Wednesday, 23 June 2021

OVX005 : Taro Yoshihara / Vexations Vol.5

 


Cover art by A.L.




OVX005 : Taro Yoshihara / Vexations Vol.5

What he says about his proposal:

"On February 3, 2021, I attended the Vexations performance and had a shocking experience.
The experience was like being absorbed into the score. It made me think again about the effects of sound on the body and mind.
On March 27, I recorded in the studio without an operator, so I had to go back and forth between the recording booth and the control room many times.
I used a Kawai piano and RODE microphones for recording.
I usually do a lot of sound processing, but this time I didn't add anything, and recorded it as it was."

Taro YOSHIHARA (1968) lives and works in Yamanashi Prefecture.
He studied electro acoustics at Ina-GRM in 2001.
He is involved in the acoustic design and management of electroacoustic concerts.

Taro San






2021年2月3日、Vexations上演に参加し、衝撃的な体験をした。
スコアに吸い込まれるような体験であった。
音が心身へ及ぼす影響についてあらためて考えさせられた。
3月27日、オペレーター不在でスタジオで録音したため、何度も録音ブースと調整室を往復した。
録音はカワイのピアノ、RODEのマイクを使用した。
普段は加工ばかりしているが、今回は何も加えず、ありのままを録音した。

プロフィール
吉原太郎 Taro YOSHIHARA 1968-
山梨県在住。
2001年Ina-GRMで電子音響を学ぶ。
電子音響コンサートの音響設計や運営に携わる。

Bandcamp only release on the 23th of June 2021.

Track listing:

1: 40x Vexations - Kawai piano, Rode microphones



Friday, 18 June 2021

OVD047 : Manu Ribot / Speechless

 


Cover art by Manu Ribot / A.L.



OVD047 : Manu Ribot / Speechless

The new album from Manu Ribot travels once again on the border of the 50/60/70 with a mix of soundtrack music style out of a Hollywood science fiction or zombies movies! 
It's also a reminder of the lounge era music but with such a modern sound and an eccentricity never achieved at the time. It sounds like a five men orchestra but it's a one man show only! It makes you move and jump and be happy and doing air guitar on your sofa! 
It's hot, it's fun, it's the new Manu Ribot!

What he says about it:

"This record is an attempt of doing an album in the reverse way. 
It all started with this metal devil head i grew up with, something to tie curtains of some sort that i had took a picture of.
Wow! it could be a nice thing for an album cover, so i photoshoped it in some ways and was pleased with the result.
Then i realized the facial expression of that devilish figure seems to express perfectly the word Speechless, nice title for an instrumental album.
Then Covid confinement occured i decided to use those horrid times into something positive...
I told myself let's try to picture musicaly this speechless facial expression...
It turned out well and i thought it's good enough to be the last song of an album...
Ok let's do this record reversed from last to first song and try to picture musicaly some things that leave me speechless, from the most ludicrous to the more genocidal of our modern days.
Voilà!"



Performed & Mixed by Manu Ribot
EQ & Mastered At Fiasco by Pierre Vervloesem

Digital release on the 18th of June 2021.

Track listing:

1: Introduction Speechless
2: I Menemy
3: Petroleumweg
4: Sales Riot
5: Flaw Enforcement
6: Anti-Homeless Architecture
7: The Grand Puke of Luxembourg
8: Plastic Continent
9: Estimado Weon
10: Karoshi
11: Enemy Awards
12: Speechless


And on Bandcamp:

Wednesday, 16 June 2021

OVX004 : Daniele Morelli / Vexations Vol.4

 


Cover art by A.L.



OVX004 : Daniele Morelli / Vexations Vol.4

What Daniele says about his proposal:

"The amount of memories I have thinking about Erik Satie’s music is endless, so when I heard that Off record wanted to record an entire version of Vexations with different artists i decided to give my contribution.
It’s a composition which means something like annoyances.
Sometimes art is virtuosism, sometimes is something else. In this case Vexations is like a purification ceremony.
A personal purification through the repetition of irregular chords, that’s why Vexations.
I decided to record the theme and its harmonisations with sounds and effects to cause even more troubles but also reflections and meditations at times. All the effects and sounds that you will listen have been made with the guitar."

"Pedals I use are Freeze, Holy Grail Reverb, Malekko analog Delay,
Maxon Overdrive, an Octaver and Ditto Looper."

Daniele



Daniele Morelli is an italian-born guitarist and composer. He started to play piano at 7 and guitar at 11 years old. He studied for 4 years at the Music Artwork Village before concentrating his studies on jazz guitar. He studied at Siena Jazz and in 2009 he moved to Lyon,
France to attend the Conservatoire (jazz department).
He studied with masters as Barry Harris, Jonathan Kreisberg, Gilad Hekselman, Mike Moreno, Philippe Roche and many others.
Daniele has performed in many clubs and festivals in Italy, France, Belgium, Holland and Mexico where he actually lives.
He produced 3 albums, his first, “Milvus” (2008), his first solo album “Mision azul” (2016, see ODG047) for OFF Record, and the upcoming album “La valigia dei sogni” with Matteo D’Ignazi on drums (Off-September 2021).

Bandcamp only release on the 16th of June 2021.

Track listing:

1: 40x Vexations - Electric guitar and effect pedals


Friday, 11 June 2021

ODG145 : Leonhard Huhn - Udo Moll / ZombieNation

 


ODG145 : Leonhard Huhn - Udo Moll / ZombieNation

The roots of this project reach back to a residency that Udo Moll spent in Kyoto in 2018. He started researching ancient japanese video games that were mainly released in the 1980s and 90s for the Nintendo and SEGA platforms. Based on images taken from those games and on texts from William Shakespeares the Tempest, Udo developed the first version of the electro-acoustic multimedia-performance Shakespeare ZombieNation. 

In the beginning of 2020, right before the CoVid-outbreak, he decided to expand on this subject tin collaboration with Leonhard Huhn. Together, they conceived Shakespeare ZombieNation II and premiered it, already without audience, in the middle of Germanys first lockdown. This performance   then turned into a video production that took place in a quite eerie World War II - bunker in the middle of Cologne.



During rehearsals, Leonhard Huhn recorded a lot of improvised material, that forms the basis of this release. Nonetheless, this is not a documentation of improvised music. All the compositions are results of extensive editing, cutting, splicing, layering and thus, re-contextualising of the initial improvisative process. Consequently, this modus operandi positions Huhn and Moll as well in the tradition of musique concrète as in recent developments in genres like minimal techno, Hauntology or Onkyokei.

Because both musicians started their careers as Jazz performers on acoustic instruments (Udo Moll is trumpet player and Leo Huhn plays mainly alto saxophone), they developed a very idiosyncratic approach towards electronic instruments by incorporating concepts like breath, acoustic space, orchestration and microtonality into their work with modular synthesizers and electronically altered saxophones and voices.

Leonard and Udo


Leonhard Huhn _ alto saxophone & electronics
Udo Moll _ modular synthesizer
All tracks taken from a live performance enhanced by a video and remastered after.

3 teasers:



Digital release on the 11th of June 2021.

Track Listing:

1: Kenseiden
2: Urchins Shall All Exercise on Thee
3: Cave noire
4: A Huge Grounding by the Street
5: Hell Is Empty and All the Devils Are Here
6: Dracula Hakushaku
7: Asterix' Helmet
8: Solbrain
9: Cloven Tongues Do Hiss Me into Madness
10 : Bogs, Fens, Flats

And on Bandcamp:

 

Wednesday, 9 June 2021

OVX003 : Ayumi Satake - Yuna Watarase / Vexations Vol.3

 


Cover art by A.L.



OVX003 : Ayumi Satake - Yuna Watarase / Vexations Vol.3

佐竹あゆみ/Ayumi Satake is a Japanese pharmacist.
What she says about her proposal:

"I don't play much music, but I go to listen to it a lot.
I wanted to hear the sound of a flowing river, so I went on a trip with the music box.
I saw the footprints of Japanese macaques. The pheasant was walking. The raccoon dog ran away. The deer was eating the leaves.
Above the clouds,
I heard the sound."

Ayumi San






Yuna Watarase (curator/cosplayer).
What she says about her proposal:

"I participated in the event with Organetta II and organito(Music box). I think it was difficult to play because it is an instrument that anyone can play easily. I wondered if I could properly connect the slurs to the next person. Would I be able to make the most of the charm of the organetta II and organito while the other participants showed their individuality by playing in a jazz style? I was filled with anxiety from the time I decided to participate until the day of the event. Once we started, it was a lot of fun and I think I reconfirmed the original appeal of music, which is to "enjoy" sound. I would definitely like to participate in a similar event if it is held again."

She graduated from Tsurumi University, Faculty of Literature, Department of Cultural Properties. During her studies, she studied Hojo Saburo (Uesugi Kagetora). Currently, she has a passion for the Date and Katakura families.
She started cosplaying because she hates the existence of "herself" and wants to be someone other than herself. Mainly cosplays Midare Toshiro (Touken Ranbu) and Ranka Lee (MACROSS Frontier).

Due to her troubled personality, she doesn't like to practice and loves to perform (ensemble), so she can't keep up with her instrumental lessons and has dabbled in various instruments such as piano, percussion, and flute. She loves "La vallée des cloches" ("The Valley of Bells") from Maurice Ravel's suite "Miroirs".


Yuna San





渡良瀬 ゆな(学芸員/コスプレイヤー)
鶴見大学文学部文化財学科卒業。在学中は北条三郎(上杉景虎)を研
究。現在は伊達家、片倉家にお熱。
“自分“という存在が嫌いで、自分じゃない誰かになりたいとコスプレを
始める。主にコスプレするのは乱藤四郎(刀剣乱舞)とランカ・リー
(マクロスF)。
練習嫌いの本番(合奏)好きという困った性格のため、楽器のレッスン
が続かず、ピアノ、打楽器、フルートなど様々な楽器に手を出してい
る。モーリス・ラヴェルの組曲『鏡』の『鐘の谷』が大好き。
Vexations 感想
私はオルガネッタⅡ型とオルガニートで参加させていただきました。誰
でも簡単に演奏できる楽器だからこそ、演奏は難しかったように思いま
す。きちんと次の方にスラーを繋げられるのか。ジャズ風の演奏などで
他の参加者が個性を出しているなか、私がオルガネッタⅡ型やオルガ
ニートの魅力を最大限活かす演奏が出来るのか。参加を決めてから当日
まで、不安でいっぱいでした。始まってみると楽しくて、「“音”を“楽し
む”」という音楽本来の魅力を再確認したように思います。次にまた同
じような企画を行うのであれば、ぜひ参加したいです。

Bandcamp only release on the 9th of June 2021.

Track listing:

1: Ayumi Satake: 20x Vexations - Musical Box
2: Yuna Watarase : 20 x Vexations - Organetta (barrel organ)


Friday, 4 June 2021

OJP057 : Ruben Van Rompaey feat. Toshinori Kondo / Tokyo Fusion

 


Cover art by A.L., original painting on canvas by Rachelle van Rompaey 


OJP057 : Ruben Van Rompaey feat. Toshinori Kondo / Tokyo Fusion

In loving memory of Toshinori Kondo 15 December 1948 – 17 October 2020 

"I first met Kondo during my 2011 tour in Japan where we did three memorable concerts together, in Kyoto, Sasebo and Fukuoka. It turned out to be a unique encounter: an exciting first meeting between Kondo’s amazing electric trumpet and the captivating beats of Middle Eastern drums and percussion. 

Toshinori and Ruben in 2011

This album, named Tokyo Fusion, serves as a reflection of the synergy originating from our collaborations. It’s a compilation of tracks I have written and produced between 2014-2020, all of them featuring Kondo's brilliant electric trumpet improvisations. 

The album captures the essence of Kondo’s free spirit electric trumpet, regularly blending with oriental soundscapes, crossing borders of space and time. Some of the original recordings from 2014 were featured on the album Mirage and specially re-edited and re-mastered for this album. 

The music can be roughly divided into two parts: the first part contains previously unreleased tracks, the second part mainly consists of remixes and remastered tracks. 

In October 2020 Toshinori Kondo sadly passed away. 

I feel honored to releasing this album as a dedication to Kondo's super-creative dimensions, whose sounds will keep astonishing the universe forever!" -Ruben Van Rompaey

During the recording sessions

Ruben

The complete original painting


Written, performed and produced by Ruben van Rompaey, Bergen op Zoom Holland 2014-2020. 
Featuring Toshinori Kondo - electric trumpet 
Executive producer: Frans C.M. van Rompaey 
Guitar solo 'Ginza Lounge - Part 2' by Rutger van Rompaey 
Vocal samples by Maarten Zweers 
Mastered by Rutger Verberkmoes @ Accent Audio Studio Bergen op Zoom, Holland.
Cover painting (acrylic on canvas) Toshinori Kondo and Ruben van Rompaey by Rachelle van Rompaey (site).

Digital release on the 4th of June 2021.

Track listing:

1: Dream Warriors            

2: Ginza Lounge               

3: Shibuya Crossing        

4: Darbuka Lounge           

5: Ginza Lounge – Part 2 

6: This Ain’t Lounge         

7: Corona Avenue            

8: Mister Tabla                  

9: Coming Up                   

10: Rainbow Bridge           

11: Lunar Eclipse               

12: Kyoto Nights                

13: Tribute


14: Shibuya Crossing (V2.0) - Bandcamp only release

15: Downtown - Bandcamp only release    



And on Bandcamp:

Wednesday, 2 June 2021

OVX002 : Synapses / Vexations Vol.2

 

Cover art by A.L.


OVX002 : Synapses / Vexations Vol.2

What Line (see also Synapses beautiful album 'Introduction' OUC027) says about their proposal:

"On February 12, 2021, one year of forced confinement is approaching, artistically speaking it is frankly the looking like the end of all. 
The impression of immobility and uselessness is dense. Alain proposes the project to record Satie's Vexations. Neither one nor two, we say to ourselves: “Saperlipopette, here is a very appropriate project! Serious immobility, here we are! "

"Recorded with a zoom in one take, the seriousness deserves the appropriate material damn."



"Le 12 février 2021, on approche l’année de confinement forcé,  artistiquement parlant c’est franchement la débandade. 
L’impression d’immobilisme et d’inutilité est dense. Alain propose le projet d’enregistrer les vexations de Satie. Ni une, ni deux, on se dit : « Saperlipopette, voilà un projet tout à fait à propos ! Immobilités sérieuses, nous voici !"

"Enregistré avec un zoom en une prise, le sérieux mérite le matériel adéquat sacré bleu."

Bandcamp only release on the 2nd of June 2021.

Track listing:

1: 40x Vexations - Flute, electronics, metalic percussions and voices


Friday, 28 May 2021

OVD046 : Pierre Vervloesem / Electronicaca

 


Cover art by A.L.



OVD046 : Pierre Vervloesem / Electronicaca

Says Pierre about his album: 
"Eectronicaca is like all my albums directed by a rule (a different one each time), this time a very simple recipe: non-vintage synths, non-vintage rhythm boxes, and playing on the keyboard which cannot be very sophisticated since I don't know how to play the keyboard ( as normally for me, the keyboards are played on my midi guitar). The electronica music is like a photo, everyone can take a photo!"

So this is it, 9 tracks of electronicaca! Enjoy!

Digital release on the 28th of May 2021.

Track listing:

1: Predator Vs. Actiris
2: Empechator
3: Flying Alligators
4: Turnipology
5: Office Head Reducer
6: Cheating Wife with Lobster Sauce
7: Boring Beauty
8: A Bad Time in General
9: Electronic Union Failure


And on Bandcamp:

Wednesday, 26 May 2021

OVX001 : Mana Fukui / Vexations Vol.1

 

Cover art by A.L.


This is the new Vexations series! 

A few weeks ago Mana Fukui and different artists played Vexations by Erik Satie the number he required : 840 times. After a few emails exchanges with Wataru Iwata (see OJP039), it grew more and more that it would be a thrill and exciting project to possibly record the whole performances from the participants. Point is that it’s impossible to put a 15-20 hours piece of music on line. 
So, in this year 2021, we came with this idea: 21 different artists recording the pice 40 times = 840!
So from the 21st week of 2021, which is also the week of Satie's 155 birthday and for the next 21 weeks, one of the 21 volumes will be released on a special Bandcamp page.
Only one demand: each participant plays the piece 40 times on any instruments of their choice, tempo or arrangement they want. Enjoy!





OVX001 : Mana Fukui / Vexations Vol.1

What she says about her proposal and the recording:

"First of all, I would like to thank and acknowledge Wataru IWATA and Alain LEFEBVRE who carried out this project.
It is a recording in ambisonics with our cat who makes a noise running around the house, very rare and unique... I am really happy to be part of this great team with crazy compatriots all over the world, and maybe this great adventure will continue...? Who knows."

Mana Fukui: piano
Wataru Iwata: recording and processing

Recorded by 1st order ambisonics decoding to Binaural. 
Recommended to listen on a headphone or earphone.

Mana Fukui

Mana FUKUI is a concert and chamber pianist; she studied and graduated at the prestigious Tōhō Gakuen School of Music in Tokyo, Japan. She won many national competitions, studied piano with Minoru NOJIMA and Akira IMAI and composition with Ichiro NODAIRA.
After training in Russia with Neta GAVRILOV and the teachers of the Moscow Conservatory, Mana FUKUI then decided, on Jean-François HEISSER’s recommendations, to improve her knowledge of the French repertoire in Paris.
On her arrival in France, she worked with Colette ZERAH and Jean KOERNER on accompaniment and started her professional career as a piano accompanist for Vadim REPIN’s and Ida HAENDEL’s Master Classes.
She won the First Prize as piano soloist and accompanist unanimously with compliments of the jury in the examinations of the Paris Conservatory in 2001.
Mana FUKUI has been pianist for the UFAM Competitions in Paris since 2005 and for gthe examinations for the State Diploma of Singing, Violin and Viola of the French Ministry of Culture. She takes part in many festivals (Courchevel, Limousin, etc.) as an accompanist, and has been working as such at the Conservatoire à Rayonnement Départemental of Clamart, France, since 2002.
Her official website.

桐朋学園大学ピアノ科在学中、モスクワに留学、ネータ・ガブリーロフ氏に師事。同大学卒業後、パリ17区コンセルヴァトワールピアノ科、伴奏科を満場一致のプルミエ・プリで卒業したのち、クラマール地方音楽院にて室内楽、声楽クラスの指導、また、シャラントン音楽院にてピアノ科教授として後進の指導にあたる。
 現代音楽にも意欲的に取り組み、シャラントン市後援の現代音楽祭、“Musique de notre temps” に定期的に参加。また、高い初見能力、室内楽の豊富なレパートリーを高く評価され、フランス政府国家音楽家資格試験(DEM)、ワディム・レーピン、イダ・ヘンデル等著名な講師陣の指導する数々の国際フェスティヴァル、コンクール等で公式伴奏員を務めつつ、パリを拠点にヨーロッパ各地でリサイタル、室内楽を中心に演奏活動を行う。
 2015年に帰国後、演奏活動を精力的に行い、2018年7月、東京オペラシティにてソロリサイタルを開催し、好評を博す。ピアノを今井顕、野島稔、コレット・ゼラ、ピアノ伴奏法を野平一郎、ジャン・ケルネルの各氏に師事。
Her official website.

Bandcamp only release on the 26th of May 2021.

Track listing:

1: 40x Vexations - Piano and processing (recorded in ambisonics, decoded to binaural)


Friday, 21 May 2021

ODG140 : Machine Mass Sextet / Intrusion - Live

 

Cover art by A.L.


ODG140 : Machine Mass Sextet / Intrusion - Live

A 4 tracks live recording in 2021 of the Intrusion album (see OCD049)! 
Energetic reprises of Coltrane and Zawinul plus 2 own compositions which show that Machine Mass sextet is among the best live Jazz acts of the moment!

Digital release on the 21st of May 2021

Track listing:

1. Intro (Machine Mass) 5:48

2. Africa (Coltrane) 11:51

3. The Roll (Delville) 15:08 

4. In a Silent Way (Zawinul) 14:27


Laurent BLONDIAU: trumpet

Manuel HERMIA: saxophones

Michel DELVILLE: guitar, Roland GR09

Antoine GUENET: piano

Damien CAMPION: double bass

Tony BIANCO: drums


Produced by Machine Mass © (P) Machine Mass 2021/Off Records. 

Recorded at L’An Vert, Liège, on November 29, 2019.

All tracks recorded, mixed and mastered by Michel Jankowski.




And on Bandcamp:



Intrusion album on sale here:



Price

Friday, 14 May 2021

ODG143 : Ben Sluijs - Erik Vermeulen / Parity

 



ODG143 : Ben Sluijs - Erik Vermeulen / Parity

Another reissue from the duo Sluijs - Vermeulen (see also ODG095 and ODG117) originally released in 2010 on the WERF label. Still sounding beautifully in 2021 due to the high standards of composing and musicianship of 2 of the most celebrated Belgian Jazz musicians.


 'Pianist Erik Vermeulen belongs to the generation of Peter Hertmans, Bert Joris, Kurt Van Herck and Frank Vaganée. Over the years he has been part of several trio formulas (Hein Van de Geyn & Dré Pallemaerts, Sal La Rocca & Jan de Haas, Manolo Cabras & Marek Patrman), played with Jacques Pelzer, Steve Houben, Toots Thielemans and Joe Lovano, but mainly wanted to create his own music.'As a leader he has released a series of albums over the years and was awarded in 2010 when he won the prestigious Klara Music Award in the "Jazz" category with his record "Live Chroma" (W.E.R.F.075).He has built up an intense collaboration with alto saxophonist Ben Sluijs. Vermeulen was not only a member of the Sluijs' quartet, they also released the stunning album 'Stones' together '(Jazz'halo, 2001, reissued on the W.E.R.F. label).



'Notre coup de cœur du moment revient à deux musiciens confirmés, Ben SLUIJS et Erik VERMEULEN, fortes personnalités de la scène musicale belge, particulièrement active, qui ont enregistré cet admirable PARITY, « tranquillement », à la maison entre 2008 et 2010. Une entreprise familiale, artisanale, l’album étant mixé et enregistré par un autre complice Jeroen Van Herzeele, autre saxophoniste talentueux qui participe à l’aventure de Maaks Spirit, joue dans le quartet de Ben Sluijs, ou l’ensemble de Kris Deffoort. Tout comme Erik Vermeulen, il donne avec le saxophoniste Ben Sluijs cette commune impression d’une recherche permanente d’identité musicale.Cet album vibre d’intensité retenue, entièrement composé sur le vif avec une infinie douceur. Ces voix s’élèvent complices, équitables, harmonisant la lisibilité d’un duo tout en demi teinte et en finesse : un ajustement ininterrompu du piano fait évoluer les compositions d’un paysage commun.
D’une apparente simplicité, c’est le corps et l’âme qui chantent explicitement et ces qualités jouent en faveur d’un album plus que convainquant. On se laisse emporter « Con alma »justement , dont on reconnaît la mélodie de Dizzy Gillespie, dépouillée des scories virtuoses pour n’en laisser que l’épure.
Sensibilité romantique? Peut-être n’y a-t-il pas tant de nostalgie malgré l’apparence du souvenir, à travers ces échos où le jazz revient superbe. Comme dans ce « Sweet and lovely », où la sensualité du phrasé le dispute à la vivacité du rythme. On en revient aux fondamentaux avec le morceau suivant de l’altiste « Early train » léger, vaporeux que le duo porte jusqu’à une certaine abstraction. Car de ce duo ressort un lyrisme appuyé et le mystère d’une direction, souvent à peine annoncée, ménageant les surprises d’une belle dynamique d’ensemble. Une intensité dans le jeu que partagent pianiste et saxophoniste : dans ce cheminement attentif, les deux amis recomposent une géographie personnelle, en partance pour des ailleurs rêvés, loin des ciels mouillés, vers les nuages sépia des photos en miroir de la pochette, ces fils électriques tendus sur lesquels se posent les oiseaux en attente d’un envol…
Ben Sljuis disait qu’il voulait constamment jouer pour s’effacer, et cette évanescence se ressent dans le son qu’il tire de son alto, projetant ou interprètant l’atmosphère de l’instant. Erik Vermeulen est dans le même état musical, le piano superbe, délicatement posé et déposé sur le temps musical.
Par ses harmoniques et ses couleurs, cette musique distille une mélancolie secrète, poésie d’irisations qui renvoie aux délicates impressions, aux rutilances diverses du jazz le mieux compris. Superbe !'
SOPHIE CHAMBON (pour Jazz magazine France)

Digital release on the 14th of May 2021.

Track listing:

1: Bright Day
2: Parity
3: A Short Anwser
4: Con Alma
5: The Minute
6: Things Ain't What the Look
7: Temps perdu
8: Social Calls
9: Melopee
10: Tuinpad
11: Friendly Fire
12: Sweet and Lovely
13: Early Train
14: Evening Red



And on Bandcamp:

Friday, 7 May 2021

ODG142 : Madrid Solo / Autres Directions

 

Cover art by Gustavo Madrid



ODG142 : Madrid Solo / Autres Directions

Gustavo Madrid is the creative force behind several musical projects since his school days: No Mercy, Black Velvet, Maten al Disc-Jockey, Su Real Orden, 69 am, Mutantes Melancólicos (see ODG034), Asustados Unidos, NO:ID., Ensamble Desmembrado (see ODG118) and finally Madrid Solo.

Singer. Guitar player. Sometimes, keyboard player. With a certain interest in digital instruments, where he finds versatility and the possibility of breaking through. Always, songwriter and composer of a music hard to put a label on.

Gustavo

Even though he's got soft manners and a good education, he´s rampant, stubborn and untameable. He can be bored of his successes, but he's never bored when he explores and experiments new ways of making music. He prefers a song composed on a single loop rather than a song that repeats past accomplishments.
On his lyrics he doesn't want to tell stories; he leaves that to a short story or to a novel. For his songs, he prefers sentences that act like lashes, images, ideas; that are musical, without a complete or obvious sense and, if it's possible, the ones that can awaken questions to be left unanswered. 

Madrid owns an enviable record collection. He listens to music since he wakes up in the morning until he goes back to bed at night. He has been collecting records since his teenage years. He affirms that when he didn't have enough money to buy new records he tried hard to get onto busses or subways without paying the fare; so he could save, within a couple of weeks, some money to buy another record. 

One of his passions is record cover art. He believes that the moment he takes out the record from the sleeve to put it on the audio system is pure magic and that most of that magic comes from the graphic art giving sense to the whole oeuvre.
In 2020, during the pandemic lock-down, he started recollecting some writings on his experiences with music listening, music creation and record collecting on the blog.

For this new project, Gustavo Madrid took on a new challenge: create a remix album. Instead of choosing isolated songs from his discography, he decided to produce a companion album for a previously published one and change as he could the concept of its songs.

The album that offered more possibilities on reworking the songs was Side Lane. It has been entirely recorded using a computer, each instrument was isolated and assigned to a sole track, sounds and arrangements could be manipulated individually.

As it was an album where there was not a single percussion track nor other instrument than guitars, he imagined he could start by filling those gaps with drum loops and samples taken from his vast jazz record collection, keyboard arrangements and found sounds that matched the spirit of the project.

Finally, 13 of the 15 songs on Side Lane were remixed and redirected. They were shortened looking for new nuances and distinct atmospheres from the original versions.

Both projects are complementary as they came out of the same source material. Side Lane and Autres Directions stand alone independently because each one of them aim different sensations offering unexpected turns arising from the original sounds.

Astro Chueco:

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Failing Beat:



Read his blog here.

ALBUM CREDITS

Composed, performed, edited, programmed, recorded, mixed and produced by Gustavo Madrid at El Rosario, Buenos AIres, Argentina, April / July 2020. To rework these new versions of the songs, several elements were taken from the recording sessions of the following albums: Side Lane (MRCD011), Cuenta (MRCD010), Silence (MRCD009), Ojalá pudiera (MRCD004), Cuarenta y ocho azotes (MRCD012). Some sequences programmed in Montréal, Québec, Canada back in 2004 and some vocals taken from demo versions of the songs recorded in 2009 were also used. New arrangements were included and other instrument tracks were recorded with organ, electric piano, synthesiser, trumpet and found sounds. All the instruments were played by Madrid Solo, who also sang all the vocal parts except for the chorus on “Danse Immobile” where Aluh y Jorge Pablo Almejún made their singing contribution. There were other collaborators to this project even if they never knew about its existence: Omar Scavone, Félix D`Argento, Leo Kaplan and Marcelo Pérez. 

This album is dedicated to Felipe Madrid and Patricia Raimundini who during 2020´s pandemic lock-down witnessed the evolution of this project listening to each and every song countless times with tireless patience. 


DISCOGRAPHY 


MUTANTES MELANCÓLICOS 

- Voom voom va hell la (MAD RIDE RECORDS) (1993)

- Mataron a las mujeres, violaron a los caballos (MAD RIDE RECORDS) (1993)

- La vida no les sonríe (MAD RIDE RECORDS) (1994)

- Ojalá pudiera (MAD RIDE RECORDS) (1995)

- Mi reloj biológico no necesita cuerda (MAD RIDE RECORDS / OFF) (1996)

- Malditos, errantes, marginales, desplazados, olvidados, abandonados (MAD RIDE RECORDS) (2011)


ASUSTADOS UNIDOS 

- AaUu (MAD RIDE RECORDS) (1996)


NO:ID. 

- Sing. (MAD RIDE RECORDS / CALAR MUSIC) (2000)

- Sang. (MAD RIDE RECORDS / CALAR MUSIC) (2001)

- Silence. (MAD RIDE RECORDS / CALAR MUSIC) (2003)

- Acoustic. (MAD RIDE RECORDS / CALAR MUSIC) (2011)


MADRID 

- Cuenta (MAD RIDE RECORDS) (2000)


MADRID SOLO 

- Side Lane (MAD RIDE RECORDS) (2014)

- Autres Directions (Side Lane revisited, reworked, remixed, revamped & redirected) (MAD RIDE RECORDS / OFF) (2020)


Digital release on the 7th of May 2021.


Track listing with Gustavo comment on each song:


1: Amarga Espina

The melody for this song was written in Montréal in 2005. I remember myself thinking that I was stuck in the song style I used for the album “Silence” by NO:ID., so, I decided to stop making music for some time to find a new path. I think it was worth it. 

2: Densa Danza

I started playing tirelessly the main guitar riff on this song in September 2008 when I relocated myself back to Buenos Aires after living in Montréal for more than five years. I liked it so much that I couldn't stop playing it even if it could have been enough for my new neighbours, who claimed for silence desperately.

3: Misère Cachée

I recorded the first ideas for this song in Montréal in 2007 using a bass guitar and a loop station to improvise three different bass lines that intertwine to build what later became a musically solid loop.

4: Stop Dead

To create this song I decided to overlay riffs to create a sound collage. I used several ideas taken from improvisations I've recorded in Montréal to create arrangements that offered different points of view. I wanted every part to sound as it belonged to another song.

5: Failing Beat

On this song I used some arrangements that I´ve written for “Densa Danza”. Even if the two songs are intimately related it is hard to find this relationship on the final versions without losing the pure joy of the music you are listening to. 

6: Weeping Road

I started writing this song in December 2011, the same week my son was born. I recall myself singing the refrain to him while he was sleeping. Perhaps that's the reason why he likes the music I make. Who knows?

7: Life Ahead

I've always loved the rhythm guitar I played on the song “Próxima Vida” by Mutantes Melancólicos, back in 1996. I decided to record it again with some new arrangements. From the original song, only the lyrics and some chords were left. Who cares? I found a new path for the song. A new life ahead. A way out.

8: Icy Blue

The three main arpeggios on this song were written in Buenos Aires in 2008 in order to create some kind of mantric loop that never got to be relaxing. The spanish lyrics were taken from a song I´ve started to write in Montréal some years before, perhaps in 2005. Some kind of tango with too many words that I managed to cut out and synthesise to keep just a few words of interest that made up some nonsense.

9: Danse Immobile

The first sketches for this song were born in 2009 while I was trying to create arrangements for some lyrics a friend of mine has written. He wanted me to write the music for his songs. Back in 1998, when I wrote the song “Fix”, recorded by NO:ID. a year later, this same friend has given me other texts to help him create the music. Unfortunately, none of his songs were finished but, in the process, some of the discarded elements I've written helped me to give birth to two of my own songs.

10: Stagnant Tears

This is the third reinterpretation of the melody I´ve used on the songs “Lágrimas Artificiales” and “Gotas de Lágrimas Artificiales”, both recorded by Mutantes Melancólicos. This time, some verses of the song were written in french. The next version, will it be written in spanish?

11: Astro Chueco

This is one the first songs I've written in Montréal in 2003. It took me a great effort to clean up the spirit that attached its first versions to my previous album “Silence”. This is a song that resists mutations and that's what I love about it. Don´t be surprised if I decide to transform it again and again.

12: Mutantes Melancólicos

I wrote the first and original version of this song back in 1992. Years later, in 1995, I recorded a different version for the album “Ojalá Pudiera” by Mutantes Melancólicos only using three instruments: electric piano, trumpet and slide guitar. On this third version, I´ve tried to preserve some of the original ideas. Just a few of them.

13: Hollow Breeze 

In 2010, while I was listening to the tapes I´ve been recording with my different projects all over the years to start with the mastering process in order to press the CD versions of my old albums, I found a rehearsal recording with the first version of this song. I recall that for the album “Silence”, I wanted to record and include several short songs that only lasted one chorus. Born out of this idea, “Breeze” was written in 2002. After so many years waiting to find its place, it evolved: two new verses were written and the sound grew up to become devastating.


And on Bandcamp: