STRINGS & KEYS

from 'Odham's Standard' [CD|LP|DIGITAL]
Denovali Records · den191
available on all formats at [http://denovali.com/origamibiro]

Origamibiro is a collaborative project consisting of three core members: musician, soundtrack composer and producer Tom Hill, visual artist and filmmaker The Joy Of Box, and multi-instrumentalist Andy Tytherleigh. Originally started as a solo project for Tom, Origamibiro has since evolved into an audio-visual collective, producing studio music, art objects, interactive installations and hauntingly original live audio-visual performances. Origamibiro like to create work with an array of unorthodox processes and contraptions, found objects, video feeds and multi instrumentalism. Their unique live performances involve treated books, typewriters, found celluloid, paper, eerie wildlife recordings, home movies, sellotape and bespoke visual contraptions. All of these things had been added, adapted, even destroyed as a way to generate images and audio that could evoke a feeling, a response, an understanding or perhaps a question from audiences.

2014 sees the re-release of Origamibiro's entire back catalogue - the albums ‘Cracked Mirrors and Stopped Clocks’, ‘Shakkei’ and ‘Shakkei Remixed’ - through Denovali and also the release of their fourth studio album 'Odham's Standard'. Discussions concerning tone and theme took place much earlier in the writing process this time around and unbeknown to each other, both Tom and Jim were taking an interest in more supernatural aspects of audio and video material generation. Jim had begun to research into spirit photography, where images of deceased spirits are apparently imprinted onto photographic plates through the presence of a medium. Looking for an audio equivalent, Tom began looking into EVP or electronic voice phenomenon whereby hidden voices from deceased spirits appear to present themselves in audio recordings. What is fascinating about this process is not how legitimate the phenomenon actually is but how dependant it is on the decision or need of the viewer or listener to believe it is significant or even personal.

Interestingly, there have been many attempts over the years to debunk or disprove the validity of spirit photography and yet for every court case there are also a number of witnesses willing to passionately testify that not only is the phenomenon real but that it applied directly to them. Arthur Conan Doyle was the creator of the most famous detective in the world and, conversely, a staunch defendant of the validity of spirit photography. In his infamous treatise 'The Case For Spirit Photography' he is both naive and strangely prescient: “Victorian science would have left the world hard and clean and bare, like a landscape in the moon. (however) There is nothing scientifically impossible, so far as I can see, in some people seeing things that are invisible to others. One or two consequences are obvious, the experiences of children will be taken more seriously. Cameras will be forthcoming. These folk who appear to be our neighbours, with only some small difference of vibration to separate us, will become familiar.”


Odham's Standard

Origamibiro - Butterfly Jar

Pour Mahdi

Prisms

TREE - #PianoDay

“TREE” is a part of a composition written for Simphonie Cinétique, a collaboration between Ólafur Arnalds and Joachim Sauter. Re-edited and mixed for release in celebration of Nils Frahm’s #PianoDay and features Nils himself on celeste.

Composed, arranged and performed by Ólafur Arnalds
Violin: Viktor Orri Árnason
Celeste: Nils Frahm

Recorded at Durton Studio, Berlin.
Mixed at E7 Studios, Reykjavik.

See more about Symphonie Cinétique here:
https://vimeo.com/70897666

TREE

We Move Lightly

Moon Ate the Dark - Ventricles

Order 7"/DL here: www.erasedtapes.com/store/index/ERATP073
or via iTunes: http://snip.ftpromo.net/lifestoryloveandglory

Erased Tapes artists and friends Ólafur Arnalds and Nils Frahm have separately carved out a musical career that defies genres both with their unique live shows and a loyal fan base that’s always eager to hear what their prolific output will bring. 

Their latest collaborative 2-track release ‘Life Story Love and Glory’ is a live improv affair on two pianos, recorded in 2012 at Nils’s Durton Studio in Berlin. Fans may wonder why they have waited until 2015 to release these tracks, but having revealed a new website www.arnaldsfrahm.com you may think this may not be the end to their musical story this year. 

“We would meet in Reykjavik or Berlin with the intention to share some days off work, hiking, swimming or eating pizza. That is great for a couple days, but after a while we would always end up back in the studio, fiddling with synths or pianos.” – Nils Frahm 
“You can hear in the beginning of ‘Life Story’ how I have already started playing the piano whilst Nils is still moving microphones around and preparing everything. It was all kept in!“ – Ólafur Arnalds 

‘Life Story Love and Glory’ will be released as a 7” on Erased Tapes – exclusively through record stores only on August 21, 2015 ahead of its digital release later on – as an ode to this classic and beloved format. 

More info: www.arnaldsfrahm.com · www.erasedtapes.com

Life Story Love And Glory

Life Story

Buy 7"/DL

Ólafur Arnalds & Nils Frahm – Life Story

This set primarily contains samples from 8Dio Upright Studio PIano - a deep-sampled Upright Piano virtual music software instrument (VST/AU/AAX) by www.8dio.com

Follow us on Facebook: www.facebook.com/8dio.productions
Follow us on Twitter: twitter.com/8dio 
Follow us on YouTube: www.youtube.com/user/8dioproductions

8Dio Upright Studio Piano: "Questions and Answers" by Troels Folmann

Carlos Cipa - The Whole Truth

Electric Counterpoint, by Steve Reich
Performed and arranged by Dan Lippel
Engineered by Ryan Streber and Michael Caterisano

Electric Counterpoint mvt. 3 - Steve Reich

Electric Counterpoint mvt. 1 -- Steve Reich

Art has a feature of avoiding straightforward statements. 

More precisely, those thoughts originality of which requires an artistic language are rarely simple or straightforward. In this case, a musical statement becomes a metaphorical one. 

But what features - linguistic and stylistic - are inherent to this kind of statement? And what tasks as a result appear before the performer, the interpreter? 

Sometimes we expect a metaphor to be something complex, deliberately ambiguous, but if by the statement we gain new ways of understanding, a metaphor survives. It becomes obvious and natural like a long-time proven assertion in mathematics, which over time has become a well-known theorem... 

But then a new layer of metaphors appear. It comes naturally as a new coil of what was proven in the previous turn… Maybe there again is a choice appearing in front of the artist? What should the artist do, take part in the pursuit of the evolution of the metaphorical language, or hide, using seemingly familiar tools and forming a completely new context? 

The author, obviously, selects the second. 

Of course, this makes his music defenseless and extremely vulnerable to the performance. The slightest inaccuracy of the interpretation could trigger a completely different association and a metaphorical statement will be destroyed... 

I hope that we were able to uncover the author's intention in his modern sound where archaisms, modern expression and avant-garde ideas give birth to a new dramaturgy. 

Ilya Hoffman
__

Polina Osetinskaya: piano

Composed by: Sergey Akhunov 

Recorded by: Alexei Barashkin 
Recorded at: The D. D. Shostakovich Saint Petersburg Academic Philharmonia, Large Hall, 31 May – 4 June, 2016 
Edited by: Alexei Barashkin 
Mixed, mastered by: Alexander Mikhlin 
Cover photo by: Anna Zyabreva

Sketches

Buy CD | FLAC | MP3

Sergey Akhunov - Sketch VII (Performed by Polina Osetinskaya)

An improvisation as part of Erased Tapes 10th birthday celebrations at the Southbank Centre on Friday 8th September 2017.

Watch the video on YouTube here - https://youtu.be/h9Txg7mgyCo

https://www.facebook.com/michaelpricemusic/
https://twitter.com/michael__price
https://www.instagram.com/michael__price
http://www.michaelpricemusic.com

Southbank (Feat. Peter Gregson)

As of yet unreleased track. ©Unseen 2017

Goldmund - Abandon

All performed on electric bass with overdubs.  Composed by Erik Satie, 1888.

Gymnopédie No.3 - Lent Et Grave (E. Satie)

Classically trained pianist and composer Carlos Cipa returns with Sculptures, a piano-solo mini-album, right in time for some calm and quiet winter days.
Most of 2017, Carlos has been working on his next full-length album, a colourful record combining piano and other key instruments with a variety of orchestral instruments and electronically processed soundscapes, which will see the light of day in 2018. In between writing scores for musicians and long recording sessions, he often found himself sitting on his upright piano late at night, messing around with simple melodies or patterns as a distraction.
Recorded in his very own Beatschuppen Studio over a couple of days in November, Sculptures brings a few of these raw, intimate song fractures to life and places them alongside three brand mark pieces of Carlos Cipa’s second album, re-recorded on his peculiar Upright piano for the first time.

The Place Where They Go

More on YouTube: http://www.youtube.com/watch?v=9lKofYUaDTk

Chopin – Nocturne Op. 9 No. 2

"Both Sides Suffer Heavy Losses, But We Faced An Unavoidable Conclusion" is a specially curated selection of our favourite Greek ambient, postrock, postmetal, experimental, shoegaze artists. 
Please listen, share and enjoy. The future for Greek music is bright. 
*Hope, Answers, Fight, Dreamers ... More Hope For Greece*
credits
released 04 November 2012 

Hior Chronik - Starving but happy

Here' a preview track from my new solo piano album, now available at iTunes:
https://itunes.apple.com/us/album/im-not-buying-it-solo-piano/id582662042

... also at Amazon:
http://www.amazon.com/Not-Buying-Solo-Piano-Improvisations/dp/B00AFTW4KU/ref=sr_shvl_album_2?ie=UTF8&qid=1354322109&sr=301-2

"Tink Buzz Brush Strum" finds me playing the piano strings in addition to the keys. On this song, improvised live in one take, I'm also using Mardi Gras beads, a nylon drumbrush, and my Samsung cellphone placed randomly on some strings. Enjoy!

From the album...

DAVID BRUCE SMITH
I'm Not Buying It
(solo piano improvisations)

Since the final Christmas season that I worked in retail sales (back at age 29), I have purposely avoided shopping on "Black Friday" - the day after Thanksgiving. In fact, I usually plan something specifically creative to do instead on that day each year.

2012 has been no different. I planned a time of jamming with my good friend and music colleague Cy Fleming. In recent years we have had several of these piano sessions, and we always seem to get some great music out of it.

We met in the afternoon, talked over some musical philosophy - especially related to the piano - and then took turns playing. We ended up playing 20 total songs, 10 each. Then we went to dinner at a small locally-owned restaurant (the only sensible thing to do on "Black Friday").

With the exception of one "cover" that I played, all of the songs were composed spontaneously and were true improvisations. This album contains all nine of my original songs from that session, with no corrections, edits, or false starts. We simply sat down and played, the way we've done before. For most of these tunes, I had absolutely no preconceived ideas until I pressed the "record" button and moved two steps to the piano bench, trusting Music to converse with me.

So that's the meaning of this album's title: I'm Not Buying It. By not going shopping on the biggest shopping day of the year, I ended up creating and recording these songs instead instead. There's also another meaning to the title which I offer for its ironic humor: I'm offering this album for sale now.

Knowing that improvised solo piano music certainly isn't for everyone, I trust that appreciative listeners will be attracted to these songs. As I was preparing them for this release I realized that they are a very accurate reflection of my current range of playing.

Special thanks for the friendship and inspiration of Leszek Mozdzer, Ethan Iverson (with The Bad Plus), and especially Victor Wooten and his team of instructors & bandmates. And as always, I have continued gratefulness for my most frequent and valued musical collaborators - Toni Schlemmer, DeWayne Segafredo, Cy Fleming, Matt Stanton, Cam Marburger, Seth Beck, and for the full faith and support of the Calvin Church staff and congregation, and The Strand Theater.

recorded 11/23/12
on the Baldwin grand piano
at Calvin Presbyterian Church
Zelienople, PA

recording: Zoom Q3HD (internal condenser microphones)
software: Zoom HandyShare and Apple GarageBand
produced, engineered, mastered by David Bruce Smith

STRINGS & KEYS

Juveris