Listening to what I would assume is microtonal guitar work (if my friends would be so kind as to correct me, I would be much obliged) proved to be a very rewarding expeience. HJ Ayala, a friend of this blog, collaborates with cellist Stéphane Clor in this release clocking in at just under 40 minutes. This is a quiet release, but the interplay between guitar and cello seems to intricate that it managed to hold my attention throughout. I’m already a fan of Ayala’s guitar playing, so I’m not surprised he continues to release improvisational music of such great quality, but it’s nice to see him collaborate with Clor, whose work I had never heard until today. A recommended disc.
I’ve had the pleasure of following Selen Gülün’s work for about five years now, and her albums keep getting more and more interesting. Many Faces sounds like a work straddling the line between music, theater and painting. The sounds are delicate, graceful, but never sappy. The vocals are crisp and sharp, with no feeling of wasted motion. It’s a beautiful album.
I only have one gripe – I would love to see all of her back catalog become available digitally, at least, through Bandcamp and, if possible, to see these all come out on vinyl. It’s a selfish wish, of course, because I find her music is suited best to the audiophile world, but one can dream.
Source: Broadwayworld. Supersense is thrilled to announce a once in a lifetime line-up bringing together two legendary ensembles of contemporary music, jazz and improvisation: ground breaking pioneers of American free jazz the Art Ensemble of Chicago and transcendent, internationally revered Australian trio The Necks. In a never-to-be repeated double bill at Hamer Hall on Sunday […]
Montreal-based band Gisèle were one of the first purchases I made on Bandcamp, so it’s quite nice to see their name pop up on my feed after a long, quiet absence. It’s a mish-mash of improvisational music, post-rock and progressive rock done tastefully. Two tracks only, but the listening is good and engaging.
Only a fool would believe we’re not living in a great time for music. The world of pop is banal, and should only be seen as entertainment. Actual music, that which is trying to continue breaking borders, bending (or snapping) rules, is doing quite well.
Iranian-born composer Maryam Sirvan has been featured on the blog before, having her powerful solo album reviewed here, but this is a newer release where she teams up with fellow composer Milad Bagheri and saxophonist Rezo Kiknadze. Few composers of this stripe are able to combine the intellectual rigors of electroacoustic music, especially that of the INA-GRM variety, with the gritty, ghostly feel of 20 Jazz Funk Greats-period Throbbing Gristle.
This is a brilliant work, and I hope to see more composers appearing out the of Caucasus soon.
Check out the bumper on the Spotify link to get a taste as to what’s headed your way. It will expand to other services shortly, so if you have any suggestions as to where they should go, send the suggestions my way, and I’ll forward it to them.
It’s a very happy occasion when I get to review a new album by Santiago Fradejas! Our friend, guitarist and composer now based in Barcelona, Spain, comes at us with another disc full of soundscapes which sit well between the more mellow compositions of John McLaughlin, the usual powerful post-Industrial soundscapes, and maybe because I have been listening a lot to him lately, some bits that would not sound out-of-place in a Charles Mingus album.