Classical Music Vinyl 413 Items

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all. However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

Info coming soon.

»In June 2017, I was due to perform in Moscow when I met Kirill Gilels, the grandson of the famous pianist Emil Gilels. He listened to what our Phoenix Mastering® restoration process, can achieve, and made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. In Berlin, Moscow and Saint Petersburg, we came across a treasure trove, stunning in terms of both the quality and consistency of Emil Gilels’s playing. We were fully aware that he was one of the greatest musicians of the twentieth century. It was in Amsterdam where at last, we succeeded in extracting this fabulous recital from 1976 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one, we did not utter a word, so overcome were we by the beauty of what we heard.« (F. D’Oria-Nicolas) Considered one of the most important pianists of the twentieth century, he was a pupil of H. Neuhaus. He wins the current Queen Elizabeth Competition in Brussels and takes on an international stature. In 1955, he was the first artist to be welcomed in the United States since the war: if the public, somewhat circumspect of Carnegie Hall, in New York, accompanies his entry on stage of a troubled silence, it is under a thunder of uninterrupted applause that he will refuse to leave the stage!

Piano Day 2021 sees Nils Frahm surprise the world with his Erased Tapes debut. Wait, what? How? Anyone who has seen the trail blazing sonic pioneer live will know Nils likes to deadpan a joke. Graz is in fact the first studio album he recorded for the label back in 2009, that somehow remained a secret… until now. Nils Frahm has quietly changed the musical landscape, reincarnating the centuries old figure of a pianist-composer for a new generation of music fans. As Nils’ word-of-mouth popularity grew and grew, so did the pop-culture profile of his instrument. He founded Piano Day with a team of like-minded friends in 2015 to help that process, some years releasing an album of piano recordings to celebrate one of humankind’s greatest inventions. Graz is one such record; an unheard snapshot of a young Nils recorded at Mumuth, the University of Music and Performing Arts Graz, in 2009 as part of the thesis Conversations for Piano and Room produced by Thomas Geiger, which received an award in the Classical Surround Recording category at the 127th AES Convention in New York. Whilst at the time it was decided to keep the grand piano recordings from the Graz sessions locked away and instead focus on his close mic’ed, dampened piano explorations which would become his acclaimed studio album Felt in 2011, two of the pieces — most notably Hammers — lived on as part of his live set, and were expanded on and re-recorded as part of his breakthrough 2013 record Spaces (a collage of field recordings from concerts which broke the Fourth Wall and included audience coughs). Over his mercurial career, Nils has pushed and pulled at the boundaries and parameters of his prolific work like that. He’s physically changed his piano (the softened prepared strings of Felt) played with a modified body (Screws recorded with 9 fingers and a broken thumb) played with scale (Solo recorded on the 3.7 metre high Klavins M370) and with the different layers of formats (last year’s Tripping with Nils Frahm nested his studio setup inside a live performance, concert film and live album). Now with Graz he has found the final frontier for play: time itself and his own discography. Graz is a moment of time at the very beginning of Nils’ quiet revolution. The essential genius is already evident; the harmonic language of classical, and the immediacy of jazz. Nils seems to pull down each idea moment by moment, gently, to not scare away the muse. He describes: “sometimes when you hear a piano, you might think it’s a conversation between a woman and a man. At the same time, it can hint at shapes of the universe and describe how a black hole looks. You can make

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki.

The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you canhear on this release.

Another first-time-on-vinyl release from Koko, Ballads For Bass Clarinet (previously a Japan-only CD) comprises a couple of waltzes, a blues, a Monk-ish suite-like piece, a free-ish drums and clarinet interlude, and finally an elegy to civil rights leader Fannie Lou Hamer.

David Murray leads on bass clarinet, managing to go both deep and soaringly high; it sometimes sounds like two different instruments are being played. Backed by John Hicks (piano), Ray Drummond (bass) and Idris Muhammad (drums), Murray’s quartet is tight and the recording superb, with a warm and intimate sound.

Highly recommended.

180 Gramm Vinyl