"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
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.
all rights reserved