Category Archives: Crossover

Musica di confine / Crossover music

Music for Prague

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coverOk, un po’ di tranquillità dopo lo sforzo organizzativo del Premio Nazionale delle Arti.

Eno ha concepito questa musica nel 1998 per una installazione realizzata in collaborazione con Jiri Prihoda a Praga. Il CD risultante è stato poi venduto a un’asta di beneficenza per £ 400 nel Gennaio 2001.

Si tratta di una lunga traccia ambient (un’ora di musica) in cui varie linee melodiche in loop con durate diverse vengono sovrapposte casualmente, nel classico stile della musica generativa di Eno. Il risultato sonoro è simile a Music for Airport, ma privo di loop sensibili e con la differenza che qui gli interventi sono ancora più radi. Ne risulta un insieme che evolve molto lentamente, sempre diverso ma sempre uguale.

Ve ne proponiamo un estratto di circa 15 minuti.

Brian Eno – Excerpt from Music for Prague (1998)

paint

Sleeping in the Forest

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https://i1.sndcdn.com/artworks-000225458654-mqxo48-t500x500.jpg

Ben Stepner costruisce atmosfere meditative tramite chitarra e computer. Semplice ambient music, sotto molti aspetti banale, ma vengo sempre colpito dal potere della consonanza.

Qui non si parla di tonalità e nemmeno di modalità, ma solo di sovrapposizioni di armonici che a volte (non a tutti) inducono uno stato di relax.

Sleeping in the Forest è distribuito da via Soundcloud.

Un brano come esempio:

  • Ben Stepner – 05

La chitarra nel 21° secolo

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Spectra: guitar in the 21st century è una interessante compilation pubblicata dalla netlabel quietdesign.

I musicisti rappresentati sono in gran parte sconosciuti ai più, ma tutti sono impegnati ad estendere le possibilità di questo strumento spesso grazie anche all’inserimento dell’elettronica. E secondo me questo è uno dei casi in cui l’elettroacustica di confine supera nettamente la ricerca “accademica”. Mentre quest’ultima è ancora impegnata a porsi il problema dell’inserimento dell’elettronica in composizioni in gran parte acustiche, con relative problematiche come la standardizzazione della partitura, questi tipi, ai quali vanno sicuramente affiancati anche musicisti come l’Hans Reichel di qualche post fa e personaggi come Fred Frith, invece, agiscono.

Certo si può obiettare che forse il loro livello di progettualità è scarso, ma quando esiste la ricerca sonora, la progettualità la segue; è solo questione di elaborare delle idee a partire dai materiali sonori.

Gli artisti coinvolti sono:

  • tetuzi akiyama
  • cory allen
  • erdem helvacioglu
  • jandek
  • kim myhr
  • duane pitre
  • sebastien roux
  • keith rowe
  • mike vernusky

Alcuni estratti:

Music for Airports reloaded

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coverBrian Eno’s Music for Airports (1978) played a very important part in the concept and development of ambient music. One could say that ambient music is not a music to be listened to, but a music to be heard, as a subliminal background creating a soundscape for various places or buildings. Supermarkets and elevators are usually places where a poor music is played, one calls it muzak. Brian Eno’s idea was to conceive a sophisticated musical soundscape instead of this anonymous FM music, and he chose airports as the best places where such a music could be heard and understood, creating an unusual and quiet sonic background among all the noises and announcements of a airport terminal.

Music for Airports is a masterpiece, with its subtle piano tracks, its complex electronic treatments, its choral parts, and its slow and organic development.

In 1998, Point Music, a label directed by Philip Glass, released this amazing interpretation of Music for Airports by Bang on a Can: Robert Black (bass), Lisa Moore (piano, keyboards), Evan Ziporyn (clarinet, bass clarinet), Maya Beiser (cello), Steven Schick (percussion), a choir of female voices and additional musicians playing pipa, flute, horn, trumpet, trombone, violin, cello, mandolin and mandocello.

This chamber music ensemble plays Eno’s compositions with fidelity and creativity at the same times. The acoustic instruments create a rich harmonic soundscape and add a very original touch to the original recording.

This peaceful, quiet and slow music is very evocative and poetic: the cover version is as beautiful as the original…

Excerpt from Brian Eno – Music for Airports 1.1 – played by Bang on a Can

Via Just Another Garden

Fragilità come sorgente di tutte le cose

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coverThis is one of those releases that floods me with metaphorical insights.
In the beauty of breakage we find some of the answers for our deepest questions.
When something breaks, we are able to perceive it as what truly is, a collection of pieces of different shapes and sizes. Ian D Hawgood gives us four pieces of these ruined goods. Beginning with incessant timing of a vertical sound along a sea of soothing horizontality.

If frailty is the source of all things, then we ought to go back to it. All the abundant arrogance and destructive strength present in human beings has brought us to irreversible situation, into a mood that swings like the weather, each time faster and more bipolar. I believe “Her name was frailty” implies The Earth. Whenever we observe The Earth from a distance, in this case from an astronaut’s point of view, we can understand how far from reality we have strayed. The construction and sounds of this album allows me to, not only returning to a point of frailness, but also to activate a particular type of mental stimulation that empowers my psyche conceding me thoughts about restoration. Now, restoration implies an active participation in bringing the past back to life, in this case from broken to whole. This release definitely modifies my tiny rat heart.

Thanks Ian… or should I say ‘Ion’, an atom that has acquired a net electric charge by gaining or losing one or more electrons.» – Sebastian Alvarez

Excerpts:

Listen to/download the whole album

Moscow Youth Cult

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coverNuova, nostalgica release da test tube.
«Warm, woozy childhood memories, and crisp blue winter skies… friends, beaches, summer… the creative joys of making otherworldly sounds on battered old synths and a Casio keyboard stuck through cheap guitar pedals… a hefty dose of unadulterated, euphoric pop melody…»

Colours Seep Out is the first full mini-opus from Nottingham’s Moscow Youth Cult, an electro-ambient-pop sidearm of UK underground indie noisemakers, Love Ends Disaster! (currently in hiding, putting together their next album). Part a recollection of the fuzzy and optimistic late 1990’s electronica of Boards of Canada, Aphex Twin, Susumu Yokota and DJ Shadow, part the urgent electro-pop of Beck, Ladytron and Fourtet, the 9 tracks here twist and melt from evocative synthscapes (Antenna I, Sandpits) to concise spurts of noise pop (Philosophique, Sakura Sakura)… and back again, without pausing for breath. What becomes clear is Jon Dix (Guitar, Synths, Vocals, Programming & Production), Robert Sadler (Keyboards, Programming) and Leah Donovan’s (Vocals) clear enjoyment of the sensibilities of pop music, topped with a healthy does of unabashed, exciting experimentalism.» – Jon Dix
Estratti:

Listen to/download the whole album

The Lanthanide Series

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Alcuni dei drones di Kalte, duo canadese, sono decisamente accattivanti. Qualcuno può dire che sono soltanto drones, ma si tratta di un genere che mi affascina e che non è così facile come sembra.

Ecco le note di programma. Il riferimento alla tavola periodica di Mendeleev, citata nelle note, è nel titolo: la serie dei lantanoidi (in passato lantanidi) è costituita dai 15 elementi chimici, detti anche terre rare, che sulla Tavola periodica si trovano fra il lantanio ed il lutezio. Hanno numero atomico compreso fra 57 e 71 inclusi.

Toronto’s Kalte (a duo featuring long-established sound artists Deane Hughes and Rik MacLean) make their recorded debut with this Periodic Table-inspired EP. The harsh Canadian winter served as the backdrop for the creation of these tracks, and while there may be a certain oppressiveness to its roots, the resulting sounds progress from darkness to light. The sonic spectrum on display here slowly builds in complexity at first, with more and more elements layered over a similar low-ringing drone. A slight stylistic shift takes the music to a slightly higher pitch and a more gentle tone for the final two tracks, with buzzes and drones intertwined in a mesmerizingly thick blanket of static.

L’intero EP si può ascoltare e acquistare qui.

Ubeboet

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coverSearching the old releases from Test Tube, I found this EP by Ubeboet, a sound artist based in Madrid involved in electronic/experimental music since mid 90’s. This work, titled Bleak EP, is dated 2004.

Bleak EP, by Ubeboet, is one of those kind of releases that lives on lasting relationships and on constant reintegration processes, achieving ‘that’ multidimensionality (big word) typical of the acoustic universe, giving so much freedom to the listener, that he (or she) will diminish or amplify the particular singularities of the sound particles that go in and out of the brain.
This work could be very easily integrated into the art of installationism, although never leaving the ‘soundscape’ genre. A constant struggle to arrive (or at least try to) an ideal of ‘musique concrète’. Holding itself to the capturing of sound landscapes, submitting them to a low-frequency treatment, Ubeboet breathes a comforting ‘less is more’ ambient, (re)created and integrated into unhabited sound habitats, or sometimes directly injected into the overcrowded urban territory. Ubeboet rests in the complex world of the ‘anti-fast listening’, where the perception and the raw and naked power of the music are intimately connected. A not-easy, not-clear and not-resolved world, into which we are forced to submerge and seek for the unknown. Highly recommended.
[Bruno Barros]

Two excerpts

Dowload the whole EP here.

David Fungi

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coverQualche novità dalla netlabel test tube. Per una volta c’è un italiano.

David Fungi, from Varese, Italy, is clearly inspired by nature. Field recordings pop up from the initial sounds of “aal_sentieri”, blended with synthetic and metallic electronic sounds which produce the kind of ambience one might recognize from William Basinski. It is this razor edge that defines the strong personality of this recording. Even though “Aal_sentieri” is ambient music, it is also restless, menacing, provokes the listener and gives him a sense of travelling through a mysterious and dark forest. As the piece unfolds through its 23 minutes, the sound layering becomes more complex, while one can only guess the origin of the animal noises underneath. When the path comes to an end, a climax appears in the last 4 minutes, first with a burst of industrial noise and finally an orchestral and cinematic climax, finishing the track. “aal_sentieri” leaves the listener in the company of silence, which in a strange kind of way almost works as a reverberation of the track.  It is not easy to capture one’s imagination like this, but David Fungi has that skill to mix disparate sounds in a coherent manner, making “aal_sentieri” a fine and peculiar release.»
[César A. Laia]

L’album è liberamente scaricabile qui.

Lezrod, again

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lezrodUn altro lavoro di Lezrod (aka David Velez) pubblicato, come al solito da test tube. Questa volta si tratta di 10 pezzi che accompagnano altrettanti video da proiettare in un sushi bar a Las Vegas. Il tutto con il significativo titolo di  fear and loathing in rio/tokyo (paura e disgusto in rio/tokyo).

Data la destinazione, tutti i brani durano 3 minuti e alcuni hanno un carattere tonale che di solito è assente dalle composizioni di Lezrod, ciò nonostante l’atmosfera rimane quella tipica di questo musicista.

Le note di Lezrod:

By the end of Spring I was hired to compose 10 pieces for a series of 10 videos to be displayed in a Brazilian Sushi Restaurant in Las Vegas. Even though the nature of this pieces is abstract, the fact that they have to work with the videos (produced by Daniel Roversi) and that they were going to be performed in a restaurant somehow brought back ‘musical’ elements which were part of my early work. After I finished them I felt it might be interesting to publish this material that if it wasn’t for this project I wouldn’t have ever done it.

The videos were based on cultural elements from both Brazil and Japan but I wanted to make something more universal and I feel my love for soundtracks and film music in general, were particularly influential here. The soundtrack projects of people such as Ry Cooder, Quincy Jones, Lalo Schifrin, Herbie Hancock, Vangelis, Edward Artemyev, Vincent Gallo and John Frusciante sure served here as inspiration.

The title of this release pays tribute to film director Terry Gilliam and novelist/journalist Hunter S. Thompson and their movie/book ‘Fear and loathing in Las Vegas’ where a unique atmosphere of delirium and disregard is built through the entire story, creating confusion between the sometimes-vague line between reality and imagination. This confusing atmosphere were present on the videos, as Daniel Roversi allowed contradictory elements to play together, as the relationship between the video themes and the relation between Japan and Brazil culture required certain level of abstraction to work altogether.

Also by the time I composed some of the pieces for this release I had a at home some of Luis Buñuel movies which I am sure inspired this work as well. This release pays tribute to him and in particular to his movie ‘Le Charme discret de la bourgeoisie’ where this delirium and disregard atmosphere can be found as well. This is a soundtrack for a move composed by 10 chapters, 10 stories that the listener could write, direct, shoot and perform, on his own mind.

Come al solito i brani sono licenziati in Creative Commons e possono essere scaricati qui.

Alcuni estratti. Provateli per cena.

36 Chambers

Ciudad sin Dios