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Erling Wold
The Bed You Sleep In
Original Soundtrack to a Film by Jon Jost
1993

Table of the Elements
[Helium] TOE-CD-2
Compact disc

Melancholic, deliberately paced soundtrack to the critically acclaimed feature by American auteur Jon Jost (All the Vermeers in New York). Critic Jonathan Rosenbaum describes it as "a tragic, beautiful, and mysterious film that alternates between all-American landscapes (many of them composed as diptychs) and an unraveling nuclear family ... as evocative and apocalyptic as Jost's cinema gets."

“Wold crafts music whose delicate beauty glides in just below the listener's critical consciousness. His harmonic language, if examined carefully, is bone-simple, and the melodic palette equally limited. Yet precisely because of the music's deceptive familiarity, it has the shimmery emotional tenacity of a dream state."
San Francisco Chronicle

“The sadness inherent in Wold's score is exquisitely poignant and somehow universal; even without dialogue and the visual element of the film, it makes an eloquent comment on the human condition."
Option

“Erling Wold is the Eric Satie of Berkeley surrealist/minimalist electro-artrock."
Village Voice

“Happened across this recording of the Faust concert I played in back in 1994. I had no idea such a recording existed - it's an interesting trip back.

”Jeff Hunt's very hip Table of the Elements label had released my soundtrack of The Bed You Sleep In the year previous, had given a copy to Faust who for some reason loved it, and when he set up their tour, he pulled me in. They showed me a few luckily-simple keyboard bits and along the way secured a piano. It seems that they asked around for an old piano and one of the locals involved in the show had a roommate out of town who owned such a piano, so they manhandled it out of the apartment and onto the stage at the Great American Music Hall, but not before Jean-Herve cut through most of the important structural bits with a chain saw.

”If I had thought about this in detail at the time, I should have been more concerned about the release of the no-longer-potential energy that the eighteen or so tons of tension had bottled up - had the piano decided, in its weakened state, to so release it. But at the time I was more immediately concerned about him hitting my hands with the sledgehammer he was using on the keys while I played. For many years I kept some of the broken bits: keys, hammers.  It's interesting to see the complexity of the piano mechanism as it flies past.

”The next day we recorded Rien. That's me at the piano - not the same piano - and I'm pretty sure nothing I played that day ended up in the final release. Which is somehow appropriate given the title.

Erling Wold

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OWN THE ARCHIVE

(Posted by Within Things, May 18, 2023)

From 1993, US recording label Table of the Elements has staked its claim on a massive enterprise. It intends nothing less than to rewrite the history of American music in the second half of the 20th century. The label’s 150-plus releases are a vital contemporary chronicle, a survey of meaningful eruptions across a broad horizon of improvised, experimental, minimal and outsider sounds.

The label’s carefully cultivated archive now contains over 15,000 CDs and LPs, an impossible quantity to logistically or financially maintain. Rather than “recycle” the majority of these modern sound and design artifacts, Table of the Elements is making them available to the public via Within Things.

From rich bundles of obscure recordings, exclusive printed material, and limited quantity “holy grails,” Within Things is excited to help connect this important archive to the public. We’re very honored to collaborate with a label that helped define a path and inspire what we do, long before our store even existed.

Click the image above to be taken directly to the Table of the Elements section on our site, and stay posted for the announcement of limited offerings via our newsletter.

~~o0o~~

"The supremacy of Table of the Elements as an unwavering outpost of ultra-experimental strains can be attributed to its concomitant adherence to valiance. Most of the Table of the Elements catalog has no broad commercial appeal, and many of its projects are risky ventures, even with respect to the experimental marketplace. Yet, this philosophy of risk works because everybody associated with the label feels like they're doing important work releasing important records, and they're willing to go for broke to make it happen.”

—Pitchfork

"The music made and cultivated by such artists as Tony Conrad, Captain Beefheart, John Fahey, Cecil Taylor, Rhys Chatham, Charlie Feathers, Dock Boggs, Jim O’Rourke, Faust, Derek Bailey, Thurston Moore and Lee Ranaldo of Sonic Youth, Keiji Haino, Arnold Dreyblatt, Charley Patton, Harry Smith, and scores more, is at once among the most radical and deeply rooted of the 20th century, transcending time and place through the agency of the vibrating string, the resonance of the drone, the terrifying beauty of electric amplification, the hypnotic power of repetition, and the revelatory genius of cranky individualism. 

"How does someone begin to represent that in a visual manner? The trick involves some old-fashioned alchemy. Everyday commodity has to be constructed as both miniature museum and theater. No longer a mere object, it now becomes a site in which one can endlessly indulge a sense of wonder, love and, yes, obsession. It’s not often that someone can cast an influence on a broader design aesthetic — think Blue Note in the 1960s, with its hip Reid Miles album covers — but as this sizable body of work took shape, that’s exactly what happened.”

—Steve Dollar

“The hallmarks of this New Archivism [are] beautiful and innovative packaging, elaborate and idiosyncratic liner notes, rare and obscure recordings ... Working with graphic designers such as the Grammy-winning Susan Archie, [the label] produced a collection that combines varied textures, lavish finishes, and period details with art from the era of the original source recordings. Their treatment of Robert Longo’s late 1970s photographs for Rhys Chatham’s releases could, for instance, measure up to what’s on view at most contemporary art centers. In addition to its archival endeavor, TotE also releases the new work of its avant-garde heroes and their devotees. TotE’s active support of the work of sonic pioneers ensures that theirs are living traditions – not ossified museum objects.”

—Art Papers

Tony Conrad: Completely In the Present
A Film by Tyler Hubby

"Hubby's film captures Conrad in all his facets ... broadly as a man determined to make 'abstract art funny, happy, energetic, joyful.' Conrad lived long enough to see his early recordings, barely or never released, get the reissue and the attention they deserve. ... [Completely In the Present] is a sharp, sweet, eloquent documentary about the merriest, most artistically expansive minimalist on record. His work and his life asserted the importance of listening for the sounds nobody else has heard."

—Chicago Tribune

“Joyous, exhilarating, and transformative, Tyler Hubby’s documentary is essential viewing for anyone involved in the history of music and visual art.”

—Artforum

"Conrad was 100 percent badass. Without Tyler Hubby’s documentary and Table of the Elements ... one of the great stories of American music and art might have gone underappreciated.”

—Henry Rollins

All contents ©2024 Table of the Elements ®2024 Table of the Elements Archive. All Rights Reserved. Related media from the Table of the Elements Archive published courtesy the estate of Tony Conrad.

Since 1993, Table of the Elements has staked its claim on a massive enterprise. It intends nothing less than to rewrite the history of American music in the second half of the 20th century -- and beyond. The label’s 150-plus releases are a vital contemporary chronicle, a survey of meaningful eruptions across a broad horizon of improvised, experimental, minimal and outsider sounds.

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