from 'ÉCLATS (PIANO WORKS)' - out on 03.11.2023 - GIZEH RECORDS
CD / Digital / Streaming : https://christineott.bandcamp.com/album/eclats-piano-works
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Two years after Time to Die, French composer Christine Ott returns to Gizeh Records with her fifth album, Éclats (Piano Works), a collection of twelve pieces for solo piano, twelve impressionistic miniatures, instrumental and cinematic fractals celebrating the beauty of life.
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Éclats (Piano Works) is a kind of mirror image to Chimères (for Ondes Martenot) (2020, Nahal Recordings), which showcased her other favourite instrument, and for which Christine Ott is particularly renowned - as she is through her past collaborations with Yann Tiersen, Tindersticks, and this year with Chilly Gonzales. But here, there's no vintage electronics: the musician unfurls acoustic landscapes in black and white, alone at the piano, behind a Steinway, a Fazioli or her father's old Prestel. The album opens with Pluie d'arbres, a powerful yet delicate allegory of deforestation. This duality runs through the album, whose energy is sometimes melancholy, sometimes hopeful, but always generous and full of empathy.
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Sometimes nourished by revealing improvised gestures and crystallised during live performances, these new pieces by Christine Ott also make the link with various projects by the artist, both on stage and in film. Die Jagd nach dem Glück (The Pursuit of Happiness) is an extract from her original composition for Lotte, mon amour, a film-concert created in 2014 based on 4 short films by Lotte Reiniger, a German director from the first half of the 20th century. Lotte Reiniger was a true pioneer of animated film, and her films are still incredibly modern and human. Originally composed for piano, Martenot ondes and viola, this highly romantic piece is presented here in its simplest orchestration. Vulcano also foreshadows another film-concert work by Christine Ott, to come in 2024, for Robert Flaherty's Man of Aran. Set on a storm-swept island off the coast of Ireland, the film depicts the daily life of a fishing family in the 1930s. In a film-concert with an ambitious, physical and immersive score, the musician pays tribute to the courage of these inhabitants, united by a strong sense of solidarity, in constant battle with the elements.
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Éclats (Piano Works) presents works recorded over a long period of time; a clear homage to Hitchcock, the writing of Vertigo undoubtedly has its origins in the composer's youth. Some pieces, such as Étreintes and Amours étoilés, were recorded during the sessions for Only Silence Remains (2016), and Christine has regularly performed Golden Valley on stage since its creation in 2018 - whether as solo piano or rearranged in groups as part of her parallel projects (Snowdrops, Theodore Wild Ride...). Other compositions, such as Clouds of Dreams, are much more recent. So it's a real gift to finally discover on record the variety and richness of these twelve original compositions, which have long remained in the shadows.
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And to bring these melodic bursts to life, Christine Ott called on the services of visual artist Léa Barbazanges, who creates sculptures and installations using assemblages of plant, mineral and animal materials. The works that adorn the album cover come from her Optiques series; 12 photographs of crystals seen through a lens, like a poetic prism that brings us closer to living things, their textures and ramifications, as obvious as they are complex, and that give a formidable visual echo to the 12 compositions on the album.
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Out November 3rd on CD and digital. Pre-orders are now open.

Pluie d'arbres

New track from Moss Covered Technology; forthcoming on Fluid Audio...

Dartmoor! thou wert to me, in childhood's hour, 
A wild and wondrous region. Day by day 
Arose upon my youthful eye they belt 
Of hills mysterious, shadowy, clasping all 
The green and cheerful landscape sweetly spread 
Around my home; and with a stern delight 
I gazed upon thee. How often on the speech 
Of the half-savage peasant have I hung, 
To hear of rock-crowned heights on which the cloud 
For ever rests; and wilds stupendous swept 
By mightiest storms; of glen, and gorge, and cliff, 
Terrific, beetling o'er the stone-strewed vale; 
And giant masses, by the midnight flash 
Struck from the mountain's hissing brow, and hurled 
Into the foaming torrent; and of forms 
That rose amid the desert, rudely shaped 
By Superstition's hands when time was young; 
And of the dead, the warrior dead, who sleep 
Beneath the hollowed cairn!  My native fields, 
Though peerless, ceased to please.  The flowery vale, 
The breezy hill, the river and the wood, 
Island, reef, headland, and the circling sea, 
Associated by the sportful hand 
Of Nature, in a thousand views diverse, 
Or grand, or lovely, -to my roving eye 
Displayed in vain their infinite of charms; 
I thought on thy wild world, -to me a world,- 
Mysterious Dartmoor, dimly seen, and prized 
For being distant and untrod; and still 
Where'er I wander'd, -still my wayward eye 
Rested on thee!

In sunlight and in shade, 
Repose and storm, wide waste! I since have trod 
Thy hill and dale magnificent. Again 
I seek thy solitudes profound, in this 
Thy hour of deep tranquillity, when rests 
The sunbeam on thee, and thy desert seems 
To sleep in the unwonted brightness, calm, 
But stern; for though the spirit of the Spring 
Breathes on thee, to the charmer's whisper kind 
Thou listenest not, nor ever puttest on 
A robe of beauty, as the fields that bud 
And blossom hear thee. Yet I love to tread 
They central wastes when not a sound intrudes 
Upon the ear, but rush of wing or leap 
Of the hoarse waterfall. And oh, 'tis sweet 
To list the music of thy torrent-streams; 
For thou too hast thy minstrelsies fro him 
Who from their liberal mountain-urn delights 
To trace thy waters, as from source to sea 
They rush tumultuous. Yet for other fields 
Thy bounty flows eternal. From thy sides 
Devonia's rivers flow; a thousand brooks 
Roll o'er they rugged slopes; -'tis but to cheer 
Yon Austral meads unrivalled, fair as aught 
That bards have sung, or Fancy has conceived 
'Mid all her rich imaginings: whilst thou, 
The source of half their beauty, wearest still 
Through centuries, upon they blasted brow, 
The curse of barrenness.

- Noel Thomas Carrington

A Weather Internal

Moss Covered Technology - River Slows Pt.1

I've got a very lovely piano piece for you this morning from the ever-lovely Moderna imprint, which continues to scour the hidden corners of the scene to bring you some of the most heartfelt music. This one comes from the emerging [and pretty young] Augsburg-based (Germany) composer Linus Alberg, offering us his label debut, titled Elements. On this collection of eight tracks, Alberg shares his sentimentality, initially inspired by the changing of the seasons but somehow evoking something else entirely, at least in me, as if uncovering a buried key to a forgotten memory. His incredible compositional musicality is only surpassed by the execution, whereby remarkably gentle melodies effortlessly flutter in the curated space, held together by the solid bass, frequency-rich harmonium, and occasional echoes of the breathy trumpet, played here by Matthias Lindermayr. Oh, but then, there is that Yamaha upright that carries a flavour so lush of its own. Here, Alberg is able to ring out the textural tone shifts with his exceptional, flawless control of the instrument, painting wide pastel landscapes with a gorgeous sonic palette. And yeah, okay, I am jealous. I'm jealous that I'm no longer in my twenties, making music as beautiful as this. But that is okay. I'm delighted. I'm happy to sidestep and listen and offer this space to a lovely new voice.

Elements

Vienna

TRACK PREMIERE : Linus Alberg - Vienna

If, 20 years ago, you told me that I'd still be writing about ambient music, I think I would have simply laughed. How much could be said, not just with words but also with these sounds? But as the years appear to speed up, I find myself immersed in it much more (even as I see so many other publications slowly disappear), discovering new layers, space and people who have another story to convey, one that I am happy to be a part of. Regular followers of this site will, without a doubt, recognise my personal connection with the present moment, often hoping to convince myself and others that we should focus on what is instead of how it was before and certainly instead of how it could be. How could it possibly be any other way? How could we not be here and now, experiencing all that's happening around us as it could only be? Are there better times ahead of us, or is it only doomsdays? And does it really matter when we get there in the end? Okay, I'll pause here for a time and focus on the music, premiering for you a piece by Austin-based ambient artist TJ Dumser, who releases music under his Six Missing moniker. This piece is titled "Guidance", and it is taken from his upcoming full-length, Here For Now. Across the twelve pieces on the album, soft pads, swirls, and swooshes are echoed in a faint, reverb-drenched ambient calm, sometimes accompanied by the quiet acoustic guitar strums, sometimes allowed to simply expand into infinite indistinct space. It's in this space where I find myself writing these words. Here for now... and hopefully for a little bit more...

Here For Now

Guidance

TRACK PREMIERE : Six Missing - Guidance

Following the 130701 imprint for over two decades has been a rewarding experience. After all, this is the same offshoot of FatCat that brought us the best of Max Richter, Hauschka, Jóhann Jóhannsson, and yes, even introduced the world to Sigur Rós. This is what a label does best - it puts a "label" on its output, essentially a stamp of approval, if you will, of what it is excited to support. And this is why I hungrily continue to consume pretty much everything in its catalogue, especially by artists previously unknown to me. [And, secretly, I hope that you can say the same about the purpose of my words]. Today, I'd like to share with you a track by the Danish composers Emil Friis and Patricio Fraile, who are best known for their film and television scores (again, mostly for the Danish audience). For their collaboration titled The Expected Sounds Of Minor Music, the duo composed eleven vignettes with minimal piano melodies supported by a string quartet and solo cello performed by Joe Zeitlin. "The album's layered and intimate sound, along with its ability to encourage contemplation [...] reflect the duality of life, encompassing both the major and minor moments." This is a perfect soundtrack to wake up to and start a brand new day, bringing forth some optimism, serenity, and hope... even as it's mostly based on minor keys.

The Expected Sounds Of Minor Music

Minor Music

TRACK PREMIERE : Emil Friis & Patricio Fraile - Minor Music

A little musical gift. 🕊️  Wishing you love, peace and happiness. 
Available for free download on Bandcamp: https://heliosmusic.bandcamp.com/track/o-christmas-tree-free-download


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Free DL on Bandcamp

Hollie Kenniff - O Christmas Tree

Music possesses transforming powers. By moving its sound waves in time, it's able to guide us through the past and the future. For example, it's been nearly eight years since I listened to the Daughter's 2016 release, Not To Disappear - an album that was tightly intertwined with a particular set of circumstances and some potent feelings in my life. An album which I purposely buried deep in my memory [and some cardboard boxes] so that, at last, I can breathe. The other day, I uncovered this snapshot of time and relistened to it in one sitting. And all of the walls I've built fell apart, and all has returned, once again, with those feelings. It's good, and it's bad, as music can heal, but it also can pick at the scabs with its incessant weeping. And so, instead, I pick out a brand new release, one which I use like a thick coat of paint to brush over the wounds and repair. In this particular case, the remedy comes courtesy of Glowworm, a duo of guitarist Kevin Scott Davis and pianist and vocalist Asia Dojnikowska. That healing begins from the very first track, as the soft, warming tones wash over the edges. From the deep-heated bass to the light-whispered voice, every guitar strum, and each piano key, the music of Harvest is an instant relief for the wandering mind. And even though I admit, I take some sort of unexplainable pleasure in melancholy, darkness and gloom, I also enjoy to be basked in the light of a particular type of wistful, positive, and powerful music. If you are a fan of Hammock, Slow Meadow and Sigur Rós, then you'll know what I mean and will instantly appreciate the sound of Glowworm.

Harvest

Sierpień

TRACK PREMIERE : Glowworm - Sierpień

The other day, I was discussing with my good old friend the constant fluctuation of the music release pendulum that I follow, oscillating between my absolutely favourite artists and labels [where sometimes it can feel like I am inside an echo chamber] and chasing the latest and new [where sometimes I am guided by marketing trends of PR]. As usual, the sweet spot is somewhere in the middle, and I will still chart my own course. Today is an immensely gorgeous example of the former, where I am eagerly celebrating a brand new release from my favourite artist – Ben Chatwin. And this is a perfect model of balance, where Chatwin does not simply sharpen his skills but projects them another leap forward, creating another new style that one day, I’m sure, will stand out as prime. If you peruse these pages you’ll be sure to find nearly every release from Ben Chatwin going back to 2015, and then, once again, even further in time, to 2008, when he was recording under another named project. But with his latest releases on Village Green, the last of which was The Hum (2020), Chatwin managed to evoke the voice of the inorganic, blending melodic beauty with intense sonics and tense, edgy rhythms. “Obsessed with the physicality of sound, Chatwin utilises modular synthesis to imbue life and instability into the recordings. Pushing his exploration of analogue textures, audio is passed through an arsenal of compressors and saturators to build layers of grit and grime around this new set of tactile compositions.” So yes, I’m a massive fan of his compositions, and yes, I have even secured a coveted remix of his for an upcoming single I intend to release any day now [more on that later!]. For his new album, titled Verdigris, Chatwin set up his own imprint, Disinter, to take us down his forward-thinking evolution of sound.

Verdigris

Dolmen

TRACK PREMIERE : Ben Chatwin - Dolmen

In the fall of last year, I was asked to participate in Bigo & Twigetti's fifth volume of the Perceptions compilation series, which explores various approaches to piano music. Complimenting the sound of the solo piano, these compositions also utilise nominal processing, sound effects, synthesis, and binaural recording techniques, all aiming to create an immersive listening experience while still showcasing my beloved instrument. As the clock ticked away and the deadline approached, I realised I hadn't found time to compose my contribution. For a few weeks, I've experienced a gnawing feeling of self-imposed pressure, mixed with anxiety and procrastination, that looped on itself and left me fatigued. I'm sure plenty of composers who are reading these words, especially those working on a deadline (like film soundtracks), know what I'm talking about. This, in itself, gave me a taste of this process at work. I learned that I simply cannot try and force things or make them appear. For me, music, as Victor Hugo once said, "expresses that which cannot be put into words and that which cannot remain silent…" I needed to have something special to say...

As the end of the year approached, I found myself in that "usual space" of December, where the dark and the cold seemed to mix with my mood, and I recount the days and the moments of passing. There's always reflection on what I've achieved, and of course, I look back at my favourite albums of the year. Somewhere around this time, I arrive at the acceptance of failure, preparing to message the label and withdraw from the project. I think I'm too busy with "all other stuff". Perhaps I'll start over as the new year turns. Perhaps I'll become a bit more organised or not commit myself to the deadlines. In the very last days of the year, I find myself investing time in consoling my friend whose mother has passed away. As always, besides the grief for another, we find ourselves reflecting on our own mortality... and the meaning of it all... As the clock strikes midnight, I am deep asleep. But the morning comes, as it does every morning. And we're at it again, starting fresh and anew. The windows open, and we breathe in and out. Maybe this time, it will be slightly different. Maybe this time we have learned... On the morning of January 1st, I find myself sitting at the piano and playing this simple melody. I hope that you'll hear what I'm saying in music...

Perceptions Vol​​​.​​​5

Morning, January 1st

Mike Lazarev - Morning, January 1st

This morning, I am blissfully spending my time in the company of Swedish composer and pianist Matti Bye, who first appeared on these pages back in 2017 with a video that I premiered titled Melt. Having scored more than a few films and being awarded Sweden’s prestigious Guldbaggen for Best Original Music for Faro, Bye knows exactly how to paint deep atmospheres full of mystery and awe. Listening to his latest album for my beloved Denovali, I am transported into a shadowy speakeasy full of jazzy notes and curling smoke. I find myself comfortably sitting in a corner, sipping on Glenfarclas while Matti plays the piano, just for me. Capri Clouds is the third album in the trilogy, which began with Bethanien (2020) and This Forgotten Land (2020), and until this one drops later in the spring of this year, you may want to start your journey there. All showcase somewhat nostalgic, slightly haunting and serene imagery, barely jazzy, neo-classic, and lo-fi. Today, I am premiering the title track for you, which I hope you enjoy… rain, birds, a bit of chit-chat and all…

"These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate."

Capri Clouds

TRACK PREMIERE : Matti Bye - Capri Clouds

Eternal Birds

some original solo piano pieces...  some mixes from my podcast... some exclusive track premieres...  and some tracks from the albums I review for Headphone Commute... Enjoy!

Mike Lazarev - Morning, January 1st

Headphone Commute

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