Thursday, November 16, 2017

OJP023 : Haco - Kent Macpherson - Megan Berry - Jeremy Mayall / Wild Sonic Blooms

Cover art by Paul Bradley

OJP023 : Haco - Kent Macpherson - Megan Berry - Jeremy Mayall / Wild Sonic Blooms

Wild Sonic Blooms is a collaboration between Haco San, the famous Japanese composer, vocalist, electroacoustic performer, sound artist, and founding member of After Dinner (1981-1991) and Hoahio and 3 New-Zealander artists and teachers from the Wintec school of Media Arts Waikato Institute of Technology. 
They invited Haco San to perform a semi improvised one hour set which was the base for a video performance at Ramp Gallery, Hamilton, NZ - 11.12.2016, by Jeremy Mayall, Kent Macpherson, Megan Berry, and Haco. 

Kent worked with Haco first in 2012, where she was invited to collaborate with him as part of the Spark international festival of music, media, arts and design. They performed the work 'BugLoop' in Hamilton New Zealand. A multimedia sound art improvisation centred on water as its source. You can watch the full experience here.
As part of his 2016 research outputs, Kent applied for a research grant to bring Haco to NZ once again to collaborate with a larger group of musicians. They spent 2 days in Studio A at the school of music (Wintec), recording over 6 hours of music. Also 2 live performances were realised on the same day and captured on film. The afternoon performance is the recording you are experiencing through this release.

Haco San

Haco is a Japanese singer, composer, multi-instrumentalist and sound artist, known for her work with After Dinner and Hoahio, among others.
Following formal studies in acoustics, electronic music and recording technology in 1980, Haco came to international attention fronting the group After Dinner (active between 1981–1991). 
Haco released her first solo album in 1995, and embarked on her first solo European tour a year later. More recently, Haco has worked with various groups and has recorded or performed with countless other artists, such as Otomo Yoshihide.
In addition to her more conventional album releases Haco has also worked in the fields of sound art or curating exhibitions and installations and establishing the sound art project View Masters. Visit her site here.


Kent Macpherson is a Hamilton based sonic artist, composer, researcher and audio technology lecturer (Wintec). His research practice includes capturing found and unfound sound, improvisation, performance and electroacoustic composition. 
His sonic art practice utilises contact microphones and hydrophones to capture the sounds emitted by large resonating structures such as bridges, turbines, aerials and buildings. His most recent sonic artwork ‘The absent sense’ is currently exhibiting in China.
He performs as a member of the avant classical soundscape ensemble ‘Dr Mesmers Private Army’ playing keyboards and octave guitar. Read more here.


Jeremy Mayall is a Composer/Producer/Performer originally from Hamilton, NZ. He likes to refer to himself as a “Creative Collaborator” and was the Mozart Fellow (composer-in-residence) at Otago University for 2014-2015.
His most recent work has been focussed on the exploration multimedia, multisensory, interdisciplinary projects. Various collaborations have included musicians, dancers, poets, silks performers, theatre practitioners, scientists, perfumers, bakers, authors, sculptors, filmmakers, pyrotechnicians, lighting designers and visual artists. Read more here.


Megan Berry is a composer and performer based in Hamilton, New Zealand. She has released two albums with her indie-folk band, The Heartbreak Kids. She teaches Music Theory, Performance and Songwriting in the Music Department at the School of Media Arts, Waikato Institute of Technology.

Wild Sonic Blooms Trailer from Kent Macpherson on Vimeo.

Kent Macpherson – octave guitar, keyboard, laptop
Jeremy Mayall - keyboard, turntable, iPad
Haco - vocals, electronics, howling pot, found sounds
Megan Berry - vocals, fx, samplepad

"Wild Sonic Blooms"
Music composed and created by:
Megan Berry, Haco, Kent Macpherson, and, Jeremy Mayall.

Recorded live at Ramp Gallery (Dec. 2016)
Sound Mix - Dan Edgar Reese

Thanks to:
Wintec Music Department / David Sidwell / Brad Morgan / Wintec School of Media Arts /
Wintec Research Office / ACLX / Ramp Gallery

Made possible with the support of Wintec Research Fellowship 2016

Digital release on the 17th of November 2017.

Track listing:

1: Wild Sonic Blooms, Pt.1 Floraison

2: Wild Sonic Blooms, Pt.2 - Saku
3: Wild Sonic Blooms, Pt.3 - Pua Pua
4: Wild Sonic Blooms, Pt.4 - Bloom

Thursday, November 9, 2017

OCD036 : Adrian Lim-Klumpes / Yield (Preludes & Fugues for Piano)

Covert art By Briallen Lim-Klumpes

OCD036 : Adrian Lim-Klumpes / Yield (Preludes & Fugues for Piano)

Known as the frontman of critically acclaimed post-jazz bands, Triosk, 3ofmillions, and currently, Tangents, Adrian’s sound has been described as:

“ exceedingly lyrical; pianist Adrian Klumpes has found a path to the ‘sparkling water cascading down from some clear waterfall’ sound Miles Davis so admired in Bill Evans' playing” (Pitchfork)

Yield is a new collection of captivating tracks, showcasing Adrian’s unique ability to develop improvised ideas into fully rounded and complex works. 
The 52-minute album is a selection of performances captured in one six-hour session on
a Steinway piano and is awash with his signature blending of minimalism, lyrical piano, jazz harmony and electronics to create polyphonic textures that shift in mood from track to track.

Adrian describes Yield’s exploration of solo piano composition as, in part, a homage to Bach’s piano work ‘The Well-Tempered Clavier’. Certainly, with its arrangement into paired preludes and fugues, and its multi-layered harmonies, the album speaks to a classical piano tradition, yet equally we hear the influence of modern pianists such as John Cage, Bill Evans, Philip Glass, Harold Budd and Chris Abrahams.

The tracks on Yield were created in pairs, designed for the listener to hear corresponding echoes between pieces. 
The first pair of tracks, Watch and Follow , begin with a gentle, spacious melody, highlighted by glistening electronic accents. Then what are controlled washes of color in Watch become urgent brushstrokes in Follow, as the motif is taken over by pulsing rhythms and a driving tempo. 
Similarly the various pairs on the album; Caution and Chase, Wait and Rush, Process and Control, Move and Remain, reveal both the delicacy and expressiveness of Adrian's playing
alongside his skilful manipulation of the different shades that come from dramatic shifts in dynamic expression and tonal color.

To listen to the album in full is to be led through a narrative of tension and resolution. 
Across the ten tracks of Yield, Adrian explores a range of emotion, from feelings of violence, loneliness, and pain, to those of peace, warmth, tenderness and fragility. 
Yield is an album which, like a kaleidoscope, reveals new colors and dimensions with each
Fans of his previous solo work Be Still (Leaf Label, 2006) will be satisfied by his continued push at the boundaries of post-classical, post-jazz aesthetics, and new listeners will be enchanted by their transportation into Adrian’s evocative aural world.

More info, bio and news about Adrian's work and bio here.


The video of 'Move':

Adrian Klumpes - Move (Official Video) from James Vernon on Vimeo.

I leave Mandy Stefanakis in telling you her first encounter with the album:

“Don’t venture too far in a car whilst listening to this incredible album lest you find yourself in a quite different modus operandi from which it is pleasingly difficult to return.”

"The titles of tracks are a series of verbs, action words, though some are more active, Chase, for example, than others, such as Remain. But the titles are just a tiny reminder to the listener of the kinaesthetic and temporal nature of music and if one could suggest an overall theme here, this is it – the whole body/sound/mind gestalt utterly envelopes one – which is why I got lost. On Caution, for example, Lim-Klumpes speaks of the two improvised layers drowning the listener. The two voices are at extreme ends of the piano, the growly bass notes entering first. Adrian has digitally manipulated their pitch so that they become ever so slightly raised or lowered even in the one sound. He also adds echo so that sounds connect with each other. He enhances the ring of the upper notes in this way, where harmonics do not naturally provide such resonance as with lower tones, and builds both, so one really does feel utterly immersed in sound. Indeed, sound invades the body completely."
Read the complete review here!

Adrian and his Steinway

The liner notes written by Adrian himself can be downloaded HERE.
Yield is part of a larger project of twenty-four preludes and fugues in every key.

Physical and digital release on the 10th of November.

Track listing:

1: Watch
2: Follow
3: Caution
5: Wait
6: Rush
7: Process
8: Control
9: Move
10: Remain

Thursday, November 2, 2017

OAS007 : Endless White / Day Off - Bái rìguò jǐn

OAS007 : Endless White / Day Off  - Bái rìguò jǐn

The band was founded in April 2015 in the ancient city of Xi’an / China.

Obsessed with shoegaze and drampop since their youth, they started to compose in that style, adding gentle or dynamic melody lines to take you into their own world of music : simple, complex and extremely poppy at the same time, full of energy and joy. 
Their ambition, through their songs, is to try to succeed to bring you the closest possible to the real yourself ! 

      Lead singer: Weymi
      Bass: Yifan
      Guitar: Jiaxuan
      Drums: Lvchou

      Digital release on the 3rd of November 2017.

      Track listing:

      1: Bell Morning Drums
      2: Bright Illusion
      3: Skew the City
      4: He Must Hug Me to Fall Asleep
      5: Hoe's Dream

      Thursday, October 26, 2017

      OCD037 : Excessive Visage / You Are Lost Anyway

      Cover art by Xaver Xylophon

      OCD037 : Excessive Visage / You Are Lost Anyway

      The band Excessive Visage was founded in June 2010 in Dresden by guitarist
      Torsten Lang. He, the drummer Christoph Dehne and bass player Simon Preuß
      earlier played together for several years in other projects. Soon Albrecht
      Schumann joined the band as well. His excessive organ- and rhodes style
      needed to be inserted in the group. Parallel to this Torsten played bass in
      a post-rock group called P:HON. Their singer Larissa Blau also became a
      part of Excessive Visage. They started off recording their first self titled
      album through the following half year and in the course of this they
      developed their sound and formed the songs until they were ripe for being
      played life.

      Next there was the release of the live session EP HFBK Sessions which was
      recorded in the art school of Dresden and the second studio album Ruckus
      Array.  The first single of this album was Time In-Depth.  For the animated
      stop motion music video of this song Torsten and Larissa received a Berlin
      Music Video Award in the category "Most Bizarre" and it was shown on
      several film festivals across Europe.

      After Ruckus Array the band separately released the song Protoempire with a
      live session video played at Deutsches Theater Berlin. Then there happened
      some changes in the band staffing. Rafael Espinoza, who previously played
      in the band of Vernon D Hill and countless others became the new bass
      player and brought in a fresh breeze with his incredible skills and
      experience, just like a swiss army knife. Furthermore avant garde pianist
      Rieko Okuda from Japan who is based in Berlin for some years now became the
      new keyboard player to supply the wicked synthesizer variety, that was
      necessary to perform the 3rd studio album You Are Lost Anyway live. 

      On this album the way of songwriting changed dramatically. Previously Torsten Lang
      wrote the major part of the songs, some of the lyrics and produced the
      records. Larissa wrote the major part of the lyrics. Not to be ignored: the
      other members added a great share to the bands geeky style.
      Then the process became more open in a rather unusual way. The band went to
      the recording room and started tracking drums without any composition in
      mind. Like this the structure of every song was determined by the
      improvised drum arrangements of Christoph Dehne. Then bass, guitars and
      keys were stacked upon this to form the composition. The lyrics were in the
      first instance just very roughly written by Christoph, Simon, Albrecht,
      Larissa and Torsten. This happened in very spontaneous sessions, attempting
      the thought systems to just leak and well out. The outcome was then again
      radically re sculpted and polished by Larissa and Torsten to form the final

      Christoph, Larissa,Torsten and Rafael

      A live video of Supernova, Black Hole, Eternity & The Space:

      Excellent reviews in English in here, and in German in Underdog Fanzine here.

      Physical and digital release on the 27th of October 2017.

      Track listing:

      1: Dragged In                                                                 
      2: Verwöhnt Von Happiness                                        
      3: Supernova, Blackhole, Eternity and the Space
      4: Ron                                                                            
      5: Buried in Gold                                                        
      6: Nothing Nothing                                                                                            
      7: Polished Eyes                                                            
      8: Transfixed Reveria  

      Price for the cd:

      Thursday, October 19, 2017

      OUC010 : Quentin Manfroy / Flute Solo

      Cover art by A.L.,  original pic by Frederic Labaune. macromicrophoto

      OUC010 : Quentin Manfroy / Flute Solo

      This flute solo is a meditation about the chaotic organistation of the sounds of nature.
      Thanks to my mountain guide, musician and soundman Thomas Manoury, this music was recorded in Iceland in the depths of frozen caves, in a lighthouse, in glacial crevasses, in the vicinity of enormous waterfalls or in more conventional concert halls.
      The purpose of this disc is to succeed to make a monophonic instrument deploys the polyphony.
      And perhaps through the contact with all these little drops and this water that never ceases to flow (it is its nature), the flute works here to make audible the voice of "the spirit of the sources", so tenuous it may be.

      Quentin is a classical music trained flutist who studied at CRM Brussels. 
      At the same time, his passage through F. Cassol's improvisation class (founder of Aka Moon) at the end of the 90ties motivated him to pursue a career as a classical musician and an improviser. He joined different jazz or rock band like Orange Kazoo (renamed Belgistan Orchestra later).
      He then worked with outstanding musicians such as the Scottish composer Daniel Barbanel with whom he made many tours and records, or Song Yujhé, a Chinese singer and composer who inspired him on the level of sound directions and distances.
      Thanks to Gregoire Tirtiaux and his in-depth work on Gnawa music, he discovered trance music with Maalem Hassan el-Ghadiri from Marrakesh. A long collaboration resulted from that encounter.
      Currently he plays in the galaxy Mâäk (directed by Laurent Blondiau) with the big band Mikmaak and MW'soul (with the singer Ghalia Ben Ali).
      He also works with the supersymmetric band Mû (with the leader Yann Lecollaire, see OUC008), Ananke quintett, Secret Base, Matthieu ha and the Syndicat d'Initiative, the spectral Gong Extensions ...
      A certain tendency to desecration has been noticed in some unavoidable projects like the Gurkenpanpan 2 regressive musac cover band, or the Promethean POMPEI.

      Played among others with:
      Fabian Fiorinni, Sturm un klang, Garret list, Frederick Rzewsky, Coryfeye string quartet, Emmanuel Louis.


      The solo project is an intimate reflection about his instrument. For this solo, when playing live, it is purely acoustic. An instrument, a musician, an audience, a room.
      Only one question is essential to Quentin: how to succeed in merging the sound of a modern flute and the techniques from the contemporary music on one side, keeping in mind that breath has come from the depths of the ages, from before history, perhaps even before language on the other side? He believes that there is a door opening "the space within ».

      He is currently working on what can be labeled as "Great Catalogs" for flute. This research would integrate the contemporary techniques of his instrument to the tonal or modal music, in order to generate polyphony. An obscure and misunderstood phrase by the composer Victor Kissine, written to conclude an analysis of a cantata by Webern, is probably at the origin of this work:  ‘The vertical time is SUPERIOR to the horizontal time!’ 

      The idea behind the development of these "Great Catalogs" is to give the numerous flutists in the world new multiphonic ways that could be integrated to the tonal system to "fold" the flute on itself, to verticalize it. These works will be the subject of a future record.

      Sound and mix: Thomas Manoury and Vincent Poujol.
      Mastering: Finnur Hákonarson
      Photo: Frederic Labaune. macromicrophoto, see more here.

      This acoustic solo contains twelve worked improvisations.

      Digital release on the 20th of October 2017.

      Track listing:

      1: Flute Solo, Pt. 1
      2: Flute Solo, Pt. 2
      3: Flute Solo, Pt. 3
      4: Flute Solo, Pt. 4
      5: Flute Solo, Pt. 5
      6: Flute Solo, Pt. 6
      7: Flute Solo, Pt. 7
      8: Flute Solo, Pt. 8
      9: Flute Solo, Pt. 9
      10: Flute Solo, Pt. 10
      11: Flute Solo, Pt. 11
      12: Flute Solo, Pt. 12

      Thursday, October 12, 2017

      OUC008 : Mû / From Form

      Art cover by Vincent Capes

      OUC008 : Mû / From Form

      The repertoire of Mû consists of "Mouves".

      Mixing complex compositions and inspired improvisations, Mû spreads with those "Mouves" a remarkable and seductive music derived from chamber music, rock, science fiction soundtrack and electronic music.

      Elusive, they operate by a succession of steps in continuous flow.

      Mystical and sensitive, lush and intense, Yann Lecollaire's compositions and telepathic interplay open a new level of subtle nuance and transcendent melancholy in Olivier Messaien's modes.

      From left to right: Yann, Eric, Quentin and Benjamin

      Inside cover

      Recorded originally in November 2013 by Maxime Gendebien, studio Pyramide, Brussels.
      Mixed and mastered by Dre Pallemaerts.

      Yann Lecollaire: clarinets, editing, programming.
      Quentin Manfroy: flutes.
      Eric Bribosia: Fender Rhodes, SH101, piano, Hammon dB3.
      Benjamin Chaval: drums, noise, left hand keyboard, electrictable.

      Digital release on the 13th of Octobr 2017.

      Track listing:

      1: Mouve 12
      2: Mouve 11
      3: Mouve 2
      4: Mouve 8 
      5: Mouve 6
      6: Mouve 3
      7: Mouve 10

      There are still some copies of the original cd available here: