twenty six

Mixtape #028

c'è in giro da tempo una nuova 'musica assoluta', astratta, che sta fra la cosiddetta 'ambient music' e la 'drone music', nei pressi dei cosiddetti 'soundscape' o, meglio ancora, degli 'innerscape' .. a volte ha tratti più 'cameristici', o addirittura per strumento solista, a volte è più 'sinfonica' .. a volte usa solo sonorità 'sintetiche', a volte invece anche strumenti 'tradizionali' .. ha antecedenti illustri, sia nella cosiddetta musica 'classica', diciamo storica, sia nella 'popular music' e nel jazz .. a quella soprattutto io guardo

https://www.facebook.com/notes/marco-lucchi/musica-assoluta/10155811583217624/

"musica assoluta" (gennaio 2020)

From the Bandcamp EP My Skin’s Blazin’ Thru: https://martinhoogeboom.bandcamp.com/album/my-skins-blazin-thru 

Trampelfad https://soundcloud.com/trampelfad : electronics
Paul Mimlitsch https://soundcloud.com/r369improv : electronics/clarinet
Ulrich Langenbach https://www.ulrich-langenbach.de/ : guitar/violin/cello/piano
Martin Hoogeboom https://martinhoogeboom.wordpress.com/ : objects/electronics/guitar

Mixed by Martin Hoogeboom
Mastered by Rupert Clervaux http://www.rupertclervaux.com/

My Skin’s Blazin’ Thru

My Skin’s Blazin’ Thru II

My Skin’s Blazin’ Thru II (Trampelfad/Mimlitsch/Langenbach/Hoogeboom)

WRAK (an absurd noise play.)
https://martinhoogeboom.bandcamp.com/album/wrak
Voice & Noise by Martin Hoogeboom
Artwork by Ellis Nadler (www.nadler.co.uk)
DS1323/2022

Wrak

WRAK

WRAK (scene 4)

Ray Lee - Siren - recorded by Jane Greer at OVADA Launch

Mauve Zone, (feat. Catherine Hershey)
Released by Nashazphone (EG) in 2016
Artwork by Antoine Gérard.

Mauve Zone  - LP  - Nashazphone - 2016

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer
 
Bryan Eubanks: Open-circuit electronics (sinetones)
 
 
 
What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. 
 
Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits.
 
.. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits." - Time Out NY
 
Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique.
 
Artwork by Jerry Starpoli
Liner notes by Joe McPhee 
In memory of Jerry Starpoli 
 
http://www.penultimatepress.com

Joe McPhee and Bryan Eubanks - My Undocumented Alien Clarinet (excerpt)

Klangforum Wien, conducted by Enno Poppe
Helmut Liszt Halle, Graz

Commissioned by impuls . International Ensemble and Composers Academy for Contemporary Music, Graz/Austria, premiered at impuls 2017.

*
I don’t usually think about breathing, unless I have to. I become aware of my breath when practicing yoga, tai chi, or aikido, because they are movement traditions centered around breath as a fundamental force that can coordinate higher order actions. I have to breathe to move. In times of distress, breathing is also a way to return to feeling like myself. 

I started thinking about this piece while living in Beijing last summer, observing the vicissitudes of the city’s storied air quality index from a sixth floor window.  At close range it could be hard to distinguish air pollution from humidity. From a distance, I watched haze smear sunlight, moonlight, traffic lights, street lights. On some days I felt it tickle my throat, or my eyes. This made me uneasy, but of course, I couldn’t just stop breathing. I mulled over the idea of these tiny particles, some smaller than viruses, individually imperceptible, but horrific in aggregate – gradually filling the lungs, or passing directly into the bloodstream. Their effect on our bodies is a slow sort of harm, a subtle violence. I thought about these small, slow destroyers and their origins in fossil fuels, once the bodies of ancient plants and animals. Ordinary house dust is said to be mostly human skin. I thought about breathing in the bodies of these creatures of the past, breathing in human bodies, human history – the weight of all that living, dying, suffering, distilled into tiny particles that enter our soft lungs which slowly gray and blacken over time. 

It is impossible at this moment to think of breathing without thinking of Eric Garner, the unarmed black man who gasped that he couldn’t breathe as he was choked by a New York police officer in 2014. His death is a direct and vivid act of violence, but the environment that produced it might seem more like the those invisible particles in the air, all-pervasive and impossible not to breathe in. I thought about all these invisible things, and how they disappear into what seems normal.

In this piece, sounds camouflage other sounds. Louder strikes and hits mask subtler activity. Still things move internally. What is constant, smeared light, becomes so normal, it might not need listening at all. I thought of the sho, the Japanese mouth organ that seems to hold forever. Toward the end of writing, I ran into this line by Paul Celan, which seems to encapsulate the contradiction of living in permanent emergency.

We Were Dead and We Could Breathe - Excerpt

Jeremy Dutcher is a classically trained operatic tenor and composer who takes every opportunity to blend his Wolastoq First Nation roots into the music he creates, blending distinct musical aesthetics that shape-shift between classical, traditional, and pop to form something entirely new. Dutcher’s debut release, Wolastoqiyik Lintuwakonawa, involves the rearrangement of early 1900s wax cylinder field recordings from his community. “Many of the songs were lost because our musical tradition was suppressed by the Canadian government. I'm doing this work as there's only about a hundred Wolastoqey speakers left. It's crucial that we're using our language because, if you lose the language, you're losing an entire distinct way of experiencing the world.

Spotify: http://spoti.fi/2GQSvpY
Facebook: https://www.facebook.com/jdutchermusic/
Instagram: https://www.instagram.com/jdutchermusic/
Twitter: https://twitter.com/jdutchermusic
YouTube: https://www.youtube.com/channel/UCjZpuqAKFSQ-3ay8l0i6cVA

Wolastoqiyik Lintuwakonawa

Mehcinut

GOOD MORNING TAPES: GMT12

GEORGIA: ხმის სიყვარული (“SOUND LOVE”)

www.goodmorningtapes.com/releases/h8m…tmqlu6qnh5wn

100 Min cassette featuring all original tracks from GEORGIA.

GEORGIA: "Phrasing" from ხმის სიყვარული (“SOUND LOVE”) on GOOD MORNING TAPES

Vincent Eoppolo "Transmogrification" Maurizio Barbetti, viola

Alessandro Fogar, for the installation 'Amber', conceived together with Paola Pisani, has created a sound environment, in the form of a generative system, based on the creation of a virtual microcosm made of sounds.
The circadian rhythm, the alternation of day and night, regulates the sound system.
The clouds, the birds, the insects, the stars complete it.
The sounds of air are modulated by the data of the values of PM10 air pollution in Orleans, the sounds of water are controlled by the accelerated data of Venice tides.
The combination of these elements forms an always different and organic sound world, similar to a living creature, of which the author determines the general behaviour and then stops fascinated to listen to the generated sound, always unpredictable and different.
Live recording.
Image by Paola Pisani.

Amber

Message to Turner
Guy-Frank Pellerin: soprano saxophone
Enregistré le 28/12/2019, La scala.

Message to Turner / Guy-Frank Pellerin

Sinfonia « A New Year Is Coming… » for Electronic (January 1, 2020)
My first composition of 2020 !
Franck Douvin © Sinfonias 2020
Thanks for listening. I hope you'll like it!

Sinfonia « A New Year Is Coming… » for Electronic (January 1, 2020)

https://delphinedora.bandcamp.com/album/linattingible

Delphine Dora - piano, keyboards, vocals, field recordings, noises, stones
Aby Vulliamy - viola, accordion, recorder, musical saw
Paulo Chagas -bass clarinet, soprano clarinet, oboe, flute
Valérie Leclercq - flute, cymbal, percussion, tom drum, vocals
Adam Cadell – violin
Gayle Brogan - guitar (e-bow), zither (e-bow), stones, hammered dulcimer, violin, aeolian chimes (a sculpture by Fiona Sanderson)
Susan Matthews - harmonium, bass guitar, prepared piano
Le fruit vert(Andrea-Jane Cornell & Marie-Douce St-Jacques) - percussions, stones, analog synthesizer
Caity Shaffer – vocals
Taralie Peterson - saxophone, cello, zither, vocals
Sylvia Hallett - bicycle wheel, noises, hurdy gurdy, bowl, musical saw
Laura Naukkarinen – vocals
Tom James Scott – piano
Jackie McDowell - vocals

Songs and music composed, performed, recorded, edited, mixed, produced by Delphine Dora
Lyrics by Delphine Dora except Songe by Pierre-Jean Jouve
Arrangements written by and recorded by Delphine Dora and all the musicians
Music and arrangements recorded between august and december 2018 in different locations (France, UK, Belgium, Portugal, USA, Canada, Australia, La Gomera)
Tracklist by Delphine Dora and Maxime Guitton
Mastering by Julien Grandjean
Art direction by Delphine Dora
Artwork by Marie-Douce St-Jacques
Layout by Marie Tourigny

L'inattingible (extracts)

a morph of "Bocuma" by the Boards of Canada

by Marco Lucchi / tools

15 giugno 2013

The graceful, angelic ensemble of "Orpheus" takes us high above the storm clouds… Marco takes normal tunes and masterfully morphs them into crafts of beauty. We may be releasing a collection of these soon on Stereoscenic so stay tuned.
-Andrew J Klimek, Ambient Sleeping Pill Radio, February 2014
http://shop.stereoscenic.com/album/ambient-sleeping-pill-compilation-2

Marco Lucchi - Orpheus

Delphine Dora is a prolific recording artist, improviser, singer-songwriter, multi-instrumentalist and vocalist from France. She performed in various places in France and many places in Europe. Her music is regularly broadcast in international programs in independant radios.
She works mainly with piano, voice, organ, modular synth and field recordings. Her music displays a pure fascination with sound and straddles the lines between improvisation, modern classical, avant folk, song forms, and electro-acoustic music.