Susanne Abbuehl has been commissioned to compose for various settings, including work for radio, theatre, and sound environments. Susanne Abbuehl was Professor for voice, ensemble, composing for and with poetry and words, and didactics at the music universities in Lucerne and Lausanne, Switzerland. Until August , she headed the jazz and folk department of Hochschule Luzern—Musik.
Since September , she heads the jazz department of the Royal Conservatoire The Hague , where she continues to teach. Carles, P. Paris : Robert Laffont. Yanow, S. New York: Backbeat Books. Saltstein 6. Sus I Myrull 7. Stjernestund 9. Det Er Ei Slik Natt Vindtreet Elghjertet ECM has always looked for new ways to interpret traditional music from different cultures.
As far back as , saxophonist Jan Garbarek's Triptykon used a traditional Norwegian folk song as the starting point for open-ended improvisation. More recently, British traditionalist Robin Williamson has teamed with artists normally associated with free improvisation for The Iron Stone , combining original and traditional music with contemporary and centuries-old words, for some adventurous and often edgy free play that breaks down every barrier of convention in its path while remaining somehow reverent to its sources.
Her approach has gradually evolved towards original music that explores the dichotomy of her dual-lineage through more archaic forms, and the freedom of open-minded interpretation. Langeland also plays the kantele, a string Finnish table harp. It's a lush yet fragile sound that defines much of Starflowers as does her voice, which possesses strength equally capable of subtly delicacy.
Starflowers reveals its breadth gradually. Opening gently, with only Langeland's kantele and voice, it establishes a flexible time sense that's long been a powerful interpretive device in solo performance, with Langeland stretching and compressing time as she pleases. Slowly they move towards a firmer pulse for a hauntingly beautiful solo section, with Henriksen and Seim simpatico at the most subliminal of levels. There are moments when the ensemble approaches greater abstraction. A kantele pulse finally emerges, but the approach remains free, even as the others begin to coalesce around it.
Paris is a pop masterpiece. Permanent Yesterday 2. Greyed 3. Little Hand 4. Thread Still 5. Lasted In Different View 6. Three Winters Our Trace 7. Under Calf, Winged Steps 8. Lullaby For Rainsongs Few areas of the world have been as exciting to watch as the experimental community in Japan over the past half a decade.
What was originally dominated by noise and psychedelia-oriented music has slowly transformed into a sea of post-rock, ambient, and electronic artists, exposing a magnitude of creative musicians with large ambitions and a wealth of talent at their disposal. While this is undoubtedly a counter-culture movement amongst the very pop focused Japanese mainstream, it is having a much larger and significant impact on the global scale. Although many have celebrated the evolution of ambient music within the boundaries of Japan, which has broken through a decade-old stagnation of the generation with a more humanistic approach to the whole process, it has really been the electronic circuit which has received the most critical acclaim and will probably leave a lasting impression decades to come.
The innovation comes in the natural blending of unnatural pairs of genres, particularly the classical and glitch IDM influenced genres. The two most noteworthy pioneers of the field are undoubtedly found in Katsuhiko Maeda a. Maeda is the eldest of the group, with a discography that now spans almost a decade and a career that demonstrates strong sonic development through time.
His work is the strongly influenced by the avant-garde, and, in general, his compositions represent sketches or snapshots of a sonic landscape that is constantly evolving and largely chaotic in nature.
Daisuke's approach is much more narrative in nature, as he takes a longer form to allow the pieces to fully illustrate his themes and paints a full portrait for the listener.
While both pull from very similar worlds for influence, they achieve stunningly different results, although comparisons between their work is surely evident. Yasushi Yoshida's debut, Secret Garden , was very much in line with this world. Little Grace , his newly released sophomore effort, is as well, but it'd be difficult to draw such a conclusion without knowledge of Secret Garden and seeing the progression in action.
On the surface, much of Little Grace sounds like it's in comfortable proximity to the works of contemporaries Olafur Arnalds , Peter Broderick , and maybe even Balmorhea and, let's be honest, they all love Rachel's. It has all the required ingredients -- piano, strings, a slow, emotional air -- and the pieces are composed in the general neo-classical style that has now become standard. However, tracks like "Greyed," "Under Calf, Winged Steps," and "Untitled" should tip us off that there's much more going on below the surface than just pretty neo-classical music not that there's anything wrong with that Indeed, on closer inspection, even the seemingly straightforward classical pieces are less predictable than Yoshida's peers.
The lengthier pieces "Thread Still" and "Three Winters Our Grace" are accomplished tracks that stretch the imagination and offer a few extra tricks during the expanded time frame. Essentially, Yoshida provides a spectrum of tracks that highlight the movement of his music from the experimental to the conservative, but in doing so he also doesn't give up the things that made him love the combination thereof in the first place.
Although the electronic component is drastically reduced in Little Grace , it is still present and, for the most part, used subtlely. This is brought to the fore in the more experimental tracks, but then fades back into supporting role if any at all during the rest of the album. There's no denying that Yoshida has created a timeless, exhilarating album that many will quickly fall in love with. But, for several reasons, I'm unable to give this album my full support.
First of all, I feel that Yoshida is, at times, trying too hard to distance himself from Daisuke and Maeda, and in the process sacrifices the electronic component which is largely what gives his work a voice and separates it from his Western peers.
There are many moments on the album that slide into generic neo-classical territory, which is not something you typically see on many Japanese releases. Secondly, his newfound style hasn't quite been developed as fully as his older work, which had the benefit of appealing to the work of his influences. A little more tinkering would flush out the Yoshida sound to great lengths.
Lastly, upon analysis of the album and the progress of Yoshida's work, I can't help but conclude that this is a transitional album and his next will be a more satisfying release. Little Grace looks to be wedged between his past work and a more organic work that awaits in the future; we've yet to see his masterpiece, but we're still getting a pretty good view in the meantime.
Door Open Both Ways 2. Jeg Er Bare Her 3. Juli 4. Politiska Dikten Atervander 5. Giving And Taking Book 7. Ingen Vet Om Fremtiden Kommer 9. Forskjellige Gode Ting His debut album "Hei" was released in to rave reviews around the world. His second record, "Melke", a collection of remixes, 7 inches, rejected tracks and tracks for compilations, was released in His live sets differ somewhat from the records; with faster speeds and louder beats they sometimes end up as tiny techno raves, if perhaps weird ones at that.
Well, depends on how much you like your electronics on the experimental side. Me, I love it, so it was worth it. To approach things without the limitations of professionalism.
Read the Milk Factory interview with Kim Hiorthoy…. The Desert Music addresses the idea of mankind's awareness of his own condition, a subject that appears in one way or another in each of the three included poems. I am wide awake, the mind is listening. And, referring indirectly to the deserts of Alamagordo, New Mexico, where the first A-bombs were detonated, Reich quotes again from The Orchestra: "Man has survived hitherto because he was too ignorant to know how to realize his wishes.
Now that he can realize them, he must either change them or perish. The first and fifth movements share the same harmonic material, while the second and fourth -- settings the same text -- are both in a moderate tempo and use similar harmonic progressions. The central movement, the longest in the work, exhibits its own symmetrical form, beginning and ending with the same text. The middle portion, the work's focal point, sets a text from The Orchestra that sheds light upon the relationship between text and tone in The Desert Music: "It is a principle of music to repeat the theme.
Repeat and repeat again, as the pace mounts. The theme is difficult but no more difficult than the facts to be resolved. Sabres 2. Stranded In Greenland 3. Svengali 4. They Said 5. The Effect 6.
December 7. The Last Laugh 8. Paperwhites 9. Dingman and Hill left after 's December to form the Millions, and they were replaced by Steven "Mave" Hinrichs and Paul Engelhard after a replacement lineup failed to work out.
Dingman later returned for 's Shade Side Sunny Side. Since its inception, Runnings' band has consistently produced a drifting yet distinctly rhythmic sound, soldiering through the myriad alternative scenes of the '80s and '90s.
With one foot in the British post-punk of Joy Division and the other in the gliding atmospherics of Kitchens of Distinction, For Against are treasured by shamefully few; geography and infrequent touring have not helped. For Against's stark and chilling second album is their best, one of the most powerful dream pop releases of the late '80s. Harry Dingman's icicle shots of chiming guitars, Greg Hill and Jeffrey Runnings' agile rhythmic thrust, and Runnings' boyish but every bit as forceful vocals rarely combine for a less-than-riveting listen.
With its fluid bass-and-drum punch and enveloping twists of guitars, December 's most fitting reference point is the Chameleons' Script of the Bridge.
Balancing the aggressive with the reserved just as well as its prime inspiration, December 's nine songs float, skip, and roam with a level of immaculately-paced grace that can't be heard on most albums of the era. Runnings' anguished expressions of despair, resentment, and embittered bile hit with the same scythe-like precision of Bob Mould's best output -- in fact, given the atmospherics and complementary production at play including the ideal amount of reverb , the songs are even more haunting than Mould's relatively pure-pop leanings.
After Runnings accuses a partner of giving him a nervous breakdown and pleads to get his life back, the song shifts into a dextrous tempo change that recalls the controlled jerkiness of post-punk's upper tier and spins catharsis back into fraught tension.
At 36 minutes, December plays briefly but leaves the effect of an epic. Understated but full of ambition, it's a sticky trap.
Though it was released on a respected label -- albeit one with limited distribution and exposure -- it's frustrating to think of how revered it would've been if it had instead featured a 4AD catalog number. The Dexterity Of Luck 3. Cut Your Face 4. Doomsday 5. Does Your Heart Beat Slower 6. Lifted Bells 7. Shadow Pugilist 8. Air 17 OK. I'll admit it. I cried during "Titanic. I won't be in the theatre while you're watching "Firestorm.
But like yourself, I also thought it really kicked ass when all those people died. Come to think of it, Four Great Points ' opening track is pretty analogous to the emotional ebb and flow and sink of America's celluloid zeitgiest extravaganza, "Titanic.
The bass arctic water splashes and upholds the gargantuan drums steel hull. Beautiful, breathy vocals waft over the bow The Chorus! Guitars scree distress signals and resonate cacophonous pangs! Lead vocalist Sean Meadows cruel fate screams, "Your time! Has come! June of 44's rock proves there is grace in disaster. Songs like "The Dexterity of Luck" and "Cut Your Face" are standard math rock, but these equations are fueled by chaos theory and funky fractals; they're not the sleepy pre-Algebra of JV bands.
June even dabbles in dub ala Tortoise without trying too hard. I could go on and on about the bands June of 44 brings to mind -- Rachel's, Fugazi, Tortoise, Polvo, Slint -- but they rise above simple fusion. If indie rock is Greek mythology, June of 44 is Neptune. I wept to the opening melody and lyric, "This is the greatest place on earth. I won't be in the room while you're listening to the Deftones. But hey, I also air guitared and ruptured my third vertebra headbanging to the thick riffs.
Source: PitchforkMedia. June of 44's fourth full-length, Four Great Points , is their most experimental effort to date -- fractured melodies and dub-like rhythms collide in a noisy atmosphere rich in detail, adorned with violins, trumpet, severe phasing effects, and even a typewriter. Source: AllMusicGuide. Spanish Air 2. Celia's Dream 3. Catch The Breeze 4.
Ballad Of Sister Sue 5. Erik's Song 6. Waves 7. Brighter 8. The Sadman 9. Primal Named after a word in one of Nick Chaplin's dreams -- not from a Siouxsie and the Banshees single -- Slowdive formed in Reading, England, in late
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