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Eric Laska – Presets & Studies

February 13, 2019
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Eric Laska | Presets & Studies

Presets & Studies (MFCS L): raw and spacious episodes for oscillators and air conditioners from Eric Laska (Philadelphia, PA). C34 cassette.

Presets and studies is culled from a larger project of setting parameters on software oscillators and playing them back live. The spacing between the presets is determined either on the fly or in advance of a performance. Studies can be any non-preset playback material. In the case of the recording on side b, the study is a field recording of an air conditioner window unit.

17 – 23
Recorded live by Martijn Tellinga, June 30, 2017 at San Serriffe, Amsterdam
Software oscillator presets 17 – 23

1 – 5, AC Study
Recorded live by Michael Bailey, August 9, 2018 at Heaven’s Gate, Philadelphia
Software oscillator presets 1 – 5, air conditioner recording

Design: Mimi Cheng

Audio mastered by A.F. Jones

Released Feb. 5, 2019

17 – 23 [excerpt]

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Lori Goldston & Judith Hamann | Alloys

January 22, 2019
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Lori Goldston & Judith Hamann | Alloys

“Alloys” is two long-form pieces from our foremost cellists, challenging the vernaculars of and boundaries between improvisation and composition.

Recorded in Seattle, WA, in 2018.

Judith Hamann is a cellist from Melbourne, Australia. She has “long been recognised as one of Australia’s foremost contemporary-music cellists” (RealTime Arts). Judith’s performance practice stretches across various genres encompassing elements of improvised, contemporary classical, experimental, and popular music. Currently her work is focused on ‘Materialities of Realisation’ (a discourse based project with Charles Curtis), an examination of expressions and manifestations of ‘shaking’ in her solo performance practice, and a collection of new works for cello and humming.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, she wanders recklessly across borders that separate genre, discipline, time and geography, performing in clubs, cafes, galleries, arenas, concert halls, sheds, ceremonies, barbecues, and stadiums.

Current and former collaborators and/or bosses of Lori’s include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Matana Roberts, Dana Reason, Lonnie Holley, Cat Power, Ellen Fullman, Mike Gamble, Mik Quantius, Embryo, Secret Chiefs 3, Marisa Anderson, Trey Gunn and Pat Mastelotto, Ô Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Byron Au Young, Christian Rizzo, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell and Lynn Shelton.

credits

releases January 22, 2019

Lori Goldston – Cello
Judith Hamann – Cello

Microscope photography by I. Lukman

Recorded by Kieran Harrison-Buhlinger and Eric Padget at Noise Noise Ouch Stop Records
Mixed and mastered by Alan F. Jones at Laminal Audio, Tracyton, WA

© 2019 Marginal Frequency

Carbon | Sitka | Rabbit Hide | Solder | Matter Attacking the Body [excerpt]

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Skylark Quartet | Live In Tokyo

January 22, 2019
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Skylark Quartet | Live In Tokyo

Permanently archived here, and available for a time in a limited pressing of 150 CDs from glass master, a live set from Skylark Quartet.

This performance at l-e in Tokyo features the quartet settling into Johnny Mercer and Hoagy Carmichael’s “Skylark” in eleven serial instances. Not unlike what can be heard on the legendary Plugged Nickel dates from Miles Davis’ second quintet, the microphones put us in the room on this evening in Tokyo.

Documentation of this rare performance is limited to the recorded audio, and what could be gleaned from observers Kanji Nakao, Sam Sfirri, Taku Unami, and Reiji Hattori.

Mastered for hi-fi and for detailed headphone listening at comfortable volume.

1. Skylark (Mercer/Carmichael)
2. Skylark (Mercer/Carmichael)
3. Skylark (Mercer/Carmichael)
4. Skylark (Mercer/Carmichael)
5. Skylark (Mercer/Carmichael)
6. Skylark (Mercer/Carmichael)
7. Skylark (Mercer/Carmichael)
8. Skylark (Mercer/Carmichael)
9. Skylark (Mercer/Carmichael)
10. Skylark (Mercer/Carmichael)
11. Skylark (Mercer/Carmichael)

credits

released January 22, 2019

Skylark Quartet is:

Orlando Lewis: clarinet
Franz-Ludwig Austenmeiser: keyboard
Hayden Pennyfeather: bass
Roland Spindler: drums

Observers: Kanji Nakao, Sam Sfirri, Taku Unami, Reiji Hattori

Sam Sfirri: producer (madacyjazz.bandcamp.com)

Sinker: recording and engineering
Al Jones: mastering

special thanks to t

© 2019 Marginal Frequency

release date: 22 Jan 2018

Skylark (Mercer/Carmichael) [excerpt]

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Howard Stelzer | Across the Blazer

October 21, 2018
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Howard Stelzer | Across the Blazer

Across the Blazer (MFCD C), from Howard Stelzer (Lowell, MA), is a real masterpiece of cassette music, blurring the lines between noise and drone music, worked from live performances of the same work, seamlessly layered, deceptively building to a crescendo that will not materialize, the bulk of the piece replicating the illusory effects of a Shepard tone. Composed from 2015 to 2017, Across the Blazer is an emergence from a winter laboratory, as rewarding as Stelzer’s unique presentation of sound gets.
1. Selective Memory (You Never Know Absolutely Quite Where You Are)
2. Across the Blazer

Cassette music composed 2015 to 2017 at The Hotel Amnesia (Lowell MA). Some elements were recorded live at Ende Tymes Festival (Brooklyn, NY), Uncharted Gallery (Lowell MA), Deep Thoughts (Boston, MA).

Mastered by A.F. Jones at Laminal Audio

 

© 2018 Marginal Frequency

release date: 23 Oct 2018

Across the Blazer [excerpt]

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Sandy Ewen & Chase Gardner | Transfusion

October 21, 2018
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Sandy Ewen / Chase Gardner | Transfusion

Transfusion (MFCD B) is from Texas musicians Sandy Ewen (now in Brooklyn, NY) and Chase Gardner (Denton, TX). Six tracks that are variations on the same high levels of energy the pair brings into their work, resulting in songlike compositions born out of improvisation. It is beautifully sequenced material, one of the real “albums” of this year. Expertly recorded by Justin Lemons, these are episodic biopsies of guitars and pickups with impressive, raw acoustic detail.
 
Some sort of metallic liquid with unknown properties is transfused into the blood. It makes its way with a cold and questionable feeling throughout. Eventually it adjusts with the elements of its new abode and sets in. Outer layers are shed and bonds are tightly formed and shaped. Now amusing feats can be achieved with shiny metal covered on the inside.
Sandy Ewen is an experimental guitarist, artist and architect who has recently relocated to NYC from Houston, TX. She has performed extensively in 2018, including at the Sant’anna Arresi Jazz Festival, Experimental Sound Studio Option Series and the High Zero Festival. Sandy spent much of 2017 performing solo sets and in collaboration with Steve Jansen (tapes and electronics) and Maria Chavez (turntables) around Europe. Her other current projects include the trio Etched in the Eye, a duo with Tom Carter called Spiderwebs, the trio Garden medium, and ongoing collaborations with percussionist Weasel Walter and bassist Damon Smith. In years past, Ewen has performed alongside Roscoe Mitchell, Keith Rowe, Lydia Lunch and many others, and has performed and recorded with Jaap Blonk, Henry Kaiser and more. In 2014 she performed at San Francisco’s 13th Annual Outsound New Music Summit, and she has made several appearances at Austin’s annual No Idea Festival. Ewen’s approach to playing is centered around found objects and extended guitar techniques.
sandyewen.bandcamp.com

Chase Gardner is an artist with a focus on exploring the abstract elements of art in order to express his personality and ideas, introduce other perceptions, and create a representation of that which is intangible. As a musician, he is a multi-instrumentalist involved in a variety of different projects such as his experimental music duo with Adriana Valls, Cut Shutters, and is also an active collaborator with many other musicians in North Texas through performing in improvised music ensembles. Recently he has released several albums, toured throughout the United States, collaborated with artists from other countries, and has exhibited a visual art series for pieces created in Microsoft Paint.

Sandy Ewen – guitar & objects
Chase Gardner – guitar & divided pickup

Recorded by Justin Lemons on December 30th, 2017, Denton, TX
Mixed by Chase Gardner and Justin Lemons
Mastered by A.F. Jones at Laminal Audio
Art & design by Sandy Ewen

© 2018 Marginal Frequency

release date: 23 Oct 2018

Assimilation [excerpt]

New Skin [excerpt]

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Tim Feeney – Burrow

July 4, 2018
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Tim Feeney | Burrow

Four improvised poundings: a drum, a pair of sticks, a metal plate, a pair of dowels, a heavy cymbal, a large room, a small squirrel, a static listening, a punishing listening, a boring listening, a quickening listening.

Tim Feeney composes, improvises, and builds environments in and for forests and grain silos, specifically concerned with unstable sound and duration. He appears in bookstores and basements with Sarah Hennies and Greg Stuart as the trio Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in colleges and museums with Andrew Raffo Dewar, Holland Hopson, and Jane Cassidy; and in the occasional festival or concert hall with Anthony Braxton, the Alabama Symphony Orchestra, or the inhabitants of the California Institute of the Arts.

composed and recorded by Tim Feeney
recording location: Tuscaloosa, AL

Mastered by Alan F. Jones, Tracyton, WA

Artwork, design, layout by Feeney & Jones

C60, edition of 100

Released on 17 JUL 2018

Burrow 1 [excerpt]
 

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Grisha Shakhnes – ARCS

March 22, 2018
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Grisha Shakhnes – ARCS

Now Available

MFCS J, on high quality magnetic tape from Marginal Frequency, artwork by Yael Skidelsky. Limited to 100 units.

C50

side A:
malice
an ode to self-containment

side B:
at least as alive as the vulgar
how long?


All material performed and recorded by Grisha Shakhnes

Mastered by Alan F Jones at Laminal Audio, Kitsap County, Washington

Artwork: Yael Skidelski
Layout: Alan F Jones

Marginal Frequency is excited to present this new work from Grisha Shakhnes. Those familiar with his work (Disappearing Records, Glistening Examples) will recognize the musique concrète approach to music, sourced from analog tape and environmental recordings, and this is his most expressive work to date. A beautiful addition to the catalog, meditative and rich.

at least as alive as the vulgar (excerpt)


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Cristián Alvear / Santiago Astaburuaga – capas de un tapiz

March 22, 2018
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capas de un tapiz

now available

MFCS I, on high quality magnetic tape from Marginal Frequency, photography by Tatiana Wolf. Limited to 100 units.

C55

side A:
topializ (10:39)
by Rolando Hernández

side B:
sin título #21
by Nicolás Carrasco


Cristián Alvear: Cristián Alvear:  guitar, transducers, small amplifiers, recordings

Santiago Astaburuaga:  bass, transducers, small amplifiers, recordings

Recorded by Cristóbal Arriagada at CHT Studios Santiago de Chile

Mixed and mastered by Alan F Jones at Laminal Audio, Kitsap County, Washington

Photography: Tatiana Wolf
Design: Alan F JonesTwo new compositions from Rolando Hernández and Nicolás Carrasco, beautifully interpreted and executed by the Chilean duo of Cristián Alvear and Santiago Astaburuaga. This release marks the duo’s first recordings for the public, while they prepare for much more in the immediate future.Using physical objects and in situ cues through photography and video to realize complex scores, Alvear and Astaburuaga recorded these pieces live in the CHT studios in Santiago, Chile. Employing aggressive recording techniques and microphone placements to capture the main instrumentation of tabletop electric bass and classical guitar, the outcome is as lovely as anything Marginal Frequency has had the pleasure to present for the label’s listeners.topializ (excerpt)

sin título #21 (excerpt)

 

 


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Organ For the Senses

October 15, 2017
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Organ For the Senses

NOW AVAILABLE

high quality vinyl pressing from Marginal Frequency, original artwork by Marina Grize and Kate Clark. Limited to 300 units.

A1:
Secular Reason (10:39)
by Michael Pisaro (2016)
Organist: Justin Murphy-Mancini

A2:
An Inside-out Map of the Spreckels Organ Pavilion (09:48)
by Samuel Dunscombe (2016)
Organist: Justin Murphy-Mancini

B1:
Face South Toward the Storm (12:03)
by Steven Andrew Flato (2016)
Organist: Jared C. Jacobsen

B2:
Artificial Horizons (07:23)
by Celeste Oram, Wen Liu, Johannes Regnier
Organist: Jared C. Jacobsen
Vocalist: Mary Glen Fredrick


Creative Direction: Kate Clark
Music Direction and Concert Recording: Samuel Dunscombe
Organ Curator: Dale Sorensen
Audio Production: Nick Lesley

Album Design: Marina Grize
Drawing: Kate Clark

Production Support:
Max Nanis
Ross Porter
Spreckels Organ Society

Mixing Engineer: Samuel Dunscombe
Mastering Engineer: Alan F. Jones

When it was installed in 1915, the Spreckels Organ was the avant garde of public concert space. It was commissioned as a centerpiece to the California-Panama exposition, which both celebrated the newly completed Panama Canal and welcomed the new wave of merchant and tourist traffic that the canal was about to bring to early 20th century San Diego. 100 years on, the Spreckels Organ is still an instrument capable of achieving its core goal of evoking feelings of great excitement and awe for those lucky enough to see and hear it in action.  It is also an instrument capable of creating an astonishingly powerful array of new and exciting sounds, a territory that currently remains largely unexplored, and a territory that expands as the organ itself continues to grow in physical size (a recent upgrade now sees this instrument with over 5,000 individual pipes).

In 2016, San Diego’s Parkeology director Kate Clark and composer Samuel Dunscombe began brainstorming as to how this massive instrument’s potential might be further uncovered, planning a concert that would highlight qualities that hadn’t been explored. These discussions resulted in the Parkeology event, Organ For the Senses, sonically archived here. Local and regional experimental composers were invited to develop works with the aim to explore all acoustic and physical aspects of the organto shine a light on the old to reveal something new.  Michael Pisaro’s “Secular Reason” takes as its mission to reveal the full dynamic and timbral range of the instrument’s 5,017 pipes – from ground rattling full-spectrum fortissimi to the extreme delicacy of a single flute stop – while Dunscombe’s work “An Inside-Out Map of the Spreckels Organ” aims to reveal the deepest inner working of the instrument by taking pan-perspectival field recordings from deep within its bowels. Steve Flato’s “Face South Toward the Storm,” which draws inspiration from the 100 years of recurrent weather patterns an outdoor instrument such as this must inevitably face, speaks to the organ’s endurance as a physical structure, augmenting the organ’s acoustic sound with live electronics to create a rich fog.  And “Artificial Horizons” (Liu, Oram, Regnier) zooms out to show us the organs place within the larger space of Balboa Park, with a particular emphasis on the flight path that runs directly above it.

releases October 31, 2017
all music by Dunscombe, Flato, Liu, Oram, Pisaro, and Regnier

Dedicated to Craig Johnson

Secular Reason (excerpt)

An Inside-out Map Of the Spreckels Organ Pavilion (excerpt)

Face South Toward the Storm (excerpt)

Artificial Horizons (excerpt)


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Joda Clément & Mathieu Ruhlmann – Kindred

October 1, 2017
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Joda Clément & Mathieu Ruhlmann | Kindred

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high quality chrome, magnetic tape release from Marginal Frequency, original artwork by Mathieu Ruhlmann. Limited to 100 units.

A1. Taking Tiger Mountain (version)*
A2. Against What Light

B1. between regions of partial shadow and complete illumination

Joda Clément – analog synthesizer, field recordings, electromagnetic feedback, treatments
Mathieu Ruhlmann – objects, oscillators, shruti box, amplified objects, field recordings, reel to reel, ukelin

guests on “Taking Tiger Mountain”:
Cristián Alvear – guitar
Gregory Moskos – piano
Alexandra Spence – Clarinet
Tim Clément – tape loops
Judith Hamann – cello, voice
A.F. Jones – lap steel, voice

*written by Brian Eno; concept and arrangement by Joda Clément & Mathieu Ruhlmann

releases October 17, 2017
all music by Joda Clément and Mathieu Ruhlmann

Mixed by Joda Clément
Mastered by A.F. Jones at Laminal Audio

Design: Mathieu Ruhlmann

C48, edition of 100

against what light (excerpt)


between regions of partial shadow and complete illumination (excerpt)
 

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