Wisdom Of Sacred Writings | Album 'WANDERER IN THE COLORFUL FIELDS'

Recorded November 22th 2021
in the Czech Museum of Music

Played on Alois Haba's two leveled quarter tone grand piano

cloudy

https://noumenalloom.bandcamp.com/album/driftwood-and-other-found-objects - cassette + digital preorder 

Entire album created using a Casio CZ-1 Phase Distortion Synthesizer (+ Electric Bass on Tracks 1 + 3). Although the album was recorded more than five years ago now, these tracks feel very beyond time to us. The record sits nicely alongside works from electronic music pioneers like Isao Tomita, Wendy Carlos, Vangelis and others. Music for Interiors. 

Written and Recorded by Rob Collier in Fall of 2016
Mastered by Howie Gano at Louisville Recording Arts
Titles by Madison Stubblefield
Design and Layout by Alison Kleiman

Driftwood (and Other Found Objects)

Driftwood

Rob Collier - Driftwood

Uvila

jack

for ensemble & electronics 

Paulo Amendoeira (percussion)Paola Aviles (harpe) Amélie Berson (flute) Phoebe Bognár (flute) Félix Lacquement (guitar) María Alejandra Jiménez (violin) Thierry Madiot (trombone) Mireia Pellisa Martín (saxophone) Carlo Sampaolesi (accordion) Adèle Viret (cello) + special thanks to Thomas Nicholson (Cage-clock-conducting)

commissioned by GMEA — Centre National de Création Musicale d'Albi-Tarn & part of the project 'experiences'

recording made at the Athanor, Albi, 06.08.2022
recording/ mixing by Benjamin Maumus, sound engineering at GMEA

for experiencers

New album "drops" will be released in November 2022.

家路

Under St. Wendreda’s Angel Roof (I Wore My Hair Around Your Neck)

-letra-
un pez en la tierra
trata de escapar
las memorias de un desierto
intenta quemar

sangre en cada esquina
vómito en el pan
el abrigo de la tela
quiero respirar

alguien vino a verme 
en el más allá
toma todo y da la vuelta

-artwork por santiago cabrera-
IG: @almirante_papanatas

fishtard

The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines,[1] often combined with other elements.

Arabesque 4

A piece commissioned by radio Museo Reina Sofía, Madrid, Sept. 2019.

'Tiempo, Piedra, Insecto' ('Time, Stone, Insect') is a piece for metal objects, small ceramics, mountain stone and vibrating strings. Taking the choice of materials and profoundly simple gestures as a point of departure, forms of repetition, addition and subtraction are associated as a principle of perpetual movement, engendering a sound space that juxtaposes the autonomy of elements and a perceptive total union — a union that takes place in what the listener hears.

This piece, with no aspirations to an exclusivity of sound, can be listened to in every way imaginable: in silence, with open windows and sounds; in the morning, afternoon, evening, at night – although no headphones and letting the air circulate is recommended.     

The title of the work takes its name from three words written in a notepad after walking around a vast park in a big city, and a conversation on the perception and moderation of time; movement, existence, the animate and that which is considered inanimate. When we say stones do not move, perhaps it is because we don’t see them move, but without that really meaning that they do not move.

https://radio.museoreinasofia.es/en/clara-asis

Tiempo, Piedra, Insecto

Fredrik Rasten is a guitarist and composer (b. 1988) working in the field of experimental music, both improvised and composed. His main focuses are exploring and utilizing the acoustic possibilities of the steel string guitar. The last years he has been working extensively with just intonation, taking an extended concept of consonance as a point of departure. He has studied in this field with  Catherine Lamb and Marc Sabat in Berlin. In his work he is also inspired by wandelweiser music, traditional british folk and early music.



contact: fredrikrasten(at)gmail(dot)com

cloudy

Fredrik Rasten

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Catherine Lamb

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