Tired of always being doing something. Always always always. Tapping, clicking, meeting, partying, exercising, networking. Working hard, playing hard, living hard.
Keep it up like that and listen Single-O by Walt Thisney.
Daniel Robert Lahey wields the tools of a trained classical musician in pursuit of ambient music with direct and fresh (but never simple) melodic charms. Each of his pieces bears a symphonic influence, but each piece aims to provide the listener a listening experience of intriguing sound-on-sound. Rather than the sunny sleepwalk of new-age-style waves of saccharine melody, Lahey weaves complex themes throughout each composition.
This is not music for everyone—but it is music for anyone. In “No Cure”, Daniel Robert Lahey takes the listener in for a digital scan, and the diagnosis is positive for sound. This is sound to take the indolence of an idle hour and turn it into the therapy of intriguing sonic exploration.
Fernando Cerqueira aka Rasalasad started its activities in the late 80´s with the Atonal fanzine and the SPH label, where he released Jim O’Rourke, Merzbow, Smersh, Maeror Tri, Brume, The Haters, Telectu , etc.
Founder of Thisco records, which has released cds from Rasalasad, Merzbow, Kk Null, Rapoon, Lasse Marhaugh, Jarboe, Von Magnet, shhh … among many others.
Alongside Thisco he is editor of the occultural anthologies Antibothis which features texts and sound works from Hakim Bey, V. Vale, Carl Abrahamson, Andrew Mckenzie (Halfler Trio), Critical Art Ensemble, Pentti Linkola, Erik Davies, Robin Rimbaud, Francisco Lopez, etc.
He has several works released through on Symbiose, Thisco, SPH, Grado, Blocsonic, Illuminated Paths, La Nostalgie de la Boue.
His most recent releases includes collaborations with Matthew Waldron (irr.app (ext) / Nurse with Wound ), Merzbow, Emil Beaulieau, Jarboe (ex: Swans), Von Magnet, Hiroshi Hasegawa, Smell & Quim, Wildshores Antonym among others.
Piano Moods is the first of a serie of releases in which Walt Thisney plays piano, in an impressionist vibe.
An upcoming release will be out on the North American Label Illuminated Paths.
File under Erik Satie, French Impressionists, Virginia Astley,Harold Budd, Ryuichi Sakamoto.
Daniel Robert Lahey’s latest takes the listener into his inner thoughts, and reflection on the creative process.
Daniel Robert Lahey is not an impulsive composer. He takes a lot of time working throuhg his pieces, developing them a little bit at a time. This kind of process is prone to rigorous mental processes by which he works on an idea only to realize it didn’t lead where to a good conclusion. So, it becomes a game of re-thinking his ideas through multiple times.
On After Un-Rethinking Things Again Daniel documents several works that developed over a longer period of time. Pieces that were more difficult in composition, but more rewarding in their results.
Contemporary classical music album by Russian projects Alex Mason and The Minor Emotion in collaboration. Music that can stop the heart. Music that evokes the most painful memories, the nostalgia of unimaginable power in that place, at that time, over that man. Music that will stir up something in the depths of the soul, in its very darkness, something that can not even be imagined.
Daniel Robert Lahey returns to CerebralAudio with a suite of four works on Epiphany Counterfeit.
This release starts with the serene, floating Given Time. This work is brooding at times, filled with internal tensions and conflict. It has the feeling of the internal struggle that we go through with our own mortality, that relationship with time that we cannot escape and yet we have a feeling of want or need to understand, a desire to bargain with it to understand our lives and our desires better.
Daniel has a penchant for offering pieces with titles that are puns, and Present Tents is no exception. At first it seems to be an odd title, is it a play on the military phrase “present arms”? or maybe it’s a reference to camping equipment. And, then there is the play on the phrase “present tense”, in which case it could be a reference to current tension, or a reference to grammar. Based on the context of the work, I would think that it is a play on the grammatical construction, but then again, maybe Daniel has a fondness for camping gear that he hasn’t told me about.
The third track is the main focus of this release. It’s a reminder that sometimes things we think, or things that we are lead to believe can be false. On one level it’s an interesting struggle that artists go through actually working to build knowledge, and to find a perspective on that knowledge to be able to communicate it in another form. It’s almost a disaster to realize that the knowledge that has been built is not accurate, it’s false, and potentially destroys the work(s) one has built around them.
The final piece of this release is a another playful title from Daniel, Quatre Morceaux, can be a reference to this release (which contains four pieces), or it could be a reference to the work itself being comprised of four pieces. Either way it’s a very fitting way to close out Epiphany Counterfeit.
Today we are proud to announce the latest Daniel Robert Lahey release on The Cerebral Audio Netlabel: Not Sure This Goes With Your Outfit. On his third full release with CerebralAudio Daniel maintains the excellence of his music with a few new twists.
About Not Sure This Goes With Your Outfit
While the title is amusing, there is something of a statement that can go along with it. Daniel has chosen to point rather humorously to the idea that really this music isn’t intended for the stuffy environments of the performance hall. It’s for everyone, no matter what clothes they are wearing. Even if they are making choices to appear as unique and individual as they can.
Classical music was never really intended to be the domain of the elitist. It was music for the people. Mozart proved this with his popular opera’s written for the general public instead of being written for kings or royalty.
On another level, Daniel’s selection of this title could be seen as a commentary on the musical establishment. The question isn’t whether this is classical music, but rather a statement that “this” work doesn’t fit with an “establishment” conception of style.
There’s also a third layer of meaning to this title. Something of an internal joke. There are points at which you might be listening to this work and thinking, “how does that fit in?” That’s when you will discover the playful side of Daniel, occasionally hiding little pieces of incongruous material as a joke for your ears. These tiny non-sequitur could be seen as not going with the “outfit” of the composition as a whole.
Daniel Robert Lahey makes his debut on CerebralAudio with Uncultivated Upland. Daniel started fiddling with the keys of a piano as soon as he could reach them and whenever he could get away with it. He took guitar lessons at 10 and got very serious about it by the age of 15. (Of course, he figured it would help him pick up girls.) He devoted 12 years to the classical guitar repertoire before he’d had enough of so much work for no pay.
Toward the end of his time as a guitarist, he started playing around with Synthesizers. He has been playing keyboards for over 50 years at this point. He grew up with a love for classical music, and has studied many of the great composition masters through the years. This knowledge of classical music is what informs his current works.
On Uncultivated Upland Daniel presents six new works that reflect his perspective on life today. Some of these compositions are a reflection of life in our world today, sometimes from
a slightly off-center perspective (like on “The Zookeeper Escapes” or “Baked”), while other times appealing on a purely emotional basis (like “Uncultivated Upland” or “Tears”).
Give these compositions a close listening. There is a lot to experience and a lot to savor in these well crafted, exquisitely produced recordings.
First piece is based on BACH motif, with four blocks of repetitions, interrupted by electronic manipulations of preceding pitches, imagining music of J.S. Bach that is flying in outer space in some Voyager capsule, enlightened and decayed by the astrophysical powers.
Second piece is made of F pitches taken from a harp, M referring to a loose meter they appear in,forming illusion of patterns. Pitches are electronically manipulated to form a level of material that replaces silence. Imagining music of M. Feldman being played/listened buried in the earth.
Button Box” is a collection of 46 mixes constructed from elements taken from the Linear Obsessional album “Air Buttons” by Richard Sanderson (LOR046)
“After releasing my album of melodeon and electronics improvisations, I decided to ask my friends whether they would be interested in reworking any of the material- ‘Please take any music at all from the new release (“Air Buttons” by me) and do what you want with it – mangle it, remix it, add things to it, sing over it, play a duo with it, slow it down, turn it into a tune, cut it up, whatever. BUT please make your contribution EXACTLY TWO MINUTES LONG’.
I was astonished by the reaction- soon sound files were flying at me from all over the world, including from friends of friends of friends, as well as from people who I’ve known since school days- collaborators from my post-punk days, free improvisers, morris dancers, other Linear Obsessional artists, even my next-door neighbour! The results are amazingly varied in style – and all are fascinating, and of course, none of them outstay their welcome.
So- enormous thanks to all my friends in the UK, France, Spain,Ireland, Sweden, USA and Malaysia, you have made me very proud”
-Richard Sanderson 2013
All tracks include at least some elements taken from the album “Air Buttons” by Richard Sanderson.
Entropic was recorded during a long period of dysphoria, dyspnea, and anxiety. These feelings are the canvas where the music begins, evolves, and come to an end. It is a soundtrack of days marking the closure, the relief, and the faith. It sets the end and the beginning. It is hated and loved at the same time. It is emotional music from the brink of darkness.
These recordings are based on the use of analog semi-modular synthesizers, analog sequencer, recordings of found sounds, vinyl samples.
All tracks written and produced by Savvas Metaxas. Mastering by Yannis Tsirikoglou. Cover photo by Nikos Kostopoulos.
antoine beuger is a composer and organizer born in the netherlands. one element of his work is the sound in between what’s played. space. musicality of mundane actions. everyday-ness. listen throughout your waking hours. experience. he is part of wandelweiser – which is both a performer/composer collective and a record label.
his first album for pan y rosas is florenski septets a piece for seven instruments that was performed in st. petersburg, russia on april 6, 2013. the piece was performed by: yuri akbalkan, ilia belorukov, stanislav oporkov, marina poleukhina, kirill shirokov, denis sorokin and alexey sysoev. long single tones. silence. mesh and unmesh. listen carefully.
brice catherin is a composer, cellist, electronicist, performance artist and improviser based in france. he has participated in the festivals: de la bâtie (geneva, 2008, 2010 and 2011); akouphène (geneva, 2005 to 2010); angoulême (2008); archipel (geneva, 2008); la cité (lausanne, 2005); etc. amongst many others, catherin is influenced by jean-luc godard and karlheinz stockhausen.
his second album for pan y rosas, number 3, features two versions of the same piece – one for piano solo and one for violin and ensemble (featuring flutes, clarinets, bassoon, trumpet, tuba, percussion, and double basses). the sound is a rhythmic pulse with occasional voice.
Night. A small but beautiful window of exclusive light, the last active window in a dark city, showing the attic of a poor but genius inventor, playing piano, while the transmitters send out the frequencies via fm radio, masked informations of future Wu Wei resistance.
Some of you will already know [mikra]’s releases from the netlabel world. If not please await a full length sample piano synth mashup collage album creation of hope, deconstruction, light and shadows. Slightly spooky at some points, but the musical n electronica love lets you keep touch to the air.
“Brightelephant” is a collection of sinking, memories, human bodies, battleships and battlekisses. And elephants, of course. Each of the 7 pieces in it is as abstract as it is concrete. Old-fashioned sounds for modern, turmoil, times. Halting, skeletal and serious-less chamber music for irrational listeners.
Matteo Fiorini: acoustic guitar, ukulele, banjo, percussions, lapsteel guitar.
Domenico Peluchetti: acoustic bass, bouzuki.
Erica Polini: violin
Captured “goodthefirst” mixed and mastered by Piero Villa, at Rumore Bianco, Esine (BS) – Italy during February 2013.
Extra deep journey by Troy Polygon on Digital Diamonds! Four tracks with full load smashing the waves.
Strong atmosphere draws a continuous line through the whole EP and the message is obvious: Boarding now!
Those pieces have been written for a performing arts event that can be considered to be a contemporary counterpart to a pagan ritual. It took place in september 2008 at the power station Klingenberg near Rummelsburger Bucht (Berlin, Germany) and is based on an idea and concept by Daniela Muschter.
According to this, the musical side embodies an attempt to reinvent germanic sound asthetics with modern media. The pieces represent ›mankind‹, ›nature‹ and ›spirit‹ and various kinds of dialogue between them.
marina poleukhina is a composer and improviser based in moscow. her musical focus lies in composition and improvisation on various objects and the instability of sound; silence and silence as the sound; real life and real life as sound. amongst others she is inspired by ligeti, nono, feldman, waits, yoshihide, and hosseini.
her first album, simply titled lp1, is a collection of improvisations and compositions. it sounds kind of like: pulse flute flutter and trills. warble pops and muttering percussion. dropped cymbals. conversation in cries and rolls. natural space. quiet exploration of scraped vibrations. surface areas calculated. squeaks and hoarse voicings. thunder and roar, guttural friction and noise. everything at once. voice in the woods. quiet patience. strum rewards.
sarah j ritch is a composer and improviser from chicago whose interest in classical composition arose from both her studies in piano and cello as well as explorations of the guitar and bass in punk and metal bands in las vegas between 1996 and 2003. she eventually landed in chicago and earned a bachelor of music from roosevelt university and a post-baccalaureate certificate in sound from the school of the art institute of chicago. she has been the composer-in-residence for chicago classical ensembles the millennium chamber players and anaphora, and regularly performs solo and with her free improv group sound collision alliance.
on her debut album, string theory, sarah displays her interest in both improvised noise and notated tonal music as she explores the acoustic structures of strings and sines. over the course of the album electronically treated cello gives way to droning and pizzicato violin; a pure drone at the center resolves itself with a rising and falling violin sonata; and a cello converses with itself in woodtones.
No-Source is excited to welcome Naked Polly to the roster. Naked Polly is the solo project of Oscar Granero from Madrid. His music focuses around acoustic guitar, piano, and voice, manifesting into some great mellow psych-folk. “A day in a night” is Naked Polly’s first full-length album. The songs are a-wash with reverb, sprouting flourishes of synths and wind instruments throughout. Percussion work is minimal or non-existent. This great use of minimalism really creates many great moments of an indie chamber pop sound. Oscar sights David Bowie, John Lennon, and Syd Barret as some as his influence. They definitely show through from time to time. It’s still a unique and refreshing album even with these popular influences. Enjoy a day in a night.