"In his 1919 essay “The Uncanny,” Sigmund Freud defines the term as follows: “the ‘uncanny’ is that class of the terrifying which leads back to something long known to us, once very familiar.” To this end, a feeling of uncanniness distinguishes itself from just being afraid because of its relation to what we already know, a disturbing variation of what we expect to see when we look in the mirror or the kind of horror that comes from inside the house. The uncanny valley, for instance, describes the creepiness that seeps in when we encounter an almost but not quite perfect replica of a human being (robots, computer animations, the list goes on).

With "du silence des anges" Bruno Duplant returns with the second release in his trilogy for Moving Furniture Records, imbued with a certain mysticism and a deep melancholy, but, this time, more luminous, carrying a hope still possible.

Far from the extended still lifes and mises en abîmes of their acclaimed Penultimate Press debut A Sunset for Walter (PP43, 2019), Noetinger & Pateras’ 15 Coruscations weaves frequencies & stirs data into an agitated series of deft psychoacoustic miniatures. Employing electronics as a deformed mirror reflecting joyous lacerations & interweavings, 15 Coruscations borrows from both brut & skilled musical practises, emerging from the current despair to blister light across the moribund horizontalities of post-surveillance musical product.

As with Luc Ferrari, it is an assemblage of recorded sequences in which we recognize a succession of various events and we reconstruct in our imaginary a possible narrative that may have been at the origin of these sounds.

Henning Christiansen was a Danish composer and an active member of the Fluxus-movement. He worked with artists such as Joseph Beuys, Nam June Paik, Bazon Brock and Wolf Vostell as well as with his wife Ursula Reuter Christiansen. Other collaborators include Bjørn Nørgaard, Carlo Quartucci, Carla Tato, Ernst Kretzer, Ben Patterson, David Moss, Ute Wassermann, Andreas Oldörp, Christophe Charles, Bernd Jasper, Henrik Kiel, Vilem Wagner, Niko Tenten, and many others.

Room 40 follow last year's "Echos+" stunner with a new collection of work from octogenarian Argentinian composer Beatriz Ferreyra, showcasing her exceptional psychedelic electronics, apocalyptic concrète experimentation and disorienting synth wandering.

“A Symphony Strikes the Moment You Arrive” was a live performance at PA’s Lounge in Cambridge, on a bill with Major Stars and a short-lived trio of Chris Brokaw, Doug McCombs, and Elliott Dicks. I think Chris invited me to play on the bill. I’m not sure why I chose to do a full set of shortwave radio; the radio belonged to my partner, Angela Jaeger…"

Now Am Found is the first collaboration between San Antonio’s Claire Rousay and Los Angeles jazz musician and experimental composer Patrick Shiroishi. Both artists are pleasantly surprised with how quickly it came together - after having known each other for many years, and having planned to collaborate for much of it, when they got down to brass tax, the collection only took about a month to complete.

Violostries (1963/64), 16'39. Premiered and recorded in April 1965 at the Royan Festival - France, by Devy Erlih (violin) & Bernard Parmegiani (sound projection). Violostries represents the intersection of several musical research directions, presented as two simultaneous dialogues - composer/performer and instrument/orchestra.

Avant garde, electro-acoustic pearl from the GRM archive 1981/2017, drawing the ear’s eye into richly illusive fractal patterns with heavily psychedelic effect. The first one is quite uncompromising in its vision, while the later 2nd piece is more naturally textured and absorbing with it…