fine noise and light
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.
AVAILABLE NOW ~
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,
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.
AVAILABLE NOW ~
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
"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,
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
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.
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, StylusMagazine.com
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
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
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