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2LP
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XK 023LP
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XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 to 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments. Featuring: Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, Maria W Horn.
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LP
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XK 021LP
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Mats Erlandsson is a composer and musician, part of the vibrantly reemerging field of drone music in Stockholm, Sweden, associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria W Horn. The music on this recording is performed by a kind of fictitious chamber ensemble situated in an imaginary room outlined by textures that alternate between gestural foreground and passive landscape. The three pieces contained within this release are tied together by sharing similar harmonic material and instrumentation and could ideally be perceived as parts of one long performance stretching through the two sides of the record. The textural room in which this musical performance operates is unreliable, unstable, constantly shifting in size and activity from sparse and open to dense and claustrophobic. Inside this non-euclidean performance space a chamber ensemble made up of zithers expanded through analog tape transposition, harmonium and organ, double bass, digital FM, feedback-convolution and Serge modular synthesizer perform a music made from justly tuned intervals arranged in a way that blurs the distinction between traditional minor and major tonal harmony in favor of harmonic progression within an essentially modal framework. The material used to make these pieces included non-harmonic sounds and contaminated field-recordings that have gone through a sort of feedback process between digital and analog, or acoustic, processing where the recordings were edited, processed and re-amplified and recorded again in acoustic spaces to shape their character and imprint acoustic identities on the recordings. The tonal instruments were treated in a process analogous to this -- harmonic material built from recordings and digitally generated synthesis recorded, transcribed, rearranged and overdubbed again with additional electronic or acoustic instruments to form a composite electroacoustic instrumental sound.
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