MUD, is basically a systemic study of an instrument and its resonance capabilities. Also is the culmination of the mixture between sound processing and live improvisation with a very limited palette of sounds and effects.
As usual in Saavedra’s work one can grasp the enormous amount of time invested on developing, to get the finest results, in terms of sound. Earlier in spring, Saavedra stated (while talking about this album) that his idea was to squeeze all the capabilities of this instrument until depletion. So he did, and this is the modus operandi of Saavedra, to be able to extract the most of it of his instruments and deliver a closed-up project, without cracks, a full album, enclosed and finished.
Performed and recorded by Olga Nosova, Alexei Borisov and Els Vandeweyer (Berlin, Germany, 25 July 2012)
Alexei Borisov: guitar, voice, electronics
Olga Nosova: snare drum, citra, recorders, sound objects, voice, effects
Els Vandeweyer: vibraphone, percussion, voice
Special thanks: Meli Anders
KAYAKA is an experimental/ noise/ electronica composer, live performer, born in Tokyo, based in Europe (London, Berlin). She plays electronic and acoustic (bass clarinet, drums, bass guitar, gadgets …etc.) and has a unique, self-taught style of recording and composing. Her music is sometimes called “sonic surrealism”, mixed with those living-life-noise. Live sets are mostly improvised and different each time and she also collaborates with many artists from all around the world. She is a curator of an independent label, Pighole Records since 2007, where she exposes some of her releases and others’ experimental music containing some daily things freely holding onto strong and individual concepts.
This album was made in Ecuador in 2013. As I camped and walked through Amazon jungle with little belongings and thought of being away from human territory. Routine sound there was completely different from those which I was used to hear in my city life. You might need more of your concentration, but you are able to create anything you like in the field of wildness.
Track 6 “colibri” consists of recording I made in Mindo, Ecuador. It is a sound of humming birds. Quite many of them passing and stopping by a recorder I placed next to feeders. – They are known as hummingbirds because of the humming sound created by their beating wings, which sometimes sounds like bees or other insects. A group of hummingbirds is called a “choir.”- Indeed, powerful vibration sound they have considering their tiny bodies.
Celestial Matter, the fragments of objects of any form that orbit, fly or remain still in the vast darkness of our universe, a wondrous thing when thought about, and even more amazing when you stare up at a night sky and see these objects in their luminosity. But have you heard celestial matter?
For new US netlabel Subterranean Tide’s first release this is what they have aimed and succeeded in capturing, that essence of turning one’s head to the sky and hearing the celestial bodies that flicker and shimmer as they pass one another. Presented as a compilation in reaction to a poem written by label runner Emily Loren Moss Ferrell, or the poem of the artists choosing, the constellation of ambient and experimental excursions take the listener on a journey outwards while remaining introspective. -Alex Stretton
“Brightelephant” is a collection of sinking, memories, human bodies, battleships and battlekisses. And elephants, of course. Each of the 7 pieces in it is as abstract as it is concrete. Old-fashioned sounds for modern, turmoil, times. Halting, skeletal and serious-less chamber music for irrational listeners.
Matteo Fiorini: acoustic guitar, ukulele, banjo, percussions, lapsteel guitar.
Domenico Peluchetti: acoustic bass, bouzuki.
Erica Polini: violin
Captured “goodthefirst” mixed and mastered by Piero Villa, at Rumore Bianco, Esine (BS) – Italy during February 2013.
track by Saito Koji
artwork by ono (elementperspective)
■ Saito Koji
Saito Koji, born December 25, 1978, is a musician currently
living in Fukushima city, Fukushima prefecture. He played in
several bands, then went solo in 2003 after being influenced
by Otomo Yoshihide’s live performances, Derek Bailey’s CDs,
and Kaoru Abe’s videos. Saito is engaged in the pursuit of
an original kind of minimalism / improvisation.