pan y rosas release the legendary story of a slug and a beetle by joão pedro viegas and paulo chagas!

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joão pedro viegas is a self-taught saxophone and clarinet player, author, lead singer and saxophonist of the groups ethnos, dr. estranho amor and just jazz friends. he’s studied jazz since 1983. his instruments – alto and tenor saxophones, bass clarinet and clarinet.

paulo chagas is a portuguese-born, wilfully eclectic musician. interested in experimentalism, the research of new (or renewed) solutions and links between sounds. a dedicated composer, multi-instrumentalist (woodwinds, electronics), teacher, writer and music promoter.

their first album for pan y rosas is a collection of duets in which the duo explores the limits of their extended technique, using their instruments as sound sources,with clarity, humor and focus. bass, soprano, sopranino clarinets. flute. oboe. improvised miniatures. suggestive imagery. haikai poems.

get the album here!

pan y rosas release songs about trees by alexander chernyshkov and marina poleukhina!

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marina poleukhina is a composer and improviser based in vienna. alexander chernyshkov is a composer, performer, improviser who was born born in moscow and lives and sleeps in vienna. they are both mysterious.

their new album for pyr is a document of a concert given in vienna at the venue, porgy and bess.

the pieces were created acoustically on different instruments, mechanical devices and objects. sometimes amplified through a piezo and a mini guitar amplifier. voices, guitars, objects, harmonicas, mini-amplifiers, stepper motors, relays. the evaluation and integration of silences. three monks watch a kite flying, one monks says – the kite is moving.

get the album here!

pan y rosas release for a flat by stella veloce!

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stella veloce is a sardinian composer and multi-instrumentalist currently based in berlin where she is studying composition at the universität der künste. as a composer she works in the fields of instrumental acoustic music, performance art, sound art and stage music. she also performs inside of pop and free collective improv contexts which feedback into her work as a composer.

for her first album on pan y rosas, stella used every instrument and sound-making object available to her in her apartment including a cello, guitars, saxophones, small instruments, objects, voices and the sound of the birds in the back yard. she recorded the pieces over the course of a single weekend in march of 2015.

get the album here!

pan y rosas release unaccentuated by keshco!

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keshco is a group of english home-recorders playing all sorts: psychedelia, bedsit folk, lo-fi synthpop, library music, etc. they’ve been together since schooldays in the 90s, live in london and oxford now, and have released several albums and a string of free eps for various netlabels.

their second album for pan y rosas is a collection of instrumental songs that were recorded and assembled islington, sowerby bridge and buenos aires. piano exploration, synth tinkling, guitar harmonics, violin scratching, empty apartments, flute improvisations. library perfection.

get the album here.

pan y rosas release tonmuseum by aaron yabrov!

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aaron yabrov is a manipulator of ambient tapes, analogue synthesizers and found sound. he conducts his experiments in southern germany.

his first album for pan y rosas, tonmuseum, consists of two 15 minute tracks created using nothing but found sounds and one pre-recorded analogue-synthwave. aaron recorded all the sounds in 2013 on his way to and inside the ‘klanglabor’ at grassimuseum in leipzig, germany.

pianos, chimes, bells, water drums and a regenrohr. various effects, pitched signal, drowning qualities of sounds that emerge. the quality of a piano or bell when decelerated.

get the album here!

pan y rosas release icky vicky by compost haven!

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compost haven is a group that convened at art farm, nebraska and at a friend’s house in lincoln, nebraska in the summer of 2014. they are andy israelensen, katie kroko, john collins mccormick and zhiwan cheung.

they found pie tins in the woods and added them to bass, motors, vocals, electronics, viola, bowed objects, a snare drum and photography. then they made music.

get the album here!

kind words for breathing through wires by iris garrelfs

Iris Garrelfs at the Barbican

“…her music is thick with the evidence of spatial dialogue and spatial sensitivity. Garrelfs’ voice reaches forth like a hand probing the dark. Even as her utterances tumble through a web of delays and a mysterious, dislocating pitch modulation, she never loses the ability to react instantaneously to her surroundings; her demeanour tilts in response to micro-adjustments in mood or room temperature, with the echoes contracting and relaxing accordingly. The effects are as soft and breathable as she is – a moist, flexible extension of her body rather than a constrictive maze of electricity, twisting her image into something alien and animalistic while still, somehow, retaining a strong resemblance to the human form.”

read the whole thing here

get the album here

kind words for nununu by clara de asís and less than human by caroline park!

Two new offerings from the Pan y Rosas netlabel present different perspectives on making electronic music. One involves intuitive, moment-to-moment decision making, while the other draws inspiration from a systems-based aesthetic of autonomous processes.

Nununu is Marseille-based experimental guitarist Clara de Asís’s twenty-four minute, unedited single-take improvisation for prepared electric guitar. A continuously evolving soundscape, the piece begins with a low-key electronic hum or murmur that at times sounds like the rush of wind through telephone wires or the throbbing of airplane propellers high overhead. From there de Asís builds reverberant sound blocks into a thickness of layered echoes which eventually converge into a buzz and an unsettling, suspended chord punctuated by the metallic chiming of struck strings.

Caroline Park, whose 2013 release Rim explored the sonic products of generative compositional processes, here presents five pieces that begin with minimal musical materials which accumulate into larger structures through repetition, superimposition and variation. In Being States Park creates changing harmonic patterns by layering a handful of brief motifs of a few notes each; the larger melodic aggregates that result take on unpredictable shapes by virtue of the differing lengths and cycles of the constituent motifs. Plantlife and A Moth Is Born are made up of somewhat harsher sounds, the former sending its elongated tones riding out on a wave of static and the latter consisting of siren-like, dissonant glissandi. Fractured Barnacles is constructed around a pulsing sequence of changeable speed, while Gldufgsld closes the collection with a floating, consonant chord.

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less than human

nununu

kind words for less than human by caroline park!

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“The structures might be minimal, but the resultant sonorities are positively efficacious. “Being States”, shaped by blurs of glimmering melodic crystals, is just a taster. “Plantlife” mutates from a crescendo of static sources to a translucent representation of ecstatic absorption, all of the above in a finger snap. “A Moth Is Born” introduces a galaxy of stunning glissando figurations framed by short semiliquid snippets. In its somewhat disconnected mesmerism, “Fractured Barnacles” calls to mind certain therapeutic aspects of Carl Stone’s work, whereas the final “Gldufglsd” is a wonderful low-voiced drone immersed in heaven-knows-what sort of enhancing process. Contrarily to 2012’s Oto, Park urges us to repudiate the use of headphones (“sound needs space”, as she rightly points out). The disobedient reviewer tried the double approach, the outcome staying – in both circumstances – at levels of excellence. As well as these creations, it is Park herself who “needs space”. In your record archive.”

read the whole thing here.

get the album here.

kind words for less than human by caroline park!

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“On third play I opened a window (analog window). If your current climate allows, this is also recommended. Because though obviously synthesized, even the mild airport melodies of “being states” and the tiny digital pops and pricklings peppered here and there are so organically arranged in time that they meld flawlessly with the natural ambience. So patient in its movements you might mistake the audio for the whisper of many moving insects, or tiny rain. For me I could not differentiate between the sound in my room and the sound of people cutting down trees down the street, and the breaking of that border was quite nice.”

read the whole thing here.

get the album here.