Eether Harp - Éterhárfa

A conversation with graphic designer Vahram Muratyan about his book 'About Time: A Visual Memoir Around the Clock.'

For background, context, and a peek at the illustrations from the book, go here: http://www.brainpickings.org/2014/12/01/vahram-muratyan-about-time-interview/

MORE / PEEK INSIDE

About Time: Maria Popova in conversation with Vahram Muratyan

101, Milky Way

MULTI Pt#3

Marco Lucchi : piano and synthesizer

*

15 settembre 2024

Soliloquy

“Bruno Sanfilippo presents his latest EP, an introspective piano work, recorded at his Onix II Studio in the mountains surrounding Barcelona. 'Only Five Petals' was conceived during nocturnal sessions in the spring and summer of 2024, where Bruno explored the potential of his grand piano Kawai RX-3, allowing the stillness and mystery of the night to seep between each note. This mini album consists of 5 pieces based on structured improvisations, a characteristic facet of Sanfilippo's work that blends technique with intuition. Some tracks intertwine with subtle electronic soundscapes, creating a harmony between the acoustic and the electronic, the human and the ethereal. The cover art image created by Ximena Contreras seems to have emanated from the music itself.
Released by ad21, focused on reflective Neoclassical Piano,
the production has been meticulously cared for, reflecting the quality and dedication that Sanfilippo imprints on each of his projects.
Choose your favorite moment for art, and enjoy a unique and immersive musical experience." ad21

Raindrops tap on the sleeping earth

Spotify/AppleMusic

Strange Slip In Time

2017 was a very important year for me. It got me back on track in terms of who I want to be musically and how to make it work.

I'm back to constantly releasing music I feel confident about. I reinvented my live set and played a heartwarming little tour with Vessels. I finished an album with my jazz project Fazer (more on that soon). I co-produced Carlos Cipa's third album (watch out). With him I also scored the TV series "5vor12". I recorded mixes for Radar Radio, Netil Radio, Cashmere Radio, Public Possession and started doing a regular show on Radio 80000. I sharpened my DJ-skills and had some memorable nights here at cucurucu and Polka Bar.

All these achievements might be little steps, but they have me psyched for what's to come in 2018.

Above all, I've been able to work and be together with a few of the finest and most talented beings I know and that is a blessing. You know who you are.

And of course this would all make a lot less sense if there weren't people who buy and listen to my music.

To thank you all I'm giving away this vocal version of "Framed" featuring Tahnee Matthiesen for free.

I've always had this tune in mind as a track with vocals but never found the right singer until I met Tahnee. I think she captured the tender yet tense vibe of the instrumental perfectly and made the track complete. 

Produced, mixed & mastered by Occupanther 
Vocals: Tahnee Matthiesen 
Additional Producing: Hans Hu$tle, @hans-hustle
Artwork: Daily Dialogue, www.dailydialogue.cc

(c) 2017 Occupanther

Free DL

Framed (feat. Tahnee Matthiesen)

'Bow Shock' is the second taster from forthcoming album, 'Staccato Signals', following 'Fossils'. 

While the latter encapsulated Chatwin's innovative marriage of strings with his arsenal of analogue and modular synths, 'Bow Shock' is the album's most prominent example of Chatwin's use of brass - folded and buried within his industrial electronic template, pushing the palette of sound further into the composer's own unique hybrid of electronic and acoustic.

'Staccato Signals' is available on July 6th. Pre-order here: https://VillageGreen.lnk.to/EzFNEWE

Ben Chatwin - Bow Shock

( Arvo Part Remix - Beats Antique)

from 'Where We Were' [CD|2xLP|DIGITAL]
available from May 2013 on all formats at [http://denovali.com/greghaines]

ON TOUR

21.04.2013 London (uk) - Denovali Swingfest

08.05.13 Eindhoven (nl) - Muziekgebouw
10.05.13 Groningen (nl) - De Oosterpoort
11.05.13 Amsterdam (nl) - Paradiso
12.05.13 Trier (ger) - Synagoge Schweich
13.05.13 Paris (fr) - Café de la Danse

17.05.13 Münster (ger) - Black Box
18.05.13 Utrecht (nl) - Le Guess Who Festival May Day
19.05.13 Essen (ger) - Welterbe Zollverein
20.05.13 Brussel (bel) - Ancienne Belgique Club
21.05.13 Hamburg (ger) - Nachtasyl
22.05.13 Bielefeld (ger) - Nummer Zu Platz
23.05.13 Hannover (ger) - Feinkost Lampe
24.05.13 München (ger) - Einstein
25.05.13 Geneva (ch) - La Graviere
26.05.13 Varano Borghi (it) - La Sauna Recording Studio
28.05.13 Bratislava (slovakia) - Atelier Babylon
29.05.13 Budapest (hun) - Akvárium Klub
30.05.13 Prag (cz) - Palac Akropolis
01.06.13 Gdansk (pl) - Club Zak
02.06.13 Warsaw (pl) - Cafe Kulturalna



Denovali Records is happy to announce the release of Greg Haines' new album WHERE WE WERE on cd, double vinyl and digital, as well as the release of 2006-2012, a collection of Greg's first three albums Slumber Tides, Until The Point of Hushed Support and Digressions as triple cd and 5 x vinyl collector's box in May 2013.


WHERE WE WERE [CD|2xLP|DIGITAL]

“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.

This album is the result of one person sitting alone in a room and creating something entirely personal, without the frustrations of organising large-scale sessions for other players or the laborious work of preparing scores. In fact, the few scored moments that were written were later disregarded, with a whole string session with PETER BRODERICK ending up on the cutting-room floor (sorry, Peter!), along with endless hours of other material. What is left is the condensed diary of a year of exploring old tape delays, analog synths and percussion - some of which played by percussionist/composer SYTZE PRUIKSMA (a member, along with Haines, of THE ALVARET ENSEMBLE, whose debut album was released in December 2012 by Denovali Records), and some of which played and recorded in a midnight daze at Haines' studio in Berlin. Working in this way led to a whole host of other long-term influences feeding into the music that had never found an outlet before. The experiments in dub conducted by the likes of KING TUBBY or LEE PERRY and continued by the likes of RHYTHM & SOUND had a profound effect, as did the iconic work of TONY ALLEN and other African composers. The spaced-out soundscapes found on early TANGERINE DREAM and KLAUS SCHULTZE had always had a subtle influence on Greg's work, but now armed with an arsenal of dusty studio toys, those sounds became warmer, richer and more prominent.

The influences evoked here may at first appear at odds with Greg's previous work, but an affinity between the dense poly-rhythms of Africa and beyond have long been an influence for contemporary composers such as STEVE REICH, and their reach and importance on western music is undeniable. But now the lines have been blurred, and its impossible to say where one “style” or influence stops and another begins – something that was perhaps the only concept for this record. The symphonic synth crescendo of “So it Goes” would not have the same impact if it were not following the head-nodding drive of “Something Happened”. The delicate arpeggios of “Wake Mania Without End II” only exaggerate the unrelenting, rhythmical explosion of “Habenero”, and without starting with the intimate piano of “The Intruder”, the album's cavernous ending wouldn't feel so otherworldly. Its all in there or at least whats left of it after the hiss, the dirt and the degradation of the tape machine destroyed it, reworked it, and spat it back out fullyformed.

Mixed and mastered together with NILS FRAHM at his Durton Studio, Berlin.

About Time: Maria Popova in conversation with Vahram Muratyan

brainpicker

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