"Matthew Sullivan's Matthew is nailed together with driftwood from around the world. The waters of Italy, the pubs of London, birds of Japan, a phone call in Los Angeles. Sullivan moved from California to London in 2016. Living in London was a pivotal time for Matt, as I see it. This record digests that time. Each sound on Matthew means something specific to the artist. Locales and memories focus to mind as passages rise and sink. Us listeners cannot know what transpires across the speakers, however. Our own narrative is quietly built. I like records that don't concern the audience, ones that make you invest yourself; this is one of those records. Fans of Sullivan's music know that he never gives an inch more or an inch less than he needs to. Bold and looming with few extraneous elements. Ekhein, Matt's former cassette label, and his new label, as of yet without name, also carry this motif. Two side-long pieces, expertly woven, constitute this album. I admire Matt's ability to play with proximity and depth of field: fading sirens, ripping waters, and digitized breath. Like a hallucinating Bill Fontana, the two works are sensory travels folding into themselves. Matt is once again living in Los Angeles, and thus the nostalgic mist that forms within Matthew is all the more meaningful." --Sean McCann, February 2019 Edition of 250, includes signed insert by Sullivan.
Edition of 500, includes 12-page color booklet with essays and photographs.
The fourth and final in the "saints series" by Eric Schmid and Sean McCann and friends, following St. Francis, St. Paul, and Joan Of Arc (R 037CD, 2017). Eight artists -- Burns-Coady, Friel, Gean, Grossinger, McCann, Pollard, Schmid, Walton, Weidmann -- responding closely or distantly or lazily to a proposed score by Jonathan Gean. Holds the following writings: Messianism by Eric Schmid, Gospel of Truth by Tim Weidmann, along with photography by Jonathan Gean and Sean McCann. 56-page pamphlet; Edition of 200.
Recital label head Sean McCann on Tom Phillips's Words And Music (January 2019): "Words And Music is a rare and sought-after album by artist Tom Phillips (b. 1937). Fueled by painting, opera, and concrete poetry, this LP was originally published by the king, Hansjörg Mayer, in 1975 (this LP has never been repressed). Most are familiar with Tom Phillips' 'After Raphael' painting used on the cover of Brian Eno's Another Green World LP (1975), along with the television series he made with director Peter Greenaway, A TV Dante (1990). However, Tom's crowning achievement is his art-book A Humument: A Treated Victorian Novel (1970). A reworked version of the obscure book, A Human Document, by W.H. Mallock, each page laboriously painted and collaged over. Spools of text are re-discovered from the original book, stitching together a new story surrounding the protagonist, Toge. Six editions have been published from between 1970 and 2017, each with different texts and paintings imagined. Phillips' work has the air of forlorn fantasy to it -- a designed romance. The first side of Words And Music contains four chamber works grown from impressionistic and graphic scores. A lovely flavor of British experimental composition à la Cornelius Cardew (with whom Phillips collaborated in the Scratch Orchestra). Tom's music incorporates touchstones of visual art: in his Irma opera, a band of voice colors wash over slides of chamber melodies; in 'Ornamentik,' (commissioned by Stuart Dempster) acoustic and electronic instruments are played as extended shapes along a piece of paper. The piano piece 'Lesbia Waltz' augments sheet music, cut-up measure by measure, placed and replaced. The second side of the LP holds readings from his famed book, A Humument. Recited by Tom, whose chestnut voice perfectly carries the stanzas of bizarre, romantic poetry. Dancing between meanings with gentle blood and ink soaking on each word." 7"x9" 12-page color pamphlet with scores and program notes; Includes CD; Edition of 215.
All Of The Time is the first comprehensive album of Jean Dupuy's sound works, collecting recordings from 1969-2017. Dupuy started his artistic career as a painter but shifted his practice when he moved from France to New York in 1967. Dupuy experimented with new technologies, and soon became a prominent figure in the Art and Technology movement. In 1968 he participated with an inventive sound, light and color installation, Heart Beats Dust, in the landmark exhibition The Machine as Seen at the End of the Mechanical Age at The Museum of Modern Art in New York. In the early 1970s Dupuy started performing collectively with other New York artists, and his loft at 405 East 13th Street turned into a center for these performances. Dupuy also arranged similar events at the Whitney Museum, the Kitchen and the Judson Church. During his time in New York, which lasted until the early 1980s, Dupuy collaborated with over 200 artists, as an organizer of events and as an artist. Charlie Morrow poses the question: "But what about his sound art? Jean has a particular affinity for sound and vocalizing. The songs of his childhood, the French church tradition and the charming puzzlement of letter games and graphics. He has created an amplified heartbeat machine with blood red puffs of pigment, and short jingles, such as 'I like bananas; ain't no bone inside.'" In aligning this collection, a new piece came to be recorded specially for this LP, Concert of Seconds, a recording of a symphony of painted clocks that live in Jean's gallery in Nice, France. This LP was organized with the assistance of Christian Xatric and Charlie Morrow. 20-page insert with scores and texts, introduction sheet by Charlie Morrow. Edition of 220.
"Reidemeister Move's Arcanum 17 is a sound novella recorded in 2012 in remote Eastern Quebec. Reidemeister Move is Christopher Williams, a composer and contrabass player who worked with Ben Patterson (amongst an army of other mentors) and Robin Hayward, a microtonal tubist and composer who has performed music written for him by Christian Wolff and Alvin Lucier. Arcanum 17, based on the André Breton novel (1945) of the same name, was co-written by Williams and Charlie Morrow (one may recall that Recital published Morrow's fabulous Toot! Too LP last year (R 041LP, 2017)). Charlie introduced me to Williams in late-2016 (introducing is one of Charlie's specialties). Once I discovered Christopher's association with Fluxus composers and Malcolm Goldstein, I figured our conversations would go late into the night. We did not talk, though. And our first meeting consisted of Christopher sitting me down to play a piece of his music. I was initially turned off by the situation: such a bold gesture from a relative stranger (a bottle of wine and banter would normally be on the menu for such an occasion). We turned the lights to a dim glow in my living room and he played the CD for me all the way through: 45 minutes of hyper-silent listening. I sank into the experience with comfort and ease with the first wash of water from the speakers. Arcanum 17 is paced perfectly: field recordings, whispered narration, and cloudy bass and tuba streams fall in and out of frame with cinematic grace. A transportive phenomenon of an album, it sonically echoes Williams' description of the Breton novel: 'A thick, existential little book, a reckoning of and with everything that brings him here: Canadian wildlife, the morning star, the myth of Melusina, feminism, the French education system, the ecstasy of newfound love. His alchemical blurring of prose and poetry, dream and waking states, natural and psychological landscapes, and past, present and future, brings these topics inimitably together. Always on the cusp of development but never quite.' I now am grateful for the serious listening lesson that Christopher sat me down for: both because the sound piece was beautiful, and as a reminder to treat your art with respect and to not slight the weight of your passions."--Sean McCann, October 2018.
Includes 9″ x 6″ 20-page color pamphlet with photos and program notes. Edition of 200.
Recital presents a reissue of François Dufrêne's Cri-Rythmes, originally issued in 1977. A remastered vinyl issue of the impossible-to-find cassette by French sound poet Dufrêne (1930-1982), this LP holds tracks not available since then. Dufrêne swallows the microphone, gargles the capsule, then vomits up the cables. Claustrophobic, verbal seizures, revealing once more that Dufrêne is king and all the pages of poetic history now have his spit on them. Includes memorial/tribute written by Bernard Heidsieck in 1983. Edition of 250.
Saccharine Scores is an album/art book documenting Sean McCann's recent chamber compositions. Ranging from the 10-person ensemble performance of "Portraits of Friars" at Fylkingen, Stockholm in February 2018, to his first quartet piece "Victorian Wind", performed in Toronto in 2014. McCann's scores leak pastoral and bizarre passages, dancing in the banal beauty of sound poetry. The performances feature guest musicians Sarah Davachi, Zachary Paul, Geneva Skeen, Celia Eydeland, Maxwell August Croy, and more. The book holds in-depth scores, program notes, and photography by McCann, a lovely complement to finger through while you lay down to listen to the disc. The notes for "Pistons" follow here: "I assembled this piece while wanting to make my life of leisure and gluttony in London somehow artistic. I was in London for a week or ten days in October 2017 for a business trip. I love London. I love doing two things at a time or more. So it worked out. I find I have a hard time enjoying anything unless I am multitasking. For example, right now as I type this description I am also drinking old coffee with ice-cubes in it, exporting a master from Pro-Tools downstairs, and watching Friday the 13th: A New Beginning (1985) on the television set. So in this British multitasking, I decided to work on a piece of music while indulging in food and drink roaming around London. I was also reading Baudelaire's Les Fleurs Du Mal (1857) during these outings (talk about sentimental). Some elements of those poems crept their way, drawn out of order, into Celia's singing text. As with all my compositions to this point, they are left open to interpretation: no real meaning, just flickers of settings and emotions. The taste of everything below (the score) spawned thoughts of colors and elements and people and emotions, though with the text I decided to keep it simply about the food and the beverages. The romantic music and singing is the rendering of the emotions I felt, while my banal reading was the actual act of consumption. I recorded the text while lying down in my childhood bedroom in Goleta, California, half asleep just trying to get it over with. It was a fitting situation for the piece: forced beauty." Edition of 200, signed and numbered with 132-page 6″ x 9″ book.
Poetry & Music is a tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004). Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018. Jackson's beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson's voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation. Only a small amount of Jackson's sound poetry is currently available, making this collection a delight to swallow and digest. Co-produced with Charlie Morrow, Recital re-presents this history to the ears of both young and old. Edition of 250 with 8-page insert with scores and introduction by Charlie Morrow.
The Still Life is Karla Borecky's long-awaited second album following 2011's Still In Your Pocket. In between her work with Idea Fire Company, Karla has been slowly building a new repertoire of solo pieces. She threads together simple, whirling piano numbers. Lines of blue sadness, red memories, and green dreams, stitched with charm and care, The Still Life is an approachable album in the best way possible. Whatever your hobby may be, The Still Life will set the mood. This album also features two solo-piano versions of Idea Fire Company bangers: "The Life of the Party" from Music From The Impossible Salon (KYE 010LP, 2011) and "The Island of Taste," from The Island of Taste (2008). Borecky's music carries such a layered emotional identity while balancing a lack of pretension. A fine tightrope to dance on, but she does it gracefully. Please do enjoy. Edition of 300, comes with color bookmark with illustrations by Borecky.
Simple Affections: "I corralled a dream LP that I would want to listen to. Too smelly, too sweet." Album features contributions from: Peter Friel, Jackson Graham, Mark Harwood, Graham Lambkin, Lia Mazzari, Sean McCann, Madalyn Merkey, Michael Pollard, Eric Schmid, Zach Schwartz, Tom James Scott, Patrick Shiroishi, Christina Stanley, Matthew Sullivan, Dennis Tyfus, and Will Gottsegen. One time pressing. Includes six 5x7″ postcards in printed envelope, program notes insert by Sean McCann, Scented with Oyster Grove Eau de Recital perfume.
Recital present a deluxe edition of Ian William Craig's landmark debut album A Turn Of Breath, originally released in 2014. The first Recital album to get exceptional notoriety, here it is in its final form, with an additional LP of unpublished material. Here is the original description Sean McCann wrote four years ago for it's original release: "Recital here presents the premiere LP by vocalist Ian William Craig (b. 1980, Edmonton). Ian, a trained opera singer, delivers an elegant balance between theatrical and ambient sentiments. A Turn Of Breath combines the essence of a choral LP from Angel Records or Deutsche Grammophon with the spontaneity of experimental home-recording. This collection holds twelve works for voice and ¼" tape, recorded from 2011-2013. Voice appears as the sun's light through a vast storm; still obscured by tape malfunctions and manipulations. A system of reel-to-reels is employed, which yields a lovely sort of morphing repetition. Each iteration crumbles as more harmony is placed on top, residual tones spilling off the sides into nothingness. Craig's innate ability to sing beautiful, sorrowful melodies carries each track. The pieces on A Turn Of Breath vary from grand choral meditations to quiet interludes, and even a few impressionistic 'songs' accompanied by faint acoustic guitar. An overarching warmth resonates through each side, making this a very pleasant listen. A suitable compliment to a pot of coffee in the morning or a glass of armagnac in the evening."
Here, Asha Sheshadri and Christian Mirande record together as Open Corner. Vocal accounts of mundane suburbia and human despondency by Asha, under a woven forest of pops and cracks and creaks courtesy of Christian. In a way the texts are reminiscent of Robert Ashley's "Au Pair" pieces -- from the second Atalanta CD (LCD 3303CD) -- overrun by the swamp of a broken dishwasher and a leaking wine fridge. Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format. Here is your chance to revitalize the ? Records weapon of choice... First edition of 200.
Recital present the newest record by Canadian composer Sarah Davachi. This CD version includes an extended/complete version of "Hours In The Evening". Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.
Sean McCann: "I find it hard to separate 'At Hand' from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship -- frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul."
Recital label head Sean McCann on the release: "I have been a fan of Derek Baron's music for only a small amount of time. But I appreciate how he and his cohorts blend technical talent and technical knowledge with abstract ideas and abstract approaches. Cop Tears is made up of Derek Baron, Cameron Kapoor, and Andrew Wilhite. This album is a four-track recording of the group playing one of my favorite John Cage pieces, Thirteen Harmonies. It was originally published in a tiny edition of 40 CDrs by Derek's own Reading Group label. I thought it was beautiful enough to see the light of day again. I even got the John Cage Trust to sign off on the release! As regal as bored as humble as confused."
Here is what the group wrote on the album: "Thirteen Harmonies is a selection from John Cage's 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage's Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an 'apartment house' among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the 'multiplicity of centers' of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty four-track on bled-through tape in Cameron's apartment house in Queens, New York."
The Ivytree, as some may know, is the project of San Franciscan musician Glenn Donaldson. In the early 2000s Glenn was a founder of the Jewelled Antler Collective, forming such projects as The Blithe Sons, Thuja, and The Skygreen Leopards, among many others. The range of projects he is associated with all beautifully web together. Between 2001 and 2005 Donaldson published a handful of discs under the names The Ivytree and The Birdtree. These boiled down and tanned the patient, outdoor ambiences of the long-form instrumental recordings. These were slow and pastoral and pensive songs, carried by Glenn's haunting voice. Glenn recorded outside with field-recorders and mini-discs: in forests, headlands, and tunnels of the Bay area. Recital label head Sean McCann on the recordings: "I grew up listening to his recordings -- throughout high school and college in Goleta, CA. They spark many memories: driving around beach parking lots, dragging boomboxes into creeks, camping in the mountain valleys etc. I remember once driving five hours up to San Francisco with a group of friends to try and get into a Giant Skyflower Band concert (another Donaldson project). It was at a bar and we were under 21 -- so we couldn't get in, even after trying to bribe the doorman. As you can tell, very special places in my mind and memory. My fondness for The Ivytree never dissipated, and I always dreamed of hearing more material from that time, as I know how prolific the Jewelled Antler association can be. On a whim in 2017 I reached out to Glenn and asked him if he wanted to publish a 'best-of' The Ivytree as a limited LP. This idea blossomed and provoked Glenn to dig through his vast mini-disc archive, where he unearthed some forgotten jewels. The recordings were trickling in to my email -- one by one, each better than the last. Ranging from the Robert Wyatt-esque piano ballad 'Evil Is Circular' to the gentle melancholy of 'All The White Plumes' that could belong on Richard Youngs' Sapphie (1998). 'Unburdened Light' carries on the warm breeze and innocence of the early 2000s CDr culture. So our project then turned into publishing a new album of unreleased Ivytree recordings. A full circle youthful wish now ripens in my adulthood. I am honored to have stirred up the bees-nest to deliver you these tragically honeyed songs." Unreleased recordings: 2001-2004. Includes eight-page 9x9″ booklet of Glenn's collages. Edition of 300.
Recital present the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics. Includes three 9"x9"photo-prints by Davachi; Includes CD; First edition of 600.
Recital present the first vinyl LP by composer/event-maker Charlie Morrow. Toot! Too culls performance recordings from 1970 to 2014. It focuses on his "Wave Music" series, which are compositions based around swarms of like-instruments; i.e. sixty clarinets, conch choruses, and army of drums and bugle horns, etc. The 1978 piece, "100 Musicians With Lights", was performed at dusk in Central Park. One hundred players (brass, reeds, percussion) congregate and march in spiral formations, playing their instrument with penlights attached to them. The piece dissipates and ends as each player marches through the park to their respective homes. The sound is fascinating; a tape recording made by an audience member swirling and dancing through the performance. Charlie is an organizer: one of instruments, with the pieces that landed on this LP and dozens more; one of events, through decades of public solstice celebrations across the world; one of publications, including New Wilderness Audiographics and EAR Magazine; and, one of friendships as Charlie has kindly introduced me to many fascinating players in this quirky game of ours. He views networking as an art form, always connecting friends with other friends, building a larger web for everyone to dance throughout. Label owner Sean McCann on the release: "In working on this LP over the past years, Charlie Morrow and I have become close. It has been a joy to have him in my life. At the age of 73, he is determined and creative and as positive as ever. Each time we speak, new projects arise -- like a mysterious soup boiling up fresh aromas. One of my favorite memories with Charlie was us staying up 'til the wee small hours of the morning drinking a bottle of sweet potato shochu, me listening to him tell funny and poignant remembrances. I am happy to share these lovely recordings, just a pinky toe in his artistic footprint, but wow, such a gorgeous toe!" Includes 20-page, 8.5x11" color booklet with scores, writings, and photographs; Includes download coupon; Edition of 500.
The fourth LP in Recital's Loren Connors editions/reissue series. Pretty As Ever is a beautiful collection of Loren's guitar ballads, dedicated to his wife Suzanne. It includes the "Pretty As Ever" and "Trinity" suites, from the out-of-print album Sails (2005), alongside the complete Little Match Girl (2000). This album falls in line with the other LPs Recital has published, Airs (2015), Lullaby (2016), Evangeline (2017)... as hopeful and careful as a heartbeat. This LP includes "Woman of Sorrows", a 6″x9″ 12-page art-booklet of illustrations by Loren, unpublished until now. It also includes with Loren's rendering of "The Little Match Girl", a tragic tale written by Hans Christian Anderson. Remastered for vinyl by Sean McCann. Edition of 500.
Joan Of Arc is a project conceived by Eric Schmid and Sean McCann, running in line with St. Francis and St. Paul. This series of CD and pamphlets, writings bounded together with unbounded audio elements. Schmid and McCann roped in professional vocalist Christina Stanley to sing the last piece, which is a tip to Ulises Carrión's "Hamlet, For Two Voices", pulled from Friedrich Schiller's Maid Of Orleans (1801). Matthew Sullivan dusted off his pain tongs and sent over some sounds to re-actualize the past in fine fashion. This album is a conversation with/examination of the past. An epic poem, The Story of Joan of Arc (1796), by Tim Weidmann is included, which is impressively deep and detailed and beautiful -- along with a philosophical lead by young writer Jack Kahn, softly read by Mattea Landry as the first track of the disc. CD housed in a 50-page pamphlet; Edition of 200.
Eric as Alain. Philosophical trimmings as unabashed art. Satire isn't mean, it's about being funny. Get in on the joke. Eric as Homer Simpson. Includes 88-page artist's book; Softbound: 8.5″ x 11″. Edition of 170.
This Floating World is the newest solo work by Roger Eno since 2008. This Floating World holds rustic and melancholic piano works, as grey and mossy as a country cottage. Recital label head Sean McCann on Roger Eno: "I hear the LP chiming from the dark corners of a pub, soaking in the damp wood like spilled ale. I first fell in love with Roger's music through his 1985 debut album Voices, which cradled many rainy and caffeinated mornings when I was living in San Francisco years back. He played on the infamous Apollo - Atmospheres & Soundtracks (1983), and recorded a theme for the Dune soundtrack (1984). String pads and veils of reverb pour through those processed tracks. I later rediscovered Roger Eno in a different light with his 1997 album The Music of Neglected English Composers. A playful and beautiful album of chamber pieces guised as the works of forgotten (and fabricated) composers from the past century. His compositional sensibilities remind me of my favorite recent English composers... Hobbs, White, Bryars, Skempton, etc. This Floating World feels like a hybrid of these two styles, a melding of both his ambient and 'prelude'-esque compositions. Warm and feathered furniture music. In our communication Roger has been a real charmer, ending every email with 'Roger and out.' A curious fellow, with a knack for tracing the understated beauties of this world." Includes brief stories written by Roger in a 12-page booklet, alongside his photography. Edition of 500.
Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods. The album is presented on Sean McCann's Los Angeles based label, Recital. Michael Vincent Waller is an American composer based in New York City. His music has been described as lyrical and introspective, drawing inspiration from impressionism, post-minimalism, and world music. The work situates these familiar elements within decidedly unconventional and individual frameworks. Waller's practice has been cultivated through private study with La Monte Young, Bunita Marcus, and with Elizabeth Hoffman as an undergrad at New York University. He has since collaborated with a number of noted soloists and ensembles including S.E.M. Ensemble, Ensemble Dedalus, String Noise, and members of the FLUX Quartet. In 2015, Phill Niblock's XI Records launched Waller's acclaimed two-disc recorded debut, The South Shore (XI 136CD), which compiles a number of solo and chamber works spanning 2011-2014. Pianist R. Andrew Lee is renowned for his performances of minimalist work. He has released 12 albums, predominantly long-form piano recordings, on his label Irritable Hedgehog -- including November (2013) by Dennis Johnson, which was selected by Time Out New York as the best classical recording of 2013. Cellist Seth Parker Woods has established a diverse career that straddles the worlds of classical, contemporary, electronics, and performance art. He worked with artists ranging from Heinz Holliger, G.F. Haas, and Klaus Lang to Peter Gabriel, Sting, and Aldo Tambellini. Recital is a label started by Los Angeles-based composer, experimental musician, and audio engineer, Sean McCann. The label is dedicated to modern classical and experimental music. Established in 2011, Recital has released work by Annea Lockwood, Loren Connors, Daniel Schmidt, Ian William Craig, and Sean McCann. The CD edition includes photography by Phill Niblock and liner notes by "Blue" Gene Tyranny.