“A Christmas gift to you – over two hours of music exclusive to the Admirable Restraint radio show, as (mostly) heard on the Christmas Special broadcast on 19 December but now available in glorious high-quality audio.
Featuring John Butcher, Stephen Cornford and Samuel Rodgers, Gil Sansón, Kostis Kilymis, Phil Julian, Ben Owen, Samwich Pettingzoo and Andrew Brooks, and both Daniel and A F Jones.
Available as a name-your-price download with all proceeds going to Beyond Blue, working to reduce the impact of depression and anxiety in the Australian community.”
Features an unreleased track from the York VCS3 sessions.
Reviews by Brian Olewnick here and Richard Pinnell here.
Will be performing as part of the “Noise In And As Music” symposium at the Center for Research in New Music (CeReNeM), Huddersfield University.
Friday 04/10/2013 @ 8:30pm
University of Huddersfield
Phipps Concert Hall
Full schedule at hud.ac.uk/research/researchcentres/cerenem/noise/
The book “Noise In And As Music”, edited by Aaron Cassidy and Aaron Einbond and published by Huddersfield University Press, will also be officially launched during the symposium weekend. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT).
Simon Cummings, about the event: 5against4.com/2013/10/13/the-rest-isnt-noise/
New release via Authorised Version.
Recorded in The Rymer Auditorium at the Music Research Centre, York University 17th August 2012 using two EMS VCS3 synthesisers.
Recorded directly to computer HD, edited for length & re-sequenced, no other instrumentation.
Mastered by Jac Beloeil.
Nine track chrome C40 cassette w/ download code. (.flac, .mp3 and other options available.)
Limited to 100 copies only.
Order here: a-version.co.uk/av038
Photographs from the recording session here.
Review by Steve Cammack here.
New release –
“Hive Work” available from Sheepscar Light Industrial.
Recorded late 2012 in London (analogue electronics, detektor circuit, computers).
** CDr now SOLD OUT from source, email me for availability of spare artist copies.
Mark Wharton takes a listen.
Fifteen releases that made an impression during 2012.
Featured in The Wire magazine, Issue 344, October 2012.
Michael Muennich, Michael Esposito, GX Jupitter-Larsen – “The Wraiths of Flying A” CD
Firework Edition Records [FER1102] – 300 copies – available November 2012
01: The Green Room (Muennich/Esposito)
02: Interlude (Muennich ft. Esposito)
03: Heimsuchung (Muennich/Esposito/Jupitter-Larsen)
04: Interlude (Esposito)
05: The Wraiths of Flying A (Muennich/Esposito)
06: Interlude (Muennich ft. Esposito)
07: The Haunting of Mary Miles Minter (Part one) (Esposito/Muennich)
08: Interlude (Muennich ft. Esposito)
09: Slithering (Muennich)
10: Interlude (Muennich ft. Esposito)
11: The Haunting of Mary Miles Minter (Part two) (Esposito)
12: Interlude (Esposito)
13: Stage Left (Esposito/Jupitter-Larsen)
Original field recordings/EVPs captured by Michael Esposito at American Film Studios, Santa Barbara, CA (PAW case file: PAW109), additional sounds recorded by Michael Muennich at Fragment Factory, Hamburg during 2011/2012, edited and processed by Michael Esposito, Michael Muennich and GX Jupitter-Larsen, Chicago / Hamburg / Los Angeles.
Mastered by Phil Julian, London in September 2012.
Artwork by Philip Marshall, Berlin in May 2012.
“Safeword” from the Cheapmachines / Family Battle Snake 7″ (Harbinger Sound, 2008) featured
on the MuhMur SoundArt Broadcast 28/10/2012 by Steve Cammack:
“Recent Errors” review by David Nemeth over at Acts Of Silence.
Line recording from the recent Cube Cinema performance now online at Zamzamrec.
Sets from These Feathers Have Plumes, Aqua Dentata and BBBlood also online.
Words and pictures from the event by Steve Cammack here.
“Recent Errors” reviewed by Raymond Cummings at Splice Today:
“…An expanding, high-frequency modulation follows that’s a couple decibels shy of that room-aggravating squeal a microphone makes when somebody touches or adjusts it in just the wrong way; further on, robotic cicadas flirt desperately and noise entropy static-cling creeps down from your headphones to your clothes and a dial tone gazes balefully back at you. Strategic near-silences abound. There’s a winsome sublimity to “Errors” which has had me coming back for more and more since discovering the track some months back, and while nothing in this series of humming miniatures sounds like a mistake to these ears, I suspect that Julian’s happy not to revisit it as often as I do.”