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  • reviews_cs115
    an actress and stage manager The three movements are orchestrated for a tentet subdivided in pairings flutes clarinets brass winds strings and rhythm section double bass and percussion Warszawa Sketch is an ashen improvisation where the physical features of the instrumental mechanics stay at the forefront of the sonic picture yet the piece terminates its existence with an awe inspiring collective glissando halfway through the declining of a mirage and

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_115.html (2016-02-11)
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  • linernotes_cs116
    hard times during this ecological and economical disaster The story is adapted from the book The worst hard time by Timothy Egan Most of the sounds on the soundtrack are produced in the CEM studio at WORM Rotterdam with the ARP 2500 and Korg MS 20 synthesizers and a Synton stereo EQ Stranger is inspired by Albert Camus L Étranger Philip K Dick s Do androids dream of electric sheep

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_116.html (2016-02-11)
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  • reviews_cs116
    found this one long and a tad boring whereas Fury had me riveted to my seat I ll give it a second more attentive listen to try to find what s the matter François Couture Monsieur Délire I n this new release on the Portuguese imprint after the excellent Fury Robert Van Heumen who normally utilizes a laptop provided with LiSa and SuperCollider software live sampling and real time audio synthesis respectively concocted a string of soundscapes that leave no room for optimism showing the nude crudity of past and present events without hinting for a minute to concepts like respite or hope The title track a composition reportedly influenced by Albert Camus Philip K Dick Blade Runner and L E J Brouwer is presented in separate translations the first and longest is a dynamically hyper charged exploration of altered sounds deriving from a single source additional info about the compositional progression can be found at http hardhatarea com vreemdeling that gets abused reprocessed and bastardized in every possible manner the outcome akin to a brain pulverizing chain of destructive calamities misshapen ambiguity extraterrestrial jargons and incisive irritations which leaves us disoriented unable to accept its hard to fathom underlying logic The ambient adaptation which closes the program is just slightly better edible yet at the same time describable as a quite dissimilar piece where the harsh tonalities of the original are to some extent rendered barely visible even if the music is not the least disconcerting desolation replacing devastation the overall gloom lingering on the impenetrability of the critical significance still a fact Amidst the two versions of Stranger Van Heumen presents the soundtrack to No Man s Land a film inspired by the tragic 1931 1939 era known as Dust Bowl when American and Canadian prairies were plagued

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_116.html (2016-02-11)
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  • reviews_cs117
    whatever Flinn plays drums and percussion plus voice Listening to his CD it is clear that he uses an extensive set of percussive objects that he treats in equally manifold ways Pieces develop and unfold in different ways Sometimes through making use of a pattern that is varied and extended during the piece cyclic Sometimes each step is a new one linear In a track like the first one Magistrate it is unbelievable that this is created live on percussion If I were told it is a tapemanipulation of prerecorded music and sounds I would immediately believe it So this exemplifies the talent of this percussionist Forget the traditional sounds coming from drums and percussion You won t hear them here He makes you forget how he generated the music that is in result a truly abstract music Each improvisation is built around its own idea and worked out by different percussive objects In Jewels In My Teeth he uses deep and low sounds Sometimes like in Heart so Strong it is as if a melody is hidden in the music At other moments the music makes the impression of some old machine or mill that makes all kinds of noises due to its old age and all the dirt between the wheels Just listen to Violet Bank In the track Money Punch Flinn concludes his research with the most noisy and loud improvisation on this album Architect of Adversity has much to offer It is a rich an varied album of an accomplished player with unusual musical visions for a percussionist Dolf Mulder Vital Weekly A drummer and a percussionist here I ve never heard any recording of mr Flinn before and honestly I find his style is really interesting This cd features a collection of short recordings where

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_117.html (2016-02-11)
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  • linernotes_cs118
    in contemporary music Nothing is static here everything disintegrates but also stands firmly the chemistry of the four players who move as passive active border crossers at the areas of conflict between meditation and impulsiveness This is once more the most genuine explanation for the enormously independent and highly individual character of this unbelievably convincing music Exclusive lethargy is likewise prevented as cheap expressiveness It is the members analysis ability of their precise and sensuous clear realization which enables this extraordinary shine and the bubbling energy within this imperturbability Different aspects are explored in a concentrated and highly conscious manner intensively and extensively by this vivid creative cell The perhaps weightiest background is the material creation and form giving documented by the literature of composed music of the 2nd half of the 20th century if e g serialistic concepts experience an improvisatory vibration There is the large ability to transform non European and ethnical musical traditions e g of the Japanese NO theatre or the intonation of the professional and local Hungarian music of the Roma A large topic and center is also the common breath and the flowing transition from noise to clear sound and vice versa Allowing the

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_118.html (2016-02-11)
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  • reviews_cs118
    blend mixes some traditional and contemporary influences an here and there it also reminds of composer Toru Takemitsu who anyway is much more sober but the Asiatic fascination is still there to stay Despite the fact they ve a violin they choose for many low registers there s no soloist and when using the vocals they give you the impression it s a sort of Meredith Monk alike approach but on this performance vocals have been drifted ashore by the current Andrea Ferraris Chain DLK A slight uncertainty arises from the difference between Vistag as written on the sleeve and Vist Ag which is how Marcus Maida refers to the group in his liners Either way this is the first release by a quartet consisting of Annette Giesriegl voice Clementine Gasser cello Karl Sayer double bass and Michael Fischer violin The recording and mixing actions by Christoph Amann is a strong asset as at whatever time this writer sees the Austrian engineer s name on a record then quality is practically assured both in sonic eminence and artistic consistence Vist Ag makes no exception the eight tracks all named Resonance fuse various components of improvisation EAI and contemporary chamber music effortlessly frequently approaching unexpected altitudes At the beginning Giesriegl s utterances appear to be predominant over a nervously scraped basis of unquiet strings and we look directed towards recognized territories But already in Resonance 3 surprises are found the vocals are processed harmonized into untraceable concordances the double bass growing in potency and snarling menace the violin and the cello echoing their essence in a sort of blissful tunnel halfway through purposeful timbral moonshines and nimble fingered meddlesomeness In Resonance 4 the comparison of Sayer s drones Fischer s detuned plucks and the haze created by Giesriegl s breath pricks

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_118.html (2016-02-11)
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  • reviews_cs119
    may define it Brotzmaneque music he s played with them so find your easy conclusions and maybe that s partially true but the combination is great Evans sometimes makes me think he s possessed by some voodoo demon and Blancarte is a good shaman for he drives the ceremony right where possession over the redline I think the world is still full of good musicians and decent improvisers but even playing something that we can also label as standard improvising this duo is able to fly ten feet higher than the ninety percent line ups playing this style and the funny thing is that they re doing it without even using a drum kit that could be one of the easiest solution for a project like that in order to have those beloved loud explosions I ve read they ve also been teaming up with Bennink which makes me wonder how could it sound like with him banging the drum but from this recording you don t think they need any additional player believe me Loud music for loud people or I d better speak about intensity mm maybe infact I m sure they can be much more softer but it s New York city speaking Cro Mags Suicide Cop Shoot Cop Taxi Driver am I allowed to expect something like that Free jazz in your face Andrea Ferraris Chain DLK More germane to today s post is Sparks Creative Sources his recent duet with bassist Tom Blancarte who also plays on Evans s terrific quartet album for the Firehouse 12 label The improvised music here with Evans exclusively on piccolo trumpet is aggressively abrasive and discordant delivered with unrelenting intensity Evans never seems to feel the muscle fatigue that eventually affects most trumpeters embouchures One criticism of Evans that I think actually sticks is that he tends to cram a surfeit of ideas and tricks into every bit of music he plays and he s certainly guilty of that here in fact it s sorta difficult to make it through the whole hour of Sparks in just one setting But to me that s not necessarily a bad thing there s nothing wrong with a recording that demands time and concentration from the listener Peter Margasak The Chicago Reader A similar abstract approach is taken on Sparks a series of improvisations between Evans and bassist Tom Blancarte who plays in his quartet and with whom he has an obvious rapport Blancarte matches Evans swirling lines with deft bowing to blend with and contrast the brass on the opener Xangu particularly a segment of overblown multiphonic squawks Seemingly inexhaustible their non idiomatic ideas rapidly flow without establishing recognizable forms or grooves an amorphousness that challenges player and listener alike The full throttle improvisations captured on these recordings illustrate the breadth of Evans imagination and array of sounds trilling whistles overblown bleats breathy drones and the occasional clean note for stark contrast Sean Patrick Fitzell All About Jazz One of a

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_119.html (2016-02-11)
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  • reviews_cs120
    the senses ever primed for action The remaining tracks more or less follow the same pattern with effective use of TV and radio morsels by Yassin who incorporates popular themes and Arabic melodies into the duo s crusty disfigurations of veracity The overall sound quality is pretty medium fi but you can consider that a plus since Praed steer well clear of modishness and lacquer wallowing in mud and dirt instead The result is a sonic mumbo jumbo that s relatively distinctive if not exactly pioneering Massimo Ricci Paris Transatlantic Praed is Paed Conca on electric bass clarinet and electronics and Raed Yassin on double bass tapes and electronics conjuring up soundtracks to movies for your ears The lead track The Man Who Lost All His Friends with japanese subtitles is split up into 34 short pieces that sometimes dovetail together and sometimes change abruptly like the scene changes in a dream It starts with a smash and continues with bass improvisation accompanied by gunshots explosions and anxious vocalizing before stacking together rumbles and in succession slides string bounce with electronics and hisses clarinet notes and loops basses and percussives clarinet and dialogue in some unknown language bass strumming and electronics breathy and tube sound taped music looped with clarinet and hiss scraped strings with rumbling percussives This is all in the first 2 minutes a dizzying collection of short scenes that continues to surprise The remainder of the pieces adheres to this abrupt juxtapositioning style but the sections between changes are a bit longer and there s more development Bambi Bambi begins with a loop of middle eastern pop music that s gradually swallowed in glitchy static which stops for a short bass solo before whistling electronics fade in with percussive clacks and pie tin rattling rhythms This fades out to bass notes and distorted backwards singing It ends with a marbles in mouth and bass coda These chaps manage to keep things interesting with modest means juggling conventional instrumental sounds with more abstract sources I listen forward to more Jeph Jerman The Squid s Ear Without making too much of the correlation it s likely that the filmic involvement shared by Beirut based bassist and electronics manipulator Raed Yassin and electric bassist and clarinetist Paed Conca from Bern the duo Praed combine to make The Muesli Man one of the most sonically cinematic recent releases Melding found and sampled sounds plus additional triggered electronic bursts and emphasized timbres from their acoustic instruments the duo s achievement is also notable because the CD s aural imagery doesn t even suggest the wide screen story telling of cinemascope or HDTV Instead the split second jump cuts rapid editing and tincture blending that have long characterized experimental film making are expressed aurally on this notable disc Reminiscent of some of John Zorn s 1980s sound collages careful listening is recommended to pick up all the allusions and interjections incorporated into the session s 40 short tracks Throughout the vector of the

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_120.html (2016-02-11)
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