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Ben Miller:
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Daniel Carter / Matthew Shipp / William Parker / Gerald Cleaver :
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Johan Berthling :
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Masayuki Takayanagi / New Direction:
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Samuel Blaser / Oscar Stranoy / Luciano Berio: Ensemble Songs & Sarah Maria Sun :
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M. Klein / Steffan de Turck:
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A collaborative album from Dutch sound artists M. Klein (Adept, Sweat Tongue) and Steffan de Turck (Staplerfahrer) using field recordings and keyboards in two extended sound collages that take familiar sounds and transform them into a journey through an imagined land, accompanied by melodic synthetic fragments, a reflective work like a lost memory. ... Click to View


Gordoa / Malfon / Edwards / Narvesen :
Substantial Myths (Listen! Foundation (Fundacja Sluchaj!))

Vibraphonist Emilio Gordoa leads this superb quartet with Don Malfon on alto & baritone saxophones, John Edwards on double bass and Dag Magnus Narvesen on drums, in an incredible live performance at the 2019 Alte Gerberei Artacts Festival in Austria, a captivating set of creative techniques yielding well-controlled passages of both intense activity and unique introspection. ... Click to View


Samo Salamon / New Freequestra:
Free Distance, Vol. 2: Poems are Opening [2 CDs] (Listen! Foundation (Fundacja Sluchaj!))

With titles for the album and all compositions from a poem by US poet E.E. Cummings, guitarist Samo Salamon developed these structured improvisations during the pandemic, inviting a set of masterful improvisers including Martin Küchen, Luis Viocente, Vasco Trilla, Emanuele Parrini, &c. &c. to contribute to these magnificent long distance collective improvisations. ... Click to View


SteDaJoDa (Studer / Scheib / Weber / Schmitz):
Schwebend (Creative Sources)

A live recording of free improvisation recorded at Theater im Viertel, in Saarbrucken, Germany in 2021 from the SteDaJoDa quartet of Daniel Studer on double bass, Stefan Scheib on double bass, Daniel Weber on drums and Johannes Schmitz on guitar, the dark double bass foundation and floating ("Schwebend") percussion work balanced by Schmitz' blues oriented electric. ... Click to View


Eclectic Maybe Band:
Again Alors? (Discus)

Led by Univers Zero bassist and composer Guy Seger, the third album from Eclectic Maybe Band combines elements of rock, jazz, electronic and abstract landscapes, performed by an ensemble of chamber rock players including Discus label leader Martin Archer, varying groupings within the band focusing on each section in a mix of composed and improvised approaches. ... Click to View


Quartetski (Ceccarelli / Falaise / Lauzier / Martel):
Cage (Ambiances Magnetiques)

Quartetski--the Montereal quartet of Isaiah Ceccarelli on percussion & synthesizer, Bernard Falaise on electric guitar, Philippe Lauzier on bass clarinet & synthesizer and Pierre on Yves Martel on electric bass, perform John Cage's 1992 Numbers work "Four6" and "One7", a variation on "Four6", an incredible and insightful interpretation of this fascinating work. ... Click to View


Ensemble SuperMusique:
Sonne l'image (Ambiances Magnetiques)

The collective ensemble Supermusique featuring key performers from Montréal's musique actuelle scene, including Jean Derome, Isaiah Ceccarelli, Joane Hetu, Danielle Palardy, &c. perform "Sounding the Image", three animated scores composed through the creation of moving images and rendered live in a remarkable concert at Amphiteatre de Gesu, in Montreal in 2019. ... Click to View



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  Doreen Girard / Tim Olive 
  Boro  
  (845 Audio) 


  
   review by Dave Madden
  2020-02-06
Doreen Girard / Tim Olive: Boro (845 Audio)

Finding wholeness as a musician in combination with one or more other musicians can happen if a group finds its pace. Equal parts magic, listening skills, inventiveness, and voodoo, this is something unspoken where, despite maybe being as further situated across a spectrum as two or more instruments multiplied by two or more people can be, unity and consonance ensues. This isn't about knowing the same scales or crafting harmony in the 18th century sense, and may have little to do with pitch, meter, timbre, etc.; any of the latter is an accessory to the hive. (I just now possibly support the vapid catch-all "It has a lot of heart".)

Over the past decade, Tim Olive's 845 Audio label has become an international curation of captivating sonic sculptors. Whether he grows these folks in a garden or relies on acumen acquired during years of looking for like-minded players, Olive's fourteen recorded meetings with fascinating artists such as Anne-F Jacques, Martin Tétreault, Frans de Waard, Jason Kahn, etc. possess aesthetic solidarity and yield unique results.

In the case of Boro, Doreen Girard and Olive's conjoined palette creates a lava flow where arrested violence creeps at a funeral pace without pause.

The press release mentions that the music here is assembled from recordings that were "overlaid and minimally edited", further adding to the question of where Olive begins and Girard ends. Center speaker is Olive's cubby of jagged tings, squeals and ringing, metallic jitters created from a host of objects and guitar pickups. He often leans in to coax electrical pulses, chimes and booms in a style that realizes as arrhythmic and destructive, but...gentle; his miniature squall may only bring cause for alarm to an ant farm. To the right is Girard on prepared tsymbaly, a Hungarian hammered dulcimer that dates back centuries. She spends a good deal of time sustaining a sympathetic drone whose dynamic ebb and flow inspires the above-mentioned comparison — and it's possible her other hand is simultaneously creating the banshee-like groans (rubber dragged across the soundboard?) that whoosh around from time to time. The left speaker is occupied by a revolving sound that can impersonate a simmering pot, smoldering coals, a small conveyer belt, and a few sheets of paper dragged over a piece of wood.

This three-part counterpoint (with occasional sub-branches) mutates, adapts, abandons, and eschews motifs in the micro sense during the 26-minute crawl. Mists of supple pitched feedback periodically touch down; something thin (film tape?) pulled across something else resonates with a light, quivering hum; strings snap with a boing! and shake the items stuffed between them like a rattling signpost. Midway in, Olive and Girard both let out a long roar, and with that, the color shifts, i.e. that simmering pot gets bigger, wider, and less ghostly with the introduction of thudding rhythms and an interpretation of someone furiously scribbling on a desk. Permutations of these literal twists and turns continue until minute 24 where brakes are loosely applied to the mix, unveiling a coda of delicate toy piano-like plinks. This dénouement realizes as if the piece were played in reverse, revealing the original theme in the ultimate minute. Neat.

Girard and Olive were paired based on a recommendation from the organizers of the Sounds Like festival. They recorded what would become Boro the day they met (as in "met for the first time"). And like that, the duo created something that makes me feel as if I'm listening to music for the first time all over again.



Doreen Girard / Tim Olive: Boro
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