library experimental. jefferson park, chicago.
isabel nogueira is a performer-composer, musicologist and professor from brasil who conducts research in music, gender, the body, and sound creation. she uses voice, synths, field recordings and electronic devices to make experimental music, noise and sound art. isabel is a member of the medula collective for experimental sounds.
luciano zanatta is a performer-composer, has a phd degree in composition at the federal university of rio grande do sul (ufrgs), brazil. where he is also a faculty member of the music department and teacher at the electronic music centre. he develops research projects in composition and sound creation.
unlikely objects is an exploration of everyday objects, including those that usually receive the designation of musical instruments, and the various memories they contain. sounds that are perceived more as a side effect. the performance is an immersive experience drifting between noise and its opposite extreme experience, silence.
get the album here!
Dédié à un des auditeurs parmi les plus enthousiastes et les plus fidèles de la scène improvisée – jazz d’avant garde Lisboète récemment disparu et surnommé « Massas », ces quatre pièces enregistrées à la librairie Ler Devagar en 2015 documentent une rencontre entre les souffles du clarinettiste portugais João Pedro Viegas et du saxophoniste français Guy-Frank Pellerin et le tandem piano-contrebasse des sardes Silvia Corda et Adriano Orrù. La musique, librement improvisée, se situe dans ce no man’s land vers lequel ont dérivé le free d’après la New Thing et la musique contemporaine oublieuse de ses origines. Viegas sollicite les harmoniques de la clarinette basse et Pellerin des phrasés tordus au saxophone ténor. Les souffleurs font râler la colonne d’air, étirent les notes, éclatent les harmoniques, passent du grasseyant à l’acide.
kind words courtesy of louis pattison. the wire 399. may 2017.
It starts with a shouted “Hiken!”, and the Argentinian duo Elgier and Quinteros immediately let fly. He plays piano, she plays cello, and together they make more racket than most quartets, their chaotic improv conducted with a jerky energy that verges on the comedic. Explosive moments are balanced by subtler passages where the pair hunker down, working microscopically at their instruments with the surprising grace of a contortionist folding himself into a suitcase.
A different kind of trickery is at play on Edinburgh musician Lauren Sarah Hayes’s Manipulation. Her compositions are an exercise in unpredictability, the product of tiny circuit board ecologies that spit out malleable loops directed – albeit only in the most general sense – by outside input. Luckily, the sense of play extends to the finished product, its skittering melodies and clip-clopping rhythms suggesting a mischievous intelligence emerging from this web of wires.
reid karris is a multi-instrumentalist, composer, sound enthusiast 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, noise, drone and avant-garde. his primary instruments for doing so are prepared guitar and drum kit sent through electronics.
this music is inspired mainly by the musica universalis or harmony of the spheres, which deals with the idea that celestial bodies all emit their own unique hum based on their orbital revolution. the other inspiration is the alchemic concept of the philosophical tree, which has seven branches representing the seven planets and their corresponding metal. the idea for this album is the combination of all these ideas into one score to create a drone that shifts through a progression of tones as one travels from one side of the solar system to the other.
the sound is: a summoning of layers. heralding okay “a”. birds of sub warbling. the slip of tape crash. whirs and bowls. swirl uprising. swell. waves crest beneath electricity. time smears grain.
improviser, sound and visual artist, hervé performs spontaneous compositions with saxophones and laptop, using processed field recordings. his work is influenced by practices such as jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike. for this reason, his performances are outside of time and stylistic boundaries.
hervé made this album back in 2011, but it is only now being released. he used acoustic guitar, soprano saxophone, field recordings, and sound design to create this album dedicated to all who suffer from the horrors of war.
the sound is: prepare. harmonic. slide. breath. tap, tap. space. grain. sudden storm. hammer strum. drop. aquatic bend. galaxies.
Interview with creative commons noise/drone artist Cinchel
Performance of MACHINE//BODY: ‘Intersections and Variations’ (part 2), May 25, 2017 video filmed by Karl Cooney at the Fridman Gallery in NYC