pan y rosas release home molasses by renée baker’s awakening!

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renée baker’s chicago modern orchestra project is revamping the traditional concert going experience by programming an eclectic genre mix, crossing grooves and roads where least expected. they look to build bridges between audience members of different backgrounds. part of their organizational mission is to adjust and transcend global viewpoints through ethnic human experimentation. to this end they seek out unusual and completely innovative scores from every genre of music – focusing on living composers.

home molasses consists of two comprovisations by renée baker that were performed and interpreted by awakening – a small ensemble offshoot of the chicago modern orchestra project. the pieces were presented as part of the fifth articular facet series in october of 2013. the sound is: joy.

get it here!

pan y rosas release nothing new by ant dickinson!

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ant is a north wales based musician, sound designer, recorder and technologist. he works with unconventional instrumentation and digital processes integrating elements of improvisation and indeterminism.

nothing new is the result of improvisations conducted on a piano left to rot in a field throughout 2012 and 2013. each time ant went to play the piano it was a different instrument. the piano was documented in all conditions – sun, rain, snow. the piece piano duet 2 is a duet between a piano dropped from a forklift and a grand piano.

get the album here!

pan y rosas releases drank viva bloom i by dave gabriel!

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pan y rosas releases drank viva bloom i by dave gabriel!

dave gabriel is a person who is associated with ombrelli sciolti and the band imelda marcos. he resides in chicago. improviser. string mangler. etc.
his first solo album for pan y rosas is a collection of eleven improvised piano pieces. some are the insides. some are the outsides. they were made using his mother’s piano.

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pan y rosas releases early works by brice catherin!

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brice catherin is a composer, cellist, electronicist, performance artist and improviser based in france. he has participated in the festivals: de la bâtie (geneva, 2008, 2010 and 2011); akouphène (geneva, 2005 to 2010); angoulême (2008); archipel (geneva, 2008); la cité (lausanne, 2005); etc. amongst many others, catherin is influenced by jean-luc godard and karlheinz stockhausen.

his third album for pan y rosas is a collection of performances of a few of his early pieces that were recorded in 2010-2011. pieces for – percussion; solo saxophone; voice cello saxophone percussion ensemble; bassoon and orchestra. secret tributes to galina ustvolskaya, heinz holliger and elliot carter.

get it here!

pan y rosas releases lanificus by reid karris!

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pan y rosas releases lanificus by reid karris!

reid karris is a multi-instrumentalist, composer, sound experimentalist and improviser hailing from chicago, illinois trying very hard to get all the music stuck in his head out for all the world to hear. after spending years as an odd guitarist trying to fit in with the world of rock music reid shifted his focus towards improvisation and noise. his primary instruments for doing so are prepared guitar and drum kit sent through electronics.

on reid’s newest album he continues to explore his concepts for improvisationally composed music. on lanificus he used: a prepared zither and a drum kit augmented with metal bowls and bells. the sounds were created and captured acoustically without processing. “although the sounds are audible the sound waves also exist on a physical plane which then enter into the listener and takes shape within their consciousness. it is then up to the listener to construct the album within their mind.”

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kind words for rub by auris+gino!


“Gino Robair has also played with Braxton, and is a busy, noisy drummer and percussionist, here guesting with the trio Auris. All four players are credited with electronics in addition to their instruments, although I have no idea what Eric Leonardson’s ‘springboard’ is!

The track titles appear to be cryptic letters, but after listening and reconsidering I reckon they stand for either the group [A] or individuals [C = Christopher Preissing; E = Eric Leonardson; G = Gino Robair, etc.] and who they are playing with. So ‘E + G’ is Eric Leonardson in duet with Gino Robair. There’s a suggestion that Robair has been invited along as a newcomer to ‘alter the landscape’, but to these ears he fits right in.

Electronics give an unworldly edge to all of these tracks: this really is a new world, one made with howls, textures, honks, drones and alien textures, where it is rare to be able to attach an instrument’s name to the sounds being produced. (Drums, at times, being the one exception). The music is hesitant yet aggressive, full of rhythmic pulses and urgent morse-like messages, metallic sustain and high pitched tones. An alien landscape if one wants to pursue the landscape metaphor, a world sculpted with noise and sound, a conversation between the organic and it’s treated digital self. This music is both exciting and challenging.”

kind words for entoptic landscape by lauren redhead!

The netlabel Pan y Rosas always puts out quality work, however, the releases of late have been exceptional. Lauren Redhead’s Entopic Landcape is one of these noteworthy releases. Redhead, an experimental organ performer as well as composer and university lecturer, released a work using an organ, a trombone, tubas and recordings that combines experimental music with drones and improvisation. The description I just wrote hints at a piece of discombobulated noise. I assure you that is not the case. There is much calmness to Entopic Landscape and Redhead’s open notation compositions allow the musicians to add a slight ripple that reveals a multitude of sound underneath.

read the whole thing here!

pan y rosas releases we had a language… by jenny ruth barnes and ren walters!

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jenny ruth barnes has a bachelor of music and a masters in applied linguistics and works in english language learning with refugee and migrant communities in melbourne.

ren walters is completing his phd at melbourne university and facilitates the improvisation materials and free play classes at the victorian college of the arts, melbourne university.

we had a language of the rabbit into the latin middle ages is the first album from australian improvisers jenny ruth barnes and ren walters. the album consists of three improvised pieces that were documented over the course of july, august and september of 2014. jenny’s primary instrument was her voice and ren’s primary instruments were guitars. both musicians used little instruments and objects.

get their new album here!

pan y rosas release prattle at hue by ombrelli sciolti!

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dave gabrielo and russ moonray formed ombrelli sciolti during the horrible Chicago winter of 2013 as an auxiliary project and partial escape from their more “rock”-oriented musical endeavors. their initial goal was the free exploration of the timbre ranges and general sound-making properties of their chosen string instruments as well as the direct and open confrontation of the frustrations of possibly awkward, wrong-footed interaction within a duo format as an implicit goal and strength.

the recording sessions for prattle at hue incorporated minimal aid from effects pedals with a total of four between the two members. the results were part of an ongoing effort in sonic research and development that may in the end prove to be just another pointless endeavor. the sound is: electronic procession. saturn’s rings. scale squeal. junk fuzz and whippoorwill. i hear you buried guitar – thunder purge. jazz funk greatness. ascending and descending string mangles. clatter oily night parade. throbbing saturn return.

get the album here

kind words for “articular facet 5.3″ by jim baker and sarah j. ritch!

the kindness comes from the fine people at the

On this quiet album, Jim Baker on modular synth and Sarah Ritch on cello, guitar and electronics, create a sonic environment with minor changes from a long horizontally developing tonal texture. The effect is mesmerising at times, with repetitive loops and sudden ‘surprise skree’, one of the appropriate tag lines that Sarah Ritch gives to her music, together with ‘modern scratch, mechanical wood, tone bits, crushed fragments and atlantis shred’. Despite these names, the music is relatively accessible, and of a dark monotony.