A series of sound installations derived from a single recording made in the empty spaces in which they are later presented, with no people present during the recording including the composer, filtered to isolate and amplify certain of the room's resonant frequencies, creating a series of drones which are the only sound materials used; no musical instruments are involved.
Ten sonically beautiful pieces derived from recordings made in empty spaces, transforming the sounds that leak in from the outside world using filters and amplification to find sonic resonance in those sounds and in the room's natural frequencies, like light filering into the space, each piece then played back in the same room at low volume as part of an installation presentation.
Translating to "Voices from Heaven and Hell", the meeting of two Berlin artists--Amelia Cuni, whose vocal work is described as in/voluntary singing; and Alex Mendizabal, a sound artist who here electronically manipulates the voice of Cuni--using texts from poet Erin Honeycutt as the two apply diverse, fascinating and sometimes unnerving approaches to voice, utterance and expression.
English experimental composer and musical performer John White recorded the pieces on this 2 CD retrospective set between 1980 and 1995, a combination of serious, popular and novelty pieces, often exploring areas of contradiction, particularly linear and rhythmic, within an unlikely sound-world in which parameters such as volume, timbre, texture and speed remain fixed.
A beautifully hypnotic album of wind music, especially on the Pan-Ney, an instrument developed by Berlin composer Werner Durand, along with electronics and a piece using the talking drum as performed by Marika Falk, presenting early works from the 1990s that bridge both improvisation and composition with an embraceable sound that reveals underlying complexity.
Drawing from contemporary composers including Tom Johnson, Philip Glass, Steve Reich, Terry Riley, Adrian Democ, James Tenney, &c, this is the 3rd chapter of Italian flutist Manuel Zurria's project/research on "minimalisms" in contemporary music, taking an active interpretation of the classification over 16 informed and adventurous recordings.
Pianist Marco Dalpane and soprano Sabina Meyer create a virtual cabaret of songs using the music of Erik Satie and John Cage, interlacing pieces by each in a delicate set of songs that draw the two composers together through a surprising commonality, the lyrics provided from texts written by J. Peladan, C. Mendes, H. Pacory, J.P. Contamine de Latour, &c.; lovely.
Gamelan Son of Lion partners Philip Corner and Evan Schwartzman perform this Fluxus composition where two pianists play piano notes on the chromatic scale in relationship to numbers counted out loud from 1 to 88, forward and backward, creating an unusual texture and counterpoint that when taken as a whole becomes hypnotic and obsessively absorbing; inexplicably interesting.
'Spilla' means 'to play' in the language of Neapolitan musicians, and playing here are NY guitarist and composer Elliott Sharp and Italian guitarist Sergio Sorrentino, presenting world premier recordings of 4 works recorded live in Vercelli, Italy: two improvisations and two graphic scores performed on electric guitar with incredible technique and passion.
An extended and rich confluence of strings from R Keenan Lawler and John Krausbauer, using resonator guitar and banjo, sustained tones that intertwine in a beautiful and optimistic drone, minimalistic yet drenched in a profusion of harmonic detail; a beautiful and elusive dream mixing between an Indian raga and an alien electronic environment.
A beautifully hypnotic album of saxophone, accompanied by Pan-Ney, Shruti Box and Organ, recorded in overdubs by composer/wind player Werner Durand in this 2nd chapter of his trilogy focused on the Pan-Ney, a self-built instrument for repetitive foundations, as Durand draws on elements of nature, mythology, dance, religion, literature and folklore.
Recorded in the mid-90s, Livebatts! was a project of John White (Cornelius Cardew, Scratch Orchestra) developed to exploit "toy" keyboards of the 80s--cheap battery-driven instruments that hold tremendous potential for "serious" music-making--used here in a playful quartet with vocalist MJ Coldiron, Andrea Rocca (guitar & samples) and Nancy Ruffer (electrified flute).
John Krausbauer's composition employs 3 West Coast accordionists (Krausbauer, Kate Short and Aaron Oppenheim) in an extended compositional framework allowing for improvisation, of hallucinatory, shimmering sound that accentuates the intersections of tone and harmonics; minimalist and entrancing in the mode of Pauline Oliveros, Wada, Palestine, Radigue, &c.