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  • reviews_cs084
    incongrous abstractions Giallorenzo works undercover but the fact that I didn t hear a single recognizable synthetic timbre for the large part of the CD is the best certificate of programming intelligence I could attribute in this instance The treated voices of Arousal City 2 and Pops sound like a disquieting nightmare where all the senses are drowned in molasses while Arousal City 3 is the only segment with the pretence of a proper rhythm and a few elegant keyboard lines over it Half theatre soundtrack half suburban meditation this series of sleepy blurred snapshots is one of the most atypical releases in Creative Sources recent output and in a way one of the most unsettling ones We re never sure of what s going to happen remaining completely entangled in this strange deformation of reality a kind of disturbed trance that wraps us inexorably just like a spider does with its prey stuck in the web Massimo Ricci Touching Extremes O duo Masul é composto por Paul Giallorenzo e por Thomas Mejer Giallorenzo é improvisador de Chicago oriundo de Nova Iorque devotado ao desenho sonoro através de piano e derivados electrónicos Nesta actividade tem apreciado todos os contextos estéticos jazz noise improvisação livre electroacústica o que vier em troca de experiências com Fred Lonberg Holm Jeb Bishop Dave Rempis Tim Daisy e outros Mejer de Lucerna Suiça também tem formação jazzística e estudou com Urs Leimgruber Marcus Weiss e Vinko Globokar dedicando se essencialmente ao trabalho com saxofone contrabaixo em grupos com Martin Schütz Fredy Studer Michael Zerang Fred Lonberg Holm e outros A proposta que elaboraram conjuntamente intitulada The Arousal City Creative Sources Recordings 2007 inscreve se num domínio estético muito vasto e activo o da música improvisada de base electroacústica com a vantagem de ser original relativamente à maioria dos projectos que têm vindo a surgir nesta área um pouco por toda a parte Paul Giallorenzo e Thomas Mejer apresentam uma proposta encantatória no limiar entre o sono e a vigília Com uma base instrumental constituída por sintetizador piano samples computador Giallorenzo e saxofone contrabaixo samples e computador Mejer o duo ficciona estados alternados de lucidez e alienação consciência e inconsciência que percorre de cima a baixo num tom dolente de torpor glauco induzido pelas tonalidades sépia e cinza que vão sendo impressas em fonogramas de exposição lenta Inquietante é a permanente sensação de que algo está para acontecer a cada passo tão bem a dupla gere o dramatismo e o momentum das ocorrências Para tanto além da execução instrumental em que se destaca o espesso e prolongado rumorejar do saxofone o piano distante e o drones electrónicos indutores de estados sonoros que primam por uma certa irrealidade melancólica o Masul aplica várias lentes sobre a realidade circundante desfocam na intencionalmente e fragmentam na em imagens parcelares sem que com isso a música perca a coerência interna e a noção de conjunto ao longo da narrativa não idiomática que vai tomando forma A sensação geral é a

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_084.html (2016-02-11)
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  • reviews_cs085
    whole range of whistles gargles and yodels without ever sounding as if she s dying giving birth to triplets trying to stifle an orgasm delete where appropriate according to the improvising vocalist of your choice All in all it s a thrilling ride As for the cover photography if that s pollen magnified several thousand times no wonder I suffer from hay fever So get your allergy tablets hankies and inhalers at the ready and get a noseful of this Dan Warburton Paris Transatlantic Observing the possibilities of communication and correlation between voice and electronics the means utilized by Wassermann and Barrett for Pollen is likely to establish new levels of anxiousness if what one expects is just a regular polysource conversation The extraordinarily wide spectrum of sonorities that this couple is able to produce is at one and the same time spectacular and hardly comprehensible just like those heterogeneous scientific phenomena watched on Discovery that leave us intrigued but still totally ignorant at the end of the program Sequences of dissected timbres quirky outbursts of enthusiastic logorrhoea and clamorous outranging by Wassermann s voice form a monstrous patchwork of unpredictability that won t sound extraneous to those who already familiarized with the vocalist s jargon which also includes psychotic birds and demented sopranos in illusory trips to omniscience Barrett s recordings with Furt possess the same fragmented character yet this collaboration rounds his sonic complexities quite a bit by introducing a give and take between humanity and machinery that specifies every event as a sum of trauma disbelief and sarcasm Definitely uneasy to digest if one lacks the proper groundwork Pollen is in any case a splendid demonstration of evolutive acceleration a testament to Wassermann and Barrett s obstinate refusal of the first results during their continuous tries to wreck the barriers that separate composition and improvisation mostly in favour of the latter but with a perceptible strategy within the apparent mess Massimo Ricci Touching Extremes Na Creative Sources Recordings já se conhecia o diálogo vocal de Ute Wassermann com o som granular do trompete de Birgit Ulher Foi em Kunststoff disco que as artistas alemãs gravaram para a editora de Ernesto Rodrigues em 2004 Trompete que se mistura com a voz e confunde com electrónica na procura de um léxico fora dos limites convencionais E porque não retomar as linhas refinamento e experimentação vocal agora com electrónica de raiz Beneficiando da proximidade e do imediatismo que proporciona a actual tecnologia de gravação a mezzo soprano Ute Wassermann figura simultaneamente da new music e da improvisação expõe o imenso espectro da sua arte ao nível dos registos do timbre e da articulação no uso inteligente do espaço disponível que combina com a chuva de partículas electrónicas que circulam à sua volta poalha que se agita e depõe em torno das imensas possibilidades da expressão com aparelho vocal usado enquanto instrumento musical como faz o britânico Phil Minton por exemplo Em Pollen o trabalho de Wassermann vive de sons minúsculos

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_085.html (2016-02-11)
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  • linernotes_cs086
    or playing reservoires a main table concerning the sounds i e pitch isolated notes or harmony according to the instruments In this first table the performer has enormous freedom duration of sounds dynamics approach to the instrument effects the possibility of changing instruments etc The general style of interpretation must however remain soft The second table common to all performers proposes a succession of predetermined silences during which the musician

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_086.html (2016-02-11)
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  • reviews_cs086
    foursome with Joël Merah Maitane Sebastian and Stéphane Garin They mostly play acoustic instruments including cello piano and a fine glockenspiel This slow and quiet material may take some time to yield up its secrets but it has accuracy and clarity Surface appearances bring to mind the work of Tilbury in AMM The six fragments on the CD came out of a project based on generating different musical pieces all based on the same score by Merah In the right mood this exacting musical emptiness could actually yield dividends to the stress free ear Ed Pinsent The Sound Projector Ensemble 0 s Music of Wheel gives Sylvain Chauveau a new playground full of folds to coil in the one of a score by Joël Merah for piano cello percussion trombone and guitar using chance to create breathtaking spaces of improvisation as testify the six extracts compiled on this record released by portuguese label Creative Sources Valérie Paillé Mouvement The ensemble 0 pronounced zero is a French quartet that last year were heard or more pertinently not heard realising John Cage s 4 33 Music of wheel is a chance driven composition by their pianist Joël Merah that might conceivably bear the frequent instruction make a New York School sound here This appealing music ultimately has its own character but it seems clear that Merah and his associates electric guitarist Sylvain Chauveau cellist Maitane Sebastian and trombonist Stéphane Garin are steeped in the music of Cage s groundbreaking circle especially that of Morton Feldman and Christian Wolff Music of wheel has comparable delicacy reserve and poise Although the performers were allowed extensive freedom of choice Merah specified that the overall dynamics of interpretation should remain soft It s well ventilated music and its combination of spaciousness and subtly variegating timbres results in an atmosphere of translucency Toys glockenspiel and bowed cymbal are brought to play along with sustained tones on guitar bowed and plucked cello sparing trombone sounding and well defined yet evasive piano phrases For this release six fragments were taken from three studio recordings of the piece Fragmentariness is more fundamentally ingrained in the music s fabric part of its non cumulative progression as it negotiates silence and stasis The throw of dice is heard at intervals It s a paradoxical music that s indeterminate yet manages still to establish an evident identity music that s immediately attractive and persistently elusive Julian Cowley The Wire Fixar as coordenadas estabelecer o lugar do Ensemble 0 encontrar um ou mais pontos de apoio para o ouvinte se situar não é tarefa isenta de riscos na mesma medida em que a música aqui erigida se apresenta de modo avesso a quaisquer classificações refractária a qualquer esforço de catalogação Na melhor o Ensemble Zero é um quarteto francês de composição improvisação lowercase composto pelo pianista Joël Merah que assina Music of Wheel composição que no original tem uma duração superior à do CD no limite chega a levar duas horas e meia de

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  • reviews_cs087
    hisses Forsyth adding controlled feedback and inscrutable details in surge of charged pressure after which everything calms down The remaining two thirds are mainly coloured by the spectral resonances elicited by the combination of Gibson Les Paul with a couple of metallic tuning forks on the loose strings and Fender tube amp whose compressed noise is at the basis of the whole scheme Jangling shapes of open stringed chords define a plumbeous environment which Forsyth renders even more oppressive with restrained twiddling and selected pluckings that made you feel like you re in jail a guard locking the heavy gate behind your loneliness with a massive key Wooley s almost inaudible pops constitute the skeletal pulse of a set that is as sober as it is full of information a trademark Creative Sources highlight Massimo Ricci Paris Transatlantic Trumpeter Nate Wooley and guitarist Chris Forsyth meet up for the brief but satisfying The Duchess of Oysterville Creative Sources 087 The quietest of quiet nearly a minute goes by before faint breath squeak and amp noise The pieces slow thickens and gets almost impossibly dense any multi tracking bursting with high whistles low gurgles and prepared guitar mutterings As feedback rises Wooley does a scary wet breath thing like ghosts tormenting or crying for release But the piece then cuts off abruptly ceding into an extended period where Forsyth sounds like he s gently thudding the body in order to get a nice series of overtones The disc rides out on small percussive noises and amp hum Nice stuff Jason Bivins Dusted Wooley who like Dörner also plays in more conventional settings teams up with long time associate guitarist Chris Forsyth for one brief fewer than 25 minute out of the ordinary improv on The Duchess of Oysterville Unique textures do arise from Wooley s variations however The Duchess of Oysterville involves hooking up barely there breaths and ventilated squeaks with the disassociated oscillations and crinkling interrupted current flow of Forsyth s guitar Throughout the entire piece an unidentified rhythmic tapping is it the guitarist s foot the trumpeter s palm is heard yet it s merely one of the sonic undercurrents Elsewhere for instance a timbre could be ring modulator manipulation only to eventually reveal itself as the friction arising from harsh guitar string strums Then as Forsyth brushes the same strings chromatic tongue slapping echoing from the trumpet s lead pipe and bell is heard as its counterpart Ratcheting friction of breath against metal is another of Wooley s motifs as is valve depression Meanwhile the duo s pronounced electronic signal pulsation interrupted by mouth pops and short tonal vibrations lead to buzzing polyphonic layering The CD s climax a single string stroke and amp waver Those interested in hearing a fine trumpeter showcase his command of the instrument can find much to praise in Backwards which in retrospect may be an unfortunate title choice Those fascinated by the potential forward motion of brass instruments may prefer The Duchess

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  • linernotes_cs088
    in interactive performance practices His electroacoustic music is featured in various CD sets Sonic Circuits IV Discontact III Exploratory Music from Portugal ARiADA Pedro conducts research in the field of digital media interactive sound and composition His writings reflect his approach to design and composition by articulating creative practice in a wider understanding of cultural theory Pedro has been awarded a PhD in composition from the University of Edinburgh and is currently Director of Research at the Sonic Arts Research Centre Queen s University Belfast Franziska Schroeder is a performer of saxophone and live electronic music a theorist and improviser She is a founder of the digital media collective l a u t and has been awarded her PhD by the School of Arts Culture and Environment at the University of Edinburgh UK in 2006 Since the age of 9 she has been playing the saxophone in anything from out of tune brass bands European music emsembles chamber groups oversized saxophone ensembles saxophone quartets duo to solo formations Her development of contemporary saxophone playing has been shaped by Marie Bernadette Charrier from the Conservatoire Supérieure in Bordeaux She has recorded for German and Australian radio and has commissioned various new works for the saxophone and received her Bachelor degree in saxophone performance in Australia Her research interests include the intersection of philosophy and performance in technology informed environments in particular the role of the body in the age of technological change She joined the editorial board for the ARiADA Advanced Research in Aesthetics in the Digital Arts online journal UK Franziska is currently on a three year Research Fellowship funded by the AHRC at the Sonic Arts Research Centre in Belfast where she investigates network performances Steve Dakiz Davis has been active as a percussionist and composer for the last

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  • faint_cs088
    ale nie wydaje sie to byc calkowicie niemozliwym I choc niektóre formy sa mocno pogmatwane a niektóre brzmienia lekko przerafinowane to plyty slucha sie z latwoscia i przyjemnoscia Faint to pozycja która warto poznac To kolejny argument na to ze konwergencja akustyki z elektronika moze sluzyc nie tylko kreowaniu dziel hermetycznych których zrozumienie przekracza mozliwosci zwyklych smiertelników lecz takze tworzeniu nietrywialnej muzyki nieomal popularnej Tadeusz Kosiek Diapazon Right after starting to listen to this music one realizes that its creators technical foundations are strong Two CDs full of inventiveness twist and turns romanticism acousmatic sapience and much more the whole gamut of dynamics and an abundance of ideas are explored in Faint The project starts from the meeting of the Laut duo Rebelo and Schroeder with Davis at the Sonic Arts Research Centre in Belfast their instrumentation comprising piano with instrumental parasites saxophone and drums The trio improvises according to rather amazing processes their sense of reciprocal listening utterly stunning every note uniquely meaningful in the overall balance of each piece Rebelo an expert in digital media and installations is above all an excellent pianist responsive and coldly detached at once able to generate a free jazz outburst in a millisecond through dissonant runs and fragmented chords only to furnish us with sparse elegiac passages as in a bucolic promenade a moment later Schroeder a welcome revelation on these shores constitutes a great addition in my book of favourite saxophonists her attitude basically lyrical sensitive competence just pouring out from whatever she chooses to release from a couple of soulful yet scientifically oriented lungs I m not surprised to discover that she s been active on the instrument since the age of nine the perceived skill is undisputable Davis avoids both reductionism and magniloquence playing in an area that allows those figures to blend with electronic and acoustic sources in special fashion his percussive organicism a major element of the collective feel that exudates just everywhere in the album The set is a mixed collection in that it juxtaposes improvised pieces and Rebelo s nineteen electroacoustic tracks born from treatments of the same materials The potion is guaranteed to cause instant addiction to the knowledgeable ones for this is probably the best Creative Sources record of the 2007 08 biennium High class stuff all over the place very highly recommended Massimo Ricci Touching Extremes This cd starts moving really slowly and silently presenting some soft improvisative puzzle game but after the hesitant introduction it evolves almost immediately into a modern free impro with many jazz contemporary music reminiscences That was a quite obvious thing to be said I know but consider the piano is quite central in the economy of this double cd in some sketches we can even dare to say it s the main color don t worry we ve no demonic player a la Petrucciani but Rebelo has a big weight in the majority of the track here contained Hard for me to say if all this double cd accomplish the hardly reachable result to be hella catchy from the very beginning to the last track but thanks to the great amount of material despite the strong character of the trio you ll slowly find they ve been quite varied sacrificing their musical ego for the common cause Regardless of what I wrote before here the piano is the driver there at the driver s place seats the saxophone here they ve been really soft there they ve been pushing the keys of their instruments Ok you always have that barely pronounced strangulated sounds that turned into Creative Sources own trademark but what surprised me the most is how Steve Davis have been able to keep far away from banging the drum if we cannot speak about a Taku Sagimoto approach to the drums he s by the way one of the most silent drummer I ve ever heard in my whole life This Faint first cd doesn t betray the average sound that characterized Creative Sources so far but it would be too reductive to cut it short here According to my opinion is the second cd the one that presents the majority of the best materials I think on the second cd they ve been able to go deeper into their combination electro acoustic on the second cd has become nothing but a color with which they ve been decorating the tracks In between visible and invisible structure in the filling the blank process where pause gain the same importance of played chords there you ll find lot of the intensity of these three performers In many tracks they ve been playing the piano pretty unconventionally it all reminded me of one of those prepared pianos a la Cage just a bit more trapped into a patient improvisation where every note is left alone just when it s the proper time to go Nice cd above all in its most relaxed tracks Andrea Ferraris Chain DLK Born out of what the liner notes call an impromptu meeting at the Sonic Arts Research Center in Belfast Ireland Faint brings together three composer improvisers who seek to find a chance commonality in their respective approaches All three bring much to the table Rebelo and Schroeder are the stauncher academicians in the group both having studied taught and conducted much in the way of electroacoustic research at various international universities and symposiums Davis despite an educational background as sound as his colleagues spent much time accruing street smarts touring with the European Jazz Orchestra and playing with such luminaries as Joe Morris Django Bates Paul Dunmall and Marc Ribot amongst others On this two disc outing Rebelo is credited with piano and instrumental parasites while Schroeder plays sax and Davis sits behind the traps Considering the trio s collective resumés and reasonably traditional nature of their sonic palette first glances might discern nothing terribly out of the ordinary but decked out across two lengthy sides it s clear

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  • alle neune_cs089
    on an extended variant of the drum kit but with an attached collection of strings he hits bows and scratches Affiliations for these unique sounds have ranged from his membership in a trio with Wiesbaden based reedist Dirk Marwedel to the large Ensemble 2 INQ Alle Neune Rheinländer Partie in contrast is a combination of Vorfeld with fellow percussionist Wolfgang Schliemann who also plays in Ensemble 2 INQ Subtitled percussive work since 1992 it showcases nine percussion duets While likely to be more admired by beat mongers the later disc may be a bit too much of a good thing for the non percussion fanatics Striking ahem for the way in which Schliemann and Vorfeld can produce with only four limbs as many textures rhythms and pulses that Art Blakey or Max Roach led percussion ensemble needed many associates to create the CD is very much of a piece And that piece can go a very very long way as drum battles featuring the likes of Roach and Buddy Rich or Rich and Gene Krupa proved earlier on The main fascination here lies in trying to isolate which implement is being struck oscillated triggered scraped thumped whistled pulled pressed or whacked to generate a particular sound or sounds Among the particulars noted are what seem to be breath aspirations abrasions on unyielding but responsive metal surfaces wood aggressively ruptured and split apart crumbling and balled paper strokes on glass test tubes wetted fingers dragged along drum heads upright drum sticks propelled across ride cymbals and the usual assortment of more expected ruffs rebounds paradiddles and flams Schliemann adds found sounds and objects to the mix the textures of which evidently are responsible for the insistent squeak of penetrating splutters radio tuning like flutters and motor driven buzzing that adumbrate further peeping noises Gradually these sounds are exposed as recurrent striated beat oscillations Overall the program also leaves enough space for Vorfeld s string set thumps the timbres of which end up being simultaneously organic and synthetic For instance Böse Fünf seems to add triggered ring modulator sideband murmuring and insistent vibrated drones to a sequence of low key intermittent palindromes Moving backwards and forward these sul tasto string affiliations are blurrily framed among bass drum whacks and gong resonations as well as isolated thick crunches which make it seems as if all the instruments are being physically wrenched with great difficulty across a solid surface Perhaps the most audacious track however may be the first one Vorderkranz grosser Keil On it the blurry reductionistic sound waves produced by Vorfeld s string drones and Schliemann triggered echoes are interrupted twice by split second fortissimo excerpts from saxophonist Peter Brötzmann s Machine Gun session Whether designed as spoof or acknowledgment no clearer link exists between today s experimental music and that of the 1960s The remainder of the track is then concerned with understated pitter pattering and backbeat strokes including church bell like peals static rotations and glass pings Although the diversity

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