A sound project by experimental musician Luis Tabuenca with Wade Matthews and ethnomusicologist Ana Maria Alarcon-Jimenez, inspired by the sonic heritage of Aragon, in pieces that reflect and question issues of memory, space & place.
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Label: Aural Terrains
Catalog ID: TRRN0516
Squidco Product Code: 15571
Packaging: Jewel Tray
Recorded at Smiling Cow Studios, Madrid.
Wade Matthews-digital synthesis, field recordings
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• Show Bio for Wade Matthews
"In 1989, after completing his doctorate at Columbia University in New York, French-born American musician Wade Matthews moved to Madrid and became active on the international improv scene. Drawing on his work at the Columbia-Princeton Electronic Music Center (His doctoral dissertation was on improvisation guided by electronic sounds) he approached the bass clarinet and alto flute as "acoustic synthesizers," rethinking their sonic possibilities, phrasing, and relation to breath in a musical language based on real-time creation. When faster processors made laptop synthesis viable, Matthews gradually abandoned the woodwinds and returned to his first love, tweaking a virtual synthesizer to allow very rapid control of sound parameters for solo playing and dialog with others. In 2007, he founded INTERMEDIA 28 with photographer Adam Lubroth and guitarist Julio Camarena. There, he began to combine field recordings with electronic synthesis in a 2-computer setup that has since become his main instrument.
Matthews has presented his work on five continents, including performances at the Museum of Modern Art in New York, the National Center for the Arts in Mexico City, the Teatro Colón in Buenos Aires, the Reina Sofía Museum of Contemporary Art in Madrid, The Stone, in New York; Fylkingen, in Stockholm, and concerts and festivals in London, Paris, Berlin, San Francisco, Montevideo, Barcelona, Beirut, Cape Verde, Lisbon, Dublin, Oslo, etc. Besides his concerts, Matthews is interested in sharing ideas about music and his activity as a lecturer and visiting professor has taken him to the Paris Conservatory, the University of California, San Diego; the California Art Institute, Columbia University, the Universidad de las Americas in Puebla, Mexico; the American University of Beirut, Limerick University in Ireland, and many, many others."-Wade Matthews Website (http://www.wadematthews.info/Wade_Matthews/ABOUT.html)
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1. Las Anas, Uncastillo 9:20
2. La Senda, Torrero 7:11
3. Plaza del Pilar, Zaragoza 5:33
4. Oficio perdido, Zuera 4:12
5. Cierzo, Pastriz 8:24
6. Barrio de Las Fuentes 6:30
7. La hermita del molino 10:19
8. Punto Cero, Aragon 7:01
sample the album:
"Punto Cero Aragón is a sound project created by experimental musician Luis Tabuenca in collaboration with musician Wade Matthews and ethnomusicologist Ana Maria Alarcón-Jiménez. Inspired by the sonic heritage of Aragon, Luis and Wade have created a series of pieces that reflect and question upon issues of memory, space and place."-from the liner notes
"This disk reflects on the local, with all the emotional, psychological and physiological implications embodied in words like "home" or "territory." Curiously, none of the people involved in this project lives where they were born. For several of them, "home" is little more than a broken mirror of distant, coexistent fragments. Each has had to travel far and wide to find her or himself, and to be able to think in terms of the local. Eager to rest, to pause for a moment and simply observe and listen, the creators of this disk have marked a point on the sound map of Aragon, drawing on its sounds not only as material for their art, but as a basis for living and evoking, from Aragon, that sense of home that everyone, but especially those who travel, carries within.
Among the many sounds that inhabit this project are words, laments, stories, croaking frogs, the wind and the special silence of nights at the Las Anas reservoir. Luis and Wade have arrived at this music with their ears, listening within and without; playing the sounds of Aragon, transforming them as they transform themselves, as music and musicians, in order to offer you, the listeners, these pieces to hear and enjoy."-
At The Squid's Ear!
European Improvisation and Experimental Forms
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