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PassagesPassages is a collaborative chamber music studio album co-composed by Ravi Shankar and Philip Glass, released in 1990. The album is a hybrid of Hindustani Classical music and Glass' distinct American minimal contemporary Classical style.
A collaboration between an avant-garde modern Classical composer and a traditional Indian/Hindi composer/performer seems pretty unlikely. However, Passages works splendidly. Shankar's smooth style fits nicely with Glass' dissonant orchestrations.
The album reached a peak position of number three on Billboard's Top World Music Albums chart. Recommended to fans of other minimalist composers such as John Cage, Steve Reich and Terry Riley.1. Offering
3. Channels And Winds
4. Ragas In Minor Scale
5. Meetings Along The Edge
6. Prashanti$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Terry Riley: In C (Pure Pleasure)If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous--even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again.
This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music -- ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music -- that can, and will, change your life.
- Terry Riley (conductor, saxophone, organ)
- Margaret Hassell, Lawrence Singer (oboe)
- Darlene Reynard (bass)
- Jon Hassell (trumpet)
- Jerry Kirkbride (clarinet)
- David Shostac (flute)
- Stuart Dempster (trombone)
- Edward Burnham (vibraphone)
- Jan Williams (marimba)
Recording: 1968 at Columbia's 30th Street Studio, New York, by Fred Plaut and Russ Payne
Production: David Behrman
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.
This title is not eligible for discount.1. In C$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
An Evolutionary Music (Original Recordings: 1972 - 1979)An Evolutionary Music (Original Recordings: 1972 - 1979) compiles
unreleased recordings from the archives of multiversal artist Ariel Kalma.
Concerned as much with musicality as spiritual facility, Kalma's work
vibrates aside fellow travelers along the great rainbow in curved air of
the 1970s avant-garde.
Ariel Kalma's boundary-blurring electronic music is heard here in
radiant detail across a selection of work spanning his early free-jazz
and spoken word trips to his infinite modular synthesizer and primitive
drum machine meditations. Kalma's story is one of world travel, musical
discovery and ego-abandonment. Yet for an artist who often discarded
public recognition in favor of the ascetic truths in music making, An
Evolutionary Music offers the imprint of an outright auteur.
Born in France, but rarely in one place for long, Ariel Kalma's 1970s
migrations took flight through the decade's furthest spaces of musical
and spiritual invention. As a hired horn for well-known French groups,
the young musician toured as far as India, a place where Kalma would
learn circular breathing techniques enabling him to sustain notes without
pause against tape-looping harmonies configured through his homemade
Those effects evolved from Kalma's loyalty to a beloved dual ReVox
set-up- two tape machines "chained" together to form a primitive delay
unit. Over looped saxophone melodies, Kalma would mix in all shades of
polyphonic color, synthesizing fragments of poetry with ambient space or
setting modal flute melodies to rippling drum machine patterns and starlit
In France during the mid-1970s, Kalma was staffed as a technician at
Pierre Henry's legendary Institut National Audiovisuel, Groupe de Recherches
Musicales (INA GRM) studios - the same music concrÉte laboratory that
spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard
Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma's
relationship to sound was both formal and non-hierarchical. To Kalma, all
music existed as related universal patterns, in perfect harmony with the
people, places and environments it was created.
Kalma's recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975,
and a masterpiece of birdsong exploration with Osmose in 1978. Osmose
is double album featuring sculptor Richard Tinti, who had supplied Kalma
with hours of field recordings from the rainforests of Borneo.
An Evolutionary Music harvests uncatalogued music made between
Kalma's private press records and onward through the many small-batch
cassette releases Kalma would tender. With this collection of musical
hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of
both popular music trends and the academic tenets of the avant-garde
falls squarely in the spirit of other renegades of sacred new-music such as
Terry Riley, La Monte Young, and Charlemagne Palestine.1. Almora Sunrise
2. Ecstasy Musical Mind Yoga
4. Sunset Inside
5. Chase Me Now
6. Enuej Elleiv
7. Sister Echo
8. Les Mots de Tous Les Jours (Rêves Etranges)
9. Rainy Day
10. What Would You Say
11. Les Etoiles Sont AllumÉes
12. Voltage Controlled Wave
13. Montparnasse Morocco
14. Head Noises
15. Asalam Yamarek
16. Love and Dream
17. Yogini Breath$30.99Vinyl LP - 2 LPs Sealed Buy Now
SolarispellisA playful electronic musical journey evocative of Eno's Music For Films, Oneohtrix Point Never, 8-bit soundtracks and prog-infused 70s synth epics; but executed with a rigorous conceptual framework worthy of John Cage or the radical film experiments of Lars Von Trier. Solarispellis is the follow up to Arandel's 2010 debut album In D and similarly continues to be entirely in his signature key (a nod to minimalist godfather Terry Riley). From woozy electronica to emotive techno and the most vertiginous krautrock - the tempos, Moods and subjects are intertwined, covering an array of musical territories despite the uniformity of the tonic note and chord. There is a paradox to the the intricate beauty of Solarispellis; an almost symphonic album recorded in the living room of a small apartment. The sounds suggest harpsichord, piano, organ or drops of water on a hot tin roof although almost every sound you hear was synthesized. There's a scholarly approach to the music but it does not require any effort on the audience's part.1. Opening Section
2. Section 7
3. Section 11
4. Interlude (Variation on Section 12)
5. Section 9
6. Section 10 (1st & 2nd Movements)
7. Section 13
8. Interlude (Variation on Section 6)
9. Section 12
10. Section 10 (3rd Movement)
11. Section 8
12. Finale Section$19.99Vinyl LP - Sealed Buy Now
Star DestroyerOn their debut full-length, this NY-based quintet have demonstrated their penchant for the electro organic; seamlessly blending the sharp and gentle, like a chain gang draped in organza. Think Can or Faust all mashed up with the personal disco of Arthur Russell. Think of the electric organ of Terry Riley's Shri Camel, slowly morphing and perpetually in motion, but remaining in step with a guitar-less and Moroder-charged Sparks. And think of a more composed Dead C, where Michael Morley sings about Big Thunder Mountain while holding a beach ball in one hand and fending off the digital shards of musique concr?te humming around his ears with the other.1. Komad
6. Vesna$14.99Vinyl LP - Sealed Buy Now
Steep FormationsStarted by Kid Millions and Bobby Matador of Oneida, People of the North is another voice emanating from that inscrutable Brooklyn collective. The group has always included Kid and Bobby, and usually other members of Oneida as well. In 2010, People of the North released its first full-length album, titled Deep Tissue. This recording was hailed by cognoscenti of contemporary psychedelia as an essential component of the recent Oneida canon.
Steep Formations, a double LP consisting of two long-form pieces, was recorded at the Ocropolis in 2010 and 2011, with the participation of Shahin Motia and Barry London of Oneida. Here, the drumming of Kid Millions has ascended to a profound and utterly unique level: muscular African-derived fluidity and relentless motorik drive have been alchemized into an indescribable brew that surges and pounds among the distorted tides of Border Waves; and the stony, brutal glaze of the title track displays a far more severe commitment to minimalism and noise than prior work offered.
While much that has been written about People of the North before remains relevant here, newly apt touchstones and contextual clues might include Kevin Drumm, Giusto Pio, Terry Riley, Tony Williams, Conrad Schnitzler, Throbbing Gristle, Pelt.1. Border Waves (pts 1 & 2)
2. Steep Formations (pts 1 & 2)$19.99Vinyl LP - 2 LPs Sealed Buy Now
RemembranceRemembrance is the Software Recording Co. debut from Baton
Rouge's Suicideyear (born James Prudhomme). Written and
produced between Florida and Louisiana during the summer and
fall of 2013, Remembrance recalls those southern U.S. landscapes
and Prudhomme's experiences across eight songs equally
intimate, intoxicating and mercurial.
We first fell in love with Suicideyear by way of his Japan mixtape, a
remarkable convergence of ATL trap beats and mid-late century
American minimalism that turned and twisted more than a few
heads. Software's own label head Daniel Lopatin was privy to an
eerily similar convergence at an All Tomorrow's Parties festival one
year earlier in which two performers, Big Boi and Terry Riley,
converged at a nearby Burger King. When James revealed his
childhood adoration for Speakerboxxx, we knew it was on.
Prudhomme wrote Remembrance while reflecting on themes of
love and loss against the backdrop of the deep American south he
calls home. Remembrance deals with letting go, Prudhomme
explains. The name stems from my attempt to accept the loss
and difficulty of the past year without dwelling, instead trying to
James' experiences of reflection and resolution led to the vivid,
emotionally charged production that makes up Remembrance.
Alive with an idiosyncratic sense of melodic space, his repertoire
eschews a topical palette for a personal aesthetic that offers a
visceral love letter to abstraction. Prudhomme references both
forms we know to exist ("Caroline", "U S" and "When You Sleep")
and speculates on how they can be newly realized ("I Don't Care
About Death Because I Smoke" and "Hope Building A").
Remembrance proves a mature turn for Prudhomme without
discounting his wisdom - and experience - already beyond his
years. His obsessive focus on construction, attention to detail and
elusive self-reflection is embodied in a music devoid of language.
That it speaks so clearly tells us its the real thing.1. I Don't Care About Death Because I Smoke
4. Hope Building A
6. U S
8. When You Sleep$14.99Vinyl EP - Sealed Buy Now
A Period of Review (1975-1983)
Expert Mastering By Greg Davis, Liner Notes By K. Leimer And Dave Segal
Double LP Packaging Features Unique Reverse Flap Exterior, Full Color Eurosleeves, &
For the third installment in RVNG Intl.'s archival series, the tape is wound back to 1970s
Seattle, home place of ambient music savant K. Leimer. A Period of Review (Original
Recordings: 1975-1983) unearths unreleased portions of Leimer's vast archives and
highlights the work of a self-taught visionary whose use of generative compositions ferried
his music to infinite resonance.
Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family
permanently settled in Seattle in 1967. Kerry's teenage interests and artistic experiments
blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s,
Leimer found musical parallels to these visual movements by studying import copies of NME
and Melody Maker and inquiring with local record store clerks about the exotic descriptions
he read of Can, Neu! and Faust-innovators who were bringing the wild dictates of 60s art-discourse into music
The tape-manipulated serenity Leimer experienced with Cluster's II was a key revelation.
Leimer realized the potential to compose with minimal training and scoured pawnshops
for cheap instruments and recording equipment to transpose his wayward musical instincts.
Leimer's sound palette and composition soon refined and heightened with the accessibility of
dynamic equipment such as the Micromoog and TEAC multi-track tape machines.
Synchronously, the Terry Riley indebted loop-based compositions of Robert Fripp and
Brian Eno's No Pussyfooting inspired Leimer to form recursive musical passages of bare
timbre and melody that would become hallmarks of his sound. "The loop provided an
instant structure-a sort of fatalism," recollects Leimer in A Period of Review's liner notes. "The
participation of the tape machine in shaping and extending the music was a key to setting
self-deterministic systems in motion and held a clear relationship to my interests in fine art."
The underground music scene of Seattle/Olympia in late 70s was small but seeded.
The vestiges of prog rock pompously pummeled the few clubs and record shops before
punk and New Wave became the rage. Leimer sought to support a growing community of
experimental composers by launching the Palace of Lights record label in 1979 with his wife
Dorothy Cross (this was years prior to the birth of regional titans K Records and Sub Pop).
Leimer rarely performed live, averting the litmus of instant appreciation for his solitary
studio pursuits. Tellingly, the "K." that abbreviated Leimer's first name was a nod to Kafka's
doomed pariah Josef K (from The Trial and The Castle). This gives a sense of the reclusive
and literary realm Leimer was fond of working in. Despite his reticence, Leimer's debut 1980
album Closed System Potentials would reach a receptive audience, and eventually sell more
than 3,000 copies thanks in part to Cross's persistent advocation to independent distributors
A Period of Review focuses on unheard material outside of the work Leimer offered on
Palace of Lights, though even that music could be considered relatively "unheard." The thirty
tracks of A Period of Review may have remained a mystery on moldy reels until now, but
Leimer's entire catalog of generative music remains pristine in its absolute power.
Liner notes were crafted by Seattle writer David Segal. Top-tier mastering was done by
Greg Davis, who produced the compilation with Palace of Lights artist Robert Carlberg, RVNG
and Kerry Leimer himself, who continues making music to this day.LP 1
2. My Timid Desires
3. From A Common Center
4. Explanation of Terms
5. From One To Ten
7. Bump In The Night
8. (aka accident)
9. Facing East
10. At Daybreak
11. A Spiritual Life
12. Honey To Ashes
13. Stop It!
14. Two Voices
15. Lonely Boy
16. Practical Demonstration
3. Archie's Dub
6. Assemble and Diffuse
7. Eno's Aviary
8. Almost Chinese
9. Agfa / Lupa
10. The Phonic Chasm (feat. Dawn Seago)
13. All Sad Days
14. Porcelain (feat. Nancy Estle)$29.99Vinyl LP - 2 LPs Sealed Buy Now
Gymnosphere: Song of the RoseBefore New Age hit terra firms at the dawn of the
1980s, the classically-trained Bay Area composer
Jordan De La Sierra's consciousness soared with
cosmic concepts. With cues and lessons from the
great minimalists La Monte Young,Terry Riley,
Pandit Pran Nath, and help from the venerable
public radio program Hearts of Space, De La
Sierra embarked on a journey in alternate tunings
and resounding reverberations, transporting
entranced listeners from the Golden Gates to
the intergalactic. Take an interstellar ride on
the sensory engulfing space piano with this
lovingly recreated double LP set, complete with
De La Sierra's India-inspired visual artwork and
musings on the tableau of space.1. Temple Of Aesthetic-Action
2. Music For Sacred Gymnastics
3. Sphere Of Sublime Dances
4. Music For Devotional Pastimes$31.99Vinyl LP - 2 LPs 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