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Rodrigues, Ernesto / Ana Albino / Hernani Faustino / Carlos Santos: A Glimpse To An End Of A Cycle (Creative Sources)

Happening to continue with the next release pairing Ernesto Rodrigues and Carlos Santos, A Glimpse to an end of a Cycle - recorded in Lisbon this January, so the first actual 2025 recording featured here - involves a similar sort of "op...
 

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product information:

Personnel:



Ernesto Rodrigues-viola, crackle box

Ana Albino-electric guitar, fx

Hernani Faustino-double bass

Carlos Santos-modular synthesizer


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UPC: 5609063408607

Label: Creative Sources
Catalog ID: cs860
Squidco Product Code: 36140

Format: CD
Condition: New
Released: 2025
Country: Portugal
Packaging: Cardboard Gatefold
Recorded live at Cossoul, in Lisbon, Portugal, on January 16th, 2025, by Carlos Santos.

Descriptions, Reviews, &c.

Happening to continue with the next release pairing Ernesto Rodrigues and Carlos Santos, A Glimpse to an end of a Cycle - recorded in Lisbon this January, so the first actual 2025 recording featured here - involves a similar sort of "open" feel and indeterminate electronics as La rambarde des songes, les congruences des soupirs: Versus that quintet with horn and voice, Hernani Faustino (mainstay of the Portuguese improv scene in general...) is now the bassist, while the previously unknown Ana Albino rounds out the quartet on electric guitar/fx. (While I hadn't noted her individually, Albino has already appeared in ensemble on Caesium, also noted in the previous entry....) And although bass can be prominent in moments, the ongoing single movement tapestry here consists again more of deconstructed timbres, with no "winds" this time, but Rodrigues still on crackle box, i.e. "electronics" production remaining enigmatic across much of the quartet space.... (An apt comparison is againwith the more "hybrid" quartet for Distilling Silence, i.e. with both electric guitar and clarinet - and Carla Santana on electronics instead of Santos: That album seems to explore and tease apart everyday household sounds....) A sense of mystery also plays out here in a sense of darkness, apparently starting literally with the performers (per an included photo, unless that's a digital effect I suppose...), and immediately suggests a sort of haunted landscape. There're certainly also senses of familiarity, but distended, as well as senses of continuity. Indeed, while again quiet (and able to be overwhelmed by my sometimes noisy surroundings...), it's apparently senses of continuity and anticipation that draw me into the sound world of A Glimpse to an end of a Cycle, a relatively brief album that seems sometimes to end without my noticing.... So whatever (background) "procedure" might yield the "glimpse" of the title, there can be more of a conscious sense of process at times too(again grounded in what seems to be a sort of psychic desolation... or maybe distant traffic), yielding some hocket-y counterpoint in some passages, but mostly a sense of smoothness and ongoing flow.... Per my comments on the electronics then (including previously...), there's an unknown (or inverted) sense of what I've been calling "musical economy" to proceedings such as these, or perhaps it's a matter of choosing a group based on personalities more than instrumentation...? (A synthesizer is not usually subdued....) Or of course it's the focus on relatively narrow possibilities, i.e. the flexibilities or liminalities, within what could be an instrumental combo sounding very differently.... (And again per electronics, e.g. both low hums and especially some very high twittering can be distinctive here....) In any case, A Glimpse to an end of a Cycle seems to weld Rodrigues's rather varied post-Cage investigations to his likewise frequent nocturne sojourns, yielding another understatedyet highly affective (and subtly dynamic...) listening experience, sometimes more layered (than contrapuntal...), ephemeral and often wave-like. (And maybe it should be compared to Rodrigues-Santos projects from what can seem like the distant past these days, e.g. Cyclic Symmetry, reviewed here in October 2016.... Or to a growing set of offerings from various others, e.g. Nyctalopia released this month by Gaudenz Badrutt and Association Bruit....) There's also an increasing sense that these productions co-compose my own local sonic space, i.e. contextualize and sometimes dominate sounds of my surroundings (which do now sometimes feature e.g. what seem to be military helicopters, along with the familiar screaming toddlers, etc... - i.e. not always willing to be dominated). So perhaps survival in our increasingly chaotic world can come to be figured at times via softness (as it had been of course already by the Tao Te Ching...), rather than hardness - sound (at least previously, contrarecording technology...) being among the most ephemeral of human artistic media."-Todd McComb's Jazz Thoughts


Artist Biographies

"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)
5/12/2025

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"Born in Algarve, in the south of Portugal Ana started her musical studies at the age of fifteen. Throughout her career, she contacted with various musical styles, such as jazz, fusion, fado, bossa nova, rock, pop, and others and had a lot of stage experience. She graduated in classical guitar by Escola Superior de Música de Lisboa in the class of professor António Gonçalves and did a year of Erasmus in Spain in the class of professor Margarita Escarpa. After her degree she started to manage her own projects with classical guitar, electric guitar, and with other musicians and she had a lot of concerts in Portugal and abroad.

She received a prize in the International Guitar Competition of Golegã and presented herself as soloist in several recitals as well as in the Guitar International Festival of Lagoa. Currently she is studying jazz, she teaches in Academia de Música de Telheiras and keeps a very active musical live through her projects and temporary collaborations with various musicians."

-Encore Musicians (https://encoremusicians.com/Ana-Albino)
5/12/2025

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"After establishing his name during the Eighties as an electric bass guitarist in alternative rock bands, like the now legendary K4 Quadrado Azul, Hernani Faustino turned to avant-jazz and free improvised music and chose the double bass as his self-taught instrument. Two decades later of multiple interactions with Portuguese and international musicians, he's now considered one of the most intense and solid bassists in the Portuguese scene. The association he maintains with drummer Gabriel Ferrandini (RED trio, Nobuyasu Furuya Trio & Quintet, Rodrigo Amado Wire Quartet) has been pointed as a dynamic and powerful rhythm section. His visceral playing is well showed by the contortions of his face during a performance: he goes to the limits of pleasure and pain.

Music is his life: besides being a musician, he was one of the members of the label Clean Feed, considered one of the five more important on the planet in what regards jazz, and the Trem Azul Jazz Store, located in Lisbon. He also composed for theatre, produced radio programs, and wrote about music in a couple of magazines. A good part of his activity in photography is also music oriented: Faustino is one of the most accomplished stage photographers around. This says all about his passion and commitment.

Hernani Faustino's numerous meetings and collaborations with other improvisors is astonishing: John Butcher, Lotte Anker, Nate Wooley, Carlos "Zíngaro", Agustí Fernández, Sei Miguel, Rafael Toral, Jason Stein, Nuno Rebelo, Rodrigo Pinheiro, Gabriel Ferrandini, Pedro Sousa, Rodrigo Amado, Albert Cirera, Manuel Mota, Luís Lopes, Jon Irabagon, Taylor Ho Bynum, Gerard Lebik, Piotr Damasiewicz, Harris Eisenstadt, Neil Davidson, Heddy Boubaker, Gerard Lebik, Elliott Levin, Katsura Yamauchi, Mats Gustafsson, Chris Corsano, Nikolaus Gerszewski, Rob Mazurek, Reinhold Friedl, Ernesto Rodrigues, José Oliveira, Helena Espvall, Nuno Torres, Ricardo Jacinto, Blaise Siwula, Virginia Genta, Elliott Levin, Daniel Carter, Federico Ughi, Floros Floridis, Matt Bauder, Dennis González, Vítor Rua, and many more, covering a wide range from free bop to extreme experimentation, going through electroacoustic improv, reductionism and noise."

-Hernani Faustino Website, Rui Eduardo Paes (http://www.hernanifaustino.com/bio/)
5/12/2025

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"Studied painting with António Sena (Ar.Co, 1988 -1992), worked in advertising for a period of time, but nowadays works as graphic designer in corporate identity, packaging, web and audio-video production.

Started sound/music activities in 1989 when formed the VITRIOL project with Paulo Raposo, a laboratory for experimental sound actions, in a first stage with studio work followed in 1994 by live output, mainly live electronics, concrete music with a improvised or graphic score oriented approach. Uses the laptop with software written in MaxMsp, small resonant objects, microphones and piezo elements to produce a music that deals with space and its sound characteristics. Interests in "soundscape" and field recordings are a huge part of his work, for piece preparation or just for archival purposes, Always recording, events, spaces or music. Multi-channel acusmatic music and radio pieces.

Presents himself solo in site-specific audio-video works, or in duos with João Silva (video, sound, photography), "Inhabitaded Spaces" with Ricardo Guerreiro (computer, mics), "Venús Pistolletto" with Emídio Buchinho (elec. guitar, mics, objects) and trios with Ernesto Rodrigues (violin) and Guilherme Rodrigues (cello) or ZNGR electroacustic trio with Carlos "Zíngaro and Emídio Buchinho. Member of several formations, "(Des)Integração" laptop ensemble (2001-2003) or in more electroacoustic sets, uses live-electronics and sampling which is the case of "Suspensão" septep, VGO, variable geometry orchestra and specially a trio close related to the "near silence" aesthetics, with Ernesto Rodrigues (violin, harp) and Guilherme Rodrigues (cello) with already several CD releases, always with at least one international improviser guest. Presented his work in Portugal, Spain, France, UK and Germany. Worked with artists from several media: dance, performance and video. Music and sound design for video and animation. Video and sound editing for comercial projects. Played live or in recording projects throughout the years with a lot of musician and sound artists. His sound work is documented in several CD releases. Belongs to the Granular board of directors, a portuguese association for experimental art and does the image of Creative Sources label. Broadcasts "Boca Doce" show at Rádio Zero (web) and other special shows. Workshops and seminars in digital audio manipulation, Maxmsp programming and sound art practise."

-Creative Sources (http://creativesourcesrec.com/creative_artists.html)
5/12/2025

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Track Listing:



01. A Glimpse To An End Of A Cycle 36:45

Related Categories of Interest:

In Stock, Not Yet Cataloged

Creative Sources
Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
Quartet Recordings
European Improvisation, Composition and Experimental Forms

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