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PARTCH, HARRY
The Harry Partch Collection, Volume 1
Eleven Intrusions; Ulysses at the Edge; Plectra and Percussion Dances; Castor and Pollux; Ring Around the Moon; Even Wild Horses
Harry Partch, principal vocals (Eleven Intrusions); Gate 5 Ensemble (Sausalito), Horace Schwartz, conductor (Plectra and Percussion Dances: Castor and Pollux, Ring Around the Moon, Even Wild Horses); Gate 5 Ensemble (Evanston, Illinois) (Ulysses at the Edge)
This newly remastered reissue marks a welcome return to the catalog of the first volume of the classic 4-CD collection that was formerly available on the CRI label. The works recorded on this disc span the first six years of what Harry Partch (1901-1974), slightly tongue-in-cheek, called the “third period” of his creative life. They show him moving away from the obsession with “the intrinsic music of spoken words” that had characterized his earlier output (the vocal works of 1930-33 and 1941-45) and towards an instrumental idiom, predominantly percussive in nature. This path was to take him through the “music-dance drama” King Oedipus (1951)–the culmination of his “spoken word” manner–to the “dance satire” The Bewitched (1954-55), in which his new percussive idiom manifests itself. The three works on this disc show Partch before, during, and after this period of transition.
In their quiet, forlorn way, the Eleven Intrusions are among the most compelling and beautiful of Partch’s works. The individual pieces were composed at various times between August 1949 and December 1950, and only later gathered together as a cycle. Nonetheless they form a unified whole, with a nucleus of eight songs framed by two instrumental preludes and an essentially instrumental postlude.
Although foreshadowed by the dance sequences of King Oedipus, the Plectra and Percussion Dances (1952) are the first of Partch’s major works to be wholly instrumental in conception. They stand in relation to Oedipus as a satyr play in relation to a Greek tragedy-hence the work’s subtitle, “Satyr-Play Music for Dance Theater.” He felt that after the prolonged period of composition and production of Oedipus it was “almost a necessity to give vent to feelings and ideas, whims and caprices, even nonsense, that seem to have no place in tragedy.”
The final work on this disc is Ulysses at the Edge, written at Partch’s studio at Gate 5 in July 1955. Ulysses, which Partch describes as a “minor adventure in rhythm,” is unique among his mature compositions in that, in its original form, it did not call for any of his own instruments. The version recorded here, for alto and baritone saxophones, Diamond Marimba, Boo, Cloud-Chamber Bowls, and speaking voice, is considered the third version of the piece.
CD; New World; EU 16,00
PARTCH, HARRY
The Harry Partch Collection, Volume 2
And on the Seventh Day Petals Fell in Petaluma; The Wayward: U.S. Highball; San Francisco; The Letter; Barstow
Gate 5 Ensemble (Evanston, Illinois) (U.S. Highball); Harry Partch, Danlee Mitchell, Elizabeth Gentry (San Francisco); Harry Partch, David Dunn, Dennis Dunn, Randy Hoffman, with dubbed-in interludes from the 1950 recording by Harry Partch, Ben and Betty Johnston, and Donald Pippin (The Letter); The Harry Partch Ensemble, Danlee Mitchell, music director (Barstow); The Gate 5 Ensemble, Harry Partch, director (And on the Seventh Day Petals Fell in Petaluma)
Harry Partch’s compositions of the 1940s-and to some extent his work in general-have remained until recently an unwritten chapter in the history of American music. And yet it was these very pieces–the collection of four works he would later collectively entitle The Wayward–that brought him to the attention of the New York musical world. His concert of these pieces for the League of Composers (April 22, 1944) established for him a small but permanent reputation as a musical maverick who had wandered off well-worn tracks and had developed a sort of lateral extension of his art, independently of any of the main circles of American music.
The musical starting point of the compositions of The Wayward is the inflections and rhythms of everyday American speech. From the beginnings of his mature output in 1930 Partch had been devoted to what he called “the intrinsic music of spoken words,” and these four works capture something of the spontaneous musicality of the conversations of the hoboes he befriended during the Depression. In their original form these pieces used only the small collection of instruments Partch had built or customized by 1943: Adapted Viola, Adapted Guitar, Chromelodeon, and Kithara. The versions recorded here are all later reworkings, sometimes with only small changes (as in the case of San Francisco), and sometimes involving a substantial amount of recomposition (as in the case of U.S. Highball).
The final work on this disc dates from twenty years later than the compositions of The Wayward, and represents one of the high points of Partch’s later instrumental idiom. And on the Seventh Day Petals Fell in Petaluma was composed in Petaluma, California, in March-April 1964, and revised at various times and places until the completion of the final copy of the score in San Diego in October 1966. It marks a radical departure from the theater works he had written at the University of Illinois in the early 1960s, and shows a renewed concentration on technical innovation and on fusing his activities as composer and instrument-builder within the context of a single composition. Newly remastered.
CD; New World; EU 16,00
IVES, CHARLES
The Unknown Ives, Volume 2
Premiere recordings of unpublished works and new critical editions
Donald Berman, piano; (with Stephen Drury, piano 2)
The works on The Unknown Ives, Volume 2 include some of his best and most searching experiments: fragments, personal explorations, cerebral excursions, and works of unabashed amusement. What emerges from their juxtaposition is a sense of canon. The spectrum of pieces, from adolescence to maturity, simple to complex, illustrates the boundaries of the complete oeuvre. From fragment to complete work, gestures meld, and motivic detours begin to describe a broad musical profile of Ives the complete musician.
This recording completes the catalogue of Ives’s short, though substantial, piano compositions presented on The Unknown Ives. Honing the unpublished manuscripts has brought to light some 40 piano works, two hours of music, apart from the two major piano sonatas of Ives. Hearing them illumines a more complete picture of Ives the composer. Meeting that music on its own terms is a fitting tribute to the composer who desired to make music that had a life of its own roaring volition.
This recording includes published pieces that I have re-evaluated and revised. Many were initially edited by my teacher John Kirkpatrick (1905-1991), the American pianist, editor, and ardent champion of Ives. His meticulous efforts to identify, index, and catalogue loose manuscript sheets after Ives’s death unquestionably comprise one of the heroic achievements in twentieth-century American music. Kirkpatrick’s fastidious quest to divine playable editions of the music is a fascinating and at times problematic counterpoint to the compositions’ rough edges. But essentially, Ives’s volcanic nature and ambivalent attitudes likely served to obstruct public hearings of the music during his life; Kirkpatrick’s asserting influence brought much of that music to light, including this recording.-Donald Berman
Varied Air and Variations; Waltz-Rondo; Invention in D; Study No. 1: Allegro; Study No. 2; Storm and Distress; Study No. 11: Andante; Impression of the “St. Gaudens” in Boston Common; The Celestial Railroad; Minuetto, op. 4; Study No. 4: Allegro moderato; Study No. 5: Moderato con anima; Three Quarter-Tone Pieces for Two Pianos; Fourth Fugue (George Edward Ives); Marches 1, 2, 3, 5, 6; March in G and C; March for Piano: “The Circus Band”.
CD; New World; EU 16,00
CURRAN, ALVIN
Maritime Rites
Featuring the foghorns and other maritime sounds of the U.S. Eastern Seaboard and solo improvisations by John Cage, Joseph Celli, Clark Coolidge, Alvin Curran, Jon Gibson, Malcolm Goldstein, Steve Lacy, George Lewis, Pauline Oliveros, and Leo Smith
In the middle 1970s I began to formulate ideas and projects leading to the making of music outside the concert halls—often in large open and naturally beautiful sites. Ports, rivers, lakes, caves, quarries, fields, and woods, always ready sources of my musical inspiration, now became my new music theaters. —Alvin Curran
Maritime Rites is a series of ten environmental concerts for radio composed by Alvin Curran (b. 1938) in 1985. This series features the Eastern Seaboard of the United States as a musical source in collaboration with improvised musical performances by ten distinguished artists in the American new-music scene: John Cage, Joseph Celli, Clark Coolidge, Jon Gibson, Malcolm Goldstein, Steve Lacy, George Lewis, Pauline Oliveros, Leo Smith and Alvin Curran. The programs use specifically recorded natural sounds as musical counterpoint to the soloists whose improvisations are freely restructured and mixed by Curran. Featured here are the foghorns of Virginia, Maryland, Delaware, New Jersey, New York, Connecticut, Rhode Island, Massachusetts, New Hampshire, Maine and New Brunswick, Canada. Also included are maritime bells, gongs, whistles and regional bird and animal life. Comments from lighthouse keepers, Coast Guard personnel and other local people are woven impressionistically throughout.
Rich in ambient detail, Maritime Rites presents the foghorn as indigenous American “found” music par excellence and the source of one of the most enduring minimal musics around us. The series is also a comprehensive aural documentary of our regional and national maritime heritage including such historical sounds as the Nantucket II ightship, now out of service and doing service as a museum docked in Boston Harbor. The Lightship’s horn is the only one of its kind (and the loudest!) on the East coast and was recorded extensively during an exclusive session ten miles off shore with the special cooperation of the ship’s crew. As the foghorn gives way to other electronic navigational aids, this work may serve as a historical document of some of the most beautiful and mysterious sounds of the sea.
As an expression of sonic geography, Maritime Rites brings together different areas of the Seaboard in a single musical moment. The series was expressly conceived for radio, the only medium that can safely accommodate over sixty foghorns at once and bring an entire coastline, seemingly live, into anyone’s home! An essential document for anyone interested in sound art.
2CD; New World; EU 30,00
MACKEY, STEVEN
Heavy Light
MOSAIC: Zizi Mueller, flute; Michael Finckel, cello; Emma Tahmiziàn, piano; Daniel Druckman, percussion; Michael Lowenstern, clarinet; Shem Guibbory, violin; Steven Mackey, electric guitar (soloist in Heavy Light)
Steven Mackey (b. 1956) characterizes his music as “…weird but with a sense of humor, bright, colorful but slightly twisted . The material in my music-the tunes, chords, and textures-tend to explore fringe modes of consciousness rather than brand-name emotion or logical thought. Generally speaking, these fringe modes are alert and lucid as opposed to trance-like. Often it is the unlikely combination of otherwise simple elements that transcends and confounds familiar patterns.. It is an omnivorous music that represents free speech, liberal democracy with an adventurous spirit that unflinchingly embraces all of life’s experiences. And it doesn’t sound like anything else.”
Heavy Light (2001) started life as a collaborative venture with choreographer Donald Byrd and the ensemble MOSAIC. The music and dance grew up together as an exploration of a psychedelic aesthetic. To me that meant a music that was more about stream of consciousness than logical development, that was more evocative than dramatic, that would exist in a world where time, space and gravity were slightly warped. Heavy Light begins with a long section that is, at its core, a slowly building ritual percussion solo. The middle of the piece is made up of a series of miniatures including a pre-recorded tape of computer-processed voices separated by electric guitar drones. The final ten minutes is a guitar solo based on the drones and a raga-like melody.
Micro-Concerto (1999) attempts to imagine particular ways to coax sound out of pieces of wood, metal and skin instead of simply hitting things. In addition to providing a virtuoso “vehicle” for the percussionist, Micro-Concerto also explores a variety of more complex roles that the individual can play in relation to the ensemble.
Indigenous Instruments (1989) is vernacular music from a culture that doesn’t actually exist. I fantasized about a culture and their uses for music, did thought experiments to invent the kind of instruments they might play, and wrote “folk melodies” idiomatic to those instruments. The exercise was silly but did in fact succeed in leading me to sounds and textures that I would never have thought of in my mode as a serious concert-music composer. My starting point was to re-tune or de-tune the ensemble; the cello has a radical microtonal scordatura, the violin’s G string is tuned down an octave and a quarter tone, the flute is pulled out a quarter-tone flat, and one note of the piano is prepared.
CD; New World; EU 16,00
CORNER, PHILIP
More from the Judson years, early 60s – Volume 1
Excerpts from the liner notes of Volume One, written by Philip Corner:
“Passionate Expanse of the Law” (1959), extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, Malcolm Goldstein. “I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development my exploration of maximum disjuction. It expresses the dynamic unity of the active and static forces in the universe, a characteristic in some degree of all my work”.
“Air Effect” (1961), first performance, featuring Philip Corner, Alison Knowles, Malcolm Goldstein. “From 1961 already my music became characterised more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing. The rhythms and tone modulations of life-sustaining air, as projected through wind instruments bent back from an excess of art to express better a refinement more perfectly attuned to the basics of nature”.
“OM emerging” (1971). “I have adopted the Hindu term OM as generic for all the variety of ways I have formulated possibilities of performances based on the prolongations of a single tone”. This time it served as prelude to a contrasting form of expression, or “Lovely Music” (1962), “a piece were I let myself go all the way into an indulgence of gorgeous and voluptuous sounds”.
“As pure to begin” (1963), Philip Corner, piano with preparations, objects and amplification. “The purety of keyboard sounds turn prograssively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones”.
“Music, reserved untill now” (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, Chieko Shiomi. “A score for non-traditional sound sources. Rough material becomes shaped into sense. A precarious edge where beauty passed out of control”.
“Composition with or without Beverly” (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. “I have here extracted the piano improvisation I put over prerecorded tape sounds already derived from piano, and very bashy Korean gongs, all in all a quite marvellous mess”.
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
CD; Alga Marghen, EU 16,00
CORNER, PHILIP
More from the Judson years, early 60s – Volume 2
Excerpts from the liner notes of Volume Two, written by Philip Corner: “Everything Max Has” (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. “A performance of Max’s taking down all of his stuff; tons of equipment filling entire stages”.
“Big Trombone” (1963), Jim Fulkerson improvisation over tape collage. “Over an electronic reworking of the raw material presented by a rock band, absorbing its rhythmic vigour without falling into its banality, the trombone indulges in an orgy of uninhibited outbursts”.
“Homage to Revere” (1962) for ensemble of copper-bottom kitchen utensils. “How not to use, for other than cooking, that great wedding gift of copper bottom pots, casseroles, skillets, and their covers… all sounding so good as if made for music”.
“Punkt” (1961) for ensemble of staccato sounds. “Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music”.
“Passionate Expanse of the Law” (1959) for ensemble, recorded at the Composers’ Forum, NY, 1972. Full lenght version.
“Expressions in Parallel” (1958) for ensemble. “From my earlies compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity. Nevertheless, the mix here of expressively implicative phrases in no way destroys inner coherence”.
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
CD; Alga Marghen, EU 16,00
TAZARTES, GHEDALIA
Diasporas / Tazartes
More than 5 years after the CD edition of “Eclipse totale de soleil” and “Transportes”, alga marghen finally decided to also reissue the first and the forth LP by Ghedalia Tazartes including both on one CD.
Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don’t become a black, an arab, a Tibetan monk, a jew, a woman or an animal but to feel all this stirring deep inside of you.
The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia’s intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices.
The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mithology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death.
Off limits! – Full colour digipack first press of 1000 copies.
CD; Alga Marghen, EU 16,00
MUSICWORKS
#90
Questo numero contiene articoli su: Les Mouches, Wende Bartley, Christopher Butterfield, I Wayan Gde Yudane, Diane Leboeuf, più rubriche regolari e recensioni di festival, CD e libri. Nel CD allegato: Wende Bartley, Christopher Butterfield, I Wayan Gde Yudane, No Music/Diane Leboeuf, Les Mouches.
MAG+CD; Musicworks; EU 13,50
PREORDINI / PRE-ORDERS (TITLES THAT ARE COMING IN DAYS)
PAMELA Z
A Delay Is Better
A Delay Is Better is the first CD devoted exclusively to works by the “funny, inventive, and talented” (Village Voice) composer/performer Pamela Z, and the recording offers some of her most widely enjoyed signature pieces.
The San Francisco Chronicle has enthusiastically commented that “Z creates lustrous sonic landscapes.” The essence of her mesmerizing music is a skillful blending of her lovely voice with refined electronic manipulations. Oliveros writes that “this CD beguiles us with a rich introduction to a fine vocalist/composer who adeptly embraces technology,” noting that Z “invigoratingly explores great varieties of solo, chorused, extended, and manipulated vocal materials.”
Some of the CD’s dozen pieces draw on everyday sounds. For example, the percussion loops in Bone Music are built up from the performer pounding an empty five-gallon water bottle, while the pieces The MUNI Section and NEMIZ use sampled San Francisco street sounds. The witty Geekspeak manipulates recordings of computer engineers providing us with the definitive word on the differences between nerds and geeks.
Other pieces use found text, such as Pop Titles ‘You’ (based on titles of popular songs). Some pieces use only Z’s voice, such as Badagada and Number 3, while another work, Feral, uses mostly bassoon samples and little vocal material.
Z has composed commissioned works for such new music ensembles as the Bang on a Can All Stars, the California E.A.R. Unit, and St. Luke’s Chamber Orchestra. She has toured extensively around the world, and is the recipient of numerous awards, including a 2004 Guggenheim Fellowship. – Pauline Oliveros: “An impressive survey of Z’s imaginative compositions.”
CD; Starkland; EU 16,00
CURRAN, ALVIN
Canti Illuminati
Complete reissue of the rare Lp, originally issued by Fore in 1982, with original cover and liner notes, plus an updated presentation written by the composer. Two side-long beautiful piece for voices, synthesizer, tapes and electronics, and one of Curran’s best works. Edition of 1000 copies.
“This re-edition of Canti Illuminati, 25 years after it’s appearance as my 3rd LP, is indeed a pleasure, and as one can imagine occasions a welcome moment of reflection: In the 70’s when downtown musical-america fully embraced delirious repetition, the key of C, asymmetrical beats, unison everything, performance art, innocent melodies, phase shifting, long delays, fedback loops, wierd instruments, ambient sounds, body art, story telling, emotion and progressive politics; not to mention audiences seated or lying on the floor listening to compositions and improvisations lasting up to 2 hours or more, we all knew we were in for trouble. New York City then was a centrifuge of incredible activity where composers, dancers, authors, performers, electronic engineers and arts administrators engaged in a feverish search for a new art-music accessible to anyone – a utopian trans-national people’s music, that reflected above all the elementary and irresistable unifying powers of the great traditional and classical musics from around the world, europe included.
The music of this period and place, never a formal movement, was anchored both aesthetically and philosophically in the vital secrets of minimalism, in the sounds of the environment, however unassuming or flawed, in the cyclical generation of tones and voltage controlled substances, solo voice, and the whole body as solo performer, in men and women as equals, in stories of ordinary people, in gestures of eloquent simplicity as well as open spirituality, in irony as well as transcendental yearning. Improvisation and composition were reconciled as children of the same parents and immaculate mathematical structures could easily cohabit under the same roof with chance. Instrumental virtuosity and implaccable drones were augmented to their human limits. And Rock music and musique concrete both contributed new values to amplification beat and noise. Lofts, garages, storefronts, art-galleries and living rooms along with malls, rivers, ports and other improbable spaces became the new concert halls, and the idolized “musica da camera” of the establishment aristocrats now became exquisitely egalitarian in its pulsing walls of sound, delicate melodies, well-tuned drones and contrapuntal loops. Cage’s fatherly shadow was everpresent, but his call for monastic rigor in this ebullient moment went largely unheeded. In Europe, the feared attack of the young American hordes on the bastions of Western music were way over-rated, and while Darmstadt and IRCAM continued on their ossified missions, the New-Downtowners began captivating large audiences everywhere under the aegis of a new generation of concert producers. Whether it was Laurie Anderson, Lamonte Young or Anthony Braxton, the musical offering was of an imagination, execution and listening experience perhaps as revolutionary as Schoenberg’s brilliant but unpopular attempt to liberate the musical tones from their natural tendencies some 60 years earlier. The significant difference here is that the Downtown music was hip, it swung and was in completely tune with the musical currents- both experimental and popular from everywhere. It was its own cultural Zeitgiest or at least the locomotive the Zeitgeist piloted.
As seen from the centers of power, the contamination of the high culture by these apparent primitive musical techniques and disloyal tendencies, simply appeared as a territorial threat; in reality it was a blessing, ne a tonal-blessing, and happily for all, nobody got hurt in the mix; we’re still trying to estimate the import of this legacy.
To whatever extent the strikingly personal musics of Maryanne Amacher, Bob Ashley, Evan Parker, Joan LaBarbara, La Monte Young, Laurie Anderson, Anthony Braxton, Mort Subotnick, David,Tudor, Alvin Lucier, David Behrman, Charlie Morrow, Terry Riley, Charlemagne Palestine, Chicago Arts Ensemble, Paul Dresher, Derek Bailey, Phill Niblock, Malcolm Goldstein, Glenn Branca, Joe Celli, George Lewis, Meredith Monk, Ivan Tcherepnin, Philip Corner, Louis Andreissen, Diamanda Galas, Frederic Rzewski, Rhys Chatham, Jerry Hunt, Leo Smith, Jon Gibson, Teitelbaum, Muhal Abrams, Larry Austin, Eugene Chadbourne, Misha Mengelberg, Pauline Oliveros, John Zorn, Glass and Reich and many others could be the seeds of today’s unplugged-diversity, this moment, this non-movement, has no doubt left a strong mark on musical life ever since; personally I am happy to have been a part of it.
Canti Illuminati, was of course my early tribute to the human voice, as the most natural source of music known. In this period there were many experiments going on in the world based on collective vocal improvisation -Pauline Oliveros’ Deep Listening work at UCSD, Roberto Laneri’s Roman group Prima Materia, David Hykes and his Harmonic Choir – in New York, now based in France, and my own work in group vocal Improvisation at the Accademia Nazionale d’Arte Drammatica in Rome, where I taught between 1975 and 1980. I always told my students: don’t forget! when the electricity gets turned off, you always have your voice/ your entire body as a basic musical instrument. When this work was being considered for an LP recording I decided to make it into a two part piece, which, on side one, explores a variegated soundscape of structured choral improvisation, and from this (side two) there emerges a solo platform for my own voice, tape delayed feedback, and my then trusty Serge Synthesizer and Sequencer. In later solo performances I concentrated entirely on this latter music, developing an intense and slowly expanding “microtonal” unison by matching my voice with a finely detuned keyboard. In retrospect this could be seen as a direct hommage to Giacinto Scelsi, who opened avenues of magical perspectives to many of us young composers in Rome at that time”. Alvin Curran, October -November 2002
CD; Fringes; EU 15,00
COULTER, DAVID / GIRA, MICHAEL / MATHOUL, JEAN MARIE / PALESTINE, CHARLEMAGNE
Gantse Mishpuchah – Music in Three Parts
David Coulter (double bass, didjeridu, piano, percussion, violectra & voice), Michael Gira (Swans, Angels of Light on Akai S-900, finger & various sounds from Body Lovers, Jean Marie Mathoul (48Cameras, on Korg 05R/W, loops, percussion, samples & tapes), Charlemagne Palestine (alumonium, street recordings, Yamaha organ & voice).
Three long pieces of intense electro-acoustic drones. Part one, 22 minutes long has Tony Conrad (long string drone), Terry Edwards (trumpet), Bob Feldman (percussion), Deborah Glaser (percussion & voice), Chris Long (harmonium) and Jean-Jacques Palix (electronica) as guests ! – 1000 copies in jewel box.
CD; Fringes; EU 14,00
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