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  • reviews_cs043
    mercilessly stinging our membranes Every idea is strongly affirmed and counts an awful lot everything makes sense perfectly logical in the flow of impulsive creation An unmissable release Massimo Ricci Touching Extremes Kinetyka to dzial dynamiki zajmujacy sie badaniem ruchu ukladów mechanicznych np cial pod wplywem dzialajacych na nie sil Jest to wiec calkiem odpowiedni tytul dla plyty z muzyka improwizowana Wszak improwizatorzy stale choc w odróznieniu od naukowców czynia to w sposób empiryczny badaja zaleznosc miedzy rezultatem tj muzyka i przede wszystkim samym procesem jego powstawania tj improwizacja a wplywem dzialajacych na nie sil Dwa lata temu w portugalskim laboratorium Tcha Tcha Tcha Studios czterech Portugalczyków i Brytyjczyk przeprowadzili osiem doswiadczen które po ich zarejestrowaniu zmiksowaniu i zmasterowaniu zostaly nam objawione za posrednictwem omawianej plyty Improwizatorzy wnikliwie zbadali materie muzyczna nieustannie wchodzac ze soba a przede wszystkim ze swoimi instrumentami w szczególne interakcje Traktujac swoje instrumenty zarówno jak instrumenty jak i obiekty muzycy wydobyli z nich dzwieki znajome oraz takie których skrzypcom altówce wiolonczeli tubie kieszonkowej trabce oraz instrumentom perkusyjnym na ogól sie nie przypisuje Nie czynili tego jednak by epatowac sluchaczy dziwacznymi brzmieniami lecz by wzbogacic i zintensyfikowac teksture utworów Osobna sprawa bylo uzycie elektroniki bowiem Carlos Santos czesto zainteresowany jest nie tylko swoja gra ale i jednoczesnym przetwarzaniem za jej pomoca partii towarzyszacych mu instrumentalistów Co prawda na Kinetics nieczesto sie to slyszy wydaje sie ze specyficzna artykulacja wystarcza muzykom do kreowania niezwyklych brzmien ale odnosze wrazenie ze cos takiego mozna tu sporadycznie wychwycic W muzyce granje przez kwintet nie ma pospiechu nie ma naglych przeskoków Zmiany sa ciagle ale rozgrywane w sposób powolny Muzycy mozolnie prowadza swoje partie z uwaga przygladajac sie kazdemu nawet najmniejszemu detalowi Kazdy dzwiek jest szczególowo dopracowywany mozna by wrecz napisac holubiony i staje sie surowcem efektywnie wykorzystywanym do stworzenia poszczególnych nagran Utwory lawiruja pomiedzy stanem lotnym wlasciwym improwizacji a cieklym przypisanym wspólczesnej kameralistyce Sa trudno uchwytne przez co zachecaja do powrotu do wielokrotnego uwaznego ich sluchania i odkrywania niezauwazonych wczesniej detali Kinetics to znakomita plyta zawierajaca wyrafinowana i pelna niuansów muzyke o zlozonej fakturze i wyrafinowanej formie wydaje sie wiec ze tym razem doswiadczenia sie powiodly Sugeruje byscie sami sie o tym przekonali siegajac po te plyte Tadeusz Kosiek Diapazon Label leader Ernesto Rodrigues in a quintet that works every inch of their instruments in quiet but tense micro improvisations You won t find any melodic technical runs here rather new methods of expression in an acoustic and electric mix of disruptive and fascinating environments Scrapes hisses and resonant tones clicks and clacks and dreamlike reverberation the art of noise and sound that Russolo s manifesto leads to Squidco The aptly named Kinetics CS 043 features a wonderful quintet consisting of Ernesto Rodrigues vln vla Guilherme Rodrigues clo pocket tpt Oren Marshall tba Carlos Santos elec and Jose Oliveira perc Theirs is music of quiet gesture and nuance the faintest scratch or breath a snippet of pizzicato and only the occasional spasm of raw noise the sudden gusting on part 1

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_043.html (2016-02-11)
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  • reviews_cs044
    acid The musicians smile and chow down on the corroded remnants loading their car without haste But the radiator s leaking Massimo Ricci Paris Transatlantic Epinat acoustic guitar objects and Mathias Forge trombone objects recorded these improvised tracks with Jérôme Bertholon credited as recording electric lighter quartz clock in La Pierre Chatelus in the Loire district of France They performed outdoors in a wood in a field etc and you can actually hear crickets and other faint natural sounds while they play but nothing as phonography based as say Afflux s works Duo features honest but a bit predictable and standard if this word can be used for radical impro I guess it can pieces with guitar played as object ramblings and Dörner style trombone gurgles and sputters Eugenio Maggi Chain DLK Duo CS 044 is a fascinating cryptic set of recordings from Cyril Epanat acoustic guitar and objects Mathias Forge trombone and objects and Jérôme Bertholon recording electric lighter quartz clock Recorded from over the course of 30 some hours from just before midnight on a Friday until Sunday dawn these very quiet pieces are mostly rather abstract and seem to reflect the environmental properties of the recording locations all in Southern France and credited simply as grove leafy forest big field pondside and Chatelus stone Forge is certainly the more garrulous of the players exploring the flatulent tailgating end of the sound spectrum but doing so if this is possible in a highly restrained fashion which surely requires an impressive amount of control Epanat will only rarely slash across the strings or pluck a single resounding note he s more likely much more than Forge to avoid the idiomatic properties of his instrument Occasionally I thought I heard some insects buzzing in the environs and even more seldom there are passages of rising intensity But most tracks are anything but effusive with the players intent to merge with whatever sounds they find around them Excellent stuff Jason Bivins One Final Note Et utvalg på fire utgivelser av en bolk på tolv nye fra Creative Sources Den portugisiske labelen stadfester sin posisjon som den suverent mest kreative på sitt felt Kvaliteten derimot er denne gangen mer varierende enn hva man er blitt vant til fra Ernesto Rodrigues hold Egentlig er Duo en trioplate Tittelen hentyder til samspillet mellom musikerne og innspillingsstedet som er en olivenlund i Loire Frankrike Tidspunktet for innspillingen er tidlig september 2004 og naturens vell av sensommerlyder finnes i ren uformidlet form både som bakgrunn og dialogpartner til de tre franske improvisatørene for meg fullstendig ukjente og for de fleste andre også ifølge mangelen på informasjon om dem på nettet Fuglekvitter fluer og veps som summer sirisser som synger utgjør soundtracket til en natur og et landskap som ennå ikke er ødelagt av menneskenes støy forurensende fremferd I tillegg til musikernes egne menneskeskapte instrumenter og objekter Cyril Epinat Mathias Forge Jérome Bertholon spiller henholdsvis akustisk gitar trombone elektrisk lighter og qartz klokke benyttes naturen aktivt i

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_044.html (2016-02-11)
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  • reviews_cs045
    entre si centenas de anos de diferença quanto ao momento em que historicamente apareceram facto completamente irrelevante para a economia de Savagnières A espineta é um instrumento de tecla da famíla do cravo com um som que lhe é timbricamente próximo se tocado de forma convencional Não é isso que aqui acontece As cordas de Christoph Schiller são percutidas dedilhadas e passadas a arco esgueiram se suavemente por entre as oscilações das ondas digitais geradas no Powerbook de Peter Baumgartner Estas formam uma fina película que envolve a delicadeza do preparado acústico o adequado pano de fundo dronológico sobre o qual se desfiam os acontecimentos que tanto se inspiram em sonoridades orientais na música contemporânea ocidental como na livre improvisação europeia A turbulência é mínima e a sensação de movimento é nítida e sempre presente O volume geralmente baixo e sem picos de maior ao longo da jornada apenas sobe uns furos consideráveis durante breves segundos na quinta e última improvisação esconde uma luxuriante actividade de microfonia que faz com que esta seja uma sessão que tanto pode agradar ao público da electrónica pura como ao da improvisação acústica Eduardo Chagas Jazz e Arredores We live in a time where a powerbook a laptop computer is branded a legitimate musical instrument Stating the obvious perhaps but it s almost bemusing perhaps patently absurd how casually this is taken for granted particularly since the powerbook s performer is really playing software and manipulating a mouse rather than plucking a string hitting a drum or blowing into a horn Yes synth players have in essence operated with a similar maxim but the laptop s infinite versatility belies its patent facelessness Peter Baumgartner is the man on top here paired with Christoph Schiller who is credited with utilizing spinett sic a harpsichord like instrument which Schiller bends arches and tweaks in ways the spinet s maker likely never imagined Thrust into the digital realms of Baumgartner s machine made environment Schiller s sonic tool handily complements his partner s latent hums and pensive soft synth coagulations Five untitled tracks are plainly marked on the booklet by their individual lengths each in tandem epitomizing where contemporary electroacoustic improv sits and how it functions as an categorical entity on the praxis of modern day music The near 20 minute title track is a veritable model of digital economy and acoustic means Baumgartner and Schiller volley sounds at one another with little regard for simpatico gestures the former either births dark hued synth hums or plangent whoops and hollers for the latter to prattle and screech over or leaves great gaps of silence for Schiller to mussy about in Sonic nomenclature is largely abandoned all is effect residual or otherwise Travelling in long sustained vacuums ultimately does both artist s few favors if anything such pregnant pauses seem to reveal more a paucity of genuine ideas than overt acts of creation When the two do gel once that long second piece approaches the halfway point at

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_045.html (2016-02-11)
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  • reviews_cs046
    kwietniu biezacego roku Instrumentem którym posluzyla sie Mukarji jest rama dziewietnastowiecznego fortepianu Hornunga której struny sa pocierane drapane opukiwane Intrygujace i nadzwyczaj plastyczne dzwieki przywodza na mysl odglosy szarpanych wiatrem metalowych drutów rozwieszonych na wysokich slupach lub metalowych pudel wleczonych po kamiennym bruku Tisha Mukarji stara sie skladac te dzwieki w wieksze calosci dwa pierwsze nagrania trwaja po okolo siedemnascie minut ale nie zawsze jej sie udaje Jest to szczególnie zauwazalne w utworze otwierajacym plyte gdzie nie udalo sie jej zachowac ciaglosci narracji i równowagi miedzy poszczególnymi elementami przez co ucierpiala forma Kiedy artystka zachowuje umiar i dyscypline stopniowo rozwijajac nagranie jak jest to np w utworze Brush Piece jagged i rozwaznie wiazac ze soba poszczególne motywy rezultat jest zdecydowanie lepszy i ciekawszy W utworach z D is for Din odczuwa sie brak spójnosci ale na pewno stanowia one prawdziwa skarbnice interesujacych brzmien w które warto sie wsluchac majac nadzieje ze w przyszlosci Mukarji nabrawszy doswiadczenia stworzy dzielo doskonalsze Przyznam ze na razie chetniej niz kolejnej jej plyty solowej zapoznalbym sie z nagraniami stanowiacymi owoc kooperacji Mukarji z innymi muzykami gdyz sadze ze zobligowana do wspólpracy zagralaby bardziej konsekwentnie Tadeusz Kosiek Gaz Eta Não é outra coisa o que faz Tisha Mukarji tal como está documentado em D Is For Din A harpa de um piano vertical sem o piano serve lhe para um labor de manipulação das cordas em que a produção de feedbacks é recorrente parecendo que há a intervenção de algum processador quando tal não se verifica Rui Eduardo Paes JL Recorded at Copenhagen Royal Art Academy last April D is for Din is a solo piano improvisation but don t expect anything even remotely close to typical piano notes Judging from the sounds he utters Mukarji plays a square piano frame directly on the chords with his fingers and my guess a variety of objects like e bows brushes etc Depending on your preferences in terms of concrete sounds there could obviously be exhilarating passages and less interesting ones but the continuous scraping and screeching of the chords is vigorous and detailed enough to keep you captivated throughout One of the best releases in the new Creative Sources overflow Eugenio Maggi Chain DLK All sounds are acoustic writes Mukarji who plays a 1850 square piano frame of all things Not that I had any doubts this music sounds like a mixture of Organum Z ev and Alfred Hitchcock s birds doing seesaw exercises dangerously near to a rusty chainsaw Tisha uses wood and strings like nuclear weapons eliciting powerful contrasts of harmonics with often unbearable intensity nails on the chalkboard style but she s also capable of some finesse listen to Brush piece jagged or Whispers to get more acquainted to her ghosts of pseudo calmness For sure D is for Din is quite atypical in reference to the operational formications and the scratching of silence that Creative Sources usually presents this album sails through the perilous waters of uneducated sound with efficient belligerency demounting our

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_046.html (2016-02-11)
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  • reviews_cs047
    Doug Theriault Sensor Guitar controlling live electronics it says here and Bryan Eubanks Open Circuit Electronics There are two extended tracks Don t worry about the future 21 04 and A majestic 40 51 and don t be fooled by the slow start into thinking this is just another play it safe post AMM laminal trawl There are some pretty nasty surprises in store and Theriault and Eubanks steer dangerously close to the edge I think we can say with some certainty then that an Erstwhile release for this pair is sadly out of the question for the foreseeable future Open circuit electronics are as Vic Rawlings can tell you notoriously unpredictable and Eubanks unleashes some particularly painful dentist chair nightmare shrieks from time to time having just undergone protracted dental work myself this stuff certainly strikes a chord I can tell you but there s a sense of commitment and feeling for large scale form that has me coming back for more After all it s worth several trips to the dentist if you end up with a beautiful gleaming new crown Unlike much European EAI which is painstakingly airbrushed and ProTooled into ever more pristine composed structures there s a roughness and rawness here that sounds distinctly improvised And that s also true of the very best AMM albums lest we forget Dan Warburton Paris Transatlantic Big Clouds in the Sky Today CS 047 comes courtesy of a pair of Oregonians Doug Theriault sensor guitar controlling and live electronics and well regarded saxophonist Bryan Eubanks here manipulating open circuit electronics As these two play such lush spacious music and do so in very long form two improvisations fill out this hour long disc I m half tempted to compare them in sensibility if not actual sound to Portland rock band Growing Long drones brim with microscopic details and occasionally flash with something like anger restlessness or instability At times there are warm analog sounds which recall organ or even farfisa but for the most part this is dense thoroughly electronic stuff These guys probably had folks like poire z and Voice Crack in mind when creating this music but I was actually reminded most of the not entirely successful meeting between Pan Sonic and Merzbow The pair sound most comfortable when the music is at its most noisy and aggressive as the quieter passages are almost nervously filled with chatter and information Indeed though this is a pleasant enough recording the music lacks a sense of gelassenheit though at times the bustle of the 40 minute A Majestic gets close Jason Bivins One Final Note Ultimamente quem tem dado cartas neste domínio da improvisação de base electronica têm sido principalmente artistas europeus e japoneses descendentes na linha recta ou na linha colateral do trio britânico AMM a old school da improvisação electrónica e electroacústica No caso vertente é de Portland EUA que provêm Doug Theriault sensor guitar controlling live electronics mantendo a designação original e Bryan Eubanks electrónica

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_047.html (2016-02-11)
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  • reviews_cs048
    South of France If you don t understand the album title by the way go Google and erm practice your French Oh yes Boubaker and trumpeter Sébastien Cirotteau who recorded the three pieces here also have a fine duo release Vortex for mp3 download at www stasisfield com Go Dan Warburton Paris Transatlantic Glotosifres CS 048 is a brief recording three improvisations in under 30 minutes played by pianist Nush Werchowska alto saxophonist Heddy Boubaker and drummer Mathias Pontevia I was unfamiliar with all these musicians but found my first encounter with their music pretty enjoyable It is relatively high energy dense music for this label Werchowska s prepared piano is a focus for much of the time as on Bribes the extensions and manipulations of the instrument get quite intense Boubaker s palette seems narrower residing mainly in conventional sounding overblowing techniques though some pleasant flutter tonguing occasionally surfaces Pontevia knows how to stir the pot and while he s not usually at the center of the music s movement his use of dynamics often directs things and pushes the other two players in more heated directions When Werchowska plays conventionally the feel is not unlike an early Cecil Taylor improvisation that is if Cecil were accompanied by a post Lovens percussionist and a post Jack Wright altoist But on the fine Spires the players transform themselves unexpectedly it s almost like hearing flame die out and go reductionist for the duration Jason Bivins One Final Note Whether it started with John Coltrane s hour long saxophone workouts in the 1960s those extended Norman Granz organized jam sessions in the 1940s or to go back further classic jazzers taking chorus after chorus on standards like When the Saints Go Marching In brevity has never been considered a virtue in improvised music This tendency was exacerbated with the invention of the lengthier and more expensive CD as musicians previously able to say all they had to in 40 minute wedges suddenly felt they had to lengthen each track to give the cost conscious consumer an hour or more of music Luckily that fad has lessened over the past couple of years with astute performers acknowledging that quality wins out over quantity These sessions by similarly constituted trios of musicians who live in different cities on either side of the English Channel provide the truth of that assessment Even more condensed the three improvisations created by the cooperative trio of Paris based pianist Nush Werchowska drummer Mathias Pontèvia of Bordeaux and alto saxophonist Hedy Boubaker who lives near Toulouse clock in at an economical two seconds less than 29 minutes The playing standards of Werchowska Pontèvia and Boubaker s Glotosifres Creative Sources and It s morning are at such a high level however that no listener should feel shortchanged by either set For instance all of the French CD is dedicated to the non idiomatic timbres that can be expressed with these traditional instruments not unlike the similarly consisted trio of

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_048.html (2016-02-11)
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  • linernotes_cs049
    Kahn started their musical lives as drummers and to a greater extent their approach to working with sound directly relates to the years spent playing acoustic drums In this respect Drumming represent three different approaches to working with acoustic drum sounds with Christian Wolfarth reducing his drumset down to the minimum of one snare drum a cymbal and an array of objects drumsticks brushes pinecones Günter Müller uses an iPod

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_049.html (2016-02-11)
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  • reviews_cs049
    where it s at 35 years later Dan Warburton Paris Transatlantic To me the pick of the litter is the wondrous Drumming CS 049 Günter Müller ipod and electronics Jason Kahn laptop and Christian Wolfarth percussion are all renowned percussionists but as you can see only Wolfarth actually works with that instrumentation And what s immediately compelling about these nine improvisations all entitled Drumming is how they resist and evade conventional percussive strategies They move they pulse they pace and accent but they aren t bound by any repeating figures or meters The integration of electronics and conventional percussion is quite seamless revealing a sonic mix not unlike that heard on Plus Minus recordings though the music is quite different altogether more burbling and active Occasionally as on Drumming 2 Wolfarth plays with a hypnotic insistence but it does more to accentuate the liquid work of his colleagues than anything else Many of the pieces are quite cavernous sounding and Müller in particular is an effective and creative player in this kind of context Yet even when the trio isn t constructing densely layered pieces as on the squeaking Drumming 5 their sense of contrast and dynamics is excellent My only quibble is that many of the pieces are abruptly cut off suggesting some kind of radical editing But this disc deserves to be heard nonetheless Jason Bivins One Final Note The name of this record is provocative to say the least While all three of the participating musicians have spent plenty of hours behind a drum kit only Wolfarth directly plays a percussion instrument here Kahn plays laptop Müller iPod and electronics and while both men use plenty of sound files of percussive origin they ve processed the original taps scrapes strokes and beats into distorted pixilated ghosts of their former selves Only occasionally as when Wolfarth puts brushes to snare at the beginning of Drumming 4 each of the nine tracks is similarly numbered do the players work with obviously drum like sound material Nonetheless the title fits Even at its most electronic this music has a physical quality that you d expect from guys whose formative musical experiences involve whacking things On Drumming 4 for example even the squelchiest sounds have a graininess that suggests palpable texture rather than virtual experience Drumming 6 comes at you with a spray of clicks and crackles crisscrossed by wavering tones that evoke insects beating their amplified wings against your back porch light while their cumulative voices beat at your ears Drumming 7 takes the insectoid vibe underground with a juxtaposition of merry clatter and fricative huffing that suggests a hill full of ants playing castanets while a dog snuffles vainly at their abode It is this delightfully suggestive property that makes Drumming a record worth playing again and again Bill Meyer Dusted Magazine Et utvalg på fire utgivelser av en bolk på tolv nye fra Creative Sources Den portugisiske labelen stadfester sin posisjon som den suverent mest kreative på sitt

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_049.html (2016-02-11)
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