02 Sequenza II for Harp (1963) 03 Sequenza III for Woman's Voice (1965) 04 Sequenza IV for Piano (1965) 05 Sequenza V for Trombone (1966) 06 Sequenza VI (a) for Viola (1967) 07 Sequenza VI (b) for Cello (1981) 08 Sequenza VII (a) for Oboe (1969) 09 Sequenza VII (b) for Soprano Saxophone 10 Sequenza VIII for Violin (1976) 11 Sequenza IX (a) for Clarinet (1980) 12 Sequenza IX (b) for Alto Saxophone (1981) 13 Sequenza IX (c) for Bass Clarinet (1980) 14 Sequenza X for Trumpet in C and Piano Resonance (1984) 15 Sequenza XI for Guitar (1987) 16 Sequenza XII for Bassoon (1995) 17 Sequenza XIII for Accordion (1995) 18 Sequenza XIV (a) for Cello (2002) 19 Sequenza XIV (b) for Double Bass (2004)
Here's the third installment of the Complete Takemitsu Edition, courtesy of Enter the Mirror, where you will also find most of the first box. Many thanks to him/her and to Abelian as well for the notification. As you may remember, he provided links for the second volume.
01 Thomas Meinecke's Framus Waikiki – Jukebox 02 Autopoieses & Peter Fey – 5m³ Circles 03 Kim Cascone – Three Parasites For Deleuze 04 Taylor Deupree – Place 05 Øivinø Idsø – Shmmr 06 Stilluppsteypa – Unpredictable Drunkness Of Elves 07 Sony Mao – The Nature Of Operational Research 08 Ambarchi, Fennesz, Pimmon, Rehberg, Rowe – Untitled 09 Dean Roberts – The Cold Clear Surface 10 Terre Thaemlitz – Aunty Eddies's Pussy 11 Akira Rabelais – Saiyan Etude No. 6 12 Christophe Charles – Verena 13 Albrecht Kunze – Motion Control 14 Full Swing – Flimmer 15 Achim Wollscheid - All
I'd like to bring your attention to this mix (a real one, this time!) which Kangding Ray's David Letellier put together for MNML SSGS. Has anyone listened to OR yet? It's a beast of beats.
01 Steve Reich "Come out" + Rhythm & Sound "Outward" 02 Oneohtrix Point Never "Returnal feat. Antony (Fennesz Remix)" + Mark Fell "Multistability 1-B" 03 Deadbeat "Loneliness and Reverly" + These New Puritans "Drum Courts - Where Corals Lie" 04 CoH "Andante Facile" + Pole "Alles Klar" 05 Nam June Paik "My Jubilee ist unverhemmet" + Alva Noto "Future" 06 Ben Frost "Leo Needs A New Pair Of Shoes" + Ricardo Villalobos "Fools Garden (Black Conga)" 07 Ø "Ionos" + Emeralds "It Doesn't Arrive" 08 Richie Hawtin "00:24" (1.14 from Concept 1) + Deaf Center "Lobby" 09 Various Production "Infinity (xx cover)" + Senking "Breathing Trouble" 10 Pomassl "Tandem Distiller" + Lissom "Bask" 11 Fever Ray "If I Had A Heart (Fuck Buttons Remix)" + Ital Tek "Tokyo Freeze (Remix)" 12 Codes in the Clouds "The Distance Between Us (Nils Frahm Remix)" + Vex'd "Slime"
(Just a quick note for one of my readers who's been requesting the Kenrimono record (and anyone who's interested in it, for that matter): I assume you've already seen this by now since it's in your blogroll, but you can find it over at Corrupted Delights. Had no luck with the Frequency Conquistadors so far, though. I'll try and get some new music up of my own by tomorrow; apologies again for the lack of updates.)
01 .D/Kompiila; 02 Kohde; 03 Ele; 04 Prostitute/One's Groove; 05 Heille ei Annettu Mitään; 06 Untitled #2 (from Entain); 07 Summer (They Can't See Us in the Dark) Delay Configuration 1; 08 Dutchwallpaper; 09 Sample from Wim Wenders' "The End of Violence"; 10 Lunni (Bring the Voodoo Down/Social Children/Big Hearts Come Later)
for large orchestra, vocal and electronic sounds on 4-channel tape
In Schwarze Halbinseln ("Black Peninsulas", 1982), Höller sketche[s] in dark hues a large tableau of oceanic-atmospheric sound landscapes. He orient[s] himself here on structures of speech rhythm, expressive gestures, and poetic images from the poem Die Nacht ("The Night") by the impressionistic lyricist Georg Heym. At the beginning, above a cluster-like pedal point of electronics and low strings, lies the poem, whispered and modified to the point of unintelligibility by a woman’s voice, along with eerie women’s choruses and irreal bell sounds seemingly from distant islands. The linguistic material of the text is consistently musically transformed into a “sound poem,” and becomes intelligible only toward the end. In a letter to Höller, Karlheinz Stockhausen, the work’s dedicatee, showed himself impressed by the “rich coloring” and “broad temporal shaping.” (source)