Perhaps the most striking aspects, however, are Redhead’s use of voice and vocals. There are extensive spoken-word elements, but these are not dominating, and often multiple voices mix unintelligibly in the background. Thus, aside from a few moments of text recitation, voice is used as another instrument. But when overlayed with scattered and brief acoustic motifs, as well as layers of electronics and drones, Hearmleoþ—Gieddunga takes on a character of its own. In fact, the electronic and acoustic parts often blend to the point of being indiscernible from one another.
Hearmleoþ—Gieddunga is another excellent offering from Pan y Rosas and in the running for album of the year. Well done…
lauren redhead is an internationally performed composer and an experimental organist whose recent work is published by material press, berlin. she often produces works of graphic and open notation, and often works with multimedia. as an organist she has developed a performance practice for organ and electronics and frequently performs in a duet with alistair zaldua and as an improviser. lauren is senior lecturer in 20th and 21st century music at goldsmiths, university of london.
hearmleoþ—gieddunga was created between 2016-2018 as part of a collaborative project in three stages. lauren redhead created scores, texts, samples, and concepts for performance. alistair zaldua then took part in the realisation of the works for live performance through the development of performance practices and live electronic interfaces. in the final stage of the project, lauren and alistair were joined in the studio by josh cannon who contributed creative studio practices and mixed and mastered the finaltracks. this music is therefore a result of live performances, studio composition and of collaborative exchanges.
john collins mccormick is a musician and artist based in indianapolis, indiana. he keeps his ear to the world and repeats without accumulating.
one bone in the arm was recorded in november and december of 2017 throughout the midwest of the united states. chicago, evanston, indianapolis, fort wayne, bloomington, ypsilanti, toledo and oberlin. john collins mccormick created sound spaces using a sub woofer, a low frequency sine wave, objects, a fish tank bubbler, a coronet.
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.