Nicolas Field: drums
Jasper Stadhouders: guitar and bass

Recorded live at Poortgebouw, Rotterdam, NL on 27 November 2013 by Joe Monk. 

Nicolas Field / Jasper Stadhouders live at Poortgebouw, Rotterdam

“Gifting Senselessly In Endless Lavishness” is the second single out from Kim Myhr’s upcoming album “Sympathetic Magic”, an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. 

“Gifting Senselessly In Endless Lavishness” is a title taken from a book by Bojana Kunst. The music is very generous, almost indulgent. The first thing I wrote on the piece was the organ intro, I wanted to make something ecstatic and soulful, and the rest of the song flowed naturally into different sections. Working with an RnB drum beat like that was a first for me. It’s a very grounded quality that gives a good contrast to the undulating waves of 12-string guitar harmonics.” - Kim Myhr

Gifting Senselessly In Endless Lavishness

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Kim Myhr: "Gifting Senselessly In Endless Lavishness" from upcoming "Sympathetic Magic"

Christian Marien: drums
Jasper Stadhouders: electric guitar

Composed by Christian Marien & Jasper Stadhouders.
Recorded live by Jasper Stadhouders at Klub Dragon, Poznań on 23 June 2022.
Mixed by Aaron Lumley.

C'mon C'mon #2 (Christian Marien & Jasper Stadhouders)

Balconies

Steve Heather - drums
Antonio Borghini - bass
Jasper Stadhouders - guitar

Recorded in Berlin, May 2018.

Balconies

1 minute excerpts from some pieces I have made recently - ish.

Jasper Stadhouders _ guitar
Antonio Borghini - bass
Rachel Maio - cello 
Siegmar Zacharias - voice

are in there ....

The Light Of Day - 1 minute excerpts

https://joaoalegriapecurto.bandcamp.com/album/x-3

João Alegria - I (2013)

https://harmonicoozerecords.bandcamp.com/album/ouro

"João Alegria is an essential figure in the Portuguese underground music scene. With a prolific career spanning over a decade, the guitarist – as he prefers to be called – embodies artistic commitment, resilience, and a deep devotion to crafting dark, experimental soundscapes. The numerous albums the Lisbon-based musician has released testify to a sonic vision akin to its object of study: unhurried and unperturbable, yet continuous and tempestuous.

Alegria’s music originates from a place we all inhabit but often seek to escape. It masterfully captures the essence of night, isolation, and depression. But while gloomy and mysterious at first glance, beneath a mantle of oozing drones and quasi-static industrial soundscapes lies a force that brings light to the surface. Think of staring at a black surface for too long; eventually, you begin to discern hues you hadn't noticed before. It is the same with Alegria’s music: the more you dwell on it, the greater the range of emotions it unveils – happiness and sadness, disgust and fear, surprise and anger – it is all there. This means Alegria’s music may not be for every moment, but it is undoubtedly for everyone – for those willing to lend their sensitivity to an immersive experience in which profound depth and subtle luminosity coexist.

Ouro bridges the gracefully melodic, short-composition style of Alegria's earliest work with the longer forms of his mid and late phases. Comprising 15 short compositions, each revolving around a particular motif that continually evolves, the album can be heard as a set of related drone-like and highly textural subdued atmospheres, characteristic of the guitarist's later work. These compositions transport the listener to the eye of a storm, where one experiences the surrounding chaos and violence from inside a bubble that juxtaposes silence with tension-filled noise.

To create Ouro, Alegria employed the techniques we have come to expect from him: a multitude of effects that transform strings into cosmologically resonant entities, objects – like the bow – with which he plays the guitar, and the cut-and-sew method of editing and digital experimentation. Additionally, field recordings, mostly absent in his most emblematic releases such as Vertical, are also featured. As a piece of contemporary experimental music, Ouro marks another milestone in Alegria’s relentless, nomadic journey through the realms of sound exploration. And it is pure gold – a delight to listen to – as the Portuguese translation of the title promptly reveals."

-- João Morado
Edinburgh, July 2024

João Alegria - Ouro - VIII (2024) (Harmonic Ooze Records)

SPLITTER ORCHESTER
Clayton Thomas (Künstlerische Leitung, Kontrabass) 
Clare Cooper (Künstlerische Leitung, Harfe & Guzheng)  mit den folgenden MusikerInnen:
Liz Allbee (Trompete), Boris Baltschun (Computer), Burkhard Beins (Perkussion), Nicholas Bussmann (Cello), Anthea Caddy (Cello), Anat Cohavi (Bassklarinette, Sopransaxophon), Werner Dafeldecker (Kontrabass), Mario De Vega (Elektronik),  Axel Dörner (Trompete), Kai Fagaschinski (Klarinette), Helena Gough (Computer), Robin Hayward (Tuba), Steve Heather (Perkussion), Chris Heenan (Kontrabass-Klarinette), Hilary Jeffery (Posaune), Matthias Müller (Posaune), Morten J. Olsen (Perkussion), Penelope X (Feldaufnahmen, Elektronik), Simon James Phillips (Piano), Ignaz Schick (Turntable, Objekte), Michael Thieke (Klarinetten), Sabine Vogel (Flöten) 

Splitter aus 100909 1820

Splitter Orchester @ studioboerne45, 2017/12/11

Social distancing is hard for everyone, but a real challenge if you are a 22-piece orchestra that builds its entire practice on coming together to make music.
Over the last months of 2020, each member of the Splitter Orchester has recorded an individual track of their own. Not playing solo, but with the image of playing with the entire group in mind.
»Imagine Splitter« is the result of all 22 tracks combined. There is no editing (or muting) involved. All the tracks run »open« from beginning to end and the recording was treated similarly as a live-recording of the orchestra. 

Splitter Orchester is: 
Axel Dörner, trumpet | Boris Baltschun, electronics | Chris Heenan, contra bass clarinet | Burkhard Beins, percussion | Mike Majkowski, double bass | Andrea Neumann, inside piano | Clayton Thomas, double bass | Michael Thieke, clarinet | Anat Cohavi, clarinet | Matthias Müller, trombone | Morten J. Olsen, percussion | Kai Fagaschinski, clarinet | Liz Allbee, trumpet | Mario de Vega, electronics | Marta Zapparoli, tape machines and antennas | Julia Reidy, guitar | Robin Hayward, tuba | Sabine Vogel, flutes | Simon James Phillips, piano | Magda Mayas, Clavinet | Steve Heather, percussion | Biliana Voutchkova, violin | 

Concept: Kai Fagaschinski
Mixing: Roy Carroll, Kai Fagaschinski

Imagine Splitter

Andy Moor: guitar
Jasper Stadhouders: guitar

Recorded live at Zaal 100, Amsterdam on January 25th, 2011. 

www.jasperstadhouders.wordpress.com

Andy Moor & Jasper Stadhouders live at Zaal 100

Steve is interested in the repetitive acoustic territories of every day life informing his and others sonic agency. His
research revolves around the physicality of sonic boundaries and how it informs compositional methodologies, materials and structures along with the listeners corporal reading there of. His music is a collision of captivating simplicity and fleeting subtle complexity. Hypnotic and compelling.

drums / percussion / electronics / composition / improvisation / installation / production / fitness / meditation / gardening / woodwork / film

The Light Of Day - 1 minute excerpts

Steve Heather

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