caroline park and marta sainz (with nebelmeer) featured on the newest episode of sopa de truenos!

caroline park and marta sainz (with nebelmeer) featured on the newest episode of sopa de truenos! interviews even. listen carefully!


[SdT06] Adrià Borafull+Caroline Park+Nebelmeer by Sopa De Truenos on Mixcloud


kind words for less than human by caroline park!


…Less Than Human ranges from luminous and droning (“Plantlife”) to ominous and distant (“A Moth Is Born”) to stuttered and disorienting (“Fractured Barnacles”), and all of it is best experienced in full body, the nuances not left to the compressed nature of headphones, and the volume not adjusted for proximity’s sake.

[“Being States”] is perhaps the album’s most ambitious, a gentle melody refracted through subtle, pinging percussion. As for “Gldufglsd,” the album’s longest cut, at over 11 minutes, it is, like “Plantlife,” structured around a low-level drone, heard here below a harsh shimmer, out of which slowly arises a warmer tone whose sense of comfort is balanced by the increased threat of that buzzsaw shimmer. It seems to suggest a sequel to “A Moth Is Born,” in which the promise of a heat brings the end.


get the album here

kind words for palimpsest by adriano orrù!

3 CD Palimpsest 2014 WEB Edition MidRes RGB

kind words for palimpsest by adriano orrù, paulo chagas, silvia corda, and mauro sambo!

Un significato poco conosciuto della parola “palinsesto” (il Palimpsest del titolo) è quello di pagina manoscritta dalla quale il testo originario è stato cancellato e sostituito con un altro. All’idea di scrittura sovrapposta si rifà Adriano Orrù, proponendo alcune sue linee di basso elettrico a tre colleghi, chiedendo di arricchirle o, viceversa, di spedirgli brani su cui sovrincidere il proprio strumento.

Ne esce un lavoro composto unicamente da duetti, col basso che si accompagna di volta in volta alle percussioni e all’elettronica di Mauro Sambo, al piano di Silvia Corda e agli strumenti a fiato di Paulo Chagas, conferendo al lavoro una certa varietà stilistica, unificata però da un mood sempre piuttosto pacato. Il disco funziona bene sia che si segua la scaletta, che alterna le tracce delle varie coppie, sia che si scelga di ascoltare di fila tutti i contributi di un determinato duo, visto che la varietà di cui si parlava è riscontrabile anche all’interno dei singoli duetti e raramente un ospite usa due volte lo stesso strumento. Nei tre pezzi in compagnia di Sambo, ad esempio, troviamo campane tibetane, gong, marimba e percussioni orientali, che caratterizzano ogni traccia e portano il basso a suonare in modo sempre diverso: Palimpsest è un blues ambientale intessuto di suoni spettrali, Life Of A Duet un brano più classicamente impro, fra brevi fughe e momenti d’intesa, mentre in Scrape Off Orrù duetta con il suo doppio campionato in un brano teso, impreziosito sul finale dalla marimba. Tre anche i pezzi con Silvia Corda che, portando in dote un piano preparato e uno giocattolo, per qualche strana alchimia fa ritrovare al basso una corposità quasi rock, evidente nella pulsante The Rain Tree Under The Rain, uno dei brani più riusciti dell’intero CD. Infine i quattro duetti coi fiati di Chagas – clarinetto basso, sax soprano e flauto – che ci portano in territori prossimi al jazz, dove il basso gioca con la melodia portante stiracchiandosi e contraendosi (Bortadie) o trova l’intesa su coordinate free, dopo aver seguito il flauto in atmosfere orientaleggianti (On Different Shores). Un album decisamente riuscito, che parte da un’idea originale e ben congegnata e la sviluppa in piena libertà, senza risentire dell’eterogeneità della formula con cui è assemblato, ma facendone anzi un punto di forza.

Il disco, oltre che acquistabile in formato fisico, è scaricabile gratuitamente dal sito dell’etichetta.


get the album here

kind words for rub by auris + gino!


There is so much activity going on here (and on “A+G.2″ and the closer, “A+G.3″) that it’s hard to keep up with the sonic sprint; you’ll find yourself with eyes closed, head down because there is no way to experience Rub with any distractions. But it’s a lovely wall of sound: it’s all hand-made, human interaction with machines and instruments to coax out 10,000 bits and approaches (read: it’s not just flicking the “on” button and letting the inanimate animate). Further, the chemistry of the group is the flawless cooperation of an eight-handed beast, one that acknowledges a macro picture while building and tearing down waves of deft orchestration — often sounding as a gremlin big-band. There are scarce solos moments, and they make for a powerful contrast (i.e. a pause near nine minutes to highlight Miller’s roaring, pitch-bending power chords).

read the whole thing here.

get the album here

kind words for nununu by clara de asís!


kind words for nununu by clara de asís from the modern folk music of america.

clara de asis’ ‘nununu’ is a long form improvisation on prepared guitar, more accurately described, probably, as a sound sculpture than as a song.

recorded in a home studio in france ‘with no interventions’ other than panning the left and right channels, it is a spatial listening experience and the artist recommends using good stereo reproduction equipment. after listening to it, i’d say it’s worth it to sit down with it and plug it in to your system if you have the chance!

get the album here!


kind words for cucharas de arena by canned fit!


the kindness comes from a closer listen –

Another female artist making ripples is Austrian installation artist Christine Schörkhuber, known for recording purposes as Canned Fit. Her latest album on pan y rosas discos is a prime example of the type of vocal album ACL does cover, in that the lyrics take a back seat to the music and manner of delivery. This is the sort of shot in the arm that could revolutionize the airwaves, if only anyone would listen. Cucharas de arena is an intelligent, experimental set, marked by questions of how a lyric should be delivered, as well as why. While less accessible than Golden Disko Ship, Canned Fit still leaves the windows open for listeners to come in. The whispery, percussive “circling in a square” makes a memorable impression, as do the horse trots, footsteps and deep breaths of “rosia montana.” By the time the bass checks in, the listener is mesmerized. When metal sheets and sand can be used as percussion, who needs drums?

get the album here.

pan y rosas release less than human by caroline park!


caroline park is a composer, musician, and artist working within the minimum in experimental electronic music. she creates custom software in max/msp, integrating chance and silence in unique, minimal systems. she collaborates frequently with asha tamirisa in duo situations and also performs as 1/4 of the electro-improv quartet BUMPR (peter bussigel, stephan moore, tim rovinelli). additionally caroline is a founding member of OPENSIGNAL, a providence-based artist collective focusing on the representation of gender and race within experimental electronic music.

her first album for pan y rosas is a brief album of drones that caroline composed and mixed in los angeles, london and providence. she suggests –

play at full volume,
with good speakers
in a nice room.

no head/earphones please (sound needs space).

get it here!

kind words for breathing through wires by iris garrelfs!

Iris Garrelfs at the Barbican

the kindness comes from acts of silence.

Vocal experimental music has a bad rap due to the proliferation of blokes screaming into microphones while being covered in chocolate syrup. Garrelfs’ work is striking contrast to the aforementioned bellowing and posturing. The first time I listened to Breathing Through Wires, I throughout the stage was filled with people working in concert to produce this fluent sound. I was wrong. Using her own vocals and maybe some other sounds, Garrelfs creates a phonic tapestry of loops upon layers to make a re-stylization of choral works.

get the album here.