New*  Keith Fullerton Whitman Occlusion pre-order available on Editions Mego.

Recorded on February 18th, 2012 at LES ATELIERS DE BITCHE, Nantes, France.
Performed on a 4.2 Quad Array, captured in stereo from the performer\'s perspective on a Zoom H1 HANDY RECORDER (auto level :: OFF)

Occlusion (Weteringschans)

Recorded on February 25th, 2012 at PARADISO, Amsterdam, The Netherlands.
Performed on a 4.2 Quad Array, captured in stereo from the performer\'s perspective on a Zoom H1 HANDY RECORDER (auto level :: ON)

… Occlusion is a loose framework for a multi-channel, freely improvised piece of LIVE ELECTRONIC MUSIC, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. A given realization will last between 10 and 30 minutes ; time is elastic. Every effort has been made to avoid divisible rhythms (although mistakes are occasionally made) … Still, I consider it a "kind" of Dance Music.
These two realizations, recorded a week apart at festivals in France and The Netherlands during February 2012, capture the piece (much like those on the Generators LP) in two entirely different iterations, in states of (A) a mildly inebriated bliss & (B) an arbitrarily triggered blind rage. Both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. They sound fantastic.
Occlusions is a companion piece to Generators in that they share the same tool-set … however, it is the FREE JAZZ yang to Generator’s MINIMALIST yin. It is not recommended to those seeking meter, melody, cleanliness, or a clearly outlined organizational sense.

Early Mego ( Editions Mego) releases.

The Magic Sound Of Fenn O’ Berg. 1999  &  Ohne 1. 2002

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Head Boggle. Headboggle album preview.

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Fenn O’Berg. In Hell. Editions Mego.

Fantastic double LP by the trio of Fennesz, Jim O’Rourke and Pete Rehberg.  One of my favorite listens in awhile. Great stuff. Check out the sound sample.

Guy Reibel. Granulations-Sillages. Available 5.6.12. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012 Layout: Stephen O’Malley Translations: Valérie Vivancos Coordination GRM: Christian Zanési & François Bonnet Executive Production: Peter Rehberg Granulations-Sillages (1976) Granulations-Sillages develops an idea glimpsed at in Franges du Signe: the existence of extreme times, at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realise. Two natures of phenomena, opposed in all respects (the Granulations-Trails and the Tutti), alternate through seven movements that constitute the piece. The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room).

Guy Reibel. Granulations-Sillages. Available 5.6.12.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012
Layout: Stephen O’Malley
Translations: Valérie Vivancos
Coordination GRM: Christian Zanési & François Bonnet
Executive Production: Peter Rehberg

Granulations-Sillages (1976)

Granulations-Sillages develops an idea glimpsed at in Franges du Signe: the existence of extreme times, at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realise. Two natures of phenomena, opposed in all respects (the Granulations-Trails and the Tutti), alternate through seven movements that constitute the piece.
The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room).

Pierre Schaeffer. Le Trièdre Fertile. Available 5.6.12. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012 Layout: Stephen O’Malley Translations: Valérie Vivancos Coordination GRM: Christian Zanési & François Bonnet Executive Production: Peter Rehberg Le Trièdre Fertile full version 1975-1976, with the participation of Bernard Dürr. This trihedron, Schaeffer’s last piece, echoes the physicists “reference trihedron” linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable to transcribe pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as fertile, is the confession “of a late repentance” On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffer’s only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge.

Pierre Schaeffer. Le Trièdre Fertile. Available 5.6.12.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012
Layout: Stephen O’Malley
Translations: Valérie Vivancos
Coordination GRM: Christian Zanési & François Bonnet
Executive Production: Peter Rehberg

Le Trièdre Fertile full version 1975-1976, with the participation of Bernard Dürr.

This trihedron, Schaeffer’s last piece, echoes the physicists “reference trihedron” linked to the three fundamental measurements of sound: frequency, duration and intensity. The basic signs of traditional sol-fa that enable to transcribe pitches, rhythms and nuances also correspond to these three measurements. However, it is precisely outside or beyond these parameters that, all through his life, Schaeffer researched music. Hence, qualifying this trihedron as fertile, is the confession “of a late repentance”
On the other hand, and against all odds, this piece was only composed from synthetic sounds, developed by Bernard Dürr. It is Pierre Schaeffer’s only purely electronic music work. Here, the synthesizer is rather monitored by sensitivity than by computation principles, thus letting uncanny structures emerge.

Editions Mego announces Recollection GRM

Very happy to share with you the news that Editions Mego have the rights to the INA GRM back catalog and will be issuing vinyl in the coming months. Great news! Two long sought after titles, Pierre Schaeffer’s Le Trièdre Fertile and Guy Reibel’s Granulations-Sillages. 

More from the Editions Mego site.

“INTRODUCING RECOLLECTION GRM

Recollection GRM is one more label within the Editions Mego family of labels. Its aim is to make available on vinyl works from the vast archives of Groupe de Recherches Musicales (GRM). Being released in batches of 2 every 3 months, it will present both known and lesser known works. All releases will be recut at Dubplates & Mastering and be packaged in new artwork by Stephen O’Malley, featuring bi-lingual (French/English) texts. Some of these pioneering works have been out of print in this format for over 30 years, and would be a valuable addition to any serious collection of electronic music.”

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Another stunning sample from the forthcoming Keith Fullerton Whitman LP on Editions Mego.

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Keith Fullerton Whitman. New album out Feb. 21st, 2012 on Editions Mego.

Over the course of a year, Keith Fullerton Whitman performed a piece of live electronic music a few dozen times entitled “Generator.” The debut was given in San Francisco at Root Strata’s “On Land” festival at Cafe Du Nord on September 19th, 2009 … over the months that followed stagings took place in venues ranging from flooded basements to festival stages in Baltimore, Boston, Brooklyn, Chicago, Easthampton, Iowa City, Jamaica Plain, Northampton, Raleigh, Saint Louis, San Francisco, Somerville, & Washington D.C.
This LP covers the final two performances of the piece over two consecutive evenings ; the opening solo set from the final night of “High Zero” festival in Baltimore at the Theater Project, September 26th, 2010, then the performance during the “For Eliane” night of the “Propensity of Sound” festival dedicated to Eliane Radigue’s work at Issue Project Room, Brooklyn, September 27th, 2010. These recordings show the piece in two different iterations, taking two different trajectories entirely. They’re considered as the definitive versions of the piece.
Composed for, and realized with a scalable selection of digital & analogue modular synthesis equipment, “Generator” was at attempt to wrest a viable performance-based music out what had until then been a solitary set of sound-design tools. The piece grew out of a frustration with the limitlessness of computer-based real-time synthesis & algorithmic / generative systems vs. their utter failure as performance solutions. It hinges heavily on the ideology of the “Playthroughs” system (in that the subtle tuning inconsistencies of a physical instrument - the electric guitar - could be amplified & multiplied) through the use of multiple layerings of different topologies of oscillator, yielding an unstable array of modal canons that drift in & out of “tune,” causing all manner of inter-voice beating & assorted psycho-acoustic effects.
Keith Fullerton Whitman is a musician based in Cambridge, MA, USA. Previous releases include “Generator” (Root Strata #62, 2010), “Live Generators (1)” (Protracted View #041, 2010), “Live Generators (1.5)” (Agents of Chaos #7028, 2010) & “Chicago Generators” (Hyperdelic #7 , 2010

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Best Of 2011. Mist. House on Spectrum Spools.

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Best Of 2011. Jim O’Rourke Old News #5. Old News/Editions Mego.

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