|
|
|
|
|
|
|
|
|
|
|
CD
|
|
TOC 042
|
"For this release the respected improvisation duo of Reinhold Friedl, inside piano and Michael Vorfeld, percussion and stringed instruments is joined by Bernhard Günter, electric cellotar. This trio music is quite different from that of my trio +minus, it is quite dense (at times almost orchestral) and intense, although of very low volume (please resist the temptation to turn the volume up), constantly changing atmospheres and moods. The intensity of our session is well captured by the recording (as well as a bit of background noise that becomes noticeable during the most silent moments), and so the CD provides a listening experience you should not miss."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 041
|
"As the title implies, +minus [first meeting] is the result of the first meeting of Bernhard Günter with Graham Halliwell, and Mark Wastell. It also implies that what was intended to be a recording project has become a group, my first group since fifteen years, and named +minus: Bernhard Günter (electric cellotar and composed basis tracks); Graham Halliwell (saxophone feedback); Mark Wastell (amplified textures, Nepalese prayer bowls and gong). +minus' music is improvised, but not purely so: two of the four tracks on our first CD use some of my older, noise oriented pieces as their structural basis, while the two others are indeed improvised. We understand improvisation as 'instant composition', and the result is an intuitively played cross-over between electroacoustic and improvised music of generally quiet and contemplative character. Our group name alludes to our playing 'plus' and 'minus' pre-recorded composed basis tracks. Our first meeting led to the virtually immediate creation of a new musical vocabulary and language specific to this particular group of musicians -- something I have never experienced to happen in such a short time in the past."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 032
|
"Japanese Duo Kuwayama-Kijima have recorded their second release for Trente Oiseaux in an empty warehouse at Nagoya Port. The sound of crickets and waves picked up by microphones placed outside the building were transmitted into the space, where Kuwayama and Kijima played along with them, taking advantage of the natural reverb of the space, and changing their position in it while playing. Compared to to Kuwayama-Kijima's first release on Trente Oiseaux, where cars going over a midnight highway bridge provided a very ambience, this recording's ambience is much quieter and more static, thus drawing more attention to the duo's excellent playing, and providing a kind of peaceful canvas if front of which they pursue their musical and sonic explorations. 02.08.23 is a record that demands of the listener to pay attention and to become immersed in the ongoing transformations of sounds and musical figures -- when this attitude is taken, listening to the record is a very gratifying experience."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 022
|
"His music consists of an ever-changing, intricate web of sounds defining spaces in constant transformation. It is very detailed, very present. Transitions between soundscapes, sometimes very slow and very gradual, sometimes very surprising, keep his music going; often different strata of time are present simultaneously. Matt is a master in building and sustaining tension by means of changes in density of sounds and events, as well as by modifying the frequency range of the spectra used. Another interesting quality of his music is that it brings the abstractness of concrete sounds taken out of their context to consciousness. I noted these general impressions while listening to the first of the two pieces, and I'd like to describe the second one in more detail: I can't help but think of it as an immense, surrealist electronic rain forest, filled with tiny noises, far-away calls, and sudden showers of rain. The piece builds up slowly to stay quite intense and urgent over a longer stretch of time, and, after a change in harmony, to end (and finally fade away) in weightlessly floating vastness." --Bernhard Günter, April 2001.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 015
|
"Originally projected to be sold exclusively at our concerts during our tour in Japan in November 2001 this split CD of Steve Roden and me will be released on Trente Oiseaux, along with Steve's upcoming CD for our label, because we found ourselves to fond of the pieces it contains to limit it to this use. While the three pieces differ very much in style (mine being made of noises exclusively, while the two by Steve are using concrete sounds), they work together very well."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 016
|
"Reinhold Friedl, piano, and Michael Vorfeld, cello, create music that transcends the boundaries of improvised, and composed music, as well as those between instrumental and electroacoustic music. Their pieces range from quiet, introspective, and sparse atmospheres to very dense, highly intense, and almost orchestral parts. This music is very impressive, and strikes me as a new step in improvised music Releasing their excellent work will both broaden Trente Oiseaux's spectrum of musical styles, and introduce the artists' highly innovative approach to listeners outside the inner circle of improvised music."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 013
|
"Decisive Forms is a very subtle, abstract work of great detail, a perfect object for contemplation that requires the listener's full attention. I find it extremely captivating to follow as it unfolds over time, to adapt my breathing to its slow pulse, and to be completely absorbed by the act of perception itself without thinking in form of interior comments, descriptions, or associations. Decisive Forms is another step forward Richard is taking from his fine work 'series' that has just received one of the twelve Honorable Mentions of Prix Ars Electronica 2001. I will not try to further describe Decisive Forms, but rather encourage you to go ahead and experience it yourself -- the attention it requires is generously rewarded." --Bernhard Günter, May 2001
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 012
|
"Sigtryggur has created a wonderfully calm, very minimal, but also very detailed work. The compositional devices that structure the work are subtle, yet effective in making it a very rounded out listening experience. Sigtryggur has distilled an immensely personal musical statement from very reduced source material. The atmosphere of his work actually strongly reminds me of my visit to Iceland, and its wonderful topography of absence." --Bernhard Günter
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 981
|
2nd CD by this French composer, following his recorded debut on Metamkine. "A new, 53 minute piece, titled 'Flamme' (English translation: 'flame'). This new piece is a deep reaching soundscape, an authentic piece of art, taking repeated listening, revealing new aspects every time, opening a great new world for your ears & your mind to explore. The release will be packaged in a dark blue cover (made of the paper that Trente Oiseaux connoisseurs are well acquainted with) and silver print."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOC 971
|
"This is Brad Taylor´s first release, so don't worry if you haven't heard of him. His music is made using only a 386 PC and a soundcard -- it's down to earth and minimal, sometimes with a sly sense of humor. The two pieces' musical/sonic discourse takes unexpected turns at every corner and is very attention catching to follow, giving the listener great insight into the formal growth of the music."
|