Sound Art

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Jess Rowland | The Shape of Poison | Edgetone Records

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Shape of Poison for solo piano performance and electronics, mixes unique live electro-acoustic experimentation with cut-up gamelan, crunched-out Casio tones, and other uncharted sonic landscapes. The pieces documented on this CD were recorded live at a February 2007 artist-in-residence performance at ODC Theater in San Francisco, commissioned by choreographer Manuelito Biag. Intended originally for dance, the music creates an enveloping environment in which drama and movement play out. Continue reading →

Henry Kuntz & Paul V. Kuntz | JAsZ KHARdMA

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The title JAsZ KHARdMA stems from Paul’s occasional use of a number of R. Crumb’s Early Jazz Greats Trading Cards inside the piano, laying the cards across the strings to achieve a flapping percussive effect. JAsZ KHARdMA evokes as well that improvisational inspiration of ours that comes from the jazz tradition. It represents our personal connection to that tradition through our family’s New Orleans history and ancestry. Appropriated images from the Early Jazz Greats Trading Cards within the album cover & CD art are used with permission graciously granted by R. Crumb. — Henry Kuntz Continue reading →

Jorge Nuno | Joao Paulo | Signs Of The Silhouette

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Signs of the Silhouette it’s a project in which the act of music is answered with reactions to a video imaged projected in the musician body. Therefore the one that plays becomes the visual support of an image interpreted by musical improvisation. The group uses simple, but complex sonorities based in electric guitar and drums. The act becomes a dialogue between a body transmuted lived image perception in loco by a musical, gestual, reactive and spontaneous response. — Jorge Nuno & Joao Paulo Continue reading →

Will Guthrie | Solo – Sticks, Stones & Breaking Bones

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The hardest thing in the world is to have an original idea. As much as creative musicians hate to admit, free improv/experimental/underground (and all other useless adjectival identifiers) music now has as many stylistic tropes as your standard 19th century symphony: the endless variations on white noise, the orgiastic free ensemble climaxes, reassuring bass drones, “brutality”, all of which point to performance, not playing. Musicians cling to the next solution that the media spotlights, as if consensus actually ever helped anything in art. — Anthony Pateras Continue reading →

Henry Kuntz | Sonic Flares

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The title piece “Sonic Flares” is for solo saxophone, recorded in 1998. During the 20 minutes of this solo Kuntz kept my full attention. I experienced emotional depth, humor, expressive and communicative playing. Great piece from a very advanced player! The other track on this CDR is ’6 Track Angels’, is of another nature. It is a fascinating piece that came about by multi tracking. It has Kuntz playing on a wide range of eastern instruments. Originally recorded in 1995, Kuntz re-mastered it in 2007 and now it is here on cdr. Concerning the instrumentation let me quote Kuntz. The piece “includes instruments from two types of Balinese and two types of Javanese orchestras, each one with its own scale and idiosyncratic tuning… To the four Indonesian instruments, I added Chinese musette, drums and percussion – played with sonic and formal allusions to Thai classical music.” The music makes the impression of a swirling complexity. Seemingly individual sounds swirl down into your ears. As if they happen to make up a harmonic whole by accident. In the background we hear Kuntz improvising on some wind instrument. Improvised and multilayered music in Eastern tonalities. Another intriguing piece! — Vital Weekly 784(DM) Continue reading →

Henry Kuntz | IINFIINIITY

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Multi-track recordings have been an essential means of expression for me since 1989. Within pieces that are unique in sound, multi-cultural context, and instrumental combination, I’ve been able to showcase and synthesize those musical elements that are most important to me: independence of line, textural complexity, and equality of instrumentation and mix, The process of multi-track creation has been an ongoing musical exploration and experiment, the results of which have consistently surprised and delighted me. I hope you enjoy listening.” — Henry Kuntz (March 2010) Continue reading →

Otzir Godot

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Drum-artist Otzir Godot dives to the improvising worlds of sounds, rhytms and words. The narration of the his lyrical-orchestration drumwork is a far reaching project to the problematics of esthetics sublim: to the semantics, feelings and visions beyond the words. Godot works with solo projects and in different duo-and trio environments. Drum-artist Otzir Godot has received classical education in percussion. However his main aim is to expand the creative possibilities of the drum set. Improvising has always been the key word to Godot’s world. The path has gone from classical music trough various rock bands, world music and jazz towards to free areas of expression. Together with drums, marimba, gongs and ethnic percussion he provides lyrical landscapes of sounds, rhytms and words. In recent years Godot has been in close co-operation with modern dance professionals and theatre work. Nowadays Godot is deeply involved with trio KAN together with butoh dancer Aki Suzuki and shakuhachi / khaen mouth organ player Jone Takamäki as well as free improvising band ZOGA with violin player Mikko-Ville Luolajan-Mikkola and singer Reija Lang. Continue reading →