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SPIN CYCLE

Sub Rosa

“We are not, strictly speaking, a music label,” says Guy Marc Hinant of SUB ROSA, the Belgian record company he heads with Frédéric Walheer. Though, over the past decade, Sub Rosa has given us some of the most extraordinary music of the late twentieth century, the label embraces what John Cage called “the entire field of sound”—tones, voices, and noises in all their multiplicity and heterogeneity. It has put out collections of Yiddish and Judeo-Spanish songs, anticolonialist hip hop from Greenland, and field recordings of Venezuelan shamans. One series presents work by classical composers such as Giacinto Scelsi, Hanns Eisler, and Morton Feldman. An early Sub Rosa release, Break Through in Grey Room, offered a collection of William S. Burroughs’ tape “cut-ups”; a recent CD documents the entire program of Antonin Artaud’s censored 1947 radio broadcast, To Have Done with the Judgement of

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