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  • reviews_cs076
    in die Backen und sucht vorsichtig aber mit sanftem Nachdruck Pfade ins Ungefähre Recht so denn wer vor lauter mentalen Vorbehalten die Zunge verschluckt steht am Ende auch nur mit Katzengold da Rigobert Dittmann Bad Alchemy The lineup features two trombones Oliver Demand and Von Woellwarth two drum sets Kleinemas and Winger and e guitar e table guitar Sascha Demand Incombustible materials lay on a pavement waiting for the musicians to scatter them around Each one has its own smell and density all of them are handled with no care for a structure Instruments that seem gathered in foisonless small groups penetrate a silent churchyard made of inchoate dialogues and perplexing rendezvous A few insufflations by the trombones are enough for the drums to start an almost imperceptible infighting Sascha Demand is the only one who can maintain his possessions for a longer time thanks to his eBow infiltrations The musical cells aggregate and instantly decompose in an irregular series of short flashes it rarely happens that a group materializes but it s soon cut short by a sort of productive incoherence A sense of tranquillity permeates everything also in the most explorative sections human presence is felt every once in a while someone whistles claps hands or grunts but the instruments are the discreet protagonists of a silent tremulant conversation that highlights the uselessness of a lexicon Massimo Ricci Touching Extremes With a new bunch of releases coming out here we ve a five piece collective on Creative Sources that includes Oliver Demand and Moritz von Woellwarth on trombone Sascha Demand on guitars and Thomas Winger plus Ralf Kleinemas on drums While may expect some explosive noise caustic combo Beside The Cage is really held back in the way the players wait to push their singles notes around in an harmonic manner Differently form many other releases on the same label they have some sketches of eruption but being just sketched and not shaped figures it all sounds as it s disappearing right when you look ahead to see it gets a distinct shape Believe it or not sometimes it recalled an old band on Ecstatic Peace called Thela it featured Dean Roberts as if it would have been more electro acoustical improvised As I told despite the improvisational essence of the work there s a chocked attempt to reach for a melody sometimes and that s what makes the whole effort interesting together with its soloista vs collective duality or at least that s my opinion Differently from many others Beside The Cage accomplish the interesting result to sound varied but not confused the only possible remark is that like many other releases of the sort is a bit too long Who knows why many artists want to taste the patience of their listeners but it doesn t change the fact this record is still interesting Andrea Ferraris Chain DLK Beside the Cage é uma formação com dois trombones duas baterias e guitarra eléctrica Susceptível de pôr meio

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_076.html (2016-02-11)
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  • reviews_cs077
    latter never trespassing the limits of comprehensibility making me think about a miniature reproduction of Emanem s Strings With Evan Parker in a few interesting moments with MacDonald giving his all in obvious if coherent struggles with predictability In the more spartan segments tapestries of manipulated guitar and laptop contraptions welcome Nicholson s intuitive cello figures while Nakatani only rarely allows himself to lower his tight percussive defence in favour of a disjointed beat I much prefer those moments of concentrated standstill as it s there that the music mostly succeeds in leaving stereotypes behind At almost 70 minutes avoiding the traps of boredom is a serious task that these musicians try hard to perform with only partially satisfactory results Massimo Ricci Paris Transatlantic Aporias título recente de um quinteto de improvisação livre formado em Glasgow Escócia que inclui o percussionista japonês residente em Nova Iorque fundador da editora H H Tatsuya Nakatani e os membros da Glasgow Improvisers Orchestra director Raymond MacDonald saxofones alto e soprano Peter Nicholson violoncelo Nick Fells laptop e samplers e Neil Davidson guitarra eléctrica que já editou Grain disco de guitarra acústica solo na Creative Sources Recordings Nas cinco peças de Aporias 68 há traços de escola Inglesa de improvisação livre do marulhar e da constente tensão milimétrica que John Stevens instilava na música do Spontaneous Music Ensemble com ocasionais picos de febre Ao olhar que percorre o passado recente como revisitação da memória que codificou gestos sinais e referências de uma prática com determinada demarcação temporal o grupo aporta elementos da sua própria pesquisa individual e colectivamente assumida patente numa particular organização tímbrica e espacial que é na sua unidade e diversidade tributária da escrita ocidental de alguns aspectos do minimalismo de 70 da arte sonora electrónica actual e de alguns aspectos meditativos ligados à tradição japonesa Para pôr em prática este programa de acção o grupo trabalha sobre aquela plataforma estética reconhecível e deveras importante na improvisação europeia em geral e britânica em particular mas não se deixa ficar pela actualização dos procedimentos que Stevens Bailey Watts Parker e companhia inventaram em meados de 60 os quais autonomizaram a improvisação até então uma característica entre outras do jazz norte americano ou dos AMM de John Tilbury e Eddie Prévost desde 2005 um duo que partindo de idênticos pressupostos apontaram noutras direcções O quinteto de Aporias optou antes por tomando aquelas referências como ponto de partida e motivo de inspiração transformar modos trabalhar sobre novos desenvolvimentos estéticos e recentrar o paradigma musical nos aspectos eminentemente colectivos da criação espontânea É assim que a uma intensa actividade sonora por unidade de tempo permeada de breves intervalos de silêncio o quinteto adiciona um tipo de construção gramatical complexa de tecitura apertada meios pelos quais logra a convergência entre o fino rendilhado obtido através das mais diversas técnicas experimentais ortodoxas e heterodoxas aplicadas aos instrumentos a simplicidade formal da organização e um assinalável sentido narrativo prática musical conscientemente assumida como uma forma apurada e depurada de

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_077.html (2016-02-11)
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  • reviews_cs078
    a part of this family Massimo Ricci Touching Extremes This trio s language is that spoken by many actual electro acoustic musicians they use it really well without leaving every possible verbal solution unexplored Weapons this time are floor tom objects trumpet electronics and yes as you could have guessed yourself it s really abstract above all if you consider also the trumpet is not involved in the emission of what you usually may consider a normal note but this not a peculiarity of this work since it s the lowest common denominator of the most of the releases of the genre This cd starts really softly and grows in every sense with the passing of tracks and it grows for good infact the fourteen minutes circa of Kyeur see the trio involved in taming what becomes one of the most expressive combination of Bszent Hun Talking about a general change of dynamics of the release is pertinent if we focus on the whole central part by the way don t consider it just a dynamic progression for it would be a big mistake infact they ve been smart to put together a tracklist where they quiet down the atmosphere right when you need it In general we can say the unvoiced playing of the first half of the cd is left for an electro acoustic selection of jams that have a louder stronger voice In general the selection of sounds the play is quite sharp and low frequencies are less present but don t expect it to be a collection of sharp sounds as if Pan Sonic were involved into electro acoustic impros Andrea Ferraris Chain DLK Splintering rhythmic timbres apart into their simplest most primeval and discordant pulses percussionist Andrew Drury isn t bothered by the struggle involved in exploring textures beyond conventional melody and harmony to expose unique pulses and beats Seattle born but now Brooklyn based the percussionist has in the past distinguished himself both as a composer and as a participant in large ensembles led by the likes of arranger Laura Andel and in smaller groups with trumpeter Nate Wooley and violinist Jason Kao Hwang But the two CDs here are even more revealing Stripping his kit down to little more than floor tom and un lathed Wuhan cymbals plus objects such as bow dustpan aluminum sheet and bamboo skewers Drury uses sticks mallets hands fingernails and palms to extend two traditions one is energetic noise improvisation and the other a personal one invoking family roots in building construction going back 600 years But the advantage of Bszent Hun is that he mixes his percussion techniques with musical contributions from Toulouse born experimental trumpeter Sébastien Cirotteau and Franco American Madrid based Wade Matthews who manipulates software synthesis Similarly reductionist in its output Cirotteau s brass instrument becomes no more than an arrangement of lead pipe valves bell and mouthpiece any portion of which can operate separately and where timbres can be eviscerated at will At

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_078.html (2016-02-11)
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  • reviews_cs079
    raises the question as to why it s on an improv label like Creative Sources wouldn t it attract a little more attention if it were on Bowindo I wonder The six tracks follow each other without a break from the cavernous slightly disturbing percussive rattles of the two opening tracks to the strange atmospherics of 44 25 37N 12 34 28 E that had me looking for a Fennesz connection but a Google search for the precise co ordinates only got me as far as an Italian astrology website but I think it s somewhere in or near Genoa maybe someone will enlighten me to the distant police cars and barking dogs in From Belleville to Ravenna and the exquisite chill of the closing Hagakure II 105 Wherever and whatever it is A Constant Migration is worth checking out Dan Warburton Paris Transatlantic Quello di Punck è un silente schiumar rabbioso impressionante dimostrazione di talento ascensionale intransigente visione espressiva Originale assemblaggio materico che all apparenza può risultar semplice ma è materia che ti scava le ossa questa Sottilissima capacità comunicativa quella sviluppata anni trascorsi ad affinar un talento compositivo ammirevole Adriano Zanni si è volontariamente posto fuori dal cerchio un isolamento caparbio fiero e passionale dal quale è germogliato questo importante A Costant Migration Punck a partire da Mu del 2002 si è sempre caratterizzato per una concretezza espressiva raramente riscontrata in tanti altri sperimentatori nostrani ma in questo caso il nostrano calza veramente stretto un ascesa appassionante dicevo ogni lavoro un tassello aggiuntivo per un puzzle entusiasmante tutto un gioco continuo di sottrazione una visione acusmatica che brilla per snellezza ed aerodinamico profilo inquietante verrebbe quasi voglia di definirlo Mu era l alba nel bene e nel male livido e rabbiosamente contratto dentro il disagio era evidente non si poteva ignorare il successivo A Movie Without Images del 2004 rilanciava quella formula diluendola subdolamente per sottrazione appunto improvvisamente l isolazionismo mutava in vero e proprio paesaggio spinale di ballardiana memoria ma lo scarto decisivo avviene con il successivo e splendido Nowhere Campfire Tapes del 2005 Uno stralunato girovagare lungo i bordi di un paesaggio innevato al crepuscolo un groviglio inestricabile di pensieri ed azioni una rivendicazione dichiarazione del proprio status di abbacinante e tormentosa bellezza In qualche maniera uno spartiacque il commiato superamento di un particolare fenomeno espressivo raggrumatosi intorno a certo astrattismo industriale molto ottanta intriso di ingenua splendida in molti casi ricerca povera e velocemente scolorito in un vero e proprio incubo freak esotico industriale L ambient di Punck si è scrollata di dosso quel residuo fisso ingombrante strada facendo ha integrato suggestioni riconducibili alla scuola concretista francese ed alla musica per film vera e propria si è fatta snella e senza tempo Logico che a questo punto qualcuno dovesse per forza di cose accorgersi del duro lavoro svolto negli anni da Adriano ci pensa allora la prestigiosa etichetta portoghese experimental Creative Sources ad editare questo cd da inserire prepotentemente fra le migliori uscite dell anno

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_079.html (2016-02-11)
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  • reviews_cs080
    features some of the typical repertoire of sounds you ve heard on the label and so you ve saliva s white noises of the brass section you ve some bowed chord from the strings and so on But right when you don t expect it to happen they scratch the surface of melody leaving it untouched by managing to caress some interesting unisons When they leave diminuendos for sudden breaks I like it above all when they take some silent turn around the twenty minutes and something I think it s interesting how they started again building a track and later slowly everything moves again facing more and more abstraction and fades leaving a desolated landscape Andrea Ferraris Chain DLK London parce qu enregistré à Londres lors de l Atlantic Waves Festival 2005 soutenu par des institutions culturelles portugaises Ernesto Rodrigues est le directeur artistique de Creative Sources et un altiste viola en anglais singulier genre tortionnaire ébéniste mais du meilleur effet Tout comme son fils Guilhermo au violoncelle il prépare son instrument et utilise tous les bruitages délicats que son instrument lui permet La violoniste galloise Angarhad Davies n est pas en reste avec ses frottements d archets et ses coups secs grincés Toujours aussi concentrée Alessandro Bosetti est un sax soprano milanais émigré dans le Berlin du réductionnisme des Axel Dörner et Burkhard Beins et qui a travaillé avec Michel Doneda Placés en l Air Potlatch Le trompettiste Masafumi Ezaki est l antenne japonaise de cette conspiration du silence Ah oui comme on est à Londres c était du New London Silence vers 2002 La musique se répand avec lenteur dans le silence dans l attente d événements sonores Les tiges placées entre les cordes du violoncelle se balancent sur un fond d archet qui fait sussurer une corde du violon Des souffles éventuels se propagent comme un gaz rare Le silence se fait plus présent La durée de London l unique pièce n est pas indiquée mais comme on est dans un état de recueillement approfondi indispensable pour graviter dans un tel état d apesanteur on ne s en soucie guère Alessandro siffle doucement dans la colonne d air comment fait il Le temps est aboli Aucune virtuosité seulement la maîtrise du timbre même le plus ténu Une scansion s insinue à notre insu et les sons de chacun des cinq s agrègent comme par enchantement On finit par enfin découvrir les effets de tuyaux d Ezaki Cette manière a le mérite de nous faire entendre une dimension réelle du silence que ces musiciens révèlent au creux de la matière instrumentale distillée dans la douceur la plus clinique Le silence après la fin fait partie de la musique Ecoute étonnante Nouveau Bof Certains trouvent des inspirations depuis les travaux d Alvin Lucier et de Phill Niblock des artistes reconnus depuis fort longtemps Donc Mais une expérience révélatrice Jean Michem van Scouwburg Improjazz Musique horizontale façon musique improvisée d ces dernières années ça couine ça grince des matières

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_080.html (2016-02-11)
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  • reviews_cs081
    de forma convencional Não é o que aqui acontece As cordas são percutidas passadas a arco de modo a soar a algo entre a guitarra acústica a electrónica e a percussão e envolvidas com as raízes tonais do violino Este entra e sai da harmonia convencional sem qualquer tipo de preocupação relacionada com a marcação do tempo acentuando a delicadeza deste preparado acústico Juntos fazem cair uma chuva de microtonalidades que ocasionalmente toma corpo e se desenvolve ao sabor dos acontecimentos Em planos oblíquos os instrumentos derivam para texturas de ruído ora para a pura exploração tímbrica Turbulência mínima sensação de movimento com um ou outro pico como o que ocorre na segunda destas cinco improvisações de construção minimalista ao longo das quais os músicos experimentam com som e se invectivam reciprocamente a arriscar partindo de conceitos básicos próprios da arte da improvisação livre como são o saber ouvir e reagir Daqui nasce o diálogo constante entre os gestos que se advinham e os sons correspondentes Fluidez e convulsão como duas faces de uma moeda com valor e circulação Eduardo Chagas JazzeArredores Somewhere else in a different context somebody was speaking about the voice of the voiceless well here It Is a vivid example of this voice Kimmig violin and Schiller spinet are fully immersed in the electro acoustic thing which is the best quality and also a small limit of this release It start very silently and later on it opens to what I really meant with the voice of the voiceless sentence as you can hear the musicians let the wood of their instruments speak It doesn t imply the don t strike bow strings since they do it but above all in some parts of the release they prevent strings and anything else to sound as we re used to hear it The two players here give priority to scratching their instruments there they play some really fast incursion above all Kimmig they inentionally start to engulf to avoid falling in what they probably consider a predictable solution Not exactly crippled what you may fin in this music goes from a short stab to an intangible presence where they are incredibly retained anyhow it s also true that after the first half of the time length play something that sounds really classic contemporary music it has to do with the solutions adopted by the players during their many intersections As said this cd is on the edge between free improvisation and and contemporary composition If that s your cup of tea you ll drink it easily Andrea Ferraris Chain DLK Back to work again today and for now while I hunt down a reasonably priced car to get me to and fro I am making the trip to my new role by public transport a journey that is about thirty five minutes longer than the one I have been used to So I spent today listening to Luigi Nono s music for much of the journey though

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_081.html (2016-02-11)
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  • reviews_cs082
    like a ping pong game played on a table full of metal wires while in New Times New Tools the pickups concentrate the music s energy in selected focal points the whole becoming more percussive and unstable Other Materials throws out boings and ga zoings enhanced by short jazzy samples Although Müntzing is certainly able to conjure up interesting images the Frith Sharp connection is apparent throughout the disc thus limiting the flexichord s potential A slight degree of tiredness and repetition towards the end doesn t help matters either Not a bad album in spurts Massimo Ricci Paris Transatlantic Med sitt egenskapade instrument flexichord skapar friformmusikern Herman Müntzing en lekfull impro Närvaron och intensiteten gör skivans tio stycken till lika många tydliga individer Herman Müntzing är en klassisk friformmusiker Där finns både en förankring i jazz och rock han är basist och en högspänningsledning från den experimentella improns knastrande energi som finns i exempelvis svenska gruppen Gush Müntzing har hunnit spela med en rad viktiga aktörer Om jag skulle välja någon partner i hans förflutna tycker jag samarbetet med Martin Klapper var märkligt i sin lekfulla frihetlighet Och just sökandet efter ljud och akustiska kvaliteter hos olika småsaker och föremål känner jag som hörselgrund i hans musik Klassisk friformmusiker skrev jag nyss I detta ligger förmågan att ur det allmänt sökande oväntat fiska upp pregnanta figurer rytmiska förtätningar och till och med bundna partier En spänning och förväntan skapas Så är det även på detta album utgivet av portugisiska Creative Sources som har näsa för mindre uppmärksammade ljudkreatörer i Europa Friformare har gärna uppfunnit egna instrument alternativt funnit ljud värda scenen i de alldagligaste ting Eller objekt som det brukar stå på konvolutet Så även här Müntzings huvudinstrument är hans egen flexichord Grundformen liknar en liggande gitarr men innehåller betydligt mer Det förbinder honom med musiker som Annette Krebs Men inte klangligt Här finns inget av hennes nysvävande elektroniska ljudfärder Mer plockar han tonerna De tillrar och strömmar sprakar och sprallar De kan likna skratt eller bara i allmänhet samlas i konfunderade klungor som rör sig likt stararnas ostyrigt styrda flockar om hösten Hit och dit omformande sig som en stor organism av tydliga individer Så är det Müntzing avlyssnar varje ton Metoden blir additativ Bit läggs till bit Ibland dyker oväntade ljud upp från olika ting Eller han sätter på samplern som släpper bundna rytmer ifrån sig för ett ögonblick Ett kort tag blir det lätt sväng och fingrarna verkar vilja knäppa takten på flexichorden men bestämmer sig för att flaxande sprida tonerna i en spänning mot rytmen så att ett oändligt motsägelsefullt ljudlandskap bildas Herman Müntzing tar aldrig till de stora gesterna Han försöker inte övertyga oss inte imponera snarare verkar han glömma oss Försjunken i alla de ljud han spelar ut mot varandra Denna intensitet för det är det gör vart och ett av hans tio solostycken till individer Hur de är besläktade anar den som lyssnar fram och åter på styckena Man kan intuitivt uppleva

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_082.html (2016-02-11)
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  • reviews_cs083
    recollecting about those vintage silent movies thinking particularly of Eisenstein that many artists love to revisit and score anew The resonant tollings and preparations of Welche seal the sentence this is serious stuff Werchowska s versatility is indeed what sustains the weight of a record full of different ideas and solutions from piece to piece and never attempting shortcuts to thoughtlessness Obscurity and gloom alternated with sapient choice of harmonic

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_083.html (2016-02-11)
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