Not a lot of bands are coming out of Belarus at the moment, but Five-Storey Ensemble are about the best working out of Minsk today. They are the standard bearers for the modern Rock-In-Opposition movement.
Contemporary Classical
[Music] Alapastel – Hidden for the Eyes
I’ve been spending a lot of time listening to releases by James Murray’s beautifully-curated label Slowcraft Records. This one by Alapastel, at least given the two tracks available currently (the whole album will be released on March 9), seems to be the gem of the collection so far.
Lukáš Bulko (the aforementioned Alapastel) is a composer out of Slovakia, where a lot of amazing independent music is coming out of these days. He manages to patch together a mesmerizing blend of contemporary classical music, a touch of musique concrète, and maybe a speck of post-rock in a way not dissimilar to Ólafur Arnalds. I’m very much looking forward to following which direction Lukáš will go in the future.
For a more in-depth review, I recommend visiting Dan’s review over at Fluid Radio.
[Music] Rebekah Heller – Metafagote
Metafagote is Rebekah Heller’s second release for the New York City-based record label New Focus Recordings. The bassoon is one of the most difficult instruments to not only play but to compose for. It seems Rebekah has done an outstanding job handling both.
[Music] Nick Sudnick – Opera of the Fourtheenth Hour
Nick Sudnick has been the leader of the Latvian experimental-improvisational ensemble Zga since 1984, but he’s been venturing into new territory lately.
This release pairs him with librettist Emily Loseva in what I could best describe as avant-opera. Wonderful, challenging, but still somewhat accessible.
[Music] Zinovia Arvanitidi – Ivory
Greek pianist and composer Zinovia Arvanitidi has a new disc coming out, and if the one track she and record company Kitchen Label shared is any indication, it will be a spectacular release. From her Bandcamp site:
“There is a life and there is a death, and there are beauty and melancholy between.”
Born in Athens, Greek composer Zinovia Arvanitidi is most widely remembered as one half of the duo Pill-Oh in Vanishing Mirror as well as her debut solo The Gift of Affliction. Zinovia returns with her first solo piano album titled Ivory, and like its precursors, further highlights her mastery in crafting piano ambiances of austere beauty and melancholia, led by mesmerizing melodies and evolving cinematic textures.
Fully self-produced, the now France-based composer navigates through her own time-memory universe with Debussy-like impressionistic daubs, but sublimely she draws the listener into a strangely familiar landscape where the past confronts the present – it is perhaps a dimension that exists within all of us. As the chapters unfold, memories are untangled as darkness shifts into light. The minimalistic nature of the early piano pieces are then transformed, lush and ornate with orchestral strings, subtle electronic atmospheres, field recordings and airy whispers.
An omnipresent sense of duality lingers throughout the album, as with the ivory and ebony colours of piano keys, or the birth and decay of seasons. This is a work where the artist has grasped the essence of the quote by Albert Camus: “There is a life and there is a death, and there are beauty and melancholy between”. The aural journey heightens, then subsides with a newfound serenity in closing, engaging the listener to invoke their own introspections on acceptance and healing.
Rooted in film and television (and represented by film composer agency Oticons among the names of Shigeru Umebayashi and Jan A.P Kaczmarek), Zinovia’s well-versed background in cinematic scoring manifests in her dexterity at veiling intricacies within each track that only unveil themselves with each subsequent listen. As a fully expanded realisation of Zinovia’s artistic voice, Ivory will resonate with fans who love Pill-Oh, and appeal to those familiar with Ryuichi Sakamoto and Dustin O’Halloran.
French photographer Aëla Labbé’s enigmatic cover art photography once again unifies with Zinovia’s soundscapes since her work for Vanishing Mirror.
Zinovia Arvanitidi releases Ivory on 29 March 2018 on Piano Day via KITCHEN. LABEL worldwide. Available on 180g white vinyl LP, CD and DL.
March 29th can’t come fast enough for me.
[Music] Keiko Shichijo – Six Dances (Komitas Vardapet)
Keiko Shichijo is a Japanese pianist based in The Netherlands. In this album, she interprets the work of the Armenian priest, musicologist, composer, arranger, singer, and choirmaster, Komitas Vardapet.
[Music] A.M Ferrari Fradejas – Requiem No. 2
We’re treated to the year’s first Bandcamp surprise, thanks to our beloved friend A.M Ferrari Fradejas, currently based in Barcelona, Spain.
Despite its 13-minute length, the composition packs a lot of time changes, churning guitars, an eerie choral section reminding one of a solstice ritual melded with her trademark progressive/improvisational sound. I hope that either a full album is forthcoming soon, or that works in this style are further expanded upon.
Blissful!
[Music] Z’ev – Live in Iceland
We lost another legend today.
Percussionist Stefan Weisser, known to his fans and colleagues as Z’ev, passed on today at the age of 66. He left a body of work so important in experimental music that I expect tributes to pour out for days (including this one from our pals in Lithuania, Radikaliai!).
This free download is a release Z’ev did in Iceland in 2004. It gives a nice taste of what he could do with percussion.
[Music] Arturo Stàlteri – ...e il pavone parlò alla Luna
Arturo Stàlteri is a pianist who originally gained fame with the Italian progressive chamber rock group Pierrot Lunaire as a 15-year-old. He is still making magnificent music today, but this particular album is an album which was recorded in 1980 but shelved until today.
[Music] Nadah El Shazly – Ahwar
Singer and composer Nadah El Shazly apparently began her career in a punk rock band doing Misfits covers. She’s come a long way, creating an eerie work with references to experimental music and musique concrète, with a nod to French composers of the INA-GRM tradition.
If I recall correctly, if was my friend and colleague C-Drik who brought her name to my attention. I am indebted to him.