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    Premiering to the world at large, Tony Conrad’s gobsmacking quintessential opus Ten Years Alive On The Infinite Plain is now available to hear for the first time, featuring Laurie Spiegel and Rhys Chatham and arriving via Superior Viaduct just over a year since the death of the iconoclastic avant-garde violinist and composer in 2016.


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    Premiering to the world at large, Tony Conrad’s gobsmacking quintessential opus Ten Years Alive On The Infinite Plain is now available to hear for the first time, featuring Laurie Spiegel and Rhys Chatham and arriving via Superior Viaduct just over a year since the death of the iconoclastic avant-garde violinist and composer in 2016.Conrad’s sprawling, innovative practice - binding film, sound and performance in peerless and unprecedented style has been a huge influence on his myriad collaborators and far-flung body of avowed admirers.And yet whilst divorced from the visual aspect of the performance - a row of quadruple projections arranged side-by-side, incremental overlapping to form a pulsating picture - which was surely a major part of the piece, the sonic results still carry a potent meaning through its durational reinforcement of purely dissonant tunings and insistently dragging yet forward motion - an inexorable drive intently focussing themselves, and the listener, in the eternal traction of the present.

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    In stark contrast, Mary Jane’s B-side, 4BC (1984) is a more visceral, biting piece for four clarinets, employing long drones within a constrained tonal palette, combining their raspy dissonance in a thick body of resonant sound that speaks to the idea of discord as its own sort of harmony - a way of appreciating the friction and difference between sounds as much as people, and recalling to some extent the pitching grip of Harley Gaber’s The Winds Rise In The North, or the grind of Tony Conrad.That communal spirit, a sort of antidote to the capitalist realism of individualism, feeds deeply into these two solo works.On the A-side, Pipe Dreams (1989) finds her communing with psychoacoustic spectres in a way that strongly predates Áine O' Dwyer's more recent investigations into acoustic phenomena for Penultimate Press, as well as resonating with the drone work of La Monte Young and Marian Zazeela.Just like the amazing and revelatory documentary, Tony Conrad: Completely In The Present [2016], this steeply immersive 1hr, 30 minute recording should also attract a whole new wave of listeners to his truly sui generis music and cement his place in the 20th century avant-garde firmament, if it wasn’t already.Recorded at the piece’s premiere at The Kitchen, NYC, in 1972, this release of Ten Years Alive On The Infinite Plain effectively forms some of the earliest documentation of Tony Conrad solo, one year before his legendary .Faust LP.

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