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Sebastian Plano – Impetus

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Impetus

IMPETUS is Sebastian Plano’s second full album release, the follow-up to his 2011 debut album Arrhythmical Parts of the Heart (which gets a well-deserved re-release for this special occasion, by the way).

Plano’s compositions are somewhat in line with a lot of contemporary ‘post-classical’ composers (like Ólafur Arnalds, Max Richter and Nils Frahm) and will definitely appeal to the same audience. I say ‘somewhat’, because there are some notable difference too.

The difference is in the way these tracks are arranged: each one of them is like a small-scale sympony: “Instruments and sounds are added and dropped, the tempo is raised and lowered, sudden subtle changes of mood generate forward motion and lead us into new episodes and interludes”.

Born in Argentina, Sebastian Plano is a classically trained musician, not afraid to combine acoustical instruments with subtle electronics. His Argentinian folk roots can clearly be heard and felt in his use of the bandoneon, linking the music to modern Tango.
According to the sparse liner notes, all instruments were played by Sebastian Plano himself (“in a tiny room”) which sounds incredible because it feels like a complete chamber music ensemble playing. Nils Frahm obviously did a wonderful mastering job here!
Plano’s inspiration comes from classical music as well as from modern soundtrack composers.
In the way he combines all influences he manages to avoid the pitfall of becoming too pretentious, and with IMPETUS he delivers a fascinating album ‘full of miniature dramas, filled with life and beauty creating a storyline of boundless imagination”


SEBASTIAN PLANO – ALL GIVEN TO MACHINERY

Release Date: September 20, 2013

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Janek Schaefer – Extended Play

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extended Play

At first listen, the ‘post-classical’ music on Janek Schaefer’s new CD “Extended Play (Triptych For The Child Survivors Of War And Conflict)” resembles the quiet peacefulness of the compositions of Arvo Pärt – especially in the beautiful 24 minute piece “acoustic ensemble”.
But there are some disturbing details: most artist would go a long way to avoid the vinyl crackle-and-pops for a CD release like this. The parts of the acoustic ensemble piece are also represented as solo piano, cello and violin piece, which contain some  stops and re-starts breaking the flow of the composition quite unexpected.
Janek Shaefer is, after all, not primarily know as a post-classical composer but as a ‘turntablist‘….

The installation picture on the cover explains the performance we hear:

All parts of Extended Play were recorded to a vinyl record which is played through a beautiful old-fashioned record-player.

Extended Play

For the performance, nine of these players are all playing the solo parts of this composition at different speeds (33, 45, 78). And to add some extra randomness, the record player is equipped with a movement detector which makes it stop playing for five seconds when someone walks by too close. (On the CD, you can hear this in the solo parts, but it’s avoided in the ensemble recording). Thus, a performance of this composition will vary in length and the instrument’s interplay is becoming generative in a way Brian Eno would probably be very proud of.

The performance details are impressing (here’s a nice video about it), but on the CD, you’ll have to do without complexities like that.
As interesting as the solo pieces (and the polish radio tune from which the composition arrangement originated) are, it’s the ensemble recording that is most impressive.
As said, it’s a composition in class and ‘feel’of Arvo Pärt, with many emotional, melancholic chords.

So there’s two entirely different levels that make “Extended Play” as impressing as it is: first, the performance details and construction of the nine interplaying record-players, and second, the powerful composition that’s recorded on this CD.
This virtual acoustic ensemble really deserved to be covered by a real live ensemble, and I guess it probably will.

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