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- Emusic - First Terrace Records
ETA: Fractured Air interview: https://fracturedair.com/2019/05/20/step-right-up-justin-wright/
The tracks that make up Ecliptica were
produced from improvisations made with a guitar pedal modular matrix
-connected by a closed circuit – that generates and processes feedback
signals. The sounds resulting from this feedback system find their root
in complex signals of chaotic behavior. The improvisational and
compositional mediation with this instrument consists of running small
parametric variations that trigger new arborescences of a continuous
energy flow that seems to have an organic, autonomous life and in
The twelve themes that make up this double album were recorded in the
same number of days and are organized in two separate sections: The
first, inspired by scenes of necromancy and shamanic trance, while the
second alludes to ritual practices that exalt/praise the celestial
order. Thus the title of the album and the succession of the pieces seek
to place the listener in a programmatic context that invites him/her to
enter a nonexistent mythology, inspired by syncretic mysticism and the
cyclic nature of certain forces and invisible energies.
We can find some indirect references in the work of contemporary
composers and sound artists as: Karlheinz Stockhausen (Some of his
electronic pieces), Eliane Radigue, Else Marie Pade, Kevin Drumm, David
Maranha, Thanos Chrysakis, or Toshimaru Nakamura.
- Is an experimental musician and sound artist. He is also an active promoter of new music and sound art in Mexico.
His work include live performances, sound installations and electroacoustic compositions.
By using a wide range of sound sources, electronic media and kinetic
devices, his work explores sound morphology, improvisation, the
intensification of the acoustic space and performativity.
He studied at the Ateliers UPIC and the IRCAM in Paris. He pursued a
masters degree at the Paris 8 University. His work has been presented
in more than 40 cities of the world. His music is published by
Substrata, Sub Rosa, Bocian, Important and Mode Records.
His latest installations have been shown at the Museo Universitario
de Arte Contemporáneo MUAC-UNAM (Reverberaciones, 2017 and EES, 2016);
Bethanien Museum Berlin (Zwischen Grenzen, 2016); Museo de Arte
Contemporáneo de Oaxaca (Sonoplastia and LeStiBi, 2015) and the Centro
Cultural de España (Sustain, 2017), Laboratorio de Arte Alameda (Entre
Límites, 2016), and Museo de Arte Moderno (Bosque Sonoro, 2016) in
- Cantaloupe Music.
Acquanetta—aka Mildred Davenport
SummerScape Theater: Acquanetta Interview
delugEON is Maya Beiser’s 12th solo album and the debut album on her newly launched label, Islandia Music Records.
during a period of 7 days in Hudson Hall, New York, delugEON breaks
away from the sterile studio environment, utilizing numerous sets of
microphones situated in various positions throughout the space. This
concept allowed for various facets of the natural acoustics to suffuse
the sound of Maya’s cello with a reverberant, ethereal voice. The entire
album was recorded without the use of any artificial or digital sound
About the concept of delugEON Maya writes:
have always thought of making music as an act of mining. Somewhere deep,
there is a vein of music. It is the observer that makes it cohere into a
certain shape. The music is discovered as it is being created. It
becomes a direction. Like many, I have been preoccupied in recent
years with the impending ecological disaster unfolding in front of our
eyes. I have been thinking of seasons, and water, and the accelerated
extinction of helpless species. Bound to a decaying world, it is easy to
become despondent and helpless. But thankfully, the music is not
subjugated to the folly of man; it belongs to the universe".
concept for delugEON began with arctic icebergs and the dark rhythms
created by the sound of their near-continuous melting. As she listened
to these sounds, Maya imagined the layers of her singing cello, being
permeated by the sounds of a vanishing natural world. In "slow seasons"
she juxtaposed multi-cello layers of each of the slow movements from
Vivaldi’s "four seasons" with sounds of melting icebergs (winter),
desert dunes (summer), oceanic winds (autumn) and the winds on Mars – as
recorded by NASA (spring).
delugEON is music that is elegiac but
not hopeless. The heart of the album is in fact the heart itself: Maya’s
actual heartbeat, recorded as a pulsating drumbeat to the music of
Beethoven. Maya explains: "I used a retrofitted stethoscope to record my
heartbeat as I was playing the piece. when we layered my heartbeat
track on top of the music, it seemed like it had always been there,
hidden within Beethoven’s eternal arpeggios."
As we hear the
sounds of Maya’s breathing emerging within the layers of her soaring
multi-cello recreation of Olivier Messiaen’s "water", we are reminded
that in ancient Greek the word psyche means “the breath of life,” and is
synonymous with the soul. And we understand that this music is not a
requiem for the human race in one of its darkest periods, but proof of
an inextinguishable human spirit. And, if our path sometimes seems dark,
don’t despair; this is music to help light the way.
- National Sawdust
Brocoli, November 8 2019
Russian composer of mostly orchestral, chamber and vocal works that have been performed in Asia, Europe and North America.
Mr. Kourliandski studied flute with Daniil
Kharkeyevich at the P. I. Tchaikovsky State Conservatory in Moscow from
1991–95, where he later studied composition with Leonid Bobylev from 1997–2002 and had postgraduate studies with him from 2002–06. . . .