Posts tagged ‘George Christian’

June 30, 2018

George Christian: Aos Pássaros Outonais available

We’re thrilled to release a collection of 25 mostly-solo guitar tracks (in three parts) from Spectropol veteran George Christian (Brazil).

Aos Pássaros Outonais (To the Autumn Birds) is an intimate exploration of imaginative ideas on Christian’s main instrument, a highly personal and very enjoyable journey through various tunings, techniques, and emotions.

Stream or purchase a $7 download on Bandcamp.back

March 2, 2015

double release from Christian+Mehata (+Chagas)

Now out: Love without Wings (SpecT 36), a haunting collaboration containing two extended ambient/noise/improvisation pieces from Paulo Chagas (Portugal), George Christian (Brazil) and Mehata Hiroshi (Japan).

“A free-improvisation prayer and scream for survival and freedom, for those who want to be part of the Earth and the Universe, more than associating with a nationality, outside any political constraint.”

Free streaming and $5 download.

Also out today: the newly revised, remixed and mastered version of Christian + Mehata’s La Géographie sans Regret (SpecT 15; orig. 2012). More bass, more sonic expansion, and ultimately a better sounding version of a blistering experimental album that had already earned high praise from critics, including The Sound Projector.

Free streaming, name-your-price download and $12 CDR.

October 28, 2013

new video for união (George Christian)

video by Gustavo Daher

(from aos rios urbanos)


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.


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.


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