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  • reviews_cs104
    oraz instrumentalnego kunsztu i improwizatorskiego zmyslu zelektryfikowanej akordeonistki klarnecisty oraz kontrabasisty Do tego ze tej plyty naprawde warto posluchac nie musze chyba przekonywac tych którzy znaja Andree Parkins chociazby z tria Ellery ego Eskelina Jej nowe wcielenie na pewno jest nie mniej interesujace a mlodzi szwajcarscy muzycy dowodza ze trzeba na nich zwrócic uwage Tadeusz Kosiek Diapazon From the opening moments of this trio meeting the intent is clear a quick fade into a noise thicket of sound indicates strongly that this is not going to be a walk in the park Even before the disc spins in fact the feeling is there The title quick drop suggests risk free fall a one time adventure in unknown territory The cover image as attractive as it is incomprehensible turns out to be an assemblage photograph taken by Andrea Parkins seemingly constructed at a hotel Transience a bit of alienation new rules for familiar tasks Parkins met up with clarinetist Laurent Bruttin and bassist Dragos Tara in Switzerland in 2006 and quick drop is the result With electric accordion sampler effects and live processing she is the only non acoustic performer here The session starts with a dizzying track but then some familiar signposts begin to appear Clarinet and double bass slowly etch a triangle into the slate wall Vocalist Wanda Obertova appears on the third cut then disappears until the seventh of the eleven tracks serving as a guide if without familiar language In the end quick drop comes off as a travelogue a diary written by a stranger with an aversion to nouns Fellow journeyers are advised to set their concerns aside and enjoy the surroundings Kurt Gottschalk The Squid s Ear The relationship between different phases of present day improvisation is the most apparent trait of Quick drop an album that can sound both oppressive and appealing over the course of a minute It s hard to determine how much of these conversations was pre conceived in terms of configuration and overall direction yet my conjecture would have to be very little Each of the three players faces a variety of accidents the listener allowed to peep into their idiosyncrasies and when the attempt is as cooperatively focused as in this case there s no risk of being neither beleaguered nor exasperated Parkins plays an electric accordion with effects and samples the whole electronically modified she s able to raise noisy nightmares in a matter of seconds then calm down the mood via tainted realities jam packed with deconstructed chords and anguishing wheezing The erratic temperament of Parkins array of diminutive monsters is brilliantly complemented by Bruttin s unswerving attitude his clarinets including bass and contrabass models often suggesting the interplay s real foundation by means of an expert management of space and the usage of effective alternative practices not to mention raging spirals of breathless anxiety Tara has his crucial say too his double bass often marching into the range of cello besides being in charge of the

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_104.html (2016-02-11)
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  • linernotes_cs105
    the city of Karlsruhe southern Germany recorded during one week in September 2005 A central structural element for us was a set of recordings we made during the night before and the morning of the German polling day in 2005 For approximately twelve hours we recorded three minutes of audio every thirty minutes using two microphones set up on a balcony in a residential area These recordings were cut together leaving their chronological order and the sound quality unchanged This artificial soundscape plays throughout the piece with one short interruption Sometimes inaudible sometimes present as a main element it structures the piece Other recordings we used were made during the daytime in different parts of the city e g noise of streetcars people playing basketball sounds in a park etc Ian W Coel is built around the video installation STM Wall Short Time Memory Wall by fictitious british media artist Ian W Coel 1952 STM Wall is a video wall equiped with cameras and set up in a public space which takes pictures of its surroundings in front and behind the wall and displays these pictures on its video screens New bright pictures are drawn on top of older ones

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_105.html (2016-02-11)
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  • reviews_cs105
    with a chuckle that after experiencing this work thusly one realizes that such an unbalancing is precisely the effect Dis playce aim for and fully achieve Darren Bergstein The Squid s Ear Desde 2001 que Maximilian Marcoll e Hannes Galette Seidl mantêm uma colaboração sonora sob a designação colectiva de dis playce A actividade da dupla alemã baseada em Essen foca se no trabalho sobre as múltiplas relações entre sons ambientais captados com microfone e sons inventados através de software de desenho original A estratégia do dis playce parte de um conceito base que é depois desenvolvido a partir do desenho de sons novos e de pedaços de memória recuperados e remontados em conjunto para fruição em novo contexto dissociado da provável fonte original cuja identidade e proveniência apenas se pode conjecturar No entanto percebe se um plano uma linha de orientação que ocasionalmente se insinua para logo se esconder por entre as sombras furtivas que deixa entrever traços intermitentes de um mapa escondido qual desenho a carvão por debaixo da tinta sonora Como um leitmotiv que estabelece conexões formais e informais entre múltiplos pontos de uma história fonográfica que se conta em dois capítulos É de mapas que se trata na peça Karl Ortmann homenagem sob a forma de arte sonora ao cartógrafo germânico com o mesmo nome 1917 1879 que em vida se dedicou ao estudo das estruturas sociais urbanas no contexto da cartografia ciência que em seu entender deveria fazer reflectir os aspectos sociais da vida em sociedade Que se passa aqui em termos acústicos Intrigante a peça questiona o ouvinte imaginamos sons ou temos deles uma percepção real Ian W Cowell peça apresentada no CD em versão adaptada serviu originalmente para sonorizar uma instalação vídeo homónima montada no piso de entrada do Dresdner Bank em Frankfurt construída a partir de material pré gravado em ambiente de escritório misturando sons de pessoas a escrever em computador e vozes de empregados num dia normal de trabalho com o ruído da rua frente ao prédio para cujo hall a peça foi preparada Em HABITAT Creative Sources Recordings 105 antigos e novos métodos de montagem e edição sonora adquirem interessantes e renovadas formulações no modo como sugerem espaços vivos com gente dentro Eduardo Chagas Jazz e Arredores Creating musical sounds without instruments has become widespread ever since the availability of first the portable tape recorder and then the computer lap top Melding oscillations created with software plus amplifications of so called found sounds often re mixed these soundscapes are notable for their subtle mixture of foreground and background So have Europeans which is why Habitat Creative Sources CS 105 CD by the German disc playce duo provides an interesting contrast to the Canadians work So too is Habitat Created by German electronics manipulators Maximilian Marcoll and Hannes Galette Seidl to be site specific the tracks rely on recordings made in Frankfurt or Karlsruhe of the scratches yowls squeaks and cries that reflect those cities passing streetscapes Panning across the sonic

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_105.html (2016-02-11)
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  • linernotes_cs106
    dream asleep in the faux leather recliner chair in your study The length of these frequent unconscious moments each day over a year recorded as an irregular series of blocks which when uniformly compressed in time from a specific starting point that is lost exactly mimic the pacing of the camera flashes on two celebrities digitally frozen on the flow of an unfurling red carpet The impression of the frenzied scene reminding their lone chauffeur of his first bright plunge into the cold Maine water the chaos leaping off the dock all at once with the other children The decelerating dip of his body towards the bottom matching the low bending arc of the Ubud player easing into raga Malkauns Pancham Its low sound invoking the passing the recurring sadness you feel toiling in the funeral home this and then that inert stranger before you on the synthetic velvet Your momentary struggle to right the mast of your day to continue as before is an effort like pushing the dangling punching bag with the full weight of your body only to have it swing back the reciprocal curve to the feeling sitting across from her in the diner it going

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_106.html (2016-02-11)
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  • reviews_cs107
    acústicos como guitarra clássica contrabaixo charango e trombone para o que contribuem Mario Camporeale Paolo Angeli e Matteo Bennice Fundamentalmente é um disco a solo de improvisação electrónica abstracta intervalada por secções acústicas e ruidismo glitch idealizado e construído em computador Agradável de ouvir Un Geco Nella Mia Casa é um produto de bom gosto que explora com sucesso o sincretismo entre diferentes códigos de som e imagem Simpática não viscosa nem repelente esta osga E é ouvi la a trepar pelas paredes Eduardo Chagas Jazz e Arredores L attitudine di Fega è perfetta o equazione equilibrio fra slancio poetico rigore i riferimenti epidermici a fatti e circostanze che fanno appartenenza non sussurrata e ricerca artistico angolare dal sapor di quotidiana riflessione Un live carbonaro registrato al From Scratch con Matteo Bennici presente anche in questa circostanza mi aveva stuzzicato l appetito le Fave Quotidiane ancora reperibili gratuitamente su ctrl alt canc records mi avevano temporaneamente sfamato ma cominciavo a provar nuova urgenza di ciccia Detto fatto Mi ritrovo fra le mani quest escursione prodotta in terra portoghese che rilancia e va oltre elettroacustica acusmatica suadente con Fega come organizzatore compositore direttore di una poetica auditiva elaborata per sottrazione Equivalente d insieme di visione contemporanea ad occhi sbarrati e coscienza vigile mix saltellante e consapevole che elude i luoghi comuni ed espone un immaginario fatto di accenni e ripensamenti d umana sostanza Corollario di timbri e suggestioni sparse che del pieno strumentale evocano il riverbero concedendo ai suoni trovati di ritagliarsi il proprio organico senso d essere La fisicità rabbiosamente viva della Titubanda che stacca la spina alle congetture granulose dei Taxonomy la spina inserita nel muro che permette ancor non si sa per quanto a qualche macchinario di funzionare Musica che concepisce lo spazio come fondamento della propria esistenza suoni che trovano la propria naturale collocazione senza attrito ognuno bastante a se stesso Una bellezza Voci che scorrono che si fan sfondo e protagonista Pasolini e Dalida Sub comandante Estrella e John Turturro prendimi adesso per mano e non lasciarmi più Neanche per un momento Il punto di divisione l oltre è l orizzonte sgombro I detriti calpestati qualcosa su cui riflettere Rifaccio Il Bucato penzolante come carota davanti alla bocca del cavallo Le parole di Fega sulle Fave Quotidiane di cui sopra Un omaggio alla quotidianità non alla routine un invito a riscoprire e recuperare dettagli visivi apparentemente amorfi e vuoti che sono invece sorprendentemente pregni di ricordi e aneddoti esistenziali Ok la formula funziona tuttora è soltanto il campo d indagine che si è ampliato Siam fuori dal cortile di casa ora Mirabile Marco Carcasi Katodik Un Geco Nella Mia Casa augurs some of the social and philosophical implications of the aestheticizing of viral breakdown and digital distress Any sort of magnetic distance between elements is depolarized and a grand liquidity strangeness and unreality abounds sparkling in its venality There is a frisson of excitement evident in the playing with of all these hieroglyphs of digital dysfunction

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_107.html (2016-02-11)
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  • reviews_cs108
    prolonge la démarche entamée dans le précédent allant du silence aux explosions libertaires et enchaînant de longues séquences en respiration circulaire où il exprime tous les possibles de l instrument Un disque qui certes n est pas destiné à la toutes les oreilles mais n en constitue pas moins un indiscutable chef d œuvre de la musique improvisée Philippe Elhem FOCUS VIF Formellement c est un remarquable CD de musique improvisée Brillant Mais il se passe quelque chose d autre qui habite ici la virtuosité de Jacques Foschia Quelque chose dans l instrument joue de Foschia exactement comme Jacques Foschia joue de son instrument Comme qui dirait ça sort des deux côtés ça va dans les deux sens Cette sensation d avoir à faire autant à des sons expulsés jetés exprimés qu à des formes sonores que le musicien veut happer avaler reprendre en lui s insinue peu à peu vers l deuxième et troisième morceau Comme une volonté de rembobiner de revenir en arrière de remonter le son de retrouver une origine Des musiques jouées en arrière à reculons Dialogue intime avec des entités invisibles dématérialisées d un autre monde Ce n est pas même cette intimité qui exhibée intrigue l écoute plutôt le voile pudique qui l entoure l enveloppe et suggère que là dessous comme les lèvres animées d une plaie une conversation palpite s installe dans son intemporalité Voile qui murmure tamise des lumières indirectes esquisse des mouvements fantomatiques lents atténués À travers une grande diversité ce sont les variations du deuil qui s expriment dans leur complexité noueuse Liens avec les ténèbres ouverture vers la clarté l incompréhension Les ondes de choc du mystère de la vie de la mort restitué dans toute sa brutalité comme à chaque disparition qui touche La tonalité d ensemble est sombre pétrie avec une certaine colère obscure butée Comme pour aller au bout de sa rage du sentiment d injustice pour l user en le triturant pour qu en sorte la paix Dans cette matière ténébreuse des thèmes ténus plus clairs de fugaces tempêtes de lumières étouffées Des signes des évocations Parfois entre chien et loup le son est comme une proie que se dispute l instrument et l instrumentiste la bouche et la hanche qui emportera le morceau Des ombres qui s étirent s enroulent sur un ressort s essorent se tordent se déroulent en hélice se déchirent et claquent Sans écho la nuit est mate Et les prières de Jacques Foschia portent loin Pierre Hemptinne worldpress com The artist s family name is an Italian word that translates haze or mist yet there s nothing in the music of this clarinettist that could even tenuously make us believe about a lack of clear mindedness Using three different clarinets bass Eb and a homemade the man interprets a cycle of ideas that straddle the majority of the existing techniques more or less extended Contrarily to many colleagues in this copiously inhabited area of improvisation Foschia is not averse

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_108.html (2016-02-11)
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  • linernotes_cs109
    Achim Tang Markus Schmickler cs109 The music for this CD is based on Marcus Schmicklers composition SATOR ROTAS which was originally written for electronics For this recording we have transcribed and arranged the piece for our acoustic trio of contrabass

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_109.html (2016-02-11)
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  • reviews_cs109
    the instrument s lead pipe in preference to its valves or slide Very occasionally he also produces alphorn like cries but they last only as long as similar out of character tones which probably result from string sawing bass striations as well as the clattering of a miniature cymbal against the piano action Eventually the program reaches a crescendo of layered dissonant pitches and harmonies Soon the blurry tremolo chunks dissolve trans mutate and are revealed as properly acoustic individually shaded keyboard notes plucked bass lines and back of the throat capillary trombone rumbles Operating as if a parallel music world exist the three players have modified Sator Rotas so that it is the same yet different On this CD Muche Zoubek and Tang have produced a notable interpretive improvisation while retooling the composition for the acoustic realm Ken Waxman Jazzword com Sator Rotas is an electronic composition by Marcus Schmickler from which the trio of Muche Zoubek and Tang took inspiration for a total reworking of the concept The new score or interpretation if you prefer is for trombone piano and double bass played by the artists according to the order in which they re quoted above Lasting about 37 minutes this is an excellent concise work that exploits dynamics and colours beautifully to the point of finding its niche both in the realms of the most advanced new music and in the kind of contemporary jazz explorations of which Creative Sources has presented several examples in recent times The musicians show composure self reliance and inquisitive minds in abundant doses their reciprocal attentiveness commendable since the very beginning Mental fixedness and feverish states alternate in a succession of scenarios the attention to the sonic details reaching points of tension at the drop of a needle such is the responsiveness of the players to the single event In the final section of the piece a hellish clangour is progressively raised our ears completely invaded by the thunderous power of the instruments nearing breakup But all of a sudden everything ceases the menace rapidly becomes vapour the venom is dispersed the noise mutated into near silence The music returns to the initial state of ambivalent quietness from where it started and when the CD is over a strange mix of satisfaction and unexpressed rage permeates the surrounding air Is this version better than the original Maybe so It sure sounds like an original itself Massimo Ricci Touching Extremes Jakies dziesiec lat temu Marcus Schmickler niemiecki kompozytor i muzyk poruszajacy sie po obrzezach muzyki akademickiej pop oraz improwizowanego noise u stworzyl elektroniczna kompozycje Sator Rotas W ubieglym roku na plycie oznaczonej numerem katalogowym CS 109 przedstawilo ja trio Matthias Muche Achim Tang Philip Zoubek W ich interpretacji soft noise owa zawierucha ukazuje swoje nowe Janusowe oblicze w pelni akustyczne ale o wyraznie elektronicznej aurze z lekka minimalistyczne ale plynnie ewoluujace takie z lekka feldmanowskie swoja droga zadziwia fakt jak wielki jest wplyw tego kompozytora na wspólczesna muzyke improwizowana delikatne i intensywne

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_109.html (2016-02-11)
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