1990

True Love Will Find You in the End

for bassoon and tape

Lauren Martin: bassoon
Drew Sensue-Wenistein: recording
Jack Herscowitz: composition and mixing

a place without language or streets (2022)

Tom Chant: soprano sax 
Javier García: bass 
Dani Domínguez: drums 

Recorded live at Robadors 23, Barcelona in 2011 

Sound correction and mastering by Ralph Lopinski 

Cover art and design by Wancalo 

Produced by Chant/Gares/Discordian

The Man With A Hyena - A State Of Disarray

Following a run of chamber recordings, Samuel Reinhard returns with a suite of electroacoustic collages. 

"Movement", the New York–based composer’s latest offering, is built from notes softly held. In his ongoing investigation of musical duration, perception, and attention, Reinhard deemphasizes progress through an embrace of repetition and negative space, inviting listeners to linger in time. Instrumental recordings are arranged according to a predetermined system, iterating fragments of sound in overlapping intervals of various sizes. Delicately layered snippets of decaying piano are joined by cello (Leila Bordreuil), bass flute (John Also Bennett), double bass (Vincent Yuen Ruiz), baritone sax (Michael Biel), and harp (Shelley Burgon). This breadth of instrumentation, arriving as individual notes stretched and overlapped, is treated not as an opportunity for immersive coalescence, but rather a gentle augmentation of texture, free-floating counterpoint. Notes are accompanied by the traces of the bodies and actions that produce them: a hand pressing a key or an arm keeping a bow aloft; breath filling an instrument’s body or glancing off its surface; a string vibrating and then softening to stillness. In sum, we hear resonance in the process of being sustained, as well as in the release that follows.

Movement is a joint release from Hallow Ground and Präsens Editionen, and follows offerings by Kali Malone, Lawrence English, and FUJI||||||||||TA  on Hallow Ground, and Robert Turman, Magda Drozd, and Anna Homler on Präsens Editionen.

Samuel Reinhard - No. 1

From the album 'Unforced Errors' - out now on Vice de Forme.

Cassette and download:

Frosty sea green cassette - C-42 - limited edition of 70 copies.
Silkscreened box. Includes download code. 

Recorded and composed by Mark Vernon
Violin: Manja Ristić

Igneous Intrusions

Lundi 7 avril au crépuscule.
C’est l’heure du trafic routier du retour. Mais c’est aussi l’heure du dernier chant du Rougegorge familier (Erithacus rubecula), des derniers cris de Canard colvert (Anas platyrhynchos) et du début du chorus des grenouilles. La Chouette hulotte (Strix aluco) répète inlassablement son cri lorsque éclate le chant des premiers Rossignols philomèle (Luscinia megarhynchos), encore absents hier.
La Corneille noire (Corvus corone) pousse elle aussi un dernier cri et le Renard roux (Vulpes vulpes) glapit : la nuit s’est installée. 


Twilight on Monday 7 April.
Time for the return journey. But it's also time for the last song of the European Robin (Erithacus rubecula), the last calls of the Mallard (Anas platyrhynchos) and the start of the frog chorus. The Tawny Owl (Strix aluco) repeats its call tirelessly as the first Common Nightingales (Luscinia megarhynchos), still absent yesterday, sing.
The Carrion Crow (Corvus corone) also gives a last cry and the Red Fox (Vulpes vulpes) yelps: night has set in. 

Premiers Rossignols

«Second Arrow» presents extended versions of «Bass Works: As I Venture Into». I’m excited to take you on more expansive musical journeys with these tracks!


03_Pinsel II

Brief excerpt from a recording actually made during dawn on Friday 2nd May 2025, because the weather was perfect, and because I could get out there; whereas the forecast for Sunday 4th May wasn't as good, and I couldn't get out there that day. Raw recording. Just a friendly postcard from the other pole, where it's not spring, but on the way to winter.

For the Northern Hemisphere's 'Dawn Chorus Day', from the Southern Hemisphere.

as if we were rain

Santi Caballero: flute 
El Pricto: clarinet 
Luiz Rocha: bass clarinet 
Agustí Martínez: alto sax 
Tom Chant: tenor sax 
Clara Canimas: bassoon 
Marc García: french horn 
Andrés Acebes: trumpet 
Frédéric Filiatre: trombone 
Lucas Suárez: electric guitar, banjo & lapsteel
Joanna Miramontes: piano 
Vasco Trilla: percussion 
Núria Andorrà: marimba/percussion 
Johannes Nästesjö: contrabass

Composed and conducted by Owen Kilfeather, from Ten Miles to Bisbee [film score], Discordian Records, 2015.

Recorded on February 2nd, 2014 by Lopinski at ESMUC, Barcelona

Mixed and mastered by Lopinski

Produced by Discordian and La Increíble

Alan Smithee (dir) - The Ghost Goes West

“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."

— João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

“You paint for fame & status, I paint for freedom & awareness”, reads one of the vertical graffiti that Mr.Paradox Paradise painted on some Berlin building. Likewise, there is nothing in João Alegria’s art that is done with the intention of fame or likes. He spent more than a decade editing with recognition limited to the “community” of sound nomads. “I’ve been doing this for some time and I don’t have a very wide audience”, he admits. However, who knows, knows. And who knows, like it. João Alegria’s music is for connoisseurs. Perhaps that will always be the case.
.
However, the unique contours of his art, combined with a stubborn aesthetic consistency and prolificacy, are the characteristics that simultaneously nest and vitalize it. The unconditional and obstinate way in which this “guitarist” – as he likes to be called – has created his work is a rare case of perseverance. His motivation? It’s not entirely explicit, but somewhere between the love of music and the physiological need to create lives the truth of João Alegria. If he lives because he breathes, he seems to make music because he has to live. One senses in his speech an inevitability of cathartic genesis that surreptitiously emerges between the lines like a figure wandering through the night.
João Alegria can also move through the shadows, but his music definitely points to the heavens, full of verticality” 

– João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

VI

João Alegria

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