CARE OF EDITIONS                        GERMANY

Distr.  : GE -
          US - Forced Exposure
Style   : concrete music /


2013 release. Boris Hegenbart takes a dub-like approach to musique concrete. Rich
contrasts, drawn between synthetic and recorded sounds, allow texture and space to
flourish in place of melody. First / Dew branches away from the very beginnings of
Hegenbart's [#/TAU] series. It takes his debut album, Hikuioto (a self-published
CD released in 1996), and reimagines it on vinyl.
CO      002     SCOTT CAZAN             SWALLOW                         LP        .2013
CO      002     SCOTT CAZAN             SWALLOW                         LP      09.2017

2013 release. Scott Cazan's music is driven by a fascination in the fullness of sound
as well as an interest in network and information theory. Like the writings of those
who inspire him, such as Deleuze, Baudrillard, and Alexander Galloway, his work, for
all its directness, has a dark and seductive aura. Swallow is an album that lingers
at the borders between memory, ambience, and feedback.
CO      003     EZRA BUCHLA             AT THE DOOR                     LP        .2013
CO      003     EZRA BUCHLA             AT THE DOOR                     LP      09.2017

2013 release. Henning Lahmann on Ezra Buchla's At The Door: "Ezra Buchla creates
immersive, intricate, and at times overwhelming soundscapes carried by masterful
viola and synth renditions, broken up only by his dark yet soft, almost hushed voice."
CO      004     MARC SABAT              LES DURESSES                    LP        .2014
CO      004     MARC SABAT              LES DURESSES                    LP      09.2017

2014 release. Les Duresses emerges through a prism of speculative intonation. Marc
Sabat uncovers an opening of tonal possibilities that he roots in an unfinished
composition for solo violin by Morton Feldman. From its enigmatic notation and the
conceptual tendencies expressed by Feldman, Sabat determines that the fragment is
written in an alternate tonal space. Throughout Les Duresses, this space is given
shape and consideration. Sabat draws on a sound world, not from Feldman, but like
Feldman, that invites listeners to absorb themselves in longer durations where patterns
can unfold. It comes from an imaginary American folk music, full of meandering,
drifting, and at times, exuberance.
CO      005     LUCRECIA DALT           OU                              LP        .2015
CO      005     LUCRECIA DALT           OU                              LP      09.2017

2015 release. Along the arc of Lucrecia Dalt's music, beyond what steers her so
allusively away from self-repetition, there is an undefinable forward inertia. What
can explain, for instance, the near absence of her voice? Is it personal interest,
renunciation, an embrace? Is she driven by a backdrop of conceptualism, or is this a
lyrical wandering? What is known, for starters, is that she made Ou immersed in a
cinema of her own, curatorial creation. Ou's filmic quality is a direct consequence
of her turning her studio into a screening room for classic works of new German cinema,
pulling influence from directors such as Helke Sander and Werner Schroeter. As she
works, she absorbs, and Ou results from a conscious staging of this process. The impact
can be felt both at the levels of surface and structure. While the sound quality
reflects these evocative, multi-layered scenarios, the larger departure from any of
her previous works is the album's spatial, mix-like composition, with each track being
made up of several companion titles.
CO      006     JIB KIDDER : NEW WORKS FOR REALISTIC MIXER              LP        .2016
CO      006     JIB KIDDER : NEW WORKS FOR REALISTIC MIXER              LP      09.2017

2016 release. Following 2015's Teaspoon To The Ocean, Jib Kidder delivers an uncanny
dance LP featuring no-input mixer sequenced together with drum machine. It steers the
chaotic atmosphere of Lou Reed's Metal Machine Music (1975) towards an emotive tide of
information that, whether too much or too little, makes it hard to grasp but easy to
eat up. If electronic music has been made familiar (through musique concréte or Lee
Gamble) with the conversion of noise into dance, New Works For Realistic Mixer
circumscribes this progression within a less stable relationship: what might be
called, after Stella, the marriage of reason and squalor.

        1.      Three Girls's Party Songs No 2                  04:30
        2.      Three Girls's Party Songs No 1                  02:27
        3.      Three Girls's Party Songs No 3                  03:50
        4.      Amabele-o-o                                     02:22
        5.      Amabele-o-o                                     01:33
        6.      Amabele-o-o                                     01:42
        7.      Iyo-o-o                                         03:51
        8.      Amabele-o-o                                     01:40
        9.      Luma Pipes1                                     01:39
        10.     Amabele-o-o                                     01:52
        11.     Malita Ta Kangana                               03:50
        12.     Lumpungu                                        02:56
        13.     Four Flute Tunes                                02:19
        14.     Iyo-o-o                                         01:10
        15.     Chindol Wa Mukaleng                             01:49
        16.     Iyo-o-o                                         01:39
        17.     Chindol Wa Mukaleng                             01:33
        18.     Chindol Wa Mukaleng                             07:02

Mike Kitcher's Processed Snippets falls firmly into the category of new exotica,
a music created from a very specific location that becomes placeless through
abstraction. Kitcher reworks moments recorded from the SWP Records re-mastered
release of Congo Traditional 1952 & 1957 (SWP 046LP, 2014), a collection of recordings
by Hugh Tracey. Tracey, a pioneering documenter of traditional music across the
continent of Africa was notable for the extent of his travels and the breadth of his
work, as well as his technique of live mixing multi-instrumental tracks with a hand
-held microphone. This method produces tracks that focus on specific instruments with
a shifting of foreground and background.