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all engraved glass releases can be purchased via the bandcamp page:

mp3 extracts from engraved glass releases

Monday, September 14, 2009

New release: Catherine Kontz - 'canvas'

Catherine Kontz - T-Tree (mp3 extract)


. point engraved edition eg.p02

8cm cdr on printed art card in plastic sleeve. Limited edition.

1. T-Tree for piano solo (2008).
composed and performed by Catherine Kontz. (11:11)

2. Cahiers Trouvés for electric guitars and effects (2008).
composed by Catherine Kontz. Performed by Henri Växby. (9:24)

Both T-Tree and Cahiers Trouvés are part of a series of large-format ‘canvas-scores’ in which I explore different types of notation that leave the player a certain amount
of freedom and scope for spontaneity and creativity whilst keeping to the idiosyncratic
techniques and sounds of the instrument.

The score for T-Tree was a gift for my father on his 65th birthday.

Cahiers Trouvés was commissioned by Rational Rec and written for Henri Växby.“ (C.K.)

Recorded at Masters Lodge, London in June/July 2009.

Photo & design by JrF

Further details and images coming soon on this site & here

postage options

Performance Notes for T-Tree for Piano Solo:

Duration 11-14 minutes.

The pianist may start anywhere and move free through the score. Every part and drawing may be played as many times as wanted and not all parts must be interpreted.

Performance Notes for Cahiers Trouvés:

First, the guitarist should assign a colour to each of the effect pedals he intends to use within the piece. He may note down his palette of choice at the bottom left of the score. At least three different effects should be used and prime or strong colours should be favoured. The performer can then mark his choice of sound for each ‘building’ alongside the ‘Avenue’ by colouring in doors, windows, rooftops, stars, squares and other geometric shapes found within these structures. Each such ‘building’ is independent of its neighbouring constructions. The guitarist may also write down settings, levels and other annotations on the score (in black pen, not colour). One or more electric guitars may be used. The score consists of a central line of pitches running down the ‘Champs Elysées’ framed by ‘buildings’ of musical structures. The performer starts the piece anywhere on this central line, moving forwards or backwards, then entering a building on either side of the street. He may stay as long as he likes within any building and also revisit the same buildings. To move from one building to another on the same side of the street, he briefly exits onto the central line again and follows the stave until he ‘stands’ outside the house he wishes to enter. To cross the street and enter a structure on the other side of the Parisian avenue, he needs to take the ‘ascenseur’, a lift that takes him across. The places to catch this lift are marked with a capital ‘A’ and the chordal sequence for the elevator music, which can be found towards the bottom right of the score, should be played each time. The player can transfer himself quickly from one side of the street to any ‘A’ sign anywhere on the opposite side via this process. Although the performer should at no point feel rushed in his playing, he should still aim for quick changes of sounds and settings, mimicking the jump cuts and rapid changes of scenes as seen and discussed in the French Nouvelle Vague films and the Cahiers du Cinéma of the 1950s and 60s, which have inspired this work.

The duration of the piece may vary between 9 and 23 minutes.

review by Richard Pinnell can be found here

Sunday, July 5, 2009

4 new releases !

Jez riley French - '....the bright work' - hydrophone recordings

1) East Yorkshire waters: Thornwick Bay # 2

2) Czech waters: Dolni Pocernice lake

3) English waters: River Cherwell

4) Estonian waters: Mooste jarvi, Apnajarve, Palojarv & Vohandu river

recorded 2008 / 2009 with JrF hydrophones 


taiyo yuden cdr mounted on oversized photo card + additional photo card.

to order the cd version please see the first post on this website
also available as a digital download:

review from 'The Field Reporter' blog by John McEnroe:

‘The bright work’, originally published on 2009 and reissued on February of 2012, was largely made with hydrophones, very likely the ones Jez Riley French builds himself.
Hydrophones offer a very particular experience as what we hear is sound propagated through water, though a fluid. Fluids and sound waves have similar behaviors under certain circumstances, but what is interesting here is that the hydrophone hearing experience would suppose an immersive experience, but instead ‘The bright work’ seems to be more about textures, scales and friction. It’s like if water became a large membrane we use to listen to the surface of solid container of this water. A tactile and visual surface with detailed features and beautiful narratives.
Water and fluids acquire the shape of their container, they also tend to propagate and its behavior changes based on the molecular interaction with its container. On a more cultural approach water serves as mirror, the origin of the image. Anyway on ‘The bright work’ I’d say water is more of a metaphor to the space between ourselves and the things, to the distance we need to establish to have an image of things.
Water here works like some sort of a membrane, a magnifying glass, a medium to relate to the micro, to a reductionist approach through the possibility of listening to sounds otherwise inaccessible for human listening.
What is quite poetic here is what does Jez Riley French finds on this sounds that makes him want to play them to us. How his mediation as artist and sound capturer imprints his experience in these sounds: how his mediation imprints his emotions, thoughts, reflections and questions in the sounds we listen here.
‘The bright work’ is a work that serves to understand all the depth and transcendence behind the premise that in sound art sound is both the medium and subject. There is an immanent sort of “extraordinary” and revealing element in the hearing experience, in the reduction of the hearing that puts the listener in contact with something that he can’t necessarily comprehend but that he feels and experiences. This is no longer a metaphorical, figurative and descriptive process: this is sort of a metaphysical exercise: a way to sensibly address questions about ourselves and about the world.
Again, ‘The bright work’ is a very successful work as it provides a universal sense to the act of Jez Riley French recordings the water of some specific sites with hydrophones. The sense found here is the sense of relating to the world and relate to ourselves in a way different to the question / answer approach. More like if we subtract ourselves intellectually in order to feel the cosmos we are part of and have an actual meaningful transcendent experience.


Jez riley french - as (urfaces) as001 (mp3 extract)
a few copies of the 'as (urfaces)' cd & print set to accompany an exhibition of work completed during my time as artist in residence at Hull School of Art & Design are now available. There are only a handful of these left though.

details of the pieces included on the cd can be found by clicking here.

to order the cd version please see the first post on this website
also available as a digital download:

review from 'just outside' (Brian Olewnick):

'a more purely field recording-oriented release (though French bows or otherwise touches various surfaces on three of the six tracks). Here, one's reaction I find often depends "simply" on how intriguing one finds the given sound-field in play. Even there, you're almost compelled to give a deeper listen if, initially, you're not so fascinated; often there's more at hand than you thought. The one unenhanced cut that I immediately loved was the fourth, "as030", which features a motor of some kind (I think), it's strong, subtle and varies hugely within a narrow focus. The lengthy final track, the one on which bowing can most clearly be discerned, works pretty well also, a rich range of rubbing-induced can easily imagine wallowing it it with pleasure in an actual installation. It's a good disc....'


3inch split cd on 'compost and height':

Jez riley French - 'pelure # 6'

A composition of untreated field recordings capturing the seating fabric and floor surfaces of Peel Hall, Salford, prior to giving a performance there later the same day. I enjoy the simple pleasure of spending some time quietly exploring like this - listening to the audible silence of objects and environments that surround me. Recorded November 2008

Rob Curgenven - 'largo affettuso'

Field recordings + Transparence resonating dubplate (feedback, surface noise and room harmonics) performance recorded live at Extrapool, Nijmegen, Netherlands, 8th March, 2009 by Martin Luitenremixed and mastered at B52, Berlin, Germany, 12th & 13th March, 2009additional overdub - Fender guitar feedback, recorded 1st February, 2009 at the Cloud Factory, Amsterdam,

Limited edition of 50 copies mounted on wooden square.

Thursday, January 15, 2009

new release: Jez riley French - 'audible silence'

egcd028 - Jez riley French - 'audible silence'

*69min + taiyo yuden cdr with photo prints etc / limited edition of 280 copies*

to order the cd version see the header of this website.

a digital download version is also available:

Jez riley French - audible silence - enter (mp3 extract)

after several months of living with these recordings & waiting for them to feel 'ready' this new release if now completed. As some of you aleady know these recordings capture sounds gathered in Kettle's Yard - Cambridge, the JdP building - Oxford & several sites in the Czech republic (Skolska 28 gallery, Josef Sudek attelier etc).

The three resulting tracks represent, as far as i'm concerned, the music of these spaces using elements such as the sound of vibrating tables / surfaces, floors, empty rooms & heating systems filtered through various surfaces & objects.

more details can be found here: audible silence edition

mp3 audio extract: click here

(more info & writings to be added over the coming weeks)

to order the cd version please see the first post on this website

a review of ' silence' on Brian Olewnick blog can be found here (nb. one small thing to point out - an answer to Brian's pondering in the first sentance: none of the recordings are processed at all - I never process my recordings as i'm always fascinated by the sounds I explore as they are).

Wednesday, January 14, 2009

Jez riley French - 'the view from the studio window'

'the view from the studio window'


3 inch cd attached to photo postcard & plastic sleeve.

*recordings of the widows at Sudek Atelier in Prague during 2008*

Josef Sudek made a series of photographs of the view from his studio window & so, given the opportunity to spend time alone in the Sudek Atelier, I made recordings of several of the windows.

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