We still have fond memories of her live performance at our tenth anniversary party last year, so we’re happy to share this cool new video by Fusée Dorée with you. Hope you’ll enjoy it as much as we do.
More stuff at www.fuseedoree.com.
Pianist and arranger Bruno Heinen was heavily interested in composer Karlheinz Stockhausen from an early age. The luminous presence of wind-up music boxes from his childhood are at the heart of his exquisite arrangements of Stockhausen’s Tierkreis.
Both Bruno’s parents – cellist Ulrich Heinen and violinist Jacqueline Ross – had worked with the composer and electronic music innovator Karlheinz Stockhausen in the 70’s in Germany when he composed Tierkreis (1974-5) for 12 music boxes. Bruno’s father had acquired 4 of the music boxes, and Bruno’s fascination with the piece began in the family home.
Tierkreis (meaning “the signs of the Zodiac”) has 12 melodies based on tone rows, one for each star sign. Heinen has adhered to Stockhausen’s brief instructions for the popular work, allowing for any combination of instruments, but that the performance should begin with the melody falling under the star sign of the selected date, and end with a repeat of the opening melody.
Heinen brings his classical training and jazz sensibility, with traces of funk, west coast flavour and Blue Note inflexions, to his substantial reworking of the composer’s ideas. Certain movements include improvising with the melodies and music boxes, while others involve reharmonising. His sextet of distinctive players bring their diverse experience to their readings and improvisations.
Stockhausen was a great believer in improvisation, and his influence rubbed off on a wide array of jazz musicians during his lifetime and since, including Miles Davis, Cecil Taylor and Herbie Hancock.
It’s five years since Heinen first arranged Tierkreis for a jazz sextet, but in 2010 he also arranged the work rather differently for cello, double bass and piano for a performance that also included his father Ulrich Heinen, the long time principal cellist of the City of Birmingham Symphony Orchestra.
Tierkreis recorded with Markus Stockhausen’s blessing, in April 2012 at Eastcote Studios, was produced by Philip Bagenal and Bruno Heinen. The album is dedicated to Heinen’s former teacher, the pianist and composer, Pete Saberton, who died in 2012.
More info here.
“Ultra Violet” by Paul Hayworth was recorded on cheap home 4-track tape machine, left to gather magnetic radiation scars for two decades and then slowly roasted in a walkman, re-mastered on 16 track digital and now turned into an ‘atmospheric supernova’ on Bandcamp. So there you go.
Klavikon reimagines ‘electronic’ music without the use of conventional processes – no loops, no laptops, no sequencers. Instead, pianist Leon Michener employs a unique system of amplified prepared piano.
Augmenting the 88 keys with his own inventions and found objects – a custom made pick up, a robot dog- he delivers cascading batteries of percussion, sub-basses and abstract soundscapes. This amalgam of virtuosic technique and real-time analogue processing is at once connected with Classical traditions of Stockhausen and Cage and the experimental dancefloor idiom of Amon Tobin and Bochum Welt. The result is a fertile sonic territory, sincere in it’s eccentricity, restlessly inventive, that resists easy categorisation. And that’s the way we like it.
“I intended to record the album completely on my 4-track, but it broke before I could finish the album. So, I finished the album on my computer, which also broke shortly after”. That’s reason enough for us to share this album by Thom Coombes.
Find more albums in our For Your Ears archive.
Cafe Superstar Recordings has just put out a single by Norwegian trio Musique Le Pop. We don’t have much info about the band, but their catchy brand of synthpop deserves a listen.
Edward Simmonds is a 29-year-old musician from Stourbridge in the UK. His influences include John Cage, Mike Oldfield, early nineties rave music, Ravi Shankar and William Burroughs. “Magic Machine Elf Music, Part One” was recorded using the two working tracks of a broken four-track recorder. Listen:
Nac/Hut Report is a Polish/Italian band founded in Cracow in 2008 by visual artist Brigitte Roussel and outsider musician Li/ese/Li.
Their contact with the underground culture and literature of Cracow influenced their taste for deformity and their “surrealistic” attitude. Under this influence the band started working on sound-collages and compositions, developing their unique style equally influenced by musique concrète, avant-garde, post-punk and dream-pop.