tag:blogger.com,1999:blog-48172657128912318902024-03-26T00:33:15.650-07:00PRISMA RECORDSVinyl/CD//DVD/DL label dedicated to releasing music performed and recorded at the Henie Onstad Kunstsenter, Høvikodden, Norway.
Initiated and run by music curators Lars Mørch Finborud and Lasse Marhaug between 2008-2016.
Most releases are available on digital platforms. Contact Henie Onstad Kunstsenter regarding physical format.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-4817265712891231890.post-58591923047973314892015-04-19T12:07:00.000-07:002015-04-21T11:57:40.298-07:00New release: FAMLENDE FORSØK: Washing China LP<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">PRISMALP006<o:p></o:p></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;">Famlende Forsøk: Washing China</span><o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Vinyl LP.
Released May 2015.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prisma
Records is proud to release the new album “Washing China” by the infamous
Norwegian experimental band Famlende Forsøk.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Famlende
Forsøk was formed in 1981 and came out of the scene around the cassette label SHiT
Tapes from the </span><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Courier;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Arendal</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> area in the south of Norway. The original line-up
stands today: the duo of Lumpy Davy and ChrispH creates the music and
intergalactic poet Brt provides his vocals with highly idiosyncratic lyrics.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Famlende
Forsøk’s music draws influences from several sources – coming out of late 70’s
industrial noise/cut-up experimental music they fuse their sound with equal
parts psychedelia, progressive rock, free jazz, minimalism, ambient, Norwegian
folk and eastern classical music. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In
contrast to their </span><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Courier;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">contemporaries</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> who churned out releases, Famlende Forsøk are
known to take their time – even their early cassettes were meticulous put
together with a careful attention to detail. In fact, in their 33 years “Washing
China” is Famlende Forsøk’s third LP – following “Art Transmutatoria” from 1990
and “One Night I had a Frightful Dream” (a concept album dedicated to
H.P.Lovecraft) from 2001. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In 2009
Famlende Forsøk were invited to perform at Henie Onstad Kunstsenter. The band
chose to present new material and the concert was recorded. Then followed a
period of five years of studio post-production in which the live recording
provided the backbone to what is now ready as their new album: “Washing China”.
The process of finishing the album was so complex that engineeer and producer
Cato Langnes became a new member of the band. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“Washing China” is unmistakenly Famlende Forsøk –
layers of acoustic and electronic instruments are carefully waved together
creating rich </span><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Courier;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">atmospheric</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> and bizarre music of great depth. Brt’s lyrics are in
Norwegian, but the album provides extended translations and footnotes in
English, providing some guidance into the world of Famlende Forsøk for non-Norwegians.</span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHIUTHiFUp2QeHGzmhh8ZAvZXgE-ZObs-HyP7ShZj0IuIdoZx1pLSXggPssQY-FrqC2DLU-NgulmbakKHUswktArfdhDicq_mORjZEwCtx8IKxUBE_7cBn2Xo84ZNEBq5TmEOhkqyEoEc/s1600/PRISMALP005_COVER.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHIUTHiFUp2QeHGzmhh8ZAvZXgE-ZObs-HyP7ShZj0IuIdoZx1pLSXggPssQY-FrqC2DLU-NgulmbakKHUswktArfdhDicq_mORjZEwCtx8IKxUBE_7cBn2Xo84ZNEBq5TmEOhkqyEoEc/s1600/PRISMALP005_COVER.jpg" height="636" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">PRISMALP005<o:p></o:p></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Thurston Moore & Mats
Gustafsson: </span></b><br />
<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Live at Henie Onstad Kunstsenter<o:p></o:p></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Vinyl LP.
Released May 2015<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Prisma
Records are proud to release a limited edition vinyl LP that documents a
concert of two giants of the improvised music field. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Thurston
Moore’s résumé is monolithic – with his band Sonic Youth and as a solo artist
few people has had the same impact on music in the last 35 years. Moore has
been instrumental is building bridges between the mainstream and underground
experimental music. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Coming
out from the jazz scene, Mats Gustafsson holds a similar position, with endless
projects, collaborations and three decades of non-stop touring, recording and
performing.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The duo
have collaborated several times before, starting with Sonic Youth’s participating
in Gustafsson’s Hidros project in 2000 and continuing with the Discaholics
Anonymous Trio and Original Silence projects. Gustafsson has also guested with
Sonic Youth and Moore with The Thing. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the
sunny Sunday afternoon June 9th 2013 the pair performed on Henie
Onstad Kunstsenter’s outdoor stage. Not thrown off by the scenic and leisure
setting, Gustafsson and Moore dived into a monolithic noise set that was so loud
it could be heard across the Sandvikbukta bay.
<o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">The LP is limited to 300 copies.</span></div>
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<br /></div>
<!--EndFragment-->Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com6tag:blogger.com,1999:blog-4817265712891231890.post-7359609078642637142014-12-19T00:03:00.004-08:002015-03-23T13:14:59.259-07:00Arne Nordheim / Deathprod split 7" single out now<div class="separator" style="clear: both; text-align: center;">
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<h4>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wdZGMAk6WOpdcCslCVrhrRmxpPopxswgGtvK4JsPO-5O5eaEZgP23V2O5YTssoN2PdxiKSI3CzFtCXr4W71K4PZ4InegRBlbA14VmZFipdFMkRbftwEq4IfOsjh4oFTjNTAegQH8lrU/s1600/15710476589_8ef091acf1_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wdZGMAk6WOpdcCslCVrhrRmxpPopxswgGtvK4JsPO-5O5eaEZgP23V2O5YTssoN2PdxiKSI3CzFtCXr4W71K4PZ4InegRBlbA14VmZFipdFMkRbftwEq4IfOsjh4oFTjNTAegQH8lrU/s1600/15710476589_8ef091acf1_o.jpg" height="640" width="640" /></a><br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<strong><div style="text-align: left;">
<strong>ARNE NORDHEIM</strong></div>
</strong><strong><div style="text-align: left;">
<strong>A Forum for the Arts (1969)</strong></div>
</strong><div style="text-align: left;">
Taken from the soundtrack to A Forum for the Arts – a promotional film about Henie Onstad Kunstsenter directed by Pål Bang-Hansen in 1970. Original material recorded in Studio Eksperymentlne Warsaw, 1969. Edited and reconstructed by Helge Sten at Audio Virus Lab, 2012. Licensed by Rannveig Getz</div>
<div style="text-align: left;">
<br /></div>
<strong><div style="text-align: left;">
<strong>DEATHPROD</strong></div>
</strong><strong><div style="text-align: left;">
<strong>Studio (2010)</strong></div>
</strong><div style="text-align: left;">
Taken from the sound and light installation <em>Studio</em> commissioned for the John Cage – The Anarchy of Silence exhibition at Henie Onstad Kunstsenter, 2010. Recorded and produced by Helge Sten.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Cover photo by Lars Mørch Finborud</div>
<div style="text-align: left;">
Art Direction by Lasse Marhaug</div>
<div style="text-align: left;">
Special thanks to Rannveig Getz</div>
<div style="text-align: left;">
Masterd by Helge Sten</div>
<div style="text-align: left;">
Cut by Rinus Hooning at Record Industry</div>
<div style="text-align: left;">
Prisma Records 2014</div>
<div style="text-align: left;">
Available from:<a href="http://www.hok.no/arne-nordheimdeathprod-7-singel.5633433-174448.html" target="_blank"> http://www.hok.no/arne-nordheimdeathprod-7-singel.5633433-174448.html</a></div>
</h4>
Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-86989732719818719712013-08-29T01:25:00.001-07:002013-08-29T01:27:22.482-07:00New release: ARNE NORDHEIM: Selected Works for Television 1967-1974 [DVD]<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">Arne Nordheim (1931-2010) is widely regarded as Norway’s best-known composer after Edvard Grieg. But did you know that he was a multidisciplinary artist and that his work inspired several of the country’s greatest visual artists?</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Arne Nordheim’s art extends way beyond the confines of music. Throughout his life, he also worked closely with other art forms, such as theatre, fine arts, ballet, film, literature, architecture and installation art. In 1955, a journalist asked the young, up-and-coming composer: “What about the present, the future and -isms?” Arne Nordheim replied confidently: “No -isms for me, please!”</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">This DVD-release shows how Nordheim’s 50-year long multidisciplinary and ground-breaking career lived up to this motto and established him as a key figure of Norwegian, post-war art. This is the first opportunity to see his pioneering works in the field of television art created in collaboration with Norwegian visual artists such as Per Kleiva and Rolf Aamot, and known NRK (Norwegian Broadcasting Bureau) technicians and directors such as Ole Henrik Moe, Stein-Roger Bull and Rolf Clemens. The DVD also includes the hour-long documentary Occupation: Composer, a film about Arne Nordheim made by Istvan Korda Kovacs in 1974.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The DVD accompanies the exhibition Arne Nordheim in the world of arts: No “-isms” for me, please! shown at Henie Onstad Kunstsenter August 22th 2013 – January 12th 2014.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">This release is supported by The Freedom of Expression Foundation Oslo and The Norwegian Society of Composers.</span><br />
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<!--EndFragment-->Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-72168559522488657162013-08-28T05:00:00.001-07:002013-08-28T05:03:46.260-07:00New release: CAMILLE NORMENT: Toll CD<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxVCaIiAsjIOZ-ack3_a-eo2nJTvnHNPa1zs7BVCidSdHDZt8SPendsnh_7qPXlg0RgI5B48ZvX6b9tRAfi3_2xH_ZgRJHzDcczdv8euxWCZMlOBuIuQLOPkCZ6ddhZ4WC5z3_GNjaTMM/s1600/camillenorment.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxVCaIiAsjIOZ-ack3_a-eo2nJTvnHNPa1zs7BVCidSdHDZt8SPendsnh_7qPXlg0RgI5B48ZvX6b9tRAfi3_2xH_ZgRJHzDcczdv8euxWCZMlOBuIuQLOPkCZ6ddhZ4WC5z3_GNjaTMM/s320/camillenorment.jpg" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><b>Camille Norment - Toll</b></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">PRISMACD717</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Releasedate: September 9th 2013</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Distributed through Musikkoperatørene, Forced Exposure, F-Minor, iTunes and Spotify</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Camille Norment (b. 1970) is an American born artist, composer and musician living and working in Norway. For her debut album Toll she assembled an ensemble consisting of electric guitar, Norwegian hardingfele, and the rare glass armonica to explore the instruments’ collective sensual and contextual psychoacoustics.<i><span style="font-size: small;"> </span>Toll</i> resonates through a tantalizing union of its instruments’ voices and their often paradoxical cultural histories. Each of the instruments were simultaneously revered and feared or even outlawed at various points in their histories.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">In a slipstream of warping time and abrasive textures, the music levels ‘beauty’ with ‘noise’, and the consonant with the dissonant, as it embraces scratches, squeals, and taunting microtones as equals to purest of tones. Forming earworms and wooing songs, simple melodic phrases reference one another throughout the tracks - the echo is like the conjuring and re-forming of a memory that is at once psychological and somatic.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><i>Toll</i> was recorded at the Henie Onstad Kunstsenter in Norway during the crystalline resonance of 18-21 February 2013. Besides Camille Norment the album feature the musicians Håvard Skaset and Vegard Vårdal.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">The album is released by Henie Onstad Kunstsenters label Prisma Records.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">For more info go to www.prismarecords.blogspot.com and www.hok.no</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Tracklist:</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">1. Toll</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">2. Lyst</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">3. Glare</span><br />
<br />Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-40750764630627786562013-06-21T00:34:00.000-07:002013-06-21T00:34:02.897-07:00Hal Clark-related photos from Henie Onstad Kunstsenter<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmE5mJ4VZzfCpEfhQftQuEJMraRxJDS9gRmZAwuSvDFFETyJZxyrwtufOdVtXGXxZu4vYyxPY4KKyn1-JlRyWeL_ltgo21X-vSrqtzkxTCla3gS2dYv2r8X7XFvl67jvOvl4V6ej7gnA/s1600/H%C3%B8vik+Ballett+and+Hal+Clark,+performance+in+relation+to+an+Olav+Str%C3%B8mme+exhibition,+1971.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTmE5mJ4VZzfCpEfhQftQuEJMraRxJDS9gRmZAwuSvDFFETyJZxyrwtufOdVtXGXxZu4vYyxPY4KKyn1-JlRyWeL_ltgo21X-vSrqtzkxTCla3gS2dYv2r8X7XFvl67jvOvl4V6ej7gnA/s400/H%C3%B8vik+Ballett+and+Hal+Clark,+performance+in+relation+to+an+Olav+Str%C3%B8mme+exhibition,+1971.jpg" width="400" /></a></div>
<br />Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-77078156520691061372013-05-30T06:03:00.002-07:002013-05-30T07:55:02.905-07:00New release: HAL CLARK: Electro-Acoustic Works 1974–75<!--[if gte mso 9]><xml>
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<span style="font-family: Arial, Helvetica, sans-serif;">Hal Clark – Electro-Acoustic Works 1974-75</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">PRISMACD716</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Release date: July 1st 2013</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Distributed by Musikkoperatørene</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Digital: iTunes, Spotify, Wimp</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"> Composer, sound designer and curator/researcher Harold (Hal) Clark moved to Norway from San Francisco in the early 1970s to carry on his musical studies and career. In 1972 he was hired as a producer and tonmeister at the Henie Onstad Kunstsenter at Høvikodden, Norway. Here he co-founded the Norwegian Studio for Electronic Music (NSEM) together with the late composer Arne Nordheim (1931-2010). </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Meeting with young Norwegian composers in regular salon-workshops and bringing with him the influences of the renowned San Francisco Tape Music Centre (studied with Robert Erickson), Harold commissioned technology artist Don Buchla to incorporate his series 502 digital-analog hybrid electronic instrument design into the completion of the NSEM studio in 1974. It was considered one of the foremost advanced instrument inventions at the time. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Henie Onstad Kunstsenter and Harold Clark have now collaborated to publish his works from this period as a legacy project. Part of Harold’s electro-acoustic repertoire is exhibited with the release of this CD, capturing the essence of NSEM while revealing some of the composer’s musical character.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Harold Clark left Norway after 10 years and now lives in Vancouver, Canada, where he is writing a book on the ecology of contemporary music composition and the possible extinction of the modern composer as a socially relevant phenomenon in a world of corporate media.Prisma Records and HOK are proud to present this unknown hidden gem in the history of Norwegian and Canadian electronic and avant-garde music.</span></div>
<!--EndFragment-->Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-19828021184424199862012-10-19T23:55:00.003-07:002012-10-20T00:05:57.661-07:00New release: various "I WANT THE BEATLES TO PLAY AT MY ART CENTER!" [DVD]<div class="separator" style="clear: both; text-align: center;">
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Video From the Henie Onstad Kunstsenter Archives 1968-2011</div>
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Releasedate October 29, 2012</div>
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Artists: John Cage, Kjartan Slettemark, KILLL, Arne Nordheim, Stephen O`Malley, Mauricio Kagel, MoHa!, Christopher Nielsen/Masselys, Stian Skagen & Monica Winther.</div>
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This DVD presents seminal works of music, performance, dance, theater and installation art from the nearly 50-year history of Henie Onstad Kunstsenter (HOK). When HOK founder Sonja Henie exclaimed that she wanted the Beatles to play at her art center, in essence she expressed its founding ambition to produce and stage a lively cross-artistic program that captured the contemporary spirit of the day in live form. This release is filled with previous unreleased material from HOKs history, and shows for the first time Kjartan Slettemark dressed up as a poodle in 1975, Mauricio Kagels commisioned piece EX-POSITION from 1978, and the brilliant recording of John Cage reading Muoyce in 1983.</div>
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"And now we take the first step into the future." Former director Ole Henrik Moe added this bold statement when HOK opened its doors to the public in 1968. The museum of the future at Høvikodden would position dynamic time-based art alongside its collection of modernist masterworks of paintings and sculpture ,demonstrating how the various forms art elaborate and collaborate with each other. Instead of expanding its art collection, the majority of HOK’s budget would go to events and exhibitions, to the production of new time-based works, and not least, to document ephemeral art. </div>
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I Want the Beatles to Play at My Art Center! presents a small selction from Henie Onstad Kunstsenters videoarchives. The DVD contains a newly restored version of Pål Bang-Hansens promotional feature A Forum of the Arts from 1969 where amongst others Arne Nordheim performs his commisioned work for HOK Solitaire. For the first time one can see how the Norwegian Studio for Electronic Music looked like in 1975 and view an excerpt from Terje Rypdals opera Orfeus vender seg og ser på Eurydike. In addition the DVD contains more recent productions with artists like MoHa!, KILLL, Stephen O`Malley and Christopher Nielsen/Masselys.</div>
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This release accompanies the exhibition I Want the Beatles to Play at My Art Center! – Tidsbasert kunst ved HOK 1968-2011 opening October 28th at HOK with performances by Deathprod and Nils Bech. In relation the book Mot det totale museum is published by Forlaget Press together with a 2LP on Prisma Records. The exhibition and releases are curated by Lars Mørch Finborud.</div>
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<!--EndFragment-->Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com2tag:blogger.com,1999:blog-4817265712891231890.post-89228791691787395722012-10-19T23:47:00.001-07:002012-10-19T23:52:36.968-07:00New release: various "I WANT THE BEATLES TO PLAY AT MY ART CENTER!" [2LP]<div class="separator" style="clear: both; text-align: center;">
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<i>-</i> Music From the Henie Onstad Kunstsenter Archives 1968-2011</div>
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Releasedate October 29, 2012</div>
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This 2LP presents seminal works of music from the nearly 50-year history of Henie Onstad Kunstsenter (HOK). When HOK founder Sonja Henie exclaimed that she wanted the Beatles to play at her art center, in essence she expressed its founding ambition to produce and stage a lively cross-artistic program that captured the contemporary spirit of the day in live form. This release is filled with previous unreleased material recorded at HOK by artists such as Jim O`Rourke, Deathprod, Arne Nordheim, Soft Machine, John Cage and Jenny Hval.</div>
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"<i>And now we take the first step into the future.</i>" Former director Ole Henrik Moe added this bold statement when HOK opened its doors to the public in 1968. The museum of the future at Høvikodden would position dynamic time-based art alongside its collection of modernist masterworks of paintings and sculpture, demonstrating how the various forms art elaborate and collaborate with each other. Instead of expanding its art collection, the majority of HOK’s budget would go to events and exhibitions, to the production of new time-based works, and not least, to document ephemeral art. </div>
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<i>I Want the Beatles to Play at My Art Center!</i> presents a small selection from HOKs vast sound archives. For the first time one can hear excerpts from Kåre Kolberg and Paal-Helge Haugens commisioned work <i>Rekviem for Janis Joplin</i> from 1972, Håkon Kornstad improvising in 2012, Hal Clark playing the legendary Buchla-synthesizer in The Norwegian Studio for Electronic Music in 1975, and Soft Machine at its prime in 1971 with Robert Wyatt on drums. The LP also contains commisoned works by Jenny Hval, Deathprod, Lasse Marhaug and Jim O`Rourke, all produced by HOK over the last years. Other artists represented on the 2LP are Bjørn Fongaard, The Aller Værste!, Svein Finnerud Trio, Sigurd Berge and Spontaneous Music Ensemble. </div>
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This release accompanies the exhibition <i>I Want the Beatles to Play at My Art Center! – Tidsbasert kunst ved HOK 1968-2011</i> opening on October 28th at HOK with performances by Deathprod and Nils Bech. In relation to the exhibition the book <i>Mot det totale museum</i> is published by Forlaget Press, together with a DVD on Prisma Records. The exhibition and releases are curated by Lars Mørch Finborud.</div>
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Side A<br />
1. Arne Nordheim – A Forum of the Arts (1969)<br />
2. Sigurd Berge – Excerpts from Blikk (1970)<br />
3. Bjørn Fongaard - The Space Concerto for Piano and Tape (1971)<br />
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4. Soft Machine – Teeth (1971)</div>
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5. Spontaneous Music Ensemble – Norway (1971) <br />
6. Paal-Helge Haugen & Kåre Kolberg – Excerpts from Requiem for Janis<br />
Joplin (1972)<br />
7. Svein Finnerud Trio – Olga (1974)<br />
8. Hal Clark – The Monkey and Organ Grinder (1975)<br />
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9. The Aller Værste! - Dans til musikken (1980)<br />
10. John Cage – Excerpts from Muoyce (1983) <br />
11. Magne Hegdal – Music for Marcel Duchamp (1983)<br />
12. Lasse Marhaug – Ear Era 7 (2008)<br />
13. Jim O`Rourke - Aunt Esther (2010)<br />
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14. Deathprod - Studio (2010)<br />
15. Håkon Kornstad – Improvisations for Karin (2011) </div>
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16. Jenny Hval – You sign your name (2012)</div>
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Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-8790922595377911702012-10-17T14:21:00.003-07:002012-10-17T14:21:20.793-07:00New release: OREN AMBARCHI / JAMES RUSHFORD: Wreckage [LP]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPMfu85vQHK2o69V7Tex4lkVdVxLTJawuI_5m5DhVbFKxjCFOmtIXTVtlv-AAaP-Pn8elOfyrnmJui8peRs3AvjyOCve2CRM_tcokrDCfRBvTI6ibYIhqK5OVkoPKJXbFvGlav3zoPtzU/s1600/oren.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPMfu85vQHK2o69V7Tex4lkVdVxLTJawuI_5m5DhVbFKxjCFOmtIXTVtlv-AAaP-Pn8elOfyrnmJui8peRs3AvjyOCve2CRM_tcokrDCfRBvTI6ibYIhqK5OVkoPKJXbFvGlav3zoPtzU/s640/oren.jpg" width="632" /></a></div>
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<i>Wreckage</i> presents a collaborative work jointly composed by Oren Ambarchi and James Rushford (originally commissioned for the Ultima Contemporary Music Festival at Henie Onstad Kunstsenter and premiered by Ensemble Neon) for their own instruments (piano and electric guitar) and a small chamber ensemble, performed here by an ensemble of leading lights in Melbourne’s experimental and new music communities. Rushford’s piano gently ushers the listener though a series of tonally ambiguous environments, building up unified textures through irregular iterations of small melodic and harmonic units. While the integration of Ambarchi’s spectral processed guitar (which gradually climbs to the foreground as the piece progresses) with the acoustic instrumentation recalls the late works of Luigi Nono, and the way the timbral lushness of the chamber group is tempered by never resolved harmonic tension seems to draw on Feldman’s work of the early 1970s, <i>Wreckage</i> also gestures towards the melancholic, intuitive minimalism of Luciano Cilio and Giusto Pio and the wandering melodicism of Aldo Clementi. The lushness of the instrumental textures employed and hints of almost-direct melodicism ensure the piece is approachable and immersive; but the ever-shifting harmonic foundations and complex interplay between voices ensures that it remains somewhere beyond the listener’s grasp, in a paradoxical state of simultaneous movement and stasis. <br />
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Limited edition of 400 copies. Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com1tag:blogger.com,1999:blog-4817265712891231890.post-20976127125891532112012-08-22T03:17:00.000-07:002012-10-17T14:25:50.251-07:00New release: VAR. ARTISTS: POPOFONI [2LP]<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LJnQdtcHtKYIRwwLIwjEXeIgu1cUL05Lu07EtpJrJ4G6UntnS-As_d6mGOxqf3N0Xksbng5QpsManH9tTsG2k_gqyzs1CS9E5VmFx5Qc24FV-KbFTQttf2nayDQZCsZecKaUWgyQO0o/s1600/Popofoni.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LJnQdtcHtKYIRwwLIwjEXeIgu1cUL05Lu07EtpJrJ4G6UntnS-As_d6mGOxqf3N0Xksbng5QpsManH9tTsG2k_gqyzs1CS9E5VmFx5Qc24FV-KbFTQttf2nayDQZCsZecKaUWgyQO0o/s640/Popofoni.jpg" width="640" /></a></div>
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This 2LP is a reissue of the holy grail of Norwegian free-jazz and electronic music, <i>Popofoni</i>, released by Sonet in 1973. It features compositions by Arne Nordheim, Terje Rypdal, Kåre Kolberg, Gunnar Sønstevold and Alfred Janson played by an extended Jan Garbarek Quintet. </div>
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<span class="Apple-tab-span"> </span>The <i>Popofoni</i>-project was initiated after a heated debate on Haagen Ringnes’ TV-show <i>Åpen Post </i>in autumn 1969, which dealt with the subject popmusic. Standing on one side you found the defenders of pop, actress and singer Elisabeth Grannemann, comedian and record producer Rolv Wesenlund and artist and record label owner Arne Bendiksen – who defended his 1969 Eurovision winner <i>Oj oj oj så glad jeg skal bli</i>. In the other corner was the “cultural elite” represented by literature researcher Erling Nielsen and pianist and Beethoven-expert Amalie Christie. Both sides expressed grave concerns about that their opponent’s music impaired their listeners abilities. During the broadcast, Grannemann performed a parody of an avant garde-composition which included throwing dishes and yelling, with direct reference to composer Arne Nordheims music. Some weeks later Nordheim picked up the handkerchief and responded by composing a pop song with avant garde qualities, <i>Solar Plexus</i>, performed by an expanded Jan Garbarek Quartet. Because of the great media attention this quarrel attracted, the organization Ny Musikk (IRCM) and Henie Onstad Kunstsenter decided to ask the experimental composers Kåre Kolberg, Alfred Janson, Gunnar Sønstevold, Terje Rypdal and Arne Nordheim to write new compositions in the meeting point be- tween pop and avant garde – hence the name <i>Popofoni</i>. </div>
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<span class="Apple-tab-span"> </span>The result was performed at a concert at the art centre in april 1970 and later documented on a double LP release on Sonet in 1973. It was pressed in 500 copies, and is now one of Norway’s rarest records.</div>
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This reissue is produced by Lars Mørch Finborud and Lasse Marhaug for Prisma Records, 2012. <span class="s1">The release comes in a limited edition of 500 copies,</span></div>
Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com1tag:blogger.com,1999:blog-4817265712891231890.post-74478104031177591572012-08-22T03:12:00.003-07:002012-10-17T14:26:00.184-07:00New release: KÅRE KOLBERG: ELECTRONIC WORKS 1970-1973 [LP]<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWU3ikTkZ75djkbN5q1jfAJul42j1sE50OFVBB1Wjp4SoahDIy0Nl7Wf74IU8-uzHfGNlHJRfHcKnaSJa9urmhBYhpJmuySQ_2-966Dqt0H_cqfudl-Q2JyzSNngJWaue2Mq4wxldKSD8/s1600/kolberg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWU3ikTkZ75djkbN5q1jfAJul42j1sE50OFVBB1Wjp4SoahDIy0Nl7Wf74IU8-uzHfGNlHJRfHcKnaSJa9urmhBYhpJmuySQ_2-966Dqt0H_cqfudl-Q2JyzSNngJWaue2Mq4wxldKSD8/s640/kolberg.jpg" width="636" /></a></div>
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Kåre Kolberg (b.1936) is one of Norway’s foremost contemporary composers and is regarded as one of the pioneers of early electronic music and cross-disciplinary art in Scandinavia. He has composed music for film, theatre and chamber orchestras to jazz acts such as Svein Finnerud Trio and Jan Garbarek. This LP contains three early electronic pieces by Kolberg and comes in a limited edition of 300 copies. </div>
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<b>NOVA </b></div>
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The electronic tape composition <i>Nova </i>was made by Kåre Kolberg for the visual artist Anders Kjær’s multimedia-installation of the same title, exhibited at Henie Onstad Art Centre between 2–22 of august in 1972. The installation included a specially designed light-show and music playing from tapemachine in a loop – blended together with a huge 13x19 meter installation consisting of glass, rubber tires and piles of paper that the audience could walk through. Nova dealt directly with contemporary society’s destruction of nature and the glooming environmental threats of the 70s. It is regarded as one of Norway’s first examples of installation art. The sound was recorded in Polish Radio Experimental Studio in Warsaw, with the help of technician Bogdan Mazurek. The Polish Radio Experimental Studio was founded by Józef Patkowski in 1957. Kolberg was not the only Norwegian to use it; Arne Nordheim also went there to record his electronic music, including the famous <i>Solitaire</i>, which was presented at the opening of the Henie Onstad Art Centre in 1968.</div>
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<b>Omgivelser </b></div>
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Omgivelser (Enviroments) was a commissioned piece made for the Norwegian Broadcasting Corporation (NRK) in 1970. It was composed as a soundtrack for a short film directed by Jan Horne. The idea was to melt abstract film impressions that showcased different sides of the environmental debate of the 1970s, together with experimental electronic music in order to create a singular expression. This piece was also recorded in Studio Eksperymentalne in Warsaw, together with sound engineer Bohdan Mazurek. Kolberg crafted the piece using the studio’s vast sound archives and two pre-recorded tapes. One tape consisted of different recordings Kolberg had made with jazz singer Karin Krog, and the other different field recordings by Kolberg, including Norwegian nursery rhymes sung by Kolberg’s oldest son. In the studio the material was treated with ring modulators and different filters. The result was broadcast in 1970. Since the standard TV-volume levels at the time were so low-fidelity, the dynamic range of Kolberg’s piece didn’t come out right. Kolberg therefore over the years re-presented the piece several times at various concerts.</div>
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<b>KEISERENS NYE SLIPS </b></div>
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The title translates to The Emperor’s New Tie. This piece was composed and recorded in 1973 at EMS (Electronic Music Studios) in Stockholm, using a PDP 15/40 computer. It was programmed in the EMS-1 computer language developed in the same studio. <i>Keiserens nye slips</i> was commissioned by Fylkingen, Stockholm.</div>
Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-29810506960438838962011-12-22T04:05:00.000-08:002012-10-17T14:49:15.263-07:00Rolf Aamot tekst<span style="font-family: Arial,Helvetica,sans-serif;">In regards to the Prisma Records release of <span style="font-style: italic;">Tonal Images Films 1966-1991</span>, Aamot wrote this piece about his works and career (this text is in Norwegian only)<span style="font-weight: bold;"><br /><br />AUDITIV OG VISUELL TONEKUNST</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: bold;">Av Rolf Aamot</span></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Partituret til mine auditive verk er bildende tonefilmer, bildende tonekunst; farge- og linjebuetoner i skiftende romkonstellasjoner. Tonespråket er utviklet over en årrekke, men fikk viktige impulser allerede våren 1952 da en gruppe kunst- og musikkstudenter fra Bergen ble invitert til byen Wien som gjester. Dermed ble vi også gjestehospitanter på Kunstakademiet i Wien som på denne tid var på et høyt kunstfaglig nivå. På samme tid som kunstmuséne gav oss grundig innføring i sine samlinger, ble også møtet med Wiens musikkliv stående som noe like viktig for oss.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Høsten 1952 begynte jeg 17 år gammel i malerklassen ved Statens Håndverks- og Kunstindustriskole (SHKS), Oslo. Vegg i vegg med SHKS lå Kunstindustrimuseet, her fikk jeg tilgang til museets unike kunstlitteraturbibliotek. Det var et internasjonalt spenn over museets samling av kunstbøker, også i tid. Det ga meg en vedvarende inspirasjon til å foreta studier av billedkunstens farge- og linjebuetoner. En annen og upåaktet inspirasjonskilde oppsto i skolens kantine, her traff jeg et aktivt studentmiljø fra Oslo Arkitekthøgskole.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Veien til den auditive toneverden er kort, bl.a. gjennom Konkret Musikk. I 1952 startet Pierre Schaeffer og hans Group on Concret Music et utviklingsprosjekt i Paris for denne musikkformen. To år senere, 1954, ble den konkrete musikken framført i SHKS, Oslo, i skolens forelesningssal. Denne elektro-akustiske musikken, som tar i bruk naturlige lyder, og som gjerne ble omarbeidet elektronisk, står billedkunsten og filmen nær. Av denne grunn samarbeidet franske komponister og filmskapere i Group on Concret Music. Jon Medbøe, SHKSs kunst- og musikkviter, sprengte med sine innsiktsfulle forelesninger vårt kunstmiljøs oppfatninger av grensene mellom kunstartene. Han åpnet dessuten opp vår oppmerksomhet for den konkrete musikken.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Etter studietiden ved SHKS (1952-1955) og Statens Kunstakademi, Oslo, (1958-1960) kom jeg i gang med et intenst utviklingsarbeid med ulike former av tonekunst. Den første bildende tonekonsert ble lansert i Bergen Kunstforening, 1965. Året etter, i regi av Ny Musikk, ble fremført en ny konsert på Munch Museet i Oslo. Parallelt med konsertene komponerte jeg bildende toneverk for fjernsyn og kino. Som fenomen i tidens utvikling både var og ikke var dette et tradisjonsbrudd.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Billedkunsten og malerens frihet og menneskelig nærhet har til alle tider vært tonespråket; fargen og linjen. Over ligger det ytre innhold som en maske. F. eks. er kunsten til den eldre Rembrandt også å betrakte som et toneverk, hvor komposisjonens enkle flatestruktur utviskes og går opp i en fri rytme og balanse mellom aksentuerte lys- og skyggetoner. Fargene med sine overtoner er allestedsnærværende. Det er i denne sammenheng man må se det målet jeg har satt meg; en bildende tonekunst, hvor linjen og fargen alene, eller i samspill med det auditive, fra de konkrete lydstrukturer og deres elektroniske forvandlinger kan sammensmelte med musikkens andre formspråk. Tonekunst i rom og tid omfatter den indre og ytre virkelighet.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Disse problemstillingene, som her er skissert, inngikk i det idègrunnlag som jeg i 1964</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">presenterte for komponisten Arne Nordheim og kunsthistorikeren Ole Henrik Moe.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Med respekt for hverandres fagfelt startet vi et samarbeid, som førte fram til verket <span style="font-style: italic;">Evolution</span>. Etter at vi var blitt enig om komposisjonens struktur, spilte jeg inn min del av verket i NRK-jjernsynet. Nordheim fikk en kopi av opptaket, og arbeidet deretter videre ut fra sin egen klangverden. Den elektroniske musikken ble tatt opp i Warszawa, Polen. Verket var i sin sammensatte form ferdig i 1966, og sendt våren 1967. Senere viste det seg at dette var første gang – i en internasjonal sammenheng - at fjernsynet ble brukt som selvstendig billedkunstnerisk uttrykksmiddel.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">I 1967 startet jeg et nytt samarbeidsprosjekt. Denne gangen med komponisten Bjørn Fongaard og koreografen Edith Roger. Det førte fram til <span style="font-style: italic;">Relieff</span>, en bildende toneballett for NRK, Fjernsynsteateret. Det tematiske grunnlaget var bl.a. fra <span style="font-style: italic;">Relieff</span>, en bildende tonefilm for kino. Det ble et nært og intenst samarbeid mellom alle som var involvert i prosjektet. NRKs studioteam viste en umiddelbar åpenhet overfor våre kunstneriske målsetninger, for ikke å si krav. I 1968 ble <span style="font-style: italic;">Relieff</span> sendt i NRK-fjernsynet. Samme år viste tysk fjernsyn en billedballett av Otto Piene. Da de to verkene ble sendt var dette andre gangen at fjernsynet som medium var en direkte uttrykksform for billedkunsten.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Parallelt i samarbeidet med komponister formet jeg lydstrukturer/musikk basert på billedkunstens premisser. Mine billedtoneverk er partitur for det auditive: sinustoner, konkrete lydstrukturer, akustiske instrumenter, og stemmen og pusten som lydkilde. Alt under elektroniske forvandlinger. Det auditive og det visuelle har et felles tonerom å forholde seg til. Maleren Bjørg Lødøen og jeg har ofte sammen innspilt det auditive for en rekke av mine bildende tonefilmer, hvor tilhørigheten til farge- og linjebuetoner er den bærende kraft. Dette gjelder bl.a. <span style="font-style: italic;">Kinetisk Energi</span> (1967-1968), <span style="font-style: italic;">Vision</span> (1969), <span style="font-style: italic;">Strukturer</span> (1970), <span style="font-style: italic;">Actio</span> (1980) og <span style="font-style: italic;">Nordlys</span> (1991).</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Gjennom 1960-, 1970 og 1980 årene komponerte jeg bildende toneverk for fjernsyn. Samtidig arbeidet jeg med filmmediet for kino og utstilling. I årene fra 1964 til 1970 holdt jeg bildende tonekonserter i Oslo, Bergen, København og Paris.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: bold;">Sett i et tilbakeblikk</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I slutten av 1950 årene var de kunstneriske og tekniske problemstillingene klargjort for mitt visuelle og auditive tonespråk, som førte fram til elektroniske instrumenter for bilde og lyd. Forutsetningen for det auditive var instrumentene for billedtoner. Det første billedinstrumentet var en prototype. Den hadde kontroll over fargefrekvensene uansett tonenes dynamikk. I denne sammenheng ble lederen for Chr. Michelsens Institutt, Helmer Dal, viktig. Han deltok under 2. Verdenskrig med å utvikle radaren i England. Han oppfattet straks oppgavestillingen i mine fargefrekvenser. Takket være Dal bidro hans teknikere til at min prototype fikk et avgjørende løft, og i tillegg fulgte de meg opp under mine to første bildende tonekonserter i Bergen.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Det begynte med konsert for styret i Bergen Kunstforening, 1965. Konserten åpnet opp for en videre kunstnerisk og teknisk utvikling av den bildende tonekunst, og formidling av den i ulike media. Her var Bergen Bank, ved bankdirektør Sjur Lindebrekke, økonomisk avgjørende, mens Norsk Film as, ved direktør Erik Borge, og NRK-fjernsynets direktør Otto Nes la de praktiske forholdene til rette, for at min kunstart ble en del av film- og fjernsynsmediene.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Norsk Kulturråd inviterte meg til å holde en bildende tonekonsert for rådets styre i Det norske vitenskapsakademi i Oslo. Direktør Erik Borge holdt et foredrag om filmen og om den bildende tonekunst før konserten. Etter konserten sa Kulturrådets leder, maleren Håkon Stenstadvold, henvendt til meg: ”Vil du reise ut?” Jeg svarte: ”Min søknad til rådet var rettet mot et utviklingsprosjekt, teknisk og kunstnerisk, for mitt tonespråk”. Stenstadvold svarte umiddelbart kontant: ”Jeg spurte deg om du vil reise til utlandet”. Da ingen av de andre styremedlemene sa noe, forstod jeg at her var det kun et enten eller. Derfor sa jeg ja. Da kom det fra Stenstadvold: ”Vi kan ikke risikere at vi bygger en hardingfele i Norge mens de i utlandet allerede har flygler”. Med andre ord: Det fikk bli som han sa!</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Oppdraget fra Kulturrådet ble tre reiser rundt om i Europa, nettopp fordi reisebudsjettet også var delt i tre, og med meldeplikt til våre ambasader i de landene jeg kom til. Etter hver reise måtte jeg dessuten avlevere en rapport til Kulturrådet hjemme i Norge. Stenstadvold møtte jeg på hans kontor, som også var hans atelier da han var han rektor ved SHKS.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Ettersom Norsk Kulturråd foretok min utsending – på vegne av Den norske regjering - møtte jeg åpne dører overalt. Det ble mange atelierbesøk bl.a. hos Le Parc, som hadde vunnet den store maleriprisen på Biennale de Venezia. Han og hans kolleger holdt til i gamle nedlagte håndverkverksteder i Paris. Det økonomiske grunnlaget for den kunstneriske virksomheten stod ikke i forhold den æren og berømmelsen han var blitt til del. Derfor solgte han reflektordeler fra sine lysrelieffer, som selvstendige ”kunstverk”. For markedet var de ”kunstobjekter”.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Senere var jeg gjest hos Phillips i Eindhoven, Holland. Phillips hadde her, i sin hovedbase, en eggformet utstillingsbygning som skulle gi en visjon om framtidens elektronikk. Den franske kunstneren Nicolas Schøffer hadde med sin lysskulpturteknikk fått i oppdrag å gi utstillingen en fantasiens løft. Da jeg senere besøkte Schøffer i Paris på hans atelier, mente han at hans kunst var blitt misbrukt av Phillips, og advarte meg derfor mot å skrive under en kontrakt med selskapet.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Min konklusjon etter mine reiser for Norsk Kulturåd var at troen på at alt er så mye bedre ute i ”den store verden” bare var en illusjon. Man glemmer så ofte at kunstlivet i de små bysamfunnene i renessansens Italia, i barokkens Holland, og Bauhaus sin kunstforskning, faktisk oppsto i små og middels store bysamfunn.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: bold;">Rolf Aamot </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Juni, 2011.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Noen definisjoner</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Bildende tonefilmer:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Partituret til den auditive tonekunst er bildende tonefilmer.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Bildende tonekunst:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Bildende tonekunst/visuell tonekunst er farge- og linjebuetoner.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Farge- og linjebuetoner:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Fargen og linjebuetoner har hver for seg sitt toneomfang.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">På linje med musikken: 5, 7, 12 eller kvarttoner.</span>Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-45261839797914613322011-11-23T23:42:00.000-08:002012-10-17T14:28:54.967-07:00Kåre Kolberg: Omgivelser & Portando CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUDzGr9rwI2yt8atmDT38IXMUks4mVHHujBXz09Ahwg66jhJdBsNwhr-QB6Wz-1UX2zkgK88jr2ykdTWUp09CNcKFTlJqnvKQ8m7q4N38hfHGS4vB1Y_HIrGY50PHMwy6eaZeSjcac5A/s1600/prismacd714_cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="275" id="BLOGGER_PHOTO_ID_5678464798801712738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUDzGr9rwI2yt8atmDT38IXMUks4mVHHujBXz09Ahwg66jhJdBsNwhr-QB6Wz-1UX2zkgK88jr2ykdTWUp09CNcKFTlJqnvKQ8m7q4N38hfHGS4vB1Y_HIrGY50PHMwy6eaZeSjcac5A/s640/prismacd714_cover.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Kåre Kolberg (b.1936) is one of Norway’s foremost contemporary composers and is regarded as one of the pioneers of early electronic music and multi-disciplinarity art in Scandinavia. He has composed music for film, theatre and chamber orchestras to jazz acts such as Svein Finnerud Trio and Jan Garbarek.<br />
Kolberg’s Omgivelser (Surroundings) was a commissioned piece made for the Norwegian Broadcasting Corporation (NRK) in 1970. It was made as a soundtrack for a short TV-film of the same name that was made by director Jan Horne. The idea was to melt abstract film impressions that showcased different sides of the environmental debate of the 1970s, together with experimental electronic music in order to create a singular expression. Kolberg travelled to the famous Studio Eksperymentalne in Warsaw, run by Jósef Patowski, to record the music. Together with sound engineer Bohdan Mazurek Kolberg crafted the piece using the studio’s vast sound archives and two pre-recorded tapes that he had brought from Norway. One tape consisted of different sound recordings Kolberg had made with experimental jazz singer Karin Krog and the other contained different field recordings by Kolberg, including a Norwegian nursery rhymes sung by Kolberg’s eldest son. In the studio they processed this material with ring modulators and filters, and added different modified instruments created by an engineer at the studio. The piece was recorded using what were at the time the Rolls Royce of tape machines: two Telefunken Magnetophon M10s. The piece was originally broadcast to Norwegian homes in 1970. Since the standard TV-volume levels are set so low, the dynamic range of Kolberg’s music was not optimal. Kolberg kept the original master tape and over the years Omgivelser was presented several times at different electronic music concerts.<br />
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Portando, (meaning to transport or carry in Italian) was a commissioned piece for the Henie Onstad Art Centre in 1987. The centre’s music coordinator at that time, Åse Hedstrøm asked Kolberg to write the piece especially for the art centre. Kolberg worked together with the studio founder and sound-engineer Mats Claesson using Norway’s first micro-processors and Mac based Studio Technology. The piece is written for electronic tapes and two live percussionists, which were played by Bjørn Rabben and Einar Fjævoll. <br />
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The CD release of Omgivelser & Portando is an important addition to the history of Norwegian electronic music, and should be of great interest to fans of Arne Nordheim and Kåre Kolberg.<br />
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Available on CD and iTunes from November 2011.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com1tag:blogger.com,1999:blog-4817265712891231890.post-8716166910861699082011-11-23T23:40:00.000-08:002012-10-17T14:30:23.182-07:00Rolf Aamot: Tonal Image Films 1968-1991 CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUd9-hjLpwTuDnwVDsculQXuM0RH__8phexaKpnjD94OUkVj0KxI7jiHrd8bD6F2GiqFqyUOae9B-rVm9ud0a-gGz4nwahvcnjh0cBKUAYv-WuOX4xMdm6nlqm4m0T7zDqcpcuyjw06f0/s1600/prismaCD712_cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="276" id="BLOGGER_PHOTO_ID_5678464438476445330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUd9-hjLpwTuDnwVDsculQXuM0RH__8phexaKpnjD94OUkVj0KxI7jiHrd8bD6F2GiqFqyUOae9B-rVm9ud0a-gGz4nwahvcnjh0cBKUAYv-WuOX4xMdm6nlqm4m0T7zDqcpcuyjw06f0/s640/prismaCD712_cover.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Rolf Aamot (b.1934) is a Norwegian electronic painter, graphic artist, film director and tonal image composer. Since the early 60s he has worked with the relationship between image and sound and he is regarded as one of the pioneers of audio-visual art in Scandinavia. Aamot has collaborated with artists and composers such as Bjørg Lødøen, Arne Nordheim and Bjørn Fongaard and his work Evolution, made together with Nordheim in 1966 was the the first time the television was used as a creative medium in Norway. In the 70s and 80s Aamot continued this work in electronic and digital paintings. <br />
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Tonal Image Films 1968-1991 documents for the first time Rolf Aamots and Bjørg Lødøen’s tonal images, the audio part to the tonal image films he directed between 1968 and 1991. The music consists of abstract sounds and movements from different electronic sources, interacting with pre-recorded and prepared acoustic instruments and human voices. Prisma Records is proud to present the previously unreleased but highly original music of Rolf Aamot for the first time. <br />
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Available on CD and iTunes from November 2011.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-66928130176999873752011-11-23T23:36:00.000-08:002012-10-17T14:31:08.248-07:00Masselys: Jimmy Polars - Live at the Henie Onstad Art Centre CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1qa1EHqC9kTlOwbabUNP8rs5ILKufD_TQ81rY7o5_-fr0waBqAC810BnRU-mRtO3zHqfzjuLjx6SYH6VGjSuVRDITSXi_V7ZeKDMOzI0vEuxOSYZK6JaW-nmxv68MW6mqKEhY_E0JBA/s1600/prismacd713_cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="276" id="BLOGGER_PHOTO_ID_5678463745461286210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1qa1EHqC9kTlOwbabUNP8rs5ILKufD_TQ81rY7o5_-fr0waBqAC810BnRU-mRtO3zHqfzjuLjx6SYH6VGjSuVRDITSXi_V7ZeKDMOzI0vEuxOSYZK6JaW-nmxv68MW6mqKEhY_E0JBA/s640/prismacd713_cover.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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This release documents the music Masselys made for the commisioned audio-visual piece, Jimmy Polaris, by visual artist Christopher Nielsen, animator Matt Willis-Jones and Masselys. <br />
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Nielsen and Willis-Jones worked together on Norway’s most expensive animation film; Slipp Jimmy Fri from 2006. For Jimmy Polaris they used early raw animation snippets from the film’s preproduction phase. Nielsen and Willis-Jones then real-time manipulated these sketches into a psychedelic visual overload, which Masselys then provided the soundtrack to. Jimmy Polaris premiered at the Henie Onstad Art Centre the 8th of May 2011 to a sold out venue.<br />
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Masselys consists of Bjarne Larsen, John Birger Wormdahl, Jonas Hestvik Dahl and Kjell-Olav Jørgensen. Together they produce a melting pot of mutant disco, electronica, funk and krautrock. Jimmy Polaris consists of seven new tracks.<br />
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For the show at Henie Onstad Art Centre Christopher Nielsen wrote: ”Welcome to a consciousness expanding seance, where it is highly possible to see the light."<br />
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Available on CD and iTunes from November 2011.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-35568036160901403352011-11-23T23:28:00.000-08:002012-10-17T14:30:48.882-07:00MUSKAP: Upright at the End of Lippedstad CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvLAaZg9XITWKUV95DFSn-887BPvwkKSuATLLER4vJCpNSfN1uXzDfjHgyB_SjszUN9VxDaDEjBSjWbwvt7-dIpg6IZxNg8D-RKN4jQRqa0U3NjfGpQfOcb90jQT9ZdtxGQpPivC-r8e0/s1600/prismacd715_cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="276" id="BLOGGER_PHOTO_ID_5678461994936626194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvLAaZg9XITWKUV95DFSn-887BPvwkKSuATLLER4vJCpNSfN1uXzDfjHgyB_SjszUN9VxDaDEjBSjWbwvt7-dIpg6IZxNg8D-RKN4jQRqa0U3NjfGpQfOcb90jQT9ZdtxGQpPivC-r8e0/s640/prismacd715_cover.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Muskap was formed in 1975 by the composers and musicians Jean-Francois Doucet, Jon Christophersen, Harold Clark and Anthony Barnett. The quartet was inspired by Karlheinz Stockhausen’s concepts about Intuitive Musik and contemprorary ideas in music regarding improvisation and open aesthetics. This resulted in a sound that draws resemblance to free jazz as well as chamber music. Muskap is an example of early improvised music in Norway.<br />
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The quartet rehearsed and performed regularly at the Henie Onstad Art Centre, located at Høvikodden outside of Oslo, where the band member Harold Clark was the leader for NSEM (Norwegian Studio for Electronic Music). The material on Upright at the End of Lippestad (Both Ways) was recorded in NSEM in 1976 and uses the studio’s legendary Buchla-synthesizers.<br />
Upright at the End of Lippesta (Both Ways) was originally scheduled for a release on the Norwegian record label Compendium Records in 1976, but since the label folded the same year the record never came out. The mastertapes was then stored in the archives for 35 years until they’re now finally released in a newly mastered version with liner notes by Olav Anton Thommessen.<br />
Prisma Records is proud to present this entrancing and original band for the first time to celebrate the 35th anniversary of the recordings.<br />
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Available on CD and iTunes from November 2011.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-33078731843231583122010-10-18T04:11:00.001-07:002012-10-17T14:54:34.803-07:00Fongaard review in The Wire<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoFQW7Z0mheroq-lBoDQze50IfZxnT6noOD7jyzYqFj2YpWLXaUqo-UnIjV_xL-48Efmw_rj8L-YJ403KSmTVEvu3aJcej6haax_j-DdmyMu8xX9XMYAgGjato7ymb5-LMPw7VOjINFeg/s1600/prisma+wire.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5529342150524761058" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoFQW7Z0mheroq-lBoDQze50IfZxnT6noOD7jyzYqFj2YpWLXaUqo-UnIjV_xL-48Efmw_rj8L-YJ403KSmTVEvu3aJcej6haax_j-DdmyMu8xX9XMYAgGjato7ymb5-LMPw7VOjINFeg/s1600/prisma+wire.jpg" style="float: left; margin: 0px 10px 10px 0px;" /></a>Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com1tag:blogger.com,1999:blog-4817265712891231890.post-85939244251892646682010-10-18T04:10:00.001-07:002012-10-17T14:55:01.425-07:00Reviews in Aftenposten<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie129ug6ihnxxpR5W_ohJIQ0OPCDLDAoxgu_xs-GKmhB20Ase5XRvOIScubOK2GCcbzA9zyTaZsYyLoHJ-m4KmSfOo_BEAyC-NCBvS89lUQoL-mcLTs4kb6iM4qlrE23secx-qKWeLseE/s1600/prisma+aftenposten.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="640" id="BLOGGER_PHOTO_ID_5529341976979533522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie129ug6ihnxxpR5W_ohJIQ0OPCDLDAoxgu_xs-GKmhB20Ase5XRvOIScubOK2GCcbzA9zyTaZsYyLoHJ-m4KmSfOo_BEAyC-NCBvS89lUQoL-mcLTs4kb6iM4qlrE23secx-qKWeLseE/s640/prisma+aftenposten.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="354" /></a>Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-56896166454173181272010-10-03T03:44:00.000-07:002012-10-17T14:41:15.695-07:00Bjørn Fongaard: Elektrofoni 3CD/1DVD Box-Set<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6UaIQqCRNvWVKpQZkoDKyy0Mz68UQq-9JgQTIOQrOGJoF9g1ERwIMOSz-q9Es68SEObLQLlmil4_GBswoKwRfalIpVqC8Exza37S7E9mlmRQ0rT67AF-dFw2eOht8VkDlW7gVO5AeWs/s1600/fongaard.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="640" id="BLOGGER_PHOTO_ID_5523769242222180722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6UaIQqCRNvWVKpQZkoDKyy0Mz68UQq-9JgQTIOQrOGJoF9g1ERwIMOSz-q9Es68SEObLQLlmil4_GBswoKwRfalIpVqC8Exza37S7E9mlmRQ0rT67AF-dFw2eOht8VkDlW7gVO5AeWs/s640/fongaard.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Prisma Records 711<br />
Releasedate 13.09.2010 <br />
Distributed by Musikkoperatørene<br />
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Elektrofoni is a 3CD / 1DVD box-set which for the first time presents the ground-breaking works by Norwegian experimental composer, guitarist and micro-tonal music pioneer Bjørn Fongaard (1919-1980). The box-set is produced by Lars Mørch Finborud og Lasse Marhaug of Prisma Records. <br />
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The seeds to the Elektrofoni box-set began when Lasse Marhaug a few years ago found a copy of the old Electronic Music From Norway LP compilation at a second-hand record store in Stockholm. The LP contained the Galaxy track by Bjørn Fongaard. Marhaug couldn’t believe his ears – that this incredible music was from 1966 and Norway. It sounded like it was recorded yesterday. The music was clearly made by someone with a strong passion and clear vision of his music. Except from Arne Nordheim very little experimental/electronic music from Norway was documented on vinyl, so hearing the Galaxy track led Marhaug to start investigating. After writing about the piece in a column for a UK website, Lasse was contacted by Fongaard’s daughter Lis Fongaard Seim. Lasse was thrilled to hear that she had kept all of her father’s documents, photos and tapes. Together with his partner in Prisma Records Lars Mørch Finborud they set out to produce the extensive box-set that is now ready as Elektrofoni. <br />
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Bjørn Fongaard was a known guitar-player in Norway, performing frequently in radio- and TV-shows and as side-kick/studiomusician for famous Norwegian singer-songwriters such as Alf Prøysen and Søstrene Bjørklund. He was also a known guitar-pedagogue for guitarists like Terje Rypdal and Egil Kapstad. But Elektrofoni focuses on Fongaard’s ground-breaking micro-tonal works recorded in the years 1965-1978, performed by himself on his custom-made electric micro-intervallic guitar. The 3 CD’s features a broad selection of Fongaard’s earliest pieces such as Galaxy, Homo Sapiens and Epos as well as the complete Elektrofonia and Sinfonia Microtonalis series – showing Fongaard as a forefather of Norwegian electronic, experimental and improvised music. <br />
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The DVD contains TV appearances, radio interview and ballets that Fongaard composed music for, unearthed from the NRK (Norwegian Broadcasting Bureau) archives. Also included is a booklet with new essays on Fongaard by Lasse Thoresen, Kjell Tore Innervik and Lars Mørch Finborud. The booklet also contains photos, graphic scores and press-clippings. <br />
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The recordings themselves has been carefully restored and mastered by Helge Sten (aka Deathprod), which says that ”Bjørn Fongaard have composed some of the most fantastic and entrancing music from Norway in modern times. His music is no less than cosmic”. <br />
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In many ways the release of Elektrofoni adds a whole new chapter to the documented history of Norwegian experimental music, as 90% of the material is released here for the first time.<br />
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The release is celebrated with a Bjørn Fongaard concert in collaboration with the Ultima Festival and NOTAM at the Henie Onstad Art Centre 12th September 2010. Pierre Henry will also perform on the same day.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com2tag:blogger.com,1999:blog-4817265712891231890.post-30208676041336410862010-09-29T10:49:00.001-07:002010-09-29T10:49:51.861-07:00Fongaard review at Kunstkritikk<a href="http://www.kunstkritikk.no/kritikk/strenge-strenger/">http://www.kunstkritikk.no/kritikk/strenge-strenger/</a>Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-50423325283314713342010-09-29T02:21:00.001-07:002012-10-17T14:40:34.379-07:00Merzbow: Live At Henie Onstad Art Centre CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKyngjY-Uo9tMjkQSXcnOxfi1OXg_rrO9haMWF1omQRZu-TePvnXRl5une4vucWSDSy4qD90N4rYQ9rD1pb-CdMGh8tRlGdOHz3u7rOwk3qGdCMge44pvhMfy8ldhmCobV1RTEIX6DUI/s1600/merzbow.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="281" id="BLOGGER_PHOTO_ID_5522263391261294834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKyngjY-Uo9tMjkQSXcnOxfi1OXg_rrO9haMWF1omQRZu-TePvnXRl5une4vucWSDSy4qD90N4rYQ9rD1pb-CdMGh8tRlGdOHz3u7rOwk3qGdCMge44pvhMfy8ldhmCobV1RTEIX6DUI/s640/merzbow.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Masami Akita’s Merzbow project is the biggest name in noise music. Few other artist enjoys the kind of respect within their fields as Merzbow does within the noise scene. If talking about noise music there is simply no way getting around Merzbow. Since 1979 Akita has worked relentlessly producing hundreds of records. He also has a long list of collaboraters: Richard Pinhas, Sunn 0))), Autechre, Pan Sonic, Jim O’Rourke, Boris, Gore Beyond Necropsy, Smegma and many others.<br />
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Merzbow performed at the Henie Onstad Art Centre on October 11th 2009. This performance was for the exhibition ”Kurt Schwitters in Norway”. Since Akita has sited Kurt Schwitters as one of his main influences for his music, and took his name from Schwitters’ Merzbau sculpture, it was a natural choice to have Merzbow perform at the centre on the opening weekend of the exhibition. The complete 40 minute performance is presented on the ”Live at Henie Onstad Art Centre” CD. <br />
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Musically this is classic Merzbow; hypnotic loops, layers of white noise and massive sweeps of sonic overload. Akita performed using two computers, synthesizer, custom-made metal objects and a host of effect pedals.<br />
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The CD is mixed and mastered by Lasse Marhaug and the inner sleeve features a unique photo of Masami Akita inside Scwitters’ Merzbau. Merzbow in Merzbau. <br />
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Limited edition of 500 copies.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-29786187223439175972010-09-29T02:18:00.000-07:002012-10-17T14:40:50.866-07:00Sigurd Berge: Early Electronic Works CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOTR75YVvwwlk-kwLq465jFGVdDe3iRKMT7fl63_B3u7_Xlv_7OpEThTFPtWXJafPl2azPrKBipV6exbDYNdznsGGw-pVgI3VmfjQIRl2-WrsJwN9jSGd2A0yeUt6lcakIRKUWSvxbik/s1600/berge.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="284" id="BLOGGER_PHOTO_ID_5522262885502398738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOTR75YVvwwlk-kwLq465jFGVdDe3iRKMT7fl63_B3u7_Xlv_7OpEThTFPtWXJafPl2azPrKBipV6exbDYNdznsGGw-pVgI3VmfjQIRl2-WrsJwN9jSGd2A0yeUt6lcakIRKUWSvxbik/s640/berge.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Prisma Records 708<br />
Releasedate 04.10.2010 <br />
Distributed exclusively by Musikkoperatørene<br />
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Prisma Records is proud to present the first release dedicated to the music by the late Norwegian experimental composer and electronic music pioneer, Sigurd Berge (1929-2002). This release shows some of Berge`s earliest experiments with tape-machines and early synthesizers and is taken from three reels found in the Henie Onstad Art Centre music archives in 2009. The reason why these tapes are located here are probably because Berge worked for several years at the Norwegian Studio for Electronic Music, located at the art centre. Berge also was a part of the electronic music concert-series Elektrofoni which took part at the centre from 1968 until 1983. <br />
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On the first tape we found the unreleased pieces Preludium, Ritual & Sørgemusikk and the previously released pieces Erupsjon and Eg beisla min støvel. On a different tape we found the musique concrète piece Delta, which Berge also used in a collaboration with the avant-garde jazz trio Svein Finnerud in 1970.<br />
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The second part of this release is dedicated to one of Norway`s first multimedia art installations entitled BLIKK. The work was commissioned for the Henie Onstad Art Centre in 1970 and created by the artists Irma Salo Jæger, Jan Erik Vold and Sigurd Berge. The installation consisted of Jæger`s kinetic sculptures, Vold`s abstract poetry and Berge`s electronic music, all blended together with one of Norway`s first computer generated laser-light shows. The multimedia piece was so complicated to produce that the engineeers Halvor Heier, Birger Komedal & Harald Schiøtz was hired for technical assistance. The pioneering work BLIKK was exhibited at the Henie Onstad Art Centre between April-May 1970. <br />
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Prisma Records is proud to one of Norway`s most famous and acclaimed experimental composers and electronic music pioneers for the first time on a complete CD release.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-62077639513190187562010-09-29T02:12:00.000-07:002012-10-17T14:43:43.442-07:00Tanja Orning: Hommage À Anna-Eva Bergman CD<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28uxhZgDZSCdNNp8r_qV1tLqMGMcabhA5jRnQu-_IgS-dj361wUqTWl8HxDzTIKS68hi-QZAZFh52rXKCCEYkwZtRejKH3Y30eqCiR3yInB-wtBs0GDn295OSaVaMPNLrcTes0mXJqwA/s1600/orning.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="282" id="BLOGGER_PHOTO_ID_5522261743114286530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28uxhZgDZSCdNNp8r_qV1tLqMGMcabhA5jRnQu-_IgS-dj361wUqTWl8HxDzTIKS68hi-QZAZFh52rXKCCEYkwZtRejKH3Y30eqCiR3yInB-wtBs0GDn295OSaVaMPNLrcTes0mXJqwA/s640/orning.jpg" style="float: left; margin: 0px 10px 10px 0px;" width="640" /></a><br />
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Prisma Records 709<br />
Releasedate 04.10.2010<br />
Distributed exclusively by Musikkoperatørene<br />
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In 2002 the performer and cello player, Tanja Orning, was asked by the director of the Henie Onstad Art Centre, Karin Hellandsjø, to play at the opening of an Anna-Eva Bergman exhibition. Tanja Orning decided to compose a completely new piece inspired and dedicated to Bergman`s art. The piece was entitled Hommage À Anna-Eva Bergman. <br />
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In February 2009, the large retrospective exhibition Surrealism, line and form – Anna-Eva Bergman`s formative years 1949-52, opened at the Henie Onstad Art Centre. Once again Tanja performed and a couple of months later she was invited by the art centre to record the piece for the in-house label Prisma Records. On April the 13th Tanja Orning and sound technician Thomas Hukkelberg came together in the centre`s Studiohall, to record the piece.<br />
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Tanja Orning is a performer, improviser and composer. After studies in Oslo, London, and Indiana University, she held the position as a co-principal cellist in the Stavanger Symphony Orchestra for 5 years until she left for Oslo in order to realise a number of projects. She is currently playing with groups such as Christian Wallumrød Ensemble, asamisimasa, Dr.Ox and Polygon as well as her solo-project Cellotronics which resulted in a CD in 2005. Orning is currently undertaking research in contemporary performance practice at the Norwegian Academy of Music. <br />
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Prisma Records is proud to present this entrancing and lyrical composition on a single track CD release, pressed in a limited edition of only 300 copies.Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0tag:blogger.com,1999:blog-4817265712891231890.post-57746060440191899612010-05-03T01:16:00.000-07:002010-05-03T01:17:53.034-07:00Reviews from Aftenposten<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmGzmv1PxyFAaPwXWvtO1MttCEA_VE_vh-LlVGrF-QcH52OjUUU4q0covK-svxzRVLn6n1W8yUjfc5NA2npR47oLXJYWsn4jV53tQvxOlLaLxhMh2orlXrR8SkGchV3LlH-bY7kAqoTY/s1600/aftenposten.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 169px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNmGzmv1PxyFAaPwXWvtO1MttCEA_VE_vh-LlVGrF-QcH52OjUUU4q0covK-svxzRVLn6n1W8yUjfc5NA2npR47oLXJYWsn4jV53tQvxOlLaLxhMh2orlXrR8SkGchV3LlH-bY7kAqoTY/s400/aftenposten.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5466955061478482082" /></a>Marhaughttp://www.blogger.com/profile/12130782198716736681noreply@blogger.com0