Colour Fields

Pascal Savy - No Ends On The Sides

Pip is a duo playing improvised and composed pieces of music, consisting of Torstein Lavik Larsen on trumpet and Fredrik Rasten on guitar. 
Long lasting, blending sounds with a basis in chord structures and harmony is an ever returning element in their music. 
Pip's music also emphasizes small variations in tonal colour, often applying just intonation, extended playing techniques and repeating musical patterns.
Sometimes they include electronic sounds, without leaving behind the core sound of guitar and trumpet as a point of departure.

The duo has existed since 2006, and since then explored many different musical approaches. 
A recuring theme of their exploration has been expansions of the duo instrumentarium, including 
electronics, multiple guitars and different electronic and acoustic keyboard instruments.

Pip released their first official release on the Portuguese label Creative Sources in 2016,
and they have toured in countries as Germany, Czech Republic, England and the Scandinavian countries.

The duo has also worked with artists from other disciplines. They collaborated with choreographer and contemporary dancer Marie Bergby Handeland on the piece Lyden av besluttsomhet, jeg tåler den ikke, which were premiered at the CODA festival in Oslo in 2013, and they have also worked together and performed with the Copenhagen-based live visuals duo of Freya Sif Hestnes and My Lambertsen, called Manuals.

Torstein and Fredrik also play together in the band Oker, with drummer Jan Martin Gismervik and bass player Adrian Fiskum Myhr, and in the quartet Volumes with Magda Mayas on prepared piano and Isak Hedtjärn on clarinet.

Release date: 27. September 2019

Pip: Possible Worlds (excerpt)

A single 20 minute piece made from fragments of love letters. 
Special thanks to: Tanya Serisier, Lucille Calmel, Kjersti Andvig, Jurgen Ots, Nicola Carr, Jeanette Rhenstrom, Jimmie Peggie, Sarah Lamble, Maud OK, Paula Garcia Stone, James Webb, Marcos Filipe de Neves Ferreira, Malfada, Carolina Cunha e Silva, Flavio Derbekannt
This piece also contains an excerpt from Salomé Voegelin's Text score for writing a love letter.
This work is a longer version of a piece first made for BBC show The Verb, for their episode on loneliness.
Mastered by Simon Scott at SPS Mastering.

Where To Begin (excerpt) - Kate Carr - out April 28

Each Morning of the World #04
South American Phonographic Mornings #03/20
Puerto Saavedra ~ South Chili
Lafken Kürüf  de Julie Rousse

~~~~~~~~~~~~~

The piece - Lafken Kürüf - has been composed from recordings taken in the south of Chile in 2015. Mixing various sounds of the wind and the ocean, as well as glimpses of voices, those emblematic sounds from my stay there are composed in a short piece transcribing the powerful sonic landscape that has accompany me during the three months spent in the Mapuche Lafkenche community of Traïtraïko Leufu. The noise of the wind on the rooftop of my house and the rumble from the Pacific Ocean close by kept me from sleeping at night as i would imagine it coming out from its bed, like in the Mapuche Lafkenche mythology.

~~~~~~~~~~~~~~

Crédits
de l’album South American PhoNographic Mornings
ce titre est sorti le 6 mai 2018
Credit photo : © Julie Rousse 2018

Lafken Kürüf

LAFKEN KÜRÜF

Recess

A version of the soundscape produced by three balloon-assisted kite tail sound systems for the Air Matters exhibition, Waterman's Gallery, London 2019.

Ascending Composition 1 (For Planes) representative soundscape - Kate Carr

Short excerpt of a 40 minutes live improv 
15 October 2019 @ Les Instants Chavirés
Sharing the bill with Kate Carr, a concert produced by La Fabrique Agitée
https://www.instantschavires.com/kate-carrvalerie-vivancos/

Valerie Vivancos Live Instants Chavirés  15 Oct 2019 (excerpt)

One of the three bonus tracks that comes on both the digital and CD versions of this release.

The Agnostic

IHVH, The Agnostic... The Night

Splinters as a composition has a dream like quality, dark and enigmatic. Electronic noise colours the drone and bubbling soundscapes of a somewhere. Repeating musical phrases mix with recognisable sounds from life - a spoken utterance, a rumbling train. As a listener you drift with the current through misty scenes, on a journey down a river towards some marshland on the edge of an urban sprawl.

Made in response to an invitation from TACO! - an artist space in Thamesmead in South East London - Splinters documents Kate Carr’s relationship with that space, and the area of London it is located in. Over an 18 month period Kate kept a growing sonic diary of her journeys to the space from her home, her construction of work in the gallery, her wanderings around the green spaces and urban architecture, the coming and goings of visitors and the artistic material from other artists and musicians working at the space. This work is a sonic portrait of a time and a place, and the actions and events within it.


Splinters includes audio samples from concerts and exhibitions held at TACO! Featuring material from live sets by Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe, and audio material from the exhibitions Scratch! by George Barber, and Heavy View by Laura Yuile.

Mat Jenner, director, TACO!
--------------------------------------
Mastered by Simon Scott at SPS Mastering.
Design by Louise Mason.
A huge thanks to Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe for permission to use short excerpts of audio material from their wonderful live sets, and to George Barber and Laura Yuile for access to audio from their installations. 
Also massive thanks to Mat Jenner for inviting me to TACO in the first place!

Detritus Clouds from Splinters out Sept 3

Another experiment with electric guitar loops. The main difference between today's and yesterday's (https://soundcloud.com/disquiet/passing-waves) is that yesterday's was recorded serial, so anything coming from the first loop also appeared in the second loop. That gave it a certain density, but, well, it also gave it a certain density. This was recorded in parallel, meaning whichever looper was recording at a given moment was only recording what was being played by the guitar, not what happened to be coming out of the other looper. This means the density took quite a while longer to achieve, but also that the individual segments are much more distinct, even after density has accrued. Also, the loops are quite a bit longer. Recorded from stereo speakers into a phone (yesterday was from a mono amp), though I'm not sure if the separation is particularly apparent. Major noise reduction in Adobe Audition, and a tiny amount of reverb.

Parallel Normal

Hedvig Mollestad Trio - Leo Flash' Return To The Underworld

Audio. Visuals. Atmosphere.

A haven for experimental sound and art development. CA. 2015

Pascal Savy - No Ends On The Sides

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