Guitars, electronic devices – Guillaume Blache
I, II & IV- Guillaume Blache
III – Turlough O’Carolan (1670-1738)
Mastering – Diego Gaucho, Caracol musicalestudio
Art cover – Marcos Viso, all rights reserved
universal archetypes in orchestral ambient pieces
Roads Through the Mirror is a conceptual music project spanning 11 orchestral pieces, each approximately an hour long, with a completion timeline of 4-5 years.
Inspired by Andrei Tarkovsky’s films and Marcel Proust’s exploration of time, the series aims to musically articulate themes like spirituality, nostalgia, dreams, and nature.
The project delves into the Time-Space-Thought Theorem, utilizing Sonic Archetypes to explore the interconnectedness of human existence through music.
Exploring ascension and enlightenment through sound
Finally, the origin is discovered – the home planet of counterpoint, the source of fugues. It was always implausible that such balanced beauty was chained to one planet – and now we confirm that these semi-symmetric vibrations are at home throughout the universe.
Featuring Bach’s otherworldly organ prelude BWV 649, chromatically shifted and with effects.
Roads Through the Mirror is a conceptual music project spanning 11 orchestral pieces, each approximately an hour long, with a completion timeline of 4-5 years.
Inspired by Andrei Tarkovsky’s films and Marcel Proust’s exploration of time, the series aims to musically articulate themes like spirituality, nostalgia, dreams, and nature.
The project delves into the Time-Space-Thought Theorem, utilizing Sonic Archetypes to explore the interconnectedness of human existence through music.
Theme 1: Spirituality – Climbing the Light
Exploring ascension and enlightenment through sound
All good things must come to an end – the end of the end would be the end of good things. To the end of the end of the end!
Featuring orchestral strings, woodwinds, synth, piano, organ, and children’s choir.
An extraneous moment, suspended – an extra tick where time pauses unceasingly. Our regular rhythms disturbed, we notice the uneven temporality, yet often have trouble aligning with it.
Featuring alto and soprano flute, bass and soprano clarinet, piano, cello, strings, trumpet, french horn, glass marimba, synthesizer, and effects.
A hallowed place, a special space – where secret codes adjure, conjuring delectable sustenance. Beware tipping your hand prematurely, lest the beast strike!
Featuring choir, snare and tom drums, orchestral strings, french horn, flute, oboe, organ, affected piano, and low woodwinds.
How to preserve music from oblivion…
Put the sheet music on the machine. Wait. An insect or similar kind of animal is produced. Let it live and transform. Put it back on the machine. Wait. A new sheet music is produced. Play it. (over an idea by Philip K. Dick)
Part of creating something is enjoying partial composition – knowing that what you’re making is incomplete and mutable, and that (whether or not it is completed) it shares that with every other idea and attempt that has ever been or will be. A full symphonic experience is a non-trivial affair – but a kernel can imply, and belie its partiality.
Featuring orchestral strings, flute, oboe, clarinet, bassoon, timpani, snare and bass drum, percussion, trombone, and french horns.
A stately march for a head of state – though where they are heading is up for debate. Regardless of birth, we are all something great. Royals proceed, and one day abrogate.
Featuring pipe organ, glockenspiel, orchestral strings and brass, gran cassa drum, timpani, snare, oboe, flute, and piano.
released April 3, 2022
All pianos, electronics, melodica, etc. performed by Kevin
Vocal samples plundered
Crowd noise in track 9 courtesy of freesound.org user kyles
Fortín artesonoro 2021
| Fortín 6 |
CURIEL / WILDE / RATTO / CIRAVOLO
“ARS CONTEMPORANEA”
1 Fernando Curiel “Vectores Mágicos 3”
2 Eduardo Wilde “Trío para oboe, clarinete y piano”
3 Damián Ratto “Hitherto”
4 Néstor Ciravolo “La permeabilidad del tiempo”
Los compositores Fernando Curiel, Eduardo Wilde, Damián Ratto y Néstor Ciravolo son, a día de hoy, los integrantes de la asociación musical argentina sin ánimo de lucro Ars Contemporanea, que promueve y difunde obras de autores locales y del exterior.
En nuestra primera aproximación a esta asociación desde el sello Fortín Artesonoro, hemos querido dar muestra de su faceta acústica instrumental, reuniendo cuatro obras, una por cada uno de los miembros. Damos lugar, de este modo también, a la primera referencia con obras exclusivamente acústicas en nuestro sello. Una selección de obras en las que intervienen la flauta travesera solista, un trío para oboe, clarinete y piano, el violonchelo solista, y un cuarteto de viento madera (flauta travesera, oboe, clarinete y fagot) y que tiene una muy bella y elegante expresividad tímbrica e interpretativa, ofreciendo un repertorio especialmente emocionante y cuidado, y que tiene también el atractivo de una concepción en la que la energía de cada gesto de los intérpretes es correlativa a una energía sonora musical a través del instrumento, sin otros ingredientes.
In the fall of 2020 my regular gig playing piano for ballet classes was forced by COVID to go virtual. I still commuted to campus and broadcast my playing from an empty studio. The building was being renovated, so a small group of construction workers walked the student-less hallways. Between classes, I began to experiment with recording my playing from a small portable recorder placed in the hallway outside the studio–partly to capture the strange whistle that one particular corridor often produces. The result is a hiss-heavy album wherein construction workers are heard walking by, an instructor’s voice is faintly heard far away, and the piano also sounds like a distant thing.*
The resulting recordings resonated with me emotionally in a way that felt appropriate for the year. It’s been hard to see and recognize beauty. Truth is relentlessly attacked, obfuscated, and denied. It feels like we’re stuck in a room outside the room where something beautiful may be happening. We know or believe that it exists, but we can’t see it or touch it. We’re being kept out of that space.
Headphones are recommended.
*(There is also one song recorded at home from the hallway outside my office–the recorder set next to a dog who is resting in his bed, nervously smacking his lips. Is it a strange kind of ASMR? Is this whole album? It may be to me.)
credits
released December 18, 2020
All pianos, keyboards, and minimal electronics (tracks 3 and 8) by Kevin
All songs written by The Hathaway Family Plot
Slower and warmer than his latest tech releases, the new release by Drehton surprises with a full scale of styles. Starting with a track that reminds of his first Phonocake release, a 77 min long journey starts. Bass guitar plays an important role in this set of tracks. Broken percussive rhythms accompany skillfll bass guitar or acoustic guitar play.
en: www.phonocake.org/janell
de: www.phonocake.org/janell_de
DR (Dominic Razlaff), born 1982, is a sound artist from Lower Saxony, Germany.
He usually plays synthesizers, acoustic instruments (Ukulele & Cavaquinho) and he uses field recordings, tape loops & granular synthesis for composing slow ambient and drone soundscapes.
Over the years (he has a long discography) he developed his poetics focusing on an open approach and on a precise choice of making beatless music.
This is his second appear on IYE label after Nina Sergejewna. This time is more focues on long patterns of deep ambient vaves.
