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Hybrid Ear (Schacher / Unternahrer / Arrizabalaga): Nuda (Creative Sources)

With discographies reaching back to the 80s, the trio of Beat Unternahrer on trombone and Furst-Pless-Horn, Jan Schacher on contrabass, objects and voice, and Pelayo Arrizabalaga, known for his reed work, on turntables and sine-generator, create 16 mostly improvised, succinct works that are influenced by free jazz, ea-improv, and sonic composition.

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product information:

UPC: 5609063404623

Label: Creative Sources
Catalog ID: cs462
Squidco Product Code: 24756

Format: CD
Condition: New
Released: 2017
Country: Portugal
Packaging: Cardboard Gatefold
Recorded at NSB rec. in Baar, Switzerland, by Etienne Schorro.


Jan Schacher-contrabass, objects, voice

Beat Unternaher-trombone, Furst-Pless-Horn

Pelayo Arrizabalaga-turntables, sine generator

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Artist Biographies:

"An artist - researcher, Jan Schacher is active in exploratory, open forms of music and performance. His main focus lies on works that combine technology, performing and gestural interactions, both on stage and in installations. He has been invited to numero us institutions and has presented installations, screenings, and performances in clubs and at festivals such as the Sonar Festival, Barcelona, Transmediale Festival, Berlin, Holland Festival, Amsterdam, Singapore Arts Festival, Edinburgh International Fest ival, Sonic Circuits Festival, Washington DC, Ultima Festival, Oslo, Sound Reasons Festival, Delhi, as well as many other venues throughout Europe, North America, Asia and Australia.

His central research topics cover performance, embodiment, and awarenes s as well as investigations into listening, motion and gesture in music. He takes a mixed - method approach and develops methodologies that bridge artistic practice and scholarly reflection. In parallel with his artistic work, Jan Schacher holds a doctorate in Arts and is Associate Researcher at the Institute for Computer Music and Sound Technology of the Zurich University of the Arts.

He has been building and hacking electronics since the late 90's and has used Arduino since its appearance in the mid 2000's. He has held numerous workshops and teaches classes about interactive media and electronics. Many of his art projects use Arduino interfaces in some way, such as wearable sensor controller s, inside an instrument or to control elements on stage."

-Orpheus Institute (

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"Pelayo Arrizabalaga (born 1949, Laredo, Spain) is a sax and clarinet player and composer. His career started in the 1970s playing in an assortment of Madrid free jazz ensembles. In 1984 he cofounded the experimental rock group Clónicos with Markus Breuss, recording a total of five albums and touring throughout Europe.

Arrizabalaga relocated to Switzerland in 1993 where he is guest composer at the electronic music Studio of the Bassel Conservatoire, directed by Thomas Kessler, and frequently performs within the improvised music scene.

Arrizabalaga is also a founding member of the FMOL Trio, an electronic free improvisation group, which takes its name from the FMOL virtual digital instrument, developed in 1997 by Trio member Sergi Jordà. He has also reunited with Markus Breuss in the Breuss Arrizabalaga Quintet, a jazz ensemble. " (

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track listing:

1. Gagarin-Glenn 8:27

2. Vol De Nuit 5:13

3. Biindli Abejas Pszczoly 5:09

4. Nuda 0:53

5. Tekno Diabolik 3:31

6. Alpsegen Mit Erlkoenig 1:42

7. Airman And Clockmaker 3:24

8. Teatro Para Insectos 2:28

9. Deep Conversion 6:45

10. Mercurio 2:54

11. Interferencias 3:57

12. Angeles Caidos 5:41

13. Tren De Noche 4:01

14. Aspiracion 0:24

15. Unter Dem Laub 3:53

16. Grillons 4:20
sample the album:

descriptions, reviews, &c.

"The members of the Hybrid Ear have been active for many years in improvised and extended forms of sound-arts and music. In this group they reunite after their diverging musical paths cross again and rediscover the power of dedicated sound work and interplay. This connection and the urge to discover new sonic territories lead to this collaboration.

The record originates from the realisation that taking the music from the stage to the studio requires a different mindset, a different attention. With an open attitude in the studio, the process of recording is one of discovery, concentration, but also composition and structural thinking. In a contemporary mode of improvisation, the explorative and spontaneous music is transformed into sounding places, spaces, and situations.

Thus the record is more than a mere document of a performance practice. Through intense attention to the captured materials, pieces of different musical qualities emerge. In the age of unlimited sound downloads and accessibility of sound files, the intent is to give back to this music a sensual, concrete shape. In this phonographical form the music can flow back into the practice by becoming new source material for future musical explorations."-from the liner notes.

Related Categories of Interest:

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

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