Catalogue

Portuguese, violinist and violetist with parallel careers in erudite and experimental improvised music, explores, with distinction, the possibilities of the interaction between the violin and the electronics...

Midtown Tilt is an amalgamation of jazz, psychedelic blues, surf music, and country rock instrumentals, often reminding us of Neil Young’s Crazy Horse...

Orquesta del Tiempo Perdido is a wildly eclectic, ‘post- everything’ explosion, taking on aspects of contemporary classical music, jazz, experimental electro- acoustic, math-rock, pop, non-Western folklore, exotica and vaudeville...

Blue Mood is a intuitive synthesis of traditional folk, blues, and jazz material through the filter of experimental techniques. A late night feel with beautifull cinematic arrangements

An album of unconventional collective improvisation using extended techniques in a large work of evolving, subtle interactions, magnifying sound and gesture in an engrossing sonic environment. A beautiful record to listen to microscopically, dropping all the tasks of everyday life.

An album of incredible detail and lyrical, beautiful playing in original compositions that blends classical guitar with modern techniques and electronics into melodic masterpieces...

Humcrush are back - influences from both jazz, electronica and rock continues to this day, probably more than before, but there was a weight loss of the resources and, in consequence, of the music itself. This one was subtracted to find its essence...

Ritualistic, tribal, neo-primitivist and retro-futurist, Alforjs has a very special place among what is out there of more intriguing and radical in this final stretch of the 21st century’s second decade

The music keeps being puzzling and mysterious, but the beauty of it all is overwhelming.

This is a meeting written in the psychedelic sky. Listening to this music, we finally discover that there’s not much separating rock and jazz... this is one of the discographic pearls of the year 2016.

Millevoi assembles musicians like Jamie Saft, Johnny DeBlase, Ches Smith, Dan Blacksberg and June Bender for a record that summons the folk, country, and blues roots of present day American music.

We can say that this recording sounds almost like an encounter between Bill Laswell and Mick Harris (Napalm Death), but simultaneously more trashy and more jazzy, more Public Image Limited and more Sunn 00)))

Even when the beat gets a little bit lighter, all the tracks of this record are excessive and crazy. We only want to jump and scream, not of rage, but because of the good vibes always emanating

Is remarkable how they manage to create in real-time a set of energy fields that have tangible musical coherency, syntaxes both full of extra-verbal meaning yet also partaking of sheer sound sensibility....It’s a joy to listen.

Every kind of situation you can imagine is covered here : combinations of analogic and digital sounds and tools, processing of field recordings and ready-made materials, ambient soundscapes, noise, textures in constant change, immersive and insistent drones

What happens when a classical pianist who loves jazz and free improvisation join forces with a drummer coming from pop music, but with a special interest in electro-acoustic experimentation ? It happens what we hear in this surprising and wonderful debut CD

Imagine the gaseous density of a comet’s tail dissipating itself to reveal a clean, bright and transparent crystal surface

Everything flows like Zen soundscapes in the inner world inside our heads, and the music has a poetic, lyrical dimension that makes us reconnect with the idea of Beauty of the Ancient Greeks.

And when we are convinced that music is something else than what we get here, music emerges, with a subtle, but strong effect, with micro and macro dimensions

The classical background is there, but the applied extended techniques, the real-time electronic processing and the adoption of improvisational methods brings the harp to other and very different pathways

Imagine like if Thelonious Monk and Steve Reich were the same person, and with the kind of atmospheres that we imagine Brian Eno and Alvin Lucier could make together

An exploration of an enormous musical freedom . Always in search of the liberation, the energy and the surprise of a gesture in sound

Nearly. Nearly a song, somewhat familiar. Nearly comfortable, almost fulfilling. The melody stays ever-open, indefinite, and then the song departs, breaks, never arrives.

The music corresponds to the precepts of structured improvisation in an electro-acoustic environment, focusing mainly on the use of textures where noise clusters and harmonic constructions are closely interlaced

“Guitar soli…” is an accomplished ghost blues meditation, an engaging work of shade, mirror, and absence, with the ease and confidence of a deep-rooted and obsessively focused creative vision

Melody, though somber, is indeed a key concept that point out interesting new directions for drone music, near-silence improvisation and free-form jazz-infused explorations