Luce

Nebel lang - Wake To Unfold [RTE023]
Pre-order NOW!
Limited Edition CDs & Digital
Out : 09 / 24 / 21
rottenmaneditions.bandcamp.com/album/wake-to-unfold

Nebel lang / Wake To Unfold - Time Stands Still

A Berlin-based contemporary classical sub-label of !K7 Music is set to release another beautifully created compilation of music. By my count this is their fifth "layers" edition: there was the Piano Layers out in 2019, followed by String Layers in 2020 (see my premiere by Hior Chronik) and Ambient Layers a bit later in the same year (I premiered a track by Roger Goula), and Wind Layers in 2021. On November 11th, 7K! imprint (yes, the inverse of their parent label) is back with Duet Layers which showcases, you guessed it, six collaborations of hand-picked artists, working together on fusing their styles. The results are often very surprising (in a good way) and in this case immediately appeal to all of my senses. Here you will find Hania Rani with Colin Stetson; Stefano Guzzetti and Neil Leiter; Niklas Paschburg and Bryan Senti; Peter Zummo with Tilman Robinson; Laura Masotto and Ryan Teague; and finally, the British-Berlin violinist Simon Goff and the Polish cellist Dobrawa Czocher, whose track I am premiering for you here today. In the piece, titled "Appearing" you are enticed by the strings to slowly enter through a secret passage, which is slightly unnerving but is also very much bewitching. The volume rises as you approach the source of the tension-filled music, and so does your heart rate, pumping with adrenaline in an excited, heightened state. What lies at the end of this tunnel, and what appears within? It's only for you to find out!

Duet Layers

Appearing

TRACK PREMIERE : Simon Goff & Dobrawa Czocher - Appearing

Boris Rogowski conceived the idea for The Waste Land in the autumn of 2020, when the world became quiet again after a deceptively easygoing summer. During a walk among the “last fingers of leaf” he revisited in his mind the landscape of T.S. Eliot’s enigmatic poem The Waste Land, a somber meditation on disillusionment, nostalgia and isolation in the “modern” world of the early 1920s. It had accompanied Rogowski for many years, and knowing entire passages by heart he found that the strange, tuneful lines had left him with a sort of musical map of the Waste Land. What he heard was a string quartet playing amid a stream of dissolving, permanently mutating sounds, seeking hold, losing it, coming up for air again. The music he envisioned melded contradictions into a cohesive whole, was strange yet universally accessible and – just like Eliot’s poem – an expression both of sorrow for a lost world and hope for a new beginning, deep admiration for classical tradition and disgust at the snobbery and ignorance of an elitist class trying to keep it under lock and key.

The even quieter winter months found Rogowski working long days and nights on the score, putting the music in his head to paper. Also, he quested for the sounds that would be able to represent the stream of synthetic memories that in his vision rolled through the music like the river Thames through the central portion of the poem—and found that they were already there, right in front of him: In the early days of the pandemic he and his friend and studio co-owner Bazzazian had harnessed the halt of everyday life to create a library of sounds that embodied their very own idea of style. For this purpose, they had sent their recordings of acoustic and electronic instruments through a specially devised processing chain, giving them an evocative, strangely timeless quality. It was only logical that those sounds would form the foundation of The Waste Land.

Later, in the spring of 2021, other musicians brought in their unique voices: Moishe Lichtfuss [flute, tenor sax] added his woodwind textures to many of the compositions, most notably on “The Sound of Horns and Motors”. Claus Schulte [drums] made a brief, yet crucial appearance on the centerpiece “The Violet Hour”. At last, the Waste Land String Quartet (Alexander Sachs and Irina Borissova [violins], Anna Krimm [viola] and Michael Preuß [cello]) recorded their parts under the baton of fellow composer David Menke who also played the solo piano on the brooding “In Rats’ Alley”.

The Waste Land is a unique musical cosmos that nonetheless touches upon many reference points, among them the minimalist music of composers like Michael Nyman and Philip Glass, Post Rock of bands like Tortoise or Swans and contemporary Experimental and Ambient works like those of KMRU, Christina Vantzou or Tim Hecker. Like Eliot’s poem, it contains a multitude of voices and fuses them to a music very much its own. The album begins with a wash of piano that carries splendor and melancholia in equal measures and ends with the pointillistic rhythm of Morse code spelling out the final words of The Waste Land, “Shantih shantih shantih”—peace.

In 2022, T.S. Eliot’s poem will celebrate its 100th anniversary. Its central themes—solitude, estrangement and a wounded world with an alarmingly uncertain future—are even more pressing today than they were 100 years ago. Boris Rogowski’s soundscapes embody the mood perfectly: The fear and darkness as much as the faint, yet stubborn hope for the light of a new day.

Boris Rogowski - Marie Marie

Lars Danielsson - Suffering (Lars Danielsson)

#elettonic #gritty #lowtempo #cinematic #drum #Bass

Conundrum (live electronic)

A piano piece encouraging serene introspection

Rainy Day Musings

Glad to enjoy the Piano Day 2016 celebration.

I made this little piece of modern classical music for Nils Frahm's PIANO DAY 2016 playlist, which will be  announced on March 28, 2016.

On Youtube: 
https://youtu.be/pRmd70EF_nY
More details: 
http://www.pianoday.org/
https://www.facebook.com/pianodayofficial/


Enjoy your listening
http://sinoptikmusic.com/ 
https://www.facebook.com/SinoptikMusic

On Youtube

Sinoptik Music - Wings (Piano Day 2016)

This track was inspired by a rare christmas carol whose wave-like melody made such an impression on me ("A Spotless Rose" by Tavener) and gave flight to the core melody played on violin.  The track has an energy which builds and returns to a favourite guitar-scape sound,which becomes the 'found' person or place in the track, with the violin melody playing the 'longing for' sound, which recurs in the background at the end.
Joel Pike - Piano, Guitar, Glockenspiel
Faith Brackenbury - Violin, Viola

Found Song

Moon & Sea

Construction

Here comes a piano track from my new album "gaps and shortcuts".
featuring a girl's footsteps, a horse, and an analog synth...
I hope you enjoy !
(hear it on spotify ? >  https://spoti.fi/2O0mPXk)

Gaps and Shortcuts

Tame

piano lines and electronic counter-shots

-Tomorrow- new album - 01/02/2024
-Skinscape- (2022)
-gaps and shortcuts-  (2021)
-cut off- (iikki / 2019)
-come on let's wait- (eilean records / 2018)

Tame

aries mond

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Marius Knupfer

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