Asher’s covers to “Untitled Landscapes 1 & 2” are programmatic. The bleak pictures that are drowning in dark metallic grey are a direct representation of the music that is mostly of monochromatic nature.Thick and beating oscillations slowly ebb and swell in lower registers, while the upper…
Develop your sensitivity to music. Try to respond esthetically to all sounds, from the hum of the refrigerator motor or the paddling of oars on a lake, to the tones of a cello or muted trumpet…On a more complex level, try to relate sounds to each other in patterns: the successive notes in a melody, or the interrelationships between an ice cream truck jingle and nearby children’s games.
Time is a crucial component of the musical experience. Develop asense of time as it passes: duration, motion, and the placement of events within a time frame. How long is thirty seconds, for example? A given duration of clock-time will feel very different if contexts of activity and motion are changed.
Develop a musical memory. While listening to a piece, try to recall familiar patterns, relating new events to past ones and placing them all within a durational frame.
If we want to read, write or talk about music, we must acquire a working vocabulary. Music is basically a nonverbal art, and its unique events and effects are often too elusive for everyday words; we need special words to describe them, however inadequately.
Try to develop musical concentration, especially when listening to lengthy pieces. Composers and performers learn how to fill different time-frames in appropriate ways, using certain gestures and patterns for long works and others for brief ones. The listener must also learn to adjust to varying durations.
Try to listen objectively and dispassionately. Concentrate upon ‘what’s there,’ and not what you hope or wish would be there.
Oliver Doerell and Roger Doering’s Dictaphone might not be the most prolific project around, but what they lack in frequency they make up for in sheer impact. ‘Poems from a rooftop’ is their third album in ten years, and is the first to feature new member Alexander Stolze on violin. The dusty, haunted jazz of ‘M.=addiction’ and ‘Vertigo II’ is still visible, but joined by Stolze’s shimmering string tones, giving the already rich sound a further layer of depth.
The title ‘Poems from a rooftop’ comes from Iran’s ‘green revolution’, where people were so afraid to go out on the street that they emerged on their own rooftops to protest the stifling regime. This sentiment carries into the conflict and shrouded mystery in each song, from the rhythmic, emotive bar-room crawl of ‘The Conversation’ to the phenomenal ‘Rattle’, led by vocalist Mariechen Danz. It seems as if ‘Poems from a rooftop’ catches a point in the band’s career where they appear perfectly at ease with their sound, and able to distil the jazz, subtle electronics and haunting ambience of their previous records into one deftly coherent whole. The result is an arresting, and poignant narrative record which is sure to stand as their finest to date. ‘Poems from a rooftop’ is proof that the greatest poems might not even need lyrics at all, and Dictaphone manage in a flurry of notes to carry more emotion than an entire script of languid language. These are, without a doubt, poems you won’t be so quick to forget.
Marcus Fischer is a multidisciplinary artist and musician based in Portland, Oregon. He has released music on 12k, Tench, Pehr + Kesh under his own name and as part of the duo Unrecognizable Now.
‘At Frame’ is an excerpt from a live recording of a performance at FRAME in Portland, Oregon. This set was centered around lapharp and non-computer-based signal processing which was fed into a 25 foot long tape loop strung from floor to celling in the event space. In addition to the tape being a recording and looping medium, it was also part of a feedback and delay system which was controlled from the mixer.
A pop-up record store and hub for creatives, makers and enthusiasts, instilling and celebrating the importance of self-releasing, independent publishing and the handmade via eclectic stock; talks, workshops and masterclasses; (audio) screenings; as well as intimate and large-scale performances.
SOUND//SPACE is a not-for-profit venture, opening May - July 2012 at V22 Workspace, as part of the V22 Summer Club.
As we firmly believe in the personal touch - just as the labels we work with believe - please visit us during our lengthy opening hours to experience our wares first hand. There will be no online store.