Classical Music Vinyl 514 Items

Since his debut with the "Darling Darling Darling"track, immediately spotted by the media as well as by electronic music lovers, Louis Warynski has continued to evolve a world that belongs to him alone, over the last ten years and eight albums.Like Lewis Caroll's universe, Chapelier Fou's music is multiple, simple and complex, serious and light, classic and modern. Louis Warynski's work is woven on a classical basis, but it is constantly disrupted by subtle electronic arrangements and rhythms, thus taking the tracks outside of all convention.We find in Chapelier Fou the facetiousness of French composers such as Erik Satie, François de Roubaix or Robert Cohen Solal, not hesitating to blend pop and concrete music, but also this formidable capacity to make serious what is not serious, and vice versa of course. His music, very much at home on screen as well as on stage, has everything that makes up the trait of genius composers: accessible in appearance and adaptable in all forms.This is how Chapelier Fou has performed on stage as a soloist, juggling between violin, guitar, keyboards and pedals, in trio, quartet and even in orchestral formation with the Orchestre National of Metz. Often described as "electronic chamber music", it was expected that one day Chapelier Fou would offer us a version of his music without a single electronic or electrified part. It is now done with this Ensemb7e who performed on the stage of L'Arsenal de Metz, broadcasted by Arte Concert. Chapelier Fou Ensemb7e has received direct support from a wide audience, but also from venues programmers where the septet has been performing since June 2021. Ensemb7e stands for a mainly wooden septet: violin, viola, cello, piano, clarinet and drums accompany the multi-instrumentalist composer. It's hard to resist such musical enthusiasm! The magic happens immediately because the re-reading of these little jewels in pop format gives a touching and fulfilling dimension to Chapelier Fou's work: even more dreamy versions, sometimes more mis...

Eduardo De La Calle and crew return with 4 tracks of deep off kilter electro and idm Big tip if you're into Bitstream, Gosub and Silicon

Welsh harpist Amanda Whiting returns on Jazzman Records following on from her successful debut album ’After Dark’ (2021).

New explorations and global changing events have led Whiting to ‘Lost in Abstraction’. The Reynolds/ Thorne/ Whiting trio is joined again by the mesmerising lines of flautist Chip Wickham, resuming their conversation reminiscent of Dorothy Ashby and Frank Wess.

‘Lost in abstraction’ was written during a period of the unknown when Whiting, like most, explored her own sense of self. The world paused, with no timeframe, and the fragility of life was laid bare. A time when humanity was left searching for purpose. Freedom and the dependable structures of familiarity were dissolved in most aspects of life. But music stayed constant. Creativity kept weaving its thread, connecting music and its makers in an indissoluble bond.

The album explores the questions and realisations whilst confined. The spiritual findings, the playful curiousness and the reflective moments of loss. Whiting’s writing indulges the listener with the spiritual ethereal washes of sound demanded of the harp, whilst also embracing her influences across many genres. Classically trained, her roots are evident. But with an emotionally charged energy and spiritual questioning, a new soundscape of modernity has emerged.

So often associated with Ashby and Coltrane, the harp finds itself in the hands of a new voice which tells the story of a period of time where the world was unified in reflection.

So what is that feeling when you resonate? When your breath steadies and you let go Lines no longer restrict or choke Energies envelop, yet set you free Are you lost or found?

Amanda Whiting - harp Chip Wickham - flute Aidan Thorne - bass Jon Reynolds - drums Baldo Verdú - percussion

About Amanda Whiting Following on from her sold out album ‘After Dark’ on Jazzman records, Amanda Whiting is making a name for herself on the British Jazz scene.

From Wales, the home of the harp, Amanda has taken her classical roots and forged them in the path of jazz harpist Dorothy Ashby and Alice Coltrane. Her unique style resulted in her nomination for the Jazz FM “2021 Instrumentalist of the Year.”

She has toured extensively with Matthew Halsall and the Gondwana Orchestra performing at Jazz festivals around the world. More recent collaborations have included touring with Chip Wickham, Greg Foat and Rebecca Vasmant. She also performed at the We Jazz festival, Finland in November 2021.

2022 will see the release of her new album ‘Lost in Abstraction’ and performances in Helsinki and other festivals throughout the year. She will also be performing at XJazz Berlin and We Out Here with the Rebecca Vasmant Ensemble.

Limited White Teal & Beige Vinyl.Spencer Zahn's second record for Cascine emerged from a series of piano sketches born of daily improvisations in Kingston, New York, where he relocated during the pandemic after 14 years in the buzz of Brooklyn. Inspired by the space and pace of upstate life, he explored a more restrained, resonant mode of playing, letting chords delay all the way to silence, until the seeds of songs took shape. Zahn accompanied himself on upright bass, finessing each piece without cluttering it, focusing on the notion of "the instrument in a room.Recruiting long-time collaborator Andy Highmore for piano duties, the duo booked time at Figure 8 Recording in Prospect Heights to craft the lulling, lyrical 12-track suite of Pale Horizon. The tonality of the instruments was central to Zahn's vision, fusing them to feel like a single entity, with upright bass blending in an elegant gradient with the low strings on the piano. An air of Keith Jarrett and Ryuichi Sakamoto hangs over the collection, acoustic and unhurried, stately but subdued, ruminative daydream melodies heard on the breeze in a quiet garden.

Behold! I Make All Things New is all instrumental and consists of sparse works for lute and electronics. There are no vocals this time. It is more a return to the minimal neo classical style of his early work. It was written and recorded in lockdown in Warsaw and Rotterdam between 2019 and 2021. Jozef van Wissem is an avant garde composer and lutenist playing his all black, one of a kind custom made baroque lute all around the world.Jozef van Wissem is an avant garde composer and lutenist playing his all black, one of a kind custom made baroque lute all around the world.According to the New York Times "Van Wissem is both an avant-garde composer and a baroque lutenist, and thus no stranger to dichotomy". His completely unique musical world can be easily verified by his collaborations, especially that these relationships are also strengthening his own musical character. He worked together with Zola Jesus, Tilda Swinton, Jarboe as well as with his long-time collaborative partner, also his friend, Jim Jarmusch. The timeless value of his work can be described by one of his previous interviews: "_the lute goes against all technology and against all computers and against all the shit you don't need."

Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique Midi sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Perlon, Mental Groove, and Gigolo Records. Chris also worked as a computer programmer for thirty-five years.

Her new album "Passion For Numbers" is one of the very few album in the world entirely composed in complex polymeter, meaning that each pieces of music uses several prime meters simultaneously. A unique way to compose music with a new generation of musical algorithmic, inside which Korda injects the DNA of neo classical, ambient and jazz music.

This refreshing album will please you whether you are into complex musical composition, experimental music or just seeking for a beautiful, emotional and accessible musical moment. This is a "In your hearts not the charts" album, as Irdial Discs once said.

Pleases read an extract of Chris Korda's letter about Passion For Numbers, included as insert in its entirety in this vinyl release:

This is an album of piano music, but I wrote it without a piano. Not having a piano turned out to be constructive, because I had to rely on my brain instead of my fingers, and particularly on my imagination and inner hearing. The album belongs to a category called phase music, and it’s also algorithmic, or more precisely rules-based generative music.

I don’t write music in the usual sense of the word “write.” I build kinetic sculptures, and the sculptures generate my music. My sculptures are virtual, meaning they’re invisible machines that exist only as data within my home-grown software. My process is related to the work of a relatively obscure early 20th century artist named Thomas Wilfred. Like me, Wilfred was an engineer-artist, and built machines that generated art from phase shift.

My music is in complex polymeter, meaning it’s not just in odd time, but in multiple odd time signatures, and not one odd time signature after another sequentially, but all of them running concurrently. Most music isn’t constructed this way, which is why I needed to develop custom software in order to compose my music. My software is called The Polymeter Midi Sequencer, and you can easily find it on the Internet. I also use music set theory, change-ringing and gray code, explanations of which can be found in Wikipedia.