another timbre is a label for improvised and cutting-edge contemporary music
Recent releases
fragment of the cadastre
rhodri davies - harp
michel doneda - soprano sax
louisa martin - laptop
phil minton - voice
lee patterson - objects
This special edition CDR was a limited edition of 150
numbered copies, and has now sold out. However
some of the musicians still have copies, so if you want
one please email info@anothertimbre.com and we’ll put
you in contact with one of the musicians.
The guitar series
click on the covers for reviews
at26 crepuscular rays
håvard volden guitar
toshimaru nakamura
no-input mixing board
audio excerpt
at27 duet
martine altenburger cello
john russell guitar
audio excerpt
at28 corgroc by ap’strophe
ferran fages guitar
dimitra lazaridou-chatzigoga
zither
audio excerpt
at29
martin küchen alto saxophone
keith rowe electronics
seymour wright alto sax
audio excerpt
For all other discs go to catalogue page
Recommendations from other labels
Below are some discs released on other labels that you
might enjoy if you like the music on Another Timbre.
The list is by no means exhaustive; there are plenty of
excellent discs that I just haven’t heard yet. But these
are some recommendations that I can vouch for.
Berlin - Buenos Aires Quintet (Andrea Neumann, Lucio
Capece, Sergio Merce, Robin Hayward, Gabriel Paiuk)
Excellent (post-?)reductionist improv from 2004.
On L’Innomable
Olivia Block / Kyle Bruckmann - Teem
Fine electroacoustic pieces for oboe & electronics
On And/Oar
Mike Bullock / Andrew Lafkas - Ceremonies to Breathe Upon
Lovely double bass duo in 19th century industrial space.
On Winds Measure
Stasis Duo (Matt Earle & Adam Sussman) - untitled
Fine minimalist electronics from Australian duo
On l’innomable
Gregory Büttner / Birgit Ulher - Tehricks
Excellent mini-cd for trumpet & electronics
On 1000 füssler
Julia Eckhardt + 9 others - 2009
Great concept and lovely music: Chinese Whispers whereby
each of 10 musicians composes a 7-minute piece in response
to a 7-minute piece by the previous musician in the chain.
Great disc on compost and height
Christine Sehnaoui / Magda Mayas - Teeming
Very strong, tight duo improvisations for piano and
alto saxophone. On OlofBright
Kevin Parks / Joe Foster - Acts Have Consequences
Powerful double cd for electronics & guitar. An interesting
change of pace from this duo. Self-released.
John Butcher / Rhodri Davies - Carliol
Fine works for saxes, harps & electronics. On Ftarri
Annette Krebs / Taku Unami - motubachii. Wonderful
enigmatic construction by two of the most distinctive
of contemporary improvisers. On Erstwhile
Call for submissions
In 2011 and 2012 Another Timbre will release a series of cd’s
under the title ‘electroacoustic splits’. The idea is that each
disc would contain contributions of up to 39 minutes each
from two musicians or groups of musicians. Music can be
composed, improvised or any shade between. And you can
interpret ‘electroacoustic’ in any way you wish.
We will listen to anything sent in for consideration, though
obviously only a small number will be selected for release.
Please send music on cdr to:
Another Timbre, 70 High Storrs Road,
Sheffield, S11 7LE, UK
The deadline for submissions is 31st January 2011.
New releases - July 2010 Duos with brass
Four new cd’s of superb instrumental improvisation, each with unique instrumentation.
John Eyles has reviewed the series here He writes: “Duos with Brass does not opt for the
conventionally accepted use of the instruments, favouring more innovatory and exploratory
approaches..... In his sleevenotes for Giles U, Carl Ludwig Hübsch refers to "mechanically
generated electronic music." It is a phrase that the content of these CD’s repeatedly calls to mind;
when sounds like white noise or feedback issue forth, listeners may be rechecking the credits to
see if electronics are in use, but close listening reveals that these sounds come from acoustic
sources and are mechanically generated. Yes, therein lies the success of this series: the discs all
require close listening to reveal their true quality. Consequently they draw the listener deeper and
deeper into their soundworlds, with repeated listenings being needed, each one revealing more
than before. Fascinating stuff.”
at30 nella basilica
roberto fabbriciani bass-, contrabass- & hyperbass flutes
robin hayward microtonal tuba
The first CD of improvised music featuring Roberto Fabbriciani, the flautist with whom Luigi Nono
worked closely in the last two decades of his life. Fabbriciani and Hayward were recorded in the
Basilica di San Domenico in Arezzo, and the extraordinarily low tones of their instruments creates
a unique soundworld.
“Both musicians have developed their instruments, Hayward using a new microtonal valve system,
and Fabbriciani his self-designed hyperbass flute—over twelve metres of tubing! The latter
produces fearsome sounds at the lower threshold of human hearing, meaning they are felt in the
internal organs as much as heard. The combination of tuba and the lower frequency flutes
creates a bottom-heavy soundscape in which boundaries between tuba and flutes are blurred.
It is the lingering, slowly-evolving tones of the instruments that dominate. There are no rapidly-
articulated passages here; everything moves at a stately pace, allowing plenty of time to wallow
in the varied textures of the sounds.... Awesome.” (John Eyles)
at31 A.D.
angharad davies violin
axel dörner trumpet
Neither player should need much introduction, as both are widely acknowledged as leading
improvisers on their respective instruments. Another early review - by David Grundy, which you
can read here writes that the duo create “the atmosphere of surprise – of magic – that great
improvisation is still so uniquely capable of providing”.
“In a stunning performance, Dörner coaxes an extraordinary range of sounds out of his trumpet,
from breathy resonances verging on white noise through to low frequency sounds of tongue
fluttering and metallic percussive noises. Davies matches him in kind (again, some of her high
notes could be electronic) but, more importantly, she always manages a response that is timely
and appropriate. The end result is two instruments meshing into a seamless whole; the parts can
be heard but they are so sympathetically matched that the whole is greater than their sum.”
(John Eyles)
at32 Giles U.
carl ludwig hübsch tuba
christoph schiller spinet
“The tuba's bass sounds are in complete contrast to the higher pitches of the spinet, bringing to
mind cartoon images of an elephant and a mouse. But none of that concerned Hübsch and
Schiller when they first played together in 2008-09; they felt a strong connection in their playing -
it remains obvious here. Both have modified their instruments, in the process getting rid of the
seeming disparity. Schiller's spinet has become a semi-percussive instrument, amply illustrated by
this CD's opening sounds which are most reminiscent of the clacking of a typewriter. Elsewhere, it
sounds more like prepared piano—or even a detuned guitar. In similar fashion, the tuba produces
notes far higher than its stereotypical oom-pah, the result of Hübsch's breath control and circular
breathing. Put that all together and it is certain less than one person in a hundred could correctly
identify the instrumentation here. Be that as it may, the dominant factor is that strong connection
that Hübsch and Schiller recognised in each other. It means they produce subtle music that is both
sympathetic and beautiful.” (John Eyles)
at33 pie ‘n’ mash
mathias forge trombone
olivier toulemonde acoustic objects
“In concert, the duo of Mathias Forge and Olivier Toulemonde are great fun, putting on an
impressive show. This is largely because Toulemonde, who previously played flute, saxophone
and electronics, now manipulates an extraordinary array of purely acoustic objects including a
resonant trestle table, whisks, bowls, plates, marbles, Styrofoam and a bow—like some hybrid
between a conjuror and a deranged chef. Maybe that explains the album title, the name of an
English "delicacy." This recording faithfully reflects the diversity of sounds that he generates with
his objects including assorted scrapings and resonances (Toulemonde is truly in the footsteps of
the great Hugh Davies.) In amongst all this, though, let us not lose sight of the brass
component. Forge finds plenty of space for his trombone in amongst Toulemende's performance.
His breathy playing, with occasional use of mutes, does not try to compete with Toulemonde,
instead adopting a complementary role. In fact, some of his sounds are highly relevant to the
culinary theme, sounding like sizzling food or steaming pans boiling over.” (John Eyles)
