segunda-feira, 2 de Setembro de 2013

dromos013 Sebastian Lexer & Grundik Kasyansky - The Fog


Recorded a couple of years ago at the INTERLACE concert series at Goldsmiths College in London, The Fog is a great showcae of Lexer's and Kasyansky's duo performances.
Albeit a short piece, it doesn't lack in intensity nor inventiveness, in fact, it's a very rich and dynamic performance.
Grundik's tape manipulations and electronics reveal a detailed attention to the placing and harmony of sounds,while also creating a tapestry of textures throughout, often foccused on the extremities of the frequency spectrum.
Add to this, Lexer's self-developed software and electroacoustic system, piano+, responsible for  manipulating the piano's resonant properties as well as accentuating it's percutive elements, allied with massive low end tones and metallic scraping sounds.
Through the interwining of their languages, the pair of musicians, develop a structure that seems to be made up of moments, be them long or shot ,extremely loud or very silent, that apparently build up to a climax that never occurs.
Thus creating a dense labyrinth of sound, so that one feels to be amidst of a thick and icy fog.

The artwork was done by portuguese artist Ana Martins, made up of 150 different compositions of dyed virgin wool secluded inside boxes of sculpted glass each with a different drawing made on it.

CD Info:
Cd comes in a limited edition of 150 copies 
All music by Sebastian Lexer & Grundik Kasyansky 
All artwork by Ana Martins

Wesbite Sebastian Lexer: 

http://sebastianlexer.eu/

Website Grundik Kasyansky: 

http://grundik.tumblr.com/

Website Ana Martins: 

http://www.anamartins.net/



Price by location (with Shipping & Packaging costs)


All orders are shipped via Regular Portuguese Mail. If you wish to have your items delievered to you through a different way, please send us an enquiry to  dromosrecords[@]gmail[.]com before ordering or visit http://www.dromosrecords.com for more info & other releases

terça-feira, 2 de Abril de 2013

dromos012 Toshimaru Nakamura & Manuel Mota - Foz



A couple of Autumns ago, on the back of a series of concerts and hosting a workshop togheter in Oporto, the duo of Toshimaru Nakamura and Manuel Mota recorded an informal session. From that natural affinity resulted Foz. It may be considered an historic document under the premise that it's Nakamura's first fully improvised recording, solely on electric guitar, in a decade.
Throughout two long pieces the duo on call carves a well balanced harmony between more reflexive and purely physical moments. From what could otherwise turn out to be an aesthetic clash, the musicians adaptability skill reverses the situation transforming it into an entangling affair and a series of communicative events between two unique and equally dominant idioms.
Altough sound is frequent, it's an introspective stripped down recording, with focus pointing towards melodical and textural aspects for the most part . Sheer poetics and discipline intertwined in a way that shall surprise even those already familiarized.

The artwork made by fellow musician and plastic artist Margarida Garcia consists of a series of original drawings and a font turned into stamps, then pressed onto 200 post-consumer digipaks each with different degrees of degredation created by the artist's transfer process.

CD Info:
Cd comes in a limited edition of 200 copies. 
all music by Toshimaru Nakamura & Manuel Mota 
all artwork by Margarida Garcia

Wesbite Toshimaru Nakamura: 

http://www.japanimprov.com/tnakamura/

Website Manuel Mota: 

http://headlightsrecordings.blogspot.pt/

Website Margarida Garcia:
http://margaridagarcia.blogspot.pt/





Price by location (with Shipping & Packaging costs)


All orders are shipped via Regular Portuguese Mail. If you wish to have your items delievered to you through a different way, please send us an enquiry to  dromosrecords[@]gmail[.]com before ordering or visit http://www.dromosrecords.com for more info & other releases  

sexta-feira, 29 de Março de 2013

RCK reviewed by Dan Warburton in The Wire


"Bon qu'à ça" was Samuel Beckett's typically laconic response to the question "Why do you write?" – and no English translation ("that's all I'm good for") can do justice to its terse, trisyllabic minimalism. There's the same "this is what I do" matter-of-factness to the music of Manuel Mota, a singular figure in the post-Fahey continuum (to misquote Anthony Braxton) of improv guitar heroes, who rarely performs outside a small circle of friends and has released only a handful of recordings, many on his own hard-to-find Headlights imprint, in a career now entering its third decade.
Charting the evolution of Mota's playing, whether on acoustic or electric guitar, is no easy matter. While one can clearly hear, on successive albums, Taku Sugimoto composing himself into near-silence and Loren Connors stripping the blues to the bone and wrapping the skeleton in a shroud of hum and hiss, drop the needle on any of the tracks in this handsome 5-CD box, which contains concert recordings from Lisbon, Ljublana and Paris along with eleven tracks recorded in Mota's own home, and you could easily mistake it for something he released a decade ago. There's a little more space in the music these days, for sure, but Keith Rowe's observations on Mondrian in The Wire #206 come to mind: "[He] just basically did the same thing. Even after the seismic change of going to live in America, his lines just thickened up a bit."
It's well nigh impossible, especially on a guitar, to avoid references to the repertoire you've grown up with, the memory written in the fingers – think of Alan Licht's tasty jam band licks, Derek Bailey's Webernian bebop – but there's there's very little in Mota's playing that reveals the blues rock he was weaned on. It's deceptively cool, studiously avoids excess and seems remarkably relaxed, yet once you start listening you're absolutely spellbound – check out how the ambient murmur and rustle of the punters at Lisbon's Zdb artspace on disc three quickly subsides into rapt attention.
Now that many improvisers arrive at the gig with a bagful of compositional caveats and thou shalt nots, it's refreshing to come across what used to be called "in the moment" playing (you can certainly hear why Bailey admired Mota), where the slightest accident, the tweak of an effects pedal catching the resonance of a harmonic, can send the music off in an entirely different direction. Fellow guitarist and Dromos labelmate Tetuzi Akiyama sums it up well in his affectionate mesostic that consitutes the liner notes: "the hands fooling / encounters new thoughts / after logics abandoned / bringing the distance / toward us away."

Dan Warburton in The Wire #347

Casa Corp reviewed by Richard Pinnell


Given that the same old discussions about the impact of overt politics in experimental music have resurfaced on the internet again today, this is a timely (though coincidental) CD to be writing about this evening. Casa Corp is the title of a trio release on the Dromos label by Edén Carrasco, (alto sax) Christof Kurzmann (laptop and voice) and Leonel Kaplan (trumpet). It contains a single thirty-three minute long (mostly) improvised piece recorded a little more than a year ago in Buenos Aries. On the whole, its a very lovely disc of slithering, burbling electroacoustic improvisation. However at a couple of points on the release Kurzmann, out of nowhere sings verses from the leftist protest song The Red Flag.
Now I’m not going to further labour the point about Kurzmann’s singing voice. I’m not a fan of it, and can’t see that changing any time soon. From the minute I saw the ‘voice’ credit beside his name on this release however I made a conscious effort to try and get past it and try and enjoy the album in spite of whatever Kurzmann’s singing brought to it. For the majority of the time, this is easy to do then, because the vocals are only present for a small portion of what is otherwise a very nicely put together (if slightly muddily recorded) improv session. The impact of the vocals however is enormous. Not only because the vocals sound awkward and completely out of place, but also because of the chosen song. Why was this particular piece of left wing history chosen? A reference to a situation in Argentina? A reminder that avant garde music has political responsibilities? Certainly it has brought the question of how politics are infused into experimental music to the front of my thoughts again, but was there any need? Personally I think the addition of the two bursts of The Red Flag here- one at the start of the piece, once it gets going after two or three minutes of near silence, and again at the end, ruin the album. Honestly its like sitting in the garden early one wintry morning admiring how the frost highlights a beautiful, intricate spider’s web, only for a copy of the Socialist Worker to blow over the fence and rip right through it. Its nice to be reminded of the good fight every so often. But not now. Not here. I was enjoying that album.
If the inclusion of The Red Flag here was indeed a politically motivated gesture, I wonder what it hoped to achieve? Surely this CD will sell a maximum of about two hundred copies? Surely those copies will be bought by (almost entirely) those who already align themselves to some degree at least with the left side of the political spectrum? I cannot believe I am the only one that considers all improvising musicians to have a default starting position of being aligned to the left. What did hearing this song amongst an otherwise really energising, captivating half an hour of free improvisation hope to achieve beyond reaffirming what we already think? There is nothing wrong with the message, but to my ears this was a poor choice of vehicle through which to send it. Maybe the inclusion of the song wasn’t a political move at all. In which case its annoying and confusing rather than annoying and intriguing. So, yes, I tried to make a conscious effort to get past Kurzmann’s singing on this album. Don’t think it worked out…
The rest of the album though, is really enjoyable. The two minute wait for anything to happen is a nice touch. When sounds appear, breathy gushes build over a short period into the gently pulsing, slightly droning, but mostly texturally layered music. It all feels fragile and human, the sounds of exhaling through metal pipes underpinned by Kurzmann’s very nice electronic groans and tones. The trio work well together but also keep the music tilting on an edge, constantly feeling like it will all fall apart, held together by the limitations of the human lungs and the processing power of a computer. It stays interesting, and keeps the listener fixed for its half an hour length (increasingly I am considering thirty minutes to be the optimum length for music of this type) and, if it wasn’t for the vocal bookends would be a very fine album indeed. As it is, I probably won’t play it again in a hurry, which is a shame, to me at least.
On a separate note, one of the most beautiful CD sleeves I’ve seen in a while, a delicate, photo-mechanical print that naturally decays as the sleeve goes about its intended purpose. Very nice.

by Richard Pinnell in The Watchful Ear

sábado, 22 de Dezembro de 2012

Rck Teaser




Manuel Mota - Rck

5 Cd Boxset comes in a limited edition of 100

All music by Manuel Mota
All artwork by Manuel Mota & Ana Teresa Ascensão
Liner notes by Tetuzi Akiyama





Price by location (with Shipping & Packaging costs)


or visit http://www.dromosrecords.com for more info & other releases  

quarta-feira, 28 de Novembro de 2012

dromos010 Manuel Mota - Rck


Long awaited monolithic boxset release from Manuel Mota, his second so far on Dromos.
Material spreads from solo electric and acoustic to various live performances across the five discs. After more than a couple of decades of activity one might believe he knows what to expect of Mota, but the evolution in his work is constant and ever-developing.
Throughout each disc and piece of music, Manuel Mota's suspended structures and isolated notes resonate with the intimacy and sentiment Manuel always has put into his music, a parameter often ignored in modern improvisation. Playing by his own definitions of time and space, Mota makes "Rck" an essential deliverence of his unique and different approach in instumentation,material, structure and even acoustic spaces (which he uses often to his benefit).

Every boxset comes in a clamcase, signed and nubered with a different drawing by Manuel Mota on each cover. On the inside, among liner notes by Tetuzi Akiyama and accompanying recording information, there is a set of five different original prints made by portuguese artist Ana Teresa Ascensão, each one made with a specific record in mind.

Cd Info:
5 Cd Boxset comes in a limited edition of 100
All music by Manuel Mota
All artwork by Manuel Mota & Ana Teresa Ascensão
Liner notes by Tetuzi Akiyama

Website Manuel Mota:
http://headlightsrecordings.blogspot.pt/

Website Ana Teresa Ascensão:
http://ata-design.net/




Price by location (with Shipping & Packaging costs)


All orders are shipped via Regular Portuguese Mail. If you wish to have your items delievered to you through a different way, please send us an enquiry to  dromosrecords[@]gmail[.]com before ordering or visit http://www.dromosrecords.com for more info & other releases  

segunda-feira, 19 de Novembro de 2012

Manuel Mota - Rck 5 x Cd Boxset - Concerto Lançamento




Concerto de lançamento da edição "Rck" (Dromos Records)

Manuel Mota solo guitarra

Sábado, dia 24 de Novembro no Museu de Geologia de Lisboa: Rua da Academia das Ciências

Início - 18:00h.

Entrada Livre

domingo, 11 de Novembro de 2012

dromos009 Leonel Kaplan/Christof Kurzmann/Edén Carrasco - Casa Corp



Second release for the accomplished trio of Leonel Kaplan, Christof Kurzmann and Edén Carrasco on the follow of last years brilliant Una Casa/Observatorio.
Recorded in Buenos Aires, roughly a year after the two pieces that compose the first release, Casa Corp reveals both a continuity and a progession of the trios improvisation.
Throughout the single pice, the most outstanding aspect of the record is the interplay between the musicians, up to a point, when several times the sound source becomes intangible, despite the presence of such significant individual voices.
Everyone knows their instruments range all too well,great attention is paid to detail as no sound is ever forced upon the careful structure.
Elements of pop sensibility, reminiscent of Kurzmann's work in The Magic I.D., are articulated with gentle strokes, percutive sounds, electronic hisses and blips along with scraping reeds as textures arise, coalesce and fade away.
An extremely beautiful and focused record.

The artwork,made by American artist Thuy-Van Vu, consists of 200 prints of an original oil painting created for this album. All have different degrees of degradation and are created using a photo transfer process.
The cover images are focused on the theme of destroyed home and architectural structures, a constant motif of Thuy-Van's work and one with an obvious strong connection to Casa Corp.


CD Info:

Cd-R comes in a limited edition of 200 copies. 
All music by Leonel Kaplan, Christoff Kurzmann & Edén Carrasco
All artwork by Thuy Van Vu

Wesbite Leonel Kaplan:
http://www.leonelkaplan.com/

Wesbite Christof Kurzmann :
http://ckurzmann.blogspot.pt/

Website Edén Carrasco:
http://www.myspace.com/edencio

Website Thuy Van Vu:
http://www.thuyvanvu.com/
http://www.ggibsongallery.com




Price by location (with Shipping & Packaging costs)


All orders are shipped via Regular Portuguese Mail. If you wish to have your items delievered to you through a different way, please send us an enquiry to  dromosrecords[@]gmail[.]com before ordering or visit http://www.dromosrecords.com for more info & other releases 

quarta-feira, 24 de Outubro de 2012

Schatten Review In Le Son Du Grisli

Magda Mayas, Anthea Caddy - Schatten (dromos006, 2011)

L’ombre (Schatten) portée de Magda Mayas et d’Anthea Caddy adopte la forme d’un appareil à sons irrités : ses cordes tremblent sous les frottements, sa caisse de résonance laisse flotter en elle des râles, son bois respire au son de notes fines et allongées. A la fin, les effets de perturbations dansent sur grincements : c’est là qu’arrive Schatten, là que Mayas et Caddy voulaient en venir.

Magda Mayas, Anthea Cady : Schatten (Dromos)
Edition : 2011.
CD-R : 01/ Lucidity 02/ In the Shadows Lay 03/ Shatter
Guillaume Belhomme © Le son du grisli

sábado, 12 de Maio de 2012

AuldLangSyne & Moments of Falling Petals on Le Son Du Grisli

Olaf Rupp - AuldLangSyne

Sur AuldLangSyne, la guitare peut-être électrique ou acoustique. Sur AuldLangSyne, les morceaux peuvent durent de deux à vingt minutes. Sur AudLangSyne, c’est toujours Olaf Rupp que l’on entend. Il passe le temps en accoucheur de merveilles.

AuldLangSyne est un disque aux multiples facettes que Rupp a enregistré en 2010 à Berlin. Il peut recéler de sons peu ordinaires sous l’agitation d’un ustensile (une baguette de bois, par exemple), assister au combat d’arpèges ou d’accords grattés au médiator, broyer des notes noires, jouer sur les volumes, avec un feedback ou toutes les techniques étendues d’hier et d’aujourd’hui.

Une chose égale la dextérité d’Olaf Rupp : son imagination. J’en ai fait le constat à chacune de mes écoutes d’AuldLangSyne, qui ont été nombreuses car l’objet est plus qu’originale, il prend de la place. Pour sa qualité et pour ne pas pouvoir le ranger sans qu’on le voie encore, on est obligé d’y revenir. Et on ne le regrette jamais. 

par Héctor Cabrero

Tetuzi Akiyama, Leonel Kaplan & Edén Carrasco - Moments of Falling Petals

La rencontre, enregistrée en concert, est celle du guitariste Tetuzi Akiyama, du saxophoniste Eden Carrasco et du trompettiste Leonel Kaplan. Moments of Falling Petals est le nom qui lui a été donné à l’occasion de son passage sur disque – première référence de l’étiquette Dromos. L’improvisation est faite d’interventions en perte de vitesse toujours, mais qui se régénèrent : d’un trio de cordes pincées en égrenage de cordes au médiator, la guitare est l’instrument qui découpe et donne à la musique des formes dans lesquelles on peut voir la silhouette de Bailey ou la main de Satie. L’exercice d’Akiyama, Carraso et Kaplan est celui de souvenirs et d’influences en commun.

 par  Guillaume Belhomme




quinta-feira, 3 de Maio de 2012

Falaise in Bodyspace

Pedro Sousa & Hernâni Faustino / Heddy Boubaker & Hernâni Faustino Falaise / Domino Doubles

O contrabaixista Hernâni Faustino é um dos eixos do RED Trio. O grupo de Faustino, Gabriel Ferrandini (bateria) e Rodrigo Pinheiro (piano) conseguiu afirmar-se solidamente como um dos mais excitantes grupos do jazz criativo dos últimos anos e além de ter definido um som próprio – herdeiro do jazz mas aberto a contaminações, democrático e original – o trio luso mostrou-se exímio na colaboração com nomes grandes da cena mundial, como aconteceu com o saxofonista John Butcher (cf. Empire) ou com o trompetista Nate Wooley (cf. o recente Stem). Fora do contexto do trio o contrabaixista apresenta agora dois trabalhos, ambos em duo, onde o seu instrumento resolve confrontar saxofones.

Em Falaise, uma edição da lusa Dromos Recordings, o contrabaixo de Faustino enfrenta o saxofone tenor de Pedro Sousa – membro dos grupos ACRE, Canzana, eitr e, sobretudo, Pão (atenção ao novíssimo disco homónimo, edição Sshpuma). Sousa e Faustino desenvolvem um diálogo improvisado áspero, revelando uma enorme urgência, numa estratégia de choque constante. Ambos os músicos servem-se de recursos menos típicos – sons da respiração, uso percussivo das chaves, no caso do saxofone; utilização original do pizzicato e do arco, no caso do contrabaixo. Em qualquer dos casos, os músicos procuram os sons que façam a música evoluir e, sendo o caminho por vezes radical, interessa mais que tudo o resultado final – os processos ou pormenores fazem parte do percurso. Urgente, ainda que não sempre bruta, a música da dupla Sousa/Faustino é intensamente acesa ao longo das suas quatro peças.

Domino Doubles, edição da label turca re:konstruKt, mostra Faustino na companhia dos saxofones de Heddy Boubaker. Com o multi-instrumentista francês Faustino serve-se da uma estratégia comunicante - semelhante ao disco anterior, mas com resultados distintos. Sendo também um diálogo improvisado, este revela uma maior contenção e tranquilidade – contrastando com a postura predominantemente agreste de Falaise. Esta será uma música aberta, mais ampla, mais espaçosa, mais madura - mas também menos incendiária. Importa sobretudo registar que, independentemente do contexto, podemos contar com um Faustino incessantemente imaginativo.


- Nuno Catarino in Bodyspace

domingo, 11 de Março de 2012

dromos008 Pedro Sousa & Hernani Faustino - FALAISE

Falaise is the first meeting between two major players of the Portuguese improvisation landscape. For those paying attention, neither should be a stranger by now. Besides being a powerhouse bassist with extraordinary technique, Hernani Faustino is one of the people behind the Clean Feed Label and integrates Nobuyasu Furuya's formations and Red Trio, who recently recorded albums with John Butcher and Nate Wooley.Pedro Sousa is among the most gifted improvisers of a younger generation of musicians now flooding the city. Already the possessor of a distinct abrasive timbre and an extremely sensible listening capability, which make him an extraordinary duo player.Throughout the whole record, both the language and communication are in constant co-relation.Consisting of four pieces, Falaise is the distilling of all their qualities as players, ranging from melodically introspective and entwining to percutive and disjointed, passing through fiery and radiant churns of free saxophone and double bass energy. With total regard for dynamics,timbre and articulation as a duo, Falaise is improvisation in it's prime.


The record comes in a digipack format, adorned with 3 original photographs by António Júlio Duarte. Inside each cover there is a different print from a series of 100 photographs of António Júlio Duarte made purposedly for the record.

CD Info:

Cd-R comes in a limited edition of 100 copies
all music by Pedro Sousa and Hernani Faustino
all artwork by António Julio Duarte

Website Pedro Sousa:
http://soundcloud.com/pedro-sousa-a-carajillo

Website Hernani Faustino:
http://www.hernanifaustino.com/

Website António Júlio Duarte:
http://www.antoniojulioduarte.com/






Price by location (with Shipping & Packaging costs)





All orders are shipped via Regular Portuguese Mail. If you wish to have your items delievered to you through a different way, please send us an enquiry to  dromosrecords[@]gmail[.]com before ordering or visit http://www.dromosrecords.com for more info & other releases

segunda-feira, 27 de Fevereiro de 2012

AuldLangSyne Review by Dan Warburton in The Wire #336

Olaf Rupp
AuldLangSyne
Dromos/Gligg CD-R

While many of his fellow Berlineres seem to have taken Ludwig Van Der Rohe at his word (or rather, Robert Browning's) - less is more - guitarist Olaf Rupp has consistently adopted the opposite track, combating the acoustic instrument's inherent lack of sustain by producing intense hyperactive flurries of notes that derive more from flamenco rasgueados and Chinese pipa technique (Rupp holds his guitar upright like the Chinese lute) than from traditional jazz fingerpicking.
But on three of the nine tracks on AuldLangSyne - which you'll find tucked into a crack in the vaguely coffin-shaped hexagonal leather pouch along with an original engraving by Antonio Poppe, whose artwork also seems to adorn the cover - Rupp also plays electric guitar, and the volume allows him breathing space to skirt around the raw edges of feedback and explore ringing harmonics and variations in dynamics. Even in the acoustic pieces, there are occasional pools of calm in the storm of fluttery strumming that reveal an acute ear for melodic line, a sense of clear harmonic forethought and a feel for a large-scale form often lacking in-the-moment frenzy of his earlier work.

Dan Warburton in The Wire 336 (Feb 12)

segunda-feira, 30 de Janeiro de 2012

Magda Mayas & Anthea Caddy - Schatten / Olaf Rupp - AuldLangSyne reviews by Julien Héraud in Improv Sphere

Spécialisé dans les musiques improvisées, Dromos est un label portugais original qui propose à un artiste plasticien différent à chaque publication de créer les "pochettes" comme il l'entend. Les deux dernières, à l'occasion de la sortie d'un duo de Magda Mayas et Anthea Caddy et d'un solo d'Olaf Rupp, toutes uniques et différentes, sont composées de matériaux divers comme des morceaux de cuir ou une membrane d'encre de Chine par exemple. Pour les curieux, différents modèles ainsi que des extraits musicaux sont accessibles sur le site de Dromos.

Anthea Caddy/Magda Mayas - Schatten (Dromos, 2011)

Outre la singularité des "boîtiers", Dromos publie également des enregistrements atypiques et originaux. Schatten par exemple regroupe trois improvisations de la violoncelliste Anthea Caddy et de la pianiste désormais célèbre Magda Mayas, livrées dans une création aux aspects bruts et rugueux de Nádia Duvall. Trois pièces donc où se superposent des textures nouvelles et des timbres originaux, la palette de sons est très large et forme comme une série de tableaux sonores minimalistes où se succèdent des couleurs qui diffèrent selon la dynamique. La plupart du temps, on reconnaît encore les instruments, mais la fusion est quand même si bien réussie entre les deux musiciennes qu'on a du mal à simplement souhaiter les distinguer. En fait, la distinction est possible dans la mesure où le duo Caddy/Mayas fusionne uniquement au niveau de la dynamique, tout en produisant des textures différentes, ou même opposées.

Trois pièces denses et riches, aux couleurs singulières et atypiques d'où surgissent toujours des dynamiques communes malgré l'opposition de timbres et de modes de jeu (ostinato contre bourdon, rythmique contre lisse, bruits contre notes). Il n'y a rien de révolutionnaire dans cette approche dynamique de l'interaction entre les musiciens, mais Schatten vaut tout de même le coup pour l'objet qu'il constitue d'une part, et surtout je pense pour l'originalité des textures, mais également pour l'intensité, la précision, et la sensibilité de l'interaction entre les deux musiciennes.

Olaf Rupp - AuldLangSyne (Dromos, 2011)

J'ai déjà écrit une chronique sur un trio avec Olaf Rupp en compagnie de Tony Buck et Joe Williamson il y a un mois ici même. Je disais avoir eu la sensation d'entendre grouiller une nuée d'insectes, et en écoutant ce solo d'Olaf Rupp, je comprends maintenant que cette sensation venait principalement de ce guitariste. AuldLangSyne est une suite de neuf improvisations pour guitares acoustique et électrique selon les morceaux. Une suite très dense faite de clusters, d'une succession et d'une superposition de notes à une vitesse supersonique, notes séparées par des écarts vertigineux. Olaf Rupp ne rigole pas, les notes sont piquées et pincées, elles s'entremêlent avant même d'avoir eu le temps de résonner, on imagine facilement le front du guitariste en nage et les doigts en sang. Une technique de jeu virtuose et impressionnante certes, sauf que l'énergie maximale et hyperactive toujours déployée finit par lasser, la vitesse hystérique fatigue, tout comme l'absence de respiration et de relief.

Pas réussi à véritablement accroché malgré la singularité et la véritable fraicheur de la sonorité de Rupp. Trop monotone et plat à mon goût, AuldLangSyne m'a vite lassé et fatigué. Ceci-dit, les peintures sur cuir signées Antonio Peppe sont vraiment belles et ce mélange de gris et de noir urbains reflète plutôt bien l'atmosphère d'AuldLangSyne durant cette heure d'improvisation sur guitare verticale. Pour amateurs de guitare sensibles à la virtuosité et la rapidité, AuldLangSyne ravira peut-être les mélomanes avides de clusters et d'espaces sonores saturés.

- Julien Héraud in Improv Sphere