September 29, 2008
September 26, 2008
Composed by:Philip Glass
Performed by: Kronos Quartet
String quartet No.2
Kronos Quartet is a string quartet founded by violinist David Harrington in 1973. Since 1978, the quartet has been based in San Francisco, California.Kronos specializes in new music and has a long history of commissioning new works. In fact, over 600 works have been created for the Kronos Quartet. They have worked with many minimalist composers including Arvo Pärt, Henryk Górecki, Steve Reich, Philip Glass, Roberto Carnevale, Terry Riley and Kevin Volans.
Philip Glass (born January 31, 1937) is a three-time Academy Award-nominated American classical music composer. He is considered one of the most influential composers of the late-20th century and is widely acknowledged as a composer who has brought art music to the American public (along with precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein).
His music is described as minimalist, from which he distanced himself in being a composer of "music with repetitive structures". Although his early, mature music is minimalist, he has evolved stylistically.Currently, he describes himself as a "Classicist", trained in harmony and counterpoint and studied Johann Sebastian Bach, Ludwig van Beethoven, and Franz Schubert.
FIND out more about this GREAT musician!
* "What's remarkable is how Glass's new musical language, shifting metres and triadic harmonies, suit the interaction of the bowing quartet. Buczak's funeral procession - reminiscent of Beethoven - serves as an elegy for a friend who died prematurely of AIDS. Over three movements Glass seems to turn his writing on its head, sounding more classical with each note. The freshest quartet, the Fifth, was specifically written for Kronos."Mark Prendergast
September 24, 2008
Album: Program Music I
Genre:Avantgarde, Electronica, Experimental, Jazz,
As a solo artist his idea is to create not only acoustic, but also electronic filmy soundscapes and atmospheres, by melting together a variety of classic instruments, spoken word snippets, and crisp beats. With a proper amount of ambient music, all of these form an exquisite sound experience.Program Music I is his second album came in 2007, only featured two tracks, but whose runtime is still over an hour. Its rich textures and depths were noted, with one critic claiming, “It’s a combination of sound and image, rather than probably sound landscape, in terms of itself.”
September 23, 2008
Formed sometime in 2001 - Played several gigs in Athens at various venues, including support gig with Mogwai at Ark No.6 on April of 2003, after being selected by Mogwai themselves - Also played in other towns including Antiparos, Lehaina and Tripoli - Songs of Misuse are included in the now very hard to find compilations: "Mad Athens Presents Pop Scene 01" by Rubber, "Civil Cinder Regalia Vol. 1" by Tobruk Records & "In The Junkyard vol. 1" by Spinalonga - Misuse's song "Progyria" has been choreographed by Nefeli Stamouli. The choreography has taken part in the World Choreography Contest In Varna, Bulgaria in August 2006 & has also been presented at HELEXPO International Exhbition in Thessaloniki in an event of the Hellenic Dance Company in association with the Hellenic Ministry of Culture, in Aristotelous Square on September 2006 - Currently recording new & old material for long play album ..
Sadly, on September the 18th 2006, Christos Kormalis, who was the original drummer and founding member of Misuse lost his life in a motorbike accident. Though he didn't play with them for the last 5 months, he was, and is, always considered as member by the group. It is him playing on Misuse's Locked in a bar He will be missed..
Justin Greaves - Electric guitar, Drums, Saw, Keyboard, Acoustic guitar, Banjo, Effects, Samples, Washing up
Joe Volk - Voice, Acoustic guitar
Dominic Aitchison - Bass guitar, Effects
Kostas Panagiotou - Piano, Keyboards, Harmonium, Accordion
Charlotte Nichols - Cello, Voice
"It is the first of a trilogy and deals with the timelessness of honesty and tragedies laid bare, featuring sordid tales from the pages of literary history combined with personal stories of contemporary loss and love."
September 22, 2008
Violinist Genevieve Walker and guitarist Steve Ramsey (of Young Galaxy) have toured with the band in the past; neither are joining the band on their current tour, which features Alan Snoddy on guitar.
The band’s breakthrough single was “Ageless Beauty”, from their 2004 album Set Yourself on Fire. While released to minimal fanfare in Canada in October of 2004, Set Yourself on Fire slowly gained a strong following and critical praise soon after its 8 March 2005 U.S. release.
An American magnate builds a doomed utopia in the depths of
the Brazilian rainforest. A Victorian poetess laments the
death of Pan. A pagan rocket scientist blows himself up in his
Californian garage. A crippled German physicist draws up the
equations, which can make faster than light travel possible,
unseen by the rest of the world.
Jóhann Jóhannsson's spellbinding new album draws these
tantalizing threads together, weaving a musical tapestry of
hypnotic richness and surprising emotional depth.
Englabörn was derived from music that Johann wrote for an
Icelandic play using string quartet, piano, organ,
glockenspiel and percussion. These elements were processed and
manipulated, adding delicate electronic accents to the
otherwise entirely acoustic recordings. Virthulegu Forsetar
was a one hour-long piece for eleven brass players,
percussion, electronics, organs and piano. It shares
Englabörn's quiet, elegiac beauty, but replaces the brevity of
the first album's exquisite miniatures with an extended sweep
of sound that reveals a long, slow process of evolution.
Jóhann is involved in many different projects in his native
Iceland, including the all-analog Apparat Organ Quartet and
Kitchen Motors, the art organization/think tank/record label
which specializes in instigating collaborations and art
projects across diverse art forms. Among many other things, he
has also recently composed scores for the award-winning
animator Marc Craste (Varmints, 2008) and the American
independent film Personal Effects (David Hollander, 2008).
After IBM 1401, A User's Manual, Fordlândia is the second
installment in a proposed trilogy based on technology and
iconic American brand names. Whereas IBM 1401, A User's Manual
was a personal response to technology and its inevitable
obsolescence (inspired by his father's work with mainframe
computers in 1960s Iceland), Fordlândia springs out of a far
more diffuse set of influences. It brings together the soaring
grandeur of its predecessor – some sections were recorded with
the same orchestra in Prague – and the intimacy of Englabörn,
moving between heady, melting cadences and crystalline motifs
with gorgeous, dreamlike logic.
beautiful piece of music to date; a fascinating, immersive and
deeply rewarding web of ideas and melodies, which is sure to
win him a legion of new listeners.
“The songs communicate sentiments that simply cannot be put into words.”
– Performer Magazine
“The Ascent of Everest has created a unique sound full of swirling textures, intense and beautiful soundscapes, and exploding crescendos.”
– Panoptic Journalism Ltd.
“The Ascent of Everest performs music in the style of largely layered, epic, huge sounding instrumental rock. It’s like watching a movie score at times. They’ll be bringing their cellos, drum mallets, piano, and other various instruments along with them to 12th & Porter to play with Sparrows Swarm and Sing."
“The Ascent of Everest makes spacious, gradually swelling songs that bring to mind the drama and dynamics of Mogwai and GSYBE. The name alone should tell you something about their creative motives. A seven-piece string-heavy outfit who’s freely psychedelic post-rock is something like Dirty Three on acid. It was a hell of a show—these guys are Murfreesboro gold. With lush and slow-building songs, sparse vocals and a heavy-lidded female cellist, the band entertained the attentive, yet brooding, crowd. Several people wearing black scooted their chairs center stage and the subsequent hands-in-pockets style head nodding was not only justified, but sincere.”
– Nashville Scene
"Presentation is a key component to the work of The Ascent of Everest, and it readily switches forms from guitar driven segments to orchestral upwellings to thick atmospheric drone and ambiance. The segues are often huge and greatly overlapping, which results in some extremely cinematic or cathartic passages… Undoubtedly this is one of the better instrumental releases from the U.S. in 2006, if not the world at large."
– Jordan Volz
“9 out of 10”
“Top 40 Records of 2006”
September 21, 2008
Mixing rock, metal and ambient music, with slight influences from folk music and jazz; this is a highly eclectic mix of tunes. The band has a well developed sense of drama, and are fond of mixing styles in individual tunes as well as creating variation from one tune to the next.
1. Koku 5:28
2. Zantetsu 4:44
3. Kronos Kairos 5:46
4. Fujyo Kouhuku Sanka 6:14
5. Sonzai No Kakuritsu 3:17
6. Madouin Mousou Tenshi Kyoku 4:55
7. Tetsu No Hanataba 8:53
8. Syosou Kuka Gengai No Sirabe 4:30
9. Rakuen 12:44
10. Mumu No Renzokukousa 1:41
11. Hakugoku No Yume 4:46
12. Tata 4:25
Ryota Yoda - guitars
Jyunpei Suda - drums
Hachisunoit - vocals
Yuko Ikenaga - keyboards
Chiaki Okamoto - violin, bass
September 19, 2008
"This is a remarkable release, both for its beauty and its novelty at programming. Für Alina is a two-minute solo piano piece composed by Pärt in l976 that ushered in his "tintinnabuli" style, that is, the bell-like, simple, no-notes-wasted method for which he has become beloved and famous. On this CD, pianist Alexander Malter plays it twice, as the second and fourth tracks; each iteration takes almost 11 minutes (Pärt assumed it would be embellished, and he chose this pair for the CD). There are minute variations in tempo, emphasis, and rubato from one to the other, but, all that being said, it amounts to 22 minutes of the most beautiful, contemplative music ever performed. Almost equally gentle is Spiegel im Spiegel, played as tracks 1, 3 and 5 and scored for piano and, respectively, violin, cello, and then violin again. The instruments mirror one another (Spiegel is German for mirror), with notes added to the scale with each repetition, and so on. Almost impossible to describe in its loveliness, each of the three sets is beautiful; the cello in track 3 gives it extra mellowness. This is music staggering in its simple complexity and a treat for the ear and heart." --Robert Levine
"..each track having great style, flair and production and most important, each track a mini epic in itself. This time around we have a 'mini-lp' - 44 minutes of blissful works entitled Suunta (Direction) full of beautiful vibes, deep, atmospheric sounds, resounding basses with an analogue twist and those fabulous bleeps that Boelex is reknowned for. Throughout the release the highly polished results of many sleepless nights (right up to the day before release!) are apparent - this is a release to treasure, take a small taster and then dive right in.."
All his music is free and available to share under the Creative Commons 3 license so..
September 18, 2008
he three artists who have collaborated on the album are Spyros Polychronopoulos (Spyweirdo), who supplies the electronics and processing, acoustics professor and jazz musician John Mourjopoulos and jazz and improv artist Floros Floridis. The latter two provide various free jazz improvisations, which tend to the minimal, moodier end of the spectrum, on piano, double bass, clarinet, oboe and saxophone amongst other things, while Spyweirdo pulls all the pieces together and meshes them with his own brand of electronics into their completed forms.
This is quite a remarkable album. That it’s creators have been working in their various fields since the late 70s is apparent in the maturity and focus of the work, while there is a refreshing newness to the sounds which, inspite of the obvious use of homage, do not rely on nostalgia for their potency.
our Greek musicians meet each other in Holland...They work with various “multi-ethnic” groups for about 3 years until they form the Poly Quartet centred on the ‘Perfumed Dreams’ compositions of Andreas Polyzogopoulos. This is a cycle of compositions written in the course of the past three years: ten compositions inspired by Mediterranean aromas and the sound-colours of Northern Europe and sketching out the dreams that impassion our life, the dreams that enable us to believe in
Poly Quartet gets 1st place in "Motives For Jazz" Contest, Play Festival, Hasselt, Belgium.MySpace
September 14, 2008
His lyrics are inspired by his profound knowledge of the way of life, the feelings and the destiny of the people who live here. In the foreword to this edition, Loudovikos wrote: "Up here on the barren slopes of Mount Psiloritis, people listen to the spirit of the stones. We sing of unrequited love and the paths it takes. And we still sing of death in a deeply erotic way. The people of the mountains are closer to the heavens."
September 12, 2008
"..Nine short, simply numbered titled saturnian interludes make up the release of atmospheric chamber music from the cardboard box vortex. Miniatures moves from swirling spatial feedback manipulations to stripped down minimal piano pieces and back while you watch from the curbside the ghostly parade. Eluvium’s strength lies in creating music that evokes a whole host of emotions. As horns hold long notes over a twinkling sheen of keys, the opener unfurls slowly and sets the contemplative mood of the album. Like what follows, it’s produced as if the music were being transmitted from within the womb: Sounds ring out and bleed together. Such fuzzy edges don’t mean that the sound is muddied, though. Instead, they charge the music with an insular coherence.
With one foot in pop music and one in avant-garde composition, Cooper has crafted an album that is at once minimal while deceptively complex. These instrumentals command a listener’s attention but never stoop to pop-music gimmickry. They exist in another world altogether, adrift in an echoing atmosphere.."indieducky.com
A beautifull netaudio release from a new nordic netlabel called Soft Phase: an ep entitled 'Little world' produced by Planet Boelex (an electronic music project originating from Finland, started in 2004, consisting of only one member) in collaboration with a swedish singer/songwriter known as Lisa's Antenna creating exquisite, beautifully sequenced soundscapes around Lisa's lovely vocals and and minimal piano chords.
“The days are slowly becoming shorter, the leafs on the trees begin to change their colour,
the weather is getting colder, the autumn is approaching. We welcome you to the world of
Soft Phase netlabel with our first release, which is a collaboration between
two northern artists, Planet Boelex and Lisa’s antenna. The former you might know
from the past releases on Monotonik and Kahvi Collective, and we’d suspect you might learn
something about Lisa while listening to these songs. Enter Little World, journey into the
mysterious sound universe full of soft and sensitive vocals, lyrics that’ll tell you little
stories, backed up by the floating melodic atmospheres you’ve grown to expect from Planet
Boelex. Perfect for taking with you, while walking in the misty autumn evening, watching the
nature silently preparing for the coldness of the winter. Get yourself a nice cup of tea,
sit comfortably and let Little World’s songs surround you with warmth and emotion.”
The Silent Ballet IX is an absolutely beautiful collection of tracks which delicately combine strings and orchestral sounds with minimal electronics in a quiet post-rock sensibility. the compilation maintains a very cohesive, classical-inspired sound; each carefully selected track is an exquisite composition on its own, which also perfectly compliments the others. from the repressed intensity of the Bersarin Quartett, to the plaintive strains of Redhooker, to the soaring violins and piano arpeggios of Bosques de mi Mente, this is dream music for your nights and days.
Track 1. The Dead Sea: Nulla Desiderata
TBA, 2008 TBA.
Track 2. Olafur Arnalds: Fok
Variations of Static, 2008 Erased Tapes Records.
Track 3. Anoice: Glitch
Out of Season, 2008 Ricco Label.
Track 4. Bersarin Quartett: Mehr Als Alles Andere
Bersarin Quartett, 2008 Lidar Productions.
Track 5. Emanuele Errante: Fecunda
Humus, 2008 Somnia Records.
Track 6. Peter Broderick: Atlantic
Unreleased, 2008 The Silent Ballet
Track 7. The Abbasi Brothers: The Social Evening (In 1992)
Music for Film and Dreams, 2008 Dynamophone Records.
Track 8. Sumner McKane: Doris
What a Great Place to Be, 2008 Don’t Hit Your Sister.
Track 9. Cam Butler: I Surrender
Dark Times (Symphony No. 2), 2008 Self-Released.
Track 10. Redhooker: Telling Time
TBA, 2008 TBA.
Track 11. Bosques de mi Mente: Nubes Apiladas en Forma de Montaas
Ruido Blanco, 2008 Self-Released.
Track 12. Rudi Arapahoe: Conversation Piece
Echoes from One to Another, 2008 Symbolic Interaction.
Track 13. Joe Frawley: Sketches from Memory
TBA, 2009 TBA.
September 11, 2008
Andrei Machado is a Brazilian amateur musician and Lacuna is his debut album.In our blog Andrei found some of his influences(Peter Broderick, Max Richter, Alaska In The Winter, Balmorhea, Bosques De Mi Mente, Eluvium) and wanted to share his wonderfull work with us.Thank u Andrei for sharing your inspiring music with us!!
Minimal soundspaces but not boring,excellent touches of piano,simplicity and emotional airy melodies that leaves the listener in peace and beauty - the "Eu sei que sou fraco" is my favorite track :)Keep up the great work Andrei.Thanks again..Greetings from Greece!
September 10, 2008
In 2006, the band opened the phonem by miller festival as the support band of Mogwai. The band continues to play live locally.
All in all, "kafabindunya" is now an art project, more than an avant-garde band. Sometimes they produce visual material in harmony with their audible material. Their live shows are like not only a rock band performing in the stage, but also an experience awaiting you to experiment.
"Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert "Tootie" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's "Mood Indigo," which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the -- if not the -- definitive reads of Willard Robison's steamy leave-your-lover ballad "Don't Smoke in Bed." The title track, written by Rodgers & Hart, features "Good King Wenceslas" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in "He Needs Me" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons. It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. "My Baby Just Cares for Me" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's "Good Bait," which is transformed into something classical from its original bebop intent. "You'll Never Walk Alone" feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of "I Loves You, Porgy," which appears here for the first time and was released as a single. Her own "Central Park Blues" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune "He's Got the Whole World in His Hands," with quiet and determined dignity and drama. Another of her instrumentals compositions, "African Mailman," struts proud with deep Afro-Caribbean roots and rhythms."For The Love Of Soul Jazz - TheDadDyMan
September 6, 2008
ou’re longing to be transported somewhere – preferably to that realm of euphoria to which critics testified in their ardent praise of previous Orchestra efforts
In interviews, Orchestra main-man Jason Swinscoe has described Ma Fleur as the soundtrack for an ‘imagined film’.
On an emotional level Ma Fleur is far too acute and dreadfully artificial. Soundwise it’s dreary and directionless – most unlikely to secure your affection.
September 4, 2008