{"title":"Blank Forms Editions","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBlank Forms\u003c\/i\u003e is an American non-profit organization based in New York City. They are dedicated to supporting emerging and underrepresented artists in the field of experimental music, performance, dance, sound art, and other interdisciplinary art practices. Led by \u003ci\u003eArtistic Director Lawrence Kumpf\u003c\/i\u003e, Blank Forms works tirelessly to provide a platform for these artists to showcase their unique talents. With a diverse \u003ci\u003eBoard of Directors\u003c\/i\u003e including \u003ci\u003eDavid Grubbs\u003c\/i\u003e, \u003ca href=\"https:\/\/discogs.com\/artist\/2235539\"\u003eRobbie Lee\u003c\/a\u003e, Nadia Berenstein, Margo Somma, Marina Rosenfeld, Alexander Lau, Josiah McElheny and more; as well as a distinguished \u003ci\u003eCuratorial Advisory Board\u003c\/i\u003e consisting of renowned figures such as Charles Curtis, Bill Dietz, Kim Gordon and others - Blank Forms Editions is at the forefront of promoting boundary-pushing artistic expression.\u003c\/p\u003e\n\u003cp\u003eThe label's commitment to nurturing talent within the experimental arts community has made them an influential force in the industry. Through their dedication and support for emerging artists across various disciplines, they continue to push boundaries and challenge traditional notions of what constitutes art. With their headquarters located in New York City - a vibrant hub for creativity - Blank Forms Editions serves as a vital catalyst for innovation within the experimental music scene.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e*Please note that all references to individuals or\u003c\/em\u003e\u003c\/p\u003e","products":[{"product_id":"turzets-2","title":"Turzets","description":"\u003cp\u003eRIYL: Oren Ambarchi and Crys Cole, Nuna Canavarro, Olivia Block, Andrew Chalk. The latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece “Fallaway Whisk” explores hesitation in its many forms reticence of speech, sonic restraint using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, “Quire” is a work in ten movements influenced by the composer’s study of late medieval repertoire on portative organ, weaving the instrument’s woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry. Rushford’s work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as “electro-acoustic experimentation with a beating heart” (Boomkat) and “haunted Jacobean ASMR” (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to New Age, Rushford’s work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford’s solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou’s 1959–67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50402597437771,"sku":"2184715","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/james_rushford_-_turzets_LP_8a740cb6_thumbnail_4096.jpg?v=1726551725"},{"product_id":"cold-drinks-hot-dreams","title":"Cold Drinks, Hot Dreams","description":"\u003cp\u003eRIYL: Don Cherry, Alice Coltrane, Remi Álvarez, Juma Sultan's Aboriginal Music Society, Horace Tapscott. Atrás del Cosmos were a central force in Mexico City's creative arts community, and often considered the first free jazz group in the country. Founded by a trio composed of pianist Ana Ruiz, percussionist Evry Mann, and saxophonist Henry West, the ensemble was prolific in mentoring a generation of improvisers, cultivating an expanded additive roster, and organizing workshops in downtown Mexico City including inviting Don Cherry to play and instruct on his \"organic music\" approach in 1977. Between 1977 and 1983, the group lived and rehearsed in a residential space behind the Cosmos theater, hence their celestial-tinged name. But despite their central importance to the local scene, Atrás was rarely recorded and had a scant international presence, leaving behind just a single cassette before their disbandment. Now issued on LP for the first time, the aforementioned tape Cold Drinks, Hot Dreams is a red-hot recording documenting the core group plus double-bassist Claudio Enriquez performing live in 1980, a delirious improvisation with high peaks and low valleys, sucking in an amalgam of influences including New York loft style, Mexican folk music, and the surrealism of Alejandro Jodorowsky into its heady gravitational pull. Ruiz's playing style is virtuosic and expressive, pulling off monumental chords and using the piano's whole register, recalling Cecil Taylor's percussive approach, Matthew Shipp's emotive voicing, and Duke Ellington's mystifying arabesques. Evry Mann dabbles in polyrhythms in tracks like the solo marimba meditation \"Clapping Music II,\" and Henry West wails heavy in the show-stopping cut \"M.D.\" Now finally available after forty years, the music of Atrás del Cosmos will be sure to stun spiritual jazz veterans and newcomers alike.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50407402832203,"sku":"2189187","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Atras_Del_Cosmos_-_Cold_Drinks_Hot_Dreams_897a41d5_thumbnail_4096.jpg?v=1726597418"},{"product_id":"aphorisms-3","title":"Aphorisms","description":"\u003cp\u003eGraham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, \u003ci\u003eAphorisms\u003c\/i\u003e, his first major solo outing since \u003ci\u003eCommunity\u003c\/i\u003e (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, \u003ci\u003eAphorisms\u003c\/i\u003e assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, \u003ci\u003eAphorisms\u003c\/i\u003e superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001) - recorded between Folkestone and Miami - \u003ci\u003eAphorisms\u003c\/i\u003e ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.”\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LPx2","offer_id":50420241858891,"sku":"2021796","price":44.99,"currency_code":"GBP","in_stock":true},{"title":"CDx2","offer_id":50420235567435,"sku":"2021795","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Aphorisms_57b2420f_thumbnail_4096.jpg?v=1726751737"},{"product_id":"put-the-music-in-its-coffin-2","title":"Put The Music In Its Coffin","description":"\u003cp\u003eFor fans of The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.\u003c\/p\u003e\u003cp\u003eThroughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7\"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat and Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book.\u003c\/p\u003e\u003cp\u003eRecorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record \u003ci\u003ePut the Music In Its Coffin\u003c\/i\u003e is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair.\u003c\/p\u003e\u003cp\u003eFrom the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver \u0026amp; Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"LP","offer_id":50434664661323,"sku":"2050561","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Put_the_Music_In_Its_Coffin_d4dd9985_thumbnail_4096.jpg?v=1726892784"},{"product_id":"solo-for-tamburium-2","title":"Solo for Tamburium","description":"\u003cp\u003eThe fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone.\u003c\/p\u003e\u003cp\u003e Densely-layered timbral textures and continuous overtone collisions create a mazelike sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being. Since the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young.\u003c\/p\u003e\u003cp\u003e In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow both have guided her work with sound ever since. In 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren 6 she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution. Solo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics among them raga, maqam, and the blues onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"LP","offer_id":50443278680395,"sku":"2049538","price":42.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50443279073611,"sku":"2049541","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Catherine_Christer_Hennix_-_Solo_for_Tamburium_ebf70ccd_thumbnail_4096.jpg?v=1727011905"},{"product_id":"organic-music-theatre-festival-de-jazz-de-chateauvallon-1972","title":"Organic Music Theatre: Festival de Jazz de Chateauvallon 1972","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.roughtrade.com\/gb\/don-cherry\/don-cherry-archival-releases-bundle-blank-forms-editions\"\u003eCLICK HERE\u003c\/a\u003e to buy as part of a bundle offer with 'The Summer House Sessions'.\u003c\/p\u003e\u003cp\u003eIn the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.\u003cbr\u003e\u003cbr\u003eThe musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.\u003cbr\u003e\u003cbr\u003eThe music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50466101330251,"sku":"1113395","price":37.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50466101559627,"sku":"1113393","price":18.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a9868357-e39a-4b5c-bb7e-71eaa6a0af14_thumbnail_4096.jpg?v=1727304746"},{"product_id":"strange-bedfellow","title":"Strange Bedfellow","description":"\u003cp\u003eHeavy tip-on jacket with ink pigment foil stamping, metallic spot colours, contrasting gloss film laminate and matte satin finishes. Includes new full  colour folding insert. Pressed to high quality vinyl at RTI.      \u003c\/p\u003e\u003cp\u003eWhite Heaven's second album, \u003ci\u003eStrange Bedfellow\u003c\/i\u003e, is one of the great unsung albums of the 90's Japanese underground. Released two years after their striking debut, \u003ci\u003eOut\u003c\/i\u003e, the album reveals the group shifting to a more dynamic and finely honed sound. You Ishihara's songwriting \u0026amp; arrangements take center stage, leading the group to transmute classic west coast psychedelia and garage into a thrillingly direct collection  of songs that span from fuzz drenched, driving rockers to smoldering numbers that fade into the night... Only ever available in an edition of 700 LP's released in 1993 by PSF Japan, Black Editions is pleased to present \u003ci\u003eStrange Bedfellow\u003c\/i\u003e, newly remastered in this deluxe edition.\u003c\/p\u003e","brand":"Blank Editions","offers":[{"title":"Black LP","offer_id":50482827362635,"sku":"2008793","price":37.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Strange_Bedfellow_c4a5e9fc_thumbnail_4096.jpg?v=1727556563"},{"product_id":"city-lights-3","title":"City Lights","description":"\u003cp\u003eFor fans of The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt\u003c\/p\u003e\u003cp\u003eThroughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7\"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat and Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book.\u003c\/p\u003e\u003cp\u003eRecorded and self-released by the group’s own Dry Leaf Discs in 1993, \u003ci\u003eCity Lights\u003c\/i\u003e is the debut record of the then duo Graham Lambkin and Darren Harris an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a “microscopic examination of leisure activities, this time centered around a nightclub,” a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes).\u003c\/p\u003e\u003cp\u003eOn a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record’s backbone, weaving in and out of sync with Harris’s free-form percussion and the pair’s sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo’s musical hobby-horses work themselves in: the influence of Mark E. Smith’s breathless deadpan, the headless outer-edges of ESP-Disk’s back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring’s artless temerity. “I’ve got to see and taste those city lights,” intones Lambkin on the album’s title track indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what’s to come.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"LP","offer_id":50485772091723,"sku":"2050560","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/City_Lights_2ac6ddd0_thumbnail_4096.jpg?v=1727602884"},{"product_id":"charrrlleemmma-gggneelanddddds-ss-cccrreatto-rrssssscccarillon-nnn-dingggdongggdingggzzzzzzz-ferrrr-sssofttt-divini-tiesssss-with-sttt-thomasss-dingg-gdongggdingggzzz-zzzz-ferrrr-tonyyy","title":"CHARRRLLEEMMMA GGGNEELANDDDDDS SS CCCRREATTO RRSSSSSCCCARILLON NNN DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! with STTT THOMASSS DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY","description":"\u003cp\u003eDINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist’s studio in Belgium—a high-ceiling, stuffed-animal-packed paradise he calls Charleworld—among friends and “divinities,” his name for the thousands of plush toys he’s amassed since the ’60s. On the flip side, Blank Forms Editions’ very first and long out-of-print release appears on vinyl for the first time: a cathartic street recording of the minimalist composer’s 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church where the two first met. Two mesmerizing “klanggdedangggebannggg” sessions in the Quasimodo of 53rd Street’s unmistakable improvisatory style.\u003c\/p\u003e\u003cp\u003ePerhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the ’60s and ’70s, Charlemagne Palestine has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsburg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown’s St. Thomas Episocal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing over a dozen visceral videotapes with the Castelli Gallery. In the ’70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts, that seemed to bend the very nature of time and space. Beginning in the ’80s, he spent decades in self-imposed exile from the new music scene, absconding to a palace in Europe and privately honing his hermetic sonic and visual practice, until his resurgence among record fanatics in the mid-’90s.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50490172014923,"sku":"2102307","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Charlemagne_Palestine_-_CHARRRLLEEMMMA_GGGNEELANDDDDDS__5dde682a_thumbnail_4.png?v=1727653965"},{"product_id":"the-summer-house-sessions","title":"The Summer House Sessions","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.roughtrade.com\/gb\/don-cherry\/don-cherry-archival-releases-bundle-blank-forms-editions\/cd-plus-x4\"\u003eCLICK HERE\u003c\/a\u003e to buy as part of a bundle offer with 'Organic Music Theatre: Festival de Jazz de Chateauvallon 1972'.\u003c\/p\u003e\u003cp\u003eIn 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.\u003cbr\u003e\u003cbr\u003eOn July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.\u003cbr\u003e\u003cbr\u003eIn the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\u003cbr\u003e\u003cbr\u003eWith liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68.\u003cbr\u003e\u003cbr\u003eOrganized in conjunction with Organic Music Societies, a Blank Forms project that also includes a book, art exhibition, and performance series.\u003cbr\u003e\u003cbr\u003eTrack list:\u003cbr\u003e\u003cbr\u003e1. Summer House Sessions Side A \u003cbr\u003e2. Summer House Sessions Side B \u003cbr\u003e3. Untitled Summer House Session 1 (CD only)\u003cbr\u003e4. Untitled Summer House Session 2 (CD only)\u003cbr\u003e5. Untitled Summer House Session 3 (CD only)\u003cbr\u003e6. Untitled Summer House Session 4 (CD only)\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black | LP","offer_id":50503590773067,"sku":"1113533","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/196f399a-b7d4-498e-b939-6cde8f95d1d1_thumbnail_4096.jpg?v=1727796745"},{"product_id":"ground-five-mechanic-convention-streams","title":"Ground: Five Mechanic Convention Streams","description":"\u003cp\u003eThe final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a rare and foundational audio document of Hunt’s compositional process. The record collects five pieces from the artist’s “Ground” series, translating his characteristically variable and spatial scores into “recorded fixtures of activity using mechanic musical instrument arrays,” to eerie and mesmerizing results. Originally released by experimental label OODiscs in 1992, it is now available on vinyl for the first time from Blank Forms Editions. Its tracks are dense and unpredictable, a miscellany of arrhythmic bursts, fragments of spoken and whispered words, soft then fevered rattles and shaking, and a rare return to pianoforte for the virtuoso player. \u003c\/p\u003e\u003cp\u003eOn \u003ci\u003eTalk (slice): double\u003c\/i\u003e a nervous, warped dialogue unfolds between Hunt and composer Rod Stasick, their voices alternately measured and monstrous. In \u003ci\u003eTransform (stream): monopole\u003c\/i\u003e, breathy whistles build against a shimmering stream of bells, rattles, and shakers in a fantastical cascade of percussion. Hunt revisits the piano in \u003ci\u003eLattice (stream): ordinal\u003c\/i\u003e and “Bitom (stream): link,” oscillating between gentle, almost classical phrases and frantic, seemingly random play. His collaboration with violinist Jane Henry, “Chimanazzi (Olun): core,” extends similarly unorthodox playing techniques to the violin, involving the scraping, plucking, and playing of its strings. The unstable quality of these tracks belies the rigor of Hunt’s procedures; each of Ground’s five pieces, their “common ground core,” is derived from the angelic tables of sixteenth century English philosopher and occultist John Dee, adapted by Hunt as frameworks to layer, adapt, and renew in his compositions. With a complex arrangement of sensors and equipment, which the artist called “interrelated electronic, mechanic, and social sound-sight interactive transactional systems,” Hunt realized these derivative systems in the techno-shamanic performances for which he is best known. Ground distills these procedures into fixed songs, producing a vital and critical record of Hunt’s singular approach to composition.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black | LP | x2","offer_id":50504154186059,"sku":"1158282","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/424671cf-080c-4bfa-95c9-9bf3b4a5b840_thumbnail_4096.jpg?v=1727801929"},{"product_id":"a-string-of-paper-cranes-clenched-between-my-teeth","title":"A String of Paper Cranes Clenched between My Teeth","description":"\u003cp\u003e In a generation of musicians that came of age in postwar Japan, Kazuki Tomokawa stands as a pioneer of radical individualism, with a sound marked by shocking intimacy and blistering honesty. In his third album, \u003ci\u003eA String of Paper Cranes Clenched between My Teeth\u003c\/i\u003e, released by Harvest Records in 1977, Tomokawa creeps \"ever more inward,\" as Kiichi Takahara writes in the record's original introductory text—embracing an attitude pervasive amongst musicians of the time who interrogated the prosaic and the profound alike, eschewing politics and society in favor of an \"attitude of total self-containment.\" \u003c\/p\u003e\u003cp\u003eTomokawa recorded the album over the course of a month—from August 24 to September 25, 1977—at Tokyo's famed Onkio Haus studio in the bustling Ginza district. The arrangements, accordingly, are amped up: paired with the Black Panther Orchestra, Tomokawa's \"screaming philosopher\" vocals find their match with the orchestra's electric guitar, bass, piano, tuba, and ground-thumping drums played by the Brain Police's Toshi Ishizuka—who appears on Tomokawa's first three records and remains his collaborator to this day. \"This is Kazuki Tomokawa in the flesh,\" concludes Takahara. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eA String of Paper Cranes Clenched between My Teeth\u003c\/i\u003e is, in Tomokawa's uncanny way, able to cut through facade and artifice in pursuit of truth. \"You call that life?\" he heckles, exhausted by the melodrama and nihilism of youth counterculture, \"try saying you're alive!\"\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black | LP","offer_id":50506168500555,"sku":"1151008","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/f61fe1dc-bef6-4f0e-93bc-7874853c0c9c_thumbnail_4096.jpg?v=1727819846"},{"product_id":"larynx-2","title":"Larynx","description":"\u003cp\u003eRecorded in Lary 7’s legendary apartment studio Plastikville over nearly a decade, Larynx is the first full-length retrospective of the East Village icon’s hybrid music and engineering practice. The record mobilizes 7’s array of homemade instruments, which he ‘frankensteins’ together from offcast and outmoded bits of technology. \u003c\/p\u003e\u003cp\u003eAn ode to the long-lost Canal Street junk shops he frequented in the 1970s and ’80s, Larynx brings together numerous thrift finds and sonic inventions used in his theatrical performances and installations.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LPx2","offer_id":50506751934795,"sku":"2021529","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Lary_7_-_Larynx_b699ccaa_thumbnail_4096.jpg?v=1727829198"},{"product_id":"new-sense-of-hearing","title":"New Sense of Hearing","description":"\u003cp\u003eAvailable from Blank Forms for the first time since its original 1980 release on ALMUranoia, \u003ci\u003eNew Sense of Hearing\u003c\/i\u003e documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall. Described by Suzuki as the “culmination” of their sound, \u003ci\u003eNew Sense of Hearing\u003c\/i\u003e features the two musicians improvising together in that empty Tokyo theatre, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention. \u003c\/p\u003e\u003cp\u003eSuzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organised by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.\"\u003c\/p\u003e\u003cp\u003eFor \u003ci\u003eNew Sense of Hearing\u003c\/i\u003e, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships.\"\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black | LP","offer_id":50510517862731,"sku":"1169828","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/80e4ed13-06f1-4c61-a028-2a04dd2aaf0d_thumbnail_4096.jpg?v=1727875782"},{"product_id":"further-selections-from-the-electric-harpsichord-3","title":"Further Selections from The Electric Harpsichord","description":"\u003cp\u003eRIYL: La Monte Young and Marian Zazeela, Terry Riley, Éliane Radigue, Caterina Barbieri. Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix's early magnum opus. Originally debuted in 1976 at the festival Brouwer's Lattice at Stockholm's Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix's close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix's friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed \"hallucinogenic\/ecstatic sound environments (HESE),\" which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art. Since 2018, Blank Forms has spearheaded a comprehensive publication effort in support of her work, including the writing collection Poësy Matters and Other Matters (2018); archival recordings like Selected Early Keyboard Works (2018) and The Deontic Miracle's Selections from 100 Models of Hegikan Roku (2019); and recent compositions such as Blues Alif Lam Mim (2021) and Solo for Tamburium (2023).\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50517089845579,"sku":"2223770","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50517093777739,"sku":"2223771","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Catherine_Christer_Hennix_-_Further_Selections_from_The_d16f12e6_thumbnail_4.jpg?v=1727948814"},{"product_id":"kazuki-tomokawa-1975-1977","title":"Kazuki Tomokawa 1975-1977","description":"\u003cp\u003eBlank Forms Editions gathers Tomokawa's earliest records for the first time in a deluxe three CD boxed set comprised of Finally, \u003ci\u003eHis First Album\u003c\/i\u003e (Harvest Records, 1975), \u003ci\u003eStraight from the Throat\u003c\/i\u003e (Harvest Records, 1976), and \u003ci\u003eA String of Paper Cranes Clenched between My Teeth\u003c\/i\u003e (Harvest Records, 1977). In each record, Tomokawa shouts, cries, wails, and croons, his folk stylings tinged with psychedelia and swelling into ground-shaking rock. Many tracks are performed in his native Akita dialect, a highly regional vernacular of north Japan rarely heard beyond the prefecture, and even less often used in music. Matching his guttural, all-out vocals are profoundly existential meditations on everyday life and the world around him; this is, as record executive Kiichi Takara dubs it, \"I-music.\" It looks toward the interior, the quotidian, and the domestic with piercing and ever-honest eyes. The accompanying liner notes (here translated for the first time) include introductions by Takara, a round table discussion with Brain Police, and lyrics for all three albums—tracking the rise of Tomokawa as the \"screaming philosopher\" of Japan. The boxed set will be in conjunction with the release of each record in LP format, and the musician's 2015 memoir, Try Saying You're Alive! \u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"CD | x3","offer_id":50522128417099,"sku":"1135227","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2cc122fa-d727-4fdb-9f46-d417af144375_thumbnail_4096.png?v=1727999344"},{"product_id":"heels-in-the-aisle-2","title":"Heels in the Aisle","description":"\u003cp\u003eFor fans of \u003cstrong\u003eMeat Puppets\u003c\/strong\u003e, \u003cstrong\u003eRonnie Milsap\u003c\/strong\u003e, Traffic's \u003cem\u003eJohn Barleycorn Must Die\u003c\/em\u003e, the oceanic ebullience of the sacred, and the salty tang of the profane. The sophomore effort from Gray\/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision.\u003c\/p\u003e\n\n\u003cp\u003eTo call this pair's brand of country-rock détournement \"cosmic\" would be too breezy: \u003cstrong\u003eL. Gray\u003c\/strong\u003e and \u003cstrong\u003eRob Smith\u003c\/strong\u003e prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings.\u003c\/p\u003e\n\n\u003cp\u003eFormed in the outeredges of Kings and Richmond counties circa 2020, Gray\/Smith is something of an East-Coast involution. \u003cstrong\u003eL. 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On the flip side, 'Verrazano Tile' and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune 'Guabi Guabi' is a bright Dead\/Feat-like jaunt with blissed-out wah-wah pay-off.\u003c\/p\u003e\n\n\u003cp\u003e'Gaslight Boulevard' is lean, mean, and eight-beers-in space rock, and the closing track 'Kekule's Ring' is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50526328553803,"sku":"2219043","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Gray_Smith_-_Heels_in_the_Aisle_LP_334966b0_thumbnail_4096.jpg?v=1728041753"},{"product_id":"neo-seven-2","title":"Neo Seven","description":"\u003cp\u003eNeo Gibson records, performs, and occasionally produces under the alias 7038634357. Their music is characterized by its formal precision, melodic structure, and an idiosyncratic emotional tenor built around loosely narrative compositional forms. \u003c\/p\u003e\u003cp\u003eUp until this point, it has been primarily self-released on small-batch CDrs and performed in intimate settings. Recorded entirely on their computer using digital synthesis and audio processing, Neo Seven is their first vinyl record, and could be considered their seventh album depending on where you begin amidst their prolific and fluid output. Within a runtime of just over thirty minutes, Neo Seven contains a spare, beautiful, and raw journey through the artist's emotive, psychologically-charged ambient songwriting. The album’s seven tracks bleed into and out of one another, continually forming and deforming between soundscape, song, and silence. \u003c\/p\u003e\u003cp\u003eThe record opens slowly with Winded, as brief intervals of soft noise, nearly indistinguishable from dust breeding on the turntable, gradually become the ground upon which harmonic form is built. As tones subtly shift across regular lulls of sound, one gets the sense they’re travelling amidst a pulsar in deep space. Neo’s heavily-processed melodies, gated regularly by silence, form the heartbeat of the record, creating an expansive field in which an interior, subjective journey takes place. Square Heart utilizes this motif to rhythmic ends, in what surprisingly develops into an achingly tender pop song, albeit one in which Neo’s robotic, heavily vocoded voice is distant, sullen, and mixed low. As each track explores its own interior logic, complex forms emerge out of simple structures, and layers of oscillations commingle and build upon one another. Rhythmic cuts of compressive texture begin to feel like meteors burning up in the atmosphere or hail upon the windshield. The record begins and ends with Neo’s slowly built-up waves of ambient harmony being cut by grating digital noise. On the final track, Perfect Night, beneath the thrashing, a song-form appears nearly inaudibly. Hidden beneath the noise, Neo’s voice bears a clarity and a softness that is revealed only momentarily, when the noise flitters out cinematically toward the end of the track.\u003c\/p\u003e","brand":"Blank Forms Editions","offers":[{"title":"Black LP","offer_id":50530429501771,"sku":"2029030","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7038634357_-_Neo_Seven_e80a8533_thumbnail_4096.jpg?v=1728078862"},{"product_id":"may-99-2","title":"May 99","description":"\u003cp\u003eIn the spring of 1999, Charles Curtis, Alan Licht, and Dean Roberts brought an unconventional mix of drone, improvisation, and experimental rock on an eleven-stop tour of Europe. 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Resynthese FAVN is a ten-CD box set and publication presenting a new realization of Florian Hecker’s 2017 thirteen-channel installation of the same name. First exhibited at Kunsthalle Wien in the exhibition “Halluzination, Perspektive, Synthese,” and elaborating upon ideas first presented in the 2016 project FAVN, the ten works that comprise Resynthese FAVN present iterations of a synthetic timbre produced using machine-listening processes of analysis and further resynthesis —the sonification of a machine caught in the act of listening to itself. Accompanying the audio are three booklets containing three new essays offering critical and historical context for the work, developed in collaboration with the British publisher Urbanomic. FAVN and its resynthesis point back to Stéphane Mallarmé’s 1876 poem “L’Après-Midi d’un Faun,” and its subsequent musical and choreographic interpretations by Claude Debussy and Vaslav Nijinsky. A faun, straddling reverie and reality, recounts a sensuous meeting with several nymphs. It is unclear whether the experience was an illusion; asks the faun, “Did I love a dream?” Hecker, in turn, asks listeners to examine their own sensory perceptions. What forms do our human minds make out of the algorithmic timbres and synthetic voices that unspool across the versions of Resynthese FAVN? Sound drags, ascends, chirps, warps, and growls with manic irregularity. Definite but indescribable differences emerge across the ten 53-minute tracks. Language occasionally emerging through a synthetic voice, sourced from a libretto written by Robin Mackay—proves unstable within the hallucinatory textures set loose by Hecker’s composition. As chimeric shapes materialize and fade away, one might further ask: are we listening for the faun, or do we become faun through listening? Across the three newly published essays, Quentin Meillassoux contextualizes the character of the faun in Mallarmé’s poem; Noé Soulier assesses the embodied translation of “L’Après-Midi d’un Faun” in Nijinsky’s 1912 ballet; and Han Han and Vincent Lostanlen consider the trajectory of timbre, from the enlightenment to our computational present. Florian Hecker is a German artist whose works across synthetic sound, installation, and performance consider sensory perception and the audience's auditory experience. 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