Gianni Grégory FORNET : Troppo tintu è addivintatu lu munnu

Gianni Grégory FORNET : Troppo tintu è addivintatu lu munnu
FATUM 010

Gianni Grégory FORNET – guitare solo
avec la participation de Tuan Anh Bui (voix)

Parution septembre 2007
Stickers et conception graphique : Jean-Michel Bruyère
Exemplaires uniques – série limitée à 500 exemplaires

Composition, guitare et échantillonneur par Gianni Grégory Fornet. Enregistré en direct durant l’mois d’août 2006 à la Chapelle Fromentin. Avec, pour une plage, la participation de Tuan Anh Bui (voix). Mixage et mastering réalisé par Nicolas Barillot au mois d’janvier 2007.

Metamkine
Jolies miniatures, ambiances éthérées et chanson. Des manières de soundtrack imaginaire. Et grosso modo ça louche vers Ribot, Frisell.

Claude Chambard – Journal des Allumés du Jazz, 1er trimestre 2008.
Véranda : gouttelettes sonores, clarté du matin, rosée sur le jardin, chaises longues et table blanche, plantes grasses et orchidées rares, la guitare de Gianni Grégory Fornet et une fois la voix de Tuan Anh Bui. Une enchevêtrement de couleurs, de rayons, de friselis, de courses croisées… Une danse sans fin…

1952

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DIATRIBES+JACQUES DEMIERRE+JOHANN BOURQUENEZ piano(s)

[insubcdr05]

“free improvisation / free jazz”
torsion & distorsion, cavalcade minérale, métal rouge révolte, résonances du corps prêt à rompre.
torsion & distortion, mineral cavalcade, revolt red metal, ready to break body resonances.

Edited as 30 “delux” cdrs with hand-made, 3 colors, screenprinted cover & 70 “normal” cdrs in hand-made digipack. See the pictures down the page.
if you would like to get copy. please drop us an email

cyril bondi: drums, percussions
d’incise: laptop, objects
jacques demierre: grand piano
johann bourquenez: grand piano (on 1 & 5)

1. tornade mp3
2. chants évadés mp3
3. et puis partir mp3
4. presque mourir mp3
5. sous l’écorce mp3

hq cover (for D.I.Y cdr) jpg
infos txt

Download the complete album in .rar: click here.
(31 min 46 / VBR mp3+cover / 69 Mo)

1-5 recorded at AMR, Geneva, ch, 16.05.08
2-3-4 recorded at 2:21, Lausanne, ch, 26.09.08

(for PC, downlaod 7zip to open .rar archives click here)
(for MAC, downlaod UnRarX to open .rar archives click here)

DIATRIBES:
Diatribes,a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Their idea was to mix distinct various types and approach of the sounds, in order to develop a malleable musical mass. The instruments merge into the electronics treatments in a primary dance, where construction and deconstruction coexist, and envy and disgust unite. There are no limits in teh way of playing, where rhythms, melodies and noise meet sporadically, merging into each other until they are almost forgotten. Free jazz in its approach, acoustic and electronic in its execution, the trio is capable of exploring the minute like the intense.
Initialy a trio with Gaël Riondel on saxophone, diatribes became a polymorphous fromation, extending its spectrum with guest musicians such as the guitarist Christian Graf, the electroacoustician Nicolas Sordet, the pianists Jacques Demierre and Johann Bourquenez, the bassist Dragos Tara or the saxophonist Piero SK..

JACQUES DEMIERRE:
Jacques Demierre (1954), pianist, performer and composer, his musical and sound work develops itself in various directions : improvised music, contemporary music, sound poetry, sound installation. His compositions and sound realisations are concerned with the activity of listening and with sound space. He collaborates with many improvising musicians – Barre Philips, Urs Leimgruber, Thomas Lehn, Martial Solal, Radu Malfatti, Joëlle Léandre, Axel Dörner, Fritz hauser, Sainkho Namtchylak, Urs Blöchlinger, Irene Schweizer, Hans Koch, Isabelle Duthoit, Brandon Labelle, Jason Kahn, Butch Morris, Carlos Zingaro, Gunter Müller, Jaap Blonk, Barry Guy, Lucas Niggli, Sylvie Courvoisier, Hann Bennink, Rhodri Davis, Martin Schütz, Paul Lovens, Dorothea Schürch, Phil Minton, … He regularly plays solo piano concerts, and works with Vincent Barras in the field of performance and language art. “Jacques Demierre’s work exceeds the first degree articulation between music and poetry. Solo improvisation at the piano, work on the music of language and in the language: no need of confrontation. Each medium recognizes, assumes, reflects its limits and finds in this reflexion the instrument of its going beyond.” (Ph.L.)

JOHANN BOURQUENEZ:
johann bourquenez plays piano

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Mayas / Galvez / Nutters / Olse : hail satan

cs093

Good, there’s no trace of Satanism here thus if you were wishing to hear this portuguese label deranging toward dark ambient, black metal or esoterism…well you’d better leave your expectations back home. Much more than to pentagrams and upside down crosses these musicians are probably devoted to irony and in someway this could be reflected by their music too, infact if you give a listen to nine tracks of this work you’ll notice while their music is dead serious the atmosphere is never too heavy immersed in that hyper-intellectualizations that makes half of the work coming out from this circuit heavier than death. To clear up your doubts I’ll say immediately the scenario is that of electro-acoustic improvisation in someway it’s quite similar to many works from the same area, but the recording is damn good and they apply an interesting use of some sounds like hisses or percussive part. From their improvisational style I’d say they have a foot in the grave of jazz and thumbs up for it but also to the fact they’ve been alternating tracks quite smartly so you won’t get bored by this or that silence for they play, for jazz’ sake!. It’s good to hear they kept fun not just in the title but also in the way they interact and that’s why their music is not the heir of a frigid idea above all in the most animated tracks. But before closing this review I wonna show you what an unreliable reviewer I’m (c’mon who can you trust nowadays?…“disappointed a few people” like John Lydon…you can bet it!) the best song of the record is “pitch IV” which is the result of two dark minutes deeply immersed into contemporary classic music that creates an intense odd atmosphere that builds up some anxiety. Andrea Ferraris (Chain DLK)

#1 non-pitch I (fast)
#2 intervals and externals I (medium)
#3 intervals and externals II (fast)
#4 loose surface I (high end)
#5 pitch III (fast points and scrapes like always)
#6 loose surface II (low end)
#7 mixed pitch / non-pitch (medium)
#8 pitch IV (slow, near consonance)
#9 loose surface III (triple end)

Carlos Galvez Taroncher – bassclarinet
Magda Mayas – piano
Koen Nutters – acoustic bass
Morten J. Olsen – percussion

Recorded on 28 August 2006, Berlin

© 2007

Cover design www.orig.ch

1951

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Túlio Falcão – Electroacoustic Works and Electronic Improvisations

2005-2007

Túlio Falcão is a multi-instrumetalist that lives in Jaboatão dos Guararapes, Pernambuco. He began his carrer playing guitar and bass on various thrash/death/hardcore bands during the 80′s and later came to work with experimental music. Currently he studies music on UFPE and is an active member of HRÖNIR, COMBO RECIFE DE IMPROVISO and AHLEV DE BOSSA. Electroacoustic music, free improvisation (either acoustic and/or electronic), harsh-noise, ambient and fiel recordings are his main areas of interest.

TÚLIO FALCÃO “Electroacoustic Works & Electronics Improvisations 2005-2007”

Faixa 1 – deformação eletrônica, em tempo real, de uma composição de Thelmo Cristovam. Thelmo havia enviado esta pequena composição para mim e Lucas Alencar adicionarmos algo. “Agricultura em Crateras” saiu depois em uma coletânea, como composição do Hrönir. Esta versão surgiu enquanto eu estava testando um software e achei legal colocá-la como introdução deste disco. Ela não tem nada semelhante à versão do Hrönir.

Faixa 2 – homenagem ao compositor Pierre Schaeffer. Em minhas pesquisas, estudava um compositor em particular e seu modus operandis , depois colocando em prática os estudos. Foi feito no quarto da minha noiva (ainda não havíamos casado), onde utilizei sons concretos do ambiente: porta do quarto, ventilador, bolas de gude, panelas, água, copos, talheres etc. Tudo captado através de um microfone de contato. Todos os sons ouvidos na peça são concretos, tratados eletronicamente, com a exceção de uma parte rítmica no meio da peça, onde há uma improvisação com freqüências geradas do som das bolas de gude. Nem tudo é perfeito.

Faixa 3 – Homenagem ao escritor Campos de Carvalho. No disco “Marduk 6.66 Thz”, já havia feito uma homenagem a ele com a faixa intitulada “Vaca de Nariz Sutil”, nome de um dos seus livros. A composição é uma distribuição tautológica de trechos de 6 compassos feitos para piano, trompa, flauta e vibrafone. Cada trecho foi tratado de 6 formas diferentes. Depois, distribuí-los de forma que cada combinação gerasse efeitos diferentes. Como pano de fundo há uma improvisação feita com um radinho com Noise Gate. Para efeito de eixo simétrico, adicionei uma parte com handbells minimalistas. No final, os 6 compassos são tocados ao mesmo tempo. Poeticamente, seria como o escritor concatenando idéias para um livro futuro, conseguindo uma coesão no final da peça. Ah… a peça teve sua primeira audição durante o III ENCUN (Encontro de Compositores Universitários), realizado em Curitiba, no dia 19 de outubro de 2005 no Teatro do Museu Oscar Niemeyer, junto com outras peças acusmáticas dos compositores: Bertisollo, Fabbri, Herraiz, Porres, Del Nunzio, Guimarães e Mantovani.

Faixa 4 – Testando um software para live electronics. Pus um microfone de contato na boca e o mastiguei enquanto tratava os sons através do computador, gravando tudo em tempo real. Saiu isso aí.

Faixa 5 – O som dos grilos, na realidade, é uma improvisação feita com água dentro de uma panela com uma colher. Usei um sintetizador virtual para o pano de fundo sonoro. Simples como uma necessidade fisiológica.

Faixa 6 – Gostaria que Messiaen ouvisse esses passarinhos. Improvisação com sintetizador. Apenas querendo “desopilar” meus ouvidos com um bom e insano barulho.

Faixa 7 – Pode se chamar esta peça de concrete music. Feita exclusivamente com uma improvisação de 2 minutos no violino. Isso, todos os sons ouvidos são gerados pelo violino. Dizem que Júlio Verne, atualmente, opera uma torre de transmissão para transcomunicação em Marduk. Tudo haver, né?

Faixa 8 – Thelmo Cristovam tinha feito uma composição de aproximadamente 49 minutos e me pediu pra fazer algo “sinfônico”. Peguei um partiturador e comecei a trabalhar. Gostei tanto do resultado que resolvi colocá-lo no disco. Tente não se ater ao irritante som de tecladinho barato do partiturador e escute esta peça simples que… ME DEU UM TRABALHO DO CARALHO!

Faixa 9 – Colagem. Rádio, coral vagabundo de sintetizador, sons concretos, etc. Até hoje, não sei se foi uma boa idéia colocar “isso” no disco. Pense que é um bônus e vá fazer outra coisa. (Minha esposa, Elisangêla Falcão, participa com um trecho declamado em Mardukianês Arcaico. Acho que ela conseguirá me perdoar)

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A Handful of Dust : Now Gods, Stand Up For Bastards/The Philosophik Mercury

Now Gods, Stand Up For Bastards/The Philosophik Mercury is a double-disc re-issue of two limited and long out-of-print works by this obscure enigma. Plunging straight into the chasm of ultra-minimalist abrasion and chaotic improv, these two records stand as unrelenting and engrossing epics of guitar feedback, disintegrating electronic sound, string-shredding violin abuse, and other facets of impassioned iconoclasm. Recommended for lovers of AMM, Henry Flynt, and Hijokaidan. A Handful of Dust are a group consisting of a core duo of Bruce Russell (The Dead C) and Alastair Galbraith. Formed in Dunedin, New Zealand in 1990.

1950

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Candycoveredclown – Xemmoreah

(ca211) (January 28, 2009)

Martins Rokis from Riga, Latvia was involved in various short term projects, bands & experiments. Also radioshow “VISIONS” on radio NABA (www.radionaba.lv) [2002-2008] Boy band Wheelchair Discotheque [2005-2007]
Currently more or less active as Candy Covered Clown or Candy Covered Clowns Humiliation Karaoke.

Contact:

http://www.myspace.com/candycoveredclown

candycoveredclown.blogspot.com
candycoveredclown@inbox.lv

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Carl Ludwig Hubsch’s Longrun Development Of The Universe

CD LR 525 – LEO RECORDS

This CD is a brainchild of the tubist Carl Ludwig Hubsch who is one of the four composers on the recently released CD LR 513 James Choice Orchestra. Other members of the Hubsch’s trio are Matthias Schubert (tenor sax) and Wolter Wierbos (trombone). The highly original music on this CD has been inspired (but not influenced) by the composers Carl Stolling and Karlhinez Stockhausen. It can be termed as structured improvisation, and, considering a very unusual instrumentation (tuba, sax & trombone), it is music of great fun and wit. The booklet is in two languages – English and German

1949

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Desohll: So)))hllitude

[tmth-009]

Desohll was born after a ‘failed’ attempt to collaborate with an entity whose name shall remain a mystery. Thus, originally intended to be a duo, Desohll has evolved as a solo-project, dictated by the Gaian priest Joomoonaz. The often-ignored sounds created by Mother Earth and its disciples are the main source of inspiration. Desolation is the key word.

This longform minimal drone piece was created during a cold December night in 2008. Joomoonaz demands headphones as the audio source, to best appreciate the subtle changes in mood and sound.

www.myspace.com/desohll

desohll@gmail.com

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Hans Grüsel’s Kränkenkabinet : Blaue Blooded Türen

RSPT027 CD $10

Stare too long at Moog-master candymaker Hans Grüsel (his moustache a pair of clockhands!) and your seconds could be up. Return a smile from Gretel, you’ll end up in a grin that never fades! Safer to listen from here as the Kränkenkabinet chugs away, spawning a trap door here, slamming a finger there, daring consciousness to believe the clarity of a thousand simultaneous sound crevices. Here appears an unnatural “Blue Blooded Door” to the infernal heart of the contraption, handcarved with all new compositions including “Sturm and Drang [at sea] plus Grüsel’s live accompaniment to Dallas Bower’s film Alice in Wonderland. Artwork by Loachfillet in his hall of all wood mirrors!

1948

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Scott Allison & Jeff Surak : All Violet

All Violet is a collaboration between Scott Allison (sc.all) & Jeff Surak (Violet). Two live sets recorded October 3, 2004 at the 804noise Festival in Richmond, Virginia and February 6, 2005 at Electric Possible, George Washington University, Washington DC. Instruments used: record player, autoharp, prepared speakers, field recordings, lloopp, rocks, foil, flotsam, jetsam, etc.

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MATT WESTON: not to be taken away

Percussionist-composer Matt Weston has collaborated with Arthur

Brooks, Bill Dixon, Kevin Drumm, Paul Flaherty, Charles Gayle, Milford

Graves, Le Quan Ninh, Bob Marsh, Jim ORourke, William Parker, Ken

Vandermark, Jack Wright, and many others. His live performances have

set a new standard for solo percussion. He has performed at venues as

varied as the 3000-seat Riviera Theater in Chicago, the School For New

Dance Development in Amsterdam, the Vision Festival in New York, and a

defunct record-plating facility in Nashville.

1946

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Ian D Hawgood – Her Name Was Frailty

Runtime: 43’40”

This is one of those releases that floods me with metaphorical insights.
In the beauty of breakage we find some of the answers for our deepest questions.
When something breaks, we are able to perceive it as what truly is, a collection of pieces of different shapes and sizes. Ian D Hawgood gives us four pieces of these ruined goods. Beginning with incessant timing of a vertical sound along a sea of soothing horizontality.

If frailty is the source of all things, then we ought to go back to it. All the abundant arrogance and destructive strength present in human beings has brought us to irreversible situation, into a mood that swings like the weather, each time faster and more bipolar. I believe “Her name was frailty” implies The Earth. Whenever we observe The Earth from a distance, in this case from an astronaut’s point of view, we can understand how far from reality we have strayed. The construction and sounds of this album allows me to, not only returning to a point of frailness, but also to activate a particular type of mental stimulation that empowers my psyche conceding me thoughts about restoration. Now, restoration implies an active participation in bringing the past back to life, in this case from broken to whole. This release definitely modifies my tiny rat heart.

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3 Rocks & a Sock : Merci de votre visite

FATUM 007

steve dalachinsky (New-York) – voix & posie

sbastien capazza – saxophone tnor

didier lasserre – batterie

Featuring NY poet Steve Dalachinsky on vocals, Sebastien Capazza on

tenor sax and Didier Lasserre on drums. (…) Steve left us with

copies of this fine disc, which features two French musicians, neither

of whom I had heard of previously, recorded just one year ago, during

another of Steve’s extended visits to Paris. Steve read a few of the

same poems that appear on this disc like the opener, “Pasolini”.

Steve’s voice begins softly, calmly as Didier’s hushed drums and

Sebastien’s warm sax swirl slowly in a dream-like state. Steve’s words

often describe the problems of modern life here in NYC, “Too Busy”

doing things to notice that life is moving on no matter what we do. A

pan-handler chases Steve down the streets, cursing them and him,

screaming about the injustices of life. As Steve ponders things,

discussing the frustrations and tribulations, he is accompanied most

righteously by two musicians who sound just right creating a fine

stage for Steve to soar over. Sebastien has a warm, enchanting tone on

tenor, while Didier works those mallets on his drums with haunting

authority. I like that Steve is not the “leader” on this session, he

is just the third member of this trio. The sound is well-balanced so

that everyone is heard at the same volume and all three members get a

chance to stretch out equally. The fact that Steve’s observations are

often so appropriate to my / our current circumstances, makes it

better for those of us who hear his words and know that he is speaking

for us, as well as himself.

Bruce Lee Gallanter/Downtown Music Gallery, New York City

1945
_________________
Amor Fati is a French record label operating out of Bordeaux since 2003.

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Jonathan Zorn & Rachel Thompson – The Tea Bazaar

As the Frozen Elephants project starts into its 4th year of existence we proudly present a selection of works by the US composer & performer Jonathan Zorn, with three tracks developed in collaboration with Rachel Thompson (violin). Zorn and Thompson have been working together on collaborative & interactive works for strings and electronics for over five years. Their ‘The Tea Bazaar“ live recordings are sensitive moments of improvisation, using an interactive computer environment that moves between sharply divided electronic tones and violin sounds to noisy hybrids where the violin becomes both sound source and controller. Like musical variations on a three-legged race, no player has control over their sound. Zorn and Thompson manage to continuously change the perspective of their music, committing their collaboration to an ongoing process of the organisation of sound. Artwork by Peter Prautzsch.
Jonathan Zorn is a composer/performer of electro-acoustic music, creating interactive systems for acoustic and electronic instruments that exceed the control of any single participant, creating surprises and new ensemble dynamics for performers to explore and navigate. As a designer of computer instruments, Zorn aims to create instruments that have the kind of flexibility, control, and surprise that one would expect from an acoustic instrument, while also defying and remapping assumed correlations between gesture and sound. Zorn maintains ongoing collaborative projects with video artist/violinist Rachel Thompson, bassoonist/composer Katherine Young, bassist Andrew Lafkas, and electronic musician Bryan Eubanks. Zorn and Thompson also founded and run SET projects, a small record label of experimental and improvised sound and video art. Jonathan is currently pursuing a PhD in computer music composition at the University of Virginia.
Rachel Thompson works with sound, video, and textiles. Her instruments of choice include the violin, two digital video cameras, and a 1970’s Brother sewing machine. She both exploits and embraces the seeming imperfections and functional peculiarities of her instruments. Rachel holds a BA and MA from Wesleyan University where she studied composition and ethnomusicology.

Published by Frozen Elephants Music, January 2009

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V/A : may there be…

cs134

Une suite dimprovisations relativement courtes o dlicatement se

mlent expriences acoustiques et llan lyrique… Exploratoire,

grave, plutt sobre et multiple. Jerome Noetinger (Metamkine)

O que seria de esperar do encontro de um casal de msicos e

investigadores com actividade na electroacstica erudita, mas que em

paralelo tem cultivado a improvisao, com uma parceria de pai e filho

que se dedica a explorar novas perspectivas neste ltimo tipo de

abordagem musical, tendo o free jazz e o que se lhe seguiu na Europa

como referncia? Uma complementaridade de conceitos e prticas?

Certamente que sim, mas o que May There Be… tem de mais

interessante o facto de nunca se procurar um mnimo denominador

comum de entendimento. Cada uma das partes desta equao desempenha ao

longo das nove peas includas aquilo que j lhes conhecamos,

adoptando uma postura dialogante, e isso mesmo que explica os

especiais resultados conseguidos. S assim, de resto, perceberamos

como podem o mesmo quarteto e a mesma edio associar um enfoque mais

geomtrico e angular nas construes a um lirismo que no teme

utilizaes convencionais da melodia. Os parmetros so acsticos, com

Pedro Rebelo cingindo-se ao piano. Ernesto Rodrigues troca a sua

habitual viola pelo violino e tira mesmo partido dos agudos

proporcionados. Franziska Schroeder concentra-se no saxofone soprano

(o alto o seu principal instrumento). Guilherme Rodrigues aventura-

se mais para o primeiro plano com o seu violoncelo do que lhe

habitual. Comeamos a ouvi-los em …Poise e depois em …Movement

e logo percebemos que o timbre, e no a textura, que define os rumos

tomados. Est a toda a diferena relativamente a ttulos anteriores

destes dois ncleos de trabalho. Os resultados funcionam como uma

msica contempornea improvisada, remetendo-nos mais para Xenakis,

Berio ou Ligeti do que para o chamado no-idiomatismo, designao

que Derek Bailey dava ao livre-improviso. Ou seja, trata-se de msica

indubitvel e assumidamente idiomtica. Reside a parte dos motivos

que levam este disco a soar to fresco, e momentos h mesmo de uma

grande beleza, no sentido clssico do termo. Rui Eduardo Paes

#1 … Poise

#2 … Movement

#3 … Stillness

#4 … Tension

#5 … Melody

#6 … Awe

#7 … Difference

#8 … Space

#9 … Opulence

Pedro Rebelo – piano

Franziska Schroeder – soprano saxophone

Guilherme Rodrigues – cello

Ernesto Rodrigues – viola

1944

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Kortane Cortex , Ayato : CRASH #03

[hak169]

Enregistre et remixe par Ayato a la ferme Ta gueule
le 9 aout 2008.

Kortane Cortex : laptop
Ayato : tourne disque

> Artwork serie by Carlos Groenland.

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Luca Mauri : between love and hate

cs137

an awesome debut by Luca Mari, the I/O band guitarist: elaborate

doomy guitar-themed minimalism-drones, with quiet electro-acoustic

pieces atmospheres and some abstract digitalia. As said, it’s awesome!

#1 a quiet storm

#2 decline of a beautiful face

#3 pulse/loop

#4 choke

#5 all that remains

Luca Mauri – guitar, ride, snare, crash, editing

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Double Blind : Wounded Speaker

On Saturday, March 1st, 2008, a few hours before the Midwest Phonographers Union planned to perform in the UWM Fine Arts Cinema, a JBL EON15 G2 loudspeaker began malfunctioning, emitting a low rumble of unknown origin. The fluctuating drone grew louder and sharper, punctuated by brief pops and glitches. Chris Delaurenti and John Kannenberg recorded the phenomena, and Glenn Bach decided to take advantage of the the chain of events and created a larger project under the umbrella of his improvising ensemble, Double Blind.

Inspired in part by Chris Schlarb‘s communal project, Twilight and Ghost Stories (as well asYasunao Tone‘s Solo for Wounded CD and William Basinski‘s Disintegration Loops), Bach imagined a collaborative remix of Kannenberg’s field recordings, a collective interpretation of malfunction and failure. Participants remixed, resampled, cut up, and reinterpreted the sound of the broken speaker (along with several second-generation responses), or contributed entirely new compositions inspired by a similar sense of malfunctioning gear or general sense of collapse. Bach then wove the contributions into an overall soundscape marked by four distinct movements, each a distinct collage of sound, noise, and music.

Participants

Glenn Bach
Kim Cascone
shea M gauer (smgsap)
Dale Kaminski 
John Kannenberg
David Nadal 
Joseph Richard Negro
scott A peterson (smgsap)
Matt Pogue
Michael Raco-Rands (MLuM)
Tom Recchion
Silas Ritchie 
Marco Schindelmann (MLuM)
Kevin Schlei 

mixed by Glenn Bach, Milwaukee, WI, June 2008.

Part 1 (hammer/stutter) 9:41
Part 2 (celestial/cathedral) 14:25
Part 3 (into water) 13:25
Part 4 (buried heart) 13:05

 

Mix Map 

Part 1

0:00-1:51. Kannenberg, broken PA hallway. 

0:40-4:00. Bach, Wounded Radio. 

1:19-4:59. Kannenberg, broken PA.

2:20-4:05. Negro, Wounded Speaker 1 (Bach excerpt 1).

3:06-4:13. Negro, Wounded Speaker 1 (Bach excerpt 2).

4:03-5:19. Negro, Wounded Speaker 1 (Bach excerpt 3).

4:08-9:41. Recchion, untitled.

4:12-6:22. Bach, Wounded Piano. 

5:40-7:41. Bach, Wounded Guitar. 

8:40-9:41. Bach, Wounded Outro. 

Part 2

0:00-4:00. Cascone, Anti-Musical Celestial Forces. 

2:51-8:31. Kannenberg, Cathedral 4. 

7:54-9:50. Bach, cathedral transition. 

8:48-12:34. Bach, Cathedraled. 

10:45-14:25. MLuM, Wounded Speaker (Bach excerpt 1). 

Part 3

0:00-5:38. Negro, Wounded Speaker 2. 

3:15-6:04. smgsap, microphone into water: take 1. 

5:20-6:15. Bach, short hospital visit. 

5:46-6:40. Ritchie, Hospitalized Speaker (Bach excerpt 1). 

6:30-10:46. Ritchie, Hospitalized Speaker (Bach excerpt 2). 

10:19-13:25. MLuM, Wounded Speaker (Bach excerpt 2). 

Part 4 

0:00-4:08. Kaminski/Schlei, Broken Speaker. 

3:58-5:59. Bach, KS outro. 

5:10-7:12. Bach, AMCF snip 1. 

5:40-7:20. Bach, AMCF snip 2. 

6:49-13:05. Nadal/Pogue, Bury My Heart at Wounded Speaker. 

Elemental Track Notes 

* John Kannenberg, Cathedral 4: “while walking home . . . and listening to a BBC radio podcast about mutation, I got an idea to apply to a remix of the broken PA recording . . . Not that the results have much to do with mutation, but at least it got me thinking about processes involving ‘mistakes.’ First I re-encoded the original mp3 (of the 5:25 recording) at lower and lower bitrates, over and over again, until there was barely anything recognizable left. Then I ran the resulting file through the Bitcrusher filter in Soundtrack which left me with a few pops and ticks. I then ran that through three passes of different delays, then four passes of maximum reverb.”

* Bach, cathedraled: “a remix of a few seconds of Cathedral_4 stretched out, stacked, and pushed into new realms of drone.”

* Bach, amcf snip: “brief selections of Cascone’s anti-musical celestial forces, run back and forth through WavePad, Peak, and Audacity. Short snippets that may serve as interludes or elements of a longer movement.”

* Bach, wounded guitar: “a short guitar fragment as if played through the wounded speaker.”

* David Nadal/Matt Pogue, Bury My Heart at Wounded Speaker: “This is actually our second attempt. The first went a bit awry; too many layers, too many competing sounds, and a very ill-advised Native American chant. With this attempt our goal was to manipulate fewer synthesized sounds and add an organic beat comprised of only proximal percussion: non-traditional items that were within reach of where we were sitting when the notion came to us. Thus, the beat consists of a rock star can, martini glass, car keys, metal bucket, cardboard box, scissors, ballpoint pen and a screwdriver. We manipulated broken_pa.mp3 & cathedraled.mp3 . . . and used one live mic for our dueling guitars. And then in very Glennbachian fashion, cut and pasted the sh** out of everything.”

* Silas Ritchie, Hospitalized Speaker: “I took about a 7 second loop from the original file and then reverbed and effected it a bit in Nuendo as the background for the piece. Then I created a drum track in Reason and layered those two together. I took some of the better clips from my [hospital] tape recordings and injected them where I saw fit. There are various ring modulations on the broken speaker clip towards the end. This is my reflection on the electronic decay of some while the electronic boom on others is taking place, the human decay in the hospital setting and the disfunction of that instituion, and yet it is all somewhat serenly tied together.”

* smgsap, microphone into water: take 1: “recorded off the pier at Colorado Lagoon in Long Beach, CA in 2007. no effects have been added to the audio. the source recordings have been cut into sections and overlapped, with a slight EQ, but otherwise it’s unaltered raw material. the inspiration for the recording came from being asked to do sound design for a short film that takes place on a sail boat, with the main character willfully falling off the boat at the end. wanting to capture the recorded sounds of a microphone actually entering the water and the sounds below, i proceeded to wrap scott A peterson’s Sony stereo microphone in a plastic bag with multiple rubber bands and lots of tape in an attempt to make it waterproof. this attempt failed. but from it came a set of recordings that capture the fantastically damaged sounds of a wet diaphragm in it’s various stages of healing, with a cameo from my cat ‘boy.’ and heal it did. there is a happy ending to this story. to this day the microphone works as good as new and it’s sure hard to believe that it fully recovered from this state as you hear it. enjoy.”

* MLuM, various wounded nuggets: “Strike up the bandages and play the wound aesthetic! Stig-mata-chine, wielding spontaneous swords, rewound and, from scratch, effect the speaker cicatrix!”

Double Blind is an improvising ensemble led by Glenn Bach with fluctuating membership, depending on the project and location. The first iteration of this group, The Double Blind Ensemble, improvised and performed Glenn’s first major sound project, Submersive, on March 25, 2000, at the Soroptomist House at CSULB, Long Beach, CA; the roster at that time included Glenn Bach, Marcia Marx, David Nadal, Matt Pogue, Chris Pogue, and Heather Thompson.

MPRN-001 “soft launch” release date: September 2008. Official release date: January 2009.

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Sylvain Gurineau : Dies Irae

Amor Fati FATUM 013

Sylvain Gurineau, alto and baritone saxophone.

There is more to come about Sylvain Gurineau, later. Here, he plays

alto and baritone sax, solo, with a lot of chamber effect, as if he’s

playing in a church or something, and that is correct, now that I

check it, recorded on the 25th of October in the church of Saint Cme

and Saint Damien in Luzarches in France. Don’t ask me where it is or

who those saints are or why it takes two saints to name a church. He

plays sax as if his life depends on it : fierce, violent, but

meditative too. It is quite enjoyable. Gurineau started his career as

an accountant in a bank. He played sax in the local brass band as a

kid. He liked listening to music, but forgot about his instrument.

Only later, when his own kids were older, did his former creative

interests come back, adding painting to it. As he writes it himself on

his website : “Then, I tried to recuperate the time I lost : Soutine,

Fautrier, Van Velde, Dubuffet, guided by my holy trinity : Bach,

Coltrane, Basquiat. I do not paint paintings, but rather fetishes,

talismans, “botchios” : those sculpted pillars that people in Benin

put at the entrance of villages to keep evil spirits away and to

protect its inhabitants. I would like to achieve with my music and my

paintings a kind of wildness. Wildness against “barbarie” (a French

word which is hard to translate : something like stupid uncivilized

cultureless violence), as if painting and music took hold of reality,

as if paint brushes could erase human misery”. The cover art of all

individual CDs of the entire label is hand-painted by him. There are

surely sax players with more technical skills than Gurineau. But

there aren’t many with the same attitude. And the latter shines

through in his music.

Dies irae (19.07)

Fatima (08.30)

Minaret (08.36)

Recorded 25 October 2005 in the church Saint Cme et Saint Damien,

Luzarches.

Painting (front cover reproduced above) by Sylvain Gurineau; graphic

conception by Jean-Marc Foussat.

Produced in a limited edition of 500 copies.

1942
_________________
Amor Fati is a French record label operating out of Bordeaux since 2003.

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En Busca Del Pasto : Salami

[rdm-083] (January 16, 2009)

Improvisación grabada en directo en la presentación del proyecto Salami en la Escuela de Arte 10, Madrid, el 13 de junio de 2008. Salami es una creación de la Asociación Cultural Rotor 256.

1 Salami 43:39

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Cover
Cover Back
CD Label

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skozey fetisch : this, then

RSPT024 CD $10

Some reel-to-reel tape remnants and a Roland Jupiter 6 are all the

equipment required for this disc by skozey fetisch, another

Resipiscent release. Apparently the whole thing was recorded in some

abandoned basement/spooky lair, but even if it was recorded by some

babbling, spring-fed eden the feel is as grim as it comes. Split into

eleven tracks that total nearly an hour, the disc is a grizzly path

that lurches along until it finds a nice corner to sit and hide in.

The opener, “Exploitable Rift,” opts for a lurching electronic feel,

with all sorts of weird starts and stops that shimmy about without

much direction or aim. Really nice way to kick off the whole vibe of

this thing, especially as the second track, “ergo a-spin -or- so,

spiderly scintallist spins sequential sistering spirals” (what a

mouthful…) spends the first half of its nine minutes slowly

crescendoing from the bleakest, most minimal material into a heavy

duty synth garbler that sways around in some pretty murky water.

Sounds like a fan gaining speed until it enters some other dimension.

But really, it’s total mindless zonkoid stuff all around, spilling

itself all over the place until the puss runs out. Serious basement

feel, with nary a beat or graspable constant in sight. “Neatly

Entwined Transparent Phase Thing” starts off with some twilight zone,

hollowed out material that stays right in the netherworld, statically

ruminating along with abandon. The longest work on the disc,

“Metastatic Alternative #2: Exterior Refractory Study” is eleven

minutes of textural bloops and suggestions that build to absolutely

nothing. More of a meditative, be-here-now vibe to this disc, with no

fulfilling climaxes or arrivals. Realnice one to space to though. Keep

your eyes peeled for more reviews in the coming days from Stunned,

DNT, and a rad noise DVD courtesy of Resipiscent. Also, I’ll try to

get some reviews up for those new Ferraro LPs on Olde English Spelling

Bee.

1941

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Mauro Graziani: S.N.O.W.

Sound noise and other waves, heavy rain and light wind, loops like memory turning into immagination.
S.N.O.W. is electronic elaboration of mental attitudes, transformation of mechanical materials.
S.N.O.W. is sonic rapresentation of experience and dream, expression of a moment, through life memories and towards an immaginary future.

S.N.O.W. is improvisation, trips in immagination, dialogs with sound. It is a background open to any possible change, sums of ideas or sudden jumps to other landscapes and solutions. Any sound or noise is a new look beyond real.
Improvisation is adventure, mystery and surprise, trip inside and outside yourself. Titles represent what we saw and lived through this sounds, and they suggest a way to those who listen our music, but any idea is possible, because in this colours and timbres anyone can find his feeling.

Federico Mosconi: electric guitar, sound effect processing
Mauro Graziani: Max/MSP laptop, keyboard

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Artwork

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Anthony Braxton Quartet ( Moscow ) 2008

Performed in Moscow on June 29, 2008 with Anthony Braxton on

sopranino, soprano, alto saxophone and contrabass clarinet, Taylor Ho

Bynum on cornet, flugelhorn, piccolo and bass trumpets, Mary Halvorson

on electric guitar and Katherine Young on bassoon, to the ecstatic

Russian audience, this is one of the best Mr. Braxtons performances

ever both in terms of music and quality of recording. If it doesnt

become an all-time classic I shall swallow my tongue.

Composition 367b

Release date: 2008/10

1940

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Jon 7 : Erschallend

“Erschallend” (german = pealing, ringing out) continues the long-form album theme, and picks up somewhat where “Dynamic Interference” left off. Both albums are an ocean of sorts, on this one, sounds wash by you the way they might if individual waves in the ocean were made from sound instead of water. This album maintains an unsettling balance of gritty and lush elements throughout. It’s recommended ( as with many recent releases) that you relax and let it take you wherever it can, there will be interesting soundmarks along the way.

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Mem1 – Stationary Drift

“Stationary Drift” by Mem1 (Mark and Laura Cetilia) is a calm and beautiful 4-track EP combining electronic sounds and cello to an organic musical symbiosis.

This EP starts with “Hanging Valley”, a easeful and meditative piece, with soft droning cello sounds and electronic glitches like footsteps in the snow. “Accretion” begins with a deep growling tone under a layer of light sound-textures, ending in a loud merging movement. You can hear dripping notes and oscillating high tones like glaring sunlight in “Penitentes”, named after a special snow formation found at high altitudes. And in “Stationary Drift” you can hear a sonic fog, everything covered with a nebulous blanket.

A perfect soundtrack for a walk in the snowy forest, listening to crunching snow under your feet and feeling the cold and clear air around your nose. Or to cool down a bit if you live in the southern hemisphere with some warm summer weather these days.

Release Date
15.01.2009

Author
All tracks by Mark and Laura Cetilia

Track 1 recorded at Kunstenaarslogies, Amersfoort (NL)
Tracks 2 + 4 recorded at Arbor St. Studios, Emory, Virginia (US)
Track 3 recorded at STEIM, Amsterdam (NL)

Artwork
done by Christian Roth, www.goyippi.net
Image: Streetlights

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