Posts tagged ‘experimental’

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

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July 22, 2014

“Bromma” (Akiyama/Arrias collaboration) released

Spectropol is proud to release a sublime collaboration from improvising musicians Tetuzi Akiyama (Japan) and Johan Arrias (Sweden).

This is the unedited outcome of the impromptu meeting of Tetuzi Akiyama on acoustic guitar and Johan Arrias on alto saxophone, on a Sunday morning in a minuscule Stockholm living room. Having toured and recorded together years before in a quartet format with the formidable Gul 3, the musicians knew each other well, but this was their first duo session.No preset parameters here. After a glass of black coffee and slightly diverging words on the structure ­- one long piece or shorter ones? ­- Johan shoves a plastic bottle down the bell of his alto, Tetuzi strokes a string, and they’re off. No distinct melodies or rhythms, yet the music flows with a gentle insistency and retains a strong sense of direction and purpose throughout, its beauty heightened by moments of dissonance. At times reminiscent of a koto-­shakuhachi dialogue, the core feeling is one of deep trust and respect. Every note, every sound counts. In the room, in the moment. Slow breathing, just as Tetuzi had suggested.

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Tetuzi Akiyama plays the guitar with primitive and practical implications, by adding a desire of own to the instrument’s characteristic nature in minimal and straight method. He delicately and sometime boldly controls the volume of the sound from micro to macro level, and tries to quantize his physical system.

Besides making variety of solo albums which covers from fingerpicking and slide acoustic guitar atonalism to noisy experimental drone to never ending boogie, he have made many albums in collaboration with highly praised artists such as Jozef Van Wissem, Donald McPherson, Greg Malcolm, Bruce Russell, Günter Müller, Jason Kahn, Michel Henritzi, Phantom Limb, Gul3, Tim Barnes, Oren Ambarchi, Martin Ng, Anla Courtis and Alan Licht, just to name a few. He is also a band member of Koboku Senjû, Satanic Abandoned Rock & Roll Society and Hontatedori.

Akiyama is a frequent guest at international music festivals in East & West Europe, North & South America, Australia and New Zealand in recent years.

Official Page: www.japanimprov.com/takiyama/index.html

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Johan Arrias is a saxophone and clarinet player active in the field of improvised, experimental and contemporary music. He works with deconstructing and fragmenting the traditional play on his instrument with extended techniques and preparation, regarding sound as an autonomous matter. This has led him to also start working with sound art. When composing music he moves freely from traditional to graphic notation and concepts.

Since 2005 he is based in Stockholm where he is active with groups as Jaas, Arrias/Ullén, Arrias/Liljedahl among others. He collaborates/have collaborated with musicians such as Tisha Mukarji, Angharad Davies, Tetuzi Akiyama, Axel Dörner, Derek Shirley, Kai Fagaschinski, Lucio Capece, Joe Williamsson, Audrey Chen, Katt Hernandez, Anna Lindal, David Stackenäs, Christer Bothén, Nina de Heney, Daniel M Karlsson, Andreas Backer, Jonatan Liljedahl, Lisa Ullén, Vilhelm Bromander, Henrik Olsson, Emil Strandberg and more. He has toured in Sweden, Norway, South Africa, USA, Poland, UK, Germany and Rumania and released records on labels such as MonotypeRec, Headspin Recordings, Crazy Wizdom, Jahr null Aufnahmen.

SoundCloud: https://soundcloud.com/johan_arrias
“Bromma” was recorded on Nov 10, 2013, on a Olympus LS­11 portable recorder. Duration: 27 minutesRecording and text by Jan Nygård.

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May 21, 2014

physical copies of Septimal have arrived

The Digipaks of Joe Evans’ compelling new Spectropol release are here and ready to ship. Designed by Evans, the CDR packages are very attractive and sell for only $11 plus shipping (includes digital download).

Have a listen below.

 

evansdiscs

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
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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/

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March 19, 2014

‘desolation’ (Bennett/Galloway) is available for download

‘desolation’ is an album of sonic hauntings, a collection of experimental ambient explorations by two longtime collaborators. This release continues Spectropol’s side project of unearthing older gems from the back catalogs of interesting artists, as these tracks were recorded in 1999. Bennett and Galloway have since collaborated many times, recently in the west coast based psychedelic-electroacoustic band Respectable Citizen. ‘desolation’ has aged wonderfully, with composer Bennett putting his considerable synthesis & keyboarding expertise to use against Galloway’s trademark experimental guitar work. It’s full of force and beauty and beckons new listeners in 2014.

Streaming and name-your-price download available at the bandcamp site:

[SpecT 29]
www.brucechristianbennett.com
souciant.com/2011/04/process-not-synthesis
Respectable Citizen

B & V over the years...

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February 27, 2014

new Ilia Belorukov album is available!

This collection of acousmatic pieces from Saint-Petersburg’s Ilia Belorukov melds electroacoustic, ambient-chill, and free improvisation into a unified whole. Granular soundscapes fuse with hypnotic pads, providing shifting moods and often a calm repose. Processed saxophone enters the picture, weaving insistent loops and beautiful lines through forests of gentle noise.

Check out the album on the bandcamp site where you can stream & download I Did What Was Possible to Quiet Us.

more about Ilia: http://www.belorukov.blogspot.com

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February 18, 2014

new review of Christian/Mehata

Excellent thorough review of La Géographie Sans Regret from the fine folks at The Sound Projector.

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You may be excited to hear that a new edition of this album…remastered and with added bass…is coming out next month alongside a wonderful new collaboration from Christian (Brazil) and Mehata (Japan) with the great Paulo Chagas (Portugal).

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