Posts tagged ‘electroacoustic’

February 11, 2016

Resolute review roundup

The first batch of reviews for Marco Oppedisano’s excellent Spectropol EP are in. Check ’em out!

Avant Music News

The Stash Dauber

Touching Extremes

 

 also this:

A VERITAS VAMPIRUS CD REVIEW:

MARCO OPPEDISANO – Resolute (EP-CD)

Marco Oppedisano’s a highly imagistically abstract experimental guitarist-composer-noiseur (include piano, voice, and percussion in that, too) in Brooklyn, New York, and Resolute is his latest release after a much too long quietus, his last effort having emerged in 2010. This new affair arrived quite fortuitously to my attention, as I’d at the moment been listening to Escapade’s duetoafaultypremonition, a satisfyingly experimental noisy affair as well, though definitely zoned-hippie as compared to Marco’s neoclassicalism. His 5-track 21+-minute EP demonstrates the marked contrast in myriad differences between a single highly disciplined musician and a very cool mess of on-the-fly players like Escapade, a sextet.

Marco’s work has long been mindful me of an unusual conflation of any number of past influences: Morton Subotnick (who teaches or taught at the same school as Oppedisano), Morphogenesis, Faust, Cluster, PBK, and a collage of others…but also of an obscure 80s cat, John Wiggins, an HBO sound engineer who released a series of extremely three-dimensional, sonically pristine, found-sound/noise/avant-garde issuances. Oppedisano’s masterful control of his recordings immediately harkens back to Wiggins’ equally painstaking documentations, as do the highly variant sounds residing in a spacey quadrant nonetheless redolent with terrene landscapes.

Should you not be quite as zoned as me and other prognacious bastards, be neither esotericized nor daunted by citations of past-master sonic surrealists because there are elements of Fripp & Eno’s groundbreaking duet work present as well, the opening cut, “Breathe”, a kind of cross between later King Crimson and No Pussyfooting, with a good deal of avant-prog continuing as the quintet of songs progresses. A couple decades ago, I coined the term ‘incidentalist’ to embrace this ilk of work, as everything here is episodic amid individual elements of short duration, yet holds together magically, far more so than the term might suggest.

This is not easy art to produce as its qualities are the most esoteric in all sound production, rooting ultimately in John Cage and the 60s Nonesuch electronicist pioneers, not to mention the remarkable ONCE Festivals, and that’s precisely why I cover it: because, goddammit!, there’s nowhere near enough material on this level being produced, and there should be far FAR more. Evolution depends on it!…or at least the hedonistic satieties of sonic omnivores like myself and hopefully you.

Man cannot live by Butch Morris alone.

-Mark S. Tucker

——

best of ’15 list: Perfect Sound Forever

best of ’15 list: AMN

top album of 2015, Randy Branch:

1) Marco Oppedisano – Resolute
A composer that has laid out a huge canvas, then proceeded to weave a sonic landscape that changes its terrain at every twist and turn. Multiple listens are required to truly get a sense of what has been accomplished here.
For me this release represented someone who truly threw caution to the wind and took a chance at reaching forward with both hands and ears.
My sincerest and heartfelt love of this proves that there is great music being made.

——–

and we’ve had some nice blog/radio play as well.

We’ll post more stuff as it comes in!

 

 

December 27, 2015

Hamilton: Winding

Holiday surprise, as without warning I’m putting out this album featuring some of my own texture-focused ambient electronic tracks. I’d been sitting on it for a while and the time felt right…heck, it’s Spectropol’s 40th album!

Winding is a collection of tracks recorded between 2009 and 2012. Despite marked contrasts between them they comprise a coherent playlist of “ambient” electronic music. Some of the pieces work well for meditation, others are themselves meditations on sounds or ideas. Many of the works employ continuous slow-change forms and drones, others are keyboard-centered and have faster moving harmonies; some employ field recordings and most embrace noise. Microtonal elements are also present throughout, in different forms, including just intonation (this, muuf, window, furse, koni); mixed tunings (hoomz, hae, ronqq), and micro-inflections (elegy, furse, ronqq, dropov). As a whole I think of it as an ambient album realized with an avant-garde electroacoustic aesthetic.

Mastered by Rafael Anton Irisarri.

It’s available now as a name-your-price download. You can also purchase ($10+s/h) an extremely limited edition CD-R (shipping in January).

winding_back

November 26, 2015

New Marco Oppedisano is here!

Spectropol Records is pleased to announce a new EP of music by NYC guitarist and composer Marco Oppedisano. This project, titled resolute, is Oppedisano’s first solo release of electroacoustic music since 2010. The EP is composed of five compelling tracks based on electric guitar, electric bass, percussion, voice and piano. As in much of his previous work, the resulting music is a kind of electric-chamber/concrete hybrid rich with timbral, contrapuntal, gestural and harmonic detail. There’s an unwavering energy through these tracks that speaks to the title, a sense of direction and tonal focus even through contrasting sections, making the EP into what feels like a unified statement.

resolute is available as a $7 limited edition CDR and $5 digital download at the Spectropol bandcamp site, where it can be freely streamed.

September 18, 2015

Phonemes Requiem is available for download!

Spectropol is happy to help bring another significant work by Iranian artist Ehsan Saboohi to the west and beyond, this time with the help of a superb group of singers and instrumentalists.

Phonemes Requiem is a large-scale multi-movement work that explores the inner world of speech and vocalized sound, temporally expanded and sonically enhanced, each small section a zone to get lost in while serving the long flow of the piece. It’s rich with detail and gets better with each hearing.

Download Phonemes Requiem (2014-2015) (For four Soloists, mixed Chorus, Didgeridoo, prepared Tombak, Electronics, Computer) below (name your price). And if you like, pre-order the limited edition CDR!

ehsan

Check out his earlier release on Spectropol here.

February 7, 2015

TERRA-A-TERRA (video)

The new video by AXIAL for Terra-a-Terra, a haunting collaboration from Paulo Chagas (Portugal), George Christian (Brazil) and Mehata Hiroshi (Japan). This is excerpted from a stunning thirty-one minute ambient/noise/improvisation piece that serves as one of two tracks on Love Without Wings, a new title on Spectropol that will be released alongside the newly revised, remixed and mastered version of Christian + Mehata’s La Géographie sans Regret on March 1. [More details on these releases in the coming weeks.]

George Christian Vilela Pereira: soundcloud.com/georgechristian
Mehata Hiroshi: soundcloud.com/mehata-sentimental-legend
Paulo Chagas: soundcloud.com/pauloxagas

AXIAL: http://www.kaosart.org/axial/menu.html

October 2, 2014

LIL: “unidentified” out today

Spectropol is pleased to announce the availability of another fine collection from Polish artist Marcin Tomczak.
An unidentified space; a surreal electroacoustic chamber music full of vibrant color and complex emotion.
Very limited edition of 10 beautiful CD-Rs; and unlimited digital download (name your price).

–voice in tracks 4 and 6 by Martyna Kołodziej.
–track 7 composed by A. Nowacki and remixed by LIL.

August 8, 2014

new music from Ehsan Saboohi

We are delighted to provide the wider international release of Iranian composer/electronic musician Ehsan Saboohi’s Chaos in the Cosmos. The album is available as a digital download and comprises two fascinating experimental tracks, microtonal and hypnotic, weaving tapestries of sculpted sound.

From Mr. Saboohi: “Chaos in the Cosmos” (Shahr-âshub in Persian) is an experimental music inspired by the well-known components of Iranian culture such as literature, miniatures, calligraphies and the art of carpet. Being aware that meta narratives have no place in today’s world, it is aimed to be a micro narrative of the Persian traditional poetry and music.

Chaos (Âshub) is a metaphor for the invention and discovering the new disciplines and Cosmos (Shahr) is a metaphor for the established disciplines.

We respect other nations’ music and believe that what constitutes the future of the music is a dialogue between the contemporary and traditional music. Thus, we look at the western music from the second half of 20th century (from1950 onward) and consciously bracket all the appeal of tonal music in order to rediscover the harmonics and non-harmonics of the music by itself.

www.ehsansaboohi.com

ehsan pic 155typography2kafi en

May 20, 2014

Possible Worlds Vol. 3 is available

The third installment in Spectropol’s microtonal compilation series, this collection is another highly varied snapshot of current xenharmonic practice from international artists. As with the previous albums in the series, the stylistically diverse tracks here explore just intonation, equal divisions of the octave, mixed tunings, fretless instruments, and extended playing techniques.

The music here ranges from chamber ensemble spectralism to catchy electronica, from surreal soundscapes to strange funk, intimate classical guitar work to electric feedback, and from free improvisation to evolving drones.

With contributions from Taylor Brook, Paulo Chagas, Brendan Byrnes, Susan Ann Brewster, Greg Hooper, Jon Lyle Smith, Agustín Castilla-Ávila/Giacomo Fiore, Elis Czerniak, MonoNeon, Ben Wylie and Peter Nagle.


We hope you enjoy this playlist as much as we do; please share widely! 
SpecT 32, May 2014

May 10, 2014

Joe Evans’ “Septimal” released

Spectropol Records is delighted to announce the release of Septimal by UK composer Joe Evans. A 46-minute album available as a Digipak CDR and high quality download, Septimal features fourteen superlative tracks that explore the sonic and expressive potential of the autoharp.

Joe Evans writes: “While I initially conceived of Septimal as a study of microtonal harmony, it has developed into something far more complex and personal.

The word Septimal, meaning “Pertaining to all things Seven” is not widely used outside of the world of scales and temperaments, where it refers to intervals derived from the 7th harmonic. These intervals are often poor relations of intervals derived from the 3rd & 5th Harmonics, fighting for space on an otherwise occupied keyboard. By removing any notes derived from the 5th harmonic, the space opens up to allow the character of septimal intervals to shine, a coup within the harmonic series, perhaps?

Septimal was created from recordings of improvisations on the autoharp. Each piece attempts to explore the nature of the scale as well as the character of the instrument. Each note (string) is independently tunable, making it ideal for experimental scales. In Addition, the instrument lends itself to other experiments, exploring sonic possibilities such as taps, bumps, string scrapes and other mechanical noises of the instrument that make up so much of its character. This has led to a number of pieces where the tuning is far less relevant or even obscured, although always present. 

From the early stages of this project, a potential narrative became apparent, hinted at in the track titles. While I think this is better left open to interpretation, themes of abuse, tyranny and war are clearly stated.

The tracks “The Front” and “Forget me not” were among the last produced and are reflections on the war time losses of my family during World Wars 1 & 2.”

SpecT 31

Stream or download it now! CDR ships May 20.

more Joe Evans: www.runningonair.com
JE-S_Inside_2_1080
April 19, 2014

new Rubio album is out!

A fascinating collection of de/re-constructed experimental pop tracks from Marcus Rubio.

SpecT 30 – I don’t think I see a difference

Rubio:
“Last year, I became fascinated with the acoustic possibilities of the banjo in conjunction with various electronics and pedals and created a number of works that utilized these alien sounds while still warping them into folk songs of sorts. However, as I delved further into the instrument’s extended technique, I realized that there were ways to create a kind of polyphony with just the acoustics of the instrument itself and set off working on many of the pieces heard here. With these particular songs, I wanted to both play with the instrumental specificity of the banjo but also try to reduce those sounds and the formal elements of pop songs to their most basic elements. These pieces are equally indebted to the work of reductionist composers/improvisers like Tetuzi Akiyama and Taku Sugimoto as they are to the folk music of Washington Phillips and Abner Jay. As such, most of these works were built off of the raw banjo/voice material and feature minimal overdubs save for some vocal harmonies and organ on a few tracks. The banjo material on the album (tracks 1-5) is very concerned with how much of a song/sound you can remove yet still have it resemble that thing and the remaining two pieces are further non-banjo explorations of this idea. “the war on christmas” places a cynical pop song into a minimalist/modular situation notationally while the bagatelles take extremely small melodic song fragments and spreads them out very quietly over an extended period of time.”

http://marcusrubio.com/

Rubio3JPG

 

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