interview with lauren sarah hayes!

Today we’d like to introduce you to Lauren Sarah Hayes.

Lauren, we’d love to hear your story and how you got to where you are today both personally and as an artist.

I learned how to perform in my late teens and early 20s by playing many, many shows in Scotland. I never stuck with a single genre for more than a few years, and I loved getting immersed in different roles and characters that I imagined around what I was playing at the time. Around 2005, a friend of mine moved away, leaving me with a load of music hardware to play around with. There was an old AKAI S1000 sampler, a Lexicon reverb/delay unit, a 16-bit ADAT recorder, an Alesis sampler, and a laptop with an RME audio interface. I still love RME! I moved out of the city to an old farmhouse with some friends and started making experimental tracks and putting them on Myspace.

read the whole thing here!

pan y rosas release death & the maiden by brice catherin!


after his diploma of composition with michael jarrell in 2006, brice catherin willingly stepped away from the contemporary music institutions in order to develop very freely a few activities: multi-instrumental cellist, improviser, composer and art performer. these activities fed into each another, so that beyond his multidisciplinary shows and improvised concerts, brice catherin has never stopped composing and premiering written pieces.

most of his recent projects explore the idea of democracy in art: the artists’ individual responsibilities and their place in the social group as well as those of the members of the audience are challenged and questioned.

death & the maiden was an ephemeral experimental metal project that tried to understand the fundamental essence of metal. it focused strictly on this essential material and developed it into a single piece for cello, drums, and vocals that was recorded live in geneva in 2011.

get the album here!

interview with lola de la mata!

Your work challenges the body and human experience, taking intangible motions and channeling them into forms of sensory experience through sound/visuals. What is it about the body that draws you to produce work in this way?

Lola: Each body is unique – by body I mean our own, those of instruments, and that of the space found within architectural form. The bodily themes came about while I conducted research, asking performers, dancers and choreographers questions about their experiences and emotions surrounding their body being curated and composed. What was it like being a living sculpture?

Borrowing this model, I applied it to the academic ‘human experience’ of being a musician, thinking of it as the years of study to impose one’s will on the instrument, to reach and surpass a technical standard. But this is not my experience as a musician, I view it as a collaboration between myself and my instrument. A place where my instrument resonates with my own body, or my body resonates with that of the instrument’s. My scores reflect this desire to unshackle a stiff approach to playing, holding and being with an instrument. I write in order to bring out the voice of the instrument, in a way that isn’t being forced out, and where listening becomes a shared experience of resonating bodies.

read the whole thing here!

interview with lauren redhead!

We Need No Swords (WNNS): Tell us about the genesis of this project? Was it a commission, or something you were keen on exploring yourself?

Lauren Redhead (LR): This was a project that grew quite organically. The first piece that I wrote was ‘leóþcwide’, which started life as a stand-alone piece just for organ and electronics that came from a Benediction service for organ and electronics that I co-wrote and performed with Automatronic (a collective for organ and electronics I have with organists Huw Morgan and Michael Bonaventure). The texts are from Psalm 4 and Psalm 23, although in the final piece they are obscured.

At the same time I started to be interested in the Anglo-Saxon sources, and so when I turned it into a concert piece I chose the title (meaning lay-poem, I wanted to contrast with the “religious” nature of the original sources) and then I chose a quotation from ‘The Wanderer’ as the programme note that resonated with the original texts. It wasn’t until this piece had been performed a few times that it then became the first of a series.

All of the pieces were created individually, but ‘seo níedhæmestre; se tidfara’ was invited for the 2018 BeastFeast festival in Birmingham, for the organist Mari Fukumoto to play, and ‘ingenga’ came about after an invitation to consider making a piece for an improvising viola da gamba performer.

read the whole thing at we need no swords!

pan y rosas release “make sure you have exhausted all that is communicated through stillness and silence” by brice catherin!

after his diploma of composition with michael jarrell in 2006, brice catherin willingly stepped away from the contemporary music institutions in order to develop very freely a few activities: multi-instrumental cellist, improviser, composer and art performer. these activities fed into each another, so that beyond his multidisciplinary shows and improvised concerts, brice catherin has never stopped composing and premiering written pieces.

most of his recent projects explore the idea of democracy in art: the artists’ individual responsibilities and their place in the social group as well as those of the members of the audience are challenged and questioned.

“make sure you have exhausted all that is communicated through stillness and silence” is a duet between dancer/choreographer ioannis mandafounis and cellist/composer brice catherin. it is also a duet: between performers and their audience; between a performance and a venue; between a cellist and a cello; between a dancer and his body; between stillness and silence.

the album includes three different versions of the still part of “make sure you have exhausted all that is communicated through stillness and silence”, as well as another short piece by brice catherin: four piano strings. four piano strings is a duet between a performer and a piano, and a venue, and silence. as a bonus, there are two tracks of brice tuning.

get the album here!

pan y rosas release para, sin, contra by lorenzo gomez oviedo & valentina spina!

lorenzo gomez oviedo is a composer and improviser who was born in san juan in 1987. his works have been premiered in various places throughout argentina, chile, brazil and mexico. he has made inroads in exploring soundscapes using analog recordings, sound interpretation of everyday objects, etc.

valentina spina is an argentinian violinist and musician who explores the interpretative expansion of the traditional violin repertoire through extended techniques and electronic media. she also investigates sound in the context of latin american studies.

on april 2, 2018 the two musicians created para, sin, contra using a circuit bent drum machine and an electric guitar. the sound is: space coast. juggle. blast static. sun. surf haze.

get the album here!

pan y rosas release c-s by darius ciuta & chris silver t!

darius ciuta lives and works in kaunas (lithuania). after more than 20 years of service as the drummer of greek neo-psychedelic pioneers purple overdose and no man’s land, chris silver t. decided to temporarily abandon his drum kit in order to embark on a private journey in the sea of sounds that laps the shores of his mind.

their first album for pan y rosas is filled with slow patience, bursts of sound, layers, varied sound sources, locations, times.

get the album here!