video by Gustavo Daher
(from aos rios urbanos)
October 28, 2013
new video for união (George Christian)
October 22, 2013
‘Bass Violin’ is available!
Spectropol is pleased to announce the re-release of this excellent collaborative album. Stream, download, or purchase it at the link below.
Cornelius Dufallo:
“Patrick Derivaz and I started recording Bass Violin in January of 2011. Patrick’s concept was to experiment with pairing two instruments of extremely different registers using digital effects and loops. Our process was highly spontaneous: using composed material that we each brought to the sessions as a point of departure, we improvised freely and record all of our improvisations. After this we assembled each composition from the recorded material. Each of the pieces is a truly collaborative combination of composition, improvisation, and post-production.Our creative meeting ground turned out to be a meditative, quasi-hypnotic aesthetic in which variation is slowed to a nearly imperceptible rate. Within this sound world, the combination of registral extremes and a rich palette of digital tone colors created music that we hope is deeply engaging on both an emotional and psychological level.”
“Patrick Derivaz and I started recording Bass Violin in January of 2011. Patrick’s concept was to experiment with pairing two instruments of extremely different registers using digital effects and loops. Our process was highly spontaneous: using composed material that we each brought to the sessions as a point of departure, we improvised freely and record all of our improvisations. After this we assembled each composition from the recorded material. Each of the pieces is a truly collaborative combination of composition, improvisation, and post-production.Our creative meeting ground turned out to be a meditative, quasi-hypnotic aesthetic in which variation is slowed to a nearly imperceptible rate. Within this sound world, the combination of registral extremes and a rich palette of digital tone colors created music that we hope is deeply engaging on both an emotional and psychological level.”
released 22 October 2013
Music by Derivaz-Dufallo.
Tracks 1, 3, 4, 6, 7: PAD Publishing, ASCAP.
Tracks 2, 5: CBD Music, Inc., ASCAP.
All tracks recorded, mixed, produced and mastered by Patrick Derivaz at PAD Productions.
Art and Graphics by Nana Deleplanque.
2013 Spectropol Records | SpecT 24
October 21, 2013
thoughtful musings on Fouter & Swick
James Wyness always has interesting things to write about. In this case, it’s our lovely label and some recent releases. Check it out here.
October 11, 2013
‘Bass Violin’ (Patrick Derivaz / Cornelius Dufallo) set for Spectropol re-release 10/22
We are excited to present ‘Bass Violin’ for wider release on October 22. Originally produced in 2012, this project documents an intriguing electroacoustic collaboration between violinist/composer Dufallo (FLUX, ETHEL, Ne(x)tworks, VisionIntoArt) and bassist/composer/producer Derivaz (John Cale, Tom Verlaine, Joe Zawinul).
‘Bass Violin’ comprises seven hypnotic tracks, each a carefully crafted combination of improvisation, composition and post-production. The album will be available for streaming and purchase (digital and CD) on the Spectropol Bandcamp site.
There will also be a live CD release show at Spectrum in NYC on that day.
$15 admission includes a copy of the CD to take home.
7:30 PM @ SPECTRUM
121 Ludlow Street, Second Floor
New York, NY
Subway: F, M, J & Z trains to Essex/Delancey station
Here is a sample track from the album:
http://www.corneliusdufallo.com/
http://www.patrickderivaz.com/
October 6, 2013
“aos rios urbanos” (George Christian) released
George Christian (Brazil) shares a beautiful and exploratory collection of guitar-based microtonal and processed pieces. Use the link to our Bandcamp site below to access the name-your-price download or limited edition CD-R.
“new sadness, or requiem for regina celi” features Kyland Holmes.
Mastered by Leo Moura. Photos by Davi Karamazov.
September 30, 2013
“aos rios urbanos” out 10/6
A collection of thoughtful and moving acoustic/electric guitar pieces (with some electroacoustic processing) from Brazil’s George Christian Vilela Pereira, “aos rios urbanos” (to the urban rivers) is a meditative reflection on the flow of life and our desire to form a more whole consciousness.
Available in limited edition CDR and digital download October 6.
September 19, 2013
Plans for microtonal compilation(s)
The response to the call for micro/xen/JI works was overwhelming. Because I received such a large collection of interesting and quality pieces, and because I’m not in favor of putting out a marathon playlist, Spectropol will be releasing two or possibly three separate compilations a few months apart starting in late October. These may be Possible Worlds Vol. 2-3 (or 4); or I may title them separately.
Stay tuned! [I will contact individual artists.]
September 12, 2013
Gazing at Gazing
J.C. Combs’ recent Spectropol release quickly became the soundtrack for some great choreography by Susan Haines in Bellingham. More performances later this year will include even more music from Combs. Watch the initial performance below.
>>>>>Here’s a review of Gazing from disquiet.
Gazing also has been featured on radio programs including Max Shea’s “Martian Gardens” (WMUA 91.1FM Amherst and online) and Don Campau’s “No Pigeonholes” program (KOWS FM Sonoma and online).
August 7, 2013
“Il y a seulement des apparitions” is available
Another multi-layered journey from Montréal’s Vincent Bergeron, “Il y a seulement des apparitions” continues his exploration of cutup mixing techniques and his own idiosyncratic singing. The result is a rich “spasmacousmatic” experience, a surreal engagement with Bergeron’s musical collaborators and the themes he grapples with.
Download ($7) is available at the Spectropol Bandcamp site.
August 6, 2013
Vincent Bergeron collaborator interviews
We thought it would be interesting to get some perspectives from a few of VB’s collaborators on his new album (out 8/7/13 on Spectropol). Vincent came up with three entertaining questions; read them and the responses below.
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Il y a seulement des apparitions (8/7/13)
Entrevue – avant écoute
An interview with the collaborators before the release of my project Il y a seulement des apparitions (Spectropol Records).
# 1: What are your musical expectations of a story-poem linked to the music of Vincent Bergeron?
# 2: Why does Vincent keep working on his music that scares everybody?
# 3: In what way do you think a reality show about the daily life of Vincent is or isn’t a good idea to better understand his music?
Frédéric Szymanski (guitares acoustiques) sur Apparitions
Je n’ai pas d’attentes particulières, à part peut-être, une de fois de plus, d’être surpris par l’alchimie des sons et instruments…
Je pense que Vincent compose une musique qui est fidèle à son âme, je pense que c’est le plus important pour un musicien, plutôt que d’essayer de plaire à tout prix et de composer une musique insipide à ses yeux.
Pour atteindre un plus large public, la musique non-mainstream doit comporter des explications, car le public est de moins en moins habitué à imaginer ou réfléchir…
Je pense qu’un reality-show ou un documentaire peut mieux aider le public à comprendre la vision du compositeur et donc à mieux adhérer à sa musique.
George Christian (guitare électrique) sur Apparitions
#1: My expectations are, basically, from someone who deals with poetry and literature in general, and, most of it, the music out of the literature references. I can read a bit of French due to my knowledge of the neo-Latin language, and I can state that Vincent’s poetic vision deals with a territory which I feel familiar to me, which I would classify as Post-Modern, but brings resonances mainly with the Post-Romantic poetic tendencies. And it fits to the morbid, surreal carnival of timbres he brings in his compositions. I admire quite much how intricate his work is, and also his sense of coherence by bringing sounds of radically different sources. And his rhythm is quite tricky, with irregular meters met altogether in its polyphony. It’s also very cinematic, I guess his experience as a movie editor showed him how to bring polyphony of radically different sounds a sense of narrativity out of a music composition.
#2: I don’t know exactly why – this is something quite personal and I guess he could respond to this question a lot better than me. But I believe that the reasons why are already answered by listening to his music: quite unique. Something that defines his existence into the musical world. His talent in managing a diverse amount of timbres also respects their integral existence. Which leads us to the next question…
#3: His Spasmacousmatic is ALREADY reality show! Not in the usual sense of this term, but a carnival of reality, of timbral speeches into a musical piece. I don’t think a meticulous composer like Vincent really deserves a melodrama to appeal to the audiences. Probably a decent and respectful documentary immersed into his creative process.
Jörg Fischer (percussions de Spring Spleen, 2012) sur Notre Ambiguïté Moléculaire et Risque de…
# 1: I don’t have expectations about that, but I have faith that Vincent will make air molecules vibrate in a beautiful way.
# 2: There’s two things that irritate me about this question:
…….1. Why ask me? Only Vincent knows.
…….2. His music doesn’t scare everybody.
# 3:I never liked the notion of “understanding” music and suggest to start with individual reality shows about everybody else’s daily life, and at the end of the day, everybody gets to watch his or her own life on the telly.
Benjamin Smith (orgue électrique) sur Beau Coup de Son sans instinct de survie
1. I think Vincent will integrate his vision and style into the story-poem with an excellent soundscape to highlight its meaning. 2. Vincent must just make music. If it scares some people, so be it. If it delights others, so be it. It almost does not matter. A creative person must create, it’s something necessary for them to do. 3. If a reality show captures who Vincent truly is and it gives insight into everything around that and what he does and goes about it, it is a good idea. If it somehow does not show that or is edited out for entertainment without substance, it’s not a good idea. It is all in how it is done.
Jurica Jelic (basse fretless) sur Apparitions
1: It’s gonna be unique, cool and great like rest of Vincent’s work!
2: ‘Cause he is a musical pervert.
3: He is too smart to be on a reality show! Maybe if he got breast implants live on TV, people might get interested…
Collaborateurs / Collaborators :
Benjamin Smith (orgue électrique) sur Beau Coup de Son sans instinct de survie
Jörg Fischer (percussions de Spring Spleen, 2012) sur Notre Ambiguïté Moléculaire et Risque de…
Elyze Venne-Deshaies (clarinette basse) sur Risque de se démantibuler
Karli (voix) sur Notre Ambiguïté Moléculaire
Frédéric Szymanski (guitares acoustiques) sur Apparitions
George Christian (guitare électrique) sur Apparitions
Jurica Jelic (basse fretless) sur Apparitions
Vincent Bergeron – 2013
spectropol records 