Tuesday, June 24, 2008

[HvEXAS] new titles

P. O. BOX 1956
phone 845 339 6858 ­ fax 845 338 5986 ­ dlc@deeplistening.org


UPC: 600323390828

Pauline Oliveros, accordion with Expanded Instrument System
Peer Bode, live text with Bode Vocoder
Andrew Deutsch, live mixing, archival recordings, samples, loops and

Voice Coil was performed by the Carrier Band in the fall of 2003 at the Deep
Listening Space in Kingston, New York. Pauline Oliveros performed on
accordion and computer based Expanded Instrument System, Peer Bode performed
live text with his Bode Vocoder, and Andrew Deutsch performed live mixing,
archival recordings from the Bode archive, samples, loops and electronics.
Voice Coil is an example of an improvisation emphasizing the integration of
analog systems and new digital tools between performers both living and
deceased. In 2007 Andrew Deutsch added about 35 minutes of short overdubs
to the recordings and has brought the recording closer to what the audience
heard at the Deep Listening Space. Furthermore, the overdubs provide added
depth to the work for repeated listening.

Frozen Speaker is an electronic composition by Andrew Deutsch and features
sections from Oliveros¹s Music for Expo 70. Video Voice uses sounds from
Pauline Oliveros¹s electronic works V of IV and Mewsak, as well as elements
of Stephen Vitiello¹s Light Meter recordings.

The Carrier Band was formed in 1998 when Pauline Oliveros, Peer Bode, and
Andrew Deutsch performed 3 improvisations at Alfred University that were
later released as the Carrier CD on the Deep Listening label.


109 west 27 street,eighth floor, ny, ny 10001
phone 212 627 0990 fax 212 627 5504 email info@mutablemusic.com

July 2008 Release

(Mutable 17529-2)
(UPC: 801021752929)

The Somewhere Songs, for baritone, environmental, and electronic sounds:
Thomas Buckner, baritone voice
The Invention of Memory, for baritone, string ensemble, guitar, and piano:
Thomas Buckner, baritone voice; "Blue" Gene Tyranny, piano

"The most original aspect of Tyranny's works is the way they create
continuity: they're tonal, yet rigorously asymmetrical. They satisfy the ear
without letting it take anything for granted. They evolve, not with the
cyclic predictability of everyday life, but with the labyrinthine
irreversibility of deep psychic forces. They say what they have to say
perfectly." ‹ Kyle Gann, The Village Voice

This beautiful new recording by "Blue" Gene Tyranny includes the mysterious
The Somewhere Songs cycle (1997-2001) for baritone voice and electronics,
and The Invention of Memory (2003-2005) a lyrical discourse for baritone
voice, string ensemble, guitar, and piano,
The Somewhere Songs concerns friendships in or undergoing difficult
circumstances. The narrator, in a sense, builds his own circumstantial world
as he sings - the vocal part was composed first by singing spontaneously and
the "transitional systems" (pitch/rhythm, etc., material) were derived from
that vocal line to generate other acoustic and electronic parts. The
question of the "true intentions" of the two former friends is of course
left to the listener.
The Invention of Memory is about the behavior and physiology of the brain.
In the course of reading, Tyranny was struck by what seemed to be rough
parallels between the way that people have described forms of memory and
certain musical procedures. This thought created a strange sensation in him
- something about the true nature of music. The Invention of Memory was
written to research this nameless correlation. An initial "Song", heard in a
piano solo at the outset, provides a basic reference to which the players
return, similar to a past event that is recalled in varied ways. The Song is
then "scanned" by the players employing different musical procedures. Some
of the musical forms employed are traditional (canonic imitation,
passacaglia) while the majority are compositional procedures Tyranny
developed for earlier pieces, including melodic transfers within a closed
loop (from the transformational lattice score of Stars Over San
Francisco,1972), drone with internal motion (from The Interior
Distance,1959), camouflage (from Sleeping Beauty in Camouflage, 1992), and
the song modulated by its own internal voice ("gravity" modulation from The
Driver's Son, 1989 - present).

"Blue" Gene Tyranny, composer and pianist of avant garde music, has toured
extensively in solo and group concerts throughout the U.S., Europe, Canada,
Mexico and Brazil. He also played in teenage rock bands and for a gospel
church. He has composed over fifty works for electronic, instrumental and
vocal ensembles, over thirty film and video soundtracks, and fifty scores
for dance and theatre productions. He has performed on many albums and
performed with such diverse performer-composers as Robert Ashley, Peter
Gordon, Laurie Andersen, John Cage, Leroy Jenkins, David Behrman, Brenda
Hutchinson, Jon Gibson, William Duckworth (The Cathedral Band), Phil
Perkins, Ben Manley, Carla Bley, Iggy Pop, Lise Vachon and many others.


109 west 27 street,eighth floor, ny, ny 10001
phone 212 627 0990 fax 212 627 5504 email info@mutablemusic.com

July 2008 Release

(Mutable 17530-2)
(UPC: 801021753025)

Nils Bultmann: Viola, Keyboards, Wurlitzer, breath and vocals
Roscoe Mitchell: Tenor saxophone: track 2, 3, & 14: flute: track 8
Parry Karp: Cello: track 3, 4 and 5; Paddy Cassidy: Djembe: track 3

This project was created from a series of improvisations, compositional
sketches, and field recordings. With the help of Pro Tools it has evolved
into this present form.

Nils Bultmann is a violist, improviser, and composer currently based in the
San Francisco Bay area. Rooted in classical technique and tradition, he has
developed his own voice within the context of a wide variety of musical
styles and art forms. Active as a performer in the United States and Europe,
he plays both classical repertoire as well as his own compositions and is
involved in collaborative projects of dance, film, and avant-garde
improvised music. \

He has generated an expansive body of work in the recording studio,
including solo and multi-track viola music as well as collaborative and
improvised material. He also writes through-composed works for traditional
instrumentation including for solo pieces, string quartets, and orchestral
music. He has appeared as a soloist with orchestra premiering his own work.

As an improviser, he has worked with Ken Butler, David Wessel, Frank
Gratkowski, Myra Melford, Evan Parker, and Roscoe Mitchell. In September
2004 he was a guest at the International Symposium for Improvised music in
Munich, Germany to perform two new works by jazz saxophonists¹ Roscoe
Mitchell and Evan Parker, as part of the Transatlantic Art Ensemble which
was recorded and released on ECM Records.


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