Michel Banabila does what he has wanted to do for a long time: releasing an ‘orchestral’ album merging an acoustic ensemble with samples and electronics.
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From soothing angelic to devilishly scary within a few seconds: Trondheim Voices & Asle Karstad‘s “Rooms & Rituals”
London Docks is the alias Nikita Sorokin uses for his solo work.
He’s not from London, but from Los Angeles.
Also a member of Insects vs. Robots – but don’t let that count as an introduction, because the music he presents as London Docks is quite different from that of this particular “psychotropicturesque quasi-nomadic music tribe”.
“Tangaróa“ is a collection of tracks merging Nikita Sorokin‘s solo violin improvisations with “fields recordings and electronica into sonic dreamscapes that are inspired as much by science fiction and mythology as they are by musical ideas”.
Only short after the minimalistic generative soundscape presented on “The Endless Change of Colour“, Marsen Jules displays a completely different musical approach with this album by the Marsen Jules Trio.
As the …Trio indicates, this album presents Marsen Jules’ atmospheric soundscapes with the addition of two other musicians: twin brothers Anwar Alam (piano) and Jan-Philipp Alam (violin), with whom Marsen Jules played tours and festivals across the USA, Canada and Europe.
“Présence Acousmatique” is a stunning synergy of ambient, avant-garde, modern classical and introspective jazz music. It is released on Jules’ own Oktaf label, but stylistically it would have also fitted the ECM (new) series.
Exactly 10 years after the original release of David Sylvian‘s “Blemish”, electroacoustic sound artist Stephan Mathieu reworks the original material into a fascinating new soundscape, presenting a different view still perfectly in line with the original material.
Although just under 30, self-taught pianist Nils Frahm has gained world-wide recognition for his delicate, yet fascinatingly dynamic, improvisational style of playing. He’s not afraid of starting with a brusque hammering of the piano keyboard and keeping that up for quite some time, until suddenly the underlying composition starts to show and may suddenly turn into an utterly moving, melancholic composition.
By recording his playing from the inside, the squeaking and groaning of the piano mechanism accompanying the bright piano notes has become one of his trademarks.
“Felt“, his latest release, is perfectly in line with its predecessors Wintermusik andThe Bells, but it’s balance is even more mature.
