“Born Again In The Voltage” is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015.
Music produced by Caterina Barbieri between August 2014 and August 2015.
Recorded and mixed at EMS (Elektronmusikstudion) in Stockholm (SE). Buchla 200 modular synthesizer + vocals + cello. Cello by Antonello Manzo.
- Alien Ensemble’s trombone man Mathias Goetz caused quite a splash when
he released his eponymous debut LP under his Le Millipede moniker back
in 2015: The multi-instrumentalist’s initial offering was clearly
something else, impossible to grasp, a musical vessel beyond genre,
beyond style or era, seemingly beyond space and time even; a vessel that
carried an almost cosmic kind of song-craft – music with no fixed stamp
of origin, though it did somehow feel like an Alien Transistor release.
Followed by remix album Mirror Mirror, which comprised reworks by 1115,
Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it’s now time for
album #2: The Sun Has No Money. . . .
- Arranging various layers of piano, xylophone and glockenspiel,
stylophone, Moog and harmonium, Le Millipede creates minimalist,
instrumental pop gems, tracks with an immediate quality that seem rather
simple at first listen. It’s a well-known fact that millipedes, though
frequently referred to as “thousand leggers”, actually have no more than
750 legs, usually way less. Correspondingly, it shouldn’t come as a
surprise that the band Le Millipede is actually just one guy – who
happens to play a whole lot of different instruments with his own two
hands. He goes by the name Mathias Götz. The live set up include Markus
and Micha Acher well known from their band the Notwist as well as Nico
Sierig (Joasihno)
For over 20 years, British sound artist, Janek Schaefer, has earned significant acclaim and awards for transforming the power of half-forgotten memories into otherworldly works that are often as ambiguous as they are evocative. Primarily occupying the space and similarities between sadness and joy, his compositions relish in the unpredictability of emotional gravity. It is this transience that makes his new album, What Light There Is Tells Us Nothing, so resonant. In 2014, Schaefer was commissioned by the Sounds New Festival in Canterbury, England to craft a new, original piece of music made entirely of elements from Robert Wyatt’s Cuckooland album. Originally designed and presented at the festival as an immersive, multi-channel radio installation, the 21-minute cloud of sound was a sublime meditation on the profundity of Wyatt’s work, and its transporting idiosyncrasies. With Wyatt’s blessing, Schaefer adapted that piece into the side-long opus, “What light there is tells us nothing,” and complimented it with seven new, original compositions that not only exist in the same wondrous space, but echo its playfully poignant resonance well after the album has ended.
Never before released soundtrack of the film "Rock" (1982)
directed by Michel Treguer
Limited Edition Remastered from the original master tapes.
Composed By, Recorded By, Performer – Bernard Parmegiani
Artwork – Jean-Philippe Talaga
Executive-Producer – Jonathan Fitoussi, Sébastien Rosat
Mastered By – Jonathan Fitoussi
released October 16, 2017
- This series of rare application music compositions are
representative of the vast scope explored by Parmegiani. Far from the
strict format of concert music, its codes and usages, this music
designed to fit with the screen is a work of amazing freshness and
spontaneity.
It is pervaded with a singular balance, between minimalist music and a
more articulated language. There is a space for melody, for word
repetitions. Actually, repetition is a constant feature, blurring the
line between his concert work and the rest. More than a border line, it
seems to define two worlds, which communicate through it.
With an impressive number of application works, and some time spent at
the head of the Sound / Image sector in the research service led by
Pierre Schaeffer, the composer has managed to build up a framework
designed for research and mutual exchange. Bernard Parmegiani presents
us with lights, gestures, lines, various registers. Besides, how could
one perceive these pieces of music without the pictures they are
supposed to enhance? Each title is suggestive, and the best answer is in
the field of imagination.
In the middle of the B-side, there is a true gem dated 1977. In this
second extract of “Versailles… peut-être“ Bernard Parmegiani gives us a
glimpse of the future. One can feel the pulse of the 80’s and of the
first accents of Techno Music. It feels like driving a drop head car at
134 BPM, faster than on Kraftwerk’s “Autobahn”. One can also sense that
soon the LFO will be replaced by the drum-machine.
Listening to these pieces of music arouses the same sensation as reading
the prose of an author already known for his poetry. If one has never
read his poems, here is the record that will open the door on a new
world to be discovered
Puce Mary is the solo moniker of Danish experimental artist Frederikke Hoffmeier. The output is rooted in industrial- noise, sound collage, power electronics and concrete music, with a vast amount of releases - first and foremost on the Copenhagen based label Posh Isolation.
“Part Sun Ra otherworldiness, part Sublime Frequencies and part ESG … Orchestra of Spheres blew us away. I’ve seen them several times since that first gig and the magic only intensifies each time.”
- Dan Snaith aka Caribou
Baba Rossa - biscuit tin guitar, vocals, sexomouse marimba
Mos Iocos - keyboard, vocals, gamelan
EtonalE - electric bass carillon, vocals
Jemi Hemi Mandala - drums
Tooth - drums
Mirror, a double LP and the band's 4th release on Fire Records, is an exploration of energies and atmospheres, from intense futuristic funk and sonic tape assemblages to windswept reflections from a far flung corner of the world. It combines Orchestra of Spheres' ecstatic rhythmic power and ritualistic vocals with an expanded orchestral palette including bassoon, harp, viola, bass clarinet, soprano sax, flute and bowed ektars. . . .
. . . .Polycrisis: Yes!, the fourth album by Jessica Sligter, is a concept work about the EU. Not a celebration – the music is too dissonant and the words too bleak – but an acknowledgement of its power, how that was accrued in a climate of neoliberalism and how any challenge to its security threatens the existence of millions within it. While Brexit isn’t specifically mentioned in any of its eight songs, it presumably served as a catalyst for Sligter – who, as a half-Norwegian, half-Dutch artist who lives between Oslo and Berlin and travels around Europe to work – can be forgiven for having some personal investment in the issue. The album is vastly different to anything she’s previously released, featuring some great, challenging moments of sound design as well as deeply peculiar aesthetic choices. . . . .
Making a film score for Andy Warhol's 'Empire' is a unique challenge. At over eight hours long and with so little happening on screen, how does one create a soundtrack that can engage the audience in witnessing 'the passing of time' as Warhol wrote about 'Empire', whilst not drawing overt attention to the score itself and away from the film? In the film the Empire State Building stands like a bell tower, a beacon in the skyline.
To structure the work Adkins used a bell-ringing pattern—NY Littleport Caters, first rung on 23rd October 2016 in New York. This nine-bell sequence is an example of change-ringing technique—in which the nine bells are permuted continuously for several hours. From this Adkins created a nine-chord harmonic sequence each with nine layers of sonic material including old instruments and other ambient sounds recorded in large architectural structures. Nine permutations occur every 48 minutes—the length of one of ten reels of film for 'Empire'. The bell-pattern cycles through nine iterations, the combination of layers being unique in each occurrence.
The final reel, of the Empire State Building in almost total darkness, is accompanied by extended filtered materials from previous sections. The current recording presents the prime sequence of materials with the nine harmonic sections in their original order (1 to 9) and concluding with a section of the sound for the tenth reel. The overall affect is one of a steady state of cyclical sonic and harmonic movement that never repeats.
Empire was commissioned by the Yorkshire Silent Film Festival 2018.
"Renaldo & The Loaf only ever graced a stage once nearly 40 years ago for a 20 minute improvisation. In June 2018 Klanggalerie celebrated its 25th anniversary with a 2 day festival that brought 11 bands from the label to Vienna for an exclusive gig. One of those bands was Renaldo & The Loaf.... a great honour for us and a very special event for a lot of people who travelled from all over the world to see them. It was the first time RATL played a proper set and let me tell you, they were beyond amazing. The set consisted of songs old and new, and even a so-far unreleased track was presented for the first time ever. Of course, this unique event was recorded and here is Renaldo & The Loaf live at Klang25 in Vienna in 2018 !" - released November 15, 2018
This ought to appeal to both contemporary classical and jazz fans. Stylistically, it leans towards the former, but the lineup flexes some serious jazz chops, including Ingrid, Mary Halvorson, Kris Davis, Nate Wooley, and Taylor Ho Bynum (who conducts some of the pieces). Intakt is no longer available on eMusic, but Bandcamp has it...
Sometimes ya gotta get your big band fix, and this is a good place to scratch that itch. An ArtistShare project, so not available at Bandcamp, eMusic, etc. (though I think it is at Amazon for physical CD only - digital download available at ArtistShare).
More notable than really new. Six titles from the "Field Works" label that were released in September and October of this year. Nice compilations! Not sure if it's been mentioned here before, but may be worth pursuing based on the tastes here.
- A label focusing on Experimental Electronic Music by Iranian Composers. Curated by Ata 'Sote' Ebtekar and produced by Opal Tapes.
"So, so amazing. Iran is a hotspot of extraordinary music-making. Of course Sote's own music grabbed me way back with the 2-track EP on Warp. There are artists I know & love here, like the mighty Leila, 9T Antiope (and SarrSew & Nima Aghiani solo), Siavash Amini, Pouya Pour-Amin, Ash Koosha, Aria Rostami - and wonderful artists I'd never heard of: Ixuol, NUM, Mehdi Jalali & many more. This is an enormous collection of music, but with a depth & breadth that absolutely justifies its almost 4 hours."
Peter is cellist in FourPlay String Quartet, improv electro-acoustic band Tangents and indietronic trio Haunts, and presenter of Utility Fog on Sydney's FBi Radio. Peter has recorded and played live with musicians such as Oren Ambarchi, Sophie Hutchings, Lisa Gerrard & more. Peter has recorded and played live with musicians such as Oren Ambarchi, Sophie Hutchings, Lisa Gerrard & more.
News from "The artists formerly known as Future 3"
- The new album from Danish electronic trio System is a special kind of
collaborative effort with piano magicianNils Frahm. His purpose-built
improvisations on synth, organ and piano served as source material for
the members of System (Thomas Knak, Anders Remmer & Jesper
Skaaning), who merged his warm acoustic tones with their minimalist
digitalism and set out to translate their distinctive clicks ’n’ cuts
electronics into vivid soundscapes. Over two years in the making, the
resulting nine tracks are as sonically intriguing as they are touching.
Ranging from the mellow bliss of the title track to echoes of 90’s and
2000’s electronica and ambient sequences frequented by mesmerizing
movements and sounds. The blending of piano and digital tones and noises
into emotive pieces might instantly recall the work of Alva Noto and
Ryuichi Sakamoto, though System and Frahm come to quite different
results . . .
"Distilling sounds from the now 70 years old archive of the DARMSTADT SUMMER COURSES FOR NEW MUSIC, the Berlin based electronic artist HANNO LEICHTMANN presents a stunning new album which is remix, collage and homage at the same time."
Actually, quite well-done - so far. Crappiest modern cover I've seen in quite a while.
And if you couldn't get enough Monk with the multi-disc Miles Okazaki solo guitar retrospective earlier this year, you can try some more boxed-set Monk via Frank Kimbrough and friends, also out this Friday: (70 tracks)
The 5-disc Complete Cuban Jam Session box (in MP3 320K format) is available on us.7digital.com for $7.99 (vs. $59.99 elsewhere for CDs). These are remastered re-releases of original recordings from Cuba in the late '50s.
There is perhaps no woman more cherished in modern Ethiopian history than Asnakech Worku. As a musician, actress, dancer and cultural icon, Asnakech inspired and challenged society for decades, until her death in 2011. She was an internationally-celebrated performer of Ethiopia’s ancient harp, the krar, making her one of the most visible female musicians of the 20th century . . .
"Distilling sounds from the now 70 years old archive of the DARMSTADT SUMMER COURSES FOR NEW MUSIC, the Berlin based electronic artist HANNO LEICHTMANN presents a stunning new album which is remix, collage and homage at the same time."
Actually, quite well-done - so far. Crappiest modern cover I've seen in quite a while.
On his latest work “Nouvelle Aventure”, Berlin’s HANNO LEICHTMANN (who
besides his solo works also plays with JAN JELINEK and ANDREW PEKLER in
GROUPSHOW and recently released his 2nd album with VALERIO TRICOLI on
ENTR’ACTE) presents his very individual approach to the task of remixing
and reworking the IMD archive. As in his previous installations (e.g.
“Skin, Wood, Traps“ for Haus Der Kulturen Der Welt, celebrating the
100th birthday of the drumset), the electronic artist distills his sound
material exclusively from a thematically fixed archive, in this case:
concert recordings, lectures and discussions from the now 70 years old
archive of the famous DARMSTADT SUMMER COURSES FOR NEW MUSIC
(STOCKHAUSEN, NONO, LIGETI, XENAKIS et.al.). Originally a 6-channel
installation as part of “Historage” at Mathildenhöhe Darmstadt, the
composition is here presented as a 46 minutes stereo mix. LEICHTMANN
sent the subjectively-chosen
sounds through his unique machinery of voltage-controlled (micro-)
loopers, re-recorded them and then in a last step pieced them together
in his studio, primarily applying the traditional parameters of early
electronic (tape) music (amplitude, pitch / speed, playback direction,
series / cuts, but most of all: repetition. The result is a stunning
album which is remix, collage and homage at the same time – and a highly
psychedelic affair, as mirrored by the amazing artwork by CARO MIKALEF
(CABINA).
While working as a sound editor for DEFA in the 1970’s and 80's Martin Zeichnete led a secret, parallel life writing music to train and inspire East Germany’s athletic elite. This fourth compilation of Zeichnete’s work will take us on a cosmic voyage of both the body and the mind...
Heather Leigh takes her Throne as queen of pedal steel with a suite of heartbleed ballads cauterised with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multitracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. . . .
Flak Bond was a dormant project first created by XAMBUCA’s Chandra Shukla and Saifir a.k.a. Todd Mellors. The two had been musical friends going back to the 90’s where both were members of various projects including Larry Thrasher’s Thrasher Qawwal & Party project and an all star collaborative supergroup distastefully named Poo Poo Shoe.
Both of these projects were short lived and influenced both Mellors and
Shukla to go their own ways. Sometime around 2007 and onwards, Mellors
and Shukla collaborated live often performing together as ‘Xambuca and
Saifir’. The two had many recordings of their collaborations as well and
this gave birth to FlakBond. Most of these recordings were done in
Mellors’ studio in PDX. The term implies the harsh criticism rendered
from giving each other ‘flak’ and the ability to be friends that
‘bonded’ over their very opinionated views on music. Their debut
recording Safety Belt is a culmination of those recordings from over a decade ago.
Senyawa are a contemporary duo originating from Jogjakarta, Indonesia. Rully Shabara (extreme vocals) coupled with Wukir Suryadi's deft instrumentals (and homemade instruments) produce one of the most profound examples of experimental via traditional music happening anywhere today. By weaving Indonesian folkloric moods with various shades of modern genre hybrids, Senyawa has been navigating unexplored musical terrain for more than a decade. <U>Sujud</U>, their premier release on the Sublime Frequencies label, is the latest chapter of this very special and singular sound of the past, present, and future. The basic theme of the record can be summed up with one extremely powerful Bahasa Indonesian word, "tanah", which translates to "soil-ground-land-earth". Shabara's vocals are an expressive force, conjuring spirits from the soil with a deep humility and respect for the land and their existence in the universe. Suryadi has built a new guitar for these tracks and pushes the Senyawa sound into new territory, utilizing delay, loops, and other effects creating grounded backdrops of folk metal, punk attitudinal, and droning earthscapes - providing Shabara the perfect context to explore his whispering poetry and jagged, sharp-as-a-kris animistic powers. There is simply no other sound like it and Sublime Frequencies is thrilled to present this new direction in their discography
Comments
Music produced by Caterina Barbieri between August 2014 and August 2015.
Buchla 200 modular synthesizer + vocals + cello.
Cello by Antonello Manzo.
It is pervaded with a singular balance, between minimalist music and a more articulated language. There is a space for melody, for word repetitions. Actually, repetition is a constant feature, blurring the line between his concert work and the rest. More than a border line, it seems to define two worlds, which communicate through it.
With an impressive number of application works, and some time spent at the head of the Sound / Image sector in the research service led by Pierre Schaeffer, the composer has managed to build up a framework designed for research and mutual exchange. Bernard Parmegiani presents us with lights, gestures, lines, various registers. Besides, how could one perceive these pieces of music without the pictures they are supposed to enhance? Each title is suggestive, and the best answer is in the field of imagination.
In the middle of the B-side, there is a true gem dated 1977. In this second extract of “Versailles… peut-être“ Bernard Parmegiani gives us a glimpse of the future. One can feel the pulse of the 80’s and of the first accents of Techno Music. It feels like driving a drop head car at 134 BPM, faster than on Kraftwerk’s “Autobahn”. One can also sense that soon the LFO will be replaced by the drum-machine.
Listening to these pieces of music arouses the same sensation as reading the prose of an author already known for his poetry. If one has never read his poems, here is the record that will open the door on a new world to be discovered
- Maxime Barthélemy at Transversales Disques
Puce Mary - The Drought
The output is rooted in industrial- noise, sound collage, power electronics and concrete music, with a vast amount of releases - first and foremost on the Copenhagen based label Posh Isolation.
- Fire Records - Emusic
Orchestra of Spheres
https://orchestraofspheres.bandcamp.com/
aesthetic choices. . . . .
Making a film score for Andy Warhol's 'Empire' is a unique challenge. At over eight hours long and with so little happening on screen, how does one create a soundtrack that can engage the audience in witnessing 'the passing of time' as Warhol wrote about 'Empire', whilst not drawing overt attention to the score itself and away from the film? In the film the Empire State Building stands like a bell tower, a beacon in the skyline.
To structure the work Adkins used a bell-ringing pattern—NY Littleport Caters, first rung on 23rd October 2016 in New York. This nine-bell sequence is an example of change-ringing technique—in which the nine bells are permuted continuously for several hours. From this Adkins created a nine-chord harmonic sequence each with nine layers of sonic material including old instruments and other ambient sounds recorded in large architectural structures. Nine permutations occur every 48 minutes—the length of one of ten reels of film for 'Empire'. The bell-pattern cycles through nine iterations, the combination of layers being unique in each occurrence.
The final reel, of the Empire State Building in almost total darkness, is accompanied by extended filtered materials from previous sections. The current recording presents the prime sequence of materials with the nine harmonic sections in their original order (1 to 9) and concluding with a section of the sound for the tenth reel. The overall affect is one of a steady state of cyclical sonic and harmonic movement that never repeats.
Empire was commissioned by the Yorkshire Silent Film Festival 2018.
"Renaldo & The Loaf only ever graced a stage once nearly 40 years ago for a 20 minute improvisation. In June 2018 Klanggalerie celebrated its 25th anniversary with a 2 day festival that brought 11 bands from the label to Vienna for an exclusive gig. One of those bands was Renaldo & The Loaf.... a great honour for us and a very special event for a lot of people who travelled from all over the world to see them. It was the first time RATL played a proper set and let me tell you, they were beyond amazing. The set consisted of songs old and new, and even a so-far unreleased track was presented for the first time ever. Of course, this unique event was recorded and here is Renaldo & The Loaf live at Klang25 in Vienna in 2018 !"
- released November 15, 2018
Curated by Ata 'Sote' Ebtekar and produced by Opal Tapes.
There are artists I know & love here, like the mighty Leila, 9T Antiope (and SarrSew & Nima Aghiani solo), Siavash Amini, Pouya Pour-Amin, Ash Koosha, Aria Rostami - and wonderful artists I'd never heard of: Ixuol, NUM, Mehdi Jalali & many more.
This is an enormous collection of music, but with a depth & breadth that absolutely justifies its almost 4 hours."
Peter has recorded and played live with musicians such as Oren Ambarchi, Sophie Hutchings, Lisa Gerrard & more.
Peter has recorded and played live with musicians such as Oren Ambarchi, Sophie Hutchings, Lisa Gerrard & more.
Thanks for the above. There's a collection of the first 4 volumes of the compilations there too.
Actually, quite well-done - so far. Crappiest modern cover I've seen in quite a while.
Most of them send you somewhere.
Next week.
While working as a sound editor for DEFA in the 1970’s and 80's Martin Zeichnete led a secret, parallel life writing music to train and inspire East Germany’s athletic elite. This fourth compilation of Zeichnete’s work will take us on a cosmic voyage of both the body and the mind...