Being affected
since his teens by an endless appetite for recorded
sounds and musics (after being folgorated by listening
to Dead Kennedy's "In God We Trust, INC" in early
eighties), he soon started to explore and collect every
kind record he was able to find and bring home.

Self-taught musician on bass and trumpet, during the
90's he's been working as DJ in several clubs and radio
stations, mainly spinning jazz, black music, rock and
what's in between. Firmly persuaded that noise is not
such a bad thing as good engineers are used to depict it,
he started moving towards electronic sound composition,
digital signal manipulation and sample grinding, writing
and playing his own processing applications in Csound,
Supercollider and finally Max/MSP.

Current main work is focused on the concept of
de-composition/improvisation applied to live performance
for laptops and custom made music software. He's a
ghost member and collaborator of broken-funk combo
Sinistri and member of its cubist incarnation Sinistri++,
representing a playground for further experimentations
in the field of non-metric, non-linear music.
Additionally, he's carrying on the "Bonarosa" project with
Andrea Borghi, solo explorations as "Ampang" and he's
sharing his time between digital art works and the "work
as system"/software designer in the field of IP related
protocols for telecommunications industry.

Recent Works:
with Sinistri:
2005 - Timing The Instant C, track on Sonic Protest CD-R
2005 - Free Pulse CD, Hapna Records
2004 - Music for the DVD Mattino di T.Camaiani & G.P.Guerini
2004 - Norway Pulse, track on Cottage Industrial Vol.3 CD-R, Humbug Records with Sinistri++
2005 - live at Placard Festival, Bologna (Italy)
2004 - Black Pulse vs. White Space [for hidden musicians and real-time processing]
- live project, Raum, Bologna (Italy) as part of Desco Music live series. various:
2004 - Contribution in BAU - Contenitore di cultura (con)temporanea, #0
2003 - L'ospite ingrato, un'ossessione Medicea -- sound installation in Orizzonti-Belvedere dell'Arte,
Forte Belvedere -Firenze (cat. Skira) (with TIMET, M. Di Rosa and A. Bosshard)
2003 - Sonic Pills on Compilatione, TIMET
2002 - Quaalude, a quiet interlude - sound installation and natural sound generator -premiered in
Pietrasanta, galleria c'Arte d'Identita'. A CD release is planned on and/OAR in 2009.

My thoughts go out to Dino's family and friends.

DECIBEL 2008 / THE BIZ

2008-09-30T14:31:00.000-07:00

Operations at a/O were on auto-pilot for a few days
while the writer/artist/curator TJ Norris was in town
for the Decibel festival. TJ and I were on a discussion
panel pertaining to the current state (and future of)
music writing, and we also attended other various events
at the festival. Unfortunately, I didn't take very many

photos and the ones I did take, didn't turn out very well.

Highlights for me included Akira Rabelais / Carole Kim (visuals),
William Basinski, OffTheSky, Tujiko Noriko, Kamran Sadeghi,
and Balún. There was also a discussion panel regarding
music licensing and monetizing music, while informative,
also proved to be dreadfully uninspiring since most of the
panelists were steeped in an old paradigm mindset…
My suspicions were confirmed when I asked a question
pertaining to the overstepping of jurisdiction of major labels
and organizations like ASCAP and BMI when it comes to
listening to the CDs we buy outside of our confined private
spaces, and the panelists not only tried to justify the stance
of the aforementioned organizations, but they also jokingly
refered to me as being “rebellious”(?)…

Hello? If we buy CDs, we should have the right to play them
just about anywhere we choose without getting threatened
with a licensing fee for doing so. Sending out minions to
search for CDs being played outside a particular environment
reeks of corporate fascism and should be outlawed because
it impinges upon individual rights. Playing a CD is not the same
thing as copying and/or giving it away on a blog without

permission, and while I think artists and recording labels should

receive compensation for their work, I also think that the

jurisdiction of organizations like BMI or ASCAP (in the USA)

should be thoroughly re-examined and revised. As it turns out,

one of the a/O artists has joined such an organization in Europe
that tries to charge a licensing fee even if a sample is featured
on a website(!) which is self-defeating and unproductive. I can

tell you that if such an organization tries to charge me fees for

promoting work that I spend money to release, then I will start

asking the artist for compensation fees, because so far, the

artists don't have to pay anything for the CDs I publish for them.

Apart from that nonsense, I had a fantabulous time at dinner
with Akira Rabelais, William Basinski, Carole Kim and TJ on
Saturday night, which was a very nice way to end the festival,
since TJ was heading back to Portland and I had to get back
to work, therefore skipping Sunday’s events.

Hitokomakura "Record Of The Week" at Bagatellen

2008-09-10T00:55:00.000-07:00

Al Jones of Bagatellen kindly reviewed the Yasujiro Ozu project and

named it "Record Of The Week", which has subsequently stirred up

some much belated discussion/controversy about it:

http://www.bagatellen.com/?p=1983

Jason Kahn & Asher: Vista & Celer: Nacreous Clouds

2008-08-22T17:40:00.000-07:00

catalog number: and/33
artist: CELER
title: Nacreous Clouds
format: CD
info: http://www.and-oar.org/pop_and_33.html

catalog number: and/31
artist: JASON KAHN & ASHER
title: Vista
format: CD
info: http://www.and-oar.org/pop_and_31.html

Seth Nehil & Matt Marble: Ecllipses

2008-07-24T13:07:00.000-07:00

catalog number: and/30
artist: SETH NEHIL MATT MARBLE
title: Eclipses
format: CD
info: http://www.and-oar.org/pop_and_30.html

Dale Lloyd interview at Tokafi

2008-07-24T13:02:00.000-07:00

15 questions to Dale Lloyd (9 actually - I didn't answer all of them)
http://www.tokafi.com/15questions/15-questions-dale-lloyd/

why listen to sound art?

2008-06-22T18:39:00.000-07:00

Richard Lerman "Border Fences" installation

Note: This is partially written for people who are not very familar
with sound art and will hopefully spark some interest for further
investigation. I consider this an article in progress, so it is by no
means finished and will undergo periodic editing.
After the article is a short list of links for further research.
Thank you very much for your time.

--------------------------------------------------------------------------

With all the intense events that we read about in the news,
it seems apparent that basic survival remains the number one
priority for most humans, even in a world where it seems like so
many advances to alleviate such a concern have been made.
Granted, in many cultures where such advances have somehow
elluded them, they "make do" with what they have, which is all
any of us can do anyway, yet it must be noted that "advances"
for one culture don't always mean the same thing for another.

For those of us who have access to certain technology, and the
means to obtain it, we also have access to a staggering variety
of "personal inspiration resources" at our disposal as well. One
kind of resource that many of us turn to is music. That being
the case, one would have to wonder why a current era individual
would want to limit themself to just one or two types of music.

Fortunately, there has been a steadily growing number of people
who are tired of the old "music = commodity" paradigm and
have found themselves wandering far outside the societal box
in search of something that speaks to them in different ways
and in turn, opens their minds to alternative possibilities that
they never knew existed. Somewhere along the way, one will
eventually run into what is sometimes refered to as "sound art".
Other terms such as "avant-garde" or "experimental music"
have been used as well.

To clarify, I will paraphrase Wikipedia with the following
description: Sound art is a diverse group of sonic art practices
that considers wide notions of sound, listening and hearing as
its predominant focus. This might require a shift in perception
for a listener because at first it might seem very strange and
alien from what they were raised to think of as "music".
What the Wikipedia definition points to is a mindset that
considers all sound has having the potential of being enjoyed
as music (whether it's organized by humans or not). In this
light, anyone trying to proclaim that particular sounds are
"not music" are expressing an entirely subjective opinion.

As with visual art, there are many different levels of sound art
which can range from people recording and assembling sounds
in their bedroom, to people writing music for academically
trained ensembles to perform. It is not my intention to go into
the history of sound art. Instead, what I would like to bring
attention to is why people listen to sound art, and for those
who have not yet delved into much of it, briefly discuss why
one would even want to listen to some of it.

The reasons for listening to sound art are more numerous
than one might realize. It can provide a particular "spice" to
our personal atmosphere, a "soundtrack" for various aspects
of our lives - our moods, imagination, creativity, and leisure
activities (i.e. reading, hobbies, etc) that no other type of
music might do. Of course, some artists reading this might
cringe at this utilitarian line of thought, but they should
understand that artists can't expect everyone to have time
to drop everything they're doing and sit inside a sound proof
room to completely focus on an artist's work. One beauty of
sound is that it doesn't have to prevent people from doing
other things while they are experiencing it. In fact, some of
my best listening comes when I am doing graphic design work,
and it obviously inspires what I'm doing as well.

So sound art should not appeal only to art professionals and
CD / record collectors. Nor should it go ignored by people
who've been raised to believe that anything without a beat
and melody is not music. In fact, some sound art does have
these traits, and many have used this as an entry point to
delve into more challenging work later. As a curator of a
recording label myself, it's been a personal mission to help
open people's minds and ears to listen to a wider variety of
sound than that which is officiated, sponsored and promoted
by corporate and academic establishments, and this goes
the other way around as well. Artists (or anyone else for
that matter) shouldn't feel embarrased to admit that they
pull out a Madonna CD right after listening to Francisco Lopez.
In fact, the semi-regular "office ambience" list that I post on
the a/O MySpace blog clearly illustrates what I'm talking about.
Bottom line: It's all good. It's all sound.

Further Research:
Wikipedia: http://en.wikipedia.org/wiki/Sound_art
UBU Web: http://www.ubu.com/sound/
What Is Sound Art? - article and interviews:
http://emfinstitute.emf.org/articles/aldrich03/aldrich.html

Yuki Kaneko: Rut

2008-06-06T22:59:00.000-07:00

catalog number: moar2
artist: YUKI KANEKO
title: rut
format: CD

"Rut" is a beautiful sparkling kaleidoscopic homage to the common
wonders of day to day life that displays Yuki's great talent for subtly
weaving together complex textures of electronic and acoustic sound
sources into cleverly abstract melodic musings. As with Sawako Kato's
debut release a few years ago on and/OAR, this will also prove to be
another perfect CD for Spring and Summer. Initially released on
Magic Book Records in Japan just a few months prior, this US release
of "Rut" is quite different in that it has been remastered with some
tracks being completely re-constructed and/or remixed, plus one of
the Magic Book tracks was replaced with a new one. In our
opinionated opinon, this is the quintessential version of Yuki Kaneko's
"Rut" and mOAR is very happy to make it available!
http://www.and-oar.org/moar_catalog_moar2.html

NOTES: Apart from some quibbles regarding minor pre-press
glitches which somehow managed to escape my critical gaze,
I'm still pleased with the overall outcome.
I had originally wanted to use uncoated stock for the digipak (like I
did for the Mou, Lips! CD), but having encountered a rather costly
printing problem trying to use uncoated stock for the oSone release,
I opted to play it safe and stick with a matte finish for "Rut".
The oSone release was reprinted on high gloss because at that time
I wasn't sure how matte stock would look. It wasn't until the
Jovanovic: Galiola CD was made (with the matte) that I realized that
it was a better than the average digipak stock.

Arsenije Jovanovic: Galiola, Works For Radio 1967-2000

2008-04-02T15:58:00.000-07:00

Happy Spring!

At long last, after a split release with composer Ivana Stefanovic
in 1993 (on ORF), and a first solo release on Eric La Casa's La
Légende Des Voix label in 1994, and/OAR (in collaboration with
FO A RM Publications and Alluvial Recordings) is simply elated to
release a second solo CD of previously unreleased work by Serbian
composer/film, television and theatre director Arsenije Jovanovic!

From what sound like theatrical Fellini Satyricon-like extravaganzas

(although predating Satyricon by two years), haunting phantasmic

dronescapes, to near pastoral epiphanies of childhood and the

imagination of innocence, the dynamic range and mood of the
work presented here is impressive, and it's well apparent that he's

drawn upon his experience with directing for film, television and

theatre; however Jovanovic's mastery of composition, weaving

field recordings, concrete sounds, voices and instruments is still

nothing short of astonishing.

When presented with this work for a possible joint release by
Seth Nehil of FO A RM Publications, it was hard to fathom how
it had gone unreleased over the past 30 years. With the exception
of one track ("Prophecy Of The Village Kremma" which was used

in the film "The Thin Red Line"), the only way that people could

hear this work were if they had just happened to catch a rare

radio broadcast in Serbia (former Yugoslavia), France or
Italy, for which the works were created (hence the title), or if

they attended a festival where the music may have been

played.

And so it is my hope to open people's minds and expose Arsa
Jovanovic's work to a much larger audience of which it truly
deserves. Copies of his first solo release are still available in
the and/OAR Diffusion shop, so if you are not yet acquainted
with Arsa's work, now would be a great time to immerse yourself
in two collections of his work while copies are still available,
and at and/OAR prices.

www.and-oar.org/pop_and_all2.html

Best Wishes,
Dale

Yui Onodera feature article in Tokafi

2008-03-13T13:08:00.000-07:00

Following the shorter article that appeared a week ago

at Tokafi.com, here is a feature length one:

http://www.tokafi.com/newsitems/sound-instrument/

new releases

2008-03-08T22:41:00.001-08:00

Well, it seems I've fallen behind with announcing the latest
releases here on the blog, so I'm going to announcement them
all at the same time:

artist: oSONE
title: Passerelle
format: CD
division: and/OAR
http://www.and-oar.org/pop_and_29.html

artist: MOU, LIPS!
title: Untree
format: CD
division: mOAR
http://www.and-oar.org/moar_catalog_moar1.html

artist: JONATHAN BENHAM & CHRISTOPHER MCFALL
title: For Wings That Seldom Sleep
format: download
division: and/OAR
http://www.and-oar.org/pop_andp31.html

Wind [Patagonia] - voted album of the month

2008-03-02T11:19:00.000-08:00

http://www.tokafi.com/newsitems/cd-feature-francisco-lopez-wind-patagonia/

There is also a nice article about Yui Onodera:
http://www.tokafi.com/news/yui-onodera-upcoming-soundartist-2008/

a year in reflection

2007-12-31T16:28:00.001-08:00

Every year and/OAR posts best of the year lists
from various friends and colleagues.
The page will continue to get updated with new
additions up until it is removed, which is usually
sometime in March.

www.and-oar.org/best_of_2007.html

Karlheinz Stockhausen 1928 - 2007

2007-12-07T23:34:00.000-08:00

http://www.nytimes.com/2007/12/08/arts/music/08stockhausen-1.html?ref=arts

Back into the great cosmos he goes...

Have a peaceful journey Karlheinz...

new from mOAR: GoGooo: À Côté

2007-12-05T19:26:00.000-08:00

Well, getting an mp3 catalog set up took a lot longer than I initially

thought it would! Hopefully now that I've got it started, I can

streamline the process to get things finished much faster and

without any false starts...

As I mentioned before, I'm using Klicktrack based in Sweden.

They seem to be a pretty solid company that has other labels such as

Hapna, Kning Disk, Firework Edition, Mitek, Komplott and

All About Jazz using them, among many others.

All that aside, I'm glad it's finally up!

Here it is: http://and-oar.org/moar.html

Antonioni mp3 project redux and revision

2007-12-03T02:08:00.000-08:00

Hello everyone.

The deadline for this project has been extended to February 1st, 2008.

For those who are new to this project, this is intended to be an mp3
counterpart release for the upcoming double CD release scheduled later in 2008.
http://andoar.blogspot.com/2007/06/new-project-antonionis-tetralogy.html

This is an "open call" project, which means anyone can submit work for
consideration. However, only a certain number of tracks can be selected.

It has been determined that this will now be a label-wide project hosted by
and/OAR and its two new subdivisions either/OAR and mOAR, which means
that the use of field recording sources in the submissions will no longer be
a requirement. This also opens the door for work composed entirely with
instruments, electronics, objects, etc.

The new MP3 catalog will be available, in cooperation with a Swedish
company called Klicktrack, and artists will be given the option to either
receive a percent of the proceeds, or some other arrangement can be
agreed upon.

Where the CD release is focused on Antonioni's "Tetralogy", the MP3
release will be open ended for people to pay general homage in any
number of ways, and can pertain to any number of films or aspects of
the director's filmmaking. If this all sounds rather vague, then you
would be correct! Antonioni's films were poetic works of opacity,
and were pretty much open to the viewer's interpretation.
However, this is not to say that the films had little meaning.
Very much on the contrary.

"Antonioni's lifelong effort (was) to uncover the meanings of things
beneath the mystery of their appearances." - Seymour Chatman
(Antonioni: Or, The Surface Of The World)

"Antonioni asks us to take a slow, steady look at the world around us,
to forget our ordinary preoccupations, and to contemplate that which
lies slightly athwart them." - Seymour Chatman
(Antonioni: Or, The Surface Of The World)

And now without further ado...

Guidelines:

- Track Length: Each track should not be much longer than 7 minutes.
Artists can submit more than one piece for consideration.
- Formats For Submissions: Audio or data CDRs containing WAVs or AIFFs.
Files can also be posted online or sent via a website like YouSendIt.
- Deadline: February 1st, 2007.

If you have any other questions, please let me know.

Best Regards,
Dale

http://www.and-oar.org/

"shut up and listen!" festival

2007-11-17T19:32:00.000-08:00

Thanks to Bernhard Gál, a sound installation utilizing assorted
field recording tracks from the Phonography.org compilation
series will take place in Vienna, Austria as part of the"Shut Up And
Listen!" festival running from December 4th to the 7th.
There will also be a performance by "Phonographie-Ensemble",
whom I imagine will do a similar thing to what the Phonographers
Unions have done here in the US and UK, which will be field recording
improv-mixing. The Phonographie-Ensemble will be comprised of
Bernhard Gál, Heribert Friedl, Murmer (Patrick McGinley),
Lasse-Marc Riek (Gruenrekorder), Daniel Lercher, Peter Kutin,
and Hannes Raffaseder. Some of these artists will also perform
solo sets and apart from and/OAR & Phonography.org, people like
Christopher Delaurenti will have a room reserved for dedicated
listening to his recent controversial release "Favorite Intermissions",
and Derek Holzer & Sara Kolster will have an installation set up for
their on-going internet/live broadcast field recording project called
"SoundTransit".

For more info, visit the following link:
http://raum35.klingt.org/aktuell.html

yui onodera: suisei

2007-11-13T19:47:00.001-08:00

I am very happy to announce the release of Yui Onodera's Suisei.
And I am very happy with the great job the manufacturer did
with the packaging as well. This serves as a signal to go ahead with
my plan to issue a slew of shorter edition CD releases limited to
300+ copies, so I am very excited, yes I am!

To read about the release, go here:
http://and-oar.org/pop_and_28.html

auf abwegen reviews

2007-11-09T18:48:00.000-08:00

It's been discovered that a few reviews are featured in the Spring 2007

issue of Auf Abwegen magazine (in German only).

- Marc Behrens & Paulo Raposo: Hades

- Deupree/Kirschner/Korber/Steinbruchel/Ximm: May 6th, 2001

- Kiyoshi Mizutani: Scenery Of The Border

francisco lopez: wind [patagonia]

2007-09-23T21:27:00.000-07:00

AVAILABLE NOW
http://www.and-oar.org/pop_and_27.html

photography featured in sonic scope quarterly #10

2007-09-07T00:38:00.000-07:00

The theme for issue 10 of Sonic Scope Quarterly is black and white art
and design. and/OAR web site photos by Dale Lloyd are featured in the issue.
Thanks goes to Nuno Moita of Grain Of Sound/Rissoto/Sonic Scope Quarterly.
http://www.grainofsound.com/gos_v3/news.htm

new subdivisions: either/OAR & mOAR

2007-08-26T18:24:00.000-07:00

As some of you may have also noticed on the main page
of the a/O site, that there used to be a link to the website
(still under construction) for the new sublabel called
either/OAR. I have replaced it with a link to the other
new sublabel called mOAR since it seems to have become
more active with several releases already planned for late
2007 and early 2008. Meanwhile, I'm still searching for
the right work to release on e/O, which means that
DEMOS ARE BEING ACCEPTED. Yes, you heard that right!

either/OAR will focus upon pure instrumentation (hopefully
more acoustic than electric) by way of modern minimal
composed or improvised work, soundtracks, installations, etc.
I will also accept electronic work provided that it fits within
the aesthetic I have envisioned for the label. This could take
awhile to find the right kind of work that I am looking for...
www.and-oar.org/either_oar1.html

And then there is the new genre-melding electronic and
experimental music sub-label of and/OAR called mOAR
www.and-oar.org/moar.html

words fail to express...

2007-07-31T12:10:00.000-07:00

francisco lopez and matt shoemaker

2007-07-15T13:53:00.000-07:00

Friday the 13th (July, 2007) turned out to be a very fortunate day for those in
attendance for the Francisco Lopez / Matt Shoemaker performance at Steve
Peter's lovely Chapel Performance Space (at the Good Shepard Center, Seattle).
Matt launched everyone into transcendental states of consciousness with
his mixture of deep vibrational electronics, intense hyperdimensional crescendoes
and occasional field recordings punctuating the journey along the way;
then Francisco jolted everyone awake who happened to still be buzzing from
Matt's performance, with mega-scale multi-channel sound design that would floor
even the best sound engineers working in the film industry.
This was not the ".absolute." drone fields we've come to know from Francisco of
years past. This was a new Lopez, taking his concept of ".absolute." listening
experience several levels ahead, thereby taking the audience on a rollercoaster
ride through larger-than-life sonic environments in a similar way as CGI special
effects can in the latest Hollywood films, although without the cliches and
"cheese factor" elements inherent with most Hollywood flicks...

If you get a chance to catch Francisco on any of his latest tours,
I HIGHLY recommend it!

Coming next in the release schedule:
(and/27) Francisco Lopez: Wind [Patagonia]

new project: antonioni's tetralogy

2007-06-30T23:47:00.000-07:00

Alas, work on the next film-related CD release project has already begun...

The release is slated for sometime in 2008.

This project focuses its lense upon the great Italian film director

Michelangelo Antonioni and his great "Tetralogy".

The title for this release is tentative and subject to change.

The tetralogy of films include:
- L'Avventura (The Adventure, 1959)
- La Notte (The Night, 1960)
- L'Eclisse (The Eclipse, 1962)
- Deserto Rosso (Red Desert, 1964)

Artists confirmed thus far:
- Asher (USA)
- Marc Behrens (Germany)
- Olivia Block (USA)
- Juan Jose Calarco (Argentina)
- Alan Courtis (Argentina)
- EKG (USA)
- Lawrence English (Australia)
- Fhievel (Italy)
- Richard Garet (USA)
- Marihiko Hara (Japan)
- I8U (Canada)
- Jason Kahn (Switzerland / USA)
- Dale Lloyd (USA)
- Roel Meelkop (Netherlands)
- Pali Meursault (France)
- Ben Owen (USA)
- Gabriel Paiuk (Argentina)
- Tomas Phillips (USA)
- J. Winston Phillips (Canada)
- Antti Rannisto (Finland)
- Adam Sonderberg (USA)
- Steinbruchel (Switzerland)
- Luigi Turra (Italy)
- Tyler Wilcox & Corey Fuller (USA)

As with previous CD projects of this nature, it is not my intention to invite

everyone who is a fan of a director's work. The artists are invited in particular

because certain aspects of their previous work indicated artistic /aesthetic

qualities of which would fit well within the overall vision of a particular project.

In addition, these projects are never intended to function as a label showcase

or a standard various artist compilation. If anyone views them as such, then

they are entirely missing the point.

Even though the artists have been invited and are currently working

on their submissions for the next CD project, I would like to do something I

have not done with previous film projects. I have also posted a general call for

submissions for pieces that would be considered for an MP3 sub-project
to be issued as part of the upcoming and/OAR MP3 catalog.
Essentially, there will be two projects pertaining to Antonioni:

the CD release which will focus on the Tetralogy; and the MP3 release

which will be more open-ended to embrace all of the director's work.

Since these projects tend to generate a lot of interest from artists,

and because it is not my wish to make each project more than

two CDs, I've decided to take this route and give more artists a

chance to create work.

To see the guidelines for the MP3 release, scroll down to the next post...

-----------------------------------------------------------------

"Antonioni's lifelong effort (was) to uncover the meanings of things

beneath the mystery of their appearances."
- Seymour Chatman (Antonioni: Or, The Surface Of The World)

"Antonioni asks us to take a slow, steady look at the world

around us,
to forget our ordinary preoccupations, and to contemplate that which lies
slightly athwart them." - Seymour Chatman (Antonioni: Or, The Surface Of The World)

michelangelo antonioni: an open invitation

2007-06-30T23:31:00.000-07:00

In addition to the related CD project, I am also posting a public call for

submissions for sound artists to submit work to be considered

for an MP3 counterpart release that will be made available as part of

a future and/OAR MP3 catalog of new works that will exist in addition

to the CD/CDR catalog.

The new MP3 catalog will be available, in cooperation with a Swedish

company called Klicktrack, and artists will be given the option to either

receive a percent of the proceeds, or some other arrangement can be

agreed upon.

And so without further ado...

-----------------------------------------------------------------

Antonioni was well known for not being too keen to use music in his

films, partially because he wanted the films to tell their stories free

from additional "gloss". Therefore, music was sparsely used if at all in

some cases. Antonioni considered the natural sounds or "background

noises" of a film to be of enormous importance, and considered this

to be the "true music" of a film. Composer Giovanni Fusco, whose work

is featured in most of Antonioni's films of the late 1950s to the early

'60s said, "the first rule for any musician who intends to collaborate

with Antonioni, "is to forget that he is a musician."

However, it is another composer that Antonioni worked with, that I

will want to acknowledge with the CD release; because if it were not for

his pioneering minimal electronic music featured in "Deserto Rosso",

this project might not have come together at all.

His name is Vittorio Gelmetti.

Gelmetti's minimal electronic work has consistently come to mind while
listening to certain pieces by a few of the artists who will be featured on

the CD release, which is going to be focused upon Antonioni's "Tetralogy".

I have decided to focus on what are often refered to as Antonioni's

informal "Tetralogy":

- L'Avventura (The Adventure, 1959)

- La Notte (The Night, 1960)

- L'Eclisse (The Eclipse, 1962)

- Deserto Rosso (Red Desert, 1964)

However, it is with the MP3 release, that I would like to open the

inspiration to include all of Antonioni's films. So, if you are reading this

and are interested in submitting work, please be familar with his films.

These projects are intended for enthusiasts only, and if I recieve work

that has no seeming connection to the subject matter, it will not be

considered.

Guidelines:
- Track Length: Each track should not be much longer than 7 minutes.

Artists can submit more than one piece for consideration.
- Formats For Submissions: Please send audio or data CDRs containing
WAVs or AIFFs only. Once contact is made, I will send a mailing

address to send the disc to.
- Deadline: December 1st, 2007.

When composing pieces, please consider including the use of environmental

recordings as part of the piece in some way (straight, processed, mixed,

live recordings, etc is OK). How you decide to do this is completely up to you.

The reason I ask this is because of the underlying concept of and/OAR as a
label. However, I might make allowances for some of the tracks to not use

field recordings, like in the case of using instruments, but most of the

tracks should incorporate a field recording element in some way.
And I must ask everyone to refrain from using any music or dialogue from
the actual films.

Once the final track selection is made, everyone will be contacted as to
whether their track was selected or not.
If you have any other questions, please let me know.

Best Regards, Dale

http://www.and-oar.org/

-----------------------------------------------------------------

"Antonioni's lifelong effort (was) to uncover the meanings of things beneath
the mystery of their appearances. " - Seymour Chatman (Antonioni: Or, The Surface Of The World)

"Antonioni asks us to take a slow, steady look at the world around us,
to forget our ordinary preoccupations, and to contemplate that which lies
slightly athwart them." - Seymour Chatman (Antonioni: Or, The Surface Of The World)

yasujiro ozu - hitokomakura

2007-06-11T18:54:00.000-07:00

After almost two years and countless delays later, this project has
finally come to completion by arriving via UPS this afternoon.
And there was even ONE MORE delay with getting it from UPS
because the first time they tried to deliver the pile of boxes,
I just happened to be in the restroom, after waiting half the day
for them to arrive! Shimatta!!!

So, with strong willed persistence, I managed to get UPS to bring

the boxes back here this afternoon, and I am quite happy

(and very thankful) about the finished result.

I really hope you all will enjoy it!

www.and-oar.org/pop_and_26.html

hausswolff / nordanstad: two films

2007-06-10T19:11:00.000-07:00

Well, the Hausswolff / Nordanstad DVD arrived recently,

and I must say that I'm very impressed.

Especially with the Hashima film and documentary.

It must be noted that the rather small island of Hashima (Japan)

in 1959, had the highest population density per hectare ever

recorded in the world... Completely mind boggling.

As can be imagined, if one were to just happen upon this now

abandoned island today, not knowing anything about it,

how stunned and spooked you might be...

There is also a loose conversation documented between the
the two artists talking about the films.

Now available in the and/OAR Diffusion shop.

clearance / trade items

2007-06-03T17:45:00.000-07:00

If anyone is interested, I've started a new page for clearance & trading.
www.and-oar.org/clearance_trade_list.html
Any of these items can be combined with an order in the Diffusion shop as well.
A link to a Windows Notepad document of my want list can be found at the
bottom of the clearance & trading page. "Best offers" and special arrangements
can be arranged, so just ask.

Quite a few items have disappeared already...

eric adrian lee

2007-06-03T16:54:00.000-07:00

I discovered and made contact with this wonderful painter (and sound artist)
on MySpace...

His sound work is quite nice as well.
http://www.myspace.com/ericadrianlee

new directions

2007-05-28T19:33:00.000-07:00

Chances are highly likely that if you are reading this blog, then

you have already seen the new website design. This major change

marks the beginning of a new phase for the label (and Diffusion shop).

"What is this new phase", you might ask?

I have several new ideas to try to implement, like possibly an a/O

MP3 label (despite my usual grumbling about how the proliferation of

this kind of thing has lead to the present crisis of "information

overload." Anyway, it should be mentioned that an MP3 label

would be in addition to the existing physical label, and would be a

part of the a/O site. I would also like to take a cue from Miguel

at Conv, and provide links to downloadible PDFs of inserts for

printing. Stay tuned...

is this microphone on?

2007-05-28T19:09:00.000-07:00

testing testing.... check check....

and/OAR

Hideki Umezawa: Suido-Kan

Kiyoshi Mizutani & Kiyoharu Kuwayama: Interlude

Celer: Levitation And Breaking Points

Luigi Turra: Ki

Lethe: Dry Ice On Steel Tables

Kraig Grady: Our Rainy Season / Nuilagi

Favorites From 2010

Michelangelo Antonioni - Trilogy And Epilogue

Jim Denley & Kim Myhr: Live In Munich

Olivia Block & Kyle Bruckmann: Teem

Ernst Karel: Heard Laboratories

Canadian debut of John Grzinich's new film

Vincent Paillard: untitled

Richard Garet: Four Malleable reviewed at Tokafi

Tokafi interview with Billy Gomberg

Adrián Demoč: Zikkurat / Variations For Piano

best of the year lists 2009

new version of website for 2010

Seattle Phonographers Union

artist: SEATTLE PHONOGRAPHERS UNION

title: Seattle Phonographers Union

format: CD

link: www.and-oar.org/pop_and_mim1.html

A Mimeomeme release in cooperation with and/OAR.This release encapsulates some of the finest performances over the span of

four years from 2004 to 2008. Longtime followers of and/OAR's catalog and

history (e.g. the compilations produced for Phonography.org) will be familiar

with names of most of the members of SPU featured throughout this release:

Steve Barsotti, Peter Comley, Christopher DeLaurenti, Katie Gately,

Mark Griswold, Doug Haire, Susie Kozawa (also of Aono Jikken Ensemble),

Dale Lloyd, Perri Lynch, Robert Millis (also of Climax Golden Twins),

Toby Paddock, Heather Perkins, Steve Peters and Jonathan Way.

Richard Garet: Four Malleable

"My work over the last several years has focused on the investigation of

aural phenomena, environment, spatial listening, structure, natural and

evolving processes, function, possibilities, and materiality. My interests

have led me to explore acoustics, psychoacoustics, binaural beats, and

diverse methods of recording sound, and the application of systems and

strategies, which have served as the fundamental departure towards

achieving my work."(Richard Garet)"I'm very happy to announce and present Four Malleable, which comprises

what are among Richard's best compositions from four different years:

Imaginative Elements (2004), From Modified Tapes (2005), Sceneries

(2006), and Nocturne (2009). Four previously unreleased works that

place the mind's eye inside malleable forms and blurred locations. As is my

tendency to often draw comparisons to the world of cinema, this release

at times can feel very reminiscent of the well known scene in Antonioni's

"Deserto Rosso" where actress Monica Vitti watches as her friends slowly

fade into the hazy distance without anyone actually moving. While this

connection was not intentional on the part of Richard, it is quite

pertinent to a/O since he is to have a track featured as part of the

upcoming CD project entitled "Michelangelo Antonioni –Trilogy & Epilogue"

which casts its conceptual lens on Antonioni's tetralogy of films which

includes "Deserto Rosso". It was partially because of hearing the works

later featured on Four Malleable (among other works) that he was invited

to participate in the project." (Dale Lloyd - a/O)

Nathan McNinch: When You Went Into Churches

Flymodus: Milky Seas

Dani Baquet-Long (1983-2009)

Bagatellen interview with Jim Denley & Kim Myhr

and/OAR interview: Isobel Clouter & Rob Mullender

Tomoko Sauvage: Ombrophilia & Billy Gomberg: Comme

Five Elements Music: Green Noise & Gintas K: Frozen Time

Tomoko Sauvage featured in Wire magazine

Jasper Leyland: Sediments

Dropp Ensemble: Safety

Jim Denley & Kim Myhr: Systems Realignment

Lasse-Marc Riek: Das Teilen Der Flügel

Dale Lloyd interviewed by Tanner Menard

NYC update plus review of performances at The Stone

Christopher DeLaurenti: Found Soundscape: C-SPAN Presidential Inauguration

and/OAR showcase events 2009

and/OAR interview: oSone

best of 2008 lists

Various Artists: Translations Of Opacity - For Michelangelo Antonioni

Isobel Clouter & Rob Mullender: Myths Of Origin

Andrea Borghi: Selected Works: 2001 - 2006

and/OAR interview: Andrea Gabriele (Mou, Lips!)

Dino Bramanti 1969 - 2008

DECIBEL 2008 / THE BIZ

Hitokomakura "Record Of The Week" at Bagatellen

A Mimeomeme release in cooperation with and/OAR.

This release encapsulates some of the finest performances over the span of

achieving my work."(Richard Garet)

"I'm very happy to announce and present Four Malleable, which comprises