Name: As We Came Home by Jean Philipes in When I Write The Letters Down For You
Duration: 4 min 21 s
Description: Experiment with only acoustic instruments and one voice!

These tracks are beyond incredible! Even beyond  brilliant and thank you for this experiance..

Experience Jean Philipes first album work in progress!

Music takes a hint towards a more filmic sound and mostly with own recorded instruments. Guest appearances will follow by other musicans aswell.

When I Write The Letters Down For You

Isolation, solitude, contemplation. These are the themes that discreetly weave their way through Disappearance, the first collaboration album between 12k’s Taylor Deupree and pioneering electronic composer and pianist Ryuichi Sakamoto. The two began their musical dialogue in 2006 when Deupree was invited to remix a song from Sakamoto’s album Chasm. “World Citizen” was the song and it sparked continued collaboration as Deupree contributed to two of Sakamoto’s activist projects: Chain Music (http://www.sitesakamoto.com/chainmusic/) and KizunaWorld (http://kizunaworld.org/english/index.html) (as a trio with Sakamoto and Stephen Vitiello.) With the convenience of both artists living in New York they kept in touch, released music on 12k (Willits + Sakamoto’s Ocean Fire) and, in April of 2012, performed live together at John Zorn’s club The Stone. It was this concert that planted the seeds for Disappearance.

The initial tracks for Disappearance were recorded at Sakamoto’s studio in New York City during rehersals for the April concert. The two immediately entered the same sonic mindframe that lead to hours of concentrated, hushed music. Sakamoto’s piano playing, both traditional and prepared, emerged as perhaps some of his most beautifully sparse in recent years, letting the sound of the room and shuffle of chairs take an active roll in the recording. Only the most minimum of essential notes, accentuated by silences and the scraping of the piano’s strings, plays alongside Deupree’s nuanced passages, created with analogue synthesizers, strings, and found objects. These warm, human tones became the means of communication between the two artists who effortlessly created a musical language.

The five tracks that make up Disappearance are delicate and composed, however, they’re not all peacefulness and placidity. Micro-tuned edges, bursts of noise, percussive prepared piano and the warble of old reel-to-reel tape keep the mood grounded and warm, turning it inward and asking the listener to reflect on their path. “Curl To Me,” the album’s final piece, is highlighted by the sounds of Ichiko Aoba, a major up-and-coming singer/songwriter from Tokyo. Both Sakamoto and Deupree have recently worked with Aoba in Japan and wanted her presence felt on the album. Emphasizing the solitude and stillness of the recordings, Aoba provided both her voice and the almost disturbingly intimate sound of her own heartbeat.

Disappearance is a soundtrack for holding breaths. Sakamoto and Deupree lay down worn roads, but don’t leave signs, for a journey woven together by the quiet celebration of the fragility of nature and life.

Disappearance

Jyaku

BUY ALBUM

Text & tracklist: http://www.seeksicksound.com/sss-podcast-057-stray-theories/

SSS Podcast #057 : Stray Theories

Invited by Sir John's publisher Music Sales Classical in 2009 to consider a project with him in the future I created a series of rewordings and deconstructions of his work.

Here is one demo which I offer as a gift to his spirit on the day of his passing, 12 November 2013. That collaboration will never happen in the form we intended but very soon more will be revealed. RIP sir.

Mother of God (Sir John Tavener Mix)

Karlheinz Stockhausen
PLUS-MINUS
Ives Ensemble

From the sleeve:
"Perhaps more than any other composer of his generation, Stockhausen realised that serialism had an expressive potential which went far beyond the method of twelve-tone composition devised by Schoenberg. In these three key works from the 1950s and early 1960s he found ways of using the serial principle to govern not just pitch, but every aspect of sound-types and their distribution in time and space, culminating in Plus-Minus, a score which specified not sounds but rather a system of organising sounds." Christopher Fox 

KARLHEINZ STOCKHAUSEN (1928-2007)
PLUS-MINUS

1. Refrain No. 11 (1959) 09:53
2. Kreuzspiel No. 1/7 (1951) 11:43
3. Plus-Minus* No. 14 (1963) 51:02
Total time 72:41

First recording* by Ives Ensemble:
Rik Andriessen - flute (3), Esther Probst - Oboe (2, 3), Hans Petra - bass clarinet (2, 3), Jan Willem van der Ham - bassoon (3), Fons Verspaandonk - horn (3), Jan Bastiani - trombone (3), John Snijders - piano (1, 2, 3), Reinier van Houdt - piano/celesta (1, 3), Arnold Marinissen - percussion (1, 2, 3), Wilbert Grootenboer - percussion (2, 3), Fedor Teunisse - percussion 2), Josje ter Haar - violin (3), Ruben Sanderse - viola (3), Job ter Haar - cello (3), Diederik Meijnckens - double bass (3), Richard Rijnvos - conductor (3).

Recorded in Theater Romein, Leeuwarden (Netherlands) 29th June - 2nd July 2002; Sound engineers: Sem de Jongh &amp; Arjan van Asselt; Editing: Sem de Jongh; Recording supervisors: Richard Rijnvos &amp; Christopher Fox; CD-master by Peter Pfister; Liner notes by Christopher Fox; Graphic concept by fuhrer vienna; Produced by Ives Ensemble &amp; Werner X. Uehlinger.

With kind support the Willy A. and Hedwig Bachofen-Henn Foundation.

http://www.ives-ensemble.nl
http://hathut.com



Karlheinz Stockhausen / 1. Refrain No.11 (1959)

Oaktree - Dust EP

Release date: 5/2/16, [PIAS]


Encounter was written, produced & mixed by Oaktree & Pieter Nooten
Piano & strings recorded by Stefano Guzzetti / Additional cello by Lucas Stam
Mastering by Matt Colton

The 'making of Encounter': https://encounter.redbullelektropedia.be/

Oaktree - Encounter (with Pieter Nooten)

Experiment with only acoustic instruments and one voice!

As We Came Home

.

Piano
Baby Piano
Hammered Dulcimer
Viola
Zither
.


The Chord That Echoed Into Patterns

.

Piano
Hammered Dulcimer
Viola
Chord Zither
Zither

.

When A String Breaks

.
Piano
Viola
Harp
Violin
Clarinet
Glockenspiel
Zither
.
Violin played by Fritiof Palm
Harp played by Mauro Unzueta


Those Who Did Not See

A Window To Look Through

Recorded Live on April 11 at Kilbourn Hall @ Eastman School of Music, Rochester NY
Music Nova & Ensemble Signal
Brad Lubman, conductor

Steve Reich - Double Sextet

`
Xylophone
Cello
Zither
Piano
Harp
Percussion
.

Behind The Curtain Unfolds A Dance

Track take from the upcoming album ' Landscapes of Lovers' by James Murray...

www.fluidaudio.bigcartel.com

Landscapes of Lovers

James Murray - Landscapes of Lovers

Order 'Music for Film' at: ghostly.com/products/music-for-film
Or at the retailer of your choice: ghostly.ffm.to/jacaszek-music-for-film

Music for Film

Jacaszek - Liina

“Wylah. Bringer of Rain.”

Written, produced and performed by Phoebe Dubar (IKSRE)
Mastered by Rob Masterton @supermagichats

Featuring field recordings from the Australian bush alongside synths, vocals and binaural beats, Wylah is a deeply emotive piece, inspired by the devastating bushfires that are sweeping across the country.  

“This piece came from a conversation I had with a Wylah (Yellow-tailed Black Cocktatoo) one afternoon in the forest. I had been hunting sounds all morning and was losing hope of getting anything worthwhile, so I was packing up to go home. I had almost reached the car park when two Wylahs appeared from nowhere and began chatting with me from the branches above. It was quite magical. I can’t explain how or why but I just knew they were talking to me. Asking me to record them and share their message.”

In Aboriginal tradition, the Black Cockatoo has a significant place. It is a beautiful, graceful bird with an unmistakable but somewhat mournful call. They represent change and enlightenment and herald the coming of rain. They are also believed to be the guides and guardians of the spirits of loved ones on their journey to rest amongst the Ancestors. (source: http://www.ngaoara.org.au/story)

Achingly beautiful, yet subtle, this song represents the ending. Mother nature’s mournful cry. The devastation. And the empty silence at the end.

Wylah

Dear, Limerence

Dear, Limerence (Sergio Díaz De Rojas Rework)

Residing on Mälaröarna in Stockholm Jean Philipes concentrates on taking recorded memories and combining it with live acoustic instruments like harp, zithers and dulcimer. The music is melancholic ambient with a subtile electronic mixture that is heavily piano driven.

contact
fabian.kempe@gmail.com

As We Came Home

Jean Philipes

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