The past six months has seen a small flurry of solo piano recordings from Akira Kosemura , a Tokyo-based recording artist and composer & sound producer for film, stage, and television. This travelogue features a quartet of releases, two from Kosemura’s own Schole Inc. label along a with a pair that find a fitting home on the prolific 1631 Recordings, each with its own unique character & charm.
No Home of the Mind is the third album by Bing & Ruth, a critically acclaimed project formed by Kansas-born composer David Moore while studying music in New York, and represents the third configuration in as many outings. Eleven became seven between City Lake (2010) and Tomorrow Was the Golden Age (2014) and the ensemble has been streamlined once again, this time to five.
After giving us a taste last year of their new modern classical project with The Grunewald Church Session, brothers Sebastian and Daniel Selke are about to release their full-length studio debut album entitled Concrete Fields as CEEYS. The moniker they chose is a neologism forged from references to their respective instruments – a combination of the French spelling for cello (‘violoncelle’) played by Sebastian and ‘keys’, of which Daniel uses a wide variety in constructing their distinctive narratives including a 1912 Steinway and some intriguing vintage gear. But sound is only part of the story the Selke’s have to tell. Concrete Fields is in fact the first installment of a triptych and incorporates images & videos to resonate their experience growing up in a prefab estate in East Germany and navigating dramatic personal, political,. and cultural change.
“It is our remembrance of a childhood growing up in Europe’s largest prefab estate Marzahn-Hellersdorf, Berlin, East Germany…After the ‘quiet’ revolution in 1989 and the fall of the wall, and throughout the 90s, the region always kept a blend of an edgy feeling of departure and a vague melancholy. We like that the politics tried lots of things to bring more colour and life into the post-revolutionary landscape, but the strange feeling never fully left us. To carefully handle all the different facets of this time period we decided to release our musical version of what the Germans call ‘Betonfelder’ in the form of a trilogy spread across the next few years.” – CEEYS
Francesco Giannico‘s latest album presents itself as “an unlikely acoustic bio-marine chronotope through a collaborative mode”. The collaborative aspect is the incorporation of sound samples collected from participants around the world, a concept that worked a treat on Agoraphonia (2016, Dronarivm) but with a change in focus from the urban to the aquatic. Giannico then takes these samples and weaves them into complete and immersive soundscapes that exist in a time & space of his imagining, e.g. a chronotope albeit a musical rather than literary one.
Last year, classically-trained composer, musician, and sound designer Madeleine Cocolas released her debut album entitled Cascadia, but it was no nascent work. Rather it was a stunning distillation of sounds and ideas drawn from a project where she created new music weekly over the course of a year. Prior to that she composed a new live score for Alfred Hitchcock’s classic film The Birds and worked on a variety of multidisciplinary projects with numerous choreographers, musicians, and visual artists as well as being a music supervisor for a number of award-winning Australian television programs. That is a lot of creative momentum and it continues unabated with her exciting new EP Lunar about to be released by Seattle-based Self Center Records.
Inspired by the forests, oceans and folklore of her native Sweden and named after a dissonant music interval occurring in ancient tuning systems (“Wolf fifth” in English), Vargkvint is an enchanting solo music project from Sofia Nystrand. Her debut EP Brus is a completely DIY effort which she composed, performed, mixed, mastered, designed, and released on her own.
Floating Away From the World is the third album in as many years by OKADA on the n5MD label and his fifth overall (the first two being issued by Fluttery Records). It is the first, however, that Gregory Pappas developed for this project since relocating from Mobile, Alabama to Seattle, Washington with a corresponding shift in style that seems to match the cool, wet climate of his new home. As on previous albums, Pappas offers up a quartet of fluid & emotive long form works that fuse ambient textures & modern classical elements with downtempo beats and ethereal vocals, but the mood on the new album is distinctly overcast and deeply introspective while the rainy textures will be pure bliss for even the most casual pluviophile.