Another Timbre TimHarrisonbre
at65r Ferran Fages ‘Radi d’Or’
A composed work combining instruments and live electronics by the Barcelona-based musician, realised by Ferran’s own ensemble:
Olga Ábalos flute and alto saxophone Lali Barrière sinewaves
Tom Chant tenor and soprano saxes Ferran Fages acoustic guitar
Pilar Subirá percussion
“Very strong…subtly unique.” Brian Olewnick
£7 CDR Youtube extract
at66 Richard Glover ‘Logical Harmonies’
Seven compositions of process music by the UK-based composer Richard Glover. Performers include Dominic Lash, Philip Thomas, musikFabrik, Bob Gilmore, Ensemble Portmanto and Seth Woods.
“Stunningly great work” Brian Olewnick
at67 ‘Variable Formations’
A semi-improvised piece recorded live at Cafe Oto in February 2013
Johnny Chang viola Angharad Davies violin
Jamie Drouin electronics Phil Durrant electronics
Lee Patterson amplified objects John Tilbury piano
“The greatest sextet since Verklärte Nacht” Ian Parsons
£8 CD Youtube extract
at68r Ingrid Lee - ‘Mouth to Mouth’
Four compositions by the Los Angeles-based composer Ingrid Lee, dealing with concepts of contagious movement. ‘Of Monsters’, ‘Cells’, ‘Bead, Spit’ and ‘Another’.
Read an excellent review by Gil Sanson here
at69 Bryn Harrison - ‘Vessels’
An extraordinary labyrinthine 75-minute work for piano solo, performed by Philip Thomas, ‘Vessels’ featured as one of the Wire’s top 15 CDs of composed music for 2013.
“A very beautiful and fundamentally odd experience.” Nick Storring
New Releases click on covers for more information
London premiere of Bryn Harrison’s monumental 75-minute ‘Vessels’ for solo piano played by Philip Thomas
+ UK premiere of ‘Sine Tempore 3’, a composition for 256 spatially distributed oscillators by Austria’s Tim Blechmann
Youtube extract ‘Vessels’
Soundcloud extract ‘Sine Tempore 3’
More information here
The Anonymous Zone Werder 2005/1 project Max Eastley - Clocks of the Midnight Hours
at70 ‘LL’ by Partial (Noé Cuéllar & Joseph Clayton Mills)
Strange and compelling music from a Chicago-based duo, composed using items found in the basement of a local thrift store.
“A beautiful, superlatively musical document” Brian Olewnick
at71 Skogen - ‘Despairs Had Governed Me Too Long’
Exquisite extended composition by Magnus Granberg for an ensemble of ten extraordinary musicians.
Coming next April 2014
at74x2 Laurence Crane - Chamber Works
A double CD with over two hours music played by Apartment House, including ‘Sparling’, ‘John White in Berlin’, ‘Estonia’, ‘Four Miniatures’, ‘Raimondas Rumsas’, ‘Riis’, ‘Ethiopian Distance Runners’ and other works.
soundcloud extract (‘Sparling’)
youtube extract (piece #4 from ‘Seven Short Pieces’)
soundcloud extract (piece #6 from ‘Seven Short Pieces’)
New Online project: Sarah Hughes graphic score
‘Architectural Model Making’
We sent a copy of ‘Architectural Model Making’, a graphic score by Sarah Hughes, to 14 musicians and asked them to send in their realisations of the piece. The first eight realisations are now up online, and you can listen to them and read an interview with Sarah about her work here
The realisations already online are by:
Realisations by the other musicians will be added as they are ready.
To see a larger image of the score click here
Cafe Oto concert - Monday 5 May 2014
Bryn Harrison’s ‘Vessels’ + Tim Blechmann’s ‘Sine Tempore 3’
8pm, Monday 5 May 2014
18-22 Ashwin Street, Dalston, Book single ticket £6
London E8 3DL
Tickets £8 on door, or £6 in advance Book double ticket £12
There’s a particularly good, perceptive review of Vessels by Nick Storring in the new edition of the Canadian music magazine Musicworks:
“This recording represents the intersection of three of England’s most interesting forces in new music – pianist Philip Thomas, composer Bryn Harrison, and Sheffield-based label Another Timbre. Huddersfield resident Thomas has been a leading advocate for experimental music. Earlier in 2013, he brought the shorter version of Vessels on tour with him in Canada alongside other English and Canadian pieces. Here in its full duration, Harrison’s piece is at once hypnotic and demanding of the listener. Thomas’ deft touch and keen ear bring the work’s beauty and unsettling peculiarity to life.
Vessels’ suspended, quiet relentlessness might recall Feldman’s late work, but Harrison’s piece is considerably more minimalist and quite without the stylized contours and breaths for which the older composer is known. This economy of material and flatness of perspective, however, are precisely what make Vessels so captivating, as they focus the ear toward the cryptic flow of the piece rather than the singular beauty of each moment.
Its surface is very inviting, yet once listeners enter the world of the piece, they’re confronted with an intangible, mysterious process which unfolds for the work’s full duration. It’s the inverse of, say, one of Steve Reich’s process pieces, for whatever is changing throughout the course of Vessels is not readily available, eliciting a disorienting temporal friction between apparent stasis and subtle, constant transformation.
Where the trajectories of some minimal works provide lulling stability, Vessels seems to seep in many simultaneous directions, engendering, instead, a heightened awareness of one’s own bewilderment.”
For other reviews and an interview with Bryn Harrison, go here