Archive for ‘Uncategorized’

June 21, 2018

solstice 2: Earth Stepper

The long awaited Earth Stepper debut is finally available on Spectropol.

Dan Stearns has been posting chunks from this collaborative project with Andrew Heathwaite for a few years, but finally the first full-length album is ready for presentation as a whole, with more collections of tracks coming later in the year.

Stream it and download it (for $5) at Bandcamp:

Earth Stepper is a collaborative project by Dan Stearns (instruments) and Andrew Heathwaite (vocals and text), with a handful of contributions from friends, mixed by Stearns into a microtonal and often noisy multidimensional stew. This album, Passport to Magonia, defies easy description. It beguiles, it challenges, and it gets into the back of your brain and under your skin. As with other music by Stearns (see Golden Town, SpecT 03), there is a conviction behind it that betrays an underlying logic, a subliminal flow, despite the chaotic layered surfaces; a sound-art tethered beautifully to Heathwaite’s words and melodies. Step into this trip.

backcoverPass

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June 21, 2018

solstice release: Sammons – Lines and Waves

Spectropol is happy to present an intriguing graphic score project from Lanier Sammons with collaborators Giacomo Fiore and Lucie Vítková.

The recordings presented here emerged from an Arts Works Residency at the Santa Cruz Museum of Art and History.  During the residency, I asked visitors to draw an image they’d like to have a musician turn into sound.  I presented the visitors with grids and asked them to fill in a single cell.  Initially, my plan was to combine individual contributions into curated scores, but I was delighted to discover that visitor enthusiasm exceeded my expectations.  Folks almost  always filled up all or most of the sheet with images, and each sheet felt like an independent, complete graphic score without any intervention from me needed.  The contributors ranged from professional artists, like Carmina Eliason whose image is our cover art, to an infant doing his very first drawing on one of my sheets.  Collected here are realizations of selected scores by Lucie Vítková and Giacomo Fiore, who were kind enough to come record in the museum gallery.

-Lanier

Graphic Scores Project - Carmina's Kitchen

March 3, 2018

Ehsan Saboohi’s theatrical production of Yushij’s “The Legend” is available for streaming

Spectropol is happy to once again bring the work of Iranian composer Ehsan Saboohi to our listeners…and in this case viewers, as the large work here, a dramatic concerto for solo actress, is ideally experienced as an audio/visual event. Saboohi brings Iranian poet Nima Yushij’s classic “The Legend” to life in this probing, challenging, and ultimately moving theatrical piece.

VIDEO: https://skiks-bh.wistia.com/medias/sjacahtxg6 (stream only)

PDF Booklet

BANDCAMP (audio only, stream or free download – comes with PDF liner notes):  https://spectropolrecords.bandcamp.com/album/concerto-for-solo-actress-the-legend-of-yushs-poet

INSTAGRAM (Farsi): https://www.instagram.com/p/BftV6wmHtu2/

DESKGRAM (Farsi): https://deskgram.org/thelegendofyushspoet

A translation is given below the video for non-Persian speakers (sorry, no subtitles), but the work…which is often declamatory and feels more like a play than music…can still draw one in with its own cadences and dramatic curve.

ESCOVER

“The structure of this “concerto” is a combination of contemporary Naghali (recounting stories), spoken word, and contemporary performance art. The actress here creates musical events with voice, body, and movement; a bit like a piano concerto that does not have an orchestra. For me, the Mise-en-scène functions like the orchestration of a piece.

Naqqāli (or Naghali) is the oldest form of dramatic performance in Iran. Historically, it has adapted itself to socio-political circumstances. Before the Sassanid (651 AD), Naqqāls were poets and musicians simultaneously: they recited stories while playing instruments. Bārbad was the most renowned Naqqāl of the Sassanid. During Ghaznavids (10th-12th AD), the Court banned musical Naqqāli, but the tradition survived in remote areas.

The performer – the Naqqāl – recounts stories in verse or prose accompanied by gestures and movements, and sometimes instrumental music and painted scrolls. Naqqāls function both as entertainers and as bearers of Persian literature and culture, and need to be acquainted with local cultural expressions, languages and dialects, and traditional music.

The Concerto for Solo Actress is a faithful narration based on the poem “Afsaneh” (The Legend) by Nima Yushij. I left Tehran for two years in order to write “The Legend of Yush’s Poet”. For this purpose, what place could be better than the homeland of Nima, the father of modern Iranian poetry and whose poem “The Legend” poem charmed me?

I took up residence in the village of Khesht Sar, in the Central District of Mahmudabad County, Mazan- daran Province, Iran, and in close proximity to the birthplace of Nima – Yush. Whenever I was going to the city, I saw a large board at the entrance of the city that had been written on it: “Welcome to Nima Yushij’s Birthplace”. Indeed, Yush and Mazandaran are Nima, and Nima is the pristine nature of the North of Iran. My new home was near the Caspian Sea, which Nima describes it like this: “Your lips were smiling in that wave”. The only music that filled my mind in those two years were the sounds of nature and silence. In this silence, I had the opportunity to think about one thing every day and every hour! Who is the legend? What shape is she? How is her singing? How bitter is her bitterness? And how long is her way? The performance of this work certainly has the result of cooperating with a sympathetic and committed group that I should be very grateful to all of them. Those who were with me at eleven nights’ live perfor- mance of this work and then at all stages of recording, producing, and preparing the audio and video version.

As far as I know, The Legend of Yush’s Poet is the first concerto written for an actress. However, I am responsible for all the errors ahead. But at the same time, I present the premiere of this work to all members of the group and Ghazal Naeemi, who practiced hardly and tirelessly for almost seven months. I am grateful to my sophisticated and kind-hearted friend, Ramin Dargahi, who translated all the texts into English. I am grateful to my dear wife, Lena Koocheri, who has strongly supported me all this time. Also, I thank Mohammad Mousavi and Bruce Hamilton, who helped me to produce this work.

My greatest hope and desire during the making of this project and upon the release of its audio and video albums is that Nima Yushij, a well-known poet of Iran, is watching our work and smiling on what we have done – like a wave that smiles on the sea and caresses us slowly!” – Ehsan Saboohi Tehran 2017

December 13, 2017

Lanes is out.

Years in the making, Bruce Hamilton’s Lanes is finally available.

This album collects new recordings of works composed between 2013 and 2015, as well as a live recording from 1996. The music covers much ground, by turns pulse-driven, ambient, microtonal, polyrhythmic, lyrical, and texture-based.
Stream it or purchase on Bandcamp ($7 DL, $12 CD).

munk punq tezilo (2014) for clarinet, sax, accordion, piano and percussion [Ensemble Kompulz]

Attractors (2013) for vibraphone, piano, and recorded sounds
[Iktus Piano & Percussion Duo]

Still Life (1994) for solo clarinet
[Tasha Warren]

osbatt (2015) [processed keyboard improvisation; Bruce Hamilton]

Four Pieces (2015) for flute, bassoon, violin, double bass, and electric piano [Bellingham Chamber Music Society]

released December 14, 2017

lanespicfront

 

July 21, 2017

Frets Of Yore released!

It’s out. Thanks to everyone who waited so patiently! Pick up a copy (digital, CD-R + digital, or special expanded CD-Rx2 + digital) at our Bandcamp site.

More about this ambitious project here.

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March 21, 2017

Frets of Yore out soon!

Spectropol is pleased to announce the upcoming release of Frets of Yore: A collection of guitART Pieces for the Immediate Past.

This compilation features musical responses to 26 graphic art works, each interpreted or reacted to twice, resulting in 52 guitar-based tracks spanning a wide range of styles. The graphic submissions included paintings, drawings, collage, digital manipulation, photography, and even a paper-cutting. Quirky acoustic compositions, European free improvisation, textural soundscapes, minimalism, noise, avant/RIO rock, Canterbury music and songs are among the approaches from the musicians, who include several major figures of the guitar world.

Spectropol will release Frets of Yore in late spring 2017 as a limited edition CDR and digital download. Spectropol and Guerrilla Graphics will also release a very limited edition with handmade cover, art print, and bonus disc.

Frets of Yore, the musicians: Luciano Margorani, Shawn Persinger, Amy Denio, Henry Kaiser, Elliott Sharp, Fred Frith, Ron Anderson, Dave Newhouse, Wadi Gysi, Kalahari Surfers (Warrick Sony), Elliot Knapp, Mike Cooper, Nick Didkovsky, Billy Swann, Bun Itakura, Dereck Higgins, RenÈ Lussier, Jerry King, Karl Blake, Chris Cochrane, John Jasnoch, Frank Pahl, NoÎl AkchotÈ, Brian Woodbury, Miroslav Wanek (Uz Jsme Doma), Jeremy Jacobsen (The Lonesome Organist), Leandro KalÈn, Shankara Andy Bole, Carla Diratz, Bret Harold Hart, Janet Feder, Marc Edwards, Ian Brighton, Mark Stanley, Mark Hewins, John Russell, Anthony Donovan, Dennis Gonzalez, The Songraiders (Dustin Villarino Frias/Irvin Jose Villarino Frias), Raul Valverde, Intage Taluure (Jean-Marie Mievis/Kim DuChateau), Tomoaki Soma, Dario D’Alessandro (aka Doriano Budella), Paul Morris, Michel Kristof, AndrÈ Duchesne, Chris Bywater, Nick Prol, Inesa Navarro, Dan Stearns and project founder Gonzalo Fuentes.

Frets of Yore, the visual artists: Danielle Dax, Cal Schenkel, Matt Howarth, Jad Fair, Little Annie Anxiety, Joey Mars, Kinki Texas, Nick Prol, Garry Gilchrist, Heike Liss, Frederi Lipczinsky, Ria Lenaerts, Iris Terdjman, Carla Diratz, Bret Harold Hart, Paul Morris, Noel Akchote, Chris Bywater, Celine Ka, Dam Ja’Rock, Ayako Kanda, Mark Stanley, Dennis Gonzalez, Dan Stearns, Bernard Khoo and Gonzalo Fuentes.

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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).

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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.

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.