Experimental

Recorded live during InFiné Workshop August 28th 2013.
SHE, Vanessa Wagner, plays classical piano pieces from: Satie, Philip Glass, Ligeti, Scelci, Arvo Pärt... HE, Murcof aka the Mexican sound wizard, live produce and enhance the piano.

https://twitter.com/vwagnerpianiste
http://murcof.com/

Murcof & Vanessa Wagner (live @ InFiné Workshop 2013)

A live recording of the premiere of "asleep, forest, melody, path" for field recordings and live performance (2013), written for Greg Stuart. The field recordings were made in the Congaree National Park in 2012 and 2013. Greg assembled an ensemble of 30 local musicians for the concert, which took place on November 18, 2013, at the Columbia Museum of Art in South Carolina.
Performers: 
Cynthia Beavin, Alison Branham, Isaac Brockshus, Chris Buckman, Justin DuRant, George Fetner, Matt Fink, Cera Finney, Ellen Gardiner, Dan Gilmore, Dylan Gonzales,  Nathan Halverson, Jenie Hoffman, Katie Holaway, Peter Hoyt, Chris Johnson, Diane Kessel, Will Kroske, Hannah Lea, Alexi McHugh, Brenton O’Hara, Neil Pelfrey, Hannah Rilley, Nick Royals, Greg Stuart, Josh Thompson, Chau Tran, Jeff Vaughn, Dan Wolfe, Nick Wrobel

Recording: Chris Johnson and Greg Stuart
Mastering: Joe Panzner

asleep, forest, melody, path (for field recording and live performance, 2013)

Taken from the forthcoming Luke Abbott LP 'Music For a Flat Landscape' - official soundtrack to 'The Goob'.

Available via Buffalo Temple Recordings 25th May 2015
pre-order 12" vinyl and digital at: http://www.musicglue.com/luke-abbott/ 
more information and shows at www.lukeabbottmusic.com

Night Bike

from 'Blossoms In Red' [CD|LP|DIGITAL]
Denovali Records · den243
available on all formats at [http://denovali.com/ensembleeconomique]

Based in Californian Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and moulds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project.
On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener "From The Train Window, Red Flowers On The Mountain" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. "On The Sand", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. With all pieces of the album, Pyle manages to create tracks which feel like being composed only of two or three layers of sound, that are nevertheless allowed to develop a life cycle which seems incredibly long - track lengths vary from 6:30 to 8:10 - but still feels just right. Thus "Blossoms In Red" is probably Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work.

Blossoms in Red

Ensemble Economique - From The Train Window, Red Flowers On The Mountain

Jim Perkins - Fragment

Tangerine Dream
Quantum Years

Preview
October 2015

Music:
E.Froese/T.Quaeschning/U.Schnauss

Quantum Gate - Preview October 2015

Steve Reich - 18 Musicians

John Cage - The wonderful widow of eighteen springs


Full stream of Alex. Do's new 'Beyond the Black Rainbow' EP, released today via Dystopian. 

@dystopian-music
@alex-do

Alex.Do - A Partial Application Of An Abstract Ideal

Six different recordings of John Cage's "Experiences No. 2" (1948), ripped from YouTube and layered in Ableton. The lyric comes from a poem by e.e. cummings.

John Cage - Experiences No. 2 (x6)

Opening track from “LEAVES - The Colour of Falling (performed by Efterklang & The Happy Hopeless Orchestra)” by Efterklang and Karsten Fundal (out on Tambourhinoceros on Nov 4th 2016).

More info: www.efterklang.net/home/?p=2556

TOUR DATES 2017:
Feb 22 - Copenhagen, Store Vega, Denmark 
Feb 23 - Uppsala, Uppsala Konsert & Kongress, Sweden
Mar 02 – Eindhoven, Muziekgebouw Eindhoven / Cross Linx – Holland
Mar 03 - Groningen, De Oosterpoort / Cross Linx – Holland
Mar 04 - Rotterdam, De Doelen / Cross Linx – Holland
Mar 05 - Amsterdam, Muziekgebouw / Cross Linx – Holland
Mar 09 – London, Barbican – England
Mar 10 – Brussels, Ancienne Belgique – Belgium

Efterklang and The Happy Hopeless Orchestra are:

Vocalists: 
Lisbeth Balslev (soprano)
Morten Grove Frandsen (countertenor)
Katinka Fogh Vindelev (soprano)
Nicolai Elsberg (bass)
Casper Clausen (Efterklang)

Musicians:
Mads Brauer (electronics, Efterklang)
Rasmus Stolberg (bass, Efterklang)
Bjarke Mogensen (accordion)
Jenny Lüning (bratsch)
Josefine Weber (bratsch)
Marie Louise Lind (cello)
Josefine Opsahl (cello) 
Ying-Hsueh Chen (percussion)
Sara Nigard Rosendal (percussion) 
Michael Min Knudsen (harmonium, celeste)

Lyrics by Ursula Andkjær Olsen:

CITIES OF GLASS

I have no doubt
just, damn, build those gardens
into the sky
sun is gathered by large screens
that unfold like flowers
that unfold like flowers
in and out like flowers
in and out like flowers
in and out

I have no doubt
our futures:
you are welcome in mine
I am welcome in yours
are a castle with many chambers
and the chambers open and close 
in on us as
flowers by night
by light

our futures
our futures
is a castle with many chambers
is a castle with many chambers

cities of glass
cities of glass
cities of glass
in the sky
cities of glass


EFTERKLANG / FUNDAL - CITIES OF GLASS

Une fois par mois l'équipe d'InFiné prend les platines de Rinse FM France pendant deux heures.

Mix en exclusivité signé par les artistes du label et présentations en avant-première de morceaux inédits et de coup de coeur de l´équipe

L'émission du 13 juillet met en avant Deena Abdelwahed lors de la deuxième heure, figure montante d'une scène tunisienne en pleine ébullition - déjà apparue chez InFiné en remixant Bachar Mar-Khalifé ainsi que sur la compilation #Explorer3. Premiere heure : Ambient mix signé par Dresde. 

https://soundcloud.com/deenaabdelwahed

InFiné Show - Rinse France 13.07.2016 - Dresde & Deena Abdelwahed

Yazd Pashmak

"Ride On Into The Sweetening Dark" by Jason Sharp; track 9 of a 9-song bonus album called O TONNE SEIZE featuring 3 non-album tracks from each of Off World, Automatisme and Jason Sharp that accompanies the purchase of the 3-album set by these artists.

Jason Sharp •  A Boat Upon Its Blood out on Constellation 30 Sep 2016.

cstrecords.com/cst119

0 Tonne Seize

"Ride On Into The Sweetening Dark" by Jason Sharp

Taken from #Explorer3
More about Deena Abdelwahed  : http://deenaabdelwahed.com/
Listen : https://soundcloud.com/deenaabdelwahed

Deena Abdelwahed now on Tour

02/09/16 | Masãfãt 2016 - Londres, UK

17/09/16 | ZDB - Lisbon, Portugal

18/09/16 | Global Street Sounds - Ancienne Belgique - Brussels, Belgium

24/09/16 | RBMA Festival - Badaboum - Paris, France

01/10/16 | Pantropical x Aarb Camera - Roodkapje - Rotterdam, Netherlands

02/10/16 | Islemunda - Rotterdam, Netherlands

09/10/16 | ORF musikprotokoll - Graz, Austria

04/11/2016 | Institut du Monde Arabe - Paris, France

12/11/16 | Sound of Stockholm - Stockholm, Sweden

03/12/16 | Trans Musicales - Rennes, France

#Explorer 3

Deena Abdelwahed - Space​+​Kadhab  فضاء​+​كذّاب  (Tunisia / France)

Mixing a long drone via Droneo and morphing field recordings in SoundScaper while using Dhalang MG stochastic generators to drive particle-driven Mitosynth to sync with stochastically-driven Addictive Pro and Animoog synthesizers. © 2016 skiphuntphoto.com

A live recording of Michael Pisaro's "asleep, desert, choir, agnes" (2016) for 22 musicians and 2-channel electronics, written for the University of South Carolina Experimental Music Workshop. The concert took place on September 20, 2016 at the 701 Center for Contemporary Art in Columbia, SC.

asleep, desert, choir, agnes (2016)
Michael Pisaro

University of South Carolina Experimental Music Workshop
Greg Stuart, director

Adam Bailey, Amanda Ferguson,Colby Hesseltine, 
Anna Kulangara, Kelsey Lantz, David Long, Jeremy Martinez, 
Clayton Mims, David Munn Carstensen, Belvin Olasov, Neema Patel, 
Jessica Rotheiser, Bailey Seabury, Justin Stombler, 
Joelle Strom, Nathan Wichmann; percussion/voice

Michelle Beck, horn
Brian Bethea, saxophone
Michael Pisaro, electronics/electric guitar
Philip Snyder, flute
Greg Stuart, percussion/melodica
Emily Stumpf, flute

Recording: Jeff Francis

Program Note:
Agnes Martin called a significant series of paintings from 1997 With My Back to the World.  By “the World” I think she meant what we sometimes call the “real world” – of commerce and the art market, of social life and family, of media and entertainment. But there are multiple worlds, and those paintings are emissaries from another world: of solitude and quiet, of nature and light, and of an emptiness so austere that it becomes radiantly full. This is a world that, unlike the day-to-day life in cities, requires full engagement to perceive at all. 

Martin abandoned New York and her painting career in 1967 (at the age of 55), and resettled in the New Mexico desert. When she began painting again in 1973 her work was markedly different: both lighter in color and mood and deeper in affect. This impression is nearly impossible get from photographs of the paintings, as it seems to lie as much in the manner in which the painting asks us to engage with it as it does with shape or color.

What I hope to do with asleep, desert, choir, agnes is to call up a series of sonic fragments of that world, not as they might actually have been if we’d recorded them, but as if their sonic traces had placed themselves onto one of her canvases. 
–Michael Pisaro

asleep, desert, choir, agnes

John Cage - Fourth Interlude

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

Experimental

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