Posts tagged Minimalist
V/A : 2 Favourite Places
Nov 9th
Following last week’s Thomas Koner’s mentioning of longitude/lattitude’s in the piece, this compilation, the second in a series, does the same. Each of the ten pieces is a favorite place for the composer. They are also mentioned by the place it is, although then its still not easy to know what it is, except of course ‘my bed’ by He Can Jog. I could of course install google’s earth view thingy, but then I rather listen and imagine these places myself. Oh oops. The booklet provides me with pictures and descriptions of each of the places, which is a nice read. If you read these, you might think that this is a CD of purely field recordings, as there are references to recording dates/times, but I guess that’s when the basic material has been recorded, which was later manipulated. Throughout one can say that these ten composers all belong to the world of microsound, with their minimalist, electronic processing of the original field recordings. Sometimes we hear a bit of rainfall, bird twitter, people talking or snooring in ‘my bed’. Not much news under the sun in terms of music, but throughout I must say this is a nice compilation of well made field recordings, microsound and electronics. Including Lawrence English, Yannick Franck, Micheal Santos, Icarus, Sawako, Jeremy Bible, Austitici, Calika and Micheal Trommer. (FdW) Vital Weekly 696
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Schindler / Holzbauer / Lillmeyer : rot
Jun 23rd
UDO SCHINDLER, free player of the soprano saxophone and bass clarinet in Wörthsee (Upper Bavaria) – joined here by Munich cellist MARGARITA HOLZBAUER and the Munich incomer, guitarist HARALD LILLMEYER, both of them crossover daredevils firm in the depths of newest and still nameless music – doesn’t let himself be stopped by anyone when his city lights have turned red: ROT (cs151). The three met through playing in the Munich Instant Orchestra. Lillmeyer is the best-known among them having interpreted Scelsi or Riehm, guested with Ensemble Recherche and played with the electric-guitar-quintet Go Guitars. As far as extended techniques are concerned his partners are in no way behind him, which makes this suite of 15 improvisations scratch the guardrails of tonality with a bruitist and microtonal gusto which mellows the distinctions between acoustic and electric sounds generated by Lillmeyer, and even blurs those of the instrumental voices. Whatever the fingers might tickle or the mouth may bubble, what lips may breathe, what the cello may bow or the plectrum scratch, can only be found out during concentrated listening. Yet right at the next moment, at the next breath, contrasts bubble up only to get right back into the river of sound, which the three impassioned wrong-way drivers always take against the current. Once a cello sounds solidly full-bodied it begins to fray at its fringes, once the music sounds sustained and soft the electronics scream its poison in or corrode a yawning hole inside the boom minimalist soundscape, having macro and micro voltages alternately hum along, sizzle or fly sparks. Into jagged, scabby or laboriously smoothed-down sounds the estranged guitar enflames stinging or indefinably rustling sounds, which turn out to be the sigh of the cello, soon as the guitar surprisingly begins. Much is deceptive east of the ROT and you’re listening unauthorized so to say and at your own risk. Bad Alchemy (Rigobert Dittmann)
Udo Schindler – soprano saxophone, bassclarinet
Margarita Holzbauer – cello
Harald Lillmeyer – electric guitar
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