The folky side of Bibio's music is always lovely, whether Stephen Wilkinson submerges it in blunted beats and decaying tape ambiance on Vignetting the Compost or lets the sun shine on it, as he did on Ribbons. Sleep on the Wing is a companion to that gorgeous 2019 album, and though it has a smaller scope, it's just as winning. A few songs pick up where Ribbons left off: With their airy melodies and twining violins and acoustic guitars, "Sleep on the Wing" and "Oakmoss" are pastoral dreams as captivating as anything that appeared on the album. More often, though, Wilkinson revels in taking Ribbons' elements - lilting melodies, wide-ranging acoustic instrumentation, and electronic washes - in different directions…

Roland Kayn - Cybernetic Music (1995) {2CD Set, Reiger-records-reeks ‎KY-CD 9503-4}
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© 1995 Reiger-records-reeks | ‎KY-CD 9503-4
Experimental / Modern Classical / Musique concrète / Electroacoustic / Cybernetic

Roland Kayn (1933-2011) was a German composer who studied in Stuttgart at the “Hochschule fur Musik”, and at the “Technische Hochschule” with Max Bense. He was a pupil of of Boris Blacher at the “Hochschule fur Musik” in Berlin from 1956 to 1958 and he later worked in various music studios in Germany, Netherlands and Italy. Despite its relative obscurity in the last years of the 20th Century, Kayn’s work can be considered as one of the most emblematic in the realm of cybernetics and in the general contemporary art production related to the electronic medium.

Jocy de Oliveira - Illud Tempus (2000) {OODiscs oo65 rec 1995}
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© 1995, 2000 OODiscs / Jocy de Oliveira | oo65
Classical / Modern Classical / Experimental / Avant-Garde

Recorded live during performances at the Haus der Kulturen der Welt, Berlin, in March 1995. "The electroacoustic part, like a collage, builds a dreamy sound landscape…through processed sampled sounds of citations from Yanomami chants to improvisations by myself and Joseph Celli…" (liner notes). Packaged in a standard jewel case with 5-panel insert of liner notes. A renowned pianist in avant-garde classical music in the '70s and '80s, Jocy de Oliveira Carvalho was the child of a mixed French and Portuguese family living in South America. She began studying piano in São Paulo with Joachim Klias, and then had an opportunity to continue her work in Paris with Marguerite Long, the brilliant avant-garde scene of the city exerting a profound effect on her.

Roland Kayn - Electronic Symphony V (2021) {Reiger-records-reeks}
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Experimental / Modern Classical / Musique concrète / Electroacoustic / Cybernetic

In Kayn's Electronic Symphony series, the past and present continually encounter each other anew, each time casting new reflections on the given moment. Kayn's autonomous studio processes remove context from what he termed (markedly in the language of synthesis) the "carrier" material, for the most part music of the orchestral tradition at its most texturally oriented – even drone-like – but alternately seething and volcanic in its drama. These pieces were of great personal significance to the composer, perhaps due to the fashion in which they bridged his initial musical inspirations with the new sound world his friend and colleague Franco Evangelisti described as "something that can no longer be named music".

Henning Christiansen - Stonesong, Op. 196 (2001) {Danish Contemporary Art Foundation rec 1990}
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© 1990, 2001 Danish Contemporary Art Foundation | [none]
Modern Classical / Experimental / Musique Concrète / Abstract / Fluxus

Reverberating recordings of sound artist Henning Christiansen riffing on the idea of “rock” music in homage to Ken Unsworth, recorded in Sydney, Australia, 1990. “Stone-song is a one-hour performance presented in 1990 at the 8th Biennale of Sydney (The Readymade Boomerang: Certain Relations in 20th Century Art) where time is being scanned and animated by matter and where the genius of Henning Christiansen (with fellow artist Bjørn Nørgaard and Ken Unsworth, to whom this performance is dedicated) establish a deep dialogue with the nature (of sound) watching the time, stone on stone, being at the same time actors and audience of its ephemeral and violent manifestations. What time is it? Is it what time? Time is it what? Released in collaboration with the Henning Christiansen Archive.”

Roland Kayn - Sound-Hydra (2020) {Reiger-records-reeks}
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Experimental / Modern Classical / Musique concrète / Electroacoustic / Cybernetic

A prismatic assembly with as many faces as the mythological beast which gives the piece its title, Sound-Hydra represents an endlessly regenerative encounter. An extended plunderphonic odyssey from a moment at which Kayn was acutely in touch with the music beginning to sprout up around his prior discoveries and innovations.

Agostino Di Scipio - Paysages historiques, Musique electroacoustique 1998-2005 (2005) {Mnémosyne musique média LDC 2781130}
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© 2005 Mnémosyne musique média | LDC 278 11 30
Modern Classical / Electroacoustic Music / Electronic

Agostino Di Scipio (1962, Naples, Italia) is an Italian composer operating in the field of electroacoustic music, sound installations and music scored for performers interacting with live electronics. Most of his compositions are made from unconventional sound synthesis/processing strategies inspired from natural sound phenomenons such as noise or air turbulence.

Roland Kayn - Music for the Isle of Man (2020) {Reiger-records-reeks}
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Experimental / Modern Classical / Musique concrète / Electroacoustic / Electronic / Cybernetic

During World War II the Isle of Man was used as the primary site for the internment of "civilian enemy aliens", both male and female. Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.

Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus. Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy. Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life. By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points…

Roland Kayn - Requiem pour Patrice Lumumba (2020) {Reiger-records-reeks}
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© 2020 Reiger-records-reeks | Digital Juneteenth Remastered Reissue
Experimental / Modern Classical / Musique concrète / Electroacoustic / Electronic / Cybernetic

Patrice Émery Lumumba was the first Prime Minister of the independent Democratic Republic of the Congo (then Republic of the Congo), but was murdered by his opponents, with the complicity of the Belgian government, the United States and the UN. Kayn first heard of these events from his friend, conductor Andrzej Markowski. He had never before written a requiem, and elected to make Lumumba his subject.

Roland Kayn - Xutus (2021) {Reiger-records-reeks}
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Experimental / Modern Classical / Musique concrète / Electroacoustic / Electronic

The latest première from the Kayn archives opens with the composer already several layers deep into the endless process of use-process-reuse that characterises so much of his work. Textural washes are stretched until taut into almost choral tones. Tape warble gives way to arrays of submerged granular shapes. Kayn's limitless fascination with the mutability of sound itself once again approaches its apotheosis.

Roland Kayn - Spectral (2021) {Reiger-records-reeks}
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Experimental / Modern Classical / Musique concrète / Electroacoustic / Electronic

The cloudy, sustained tones of ‘Spectral’ find Kayn in territory almost as weightless as that of ‘A Pan-Air Music’. In its opening minutes, dense flute-like timbres amass in an echoing plane of sound reminiscent at times of Luc Ferrari’s most disembodied audio surrealism. But this is no derivative (nor pastiche), as Kayn’s time spent amid the Staaplaat racks is soon also in evidence. As the work progresses, we find him locating, digesting – and perhaps even repurposing – the spiritual heirs of his earlier, uniquely groundbreaking work.

Gunner Møller Pedersen - A Sound Year (2001) {6CD Set, Dacapo 8.224174-79 rec 1977-1982}
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© 1977-82, 2001 Dacapo Records | 8.224174-79
Electroacoustic / Modern Classical / Electronic / Experimental

A year in six hours - or twelve months in electronic music, as its composer calls it. This Wagnerian undertaking by Gunner Moller Pedersen is nothing less than the depiction, in electronic music, month by month, of the passage of a whole year. In practical terms the piece is in quadraphonic sound. Pedersen calls his music "spatial" - multi-channel music with preferably four speakers, utilising reverberation and phasing to intensify the sense of space. Optimum listening conditions are therefore larger spaces - unsurprisingly A Sound Year has been performed in galleries and in concert halls and also shown on films and television.