Format: CD Condition: VG Released: 2015 Country: Portugal Packaging: Cardboard Gatefold Recorded at Namouche studios, in Lisbon, Portugal, on May 28th, 2014, by Joaquim Monte.
Previously played Squidco store copy, used for cataloging and samples, in excellent condition.
"Rumor is a studio session by four musicians who had recently performed together for the first time during the 2014 MIA improvisation festival in Lisbon. It joins two international visitors - Brazilian Marco Scarassatti on sound sculptures and self-made instruments and Austrian Gloria Damijan on piano and the insides of a toy piano including metal tone bars - with Lisboan Eduardo Chagas, playing trombone and objects and Abdul Moimeme playing prepared electric guitar, with them all using various unidentified objects. It's a particularly fortuitous meeting because of how closely attuned the musicians are to one another. Each is as much a sound artist as a conventional musician, often working with complex events (sounds, noises) that are not reducible to pitches, regular rhythms or linear development. As heard here, each is a gestural player, sometimes given to singular events that resonate through the ensemble. The focus on creation is so intense, that this hardly seems like aperformance, more like a kind of collective brain breathing. Just as the musicians are free to assemble multiple kinds of sounds and relationships, so too is the listener free to assemble the experience, whether it's heard as a mysterious Ur-narrative or a laminal space in which various layers interact, in ways both intentional and otherwise. The identities of the instruments are sometimes unclear, testament to both the players' invention and the degree to which individual personalities are surrendered to the work. There's a great deal of percussion here, and the sounds of piano, toy piano and table-top guitar readily converge. An incidental sound can suggest insects or a power tool. Even Chagas' trombone, perhaps the most identifiable instrumental sound here, can blur into quiet cradle utterances or an electronic drone, while his occasional reduction to the sound of breathing emphasizes the human core of work that's gestural and expansive, with sounds seeming to expand both outwardlyinto an industrial garden and inwardly to an expanding sense of resonance. By the conclusion of the second improvisation, the sounds seem to quietly swarm, only to reach a peak and fade rapidly away into a few percussive incidents."-Stuart Broomer, PointofDeparture