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!

kind words for hearmleoþ—gieddunga by lauren redhead!

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…

read the whole review here!

pan y rosas release hearmleoþ—gieddunga by lauren redhead!

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.

get the album here!

pan y rosas release one bone in the arm by john collins mccormick!

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.

get the album here!

kind words for transparent points on four axes by barbiero/moore/vosh!

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.

read the rest here!