NEW RELEASE on PLUS TIMBRE
Daniel Barbiero & Chris Lynn | Doubting All Things Aligned
Chris Lynn: field recordings; piano; chance piano; Yamaha synthesizer (6); implicit Super 8 imagery.
Daniel Barbiero: Double bass; prepared double bass (2, 4); analogue synthesizer app (5); virtual duet (9).
“Dialogue Alone” is the second Manb offering at Sucumusic.
The so called “art-quantum” concept manifested in his previous music, here continues its course in a series of tracks where improvisation is still the major Ermanno’s approach. Textures of sounds and synths are less broken, here. The time quantum is scanned by the minimal rhythm interventions and variations. This release, like all Manb’s music, has a natural vocation to cinematic purposes. You can easily imagine still poses that slowly mutate from A to B in a non linear, imperceptible and unpredictable path. Quoting David Byrne, at the end of the journey, “you may find yourself” asking “where did I get there?”http://sucumusic.weebly.com/uploads/2/3/8/4/23844610/8963418.jpg
These are improvised pieces using grand piano samples and playing them through some simple software programs i found on the net (www.ixi-software.net) – for the first piece it was lauki, for the second – crystals. Both of them (pieces) owing a lot to the abilities/failures – especially the second one – of my already ‘dead’ pc.
“Óscar Santis, great artist of respect and renown, it has already been several years since I’ve known and recognized his trajectory, and it never ceases to be a true luxury and pleasure to hear his sounds. On this occasion he delivers sounds sufficiently well worked, so much so that they remind me of the late Akifumi Nakajima in the sense of achieving true soundscapes, with a density still greater than that to which one might become accustomed.
Each sound is a story and if you expand your mind, you will be able to capture to the maximum all the sounds that he manages to collect on these eight sound pieces. Glitches, sound strikes, all very well worked, note the treatment in each of the sounds, and the dedication to destroy each fragment, every millisecond, every detail delivers a different perception, its worth really disconnecting and hearing that which was dusted off from the box.”
“Óscar Santis, gran artista de respeto y renombre, hace varios años ya que conozco y reconozco su trayectoria, y no deja de ser un verdadero lujo y placer escuchar sus sonoridades. En esta ocasión entrega unos sonidos bastante bien trabajados, tanto así que me recuerdan al difunto Akifumi Nakajima en el sentido de lograr verdaderos paisajes sonoros, con una densidad aún mayor a la cual se pudiese estar acostumbrado.
Cada sonido es una historia y si expandes tu mente, lograrás captar al máximo todos los sonidos que logra recoger en estas ocho piezas sonoras. Glitches, golpes sonoros, todos muy bien trabajados, se nota el tratamiento en cada uno de los sonidos, y la dedicación a destrozar cada fragmento, cada mili-segundo, cada detalle entrega una percepción distinta, vale la pena realmente desconectarse y escuchar lo que desde la caja fue desempolvado.”
Amigos de la Contaminación Sonora
(Rancagua, Chile, Febrero / February 2016)
“The day that forgot to break” is the third album by Purple Mountain Peal.
This release marks a more piano driven declination of what the duo has to offer in terms of improvisation, creativity and madness. To sum up, what you are about to witness is less chaos and more melody. Take it with a grain of salt by the way, it’s Purple Mountain Peal after all…
João and João have been playing together since the early nineties. First in a death metal band, then in a covers band, now in a quartet, always taking it as heavily or lightly as possible.
Jim And The Galaxy was their first incursion as a duo – then electric bass, double bass, fx and magnetic tape – when a collective of friends commissioned a piece for a special evening.
Now, probably 20 years after, the first recording of a “live at home” session (no overdubs!) is released as the corollary of the many musical experiences they’ve had throughout the years.
Plain and simple, straight to the point and laid-back.
João Santos: electric bass, fx;
João Ricardo: electric guitar, fx.
Polish DEFIL vintage guitars in action! 22 tracks, almost 70 minutes of guitar-music. Every artist or band use some model/models of DEFIL instrument (the oldest one: 1962’Mandolin… up to 1991’Aster Lux).
Horses, Horses … Horses! is the late October 2015 debut release from the collaboration, Splicey and Tracky (Dave Keifer & Jess Lemont). In this case, the tracks featured are from Keifer’s end of the ongoing project.
Recently, Vuzhh Music Blog (C. Reider) produced its annual list of Notable Netlabel Releases, which includes the debut. Reider’s description: “Skittering and simultaneously loping, riffing and simultaneously free-jazzing group work featuring the brilliant Jess Lemont. This coheres really well, and is very groovy, even when they’re at their most free-improv-y.”
And, they’re just getting started. Be sure to stay on the lookout for more Splicey and Tracky releases, and, if possible, listen with your eyes closed!
Dave Keifer (Cagey House): virtual instruments, software, etc. Shifty editing, occasional brief embellishments.
Jess Lemont (Be a Waterwolf): all real instruments including drums, voice, guitar, bass, mallet percussion, keyboards, xaphoon, etc. Large-scale intricate lace improvisations.
(Tracks created jointly between April and August of 2015)
Guy-Frank Pellerin, Matthias Boss and Marcello Magliocchi
“THE SOUNDING DOOR”
New release on Plus Timbre and our last one for this year. We present Marcello Magliocchi once more as a guest in our home and we feel very happy to have him accompanied by two outstanding musicians: Matthias Boss and Guy-Frank Pellerin.
Linear Obsessional is delighted to present this beautifully recorded collection of free improvisations by Nada. Nada is the duo of Roger Mills – Trumpet and Hervé Perez – alto sax. The improvisations that make up “Mirror Image” are revelatory, as both musicians explore a huge range of sonic textures through extended technique, and make for a fascinating and engrossing listen as they search out their common ground. Interestingly although both musicians had played together via internet collaborations “Mirror Image” is the result of their first meetings in person. The sound of two musicians communicating so naturally, but also with great control and subtlety, makes this an enormously rewarding album.
released December 14, 2015
Mirror Image is the debut album of the duo Nada,
featuring UK based saxophonist Hervé Perez and
Australian trumpeter Roger Mills.
While Perez and Mills live on opposite sides of
the world, they met through their mutual work
with the telematic improvisatory music ensemble
The pair quickly realised a shared aesthetic and
continued developing their sound online.
Hervé and Roger would like to thank Elke Utermöhlen
and Martin Slawig (blackhole-factory) for bringing us
together, Richard Sanderson for releasing the album,
and Arman S. Haghi for the original artwork.
Here at Linear Obsessional you may have noted we have a fondness for squeezeboxes and free improvisation, which is why we jumped at the chance to release an album by the amazing British accordionist Mike Adcock (once of Accordions Go Crazy amongst others). “Accord” is a collection of improvised duets with a series British improvising musicians – and is a wonderful showcase for Mike’s sensitivity as an improviser and his wonderful musicality as a accordionist.
“Things Left Unsaid” is not only the testimony of a precise moment, but rather the result of a long research, composition and improvisation done by the band: there’s a common area where musical elements from diametrically opposed musical worlds such as jazz and contemporary music, rock and blues coexist without forgetting the melodic vocation in each composition.
Linear Obsessional is delighted to present this album of two recent pieces by the legendary British folk/blues/world/avant garde guitarist Mike Cooper.
“Forbidden Delta Planet Blues” is a long form work built from over lapping loops and featuring some beautiful Hawaiian style slide guitar.
“The Pain Was Bad, But The Tuna Good” is a spellbinding live solo performance recorded at London’s 100 Years Gallery. A solo for a steel resonator guitar (and some voice) which explores all the nuances of the instrument’s considerable cultural baggage, with breathtaking extended technique (bowing, electric fan) and a fascinating stream of invention- it lives up to Cooper’s science fiction/trad interface admirably.
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