Sub Rosa New Releases

Source: Sub Rosa.

From Somewhere Invisible

String Quartets

Broken Music

Kalmykian Archaic and Soviet Folk

Early Electronic Music 1959-69

1920-2017 Vol.1

City of Light

Preludes, Variations, Studies and Incidental Music


Nouveau Classical Project Performance in NY on November 13

Source: The Nouveau Classical Project.

What: the Nouveau Classical Project – Line : Voices
When: Wednesday, November 13th, 8:00 pm
Where: Areté, 67 West Street Brooklyn, NY
Admission: $15 advance / $20 door

mini_014 by Paul Pinto (World Premiere)
She Lapsed 12 Times Into Feigned Lines by Bethany Younge (New York Premiere)
An NCP original work inspired by Mieko Shiomi’s Boundary Music

Instagram: @NCPmusic

Composer Paul Pinto on mini_014:
mini_014 is a short song for chanting instrumentalists. When I wrote it, I wanted to make a sentimental piece about my father’s aphasia. Instead, what came out is a one-sided phone conversation between the ensemble and my dad, musing on the loss of abilities, Quechua, and the great state of New Jersey. – Paul Pinto

Composer Bethany Younge on She Lapsed 12 Times Into Feigned Lines
I wonder if musicians can translate voice into dance. I wonder if basic movement (i.e. walking) can render a musical idea, where a person’s shoes function as musical instruments. I question the demarcations that serve to sort musical ideas from kinesthetic ones, and furthermore visual scores from auditory ones.

The Nouveau Classical Project (NCP) is a New York-based contemporary classical music ensemble that is “bringing a refreshing edge to the widely conservative genre” (VICE). It began by collaborating with fashion designers for its concerts and has expanded to creating multidisciplinary performances. Its mission is to engage new audiences and show that classical music is a living, breathing art form.

AMN Reviews: Michel Edelin Quintet – Echoes of Henry Cow (2019; Rogue Art)

If you are expecting covers or a recreation of Henry Cow on this album, you will be disappointed. French jazz flautist Michel Edelin, who shared a bill with Cow over 40 years ago and walked away impressed, joined with new and long-time collaborators to produce the aptly titled Echoes of Henry Cow. This is a reimagining of sorts – not a direct tribute to the band, but a reflection of the influence of Cow on Edelin’s own writing and playing. As a consequence, you could listen to much of Echoes of Henry Cow without realizing that it is based in any way on the band’s music. That is, until you hear a hauntingly familiar refrain or theme that might give it away. Gone is the crushing avant-rock with its dense compositions and free-formed improv that remains influential to this day. In its place is a more relaxed yet technical challenging exercise in modern creative jazz.

In addition to Edelin, Sophia Domancich plays piano and Fender Rhodes, Sylvain Kassap is on clarinets, Stéphane Kerecki provides double bass, and Simon Goubert plays drums. Original Cow member John Greaves contributed spoken-word versions of the Chris Cutler texts that accompany the group’s song-oriented pieces. To that point, nothing from Cow’s debut Legend is present, and only one track appears from each of their second and final releases, Unrest and Western Culture, respectively.  The vast majority of Edelin’s echoes are based on In Praise of Learning, Cow’s vocally-oriented album. As such, Greaves voices Cutler’s politically-motivated poetry with an appropriate sense of irony.

At the end of the day, the listener has a binary decision to make – one either acquires an album or one does not. As a long-time fan of Cow, this determination was easy for me. But it took nearly six months for me to finally realize and fully appreciate the beauty and appropriateness of Edelin’s approach. Not unlike the music of Cow itself, Edelin’s echoes takes a stubbornly indpendent path. This album is not what you might initially assume that the title suggests, but after enough listens you’ll find that it is named in a fitting manner. Not to mention offering a compelling set of tunes that are suitably angular and unpredictable.

AMN Reviews: Catatonic Effigy – Putrid Tendency (2019; Iluso Records)

Given the band name and the title, one might expect that Catatonic Effigy’s Putrid Tendency is a death metal album. But that is not the case. Instead, guitarist Álvaro Domene, bassist Colin Marston, and drummer Mike Caratti collaborate on heavy instrumental tracks of abstract – yet structured – improvisation.

The most prominent feature is Domene’s distorted 7-string guitar, which he employs for heavy riffing, speed-picking, and atmospheric walls not unlike those of Sunn O))). Caratti’s drumming is virtual non-stop soloing rather than being traditionally rhythmic and is reminiscent of that of Balázs Pándi. Marston also plays synths, which provide sweeping layers that dovetail nicely when Domene is playing more slowly with heavy effects. Otherwise, Marston’s bass efforts are oriented on riffing and improv.

To these ears, the primary reason to listen to Putrid Tendency over and over (which I have) is to appreciate how Domene manages to combine outside guitar heroics with his own set of unique twists and turns to produce an unusual set of sounds and textures. While he echoes shades of Fripp, Sharp, and Kaiser, Domene has his own voice that is both in your face and laden with subtleties.

Listen to this album loud – not just because it rocks, but for the detail. You won’t be disappointed. Putrid Tendency will be released on November 28.

Chicago Scene: October 19-26, 2019

This is a weekly overview of live avant performances in the Chicago area. Contact us if you’d like your shows listed.

Saturday, October 19th 2019

7:30PM at Comfort Station, 2579 N Milwaukee ($5 suggested donation)
Mabel Kwan
Corey Smith

8:30PM at Constellation, 3111 N Western ($15-$12)
SSWH Duo : Sara Schoenbeck, Wayne Horvitz

Sunday, October 20th 2019

8:30PM at Constellation, 3111 N Western ($10)
Pascal Niggenkemper
Kyle Bruckmann, Tim Daisy

Monday, October 21st 2019

7:30PM at Experimental Sound Studio, 5925 N Ravenswood, 773.769.1069 ($10-$8) (wheelchair-accessible)
Kyle Bruckmann with Macie Stewart, Ted Moore

9:00PM at Beat Kitchen, 2100 W Belmont, 773.281.4444
Extraordinary Popular Delusions : Jim Baker, Ed Wilkerson Jr, Brian Sandstrom, Steve Hunt

Tuesday, October 22nd 2019

8:30PM at the Empty Bottle, 1035 N Western, 773.276.3600 ($10) (wheelchair-accessible)
Hearts & Minds : Jason Stein, Paul Giallorenzo, Chad Taylor
Ben LaMar Gay, Rob Frye, Dan Bitney
Macie Stewart, Andrew Clinkman

9:00PM at Café Mustache, 2313 N Milwaukee, 773.877.3327 (wheelchair-accessible)
Alex Wing, David Boykin

Wednesday, October 23rd 2019

8:30PM at Beat Kitchen, 2100 W Belmont, 773.281.4444
Splice Series
Dave Rempis, Jakob Heinemann, Bill Harris, Peter Maunu

Thursday, October 24th 2019

7:30PM at the Logan Center Performance Hall, 915 E 60th, 773.702.ARTS (Free)
HEAR in NOW : Mazz Swift, Silvia Bolognesi, Tomeka Reid

Friday, October 25th 2019

9:00PM at Elastic, 3429 W Diversey, #208, 773.772.3616 ($10)
Elastro A/V Fall Festival: Night One
Paul Giallorenzo, Jeff Kimmel, Graham Livingston, Hedra Rowan, Lilianna Wosko
Alex Babbitt, Todd Carter, Jen Hill, Deidre Huckabay, Donny Mahlmeister
John Daniel, Rob Frye, Macie Stewart, Jonathan Woods
Katinka Kleijn, Galina Shevchenko, Jason Soliday, Nika

Saturday, October 26th 2019

8:30PM at Constellation, 3111 N Western ($10)
Adam Shead’s Adiaphora Orchestra : Johanna Brock, Scott Rubin, Erica Miller, Ishamael Ali, Jakob Heinemann, Eli Namay, Sarah Clausen, Chris Moore, Jake Wark, Joe Suihkonen, Mark Mahoney, David Fletcher, Matt Riggen, Anna Munzesheimer, Ben Perkins, Chloe Lin, KG Price, Matt Piet, Emerson Hunton, Adam Shead

9:00PM at Elastic, 3429 W Diversey, #208, 773.772.3616 ($10)
Elastro A/V Fall Festival: Night Two
Sara Goodman, Kit Young, Kikù Hibino, Alisa Kolot, Allen Moore
Dan Bitney, Norman Long, Matt Mehlan, Ricardo Mondragon
Alex Inglizian, Julia A Miller, Daniel Wyche, Graham Stephenson, Kit Young, Sara Goodman
Kim Alpert, Jill DeGroot, Lou Mallozzi, Sam Pluta

For more information, such as directions, as well as upcoming performances, see:,,,,,,,,,,,