In March 2013, Alexei Borisov and Anton Mobin decided to join their forces and ideas in studio and record “Try To Crawl Out Of It” , their first opus operated in duo published in early 2014 on the Polish label Mathka.
“Q” released by Zeromoon is the first live performance played in duo between Alexei Borisov and Anton Mobin. Other studio collaborations are underway as a promising recording session with Julie Rousse, Olivier Di Placido, Aka_Bondage, Ayato and Michel Kristof recorded in Paris last summer 2013.
Performed at “Q#2014” on 11th February, 2014 at Instants Chavirés, Montreuil (France).
Alexei Borisov (ru) : electronics, radio, buddha machines, voice
Anton Mobin (fr) : cassettes, axololt, quAD
Recorded and mastered by Benjamin Pagier.
Thanks,
Klaus
This release is the first from Sound Interpretation series dedicated to cities.
We believe that each city has its own unique air. But anyone who works with the sound knows that every city has a inimitable soundscape and rhythm. So let’s make a musical journey through the cities. Cities you’ve been or would like to visit.
pablo orza is a self taught multi-instrumentalist from galicia, spain, primarily working in free improvisation. in 2003, he collaborated with parto duo to create the centro de novas tecnoloxías do pico sacro (TPS) – an artist collective interested in real time creation.
their first album for pyr consists of conversations that took place between cello, electronics and guitar. macarena, niet and pablo documented the conversations in 2012 and organized them into three volumes that all relate. the sound is micro, patient and highly fluid.
Cover art by shutupandance
In parallel to our collaborative efforts, we have, over the last year or so, been developing and refining more conventional modes of improvising (namely playing in the same space and time). “Galactic Anatomy” is FVT’s first collection of recordings featuring the two of us playing alone. We have cautiously defined the genre as “techneurotic jazz”. The main intrigue/challenge from the outset has been to convincingly integrate improvised performance on traditional acoustic instruments (piano, electric guitar, trumpet) with digital electronic devices (laptop, samplers, analogue modelling).
their second album for pyr, die ersten zwei kirchen, is another two disc set – this time documenting two sessions of improvisations that took place in two different churches in germany and switzerland. to explore these spaces, the duo used: strings, brass, church organ, piano, harpsichord, clavichord, and the alphorn as well as their voices, electronics, birdcalls, and little instruments. as always, listen carefully.
Colin Webster: Tenor and baritone saxophones
Graham Dunning: Turntable, mixer and dubplates.
Recorded on 12th January and 15th August 2012 in a storage facility in South London.
All tracks recorded live. No overdubs or cuts.
Download includes PDF brochure of notes and images.
françois’ first album for pan y rosas is a 39-minute improvisation performed using no-input mixers. it was recorded direct to disc. the sound is reverbed drone wave flow with shimmers.
Relentless is an experimental sound creation project based on saxophone. Coming from free improvisation, their current proposals are focused on different practices of sound art. Specificities of the performance space, exploration of their musical instruments and ways to relate with the public are the foundations of their work. For the past few years, they have been looking into the relations between dancing, video and improvised music. Relentless is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.
Der Erste was recorded on 30 September 2012 at the Atlas Theater in Washington, DC.
Der Zweite was recorded on 27 September 2012 at the Spectrum in NYC.
Gary Rouzer- prepared bass, amplified objects
Gunnar Lettow – präparierter e-bass, electronics
Vino Balicio [0kbps054]
01 – Quello che volevo sentire
02 – I king del burger king
03 – Post-punk post tutto
04 – Balice, il tuo furby ha problemi
05 – Quella roba che puzza di mangime per pesci
06 – Nessuno mi risponde a Milano a parte Teo
07 – Al binario
08 – Cipster, noccioline ed altro
gianpaolo fausto, marta blu, matteo donà, stefano balice, tommaso busatto: kazoo, bell, electronic, uneasiness guitar, mobile telephone, car, various percussion, chips and nuts
recorded live in turin and milan, 01-01-2014, 02-01-2014, 03-01-2014
Rete del disagio (the uneasiness network) is not a band, and has no stable line-up.
Rete del disagio was born when followers and supporters from different web communities as upupachan, vaporized art movement, deep lake records and mav [0kbps] records, start to physically meet to bring the noise from the net to the streets.
MAV [0kbps] Records, January 2013
“The Prejudices Of History”
Or as I remain pleased with part 1, “Malapert and Erratic part 2″
Over the years I have become increasingly aware of what I do as a musician and the need to at least appear to conform to some ideal whether real or imaginary. This may be an attempt to answer the question: What epitaph will adorn my headstone?
It has been documented that I play the saxophone, and indeed this has been the case for around 30 years. The problem comes with the definition of saxophonist. For me picking up a saxophone, alto initially, was required in an effort to undo the learning that I had acquired over several years of classical guitar playing. The guitar still has the feeling of being someone else’s territory and I could not see myself developing in a manner that would create an approach and style that I could call my own. The uniqueness of a musician’s approach struck me as being important at that time, aged 16.
And so the saxophone was selected as my new instrument: its methods and approach being the antithesis of those of the guitar. Looking at some notes from this period it seems that I believed the ideal piece of music (naturally an improvisation) should aspire to infinite variation in dynamics, timbre and colouration, and rhythm. In later years the need for and development of form (rhythm in a wider sense) has become more important.
So the saxophone is not a guitar. Neither are many other instruments. Am I a saxophonist? Am I a percussionist? Probably neither, I am a collector of sound making devices â the saxophone, in a single instrument, fulfils a number of those early requirements. The other instruments are used to augment the repertoire, adding contrast to the saxophone and expanding the music’s soundscape.
As well as a collector, I am an arranger of sounds and occasional organiser of people. Nothing more.
The pieces were all recorded evening Saturday 7th December 2013”
-Mark Browne (from the sleevenotes available as a PDF with the download.
