A carefully curated collection of Contemporary Classical and electronics. Updated daily, emphasizing originality, independence & novelty. Visit my blog www.ParticularSound.com for exclusive interviews and in-depth articles. Contact me with suggestions at www.facebook.com/robby.gilson Thanks for listening.

Piano and Electronics / Classical & Electronic / Rework / Remix

There are a lot of issues to address. With the pandemic being the first and foremost, dominating our everyday lives, it’s easy to forget the struggles, tragedies and drama that is unfolding on another screen, not ours. It’s interesting to note that humans do not generally unite in happiness – it is the sorrow that we feel together, as a whole. One of the unfolding hardships revolves around refugees. Italian composer and violinist Laura Masotto, whom I first virtually met via 7k!‘s beautiful compilation, String Layers, has volunteered for a non-profit organization, Open Arms, which is dedicated to protecting those who try to reach Europe by sea, and has first-hand witnessed the ongoing misfortunes experiences by daily migrants in the Mediterranean. While working on her album, she wanted to capture the urgency of this ongoing emergency situation, even as the focus on COVID was drowning out other news. For this piece, appropriately titled “Refugees”, Masotto collaborated with the Spanish (and London-based) composer, Roger Goula, to create a piece of music that transmits both, gravity and hope. The track was subsequently used to score the images provided by Open Arms, which propels the immediacy of this cataclysm even further. And if this track premiere does not move your heart, I promise that the video will be remembered. I recommend you play and watch both in this order.

The video is here:
https://www.youtube.com/watch?v=calDixdRcJ8

"When Laura contacted me in the middle of the Covid-19 pandemic to collaborate on the Refugees single I knew that it would be a significant project, refocusing on an ongoing emergency too often overlooked as the norm. And in fact when I received Laura’s early sketches of the main theme for the piece I felt that sense of fragility but at the same time poignant energy that hugely inspired my musical contribution. The sense of rush of the fast violin arpeggios with yet strong harmonic changes made my imagination fly quickly and react musically in response to it straight away. Through a very organic collaboration with Laura, the music developed to deeply reflect the drama happening every day in the Mediterranean Sea with the hope that the language of music could touch our feelings and encourage our actions.“
-- Roger Goula

The video was made in collaboration with the Spanish NGO Open Arms which is involved in rescuing migrants who depart from the coasts of North Africa and travel Europe. The images used in the video were shot by the operators of Open Arms. “For Laura Masotto (who has long been close to the NGO) it was natural to think of using her music and these images to shine a light on the drama of these migrations.” You can support and donate to the organization here. The full album is due out on 7K! Records on June 11th.

Refugees

Pre-order

TRACK PREMIERE : Laura Masotto feat. Roger Goula - Refugees

Mixed by Brad Fant at High Speed Records. 
Assistant Mixing by Brian Robl, Adam Robl. 
Mastered by Alan Douches at West West Side Music.

All Rights Reserved.

Variations

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Delam (feat. Dad)

Format: CD, LP, Download | Releasedate: 05.09.2014

TRACKLISTING CD:

01.	So-Called Lover
02.	Care
03.	Oedland 
04.	You
05.	Jungholz
06.	Masquerade
07.	Walk On
08.	Dance To The Mallet feat. Lisa Bassenge
09.	Ein Engel Verschwand
10.	Dawning
11.	Gone
12.	Selfie

iTunes: geni.us/KasariTunes
Amazon: geni.us/KasarAMAZON

Arnold Kasar is a musical jack of all trades: in countless projects around the Berlin based label Sonar Kollektiv, the musician grown in the southern area of the picturesque Black Forest left his traces, among them Nylon, AtomHockey or with Volksbühne-player and latest Internet-Hype Friedrich Liechtenstein („Supergeil“). 
However, the trained sound-engineer is also capable of going solo, as he proved with his solo debut „The Piano Has Been Smoking“ in 2012. Now he returned to his first instrument and his timing couldn't be better, since the piano returned to new strength in the music world, as the numerous releases of pianists in the past few years have shown.

„I really hope that the timing is good, but I can't influence it. At last I do it for my own. When I started doing music as Kasar back in 2010, I just didn't know Nils Frahm or Brandt Brauer Frick. All these people weren't on the spot by then. I listened to Gonzales and of course Hauschka and Craig Armstrong were there, too. Yann Tiersen was totally famous at that time“, the pianist explains his view on his colleagues when he started making music by himself. But, with releasing his second album „Walk On“ at this point, he didn't intend to flirt with a hype. The piano, which has accompanied Arnold Kasar from his childhood on, always just fell out of the recordings in the past. Due to this enduring relationship to his first instrument he got bored of it. Instead, he preferred to dedicate himself to sample-based electronic music with his friend Friedrich Liechtenstein or making Nu Jazz in several musical projects around the world-famous Berlin based Sonar Kollektiv (home to Jazzanova, The Black Seeds or Solomun). But sooner or later the piano had to return to the centre of attention.

That was in 2010: at that point the work on the new LP „The Piano Has Been Smoking“ had started, being released in 2012 and fully concentrating around the piano. By then Kasar already used the technique of the prepared piano, which once was introduced by John Cage and nowadays is excessively used by Hauschka, among others. For this Kasar used erasers, tea bags or patches to manipulate the sound of the piano and to bring out unheard and exciting tones of his instrument. Only one song, the designated single „Put A Light On Me“, was supposed to have a vocal track, but after he didn't find the right voice for it, he simply sang it himself. Like this, for the first time the world got to hear the dark and melancholic timbre of Arnold Kasar. The desired airplay (i.a. Austrian „FM4“ or Berlin's „RBB RadioEins“) was achieved easily and from that moment on Kasar was delighted by the idea of singing on his own productions, since he had closed the chapter of producing an album on a prepared piano anyway. For this reason the comparison with an artist such as Hauschka, who made this technique the concept of his own creative work, is merely adequate. Kasar rather walks on, restless and always willing to try something new.

But this doesn't mean that he has to quit it completely: also on „Walk On“ one finds a few pieces with the support of the prepared piano, but this time the singing is clearly in the foreground. Like this, the whole vibe of the record changes: „I'd say the last record was way more a city record“ referring to the by then used techno-elements, for example, „and the new one is a record for the countryside.“, especially inspired by Arthur Russell's most intimate album „World Of Echo“. On this record the composer who rose to cult status in the past years leaves the disco era behind him and presents a fragile artist using voice, cello and a lot of reverb only: „A song like „So Called Lover“ mainly emerged from Arthur Russell listening sessions“, Kasar tells full of admiration for the musician who died of AIDS in 1992.

Other role models are surprising as well as comprehensible: „I like singers like the early Manfred Krug a lot, this warm and tender voice – of course, in German, but the way he sang – or Japan's singer David Sylvian, those were the things I acted on. Much songwriting-inspiration came from Wilco, Nick Drake, Aimée Mann or also Bill Callahan.

But how Kasar came to the definition „countryside record“ is a story of its own: „It is way more singing this time, that's a huge leap, it's much less electronics and there's more space. It's less town and much more landscape and for me it really is this countryside record. „Jungholz“ for example is the name of a village in the southern Black Forest, „Ödland“ is the name of the highest mountain in that area and „Ein Engel Verschwand“ is an adaptation of another village's name there called „Engelschwand“. „So Called Lover“ takes place in „a shady town in the shore“, which in a way is a reference to the Rhine, which could be the mentioned river, and this „whipping willow“, all these are things coming out of my memories, since I originate from that area. It's not autobiographic but I simply imagined how it was back then, sitting under the willow by the river. Partly I recorded the songs right there: „Ein Engel Verschwand“, „Jungholz“ and „Ödland“ and nearly all playbacks were recorded on the piano on which I practiced when I was a child. I always hated it to play this piano: a Hohner, awful sound, but once you used the felt pedal it got such an odd sound, really strange – that's not the sound of a great Steinway, but small and odd.“ So all of this isn't supposed to be autobiographic but without all these experiences Kasar gained in the depths of the southern Black Forest, „Walk On“ probably would never have come into being.

The song that gave the album its title was the first Kasar had written for „Walk On“, right after the release of his debut record. At this stage the theatre art graduate was in a downright stream of composing. Many songs were quickly outlined, however he took ages to get to the finished product. The production phase lasted – with interruptions – from spring 2012 to fall 2013. And since February this year the record is waiting to be thrown onto the market, but haste makes waste. Songs like those you find on „Walk On“, where the piano sounds like raindrops rolling down the scale, while there's an electronic tempest in the background („Ödland“), or which are so fragile they bring tears to your eyes („Care“) simply have to be released in the dying season.

But who thinks that everything on this album is melancholic and sad is proven wrong by „Dawning“, which isn't at all like the rest of the LP: with a jagged new wave beat, a sexy 80s sounding sax and an optimistic chorus, Kasar also shows his up-tempo side and gives some unmissable signs towards radio airplay.

A whole lot slower is the collaboration with long-time friend Lisa Bassenge, singer of Nu Jazz outfit Micatone and Kasar's colleague at Nylon. Together they sing the hypnotic „Dance To The Mallet“, which starts off jazzy, but also offers itself – with its electronic substructure – as a huge playground for remixers. However, the way this liaison came up is rather unspectacular: „One time we went out for dinner and I told her about the album I was working on and there she immediately offered her help if I needed some. So a few months later I called her and played the song to her and she instantly liked it. She wrote the lyrics to it and then we quickly recorded it in one take. Her musical director Paul Kleber is also involved in the song „You“ and Sebastian Borkowski from Jazzanova plays sax in another song. So it's sort of all around the Sonar Kollektiv and Micatone”. It stays all in the family.

www.kasarmusic.de | www.sonarkollektiv.com

Walk On

Oedland

iTunes

Kasar - Oedland

Download

Niklas Paschburg - Dawn

At No Time

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Sightless

single taken from the Robot Koch Album Sphere.
Out October 5th
Movement III written by Robot Koch and Julien Marchal

Movement III

!! Watch the official music video here :
https://www.youtube.com/watch?v=eEGPUYf7dyk
!!

Sunday's Child is named after the composer; born on October 3rd 1993.

An upbeat theme for an imaginary movie character. Sunday’s Child can
overcome the most difficult obstacle.
They’re strong and brave, inspiring & friendly. Loving and energetic.

The early stages of this track were written when my digital Yamaha synthesizer wasn’t plugged in properly. It sounded scratchy, unique and perfect.
Almost like a field recording on a bed of stones.
Next came the synth loops and the drum parts. Background synthesizers create a pulsing ambient characteristic.

How To Disappear

Sunday's Child

Vol. 2

Trains, and where they go

'self-remix' by Tom Adams of his track Particle IX (original version from 'Particles' album) 

stream wherever you listen to music : https://orcd.co/tomadams-p9 

CD/DL 'Particles' : https://orcd.co/particles

Particles

Particle IX

Tom Adams - Particle IX (Tom Adams Remix)

Six Lethargies

Lament

New single from @Gigi-Masin, out now on Apollo Records
https://smarturl.it/Masin-Anemone

Gigi Masin - Anemone

Sunset Connoisseur 🌤️
Stream: https://open.spotify.com/track/09BYrnSm3JBcRctSsMDxKN
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Stream

Paddy Mulcahy - Sunset Connoisseur

Scale

To Learn and Grow

Philip G Anderson & Laura Masotto - To Learn And Grow

Written & produced by Hannes Kretzer
Co-produced & mixed by David Georgos
Mastered by Zino Mikorey
Artwork by Hannes Kretzer

ADSR ASMR

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We're here to trace a line from electronic sound designers to classical composers, connecting them through the realms of ambient & cinematic music.

Tom Adams - Particle IX (Tom Adams Remix)

Moderna Records

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