"Make the Secrets Produtive" is taken from "Fold Unfold", Katrine Grarup Elbo´s debut album. Handmade LP and CD editions available April, 2021.

Fold Unfold

Katrine Grarup Elbo - Make the Secrets Productive

/////Este Link Vuelve a estar disponible para la escucha de forma provisional.////

Este soundcloud es efímero. Las sesiones nunca permanecen. Son el resultado de las sesiones de escucha en espacios públicos (físicos) para la difusión de composiciones acusmáticas y piezas sonoras. Esta es una grabación de la sesión adaptada y reducida del programa en directo "En el fondo del altavoz siempre es de noche" que tuvo lugar en el Cicle Ultrasons, 2021, L'Alcora, y que adapté para otro punto de escucha, con auriculares, en el festival PinPanPun, NVCLI, València.

sesionesdeescuchalaura@gmail.com

Listado de piezas:
 
1. Masa 
 Laura Romero, València
New Chronologies of Sound

2. O piano 
Sofia Saldanha, Lisboa

3. Hic Est Draco
Claudio Barros, Buenos Aires

4. Muestreo 6
Rubén García Villaplana, València

5. Nightbird
Marc-Antoine Granier, Lyon

6. Enlevé
Colectivo Résiste, Paris

7. Nocturne
Daniel Pérez Hajdu, Bruselas

8. Timeless
Andjela Milic, Belgrado

9. A través
 Renata Román, São Paulo / La Habana


Con textos de David Toop, Maria Zambrano, Pascal Quignard.
Y los relatos anónimos en su propia voz de E, M, E y M 
Pablo Ibáñez Durán como locutor.
Invitados especiales: Antonio Gasset, Sonia Briz.
Selección de piezas, premontajes, otros textos y presentaciones
por Laura Romero

En el fondo de los auriculares siempre es de noche

Arms Around Sleep [from wake:sleep]

https://christineott.bandcamp.com/album/eclats-piano-works

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.

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.

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. Éruption Volcanique 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.

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 Ott 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.

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.

Étreintes

"De camp" is the second album by the Spanish duo formed by sound artist Edu Comelles and multi-instrumentalist Rafa Ramos Sania. After their debut on Archives label with Botánica de Balcón, the two artists expand their sonic universe by refining their own style, aesthetics and sound design. The outcome is ‘de camp’, an album featuring five new compositions and Bleda, a piece originally released on El Muelle Records as part of a charity compilation album.

De camp encompasses a widening of the musical horizons of this duo, stretching the colour palette of their timbres and shedding some light to their darker first album on Archives. Botánica de Balcón revolved around setting up a dialogue between austere electronics and the sombre strength of the double bass. On de camp the composition process has been a back and forth exercise of recording and re-recording, dissolving the lines between instrumentation, electronics and field recordings and striving for a unity in language and aesthetics.

De camp means ‘from the field’ or ‘from land’ in Catalan. All track titles refer to Catalan names of plants found in the outskirts of Valencia, the city where both artists live.

De camp

Bleda

Bleda - Rafa Ramos Sania & Edu Comelles (Whitelabrecs, 2022)

Middle Ground (2016)
for Violin and live processing

1. Too Far
2. Too Close
3. Bridging the Gap

Cast in three movements – Too Far, Too close, and Bridging the Gap – Middle Ground searches for a common space between opposites. The first movement, Too Far, emerges quietly from the highest range of the violin. Barely audile, fingers at the instrument’s edge, the music hovers in a cloud of ethereal tones before slowly descending. In an abrupt shift, the second movement, Too Close, lives in the violin’s lowest range. Distorted, rhythmic bursts hammer away at chopped up scales and jagged arpeggios. Eventually waves of sound surge upwards, only to plummet back down, pulled by a relentless, unyielding gravity. The final movement, Bridging the Gap, seems almost without hope. Exhausted by the previous movement’s struggle, the music searches for a new path forward. Two lines, one descending and the other ascending, gradually, methodically move towards each other, steadily intensifying as they approach middle ground.

Middle Ground was commissioned by Kat Kroll, Barbara Sapienza, and Nancy Karp + Dancers and premiered February 10, 2016 by Kate Stenberg at the ODC Theater, San Francisco, CA.

Recorded live at the ODC Theater, San Francisco, CA
Kate Stenberg, Violin

Image credit - detail from 'Painting #5' by Thekla Hammond

www.roberthonstein.com
www.katestenberg.com

Bridging The Gap

Too Close

Middle Ground (2016)
for Violin and live processing

1. Too Far
2. Too Close
3. Bridging the Gap

Cast in three movements – Too Far, Too close, and Bridging the Gap – Middle Ground searches for a common space between opposites. The first movement, Too Far, emerges quietly from the highest range of the violin. Barely audile, fingers at the instrument’s edge, the music hovers in a cloud of ethereal tones before slowly descending. In an abrupt shift, the second movement, Too Close, lives in the violin’s lowest range. Distorted, rhythmic bursts hammer away at chopped up scales and jagged arpeggios. Eventually waves of sound surge upwards, only to plummet back down, pulled by a relentless, unyielding gravity. The final movement, Bridging the Gap, seems almost without hope. Exhausted by the previous movement’s struggle, the music searches for a new path forward. Two lines, one descending and the other ascending, gradually, methodically move towards each other, steadily intensifying as they approach middle ground.

Middle Ground was commissioned by Kat Kroll, Barbara Sapienza, and Nancy Karp + Dancers and premiered February 10, 2016 by Kate Stenberg at the ODC Theater, San Francisco, CA.

Recorded live at the ODC Theater, San Francisco, CA
Kate Stenberg, Violin

Image credit - detail from 'Painting #5' by Thekla Hammond
www.roberthonstein.com
www.katestenberg.com

Too Far

Taken from the upcoming album 'Chapters' on Fluid Audio...

Music: Und_Ne
Mastering: Ian Hawgood
Design: Daniel Crossley

www.fluidaudio.bigcartel.com/mailing-list

Bleda - Rafa Ramos Sania & Edu Comelles (Whitelabrecs, 2022)

Rafa Ramos Sania

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