Independent Music Reviews & Music Label

Posts tagged “Marcus Fischer

Review: HearCapeCod – SoundSignals and Upstream

HearCapeCod SoundSignals Front

Volume One – SoundSignals – #HCC001

Notes and Detailed Credits: http://hearcapecod.org/soundsignals/

CD 1 (Time: 39:08): Sound Signals: Act 1: On Land, Act II: On Water, Act III: A Year, Coda: Route Six

CD 2 (Time: 46:24): Signals Remixed: 1: Goldmund, 2: Marcus Fischer, 3: Loscil, 4: Taylor Deupree, 5: Neara Russell, 6: FourColor, 7: Steve Wilkes, 8: Simon Scott, 9: FourColor & SoundSignal

HearCapeCod Upstream Front

Volume Two – Upstream by Fordham Wilkes – #HCC002

Notes and Detailed Credits: http://hearcapecod.org/upstream/

CD (Time: 37:08): 1) Gates of Summer, 2: The Language of Birds, 3: GP Road Resonator, 4: Dive Down, 5: Upstream, 6: June, 7: Shifting Sand, 8: Fog, 9: The Message

Websites: http://hearcapecod.org/ & http://www.fordhamwilkes.com/

Sound Archive: http://www.hearcapecod.org/ListView.php

Recordings mastered by Taylor Deupree at 12k Mastering

Since the middle of 2011, Berklee College of Music professor, percussionist and Blue Man Group alum, Steve Wilkes has been working on a project to capture the sounds of Cape Cod over a year and to map those sounds as an aural history of the region (the far eastern end of Massachusetts in the northeastern United States).  The project was funded in part by the Newbury Comics Faculty Fellowship.  The region has undergone many environmental and man-made changes, from rising sea levels and coastal erosion to residential development.  It was Wilkes’ feeling that the region is measured and analyzed in many ways (like bird population counts, temperature and sea levels), but there was yet to be a base-line environmental sound analysis examining animal, environmental and cultural activity in the region.

At this point, the project consists of 3 CDs: 1, a collection of regional sounds; 2, the sounds remixed by a number of musicians who will be familiar to many, and 3, a song-cycle inspired by the region at various times throughout the year (which also incorporates many of the environmental sound recordings and the detailed credit links give an excellent overview of the variety on-location recordings).  The album artwork evokes pleasant memories of worn edged blue-green beach-glass.

HearCapeCod SoundSignals Back

CD 1 is a sonic time capsule, and at first it reminded me of a number of sound effects and spoken word recordings of the 1940s and 50s, and for a brief moment, I thought I was hearing a snippet of the old records by Bert and I.  It also had the immediate effect of taking me back in time to the days when I summered on “The Cape” as a child with my parents in the early 1960s.  The documentation of the region also harkens back to some of the expansive sound archive work by Alan Lomax.  This CD chronicles the sounds of land, water and activities that mark the course of a year from a First Night Noise Parade to the calming summertime beach surf.  It closes with the reading of the poem Route Six by Stanley Kunitz (being the road that travels down the center of the “flexed arm” of Cape Cod, reaching out into the Atlantic Ocean).

Having lived in a beach-town region in nearby southern Connecticut, I am also reminded that a resort region like The Cape has two lives—the times when the summer-folk occupy and the off-season when only the locals remain.  The off-season is the time when locals can take long walks on the shore beaches and see very few people.  Life goes on in a different way after the tourists have left in the autumn.

Taylor Deupree’s Remix

 

Wind Chimes Field Recording That Inspired TD’s Remix

 

CD 2 is a sensitively created set of interpretive remixes by many well known artists in the current electro-acoustic, ambient and electronic music communities (see list above).  The field recordings from CD 1 are delightfully co-mingled with the offerings from each of the artists (well documented at the web link also noted above).  I was immediately struck by the opening notes of the first track by Goldmund (Keith Kenniff), the piano melody being very reminiscent of Anthony Phillips’ Death of a Knight from Henry: Portrait from Tudor Times (from the album The Geese and The Ghost), before drifting into a dream-state with seaside, night-time crickets and Morse Code pulses.

FourColor Remix

 

Field Recording for FourColor Remix

 

Most of the remixes are by artists who have done work strongly connected with outdoor environs and water (as in the Flaming Pines label Rivers Home series), like Marcus Fischer, Taylor Deupree and Simon Scott (to name a few).  The character of this disc ranges from contemplative to glitchy (FourColor) to playfully rhythmic (as in Loscil’s remix).  The remix by Steve Wilkes includes the first HearCapeCod recording made in Truro at Corn Hill Beach in the summer of 2002.  The CD closes with a collaboration of FourColor and SoundSignal (Wilkes) and is the most melodic and rhythmic of the tracks of the album.  This CD forms a strong connection to the foundation provided by Wilkes’ research and recordings.  As much as I’m tempted to suggest that this CD be made available separately, after spending time with the entire set, it is actually a quite inseparable part of the whole.

HearCapeCod Upstream Back

CD 3 Upstream, is a song cycle by the duo Fordham Wilkes (Ginny Fordham: vocals, Steve Wilkes: drums with Crit Harmon: guitars and Keiichi Sugimoto: guitars) and is inspired by years of memories of time on Cape Cod and it is the most personal of the three discs.  Fond recollections of places run deep for many and they have different effects on people.  This is where the project transforms from being objective (CD 1) to the most reflective and personal (while avoiding sentimentality).

The album has a sense of welcoming and ease, enjoying summer breezes, wading in tidal pools, walking in sanctuaries or along beaches.  There is no heavy foreboding or hand-wringing of what was or could be; the feeling is that of the now and hopefulness, and Ginny Fordham’s voice brings a relaxing calm to the album.  Gates of Summer opens CD3 and is forms an instrumental and melodic transition from the last track of CD2.  The Language of Birds plays rhythmically with a juxtaposition and syncopation of the instrumentation and avian field recordings.

GP Road Resonator

 

The Field Recording Forming Basis for GP Road Resonator

 

The ever-present drone of automobile traffic is also a reality of summers on The Cape (whether passing over the Sagamore or Bourne bridges before necking down to Route 6 or at the half-way point to Provincetown, in Eastham) and these sounds are merged with fleeting views to salt marshes in the pensive GP Road Resonator.  As in CD 1, there are songs of Land as well as Water, as in Dive Down and Upstream (as much a metaphor for returning to and rebirth of the area as it is the traffic on Route 6 that one is “swimming” against!).

CD 3 is also a reflection of CD 1’s A Year, The Cape in song over the course of a single circumnavigation of our Earth around the Sun.  As the album progresses through the summer and into the end of a year (June, Shifting Sand and Fog) it grows more contemplative with the advancing of the calendar, melding dreams with reality.  Each Spring many look forward the approaching time outside and then seemingly in the blink of an eye, Summer is over.  The album closes with The Message, an inspiration left in a voicemail, which ultimately is the beacon announcing the sense of place of The Cape that inspired the HearCapeCod project.

****

The release date (May 28, 2013) for this set is at the unofficial “gate of summer” season, just after Memorial Day weekend.  These albums will be available at: Booksmith Musicsmith, Orleans, MA: https://www.facebook.com/BooksmithMusicsmith , Muir Music, Provincetown, MA: https://www.facebook.com/muirmusic5 , The Cape Cod Museum of Natural History: http://ccmnh.org/, CD Baby: SoundSignals On CD Baby, iTunes: http://www.apple.com/itunes/  and Amazon.com: http://www.amazon.com/ 


A List Too Small – My Favorites of 2012

Thank you to all the artists and record labels for such wonderful and diverse music.

This is one list of many, it’s my list, and it leaves off many other favorites that I have enjoyed over the year in addition to the thousands of other albums and single tracks that make up music throughout the World.  What has helped me arrive at this list is what I have always loved about music: Does it move me?  In addition, is it creative, well recorded and produced with a degree of care that makes me pay attention to it?  There was a time when I was obsessed with highly produced and tightly engineered works, then I learned about artists such as East River Pipe and Sparklehorse, and many other genres of music were opened to me.

If you don’t see your favorite album on this list (or even your own album), it doesn’t mean a thing.  If an album has been reviewed on my website this year, it’s meaningful to many others and me, but this is only a very, very small slice of the music world.  Often people ask me about new music, and what I recommend.  When I started this website in late January, 2012 it was first a means to write about music that I enjoyed, but also to get to know other artists and learn about new music that they create, so I could pass it on.  Often, the best new music is that referred by a friend.  Please feel free to send me your comments and recommendations.

Special note: There are still three or four late 2012 releases that are either enroute to me, have yet to be released or have just arrived.  I need to spend proper time listening to and absorbing these albums.  Rather than delaying this list further, and if after listening to those last 2012 releases I feel that they hit a sweet spot, I’ll review those albums in early 2013.  I know of at least two 2012 releases that I’ll likely not receive until 2013.

I have three categories: Albums (12), Individual Tracks (6), and Special Releases (3) that don’t necessarily fit into a category.

Albums (Artist – Album Title – Record Label)

T&Y TLOF

1) Twigs & Yarn – The Language of Flowers – Flau

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2) Lambchop – Mr. M – Merge Records

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3) Zammuto – Zammuto – Temporary Residence

sh-grii-front

4) Steve Hackett – Genesis Revisited II – Inside Out Music

12k-faint-cover

5) Taylor Deupree – Faint – 12k

BillowObservatory

6) Billow Observatory – Billow Observatory - Felte

12k10701Gareth

7) Gareth Dickson – Quite A Way Away – 12k

Pill-Oh KL

8) Pill-Oh – Vanishing Mirror – Kitchen. Label

brambles-cover-alt

9) Brambles – Charcoal – Serein

almost-charlie-ty

10) Almost Charlie – Tomorrow’s Yesterday – Words On Music

CodyChesnuTT

11) Cody ChesnuTT – Landing On A Hundred – One Little Indian

SM DEEP

12) Stick Men – Deep – Stick Men Records

Individual Tracks (from other albums)

 

1) Library Tapes – Sun peeking through (from the album Sun peeking through) – Self Released

2) Cock & Swan – Orange & Pink (from the album Stash) – Lost Tribe Sound

3) Alex Tiuniaev – Daylight (from the album Blurred) – Heat Death Records

4) Kyle Bobby Dunn – In Praise of Tears (from the album In Miserum Stercus) – Komino

5) Kane Ikin & David Wenngren – Chalk (from the album Strangers) – Keshhhhhh

6) Olan Mill – Bleu Polar (from the album Paths) – Fac-ture

Special Releases

Celer Machinefabriek

1) Celer & Machinefabriek: Maastunnel/Mt. Mitake, Numa/Penarie, Hei/Sou – Self Released

Trommer%20artworkPorya%20artwork

 

 

 

 

 

Darren%20McClure%20artworkThe%20Green%20Kingdom%20artwork

 

 

 

 

 

2) Birds Of A Feather: Michael Frommer – The Great Northern Loon, Porya Hatami – The Black Woodpecker, Darren McClure – The Black Kite, The Green Kingdom – The Great Blue Heron – Flaming Pines

12k2026_2

3) Simon Scott, Corey Fuller, Marcus Fischer, Tomoyoshi Date and Taylor Deupree (Recorded live in Japan October, 8, 2012) – Between (…The Branches) – 12k

Record Labels Noted Above

Flau: http://www.flau.jp/

Merge Records: http://www.mergerecords.com/

Temporary Residence LTD: http://temporaryresidence.com/

Inside Out: http://www.insideoutmusic.com/

12k: http://12k.com/

Felte: http://www.feltesounds.com/

Kitchen. Label: http://www.kitchen-label.com/

Serein: http://www.serein.co.uk/

Words On Music: http://www.words-on-music.com/

One Little Indian: http://indian.co.uk/shop/landing-on-a-hundred-1.html

Stick Men Records: http://stick-men.net

Library Tapes: http://librarytapes.com/

Lost Tribe Sound: http://www.cockandswan.com/ Note: I have not listed the weblink to the record label as Google has noted that the website MAY be compromised.

Heat Death Records: http://www.heatdeathrecords.co.uk/

Komino: http://kominorecords.com/

Kesh (Simon Scott’s label): http://www.keshhhhhh.com/

Facture: http://www.fac-ture.co.uk/

Machinefabriek & Celer: http://machinefabriek.bandcamp.com/ & http://www.thesingularwe.org/fs/

Flaming Pines: http://flamingpines.com/


Flaming Pines Label

Record Label Website: http://www.flamingpines.com/

Soundcloud Page: http://soundcloud.com/flaming-pines

Bandcamp Page: http://flamingpines.bandcamp.com/

I am always looking for new and interesting music, and often works with a message or a foundation.  Late in 2011, I came across a label from Sydney, Australia named Flaming Pines.  I first noticed an EP release by Marcus Fischer and then realized that it was part of a series entitled Rivers Home.  The first series consisted of 5 separate 3 inch CDs, each with works by a different artist (Marcus Fischer, Kate Carr, Field Rotation, Broken Chip and Billy Gomberg).  There was also a common theme to the CDs, and I immediately took note of the striking cover artwork.  Rivers Home (and its later Part Two with releases by The Boats, Seth Chrisman, Dan Whiting, Savaran, and All N4tural) “…celebrates the wonder of rivers at a time when many of them are particularly vulnerable.  Many of us dream about rivers, ride along rivers, take ferries along rivers and sit on river banks. This series is a musical exploration of the ways we influence rivers and they influence us.”  The founder of Flaming Pines it turns out is Kate Carr, whose work is also featured in the series.  Kate also produces the artwork for the covers.  I ultimately bought the entire set.  Many of Flaming Pines’ releases are mastered by Taylor Deupree of 12k.

Marcus Fischer – Willamette River

 

The Boats – River Calder

 

Recent releases include a split album by Kate Carr (Blue) and Gail Priest (Green), which is an exploration of sound and color.  The last track of each side serves as a transition to the other side of the LP, and the color references are subtle (as colors are muted at dawn and dusk), and reveal the natural world with field recordings and gossamers of acoustic and electronic instrumentation and effects.  The LP silences the distracting world around and reveals the many things missed in the background as the days and seasons come and go all too fast.  The LP is a co-production of Flaming Pines and Metal Bitch Recordings.

Kate Carr – Excerpt from Blue

 

Gail Priest – Excerpt from Green

 

Just released in September is the next series of EPs on a theme, this time Birds Of A Feather, and the covers keep getting better!  The first two are the Black Woodpecker by Iran’s Porya Hatami and Great Northern Loon by Canadian Michael Trommer.  Carr notes of this series, “…the role of birds as muse, as musical guide and inspiration has been well documented in classical music, from Mozart’s pet starling to Beethoven’s birdsong filled Pastoral Symphony and Sibelius’s swan hymn to Messaien’s birdsong compositions.  Birds Of A Feather celebrates the role of birds in ambient music, and the beautiful fragility of birds more generally.”  Both of these EPs are deeply layered soundscapes with field recordings of the chosen birds and environs mixed with acoustic and electronic instrumentation that heighten the experience.  It’s like getting lost in the woods or paddling a canoe on a hidden lake.

As with Rivers Home, Birds Of A Feather will be a series of about 12 three inch CDs released as pairs in editions of 100 over the next year.  The next pair of CDs will be by The Green Kingdom and Darren McClure.

My favorite of the cover artwork thus far is the expressive Black Woodpecker.

Michael Trommer – Great Northern Loon Excerpt

 

Porya Hatami – Black Woodpecker Excerpt

 

The latest October release is a debut by Michael Terren entitled Bythorne, who lives in far western Australia in Perth.  In June of this year, he strapped his piano to a trailer and drove it 200 kilometers to a farm of his childhood.  There he recorded this EP of six compositions (Cureaking, These Ones, All Nine of Them, Midiology, Bythorne and Dardyboys).  The tracks echo the surroundings and ever-changing weather (from placid blue skies to sudden stormy weather in from the Indian Ocean) as well as the pastoral timelessness.  I get a strong feeling of the sense of place from the beautiful title track.  The sleeve is handmade and the EP is limited to 100 copies.

Michael Terren – Bythorne

 


Marcus Fischer + The OO-Ray – Tessellations

Optic Echo – oe010 LP limited to 250 LP copies

Marcus Fischer: http://www.mapmap.ch/index.php/recordings/tessellations/

Ted Laderas (The OO-Ray): http://15people.net/ & http://eatguide.tumblr.com/The-OO-Ray & http://waveguideaudio.com/

Record Label Website: http://www.opticecho.com/OE/News.html

LP Time: about 43 minutes.  Digital Time*: about 49 minutes with Track 8*.

Credits: Mastered by Taylor Deupree at 12k.  Cut by Rashad at Dubplates & Mastering.  Cover Design: Marcus Fischer

 

Tracks: 1) belong; 2) cold spring; 3) bokeh; 4) fourier; 5) unfold; 6) ghost lights; 7) tessellate (tessellation); 8) music for caverns*

Improvisation is about taking risks, experimenting and responding to the immediate results.  It is the outcome of the instantaneous transition from thought to motion, and then to sound.  It sometimes takes practice, and it requires chemistry between the artists; the kind of vibe evident between Marcus Fischer and Ted Laderas (aka The-OO-Ray).  Music can yield a far timelier reward compared to other slower [art] forms, like in architecture or science, where the results of research and collaboration can often take years to behold.

This has been a busy year for Marcus Fischer with at least five published recordings, touring, and new projects in the works.  I’ve certainly enjoyed all of them, solo and collaborative.  It is thanks to Fischer’s work that I have become familiar with Ted Laderas (The OO-Ray: self-professed on his Twitter bio “Half Scientist, Half Cellist, All Shoegazer”) and his electro-acoustic chamber-drones.

Tessellations is the result of a series of long-form improvisations between the Fischer and Laderas.  It was commissioned by the Optic Echo label in 2011.  The instrumentation is largely stringed (acoustic and electric guitars, cello, lap harp) with percussion, loops, processing and minimal synthesizers.  The album has a dynamic richness with a combination of soothing observation and introspection.  I also appreciate that this is an album of largely non-electronic instrumentation, not necessarily a rejection of sequenced analog or digital electronics, but a return to earlier tangible instrumental roots, and a sense of the ageless.  It kind of takes me back to some of Kraftwerk’s oft-forgotten earlier works from Kraftwerk 1 and 2, and Ralf and Florian; like the guitar portions of Tongebirge (Mountain of Sound) from 1973.

The album opens with belong, rising like the sun on a dewy morn; crisp and hopeful with a gentleness that avoids any sense of melancholy.  Stark and mysterious is the ambience of cold spring with OO-Ray’s cello seeking the edges, and hints of Harold Budd’s Boy About 10 from the album By The Dawn’s Early Light.  The largo metronomic of the bass line maintains the focus of bokeh as cello, keyboards and other instrumentation blurs the musical depth of field.

The shifting of sounds, interlocking, matching and then contrasting (much like a moiré pattern) is the sense presented in fourier, which is perhaps the most densely packed and expansive of the tracks.  By contrast, unfold is perhaps the most peaceful track on the album, a private [waterside] contemplation with gently flowing cello, meandering lap harp layered and a soft droning veil.  Then, the mystical and shimmering reverb of ghost lights emerges, and is reminiscent of the recent Unrecognizable Now album (Fischer’s collaboration with Matt Jones, KESH018) Two Rooms, with shifting chords and bowed strings (and has some of the sound I noted earlier in Tongebirge).

tessellate is the longest (about 10 minutes) and most subtle of the tracks on the album (titled tessellation on the download).  It has the most nuanced transitions, with Fischer and Laderas trading themes and responses, and weaving phrases back into the fabric of the piece.  It brings the LP to a placid close.  *music for caverns is the bonus track with the digital download, and is a warm postlude to the day that started with belong, and in some respects is similar to the closing tracks of Eno, Lanois & Eno’s album,  Apollo: Atmospheres and Soundtracks—one of my favorite of Eno’s collaborative works.

Marcus Fischer + The OO-Ray have deftly assembled in their collaborative improvisational work both a cohesive sonic realism, and impressionistic vision with a timeless authenticity.

Marcus Fischer + The OO-Ray – Photo by Seth Chrisman


unrecognizable now – two rooms

CD Time: 33:14* #KESH018

*With forthcoming excerpt remixes by Simon Scott and Kane Ikin

Record Label: http://www.keshhhhhh.com/

Artist Website: http://unrecnow.com/blog/

Sound Samples & More Info: http://kesh.bandcamp.com/

More on Matt Jones: http://www.matthewjones76.com/Unrecognizable-Now-1

More on Marcus Fischer: http://mapmap.ch/index.php?/ongoing/unrecognizable-now/2/

Tracks: Track 01, Track 02, Track 03, Track 04 (mastered to have seamless transitions)

unrecognizable now is an occasional collaborative project of Matt Jones and Marcus Fischer.  They consider their work to be “gradual layered music” based on live improvisation, found sounds, a range of instrumentation, and laptop computers.  In 2004, Jones and Fischer scored various experimental films by Portland, Oregon filmmaker Rob Tyler.  The relationship of sight and sound was further explored by Fischer, Jones and Tyler in the first of a series of events in 2006 entitled Vision+Hearing.   Fischer and Jones released their debut CD in a cave or a coma in mid-2006 on the Pehr Label (with 10 tracks and a short film by Tyler).  In 2008 a live performance of unrecnow was captured on self-released limited edition CD entitled for sleeping it off.  Marcus Fischer is a well known solo and collaborative sound artist, to date releasing more than ten recordings on labels such as 12k, Tench and Flaming Pines.  Matt Jones is a photographer, artist and sculptor.  Both are based in Portland, Oregon.

While two rooms is a further exploration of the electro-acoustic improvisation realm, this project also seems to nod to earlier works like Brian Eno’s seminal Ambient 1 – Music For Airports (1978) and the somewhat darker Ambient 4 – On Land (1982).  unrecognizable now including a diagram of how the music was recorded is not unlike diagrams included on the reverse of both of the noted albums by Eno.  This release is not only the literal music recording, but an in-situ analysis of how and why it exists as it does.  Not a “field recording” per se, rather an interior anti-studio recording, one where it is important to document not only the music, but the ambience of the setting as well as the process.

The microphone placement for two rooms (in the basement of a downtown Portland office building), with the varying distances from source material and varying sound decay rates gives a tangible sense of space.  This treatment also counters a sense of claustrophobia that one might expect, being recorded in a concrete tomb, of sorts.  It has a remarkably expansive sound (historical note: the vocals for the David Bowie song Heroes were recorded using a series of remotely placed mics similar to this).  Since this is a live improvised recording, it includes all the sounds associated with movement and production of the work by the artists (walking, changing instruments, etc.); adding a sense of transparency and intimacy.

The progression of this work is similar to Fischer’s recent 16 minute live release EP At Frame. Non-representational yet (depending on the listener) it can evoke memories or visions.  For me, parts are like being on a sailboat, anchored or just drifting in light wind, and at others like wandering through an old dark factory and wondering about the history of the place.  two rooms has the pleasant effect of allowing the mind to wander while occasionally being nudged by recognition of a particular instrument in the soundstage.

unrecognizable now photo by barry hill

The feeling in Track 1 is largely one of comfort. This section is more guitar and string-based (with some bowing) with pedal effects.  Track 2 transitions to more keyboards, and then strings blend and the sound is fuller and brighter.  After a graceful lull, deep and gentle waves begin at about the midpoint.  There is a slight recurrent low-register plucked-string theme and then one is cast adrift at about 9:00.  Track 3 is more ethereal than the other parts, especially at the beginning.  Guitars return again at 1:30 and are blended into the omnipresence.  At about 3:00 the density increases and bowed strings return to then be consumed into a cavernous silence.  Late in this track there are various percussive effects to announce the transition to Track 4.  This section is plucked, strummed and somewhat simplified; in a sense returning to the beginning and later an overlay of a nearly hidden repetitive melody appears and vanishes as the piece closes.

two rooms will be released on July 16th and digital files will be available for download, but if you are so inclined for a physical release, there will soon be 300 CD copies available in numbered and letter-pressed recycled card sleeves and related artwork—reasonably-priced, for such a beautiful work of sound art.  This is an intriguing exploration of sound and space (an interior “field recording” of sorts), evoking different images and experiences.  Perhaps now, rather than incidental music to a short film, this piece could be the creative inspiration for a visual work of its own.

*Postscript on the forthcoming remixes – More information on these soon (to be released on July 28th), but the Simon Scott remix is taken from the second half of Track 2 (one of my favorite sections) and finishes with the sound of a vinyl runout groove.  Given Simon Scott’s recent work on his Below Sea Level project, I can see why he would be attracted to what I think is the most marine-like section of this work.  The Kane Ikin remix has mysterious origins (to be discovered by the listener) with added treatments and loops.

***

This is a solicited review, although I have the physical release on pre-order.


Recent work by Monty Adkins and new work by Marcus Fischer

Monty Adkins - Fragile.Flicker.Fragment

In my review below of M. Ostermeier’s latest album, I didn’t note that Marc referred me to the work of Monty Adkins and specifically his recent CD “Fragile.Flicker.Fragment.”  This album is a real gem, beautiful electric and acoustic pieces and wonderfully produced and it has been nominated for a Qwartz8 award in the album category in France: http://qwartz.fr/2012/01/24/qwartz-8-categorie-album-cat/ It’s available at  Audiobulb Records: http://www.audiobulb.com/

The track “Remnant” has an accompanying video, which is here:

****

Marcus Fischer – Collected Dust

Also, I recently became aware of the work of Marcus Fischer (why do I miss all these great artists?).  He has a just released CD entitled “Collected Dust”.  Please read more about Marcus’s work at his website: http://dust.unrecnow.com/ as well as at Tench Records (sound files here): http://www.tenchrec.com/TCH05.html The CD just arrived yesterday and it’s playing now.  A splendid work (also electric and acoustic in a similar vein to Monty Adkins’s work).


My Online Reviews Currently Appear At…

http://affordableaudio.org/Affordable$$Audio/Current_Issue.html and http://www.hifizine.com/   Stay tuned for additional online locations.


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