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  • linernotes_cs162
    walking through Shandon visiting The church the bells reflecting on the Roof over looking the city meditating in the clock tower and walking back down shandon street Creating a picture of life in a historic part of the city Echo Echo is a piece where the Echo boys street newspaper vendors voices are manipulated and processed against an ambient backdrop of Patrick St This is influenced by American composer Steve Reich whom inspired me for many years with his tape pieces Come Out and Its gonna rain I was also influenced by the systems used in Stockhausens Licht cycle There is a call and response scenario being developed It is important to distinguish the subtle contrast between the Echo boys one of the voices is earthy perhaps the soul of Cork and implicit in the other voice is a more refined boy soprano texture Panaramic What is it like to walk down Patrick St in this post Celtic tiger era hearing the different dialects languages colloquialisms sounds of commerce sounds of social activity cultural music sounds and the banks of my own lovely lee recited by 22 different people from all nationalities domiciled in Cork The title is a wordplay on Pana colloquial term for Patrick st and panoramic alluding to our aural interpretation The Stonecutter The Stonecutter is a petite homage pour Seamus Murphy one of our greatest artists Cork is adorned with ornate Stonework I recorded a stonecutter working with stone and used the rhythm of his work texture of stone and activity of his space to create a soundpiece with an ambient soundscape around it I also composed a poem the Stonecutter which Gokcen Dilek Acay from Istanbul recited for me I edited processed it and inserted this in the piece Bjork couldn t have done it

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_162.html (2016-02-11)
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  • reviews_cs162
    distant voices that featureless gentle hum that pervades every otherwise quiet city if you stop and really listen carefully the treatment of the recordings isn t to my taste at all The problem here then is not so much the original sounds themselves though an overlaid spoken poem on The Stone Cutter the last track here doesn t sit well with me but the methods used in the composition the primary annoyances to me being a persistent use of slow echoey reverb particularly on spoken voices recurring obvious sounds that keep being dropped into the pieces so as to make them feel even more unnatural than the reverb makes them feel already and a general sense of everything being filtered and blended into one big aural smoothie It is of course a personal preference of mine that I think I share with quite a few others that good creative field recording is usually best left raw While layering and collage is often very successful direct processing of the sounds themselves is only on occasions interesting to my ears Field recording is very easy to do as th emany CDs released documenting such work show us but it is very difficult to do well and too easy to take an uninteresting field recording and try and make it more intriguing by processing it a lot However In the case of these particular pieces I actually think that the original recordings might have been relatively interesting in their original state and the way they have been blurred by the ever present use of decaying echo destroys what may have been there The second track Echo is particularly grating sorry to be so harsh but I really did struggle with this one As fuzzy city sounds drift by in a grey processed manner in the background a man s voice shouting Echo in a resonant tunnel a bit like we all did as children appears and is heartlessly subjected to further decaying echo The thing is it then keeps repeating over and over not as a loop as such but as a recurring section of the music until quite frankly it really annoyed me The final track the aforementioned The Stone Cutter sees the field recordings treated further until all that remains is a grey Enoesque hum the like of which was popular in the late nineties Dark Ambient movement Dripping water sounds and the tapping of chisels on stone also appear but the track s central element is the poem read by a vaguely androgynous youthful voice but treated to the echo process so much that the words are very hard to make out O Leary then prints the words on the CD sleeve This piece is just a million miles removed from the area of field recording work that interests me The music here then did not impress a great deal on me To some degree this is a taste thing CDs that veer towards a New Age vibe in general

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_162.html (2016-02-11)
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  • reviews_cs163
    attention but it s still a strong album François Couture Monsieur Délire Millefleurs improwizujacego chóru o tej samej nazwie zawiera muzyke nielatwa ocena wynika zapewne z mojej niecheci do ludzkiego glosu jako instrumentu tych wszyltkich sapniec jekow prychniec bulgotow Dlugi bo plyta trwa 70 minut czas trwania nie daje sluchaczowi ani chwili wytchnienia pozostawiajac go sam na sam z rozpasaniem swobodnej wokalistyki To nie lada wyzwanie ale milosnicy ekstremalnych muzycznych doznan moga spróbowac dotrzymac pola wokalistom i wokalistkom Kilkanascie minut na pewno nikomu nie zaszkodzi Tadeusz Kosiek Diapazon Depuis 1999 Christoph Schiller dirige l ensemble vocal Millefleurs Celui ci comprend en ses rangs aussi bien des amateurs que des musiciens habitués des scènes de l improvisation comme Carl Ludwig Hübsch ou Agnès Palier Il s agit du premier opus d un groupe que l on devine fascinant sur scène Son nom renvoie aux tapisseries médiévales dont le fond est parsemé de petites fleurs Ces dernières correspondraient aux sons émis par chacun des musiciens le fond au tout formé par ces efforts individuels Chaque morceau baptisé d après une fleur résulte ainsi d une improvisation libre Si le concept est proche de celui mis en place par Phil Minton avec son Feral Choir le résultat s en éloigne par l absence d un conducteur une rythmique moins affirmée et des ambiances plus abstraites Il y a comme une retenue dans l expression des chanteurs qui les empêche de tomber dans la cacophonie D ailleurs il est rare d entendre plus que quelques uns des douze improvisateurs en même temps L inquiétante étrangeté qui se dégage de leurs chuchotements trilles ou cris étranglés est suffisamment captivante pour faire oublier la durée d un album parfois un peu long Pour s en convaincre il suffit d écouter Passiflora incarnata et de se laisser

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_163.html (2016-02-11)
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  • reviews_cs164
    très rapprochée nous met dans les secrets de la grosse poche à soufflets Les anches rentrent peu à peu dans le jeu sous forme de notes filées répétées mais jamais égales la boîte continue de les accompagner de souffles Des couches apparaissent fragmentairement l ambitus s élargit les vibrations s accroissent on descend vers les graves Tout cela se dégage d un silence qui revient sans cesse Le cinquième morceau passe à l électronique le sixième revient à l accordéon avec de longues nappes lourdes Le septième s articule à un son filé ininterrompu Cette musique est d une grande simplicité grande lenteur elle se tient à rien et elle se tient Il s agit de ne rien faire qui puisse briser le fil que tisse cet infime et la justesse de ton de Kocher sa manière de conduire la musique et de construire avec du rien un disque qui est une œuvre sont impressionnants Aucune fascination ni totemisation de l instrument qui permet avec quelques éléments simples de faire un acte de musique Noël Tachet Impro Jazz Les bretelles solidement accrochées à de nombreux folklores l accordéon est injustement dédaigné par les pratiques expérimentales ou improvisées Bien sûr les travaux de Pauline Oliveros Howard Skempton ou Guy Klucevsek semblent contredire cette sentence mais une fois la vitrine dépassée le paysage est plutôt désertique C est donc avec une curiosité toute particulière que l on aborde ve disque de Jonas Kocher qui ausculte de très près l instrument maudit et le confronte à l occasion à d autres objets De manière non anodine Kocher a fait ses classes auprès de Teodoro Anzellotti lequel a largement contribué à ré introduire l accordéon l accordéon dans le répertoire contemporain de Cage à Kagel en passant par Berio qui lui a dédié sa XIIIème Sequenza Outre les techniques instrumentales étendues Kocher a également développé à travers son travail de composition pour le théâtre et la radio un goût pour la narration et la mise en espace Ces différents éléments s imbriquent superbement le long de cette suite d improvisations premier opus solo du Suisse et incontestable coup de maître Sur chaque titre les matériaux employés sont simplement énumérés soufflet boutons archet cymbale laine de verre ou électronique Il s agit le plus souvent d une combinaison de deux d entre eux qui est explorée avec la froideur de détermination mais aussi l empathie du geste clinique On entame ce périple au coeur d une alvéole pulmonaire dont les contractions arythmiques révèlent une insuffisance respiratoire souffle rauque et intime qui ménage sa survie Le crin s accroche au soufflet dérape en grincements lugubres avant que des fréquences suraiguës ne prennent le relais On imagine sans doute à tort des doigts crispés jusqu au sang extirper le dernier soubresaut d une machine autrement inanimée Le tranchant de la dissection n entame pas pour autant la dramaturgie de l instrument Sur al fin de Bow Cymbal Buttons notamment l accordéon s essouffle avec gravité et se

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_164.html (2016-02-11)
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  • linernotes_cs165
    moment of building the present This unspoken speech has the pretension of being beautiful because all formality must chase beauty and all that exists just for a moment has the delicacy of its own transience Andresa Soares May 2009 I first met João Lucas and Miguel Mira in a small apartment on the outskirts of Lisbon It was crowded with friends who were gathered for the sole purpose of hearing them play What surprised me most was that regardless of the totally informal setting composed of endless background chatter and a densely congested and smoke filled room both musicians seemed completely submerged in their musical dialogue oblivious of any outside disturbance For the greater part of the present decade I have had the privilege of observing this almost autistic concentration of theirs blossom into one of the most consistent musical partnerships of the local music scene frequently inviting many other musicians to intermittently inhabit their inner circle Nevertheless the music that is crystallized in this CD largely transcends the scope of those long after hour sessions behind closed doors Although a glimpse of that is audible in the loose introductory improvisation performed by the duo the remaining bulk of this work is intimately connected to contemporary dance as well as musical composition More specifically the genesis of João Lucas outstanding piece rests on choreography by a young and extremely talented dancer whose name is Andresa Soares Their work method is worthwhile describing as it highlights the artistic affinity that bonds these two artists But before doing so I must mention that this is not the first time that João Lucas and Andresa Soares have worked together They too have a longstanding partnership that has also nourished an appetite for dialogue The synthesis of this piece thus began with a series

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_165.html (2016-02-11)
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  • reviews_cs165
    with a reasonable comparison sometimes Muhal at his warmest Or a spikier Blue Gene Tyranny Hell there s a section that reminds me of 1983 A Merman I Should Turn to Be I gradually got into this a good bit but it s a curveball to be sure Proceed with caution Brian Olewnick Just Outside Music written for Andresa Soares choreography It was a very abstract thing Music focused on improvisation although there is a canvas and even entirely scored bits it seems João Lucas plays piano accordion and light and occasional electronics Miguel Mira on cello The music focuses on the deep running interplay between Lucas mostly at the piano and Mira Non idiomatic music charged with emotion and busy with motion with a slight touch of tango surfacging here and there François Couture Monsieur Delire O peso da partitura em Abstract Mechanics também é evidente Trata se da banda sonora de uma coreografia de Andresa Soares Era Uma Coisa Mesmo Muito Abstracta em linha com os investimentos de João Lucas como compositor de cena E no entanto é a performance pianística que sobressai mesmo que aqui ou ali banhada em soundscapes electrónicos e completada pelos comentários muito soltos de Mira aqui com a responsabilidade de introduzir nas tramas a variável out que no outro disco surge por via da intercalação de improvisações absolutas A dimensão é mais vanguardista do que a de White Works sim mas o factor melodia está igualmente em primeiro plano bem como toda a particular semiótica do piano Em conclusão eis duas edições que não obstante assistidas por outros propósitos dignificam como poucas outras em Portugal nestes domínios a arte erigida sobre o teclado branco e negro Admirável Rui Eduardo Paes Music written for Andresa Soares choreography It was a very abstract thing Music focused on improvisation although there is a canvas and even entirely scored bits it seems João Lucas plays piano accordion and light and occasional electronics Miguel Mira on cello The music focuses on the deep running interplay between Lucas mostly at the piano and Mira Non idiomatic music charged with emotion and busy with motion with a slight touch of tango surfacging here and there François Couture Monsieur Délire La suite Abstract Mechanics est une composition du pianiste portugais João Lucas La musique a été créée en studio en s inspirant de la chorégraphie filmée et montée pour l occasion Era uma coisa mesmo muito abstracto de la danseuse Andresa Soares Cet aspect primordial de la méthode de création pourrait gêner l appréhension de la musique Il n en est rien tant cette dernière peut être appréciée sans complément visuel João Lucas qui gère également quelques effets électroniques intègre divers field recordings et joue de l accordéon est épaulé par le violoncelliste Miguel Mira Si la chorégraphie était selon les mots de sa conceptrice a very abstract thing il est plutôt agréable de se laisser bercer par son accompagnement sonore essentiellement d un registre romantique Alternant atmosphères fantomatiques et passages

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  • linernotes_cs166
    first people I met when I arrived in Berlin in 1990 and we eventually even performed together before Ulrich moved away soon thereafter to New York Since then he has produced an extensive body of work both as an instumentalist and composer It was great having the chance to play together again after so many years Olivia Block was my next choice Known primarily for her compositional work this performance features Olivia on prepared piano Judging by her fantastic playing on this recording I can only hope that more people will invite her to perform as a pianist in the future Mark Trayle completed the group As a composer and member of the network music ensemble The Hub Mark s work has been at the forefront of computer music since the 1980 s On this recording he performed with guitar and his own self programmed SuperCollider applications It should be stressed that Timelines Los Angeles was composed with this group of musicians in mind These graphical works of mine are therefore not interchangeable they are conceived within the context of the particular instrumentation and even more importantly for the participating musicians In this sense I see these works as more

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_166.html (2016-02-11)
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  • reviews_cs166
    exactly for those executors and their respective personalities the composer decided to employ Olivia Block on prepared piano and Ulrich Krieger on saxophone and electronics whereas he is featured on percussion and analog synthesizer Still if a record exists that doesn t ask for excessive deliberation about the timbral individualities this must be it although we do identify and separate the sources well sort of as the whole flows The best method to describe this full hour is partitioning it in sections corresponding to a general dynamic appearance The beginning is dominated by Block which generates a reiterated scraping first a rumbling substratum of thick string resonance later upon which a rarefaction of synthetic emissions and diminutive reed noises are heard Gradually the interferences become a series of more consistent blotches it is actually complicated to differentiate what comes from Trayle and what from Kahn in certain instances then all of a sudden an extensively violent surge especially enhanced by Krieger s next to collapse drones on the sax keeps us on the seat of our pants for long minutes Imagine an extract from a Phill Niblock piece deprived of the precious components just harshness and unfriendly frequencies stimulating nevertheless Everything stops suddenly leaving the listener alone with some variety of infected steam hissing around finely complemented by repetitive hits on a cymbal in classic Kahn fashion until conclusion It takes time to agree to this music It s definitely uneasy on the ears despite the whispered attributes defining its large part and the structure is so evidently subdivided that a lightweight mind might find hard to follow the fluctuation of events in its entirety Once the initial coat of unfriendliness is melted though there s no stopping in enjoying it completely that s why I d classify this CD as wisely unwelcoming Then as usual it depends on what you expect from the act of listening If a background is needed look somewhere else If attentiveness and breakdown are your forte a lot of meat is here to chomp on Massimo Ricci Touhing Extremes Anyway I promised a report on how it felt to listen to the same album at each end of a sixteen hour overnight work period Yesterday before heading off to work early afternoon I listened to Jason Kahn s Timelines Los Angeles a graphically composed piece for a quartet that was released last year on the Creative Sources label Then after working very hard both physically and mentally for sixteen hours through the night I came home at 7AM and immediately listened again These things interest me a great deal the way people listen and what alters this upsets the equilibrium has long been an area of thought I enjoy and I hope one day to collect some thoughts together on this area of enquiry into a book of some kind I should add that although this CD has been released for quite a while now it has sat on a shelf here unplayed until yesterday The first listen just before going to work was my first experience of the music the second was therefore then the post work airing I should add that after waking this afternoon I did then play it through two or three more times First of all Timelines Los Angeles is a one hour long piece of music scored graphically for the precise musicians that appear on this recording Jason Kahn himself percussion analogue synth Olivia Block prepared piano Ulrich Krieger alto and soprano sax plus live electronics and Mark Trayle laptop and guitar The piece has a tendency towards sections of sounds that do not change much for their duration but each last maybe three or four minutes with many of them overlapping at any one time While not really ever becoming an out and out drone there is a sensation of overlaid continual sounds rather than a more broken up talkative discourse between the musicians I ve never seen the score but I suspect it consists at least in part of windows within which each musician may make sounds The overall feel of the music is one of a slowly revolving kaleidoscope the colours and textures of the music sliding over each other changing all the time but the exact start and finish point of different elements not always easy to spot This really is music that requires close attention to really engage with the tiny events that unfold the little collisions between different sounds the way the different instrumentation play off of each other It is music that could easily be left to play in the background and provide a thoroughly pleasant bed for whatever you might be doing so casual listening might set a certain mood or given a general feel of the overall structure of the music but to really dig into this recording to follow the constant changes and notice the detail you need to listen relatively closely When I first listened alert and awake tot he music I knew I wanted to try and compare the experience with the later exhausted one and so I set myself some rules for listening I wouldn t read or write or surf the web while listening but instead lay quietly on my bed midway between two speakers close my eyes and listen I found the music quite hard to remain totally focussed upon it The lack of many big sudden events or shifts in dynamic forces you to have to really stretch yourself to stay engaged There are a couple of big shifts in the music a distinct turn towards a denser roaring sound at about thirty five minutes in and then a sudden drop into a much more subtle finely detailed backdrop of hiss and murmur ten minutes later are the moments that should have remained noticeable through each listen Although it was quite tough going at times to keep the music under an aural microscope the rewards were great and the act of following

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_166.html (2016-02-11)
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