Horacio Vaggione - Musique Pour Piano et Électroacoustique (1995) {Mnémosyne Musique Média LDC 278 1102}
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© 1995 Mnémosyne Musique Média | LDC 278 1102
Classical / Electroacoustic / Contemporary Classical / Solo Piano

Horacio Vaggione has been integrating computers to his approach to composition since the 1970s. His body of work includes electroacoustic pieces, mixed pieces, and instrumental music. Born in 1943 in Argentina, Vaggione has been residing in France since 1978. He studied piano with Ornella Ballestreri and composition at Universidad Nacional de Córdoba (Argentina, 1959-62) and in Buenos Aires (Argentina) with Juan Carlos Paz. He holds a PhD in musicology from Université Paris 8 (France, 1983), where he worked under Daniel Charles.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
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© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."

Robert Normandeau - Figures (1999) {empreintes DIGITALes ‎IMED 9944}
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© 1999 empreintes DIGITALes ‎| IMED 9944
Electroacoustic / Electronic / Modern Classical / Musique Concrète / Acousmatic Music

Normandeau is one of the leading contemporary musique concrète artists, and this, his third solo release, makes it easy to see why. His attention to sonic detail is unmatched, and each of his pieces amply rewards repeated and careful listening. The opening piece continues a cycle started on his previous Empreintes Digitales release Tangram. "Le Renard et la Rose" is the third part of a cycle that includes Tangram's "Éclats de Voix" and "Spleen," based exclusively on the use of the human voice. Each of its five parts associates an emotional state with a sonic framework, from the opening laughter of Babbling and Rhythm to the closing Serenity and Texture.

Roland Kayn - A Little Electronic Milky Way of Sound (2017) {16CD Set, frozen reeds fr7/22}
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© 2017 frozen reeds | fr7/22
Experimental / Modern Classical / Cybernetic Music / Electroacoustic / Electronic

Twenty-two movements, 14 hours and 16 CDs worth of spangling cosmic sound play: this premiere release of the magnum opus by German composer Roland Kayn is a colossus and a marvel. Roland who? In a profession that glorifies big egos and fetishises the kind of creative genius that demands total control, Kayn went to more selfless extremes. He worked in the pioneering electronic studios of Germany and the Netherlands in the mid-20th century and built fastidious command systems with the aim of making “self-sufficient cybernetic music”.

Roland Kayn - Etoile du nord & Ghyress für Ilse-Emily Kayn (2005) {2CD Set, Reiger-records-reeks KY-CD 005-1/2}
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© 2005 Reiger-records-reeks ‎| KY-CD 005-1/2
Experimental / Modern Classical / Cybernetic Music / Electroacoustic / Electronic

A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind.

Evan Parker Electro-Acoustic Ensemble - Warszawa 2019 (2021) {Fundacja Sluchaj}
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© 2021 Fundacja Słuchaj & Polish Music Council Foundation
Jazz / Electroacoustic / Avant-Garde Jazz / Saxophone

The ElectroAcoustic Ensemble was formed in 1990 as a sextet to explore the possibilities of real-time signal processing in an improvising context. and shortly became an opus magnum ensemble in the whole of Evan Parker's musical biography. Most of the CDs documenting the development of this exciting large ensemble were released by the legendary ECM label. The last time when EAE brought us its new CD titled Hasselt was nine years ago (PSI). Now, after this very long period, we proudly announce the brand new Evan Parker Electro-Acoustic Ensemble is coming! Beautifully recorded two years ago on the Warsaw-based festival Ad Libitum by Kuba Sosulski and beautifully mixed by Fil Gomez and Evan Parker himself in the middle of 2020 at Arcobarco, Ramsgate, UK. So let's listen and enjoying the ten pieces ensemble led by one of the greatest musicians in the world. Here comes WARSZAWA 2019.

Jim O'Rourke & Elliott Sharp - Sakuraza (2021) {Zoar Records}
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© 2021 Zoar Records / zOaR Music
Jazz / Electroacoustic / Avant-Garde / Experimental

New release on zOaR Bandcamp: Sakuraza - Jim O'Rourke - Elliott Sharp. The 2nd album in the E#@70 series, Sakuraza presents a conversation in sound between two iconoclastic adventurers. O'Rourke and Sharp first met in Chicago in 1989 and their paths have crossed many times since then with a number of collaborations in Japan including guitar trios with Otomo Yoshihide and large algorithmic orchestras. This set of electroacoustic duos was performed in an intimate setting in Kofu, Japan in 2019 with O'Rourke using synthesizers and electronics and Sharp on bass clarinet,Strandberg Boden 8-string, and electronics. The sound ranges from quiet intensity to swirling turbulence unmoored from genre and style.

The IIKKI label put Seabuckthorn aka guitarist Andy Cartwright and Australian photographer Sophie Gabrielle in touch with each other who then went on to create Through A Vulnerable Occur together. Cartwright uses finger picking, bows and open tunings to create his music, a fine balance between ambient and folk. Gabrielle’s work is influenced by psychology, mythology and spiritualism.

Em:t Records was a British record label, based in Nottingham, which specialized in ambient electronic music. They were active from 1994 to 1998, and after a period of bankruptcy, re-established themselves in 2003 under new ownership and management. In summer 2006, the label officially ceased operations again, although by this time it had not been active for some time. All of the albums on the original run of em:t releases fit into the general category of Ambient music, or downtempo. Most prominent were samples of animal noises recorded in the wild - heard on releases by Woob, Qubism, Beatsystem, Miasma, and others.

The new Sarah Davachi record is an 80 minute, 17 track double album meditation on impermanence and endings, framed by minimalistic organ études and careful harmonic layering. On two tracks the artist’s own vocals are also heard for the first time. This is the first release on the artist’s own label, Late Music.

After “La Légende d’Eer” in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS’ mindblowing 54-minutes oeuvre “Persepolis”, mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.

9T Antiope duo band consists of Iranian musicians Nima Aghiani and Sara Bigdeli Shamloo. The band formed in 2014 and the main focus of the band is an experimental land, using layers of acoustic instruments, electronics and combining them with vocals and lyrics, in order to narrate tiny bits or huge landscapes of the chaotic worlds they vision, along with their inhabitants. They present their fourth solo release and for the second time on Eilean Rec.