One piano player. One percussionist… As classically trained musicians, Rasa Daukus (piano/keyboards) and Will Larsen (percussion/drums/electronics) began working together as music undergraduates playing a repertoire based on 20th century piano and percussion. Tess Said So combine piano, percussion and electronics with non-classical sounds and techniques, infusing their sound with pop, jazz, ambience and minimalism.
With I Did That Tomorrow (2014) they introduced their unique creative partnership, a vibrant collection of tracks that defied the apparent limitations of their chosen format. The same improvisational spirit, bold elegance, and impeccable musicianship that made such a resounding first impression shone just as brightly on their 2016 follow-up Scramble + Fate and now we are about to be treated to it once again with imminent release of Piaf’s Boyfriend, an ode to people they met while recently on tour.
The new record which will be available on CD & digital beginning May 31 finds the duo at the top of their game as musical storytellers with Rasa’s sparkling piano lines leading the way accompanied by Will’s versatile and highly expressive percussion. In this interview kindly furnished by Hayden Berry of Preserved Sound, Rasa & Will talk about writing an album that captures the personas of different people they met or who left an impression on them along the way.
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Based in St. Paul, Minnesota, Jacob Pavek began his journey as a modern classical recording artist in 2012 with his acclaimed debut album Bloom. He followed that up in 2015 with a moving collection of tender solo piano pieces and duets with violinist Leah Ottman entitled Illume on Unperceived Records as well as a soundtrack to the Emmy-nominated documentary ‘Hello, Montevideo‘ which showed his more kinetic, electronic side. Pavek returned to the label this year with a gorgeous and emotionally resonant new release called Nome which finds his grand piano still at the heart of his work along with violin performed by Josh Misner (Laurels String Quartet).
I am very grateful Jacob found the time to talk to us a little bit about the new album, his creative process live and in studio, and the growing indie classical scene both locally & abroad.
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Born in the GDR in the early 1980s, German musician & composer Tim Linghaus had his first experiences with making music when he discovered his father’s RX 11 and guitars as a young boy. During his university years he played guitar in bands ranging from metal to singer/songwriter, but more recently he has been producing an understated, nostalgic, and deeply personal style of neoclassical music centered around piano, synthesizers and ambient noise. It began with the wonderful debut EP ‘Vhoir‘ (Moderna Records) in 2016 and on into last year with the poignant, quietly stunning ‘Memory Sketches‘ (Schole/1631 Recordings).
Tim begins the new year with ‘About B. (Memory Sketches B-Sides Recordings)‘, a collection of additional material that did not make it on to the first album and which has a slightly different focus which he explains in this conversation about the record.
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In this edition of Duologues, composer, multi-instrumentalist and producer Danny Mulhern talks to us about his recent releases Metanoia and Safe House (both available via 1631 Recordings), his exceptional collaborative partnership with London Contemporary Orchestra, discovering & supporting new music, and exciting projects in the works including his score for the new Elizabeth Chomko film “What They Had“ which premiered at the 2018 Sundance Film Festival. He even gives us a little insight into some new ideas attracting his creative attention which we truly hope he finds the time & opportunity to pursue. It is a captivating read and a gateway to some outstanding listening for modern classical fans. Included among the words are sample tracks and Danny’s own outstanding “Safe House Mixtape”, an hour-long selection of pieces that inspired and compliment his recent music.
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The summer series of duologues begins with special guest James A. McDermid. Those who pay close attention to the goings on in the community of artists who make experimental & electronic music have likely taken increasing notice of his work with three full-length albums on as many labels over the past year as well as the launch of a new Mixcloud radio show. Not only that, but James can be found on Twitter passionately supporting the work of many fellow artists. This burst of activity, however, began after nearly 9 years without a release and the devastating loss of a dear family member. I am very pleased to share this candid and insightful conversation with James about his artistic journey and recent & upcoming albums.
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On Piano Day 2018 the sounds of musicians will be heard around the globe celebrating a love for one of the most beloved and expressive instruments in the world. Among them will be names that might be new to many listeners such as Barry Kernachan who is releasing his new album to coincide with that special day. Not that he is new to music. Far from it. Barry has been playing since he was a child and writing for a number of years. But Layers is an album where he strips everything back and focuses on the core instrument. It is bright, melodic, and engaging record that piano music lovers will find easy to fall into. In this interview provided by Preserved Sound, Barry talks about the album, his musical journey and his improvisational process.
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Electronic ambient music is a funny animal when you think about it. How is it possible to create compelling music with no conventional instruments, no words, and no beat? But, Austin Cairns, aka r beny, is one of those rare sonic alchemists who does just that weaving rich aural tapestries and exploring the labyrinths of memory using modular & hardware synthesizers and tape machines. Using His 2016 debut full blossom of the evening deservedly caught the ear of many discerning followers of the ambient scene with its broad spectrum of beautifully crafted sounds and varying moods. Then, after a period of personal difficulty and transformation he created what surely must be considered one of the best albums of its kind last year, cascade symmetry. Far from exhibiting a sophomore slump, Cairns found the soul of his machines and delivered a quiet stunner with a palpable melancholy and potent emotional undertow that was little short of astonishing. Now, following his most recent release, the delicate and peaceful saudade on Belgian tape label Dauw, Cairns talks with us about how he got started, his creative process, his gear, and what’s on the horizon.
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Along the pathways of my stationary travels, I have not encountered an artist more mesmerizing or compelling than Aaron Martin. Centered around his singular cello, he employs a plethora of other instruments (guitar, banjo, ukulele, lap steel, concertina, singing bowls) to forge a unique sound and style with roots sunk deep in rustic earthiness yet somehow reaching boundlessly into transcendent and ethereal realms. It is as if Martin unlocks not only the resonance of his instruments, but extracts the very history and memory out of the elements from which they are made. I find his music to be ancient, timeless, and modern all at once, always moving and unfailingly pointed towards true north.
Never has this been more true than on his newest work entitled A Room Now Empty soon to be released by UK-based contemporary classical label Preserved Sound, Martin’s first full-length solo record since the sublime Comet’s Coma (Eilean Rec., 2014). Soon listeners will be able to revel in its stark, intimate beauty and be shaken by its soul-deep, melancholic yearning. In the meantime, Stationary Travels is very pleased to present this interview provided courtesy of Preserved Sound & Hayden Berry in which Aaron talks about how the layered meanings in the music and titles of the album and how they don’t allow one clear-cut reading of the music.
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My guest for this edition of duologues is award-winning composer Jane Antonia Cornish who grew up in England and is currently based in New York City. In addition to composing scores for the acclaimed documentaries, Scotty and the Secret History of Hollywood and Citizen Jane: Battle for the City as well as the drama Fireflies in the Garden, (starring Julia Roberts, Ryan Reynolds and Willem Dafoe), Cornish was the first female in history to win a British Academy Award (BAFTA) for music in 2005. In that same year the UK Film Council also honored her with a Breakthrough Brit in Hollywood award. Most recently she has released her third solo album Into Silence, an exquisite, intimate, and deeply affecting work that ICON Magazine called “A virtual blessing in a world gone mad”, a sentiment with which I would wholeheartedly agree.
Links: Solo Albums | Order signed CDs | Into Silence via Innova
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