After what seems like months working on the packaging for the new
absolutely beautiful release from Argentinian composer/musician Mario
Verandi…his new album Remansum is here! In Spanish the word “remanso”
(backwater) comes from the Latin “remansum”…meaning the action of
stopping and remaining in place…especially in an inherently idyllic
place, where beautiful music such as this can be heard! . . .
Mario
Verandi is an argentinean-born composer, musician and sound artist
living in Berlin. With an extensive and remarkable artistic career his
work focus on the use of new technologies as an aid to exploring sound,
space and perception. His most recent ambient/electronic music project
culminated with the release of his album entitled “Remansum”.
Mario Verandi´s output is wide-ranging and include electroacoustic
compositions, sound installations, live performances, music for dance,
radioart pieces as well as collaborations with several musician and
artists. . . .
Loophole is the new solo EP from Berlin-based pianist and composer Roman
Rofalski. It filters the musician's passion for electronic music
through piano and electronics. The origins of the project lie in a
collaboration with the Stockhausen Foundation, which returned Roman to a
keyboard and studio setting after something of a hiatus. He brought his
love for 90s underground techno to an environment of highly complex
contemporary electronic composition. . . .
Created over 5 years, the music in the game is generative, randomised, and infinite.
This OST takes just 21 of the 100+ pieces in the game, and turns them into traditional 'fixed' versions of the tracks.
The soundtrack reflects Amanita's marriage of beautiful hand-drawn
artwork with technology, as well as the game's progression through time -
a mix of genres including primitive hand-made instruments, an ambient
baroque world with bells and choirs and organs, a Classical world filled
with piano and strings, an electronic world pulsing with analog synths,
and a futuristic noir underworld with moody bass clarinet..
- This is the album in the form it was released by CDS in 2000, &
differs from the "road to.." session collection; here, the title track
is as we recorded it in 1980, before the tools were available to
properly remaster it, while the other pieces are edited albumversions
from the 1996 session.
Long time composer / secret member of The Residents, Hardy Fox released a
vast amount of solo albums during his last few years on Earth. This one
was the last album he released under the "Bobuck" name before publicly
announcing his true identity. Although most of his solo albums were
usually instrumental, Nineteen Sixty Seven features Hardy playing and
singing some of the biggest hits of 1967 in his unique and twisted
style. Personally, I find these versions far more interesting than the
originals and even though I'm normally really not that into cover
albums, this has really become one of my favorite Hardy Fox albums.
First time ever on vinyl!!
Following his retirement in 1998, composer and founding figure of
cybernetic music Roland Kayn (1933-2011) did not relax the pace of his
output. On the contrary, his oeuvre grew exponentially, and some of his
most expansive works were to take shape at his home studio in Nieuwe
Pekela in the Dutch province of Groningen. Through the late 1990s and
early 2000s, several of these compositions were released on CD on the
composer’s own label, Reiger-records-reeks, which was revived in 2019 by
his daughter Ilse for the momentous release of ‘Scanning’ (1982-83).
However, the Lydia-und Roland-Kayn-Archiv holds dozens of these works,
many of them as ambitious in scope as classics such as ‘Tektra’ and
‘Infra’, which have earned Kayn a loyal following among the current
generation of electronic music enthusiasts.
In 2003 alone, Kayn produced 15 pieces. One of these – the
hitherto-unheard ‘The Man and the Biosphere’ – now forms the first
release for an exciting new Bandcamp page dedicated to works from the
archive.
released June 19, 2020
The first track of the 4 track album MULTIPLEX SOUND-ART - CD 004, "Requiem pour Patrice Lumumba".
Patrice Émery Lumumba was the first Prime Minister of the independent
Democratic Republic of the Congo (then Republic of the Congo), but was
murdered by his opponents, with the complicity of the Belgian
government, the United States and the UN.
Kayn first heard of these events from his friend, conductor Andrzej
Markowski. He had never before written a requiem, and elected to make
Lumumba his subject.
'Requiem pour Patrice Lumumba' was previously released on the ‘Multiplex
Sound-Art’ CD in 2004 (Reiger-records-reeks, KY-CD 004-1/2). The
recording has now been remastered and rereleased upon the occasion of
Bandcamp’s Juneteenth stand for racial justice and equality.
released August 6, 2020
During World War II the Isle of Man was used as the primary site for the
internment of "civilian enemy aliens", both male and female.
- Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.
Roland Kayn was born in Germany in 1933 and
started composing at an early age. He was just 20 years old when he won
first prize at the festival of 20th century music in Karuizawa, Japan.
Performances of his composition Aggregate (1959) resulted in
him becoming persona non grata on the concert stage. Shortly after
working in electronic studios in Poland, Germany and Italy, he joined
the Gruppo Nuova Consonanza and this crucial detour
into improvisation with Franco Evangelisti, Aldo Clementi and Ennio
Morricone helped him find his definitive musical direction. Kayn decided
to pursue his musical quest through composition with the intention,
strange as it may seem, of excluding the composer as much as possible.
He concentrated solely on electronic and electro-acoustic music from
1970 onwards.
From an early age, Kayn was influenced by information theorists
rather than other composers, and it was as a result of this that he
started using the term “cybernetic” when describing his music.
Basically, Kayn would design networks of electronic equipment and then
develop a system of signals and commands that it could obey and execute.
Words like “melody,” “harmony,” and “rhythm” do not apply to Kayn’s
music. Music, supposedly, should have every detail defined by the
composer. Kayn insisted that his “cybernetic” music should regulate
itself, thereby relinquishing the narrative elements and the
psycho-emotional details usually associated with the ideas of
“authorship” and “work of art.” This meant that even he could not
predict the eventual composition, which were sound processes without an
epicentre, where every sound is equally important. For Kayn, “Music is sound, which is sufficient in itself.”
Roland Kayn felt that present day composers should avail themselves of
the electronic techniques at their disposal and that electronic music is
more than just the result of rapidly expanding technology.
Hardy Fox was the primary composer of The Residents. He created an
incredible body of work, using all kinds of names other than The
Residents, amongst them Combo De Mechanio, Sonidas De La Noche, Dead Eye
Dick, Charles Bobuck or Black Tar And The Cry Babies. Hardy first
stopped touring with The Residents due to health issues. Soon
afterwards, he left the group completely to concnetrate on his solo
work. After several albums as Charles Bobuck (later only Bobuck), the
name given to him when still a member of The Residents, he later dropped
all pseudonyms to work as Hardy Fox. His first self-titled solo
recording was an album full of minimal love songs, a portrait of the
young Hardy Fox. The second, Nachtzug was about his last days touring
with The Residents. It was followed by Rilla Contemplates Love, a
concept album about the thoughts and feelings of a gorilla. A week
before his death, Hardy recorded the very touching farewell recording to
his fans, 25 Minus Minutes. During the last months of his life, Hardy
submitted several recrodings to be released after his death. Killing
Time is one of them.
Roger Kleier - Transmissions From Second Avenue & This Story Was One Of Them
"Static, the indecipherable, and longing for connection"…
&
"Concrete, smoke, and fever dreams in an age of lockdowns"… Recorded and produced by RK for Master Element Mobile Sound Labs.
- "Born in 1958, Roger Kleier is a
composer, guitarist, improviser and producer who began playing electric
guitar at age thirteen after discovering Captain Beefheart and Jimi
Hendrix on the radio airwaves of Los Angeles. He studied composition at
North Texas State University and the University of Southern California,
and has developed an unique style that draws equally from improvisation,
contemporary classical music, and the American guitar traditions of
blues, jazz, and rock.
Much of his compositional work involves the development of a broader
vocabulary for the electric guitar through the use of extended
techniques and creating new works with digital technology.
Roger has performed and/or recorded with Annie Gosfield, Marc Ribot's
Shrek, Elliott Sharp, Fred Frith, Joan Jeanrenaud, Davey Williams, Ikue
Mori, Carl Stone, Phill Niblock, Alan Licht,Tom Cora, David Moss, Kato
Hideki, Chris Cutler, David Krakauer, Chris Brown, Sim Cain, Jim
Pugliese, Zeitgeist, Relache, Agon Orchestra, Kevin Norton, Willie
Winant, Samm Bennett, Zeena Parkins, Stan Ridgway and others. Roger has
toured extensively throughout the United States, Canada, Europe, and
Australia. He currently resides in New York City."
Scanner (British musician Robin Rimbaud) has been inventively active in
Electronic Music since 1991 and been involved in a bewildering range of
musical activities covering sonic art, concerts, installations,
recordings and dance scores. His impeccable sonic credentials have seen
him work with such luminaries as Bryan Ferry, Michael Nyman & Laurie
Anderson
His debut DiN solo album comes at a rather strange time for many people.
The onset of a global virus has shut down much of the world around us
and for many creatives, such as Rimbaud, the immediate cancellation of
all live performances. Rather than sit back and worry he felt it was
important to immediately embrace the tools at hand, and use the power of
technology to respond positively. Thus followed a very successful live
show broadcast on YouTube which garnered an audience from across the
globe with Rimbaud playing an improvised live modular synth set which
can still be enjoyed here.
Watching & listening was DiN label boss Ian Boddy who immediately
contacted Rimbaud to invite him to produce an album for the highly
respected DiN label. Rimbaud thus spent the next few days recording 90
minutes of new music using the very
same set up he had used for this YouTube concert. Boddy & Rimbaud
then curated these recordings to form this solo DiN debut Scanner album
“An Ascent” (DiN63).
The nine tracks form a musical journey ranging from gentle ambient
interludes through to pulsing machine like rhythms. There’s always a
sense of detail in the sonic backdrop which is just out of reach. A
sense of yearning that opens the album with the track “The Ascent” and
flows through to the beautiful calm ending of the final track
“Counterpointe”.
This is an inspiring album from this totally unique British artist and
one that may have never come in to existence if it wasn’t for the
strange times we live in.
Following his retirement in 1998, composer and founding figure of
cybernetic music Roland Kayn (1933-2011) did not relax the pace of his
output. On the contrary, his oeuvre grew exponentially, and some of his
most expansive works were to take shape at his home studio in Nieuwe
Pekela in the Dutch province of Groningen. Through the late 1990s and
early 2000s, several of these compositions were released on CD on the
composer’s own label, Reiger-records-reeks, which was revived in 2019 by
his daughter Ilse for the momentous release of ‘Scanning’ (1982-83).
However, the Lydia-und Roland-Kayn-Archiv holds dozens of these works,
many of them as ambitious in scope as classics such as ‘Tektra’ and
‘Infra’, which have earned Kayn a loyal following among the current
generation of electronic music enthusiasts.
In 2003 alone, Kayn produced 15 pieces. One of these – the
hitherto-unheard ‘The Man and the Biosphere’ – now forms the first
release for an exciting new Bandcamp page dedicated to works from the
archive.
released June 19, 2020
The first track of the 4 track album MULTIPLEX SOUND-ART - CD 004, "Requiem pour Patrice Lumumba".
Patrice Émery Lumumba was the first Prime Minister of the independent
Democratic Republic of the Congo (then Republic of the Congo), but was
murdered by his opponents, with the complicity of the Belgian
government, the United States and the UN.
Kayn first heard of these events from his friend, conductor Andrzej
Markowski. He had never before written a requiem, and elected to make
Lumumba his subject.
'Requiem pour Patrice Lumumba' was previously released on the ‘Multiplex
Sound-Art’ CD in 2004 (Reiger-records-reeks, KY-CD 004-1/2). The
recording has now been remastered and rereleased upon the occasion of
Bandcamp’s Juneteenth stand for racial justice and equality.
released August 6, 2020
During World War II the Isle of Man was used as the primary site for the
internment of "civilian enemy aliens", both male and female.
- Realisation: Reiger Recording Studio, Nieuwe Pekela, 2003.
Roland Kayn was born in Germany in 1933 and
started composing at an early age. He was just 20 years old when he won
first prize at the festival of 20th century music in Karuizawa, Japan.
Performances of his composition Aggregate (1959) resulted in
him becoming persona non grata on the concert stage. Shortly after
working in electronic studios in Poland, Germany and Italy, he joined
the Gruppo Nuova Consonanza and this crucial detour
into improvisation with Franco Evangelisti, Aldo Clementi and Ennio
Morricone helped him find his definitive musical direction. Kayn decided
to pursue his musical quest through composition with the intention,
strange as it may seem, of excluding the composer as much as possible.
He concentrated solely on electronic and electro-acoustic music from
1970 onwards.
From an early age, Kayn was influenced by information theorists
rather than other composers, and it was as a result of this that he
started using the term “cybernetic” when describing his music.
Basically, Kayn would design networks of electronic equipment and then
develop a system of signals and commands that it could obey and execute.
Words like “melody,” “harmony,” and “rhythm” do not apply to Kayn’s
music. Music, supposedly, should have every detail defined by the
composer. Kayn insisted that his “cybernetic” music should regulate
itself, thereby relinquishing the narrative elements and the
psycho-emotional details usually associated with the ideas of
“authorship” and “work of art.” This meant that even he could not
predict the eventual composition, which were sound processes without an
epicentre, where every sound is equally important. For Kayn, “Music is sound, which is sufficient in itself.”
Roland Kayn felt that present day composers should avail themselves of
the electronic techniques at their disposal and that electronic music is
more than just the result of rapidly expanding technology.
– Frans van Rossum
released September 4, 2020
'Made in the NL After the Sixties and Beyond' finds Kayn examining his
early groundbreaking work from the vantage point of his later years. New
sounds remembered, their indefinable power undiminished.
The
World As We Know It is an electronic album made in the absence of
instruments. At the same time, it is a guitar/vocal album and entirely
human. And so we have something of an anomaly.
Amon Tobin
first recorded these songs during an isolated period in the woods of
northern California. It was an exploratory process, much to do with
learning about harmony and (relatively) traditional songwriting. A
personal exorcism of sorts, he externalized an array of experiences and
organized them into words.
At
the time of writing what was to become Figueroa, Tobin had no
particular ambitions for the work. Describing his singing voice as “a
vague idea of what a voice might sound like,” the tracks remained
personal as they sat in state for almost a decade after they were first
scratched out in a cabin in the woods.
Eventually
Amon sent the material to the legendary producer Sylvia Massy (Tool,
Prince, Red Hot Chili Peppers, Johnny Cash, Annie Mac) hoping she might
find someone who could perform the material. Sylvia was thrilled by the
songs she heard. Rather than delegate them to polished musicians, she
got on the next plane to LA and booked a session at the famous Capital
Studios at Capitol Records in Hollywood for Amon to record the songs
properly under her guidance. The result is The World As We Know It.
The
World As We Know It is imperfect and beautiful. It is full of darkness
and wonder. It’s surprising and confounding. Better sometimes to not ask
questions and just listen to the music.
French musician and record collector. Former blogger at Continuo's Weblog and Continuo's Documents (2007–2016). As a DJ,
author of multiple
Continuumixes (2008–2016), a couple of mixes for NTS Live radio (UK) in
2017, and the ongoing Bobine VIde series on LYL radio (2018–2019).
- "These tracks came to life growing on pre-existing musics like epiphytes
do on plants or trees. Found herein are excerpts and samples from 78rpm
laughing record, operatic singer, 20th century contemporary musics,
YouTube detritus, etc, as well as a flotsam of electronic loops, synth
sounds and the omnipresent human voice, especially wordless female
vocals – hence the title 'Chant de naufrage', French for Hymn of
Wreckage."
- "I wanted to make a piece in two sections both drawn from the same small
sample set, but each with its own unique pacing and style. A model
vaguely in my mind would have been like a prelude and fugue - each half
capable of standing alone, but complementing each other when played
together.
The full title is Ganci & Figli, named after an amazingly scaled,
24-hour rosticceria panineria in the city of Palermo, kindly introduced
to me by composer/saxophonist Gianni Gebbia after our shared performance
in that city a few years ago.
All music made using the programming language MAX, from Cycling74, as always."
- Carl Stone.
- "These tracks were all made in
late 2019 and 2020, much of when I was in pandemic isolation about 5000
miles from my home base of Tokyo. All are made using my favorite
programming language MAX. However distinct these two groupings might be
they share some common and long-held musical concerns. I seek to explore
the inner workings of the music we listen to using techniques of
magnification, dissection, granulation,, anagramization, and others. I
like to hijack the surface values of commercial music and re-purpose
them offer a newer, different meaning, via irony and subversion."
Wayfinding is Christopher Bissonnette’s sixth solo studio release and
his first, of hopefully many, for 12k. The album embodies an evolution
of Bissonnette’s work, moving from an exclusively synth-based series of
explorations to an amalgam of electronics and acoustic methods. Each
track seeks to find grandeur on a diminutive scale. Bissonnette’s focus
has shifted from sweeping pastoral drones to introspective passages with
delicate melody and elusive harmonies interlaced with studio and field
recordings. This minute scale is also reflected in a photographic series
that studies the domestic landscape of home. The sequence of images
transforms the banality and insignificance of the familial interior into
expansive vistas and bucolic panoramas. Wayfinding is Bissonnette’s
most intimate and gauzy work to date and executed with beautiful
restraint.
Martina Claussen has been active as a composer, vocal artist and
Professor of Voice in Vienna for many years. After many collaborations
and appearances on some excellent compilations she's arrived at her full
debut album, a project we're very excited to be part of as Forwind
reaches its thirtieth release.
Verwoben (Interwoven) is an engrossing, intricate album of electronics
and electro-acoustics with Martina’s voice being the primary sound
source for most of the compositions. The five tracks were crafted over
several years of experiments, recordings and live performances before
finding their final form, with Martina's production and sound design
skills shining through in the innovative results. . . .
The composer and vocal artist Martina Claussen explores and combines the
sounds of the human voice and sound objects with field recordings,
analogue and digital electronics. She explores the space and the
performative action and has over the years steadily developed her own,
distinctive style of music. She studied computer music and
electronic media at the University of Music and Performing Arts in
Vienna, Classical Singing at the Music and Arts University of the City
of Vienna and composition at the Bruckner University in Linz.
The
World As We Know It is an electronic album made in the absence of
instruments. At the same time, it is a guitar/vocal album and entirely
human. And so we have something of an anomaly.
Amon Tobin
first recorded these songs during an isolated period in the woods of
northern California. It was an exploratory process, much to do with
learning about harmony and (relatively) traditional songwriting. A
personal exorcism of sorts, he externalized an array of experiences and
organized them into words.
At
the time of writing what was to become Figueroa, Tobin had no
particular ambitions for the work. Describing his singing voice as “a
vague idea of what a voice might sound like,” the tracks remained
personal as they sat in state for almost a decade after they were first
scratched out in a cabin in the woods.
Eventually
Amon sent the material to the legendary producer Sylvia Massy (Tool,
Prince, Red Hot Chili Peppers, Johnny Cash, Annie Mac) hoping she might
find someone who could perform the material. Sylvia was thrilled by the
songs she heard. Rather than delegate them to polished musicians, she
got on the next plane to LA and booked a session at the famous Capital
Studios at Capitol Records in Hollywood for Amon to record the songs
properly under her guidance. The result is The World As We Know It.
The
World As We Know It is imperfect and beautiful. It is full of darkness
and wonder. It’s surprising and confounding. Better sometimes to not ask
questions and just listen to the music.
“Drones for keeping sane”. Music for adapted Benjolin (Miasmachine),
Pitch shifter and Echoplex. Made in Schöneberg, Berlin, April 2020 by
Erik K Skodvin. Mastered by Martyn Heyne / Lichte Studio
Erik K Skodvin's first solo film score evokes otherwordly dreamscapes
that capture the atmosphere of the film Anbessa (2019), shot in Ethiopia
by director Mo Scarpelli.
As a "creative" documentary the film follows Asalif, a 10 year old
imaginative boy caught between the ancient and the new, navigating
modernization on his own terms. Asalif tries to make sense of things
while living in a shed on the outskirts of Addis Ababa with his mom. A
place where capitalism and “progress” is closing in on all fronts, and
threatening their lifestyle. By becoming a lion (anbessa) he can fight
back against the forces outside of his control. . . .
Grounded in nostalgia yet reaching for what feels like futurism captured
in film noir aesthetics, Soare Staniol’s music has gathered a sort of a
cult audience since their first performance in 2014 and has continued
to charm their fans with increasingly immersive experiences.
Fronted by classically trained musician and radio personality Maria
Balabas, Soare Staniol’s music is an intoxicating blend of spoken word
poetry and acoustic instruments enveloped in electronics in constant
dialogue with each other. Visionary electronic producer Sorin Paun
alongside accomplished classically trained musician Mihai Balabas,
veteran experimental woodwinds musician Calin Torsan and polyvalent
violinist Marina Pingulescu complete the Bucharest based quintet’s
unique sound. . . .
Sinéad O'Connor marks her long-awaited return with a stunning
interpretation of Trouble Of The World, a traditional song made famous
by exalted gospel singer Mahalia Jackson. It follows the-ever-more
pertinent Trouble Soon Be Over – her contribution to 2015’s 'Tribute To
Blind Willie Johnson' compilation and once more exudes the heart and
soul of this extraordinary performer. . .
Ivar Grydeland: electric guitar, acoustic guitar, pedal steel guitar, banjo, electronics, tabla machine
Tonny Kluften: electric bass
Ingar Zach: drums, percussion, tabla machine, drone commander
Comments
The last time I saw him,
he was wearing the very same thing.
This OST takes just 21 of the 100+ pieces in the game, and turns them into traditional 'fixed' versions of the tracks.
The soundtrack reflects Amanita's marriage of beautiful hand-drawn artwork with technology, as well as the game's progression through time - a mix of genres including primitive hand-made instruments, an ambient baroque world with bells and choirs and organs, a Classical world filled with piano and strings, an electronic world pulsing with analog synths, and a futuristic noir underworld with moody bass clarinet..
http://www.hiddenorchestra.com/ - Emusic
Jamie Saft - piano
Bradley Christopher Jones – bass
Roland Kayn was born in Germany in 1933 and started composing at an early age. He was just 20 years old when he won first prize at the festival of 20th century music in Karuizawa, Japan. Performances of his composition Aggregate (1959) resulted in him becoming persona non grata on the concert stage. Shortly after working in electronic studios in Poland, Germany and Italy, he joined the Gruppo Nuova Consonanza and this crucial detour into improvisation with Franco Evangelisti, Aldo Clementi and Ennio Morricone helped him find his definitive musical direction. Kayn decided to pursue his musical quest through composition with the intention, strange as it may seem, of excluding the composer as much as possible. He concentrated solely on electronic and electro-acoustic music from 1970 onwards.
From an early age, Kayn was influenced by information theorists rather than other composers, and it was as a result of this that he started using the term “cybernetic” when describing his music. Basically, Kayn would design networks of electronic equipment and then develop a system of signals and commands that it could obey and execute. Words like “melody,” “harmony,” and “rhythm” do not apply to Kayn’s music. Music, supposedly, should have every detail defined by the composer. Kayn insisted that his “cybernetic” music should regulate itself, thereby relinquishing the narrative elements and the psycho-emotional details usually associated with the ideas of “authorship” and “work of art.” This meant that even he could not predict the eventual composition, which were sound processes without an epicentre, where every sound is equally important. For Kayn, “Music is sound, which is sufficient in itself.” Roland Kayn felt that present day composers should avail themselves of the electronic techniques at their disposal and that electronic music is more than just the result of rapidly expanding technology.
– Frans van Rossum
Recorded and produced by RK for Master Element Mobile Sound Labs.
His debut DiN solo album comes at a rather strange time for many people. The onset of a global virus has shut down much of the world around us and for many creatives, such as Rimbaud, the immediate cancellation of all live performances. Rather than sit back and worry he felt it was important to immediately embrace the tools at hand, and use the power of technology to respond positively. Thus followed a very successful live show broadcast on YouTube which garnered an audience from across the globe with Rimbaud playing an improvised live modular synth set which can still be enjoyed here.
The nine tracks form a musical journey ranging from gentle ambient interludes through to pulsing machine like rhythms. There’s always a sense of detail in the sonic backdrop which is just out of reach. A sense of yearning that opens the album with the track “The Ascent” and flows through to the beautiful calm ending of the final track “Counterpointe”.
This is an inspiring album from this totally unique British artist and one that may have never come in to existence if it wasn’t for the strange times we live in.
itwasthewires - modular synthesizer featuring verbos harmonic oscillator and morphagene
marco lucchi - organ and synth
Marco Lucchi : found sounds, Mellotron, synthesizers and mix down
The World As We Know It is an electronic album made in the absence of instruments. At the same time, it is a guitar/vocal album and entirely human. And so we have something of an anomaly.
Amon Tobin first recorded these songs during an isolated period in the woods of northern California. It was an exploratory process, much to do with learning about harmony and (relatively) traditional songwriting. A personal exorcism of sorts, he externalized an array of experiences and organized them into words.
At the time of writing what was to become Figueroa, Tobin had no particular ambitions for the work. Describing his singing voice as “a vague idea of what a voice might sound like,” the tracks remained personal as they sat in state for almost a decade after they were first scratched out in a cabin in the woods.
Eventually Amon sent the material to the legendary producer Sylvia Massy (Tool, Prince, Red Hot Chili Peppers, Johnny Cash, Annie Mac) hoping she might find someone who could perform the material. Sylvia was thrilled by the songs she heard. Rather than delegate them to polished musicians, she got on the next plane to LA and booked a session at the famous Capital Studios at Capitol Records in Hollywood for Amon to record the songs properly under her guidance. The result is The World As We Know It.
The World As We Know It is imperfect and beautiful. It is full of darkness and wonder. It’s surprising and confounding. Better sometimes to not ask questions and just listen to the music.
Verwoben (Interwoven) is an engrossing, intricate album of electronics and electro-acoustics with Martina’s voice being the primary sound source for most of the compositions. The five tracks were crafted over several years of experiments, recordings and live performances before finding their final form, with Martina's production and sound design skills shining through in the innovative results. . . .
She studied computer music and electronic media at the University of Music and Performing Arts in Vienna, Classical Singing at the Music and Arts University of the City of Vienna and composition at the Bruckner University in Linz.
As a "creative" documentary the film follows Asalif, a 10 year old imaginative boy caught between the ancient and the new, navigating modernization on his own terms. Asalif tries to make sense of things while living in a shed on the outskirts of Addis Ababa with his mom. A place where capitalism and “progress” is closing in on all fronts, and threatening their lifestyle. By becoming a lion (anbessa) he can fight back against the forces outside of his control. . . .
Fronted by classically trained musician and radio personality Maria Balabas, Soare Staniol’s music is an intoxicating blend of spoken word poetry and acoustic instruments enveloped in electronics in constant dialogue with each other. Visionary electronic producer Sorin Paun alongside accomplished classically trained musician Mihai Balabas, veteran experimental woodwinds musician Calin Torsan and polyvalent violinist Marina Pingulescu complete the Bucharest based quintet’s unique sound. . . .
Tonny Kluften: electric bass
Ingar Zach: drums, percussion, tabla machine, drone commander
Guests:
Yuka Honda: keyboards
Nels Cline: electric guitar, effects
Darin Gray: double bass, preparations
Glenn Kotche: drums, percussion, electronics