Intransitive Twenty-Three, by v/a

Intransitive Twenty-Three

by v/a

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Full Digital Discography

28

releases

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1.	Birchville Cat Motel - Endless Cassette 04:36
2.	Thomas Ankersmit - 3:45 03:48
3.	Das Synthetische Miscgewebe - Leisure Time For Max In The Arteries Of His Past Dominion 08:01
4.	Hideaki Shimada - Phos 03:14
5.	Giuseppe Ielasi - Two Chords 06:16
6.	Ronnie Sundin - Seismo 3 07:23
7.	Artificial Memory Trace - Blue Reverie / Fragment (1980, Prague - Czechoslovakia) 06:33
8.	Frans de Waard - Ballon 04:07
9.	Atau Tanaka - AKS21 06:06
10.	Lê Quan Ninh - La Ville Et Das Sinusoïdes à Petit Budget 06:21	info
11.	Olivia Block - Untitled Piece For Analog 4-Track, Tapes 07:23
12.	Animist Orchestra - Excerpt From Live Performance, Aug. 19, 2001, West Seattle, WA 06:07	info
13.	Nerve Net Noise - Interlace of Life 05:50
14.	Eric La Casa - Ici 1 04:19		buy track
15.	Gal - In Fusion 07:03
16.	Alexandre St. Onge - Ma Contrebasse ou L`Invention de la Machine à Écrire 03:03
17.	Haco / View Masters - Theremin Radio 00 03:57
18.	Magali Babin - Thermidor 06:46
19.	Jonathan Coleclough & Colin Potter - Leaves on the Track 06:03
20.	nmperign - Mhere'd 06:18
21.	Lethe - Catastrophe Point #4 05:28
22.	Francisco López - Untitled #134 04:44

about

"I love compilations. Always have, ever since I started listening to music. A compilation is like an extension of a mix-tape, similar to those that I used to make in high school for my friends. It’s a way of saying “Here is all the music that I’m excited about right now, collected in one place for you”. Of course, a record label is also an extension of this enthusiasm… I’ve been publishing electro-acoustic music for seven years now, and my excitement about it has only grown. I’m always hearing new stuff, or becoming charged about some artist’s development or new projects. A compilation is a fine way for me to take stock of what music I’m listening to and step back for a moment to gather the best of it in one place. In a perfect world (one in which I suddenly became a millionaire overnight), I would publish 50-CD boxsets by everyone on this album. For now, though, Intransitive Twenty-Three should provide plenty for a listener to chew on, and some directions in which to continue exploring.

"As is true with all Intransitive releases, my concern is not one of refining some particular label aesthetic; to me, it’s much more interesting to publish whatever I find compelling, and to let listeners make connections between disparate artists, approaches, and sounds. My hope is that one cannot know precisely what to expect from the label, but that some intuitive coherence emerges with time. That’s not for me to worry about, though: there’s too much great music to be heard now! Of Intransitive’s previous 2CD compilation, Variious, the critic Michael Heumann wrote in Stylus Magazine that he found the album “especially interesting because it so effortlessly bridges that imaginary gap between ‘popular’ and ‘serious’ electronic music, in the process demonstrating that those terms mean absolutely nothing. When I listen to Variious, I hear music and just music, and that’s all I should hear when I listen to music”. Right on! I’m aware that the artists compiled on these CDs (and on Intransitive’s releases in general) may be coming from very different conceptual or compositional places, but to these ears, all of this sound makes sense together. Just in case, I imposed a limitation on the artists: no one was allowed to use anything digital in the composition of their piece. And there you have it." - Howard Stelzer, Intransitive Recordings.

Praise for "Intransitive Twenty-Three":

"'Twenty-Three' is a perfect reminder of the label's unhurried, quietly-progressive history. The positioning of old and new works by a host of outsiders and obscurities, alongside pieces from the medium's more dependable busy-hands, also adds to 'Twenty-Three''s vitality, rejecting canonical treatments in favor of a more mysterious and accidental unfolding. Unsurprisingly, this pace feels very natural, with continuity between the different pieces evolving at imperfect, very human measurements. Every contribution contains the seductions of impulsive, event-oriented listening, with its primacy of the improvised detail, while at the same time becoming part of a rapturous, intensely 'constructed' sound-environment that fills Twenty-Three, making it more of an expandable mood-piece than a label sampler... if this labor of love is any indication, Stelzer's label is poised for bright future." - Brainwashed

"'Intransitive Twenty-Three' is one of those rare compilations that succeeds on all fronts... quiet passages, textural events, and field recordings make up the bulk of the content, with everything punctuated by periodic silences which divide all of the tracks and whisper that another interesting turn of haptic improvisation is around the corner. Another great album from Intransitive." - Aquarius Records

credits

released August 1, 2004

compiled by Howard Stelzer.
cover design by Mike Shiflet.

all music made without the use of digital devices.

originally published in 2004 as a 2xCD set in a limited edition of 1000 copies.

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about

Intransitive Massachusetts

Former label for experimental-type music. Foolishly founded by Howard Stelzer in 1997, mismanaged for more years than necessary, and finally put out of its misery in 2012. This page exists to keep some titles available.

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