Classical Music 270 Items

Fantas is the epic opening track on Caterina Barbieri’s acclaimed 2019 release Ecstatic Computation. The original Fantas laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic.

Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritised over the traditional model of remixes, which is often strategic, functional and more passive.

Longtime friend and collaborator Kali Malone rearranged Fantas to a slowed-down, austere and eerie version for two Organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin and Annie Garlid, joining forces to express the choral, psychedelic and vitalistic nature of the piece. Barbieri’s former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes Fantas for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske’s reinterpretation for Saxophone and Voice captures the atmospheric essence of Fantas and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes Fantas for Tr808 and Mc202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta’s Singeli reinterpretation of Fantas transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck’s variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale’s take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone.

Moby’s eclectic career has cast him in the roles of electronic dance music pioneer, singer and songwriter, producer, activist, and restaurateur, but for his latest venture he presents his music in a whole new light. Together with Deutsche Grammophon, he is releasing an album of some of his best known tracks in stunning new arrangements for classical instruments – featuring Moby himself and a stellar lineup of collaborators from across the musical spectrum.

Though it was as a creator of dance music that he found fame in the 1990s, Moby’s music has never been easy to pigeonhole – his 1999 smash hit album Play, for instance, drew heavily on samples from Alan Lomax’s archive of field recordings. On this newly announced album, to be released on 26 March 2021, classic Moby songs including “Porcelain”, “Why Does My Heart”, and “Extreme Ways” will be released in innovative new versions. The album concludes with a cover of David Bowie’s “Heroes”.

Always a daring and imaginative thinker, Moby’s first classical collaboration came in October 2018, when he performed a selection of his songs alongside the LA Phil and conductor Gustavo Dudamel. This was the inspiration for the current project, which features not only full orchestral versions but new electronic arrangements, as well as sophisticated smaller-scale acoustic interpretations.

The 14-track album features some eye-catching collaborations including both Jim James (My Morning Jacket) and the acclaimed classical pianist Víkingur Ólafsson on “Porcelain”; Gregory Porter and Amythyst Kiah on “Natural Blues”; and Kris Kristofferson as well as original vocalist Mark Lanegan on “The Lonely Night”.

180g vinyl, limted to 200 copies, including download code.

The corona pandemic slowed life down. No more gigs, clubs closed, festivals canceled. For me the chance to try new things and find a new way to make music. Without the club context, I was free in my mind. Making music right out of myself was a liberating feeling. I could do what had been dormant in me for a long time. There were attempts now and then, but in the end I couldn't get rid of the feeling of always doing techno. Nice too, but not everything for me. Many inspirations of my music come from artists such as Nils Frahm, Ólafur Arnalds, Yann Tiersen, Martin Kohlstedt, Poppy Ackroyd and many others, as well as nature, forest and city noises. And often from the instruments themselves. I switched my setup in the studio from the electronic to a minimalist instrument setup, just piano, double bass and a Moog synthesizer. I also like the background noise that comes from an instrument, like the hammers and dampers on the piano, the fingerboard and bow noises of the double bass. So I tried a lot of recording techniques and microphones until I found the sound I was looking for. After a few recordings, a number of pieces came together that went well together. I decided to finish it as an album. Some of them are one-takes with the associated imperfections, others are recorded and arranged layer by layer in the studio. I also used field recordings. A warm summer rain was the starting point for "Rain". The album will be released in May 2021 as a limited vinyl edition and digitally on my newly founded label "Feldeffekt".

Mischa Blanos is part of the cult Romanian Formation Amorf (together with Christi Cons and Vlad Caia) which tours all over the world as a headliner of the “ro-minimal” scene. - The blend of electronic music and academic piano training is not new, but few artists have expertise on both musical fronts. The result is an album with a unique organic groove. - Technically Mischa is an outstanding pianist (with several piano prizes). His perfect knowledge of his piano, which he also uses as a rhythm box, allows him to improvise/jam, which gives “City Jungle” a certain “Jazz” dimension. - City Jungle is his first album (after two EPS for InFiné)

Ambivalence has the tendency to dance to its very own beat because of its implied ambiguity. It’s the antithesis to any kind of middle of the road business. And it’s something that rings particularly true for Joram Feitsma’s sophomore album “Flux“. Giving home to fifteen songs that were composed between 2017 and very late 2020, “Flux“ is the result of multiple years of experimenting with different styles, different tones, different feelings, exposing an emotional spectrum you thought you’ve lost in the fire for good. It’s sensual. it’s sensitive. It’s even a bit otherworldly. It’s a testament to the idea that we’re all capable of immense love regardless of its possible disillusionment and consequential losses. Hand numbered/limited to 200 copies.

Conceived At The Heel Of Italy's Boot-Shaped Peninsula In Apulia, Patrick Belaga's Blutt Makes Music For The Unruly Imagination. The Title Is An Old German Word For 'Naked', 'Bare', But It Can Also Mean 'Blood' When Spelt Blut. Take Away Another Letter And It Makes 'Butt'. None Of These Definitions And Adaptations Were What Prompted The Classically-Trained Composer And Cellist To Name His Second Album With A Word Simulating The Sound Of A Punctured Artery. That Came Later. Blutt's Nine Woozy Compositions Are Inspired By A Contemplative Road Trip With A Friend, And The Mysterious Muffled Music Heard From An Unidentified Source. It Was A Combination Of Jazz And Classical Music That Haunted Belaga's Wanderings Through The Byzantine Town Gallipoli, And Soon Infected His Dreams Of Long-Gone Civilizations. This Record Is Its Outcome, Where Organic Instrumentals And Electronic Production Merge Into A Sound That's Both Contemporary And Ancient. Samples Of Mewing Incantations And Tape Hiss Sway Atop The Waltzing Thud Of Piano Chords On "Sigh". Composite Layers Of Belaga's Cello Play In Downcast Harmony On "Rust". There's A Wistful Sense For The Romantic, In The Eerie Rhythm Of A Piece Like "Momentum". The Quarter Tones Of An Eastern European And Middle Eastern Folk Scale Probe A Profound Melancholy Via Kai Knight's Violin. Its Notes Are Haunted By A Field Recording Of Running Water On "Unsoft", Echoes Of Panpipes And A Jew's Harp On Opener "Lilt". As A Consummate Composer And Performer Known For His Work With Artists Wu Tsang, Boychild, Josh Johnson And Asma Maroof, Belaga's Blutt Is Itself Marked By Flawless Collaborations. Vocalist And Instrumentalist Jazmin Romero Sings And Composes The Surreal Melodies Of "Grey Eye". Multidisciplinary Dance Artist And Producer Riley Watts Contributes To The Muted, Motorik Movement Of "The Tunnel Is A Tower". Together, The Record Plays As A Stunning Soundtrack To The Strangeness Of Sleeping, And The Heartbreaking Transience Of Time. Like An Intense Dream Half-Remembered, The...

Melody As Truth present “Melodies In The Sand”, a collection of works from Czech artists Irena and Vojtěch Havlovi. The husband-and-wife duo began working together in the mid 80’s as part of experimental ensemble Capella Antiqua e Moderna, a unique association of musicians whose repertoire spanned various styles of European classical music. With an inventive and unorthodox approach to both historical and modern compositional techniques and interpretive procedures, the Havel’s have steadfastly developed a unique and musically autonomous language which continues to expand to this day. Spanning their early work in Capella Antique e Moderna to recent pieces recorded for Viola De Gamba, ‘Melodies In The Sand’ is presented to the listener with the simple aim of shining a light on these incredible musicians. Their work has within it the ability to penetrate and enrich the innermost corners of a perceptive human soul, a gift which they share with sincerity and humbleness.

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.

Brandon Cronenberg’s Possessor is one of the year’s best genre films. If you can handle its face-melting violence, then you are in for a visual and sonic treat.

It’s a visceral and unflinching assault on the senses that centers around Tanya Vos, a skille

We no longer present Piotr Ilitch Tchaïkovski and his music. However, we offer you here to rediscover his work in a easy way with its greatest classics played by the greatest orchestras.

Limited to 150 copies with a signed artprint by Lambert.

White Boy Scream is the experimental classical project from opera singer and composer Micaela Tobin. On her latest release, 'bakunawa', she dissects her voice through the use of electronics as a means of exploring identity and ancestral trauma. “bakunawa” is an homage to the pre-colonial mythology of her motherland, the Philippines. Part sonic ritual, part diasporic storytelling. Micaela Tobin is currently on Faculty as a Voice Instructor at the California Institute for the Arts. She most recently performed a principal role in the critically acclaimed experimental opera, Sweet Land (comp.Raven Chacon & Du Yun), which made it’s U.S. premiere in March 2020. Her previous album, 'Remains' was listed as one of the top 10 Noise/ Industrial Albums of 2018 by The Wire Magazine.

Limited Edition Cloudy Clear Vinyl.Combining Processed Recordings Of Wind And Water With Analog Synthesizers And Chamber Orchestra, Elori Kramer's The Blue Of Distance Is An Audio Dissertation On The Role Technology Plays In Our Relationships To Geography And Nature, Unspoolinginto An Examination Of Memory And Longing Across Seven Sections That Layer Filmic Minimalism Over Churning Electronic Soundbeds. Half Of The Suite Was Written In The Adirondack Mountains During Summer Amid Lakes, Rivers, And Moss-Ladenforest Floors, While The Other Half Was Conceived On A Frozen Lake Superior Island In Deep Winter, Creating A Subtextual Dialogue Between The Two Extreme Settings. Kramer, Who Was Born In 1990 And Grew Up Alongside The Internet, Uses Her Musicto Explore Nature In The Actual And The Virtual World, Through Direct Experience And Facsimile Alike, Focussing And Blurring The Line Between The Two. "Looking Back At My Videos Of That Summer-- Which Is Where The Processed Audio Came From-- I Triedto Remember What It Had Felt Like To Be There," She Recalls, "Thinking About Questions Of Reality Versus Imagination; Physical Versus Digital; And The Ways In Which Memory Shifts Through Our Minds And Technology." The Title The Blue Ofdistance Was Derived From Rebecca Solnit's Book A Field Guide To Getting Lost, Referring To The Phenomenon Of Faraway Mountains Appearing Blue Due To Light Particles Getting Lost Over Distance. "If We Were To Go Up To The Mountains Thatappear Blue From Far Away, We Would See That They Weren't Actually That Color." She Says. "This Beauty Is Made Possible Because Of Their Distance," Much In The Same Way That The Splendor Of A Lush Season Is Only Fully Realized In The Throes Of A Bleak One, And The Joy Of An Event Can Only Be Felt When It Has Long Since Been Consigned To Remembrance.R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

Patrick Higgins' new album Tocsin is full of thrilling opposites. It is a masterclass of visceral genre-bending sounds that are physical and delicate at the same time. Over the course of three large compositions, the listener is brought on a journey of constant surprise, as when the sound of violins dissolves into a halo of pure noise, more at home in an underground electronics show than anything that appears on a concert stage. The performers include the Wet Ink Ensemble, hailed as the 'Best Classical Ensemble of 2018'; acclaimed pianist Vicky Chow, 'one of our era's most brilliant pianists,"; and the Mivos Quartet, 'one of America's most daring and ferocious new-music ensembles.

A download code is included. Summer OF Seventeen are Monika Khot (nordra, ZEN Mother), William Fowler Collins, Daniel Menche, Faith Coloccia (mamiffer), and Aaron Turner. (sumac, Split CRANIUM).Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, Monika Khot, William Fowler Collins, Daniel Menche, Faith Coloccia, and Aaron Turner had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer Randall Dunn. There they cut eight songs that capture the makeshift band's feelings of what Coloccia calls “a kind of doomsday lurking in the background.” It's as if these highly attuned players had a premonition.