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fine noise and light

January 2007
chloe007: "My Heart of Sugar" Limited edition hand-sewn bag containing CD-R

The Sun is an Orange Cookie

The first solo album by TSiaOC (aka Linda Gale Aubry) is a slippery-sweet meeting of numerous flavors. Minimal electronics overgrown with flowers and moss; field recordings of celebrations seen through a warbling lens of lush synthesizer. This release represents an exciting new direction for Chloë Recordings. A limited edition of 36 hand-stitched bags, made from vintage and unusual fabric. Each bag is completely different and never to be repeated, and each contains 7 full-resolution tracks on CDR. $25 plus shipping.

All tracks also available as a free download. Yes, that's right - you can get mp3s of all this music for free to keep. (They won't be around forever.) Get them here, then when you can't stand the sweetness and you just need some more, order the special limited edition hand-sewn bag with CD-R.

Pancake Alley


chloe006: "Red Room" by Jason Kahn and Jason Lescalleet.

Chloë Recordings announces the first collaboration between Jason Kahn and Jason Lescalleet, a live performance from the famed Red Room in Baltimore, MD.

Jason Kahn, a native of Los Angeles who lives in Switzerland, has been in overdrive recently, putting out new recordings both solo and in collaborations on a wide range of labels (including his own, Cut), and performing all over the world. Jason Lescalleet of Maine is one of the most unique composers and performers in electronic music; on stage he creates textures of unbelievable sensitivity and power using old reel-to-reel tapes and Casios, while creating mastering magic both for his own recordings and for others.

This disc contains some of the warmest music I've heard. It wraps you in a sound blanket you won't want to shake off. It's a message of love to the Red Room and the people who fill it.

Heart photograph by Mike Bullock; all other photos by Jason Lescalleet. Jacket design and liner notes by Mike Bullock.


Pancake Alley


chloe005/champ05: "Pancake Alley" by United States of Belt.

Chloë Recordings and Champ Records (of Troy, NY) have teamed up to present the third release from United States of Belt and the first split release for either label.

"Pancake Alley" is a 40 minute sound collage composed of field recordings made around the USA between 1999-2004. The sounds are unmistakably American; the aesthetic, uniquely Beltian. The result is somewhere between a mythic tall-tale and a dream of wandering, as vast and colorful as crossing America in a 1972 Airstream Excella.

The CD comes packaged in a lushly printed, heavy-stock paper package (with insert) that is itself a work of art: brightly painted signs, fantasy images from youth, and photographs of far-away familiarity. Images and design by US of Belt; cover painting by Mr. Joe Signs that Go.



chloe003: "Fall of Song" Vic Rawlings ~ cello, circuits and speakers; Mike Bullock ~ contrabass, tone generator.

This disc was recorded in an antique wooden gymnasium last winter, where it was so cold we couldn�t feel our hands. Vic plays amplified cello and a rack of electronics he (re)built himself out of exposed circuit boards and salvaged speaker cones. Mike plays amplified contrabass and a tone generator originally made for scientists. The result is an unbelievably stark sound world utterly alienated from the glib fluidity usually associated with bowed strings. The pieces on 'Fall of Song' are by turns deep-frozen and blisteringly hot. The rhythms are those of hands moving over a workbench or methodically slashing tires.

After playing in various bands together since 1996, Rawlings and Bullock first played as a duo in summer 2000. They will be touring France and the Netherlands in October 2003 in support of �Fall of Song.�


chloe004 - Dans La Montage (Ki Ken Ta�)

chloe004: "Dans La Montagne (Ki Ken Ta�)" 3-inch CD. Lionel Marchetti ~ musique concrète from 1996.

This piece dates from 1996 and is a complement to Lionel's acclaimed 3" CDs on Metamkine from the same era. It's 12" long and it will make your hair stand on end. It's based on the sounds of Kendo, the Japanese art of swordplay (though in this case, the sounds come from students using bamboo rods instead of swords).

"In the mountain, the art of gesture and cry searches for the breathable height of an unblocked space: It's a pulp made in the combative heat of a bamboo reed. This space, delineated and open by sound, allows me to live in the game of its depths and surfaces, of its raucous materials, of silence and of shouting, of the colors of a body escaping in a breath...Raining sky beneath a tireless sun." - Olivier Capparos

("Dans la montagne, art du geste et du cri recherchant la hauteur respirable d'un espace sans entrave : c'est une pulpe fa�onn�e dans la chaleur combative du roseau. Cet espace dessin� et ouvert par le son me rend habitable le jeu de ses profondeurs et de ses surfaces, de ses mati�res rauques, de silence ou de cri, des couleurs d'un corps s'�chappant dans un souffle. �ciel pluvieux sous un soleil infatigable.")


chewtoy001: "breakfast," The Please. Linda Gale Aubry ~ harp, electronics Mike Bullock ~ tone generators, microphones; Brendan Murray ~ samplers, The Canary.

The Please is the sweet potato pie of the electronics world. The musicians play with an awareness of texture and scale, and wrap it all up with a sharp sense of humor.


chloe002: "Metro Pre Saint Gervais," Dan Warburton, violin; Jean-Luc Guionnet, alto sax; Eric La Casa, microphones.

Late in the evening of July 10th 2001,Dan Warburton took Jean-Luc Guionnet and Eric La Casa down into the depths of Pré Saint Gervais, a Metro station in the quiet north-east of Paris. Following no pre-determined plan, the three musicians - Warburton on violin, Guionnet on alto sax, La Casa on portable DAT recorder with stereo boom mic - explored the acoustics of the station, riding the elevators, taking the stairs, producing a rich and fascinating sonic map of the space through environmental improvisation. "Metro Pré St Gervais" is a unique and remarkably accessible aural document of free improvisation and sound art.


chloe001: "Initial," Mike Bullock, solo contrabass.

Different spaces call for different kinds of playing. On the first track, recorded in Montréal, the patrons of the club barely notice the amplified contrabass feeding back as mike attempts to 'steer' the feedback rather than maintain complete control. On the second track, recorded in a bookstore in Baltimore, the human is in charge again, playing a purely acoustic set, driven by hyperagressive bowing.


New Press.

About "Red Room": Red is supposed to have the lowest frequency in the spectrum of visible light. Recordings of the audience are deliberately left inside this recording, and form with the density of the music one thick warm blanket... What it is exactly it's hard to say. It bears resemblance to many different things (ambient, improvisation), but it simply defies these descriptions and moves in perfect isolation itself. Great, thick air. -Frans de Waard, Vital Weekly About "Pancake Alley": For anyone who thinks modern experimental music has pushed itself too far into academia or esoteric noise, this album could single-handedly restore your faith. Beautiful, picturesque and full of emotion; Pancake Alley has almost everything that would win over a typical rock fan. Cue �Star-Spangled Banner�, fade to black. -Mike Shiflet,

About "Fall of Song": [Rawlings and Bullock] trade miniature feedback spikes and various scrapings, bangings and silences so deep and wide you could steer a submarine through them. - Keith Moline, The Wire This disc has endless ripples of what so many electric improv records (hell, so many records) tend to lack: inflection. - Brendan Murray About "Intial": Bullock entices microscopic bits of food into his vicinity by waving his bow, creating a puddle overflowing with fluttering multiphonic discontinuities and small, hard growths of string irritation. - Alessandro Moreschi III, Bananafish About "breakfast": Carefully constructed sounds, small, sometimes inaudible but with a poetic touch... like a rough edged version of Alvin Lucier's sinewave pieces, not composed but loosely improvised. A nice small set of contemplations. - Frans De Waard About "Metro Pre Saint Gervais": This "environmental" music makes an interesting (and beautiful) study in advanced counterpoint: a counterpoint of proximities whose reverberant characters announce themselves subliminally yet resoundingly, and the temporal counterpoint between the slow, patient music makers and the spasmodic infusions of commuters and the trains that disgorge them. - Tom Djll, THE WIRE