https://soundcloud.com/luispestana approaches the pagan nature, according to a filter of the saturation of humanity and its technological achievements. A recent but already solid heritage of people like Oneohtrix Point Never, James Ferraro or Ben Frost, who distilled the popular sphere into a dystopian and yet effervescent digital alchemy. A utopia made reality. The fauna and flora summoned by Luis Pestana are still existences to be verified. The kind we read about in sci-fi books and popular legends: so unreal and yet so familiar.

''What was a crucial sonic experience in your life?’'
Listening a strange pipe organ drone coming from a little church in Palmela, near my hometown. Never heard a pipe organ sounding like that, as though as it was slowly being consumed by fire, singing melting blue dirges. What a strange and beautiful thing. The door was closed; no info outside. Occasionally I would pass by but never heard it again. Ten years later I found out it was a Tim Hecker gig.

Links:
https://orangemilkrecords.bandcamp.com/album/rosa-pano
https://www.instagram.com/luispestana333/
https://www.facebook.com/habemuspestana/

Tracklist:
- Pérotin - Viderunt Omnes (David Munrow)
- Ricardo Rocha - Irradiante
- Kara-Lis Coverdale - Icon /c
- Anna Homler - M'bó Yé Yé
- Księżyc - Mijana
- Chris Watson & Marcus Davidson - The Bee Symphony
- Francisco António Bailão - Ó Filha Vai-te Deitar
- Georg Friedrich Haas - Oktett
- Keith Fullerton Whitman - 101105
- Matthew Welch - Traversing Mad-Hatten, Opus 27
- Charles Wuorinen - Time's Encomium
- David Borden - Enfield in Winter
- James Tenney - Cellogram
- Luis Pestana - Rosa Pano
- Teiji Ito - Tenno

MNEMOSYNE #023 - LUIS PESTANA

neeeeiiiight

Notice Recordings is pleased to present the release of Portland, Oregon-based percussionist Matt Hannafin’s “John Cage: Four Realizations for Solo Percussion”, which offers attentive, probing interpretations of pieces that bookend the final thirty years of the composer’s work. Simultaneously restless and nuanced, Hannafin’s performance demonstrates Cage’s continued relevance and enduring ability to push performers beyond their performative biases and toward the unexpected.

Written with no instrumentation, “Variations II” (1961) and “Variations III” (1963) both provide toolkit-like sets of marked-up transparencies which are allowed to fall into random overlapping patterns. “c Ȼomposed Improvisation for One-Sided Drums with or without Jangles” and “One4” (both 1990) are two of only five pieces Cage wrote specifically for solo percussion, and explore Cage’s late-career interest in directed improvisation. “c Ȼomposed Improvisation” was written for percussionist Glen Velez, with whom Matt Hannafin studied just three years after the piece was created.

Commissioned by Notice Recordings, these four performances are in dialogue not only with each other but with Notice itself, which has its roots in the underground/DIY realm while also exploring contemporary/academic composition. The accessibility, inventiveness, and challenge of compositions like these make Cage a unique pivot point between these two worlds.

NTR049 - John Cage & Matt Hannafin - Sided Drums With Or Without Jangles

We first became aware of Mike Weis through his drumming in Chicago's Zelienople, in which he blended hypnotic, delicate grooves and shimmering auxiliary percussion into the band's unique downcast drone-folk. In recent years, Weis has expanded his exploration into meditation and ritual in music performance, exemplified by this set recorded for the 2018 Winter Solstice. Weis' mix of such unconventional percussion instruments as tongue drum, dholak, and changgo, as well as gongs, bells, and objects, all performed live, is typical in its unerring time, tightly controlled dynamics, and dense yet drifting atmosphere. The music settles in places which aren’t visible upon first sight, and, like walking through a foggy, mid-December field, pock-marked with patches of snow and tufts of brown grass, sounds reveal themselves for a moment of recognition and familiarity, only to recede, vignetted by the enveloping atmosphere. Mike Weis has been deeply admired by Notice since our inception, and In Low Light provides an engaging illustration of his practice.

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Mike Weis / mbira, tongue drum, dholak, changgo, bass drum, cymbals, gongs, singing bowls, bells, dharma bell, moktak, field recordings

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Tracklisting:

1. Number 1 - 07:06
2. Number 2 - 05:34
3. Number 3 - 03:01
4. Number 4 - 05:14
5. Number 5 - 02:48
6. Number 6 - 05:35
7. Number 7 - 03:53
8. Number 8 - 05:16

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Recorded early Winter 2018

Pre-mastering by Matt Christensen

Mastered by Branic Howard, Portland OR

Mike Weis - In Low Light (Music For The Winter Solstice) - 05 Number 5

Recorded live, this album presents Lonberg-Holm in an intimate relationship with his cello, beautifully recorded by Joaquim Montes at Studio Namouche in Lisbon. Using a variety of extended techniques, he conjures a barrage of multiphonics, interwoven timbral excursions, and minuscule textural knots lined along the peripheral architecture of these pieces. Lonberg-Holm alludes to his music having a non-denominational devotional presence in his life, and this relationship is evident in these deeply personal improvisations. This is visceral playing: heavy, dry, honest, and unpretentious. Lonberg-Holm has performed in an exceptional number of free jazz and free improvised ensembles, not to mention with a variety of indie rock bands; one can hear this experience permeating the seasoned playing in these recordings.

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Artist's statement:

"Over the years, I have made a number of solo recordings, some in studios such as the now demolished Airwaves in Chicago and the first ESS location (now gone as well), some in concert halls (e.g., Mills College), some outdoors (my father’s farm in central NY as well as the Florida Everglades), and a few at various homes I have lived in. Location has an obvious impact and my long and affectionate relationship with Lisbon inspired me to want to make a solo document there. I have recorded with a variety of projects at Studio Namouche in the Benfica neighborhood of Lisbon and love it. That was where I wanted to make this solo recording.

Anyone who has been to Namouche knows it is a magical place. A faded version of its once probably grand self, Namouche is a sort of small RCA studio A that somehow survived the tumults of the recording industry; it still has the right proportions and materials on the walls, floor and ceiling. Add in good mics, a mixing desk, and the very capable ears of head engineer Joaquim Montes and it’s about perfect.

I’ve described the cello as a “four string busy box” for many years but only recently did I realize it also acts as a “safe space” for me. Although the outcome of pressing the various levers is more unpredictible on a cello than a busy box, I still feel that if I follow the material where it wants to go, nothing can go wrong. It is an act of faith.

For many years, “religious” music has been a source of entertainment and inspiration for me. In spite (or because?) of my lack of religious identity I find beauty in many types of music for worship. Over the years, at different times, I have been obsessed with Hindu, Muslim, Christian, Jewish and Buddhist musics, sermons and chants. While I sometimes fantasize about making a record of religious music, the only faith I can claim to have any real relationship with is Christianity and a recording of Christian music might be misunderstood so . . . I refrain. Instead, I like to think that my solo cello improvisations are a kind of non-denominational devotional music.

During the period when this was recorded, I was listening a lot to Alfred Reed. He seems to favor a very low A (almost A flat) and I experimented with tuning my cello down as a result. Some of the tracks are at that lower pitch and others are closer to A440.

Namouche has a very fine grand piano and a number of other excellent keyboards. They also have some derelict pianos. Most noticeable are the two in the front vestibule and the one in the live room. The short piano pieces were recorded using only the piano in the live room. Because such wrecks aren't found in most good studios, I couldn’t resist playing it. The juxtaposition of a derelict instrument and an incompetent pianist in a great room with excellent equipment was simply too good to pass up."

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Fred Lonberg-Holm / cello, unprepared piano

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Recorded March 21, 2019 by Joaquim Montes at Namouche Studios, Lisbon

Mastered by Branic Howard, Portland OR

NTR059 - Fred Lonberg - Holm - "Lisbon Solo"

Extremities documents the first meeting of Jessica Ackerley and Patrick Shiroishi, recorded live in a basement apartment in Chinatown, Los Angeles. Both musicians come from strong improvised and free music scenes: Ackerley from NYC, and Shiroishi from L.A. There is a joyful sense of abandon here; the love affair each musician has with their instrument produces a dripping intensity, congealing upon impact with the physical, coalescing into a new form; fresh contours, rippled textures glinting in the atmosphere of passive space, as their musical chemistry manifests in instantaneous spurts. Stylistically, the album ranges from free jazz to noise and even serrated slices of metal. This makes for music constantly branching out from an agitated core: bulbous and irregular, and convolutedly engaging from start to finish.

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Jessica Ackerley / guitar
Patrick Shiroishi / saxophones, percussion
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Recorded by Jared Rodriguez

Mixed and mastered by Lucas Brode

Artwork by E. Lindorff-Ellery
"Garlic Foot" and "Knowing What to Write" (detail), 2020

NTR060 - Jessica Ackerley - Patrick Shiroishi - Extremities - "Popcorn Spackle"

A Jack Spicer quote - “Get those words out of your mouth and into your heart” - may be useful when consuming this provocatively bare duo performance, which compels the listener to abandon any presumptions about improvised music. Switching between squeamish spurts of controlled trumpet exhalations and an intentionally hackneyed melodic line that grows more compelling with every repetition, Wick’s playing is obstinate, confusing, and deeply welcoming. rousay surrounds the trumpet’s pure and metallic tones with deft sonic movement and anti-ideas, oddly-placed drum rolls and rhythmically elusive brushed patterns. Recorded at Marigny Studios in New Orleans by Rick Nelson, this is music that is egoless, non-narrative, and without identity, and yet it is in fact emphatic and deeply felt. The duo insists on framing improvisation on their own terms, not so much ignoring chops and improv tropes, but playing as if they simply don’t exist, a brash surfacing of new paths forward.

NTR061 - Jacob Wick - Claire Rousay - I Let A Song Go Out Of My Heart - "The Friendly Bar"

My very late contribution for the open remix project curated by :zoviet*france:, this track has been assembled using audio sources taken from “Hidden by the Wall”, a soundwork by :zoviet*france: commissioned by Green Croft Arts as part of its Collision and Conflict project.

The recordings have been treated and remixed at Timelash 2 Studio, (Trieste), Italy on Saturday, March 26th, 2022.

Photo courtesy of Rea Jubani

:zoviet*france: - Hidden By The Wall open remix (The Wind Between)

releases April 15th, 2022

threeop.bandcamp.com/music

Written and produced by Clovis Lemée and Thomas Pujols aka Othello Aubern
Mastering by Nil Hartman
Artwork by Clovis Lemée

Othello Aubern - Pace Serpente (3OP008)

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-212-liz-draper-crystal-myslajek-live-session/

**This episode includes an interview and solo live performances by Liz Draper and Crystal Myslajek and in their duo configuration as Chama Devora**

Liz Draper solo set:
1. “October” [1:11:05-1:17:02]
2. “Hopewick North” [1:17:07-1:22:20]
3. “Mem Marigold” [1:22:24-1:28:58]

Crystal Myslajek solo set:
1. “Imminence” [1:29:00-1:32:55]
2. “Radio Song” [1:32:57-1:40:15]

Chama Devora set:
1. “Awake” [1:40:25-1:46:35]
2. “Haga” [1:46:44-1:53:20]
3. “Embrujada” [1:53:31-1:59:00]

FFFoxy Podcast #212: Liz Draper & Crystal Myslajek live session

Music and Artwork by Ryan J Raffa
Mastered by Taylor Deupree
Shimmering Moods Records 2021
SHM 163

Ryan J Raffa - Lately

As you can imagine we are under huge pressure at the moment and are working flat out to ensure Cafe OTO survives this. The impact of this situation is extremely acute for small venues like ours and we need all the support we can get to pull through. Please donate what you can, if you can. Thank you. 

Cafe OTO opened in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream. It comprises one large cafe/performance space open during the day serving food and drink with an evening programme of live music almost seven nights a week. 

OTOROKU is part of OTOProjects - a not-for-profit Community Interest Company (CIC) that has been set up to manage the programme at Café Oto. Any profits from OTOROKU are put back into supporting what we do and will help us to continue programming the best musicians and performers from all over the world.

www.cafeoto.co.uk

NTR049 - John Cage & Matt Hannafin - Sided Drums With Or Without Jangles

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