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Rodrigues, Ernesto / Ulrike Brand / Olaf Rupp : Traintracks, Roadsides, Wastelands, Debris (Creative Sources)

Three string improvisers--Ulrike Brand on cello, Ernesto Rodrigues on viola, and Olaf Rupp on electric guitar--approach their instruments from all angles excepting the most traditional ones, from scraping and granulating to creating resonant sonic environments, an apt reflection of a journeying musician, enhanced by text and images in the CD package.
 

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product information:


UPC: 5609063404104

Label: Creative Sources
Catalog ID: cs410
Squidco Product Code: 24762

Format: CD
Condition: New
Released: 2017
Country: Portugal
Packaging: Cardboard Gatefold
Recorded in Berlin, Germany, in October, 2016, by Olaf Rupp.


Personnel:

Ulrike Brand-cello

Ernesto Rodrigues-viola

Olaf Rupp-electric guitar

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Artist Biographies:

"Ulrike Brand, born in Germany, was introduced to contemporary cello-playing by Siegfried Palm. At the Music-High-School of Cologne she studied with Peter Eötvös, Mauricio Kagel and the Amadeus String-Quartet.

Since 1985 she has partecipated as a soloist in the major festivals of contemporary music in Italy, Germany, Switzerland, France, Luxembourg, Greece, Slovacchia, Mexico, Russia and Uruguay. In 1986 she settled in Italy, where in 1987 she initiated the festival of the Quaderni Perugini di Musica Contemporanea, that she directed together with the artist Alfonso Fratteggiani Bianchi until 1997. In 2011 she moved to Berlin, where she actually lives and works.

She has worked closely with John Cage, as well she has commissioned and premiered works by several composers, among others: Christian Wolff, Barbara Monk-Feldman, Federico Incardona, Graciela Paraskevaidis, Samir Odeh-Tamimi, Joachim Heintz, Stefano Trevisi, Cheol-Ha Park, Karen Odrobna Gerardi, Steven M. Miller, Marcello Fera, Giulio Castagnoli, Giovanni Damiani, Marco Lombardi, Silvia Colasanti, Gerolamo Deraco, Federico Gardella, Enrico Correggia, Alessandra Ravera, Eckart Beinke, Gwyn Pritchard, Stefan Streich, Martin Daske, Rainer Rubbert, Charlotte Seither, Laurie Schwartz.

She realized radio broadcasting productions in Italy, Swiss, Germany, France, Uruguay and Norway. Since 2002 she has been Visiting Professor at the University of the Arts of Bremen (D). She has given lectures and masterclasses at the Escuela Universitaria de Musica di Montevideo (UY) as well as at the Universities of Bergen (NO), Oldenburg (D), College of Santa Fe (USA), Trinity Laban Conservatoire London (GB), John Cabot University Rome (I), Weissensee Kunsthochschule Berlin (D), Hochschule f. Musik, Theater und Medien Hannover (D) and the Music Conservatories of Perugia and Bolzano (I). For the Editor L'Epos (Palermo) Ulrike Brand has curated two volumes about the work of John Cage and Giacinto Scelsi.

Her focus is on multimedial projects between conceptual sound-exploring, improvisation and performance. In this context she is working with performers as well as with visual artists and choreographers.

In 2015 she received the Research Grant by Berliner Senat and in 2016 the Scholarship Künstlerhaus Wiepersdof by the Ministry of Cultural Affairs Brandenburg. Ulrike Brand lives in Berlin."

-Ulrike Brand Website (http://www.ulrikebrand-cello.com/Vita_E.html)
10/26/2020

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"He has been playing the violin for 30 years and in that time has played all genres of music ranging from contemporary music to free jazz and improvised music, live and in the studio.

His main interest shifted towards contemporary improvised and composed music.

The relationship with his instruments is focused in sonic and textural elements.

Electronic music was an early influence on his approach to violin playing, which challenges traditional romantic concepts of the violin/viola through use of preparations and micro tuning.

Active in different settings on the Portuguese scene for free improvised music, both as a collaborator and in leading his own groups.

Music for Dance, Cinema, Video and Performance.

Has created the record label Creative Sources Recordings in 1999, which mainly concentrates on releasing experimental and electro-acoustic music."

-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
10/26/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Olaf Rupp (*1963) plays Improvised Music on the acoustic and electric guitar. The organic flow of his music is controlled neither by chance nor by dominant, wilful decisions. In his music he explores how more or less dense murmurations of notes (motion-clusters) can be perceived as one agglomerated sound in motion. This means that every note is a dot in a higher matrix and its colour is more important than the position of that note in any hierarchic classification system. So a sequence of notes creates a moving sound, not a melody. And the intrinsic colour of every note is more important than the melodic or harmonic burden which the listener may or may not put on it.

Besides many cooperations five solo albums are published so far on the labels FMP, GROB and GLIGG. Olaf Rupp has been touring in many countries and performed with extraordinary musicians such as Paul Lovens, Tristan Honsinger, Peter Brötzmann, Butch Morris, Lol Coxhill, John Zorn und Michael Wertmüller. Important groups are among others XENOFOX, his duo with Rudi Fischerlehner, a Duo with cello player Ulrike Brand, DIE DICKEN FINGER with Oli Steidle and Jan Roder (also a quartet with Peter Brötzmann) and WEIRD WEAPONS with Tony Buck and Joe Williamson."

-Olaf Rupp Website (http://www.audiosemantics.de/info.html)
10/26/2020

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track listing:


1. Traintracks 15:58

2. Roadsides 13:10

3. Wasteland 18:25

4. Debris 12:24
sample the album:








descriptions, reviews, &c.

"This peculiar string trio seems to grind and polish the sound world as with sandpaper and whirl up so much grinding dust that it crunches under the fingers, yes on the teeth. All the romantic recollections of the strings are deleted and replaced by kakophone sawing and scraping sounds. All the flamenco dystrophy and hardcoreturbulence of the guitar, which often aroused arpeggiofurios and hyperflageolettistic under Rupp's tight fingers, is transformed into flat microton primers and reibeles. The strings are all the more striking when Rupp picks them up or strikes them so that they are lingering. Cello or viola rummage with a rough vibrato. There are arches, too, which, like the face of roadkill and a harsh horizon, make a depressed impression. But Mad Max-taff shook the gloom with fierce plonkplink, glissanding drones, rattling saws, and sharply iridescent shadows. Rupp tremulates like a propeller, but lets the strings vibrate very tenderly and crystalline or wiry to the hiss and feathers, scratching and knocking of the arches, too long drawn drumming threads and snazzy steel wool. When the dust settles, it is a finely tingling and colorful subject."-Rigobert Dittmann, Bad Alchemy (translated with Google Translate)



This album has been review on our magazine:

The Squid
The Squid's Ear!
Related Categories of Interest:


Creative Sources
Improvised Music
Free Improvisation
European Improvisation and Experimental Forms
Stringed Instruments
Trio Recordings


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