016. 1000 Petal Lotus & Angus Tarnawsky, Subconscious Self Sabotage

015. Brian Chase, Drums & Drones II

014. Brian Chase & Angus Tarnawsky, Live At Secret Project Robot

013. Victoria Keddie, Cannibal Mécanique

012. Bryce Hackford, Diegetic Music

011. Robert Deeds (cur. by Maria Chavez), Broken Piano

010. Angus Tarnawsky, Surface To Air

009. Shelley Burgon, LOVEHER (2014)

008. Joe Talia, Sayu/Volo a Vela

007. Thomas Kircher & Lukas Grundmann, Wider/Wieder

006. monotope, Unsteady Scaffold/Voltaire’s Dubs

005. Daren Ho, 1 2 3 4 5 6

004. Nathan Liow & Angus Tarnawsky, Artifacts

003. Brian Chase, Ride/Scratch

002. Che Chen, Bus Passes By/Saturday

001. Shelley Burgon,  LOVEHER

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001.

Shelley Burgon
LOVEHER

10” lathe cut record
Edition of 25 copies

2013



︎ LISTEN



︎ DETAILS

Shelley Burgon is a harpist and sound artist based in New York. Her musical work centers around the sound of the harp, both as a traditional acoustic instrument in a chamber setting and as the primary source for her electronic music. Her sound art focuses on handmade electronic sculptures that combine scientific theories and mysticism. For ICM001, Shelley recorded prepared harp in conjunction with computer processing. The resulting 11 minute piece titled LOVEHER is one live take with no editing or mixing.

Shelley received her MFA in Electronic Music from Mills College and studied with Pauline Oliveros, Fred Frith, Alvin Curran and Maryanne Amacher. She has performed and recorded the music of artists including Bjork, Zeena Parkins, Anthony Braxton, John Zorn, Butch Morris, Miho Hatori (Cibo Matto), Christian Marclay, Joan LaBarbara, Elliott Sharp and Maria Chavez in addition to performing with bands such as Stars Like Fleas, Elysian Fields and Blondes. Her first sound and light installation was shown in 2013 at The New Museum’s Ideas City Festival and Frieze Art Week.

︎ PRESS

Still Single
Doug Mosurock

Thousands of little vulnerable crystal fronds swing, imperiled by inchoate doom, from the lid of a jewelry box, and at my count only two dozen of you are fortunate enough to hear it. Focused in presentation but diffuse and chilling in actual sound, this new work finds NYC harpist/improviser Shelley Burgon running her instrument through electronic processing to create a cold, frostbitten stream of high-register, textural notes gliding past slowly in a continuous cluster, as tones fall out with regular drip-drop intervals and passing clicks turn into reverberated percussives.

Tiny Mix Tapes
Grant Purdum

Electro-acoustic music can verge on the cold/clinical, but LOVEHER couldn’t be any less so. Its slow ascent from a fragment of an idea to a fully bloomed bud is reminiscent of a sun rising or a planet orbiting, slow and reassuring, as inevitable as the tides. A few of the sequences are eerily redolent of soundtrack work you’ll barely realize you’re hearing as you watch films, but Burgon inhabits a space all her own. She is to her harp what Julie Barwick is to her own voice, so pure and elegant you wonder why other crowd their compositions.

︎ MEDIA

Record Release Poster
by ICM and Jordan Dolheguy