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Ici d'ailleurs reissues Matt Elliott's last 3 albums in "Songs", a deluxe box containing 7 vinyls including one with 7 unreleased Failed Songs.
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January 26, 2010
US CD Killer Pimp PIMPK012
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Marc Ngyuen - guitar, keyboard and electronic
Guillaume Ollendorff - laptop and electronic
Live en San Antón is the result of a three days session of improvised music committed by Marc Nguyen and Guillaume Ollendorff recorded in the barrio San Antón, in the southern Spanish city of Alicante in April 2008.
Marc & O. have known each other for 13 years: they once worked together for a company that sold missiles and celebrity magazines; they later played and toured together in Marc's electronic-rock band project, called Colder. Guillaume has made music here and there (Tsé, The Mainstream Ensemble, Dust and Chimes) and now, has a life as an independant publisher of Philosophy. After all these years, this is the first time they have actually recorded together.
The intent of Scratoa! should be understood at the very moment you press play. It sounds like it is named. As some kind of big musical lapsus,the kind of ones kids do everyday with toys. A Vomited and improvised - somehow elegant, sometimes not - non sense. A musical role playing game experiment in ten parts, where Tex Avery, Baruch Spinoza and Herbie Hancock's spirits have been called over three nights to conduct a crowd of gorillas, frogs, cats, birds and ducks in heat, forgotten cartoon characters, families of gypsies and guitars, local pagan marching bands, and drunk kids armed with fire crackers.
Experiencing Scratoa! will probably not cure any disease nor it will help you improve some social skills either. But listening to this first session may however be recommended for all these tiny moments of your life when all you fancy is just a good old fix of primitive poetry.
For more information see myspace.com/scratoa
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Jason Kahn
"Vanishing Point"
23five CD
The American sound-artist Jason Kahn is an exacting technician when it comes to the principles of noise. However, his application of noise in composition is not that of Merzbow or Masonna, with teeth-gnashing explosions of distortion, feedback, and volume; rather, Kahn’s psychoacoustic techniques employ the specific frequencies of white, pink, brown, and blue noise in works that reflect the ideals of minimalism. These are sounds that regularly occur through the constant vibration of machinery; and Kahn is more than happy to appropriate such events through field recording. He also generates complementary noises through systems that involve the rattling architecture of a drum kit or through his trusted analog synthesizer.
Vanishing Point is a 47 minute composition, which Kahn has dedicated to his daughter who died shortly before Kahn began working on this piece in 2007. For all of the phenomenological studies and stoic mesmerism attributed to much of his catalogue, Vanishing Point is a subtle and hypnotic elegy for rattling metals, timbral vibration, gossamer static, hissing field recordings, and those aforementioned colored noises. Soon into the piece, Kahn introduces a flickered ghost of melody whose luminous tones manifest ever so slightly against his contrails of noise. The upper register hiss and statics of these layered noises slowly drop in pitch and frequency over the duration of the piece, revealing subharmonic rumblings and an oceanic current that tugs at the agitated textures of Kahn’s surface noises. This glacial, minimalist shift renders Vanishing Point elegant and meditative.
In Kahn’s own words, “At first I thought of the title in reference to Louise’s passing, that point where she vanished from our lives, but on further reflection I came to see the compostion as dealing with other vanishing points. I address the idea of one’s sense of time vanishing, being immersed in sound and entering a place of timelessness. There is also the idea of boundaries between electronic and acoustic sound vanishing, as in this piece I draw on both sources. And finally, in the sense of aural perspective extending to the point where we imagine it ending, as the compostion stretches on towards its vista, slowly vanishing.”
http://jasonkahn.net
http://23five.org
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LUC FERRARI: Archives Génétiquement Modifiées / Société 2 CD (ROBOT 39)
Robot Records is honored and pleased to present two historic
compositions for the first time on CD by the late, great Luc Ferrari.
The programme opens with "Archives Génétiquement Modifiées"
(Genetically Modified Archives), a work for "memorized sounds"
from 2000. This composition (subtitled: Exploitation of the Concepts 3)
was the third in a series of later pieces in which Mr.Ferrari revisited
aspects of his early concepts and compositional strategies to create
wholly new works. The result here is a very bizarre, sensual, and
beautifully-paced electroacoustic work of aural memories and
(re)collections created by Mr. Ferrari utilizing sounds from his vast
archive of musical activities.
After a short "intermission", the programmecontinues with a true
highlight of Mr.Ferrari's early instrumental workentitled "Société 2"
from 1968. Subtitled "And if the piano were abody of a woman"
(for 4 soloists and 16 instruments), this composition appeared
opposite "Presque Rien" on the legendary Deutsche Grammaphon
LP. "Société 2" may be viewed as an erotically charged piece of
musicaltheatre where the soloists "compete" for the attention of a
woman (the piano).This concerto with its gestures and a fantastic
kaleidescope of styles and color shows the extravagant qualities
of the piano in its "harmony,imagination,and brutality".
Packaged in a full color digipak with 20 page bilingual booklet featuring
Mr. Ferrari's early artwork, notations, and programme notes along with
an extensive commentary by Jim O'Rourke and Jay Sanders.Remastered
sound with audio restoration by fellow INA GRM alumnus Jean Schwarz.
A wonderful glimpe into the world of one of the most legendary,
unique, and inspiring musical figures of the 20th Century.
Please visit www.robotrecords.com for more details and secure online
ordering.
Robot Records
P.O. Box 120004
San Antonio, Texas 78212
U.S.A.
www.robotrecords.com
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