The eight pieces on “transparent points on four axes” each began as a single layer of either a composed or improvised track to form a ground layer from which each of the participants then added additional layers. The use of this ground layer provides an underlying sense of direction as each piece’s dialog develops and unfolds. The pieces have a great deal of sonic and textural variety and the album is very well recorded and mixed. There are pieces that are driven by exceptional bass playing with lyrical use of bowed harmonics and the extreme upper register of the bass. Other pieces seem to be driven by more sensitive and nuanced percussion. The analog synth work is really interesting because it can at times give the pieces that retro analog early electronic music vibe, however I think that it really works on this album because it completely avoids the repetitive sequencer driven drivel that is currently being produced by so many contemporary musicians using analog and modular synths.
daniel barbiero (1958, new haven ct) is a double bassist with an interest in gestural, modular and sound-based composition and improvisation in acoustic and electro-acoustic environments. he frequently works with improvisational dancers and writes regularly on music and related subjects.
ken moore is a percussionist living in northeast ohio. plays synthesizers, piano, bass guitar, udu and cajon drums, didgeridoo and glockenspiel. also does private recording and recently some video.
dave vosh is an analogue modular synthesist and performer active in the washington, d.c. area experimental music world. he curates many events in both the washington and baltimore areas, and performs solo as well as with other like-minded musicians.
transparent points on four axes is a layered, electroacoustic studio collaboration. each track began with a ground layer of a composed or improvised performance on double bass or synthesizer, in tandem with a directed, auto generated soundscape produced by an analogue modular synthesizer. the tracks were finished with a further layering of synthesizer, electronics and percussion. the result is a richly textured music growing out of the dynamic interactions of sound shape, color and line.
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.
their second album for pan y rosas features beats, electronics, voices. wooze and whine. stutter and bend. pulse and growl. fry and ventilate.
and an interview!
heavy lifting (lucy cheesman) has been playing live coded music using TidalCycles and FoxDot since 2016.
heavy lifting’s first album on pan y rosas, mortal springs, is loosely based on the myths surrounding demeter and persephone. the songs on the album were edited down from a live-coded improvisation using TidalCycles – a language used to describe & generate patterns. you will hear: synth & drum sounds, sample collages, and a small amount of vocals thrown in for good measure.