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Steve Reich Drumming'
Drumming (Pure Pleasure)Simply put, Drumming is, along with some of Philip Glass' Einstein On The Beach, one of the most fascinating pieces of first-generation minimalism. The version recorded for Elektra/Nonesuch in 1987 ranks among Reich's masterpieces. The 60-minute continuous work features one basic rhythm pattern. Throughout four segued movements it is multiplied, played in canon on various percussion instruments. Part I is for four pairs of tuned bongo drums; Part II for three marimbas (played by nine players) and two singers mimicking the sound of marimbas; Part III for three glockenspiels, piccolo, and whistling (played by Reich himself); Part IV for all previous instruments, including voices. Transitions between movements are gradual, the whole piece being built on accumulation and reduction. When it is time to go to the next movement, players are slowly removed, quarter-notes replaced by rests, in order to make room for the new instruments. The piece almost comes to a complete halt at the end of Part III, keeping only the most basic pulse before the whole process starts over, building up to the finale. There is a sense of happiness and lightness irradiating from Drumming. It is a perfect example of the paradox of the simple and the complex, the easy and the challenging underlying minimalist music. Both cerebral and vitally tribal or ritualistic, this album is a must-have.
- Bob Becker, Ben Harms, Gary Kvistad, Steve Reich, Gary Schall, Glen Velez, Thad Wheeler (tuned drums, marimbas, glockenspiele)
- Pamela Wood Ambush, Jay Clayton (voc)
- Steve Reich (whistling)
- Mort Silver (flute)
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. Part I
2. Part II
3. Part III
4. Part IV$37.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Reich: Drumming (Deluxe)Composer Steve Reich turns 80 on October 3 and DG celebrates with a deluxe, numbered limited edition of his breakthrough 1974 recording of "Drumming" and two other early works. Presented in its original LP format in authentic packaging, the set includes Reich's original liner notes with many session photos as well as an extensive article including Reich's original correspondence (nearly 50 letters) with his DG producer.LP 1
1. Part I (Original Version)
2. Part II (Original Version)
1. Part III (Original Version)
2 .Part IV (Original Version)
1. Six Pianos
2. Music for Mallet Instruments, Voices And Organ$69.99Vinyl LP - 3 LPs Sealed Buy Now
All We GrowThe debut album from S. Carey, All We Grow, is the result of a young lifetime spent immersed in music. As a band member of Bon Iver from the very beginning, Sean Carey witnessed a flip of his formal training to step firmly into a worldwide-touring rock band. His performance degree in classical percussion from the University of Wisconsin and his love for jazz drumming prepared him for a central role in the inspiring force of the Bon Iver live show.
All We Grow is a convergence of Carey's Waltz For Debby-era Bill Evans inflected jazz tendencies, and traditional rock band experience, taking leads from Mark Hollis' Talk Talk. It also retests the waters of modern classical composition, investigating the moodiness generated by percussive repetition in a manner familiar to fans of Steve Reich. In his downtime on tour with Bon Iver, Sean would spend time composing. During infrequent tour breaks at home he would patiently record these pieces, adding layers eachtime. Two years later, the parts converged to make an album.
For as much room to breathe as Carey allows his compositions, there are incredibly dynamic moments of bombast held right next to moments of subtle depth and texture. Engineered by Jaime Hansen and Brian Joseph, intermittently at home and at April Base (Justin Vernon's studio outside Eau Claire), All We Grow is an all-encompassing headphone experience as intimate as chamber music and as ambitious as a symphony.1. Move
2. We Fell
3. In the Dirt
4. Rothko Fields
7. In the Stream
8. All We Grow
9. Broken$16.99Vinyl LP - Sealed Buy Now
Fits & Starts
LP Packaging Features Custom Adhesive Wrap & 16 Page Booklet
For the tenth volume of FRKWYS, composer,
percussionist and sound designer david Van
tieghem alongside ten younger artists from
across the avant spectrum become a bulletin
of Fits & Starts.
In July of 2012, RVNG Intl. was invited to participate in Bulletin Boards, a group
exhibition at Venus over manhattan curated by White Columns' gallery director matthew
Higgs. An extension of an ongoing project which resides in the entrance of White
Columns' downtown New York gallery, Bulletin Boards featured 24 artists/entities, each
given a new bulletin board as an inspirational starting point.
In 1981, David Van Tieghem produced the experimental music video Ear To The
Ground. The film features Van Tieghem "playing" downtown New York City, a world
in which Van Tieghem established his rhythmic roots as a member of the love of life
orchestra, a frequent collaborator with laurie anderson, and a player on steve reich's Music
For 18 Musicians, robert ashley's Perfect Lives (Private Parts) / Perfect Lives and david Byrne
and Brian eno's My Life in the Bush With Ghosts among other seminal recordings including
In Ear To The Ground, all city surfaces become communications-or bulletins-under
Van Tieghem's twiddling, thwacking and thumping thumbs. Partially inspired by this and
by our blank but physically limited canvas space, Van Tieghem agreed to take part in
a sequence of improvised performances and creative editing to become part of our
We also invited ten younger musicians to post objects to the board. A cross section of
present day New York artists were represented by way of sam Hillmer as diamond terrifier
(with the aid of max alper), Future shuttle, Georgia, roberto Carlos lange as Helado negro,
darren Ho, eli keszler, Hiro kone and megafortress, alongside the regionally sympathetic
Blanche Blanche Blanche and maxmillion dunbar.
In place of business cards, broadsheets, and flyers, the objects/communications
contributed were broken toasters, firecrackers, 2x4s, thunder drums and customized
electronics, each intended as a percussive device. On opening night, the bulletin board,
disguised as assemblage, welcomed David's dialogue.
In the spirit of Ear To The Ground's infinite conversation, Van Tieghem returned to
Venus Over Manhattan to "play" the bulletin board without an audience. The process
of Van Tieghem discovering and responding to the objects/bulletins again was multitracked in high definition.
These recordings were then presented to the ten contributing musicians for further
translation, "remix" and interpretation. For the final sequence, the unique pieces were
delivered to Van Tieghem to edit and embellish as the sound collages presented as Fits
& Starts across two album length sides of our tenth volume in the FRKWYS series.1. Slippery Slope
2. Cooler Heads Prevail$20.99Vinyl LP - Sealed Buy Now
By embedding both new age and noise-oriented
electronic themes into his pastoral pieces, Turnquist
unites disparate traditions and ideals, essentially
employing sonic counterweights to construct 57 minutes
that are as surprisingly dynamic as they are perfectly
- PITCHFORK (8.2)
New York's Turnquist is masterful. His right hand
technique is as orchestral as Nick Drake's, sending rivulets
of steel sadness out across the water, but applied to a
minimalist logic with the weight of early Philip Glass or
Turnquist layers his six and twelve string guitar
instrumentals with electronic drones, piano and vibes.
This first widely available release is a filmic beauty, its
chilly pastoralism distinguished by the physicality of his
Another bravura outing from Turnquist that is, in its own
unassuming way, a triumph
As an accomplished 12-string guitarist/composer, Alexander Turnquist was naturally
alarmed when the ulnar nerve in his left hand seized up in 2013, but after a surgical procedure he gratefully started the process of learning to play guitar again. His recovery was
cut short when not long after the surgery he was hospitalized with meningitis. Though his
recovery is ongoing, and he continues to struggle with a weakened immune system and
memory loss, he was inspired to soldier on, rather than being deterred by his physical
Turnquist's latest full-length Flying Fantasy confirms the idea that out of great hardship
can come great art. As he wrote the material for the new album it became clear that his
sensitivity had sharpened, his empathy magnified, and his sense of purpose blossomed.
The unfortunate circumstances he endured ostensibly forced his metamorphosis from a
remarkable guitar player to a truly great composer. Much like the butterflies that adorn
the album cover, he seems to have changed form and taken flight.
The album opens with the sparse harmonics of House of Insomniacs, which are soon
joined by lush swells of vibes, cello, and even wordless vocals. On the tracks that follow,
Turnquist continues to make use of this dynamic sonic pallet, even adding organ, piano,
marimba, steel drums, violin, and french horn to the mix. From Red Carousel, which was
inspired by Ray Bradbury's Something Wicked This Way Comes, to the somber lilt of the love
song Wildflower, to the truly arresting title track Flying Fantasy which uses only 4 open
strummed guitars and loops of damaged tape and wire recorders, every note vibrates with
life as Turnquist ushers us though his intoxicatingly colorful worlds of sound.1. House of Insomniacs
2. Finding the Butterfly
4. Red Carousel
5. Flying Fantasy
6. Cloud Slicing$16.99Vinyl LP - Sealed Buy Now
Range Of LightS. Carey's chosen musical expression is a hugely beatific,restorative panorama of beauty - perfect given how
landscape and the wonder of nature inspire much of Carey's imagery. His new album Range of Light - the
follow-up to his 2010 debut All We Grow-takes its title from the name that 19th century naturalist John Muir
- Carey's hero - gave to California's Sierra Nevada, and follows suit with a dazzling array of musical light and
shade, drawn from Carey's love of jazz, modern classical and Americana. Like a weathered mountain range
changing shadow form and color, or the ebb and flow of a river's current, his music is simultaneously restful
and rhythmic, complex and simple, and always evolving.
"My music has specific connections to nature and place, my surroundings, and my experiences," says Carey. I
travelled the Sierra Nevada area many times as a boy,fishing small mountain streams, hiking to the top of'half
dome', exploring the Redwood groves at Wawona, in awe of the Yosemite Valley. The term,'Range of Light',to
me, denotes the spectrum of light and dark a person can have in their life - peaks and valleys of happiness,
sorrow, challenges and growth - for me most recently and more specifically: marriage, having a baby, and
maintaining a spiritual connection to nature, place, friends and family as an adult."
While he studied classical percussion and piano at the University of Wisconsin in Eau Claire, Carey imbibed
rhythmic minimalists such as Steve Reich and Philip Glass. Immediately after graduating in 2007, he caught
wind that Eau Claire resident Justin Vernon was forming a band to take his For Emma, Forever Ago opus on
the road. Carey learnt the drum and vocal parts for the album,rehearsed with Vernon, and has been a mainstay
of the Bon Iver live band ever since.
While on tour with Bon Iver, Carey developed his own song writing ambitions, and after many less than
frequent recording sessions between tours, released All We Grow in 2010. Those nine songs sat between a
folk/modern classical hybrid and rarefied jazz climes. Carey's warm melodic nuances, reflected in the lush
folds of his singing, added to the mutable percussive syncopations of his instrumentation.
Range of Light incorporates elements of his previous work, but also amplifies Carey's percussive proclivities,
and is altogether more developed than its predecessors, with more input on the performance and even
composition side from the band of musicians and best friends he assembled originally to bring All We Grow
to life in the live setting. "Therewere times during recording sessions when there were three percussionists, all
with different styles and fortes, playing at once, adding different textures."
From the flurry of violins over a circular rhythm in 'Crown The Pines' and the beautiful cries of 'Alpenglow',
to the pensive depths of songs like 'Fire-scene' and 'The Dome', Range of Light is a still life of an artist in this
particular stage of his life; a stage that has been met with the highest of peaks and the lowest of depths all
within the range each of us treads through.1. Glass/Film
3. Crown The Pines
7. Fleeting Light
8. The Dome
9. Neverending Fountain$17.99Vinyl LP - Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
Tell Me I BelongJim-E Stack has come a long way. Born and raised in San Francisco, the now
Brooklyn-based artist born James Harmon Stack cut his musical teeth as a jazz
drummer, but it wasn't until he entered the world of solo production at the age of 16
that he found the freedom necessary to write and record how he wanted. After seeing a set from Fade to Mind boss Kingdom in 2009, freeform DJ sets and hybridized
club music planted the seeds of inspiration in the burgeoning producer. He made
his first splash with a bass-loaded remix of Nuguzunguzu's "Mirage", and went on
to release the bright and drum-focused Come Between EP, garnering acclaim from
international DJs and tastemakers alike.
Following time spent in New Orleans, James moved to New York in summer of 2012,
and started the slow process of sketching, refining, and developing the diverse tracks
that would make up his captivating Tell Me I Belong LP. The album was equally
fleshed out by looking forwards and backwards, which gives it the kind of purpose
and cohesiveness many debut outings lack. In every corner of Tell Me I Belong, you
can hear an artist who reveres classic jazz musicians like John Coltrane and McCoy
Tyner, experimental pioneers like Steve Reich, and Detroit techno greats Omar-S
and Robert Hood, but contemporary boundary pushers Arca, Oneohtrix Point Never,
and Actress are no less inspiring for Stack. "More so than anything, it's really on
some personal shit," he says of the themes woven into his debut LP. "The time period
between leaving San Francisco and moving to New York was a tough time for me,
and the music is kind of a reflection of that, the feeling like you don't belong." The
music may speak about a kind of alienation, but it also abundantly offers the chance
of collective experiences in the form of hard-hitting, club-specific dancefloor jams.
That fearless juxtaposition is the lifeforce of Tell Me I Belong.1. Somewheres
5. Everything To Say
6. Is It Me
7. Out Of Mind
8. Ease Up
10. Wake$18.99Vinyl LP - Sealed Buy Now
Selected Ambient Works Vol. 2 (Out Of Stock)Aphex Twins 1994 masterpiece Selected Ambient Works Volume II includes barely anything resembling a beat or any sign of typical song structure, yet the album continues to garner adulation generally reserved for holy music. Fans have been testifying on its behalf for nearly two decades, as if it were capable of curing ills or healing the soul. Its synthetic construction belies the intuitive, human, melancholic and uplifting nature of the music.
Some have speculated the album was intended by Aphex Twins Richard D. James as a farce, as if its Über-minimalism was a joke played on an electronic community that relied so heavily on the beat; an expectation-defying statement from ambient-houses young hero. The album induces varied responses and often from the same person. A listener may go from being incredulous to drenched in tears within the span of a single track. Music critic Frank Owen described the music as veering between an eerie beauty and an almost nightmarish desolation. James himself described it as like standing in a power station on acid.
The albums raw emotional power is built upon the influences of Brian Eno, Erik Satie, Steve Reich, Terry Riley and The Orb. Each of its tracks has an elegiac and desolate feel far removed from the tooth-rattling, drill-n-bass or abstract electronica for which James was originally known. The soft, nimble flow leaves one in a tranquilized state. Throughout the album, James resists the temptation to layer the sound with beats or samples. Instead, he relies on swathes of sound and harmonics and almost-implied pulses. When the music does incorporate subtle industrial sounds, rhythmic drums or muted samples, it is only to affect a menacing feel in the textures.
Remarkably, for an album that is often perceived as difficult, Selected Ambient Works Volume II is quite accessible. Featured in films, commercials and video games, the music continues to offer an entry point for listeners new to the ambient genre while remaining a classic touted by connoisseurs.No tracklist available$33.99Vinyl LP - 3 LPs Sealed Temporarily out of stock