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  • reviews_cs121
    exactly how he transformed that mag stripe data into sound and whether the process could somehow be reversed so I could forge my own credit card and explore its musical possibilities by using it to buy myself something really worth listening to Massimo Ricci Paris Transatlantic California based experimentalist Trayle is nothing if not a savvy manipulator of varied art and electronic media who has aligned himself with similarly inclined individuals misappropriating fundamental values of sound art for their own unique and provocative ends A free radical Trayle s worked with European improvisers like Boris Baltschun Serge Baghdassarians and Toshimaru Nakamura fellow didactic David Behrman free jazz blower Wadada Leo Smith and perhaps most significantly with The Hub a loose knit collective of fellow malcontents and gadflies eager to subvert academia s stuffed shirt classicism via the cyberpunk paradigm Los Angeles is a town practically built on notions of high concept as is Goldstripe s modus operandi somehow grandiose and yet disarmingly obvious much like Ryoji Ikeda s painfully wrought examination of the basic building blocks of omnipresent frequencies Goldstripe uses data read from the magnetic stripes of credit cards and bank cards the sound sources of which are data captured and transcoded from the card reader and the software In a clever reversal cum examination of the particles inhabiting our daily datastream Trayle s experiments are at once as coldly calculable as a mathematician s equations one moment an ear s rush of synaptic discharge the next Though far more conceptually rigorous than say Merzbow Trayle s exaltant noise jars destabilizes and ultimately wearies yet the sum total of its abrasiveness feel wholly natural given the sound source The sound palette on display is not what one might call hugely variegated mostly it s a one trick pony Trayle rides spastically flailing about an underbrush made of tacs tics tumbling static plug in feedback and disk errors Much of Goldstripe recalls the Mego label s hard drive histrionics minus the attendant baggage of course So does it all work Intermittently Played over and over the opening 29 tends to bury you deep within its cocoon of tensile velvet 3 muffles the jet engine noise to unveil a solemn drone hovering right at the margins of perception and is easily the most graspable piece 28 blurts bleats and buzz saws through the inner ear like a legion of termites however attractive a proposition this might be to the potential listener can only be judged upon actual engagement Certainly a new orthodoxy has been birthed for the substantiation of future electronica models but as persuasive listening Goldstripe reeks of noble failure Darren Bergstein The Squid s Ear Goldstripe was made with data taken from the magnetic stripes of credit and cash cards converted into sonic structures by a computer Simple as that and indeed not the first time that someone links economy to sound research Tom Hamilton did something similar through the association of indexes of the gold market to his

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_121.html (2016-02-11)
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  • reviews_cs122
    instrumentos convencionais O que reforça a componente da interactividade audiovisual construída em função de diferentes estádios de evolução tecnológica da mais básica primitiva e artesanal ao estado da arte do desenvolvimento electrónico aplicado à criação musical Daí o disco soar simultânea e paradoxalmente a coisa antiga e a novidade assumindo se assim como uma proposta de relevante valor estético musicalmente apelativa Gravação de 2008 realizada no Vitrola Digital Studio em São Paulo Edição da Creative Sources Recordings Eduardo Chagas Jazz e Arredores The big bang like spreading out of Creative Sources catalogue reveals the emergence of a Brazilian trio who specializes in sound sculptures juxtaposing the voice of weird metallic creatures and spare radiator parts with prepared acoustic guitars piano and bamboo flutes The non homogeneity of this proposal could potentially push into dangerous waters god only knows how many collections of throwaway noises and pushed furniture we have listened for all these years in the name of supposedly advanced artistries hiding a widespread lack of substance Despite the existence of tracks that do not exactly shine with superior inventiveness Sonax is mostly a rewarding album the haptic quality of its material making sure that elements of compactness are maintained even during the sections in which the music fluctuates between structural clarity and natural tendency to sonic indulgence Fine flashes are especially to be found after the halfway mark Movimento pendular resonates with intense vibrations and gleaming drops of ringing mellowness then mutates into a rusted seesaw of chafed frequencies Estudo para uma improvisação sem desenvolvimento begins with creepy symptoms and unsettling tremulous recurrences the whole interspersed by echoing knocks and ululating strings which shift the piece s gravity towards the more percussive phase of circumspectness until a full if not excessively ample gamut of sonant nebulosity is exposed The insufflations characterizing Lacuna reverberations of flutes and night time currents bathed in rumbling murmur made me want to remain completely motionless unwilling to disturb a suddenly materialized stillness Masimo Ricci Totching Extremes Já há muito que nos chegavam ecos da guitarra microtonal do brasileiro Marco Scarassatti e já lhe conhecíamos o interesse pelo inventor de instrumentos Walter Smetak a quem dedicou a sua tese de mestrado na Universidade Estadual de Campinas onde reside Agora chega nos por via da portuguesa Creative Sources o seu disco com o trio Sônax no qual utiliza esculturas sonoras de sua manufactura evidenciando a influência do músico e artista suíço que emigrou para terras de Santa Cruz em 1937 e aí faleceu em 1984 Apesar de o seu quadro de referências incluir compositores de música contemporânea como John Cage Luciano Berio Toru Takemitsu e Giacinto Scelsi é no âmbito da improvisação que o percurso musical de Scarassatti se vem situando Não é o jazz propriamente dito que pratica mas este não anda longe Segundo as suas palavras ao explicar o conceito por detrás destes Sônax do seu outro grupo Olho Caligari e do festival de música improvisada que organiza desde o ano passado esta é

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_122.html (2016-02-11)
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  • reviews_cs123
    com brilho e emotividade Estas são algumas das razões pelas quais o disco fruto da convergência de dois espíritos cultural e musicalmente sintonizados é tão elegante Eduardo Chagas Jazz e Arredores Viola and cello make for a magnificent combination this duo celebrating a wedding typified by present day romanticism and witty improvisational options The subdivision of Korom in diminutive sections down to 19 seconds comprised between the longer pieces beginning and ending the album attributes an inner symmetry to the whole configuration a welcome addition to an already exquisite experience The players investigate singular aspects of sonic free will with self control and moderation absolutely not afraid of letting the horses go every once in a while What starts like an almost regretful look to far flung temporal landscapes often turns into a restless consecutiveness of calls and responses the scrape scratch and pluck factor gaining considerable weight over the course of the set Yet the most striking attributes of this music reside in the artists quest for extrapolating newness from unplanned sketches and designs which at the same time seem to have been conceived a hundred years ago such is the magic aura of improbability and secluded grief that these phrases originate in the soul of the sensitive listener There s not a moment in which we were caught unprepared by this unpretentious splendor A seriously involving record the unforeseen gift from two musicians whose curricula are definitely impressive check them and remain in awe especially in reference to Mezei s yet still worthy of being exposed to bigger and bigger audiences Massimo Ricci Touching Extremes Ce duo alto violoncelle hongrois enregistré à Novi Sad est un des joyaux du label Creative Sources A la fois contemporaine lyrique et audacieuse la musique de ce duo est tour à tour

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_123.html (2016-02-11)
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  • reviews_cs123
    entitled Kefukefu sounds really astonishing even if it s just one track this 28 minutes lasting piece could be divided into four parts being the first two a sort of introduction of the two reagents of the impending fusion between the imposing and bulky chubbiness of the tribal percussions it seems a taiko but I m not sure even if I m pretty sure it s wonderfully played by Yuko who seems to adopt some sampling techniques during recording rhythmical patterns which could remind the charm of Hachijodaiko style and the delicate softness of vocal fluttering of the second part the third an intriguing flicker of tinkling bells acting as a preface to the creative process which Yuko carries out in the fourth part whereas the coexistence of opposite polarities has been associated to this bulging aspect of Japanese culture and way of thinking The second cd entitled Sings is a collection of short improvisational ideas by Yuko who manages to by pass that undefined sense of pedantry through ten nice intermezzoes each of them being eentitled with ideograms no words which can be appreciated during your coffee break highlighting the way Japanese people consider music held in the word they use for music ongaku literally meaning pleasure of sound Vito Camarretta Chain DLK Japonaise expatriée depuis une dizaine d années en Alsace Yuko OSHIMA hanta d abord avec ses percussions la scène musicale improvisée de la capitale alsacienne émargeant dans plusieurs formations L Autre Orchestre Ici avant de se mettre en partenariat avec Eve Risser au sein de Donkey Monkey qui vient de sortir son 2e opus Hanakana en ce début de printemps Présente peu à peu sur d autres scènes elle participe à un enregistrement du groupe Le Nœud Logique elle se propose par le biais de l

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_124.html (2016-02-11)
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  • reviews_cs125
    speak is a winning choice one catches glimpses of abnormal attractiveness underlying metallic energies rhythmic out of shape ness emotionless pulses and weirdly resonating parabolas of didjeridoo like insufflations yet we can t actually get used to anything as the pieces end almost instantly all too quickly in a coitus interruptus of sorts A cross between the sonic snapshots of two researchers at work in their laboratory and the commentary for a modern theatre act Sirenen Bluten is positively a good outing and the evidence that half a hour is an adequate amount of time when ideas abound When the disc s over we would love to go on and find out if there s more in the artists vault Masimo Ricci Totching Extremes Last week I saw Ensemble Integrales perform a live soundtrack with Augsburger Tafelconfect to Walter Ruttman s 1928 film Berlin and got these two items handed Guitarist Sascha Demand from the ensemble teams up with Hannes Wienert who handles soprano saxophone trumpet trumpsax sheng and tubes here on a CD that holds eightteen tracks in thirty minutes I am not sure why they are so short but it makes great sense Each of the pieces seem to explore their own sound world within the miniature frame The table top guitar and the various wind instruments merge together most of the times and its hard to tell which instrument does what here Sometimes they drift wide apart and each is on his own And then things are over and things start again Nothing lasts more than its supposed to be which is the greatest thing about it a fine quality that is knowing when to stop Excellent CD not just for those who love improvisation but also for those who love electro acoustic and acousmatic music Frans de Waard Vital Weekly Der Gitarrist Sascha Demand hat mehrfach in Programmen des Ensemble Integrales einem der besten jungen Ensembles für Neue Musik in Deutschland mitgewirkt Vielleicht stammt daher sein Gespür für Timing seine ungeheure Disziplin die nichts kopflos oder zufällig erscheinen lässt Die 30 Duominuten auf Sirenen Blüten sind eine schmiergelnd eruptive Angelegenheit die absonderliche Klänge produziert und überraschent vermengt Hannes Wienert umschmiegt und würgt manchmal kraftvoll mit seinen Blasinstrumenten die Gitarre was farbenfrohe Reibungen schafft Zipo Auf Abwegen Der Komponist und Gitarrist Sascha Demand und sein Partner der Insallationskünstler Maler Saxophonist und Trompeter Hannes Wienert stammen beide aus Hamburg Die nun von Thomas Siebert exzellent abgemischte CD Sirenen Blüten dieser beiden ist ein Hörgenuss der ganz besonderen Art Dabei bedeutet das rein Auditive für sie eine gewisse Beschneidung ihrer sonstigen Betätigungsfelder Das Aufführungsereignis selbst die Installation des Ensembles im Raum das Umfeld und seine Illuminierung spielen eine wichtige Rolle die man sich beim Hören von Sirenen Blüten hinzudenken muss Wer Hannes Wienert und seine Arbeiten etwa die Lichtinstallationen in der Schilleroper Hamburg oder seinen Immortal Vomiting Sound kennt wird einigen Stoff dazu aus der Erinnerung holen können Sirenen Blüten muss und soll trotz seines bildhaften Titels wahrscheinlich nicht

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_125.html (2016-02-11)
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  • reviews_cs127
    austere enough to make Steven Stapleton sound like Dr Demento Perhaps the most direct way Animali approaches contemporary poetry is through its rejection of exchange value The album hums with a certain kind of intelligence a kind I can t help but feel I haven t gotten anywhere near the contour of in my descriptions and this intelligence goes well beyond admirably and perhaps a little insanely beyond to ing and fro ing of the Internet Even though the album is packed with modulating high pitched feedback there s nothing aggressive about it it s about as far away from Anglo American noise as you can get Though I can feel myself stretching as I write this there s something serene about the feedback as if it were a sound of some post virtual utopia And why is it that the most relevant poets now seem to be recuperating exactly the idea of utopia while the concept in music seems to be restricted at the moment to reliving the second summer of love The more time you spend with Animali the more the album reveals an unexpected theoretical and affective potency And you probably already know that s a rare thing Brandon Bussolini Dusted Magazine Its entirely my fault that we haven t seen any Creative Sources reviews The over production of the label led to sending sometimes ten CDs at a time which is a true nightmare to review To do that I would be spending at least two full days for one label now if it was a paid job but alas So since maybe two years the review copies are send by the musicians and that is much better Having said that I don t know if the label is still focussed on improvised music or that they expanded into other kinds of music Listening to Arg s Animali I would think it is so This is an acousmatic work from the musical theatre opera Animali Gestures and voices from Julio Cortozar s Rayuela it says on the cover which holds no other information I don t even know what language it is in Italian Spanish So likewise I have no clue what is about That is a pity but in stead I can focus on the music itself This is indeed a true acousmatic work acoustic sources doors field recordings street sounds are mixed with electronic processed versions thereof which in return are mixed instruments wind strings etc This makes a highly cinematic piece of music divided in nine parts Its hard to tell what this cinema is about but is surely is a fine work of hallucination Not knowing what it is about leaves much room to guess Which I think good music should be about Frans de Waard Vital Weekly Quest ultimo è curiosamente strutturato come il disco dei Taxonomy nella veste di opera inscindibile perfino in accorgimenti particolari quali possono essere la presenza di un overture e di un epilogo In realtà si

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_127.html (2016-02-11)
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  • reviews_cs128
    artists massage their full inventory of sounds to unveil a decidedly toxic ambience comprised of machinic whirrs Subotnick like buzzes storm clouds of fragmented hard drive spittle firework aftershocks Cruising across the basal ganglia of their respective laptops Ry om proffer what could be coined improv concrete hacking and sculpting software to achieve idiomatic ends that wholly justify their means All categorizations aside however III shares spiritual kin with Müller s own Eight Landscapes and is just as superb a piece of work Darren Bergstein The Squid s Ear Do duo ry om formado em Londres por Tom Shelton e Ryo Ikeshiro ainda não se conhece rasto assinalável para além da música acessível através da página web do projecto e das edições da netlabel Earth Monkey Productions De formação recente o ry om que a si próprio se designa por autonomous electroacoustic soundscape co operative concorre com laptops guitarras acústicas e eléctricas pedais de efeitos loops sintetizadores e samplers para a produção de ruído electrónico de industriosa manufactura A música de III edição de 2008 da Creative Sources Recordings livremente improvisada e de feição acentuadamente atonal enche se de frequências ressonantes de glitch digital e drones efervescentes em que proliferam colónias de insectos electrónicos das mais diversificadas estirpes Nas cinco peças de III gravadas em Londres entre Dezembro de 2007 e Janeiro de 2008 Shelton e Ikeshiro desafiam se mutuamente para acesos debates aos quais não faltam organização método e sentido orquestral à procura de um patamar comum de entendimento comunicando sem arriscar a perda da coerência e a sobrecarga da panorâmica ainda que por vezes no limite da saturação por sinais electrónicos e electroacústicos A progressão é em pulso irregular num som de configuração leve e austera com um toque ligeiramente abrasivo O que facilita o acesso e a empatia por parte de ouvidos menos familiarizados com as estéticas que explicitamente abordam diferentes modos de organizar o ruído experimental Eduardo Chagas Jazz e Arredores The duo of Tom Shelton laptop acoustic guitar feedback loops vocals and Ryo Ikeshiro laptop electric guitar feedback loops Ry Om is the kind of project that inspires confidence ever since the very first listen pushing our will to repeat the experience time and again Theirs is one of the most exquisitely meaningful types of computer based blends heard in the last ten years evanescent implications and bell and whistle attitudes don t belong here structural steadiness and compositional rationality do no questions about it Kaleidoscopic timbres and unstable frequencies aren t used as an excuse for intellectual mystification each element finding an ideal placement in the fastidious logic of a particular segment linking its connotation with a far from foolhardy approach to the extremities of the audible range Throbbing regularities when existing coincide with the shortage of directional lights the music stabilized by an inherent consistency which makes us perceive it as rock solid despite the volatility of some of its constituents We re offered apocalyptic droning ecstasies bubbling marmalades acid syrups unfriendly integralism

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_128.html (2016-02-11)
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  • reviews_cs129
    sakte men sikkert kan søke seg fram i et landskap som blir til underveis Lydbildet er som alt annet her totalt forskjellig fra det aller meste som har vederfaret mitt sanseapparat tidligere De to får horna sine til å låte som alt annet enn saksofoner klarinetter og gitarer ved hvelp av smatting og overtoner og manipulering av strenger og det blir aldri kjedelig å følge de to på vei mot ja si det Dette er totalt åpen musikk som henter like mye inspirasjon fra samtidsmusikk som fra impro verdenen Uansett er den et bevis på at vi har med to karer å gjøre som ikke har til hensikt å kompromisse med musikken sin og som åpenbart er i besittelse av et stort potensial Samme hvor i det musikalske landskapet Kim Johannesen og Svein Magnus Furu dukker opp i åra som kommer så tror jeg vi gjør lurt i å stille med åpne ører og gjerne også andre åpne sanser Tor Hammerø Jazznytt Em trio com o baterista Tore Sandbakken os noruegueses Kim Johannesen guitarras e Svein Magnus Furu saxofone clarinete tocam um jazz mais formal e alicerçado sobre o ritmo e a melodia não muito distante do do trio de Paul Motian com Bill Frisell e Joe Lovano Em duo encontram a liberdade necessária a um investimento abstracto de certo modo alinhado com o reducionismo mas preferindo neste a lógica textural à interiorização do modelo near silence Fazem no até revelando um sentido de musicalidade que muitas vezes está ausente desta corrente da mais radical improvisação livre Sem dúvida intrigante Rui Eduardo Paes Jazz pt While the periodic use of motorized appliances on the guitar by Kim Johannesen vaguely recalls the work of Keith Rowe these two Norwegian musicians also present a broad spectrum of timbres and settings that demonstrate individual character and humour all deriving from the same sources guitar sax and clarinet yet quite polymorphic in terms of their capricious dynamics and in depth investigations of particular combinations of altered tones Furu is a clever reedist not the least interested in the umpteenth adaptation of subtly hissing emptiness willing instead to let those pitches be heard sometimes very loud certain juxtapositions of extensive quaking honks with the scraped jangle emitted by Johannesen s tormented strings are impressively vicious if listened to at serious volume The association between Furu s sputtered quacks and Johannesen s humid fingers rubbing the wood also brings remarkable results in a who did what kind of argument usually ending in a nod of approval An intelligent record throughout Massimo Ricci Paris Transatlantic Another guitar plus saxophone duo just a while ago I ve reviewed Rocco Coxhill and now this nordic pair beyond the remote possibly also this nordic couple has an avant jazz background I can t see any other similarity Infact Johannesen and Furu are more contemporary classic oriented in their way of playing and these compositions somehow can be classified that way The first track opens with what effectively sounds as a

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_129.html (2016-02-11)
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