October Pieces and Shadows, the new collaboration from sound artist Agnes Szelag and composer Jason Hoopes, is comprised of a subtle collection of minimal explorations for piano and cello. Singular lines interweve to produce a contemplative suite of spacious arrangements for sparse repetitive piano with the cello adding tonal drones and meandering explorations.

October Pieces

written by Jason Hoopes
Shadows
written by Agnes Szelag

Recorded by The Norman Conquest

Mastered by Agnes Szelag

Cover Photo by Carly Hoopes

Music can be heard on Trestle Records.com

A new video from my duo dokuro featuring a track from our LP Avalon.

After practicing this piece for about a month I performed it on October 2nd, 2012 at Powiększenie for Playback Play Festival in Warsaw.  This event was curated by the wonderful Michał Libera.  I worked on playing it acoustically and electronically and decided that the beating could have significant affect on the audience if amplified.  The feedback I received was very positive.  The sound system had good subs and was mixed by The Norman Conquest.  Here is a link to a review of the night (in Polish) and the festival in general.

Shown on June 8, 2012 followed by a short concert.

Memories of childhood summer nights resonate with magical scenes of fireflies casting their biolumescent patterns. Fireflies (or Lamyridea) lose no heat pro- ducing their light and together create sequences that eventually sync with each other. Phasolume sonifies these patterns as well as creating a space where a participant can enjoy the mystery of illuminating darkness.

Phasolume is a sound art installation created by Agnes Szelag and Jonas Grus- ka in 2012. It is a moble piece that can be installed in any dark environment. The next phase of this project would be to install in a natural enviroment such as a garden or to be hung on a tree.

The artists used old cellphone motors, jars, LEDs, and built and programmed a chip similar to arduino to run the sequences.

Jonas Gruska was born in Czechoslovakia. Currently studying composition in Krakow (PL) and Institute of Sonology in The Hague, NL. http://mrkva.ovecka.be/

Espvall/Jakobsons/Szelag: Improvisations for Strings and Electronics

Given that they’re such kindred spirits, it seems only logical that a collaboration between kindred spirits cellist Helena Espvall (of Espers) and Myrmyr duo Agnes Szelag (cello) and Marielle Jakobsons (violin) would have occurred at some point, and now is as good a time as any. Don’t let the Improvisations for Strings and Electronics give you the wrong impression, either. While the forty-four-minute recording is, on instrumentation grounds, strings and electronics only (all three credited with the latter), the five settings might more aptly be characterized as ‘spontaneous compositions,’ given the level of cohesiveness and direction that emerges when the trio interact.

Recorded in Oakland, CA, the material encompasses a range of moods, from relatively agitated to ponderous. It’s particularly affecting during its mournful nachtmusik passages, such as during the opener, “Black Frost,” where the strings etch serpentine pathways as they coil seductively around one another, and “Arctic Rains,” where the playing is at times so restrained it almost retreats altogether into silence. Being almost fourteen minutes in length, the latter naturally moves through a number of contrasting episodes, with the aforesaid quieter section followed by bluesy explorations and a lovely plaintive coda so lovely it verges on hymnal. Track titles have been well-chosen, too, given how much they complement the mood of a given piece. “Ice Age,” for example, offers a dense and brittle treatment that renders its sound-world rather daunting and disturbing, while the skeletal “Lunar Horizon” exudes an appropriately ethereal character.

This fine set of evocative explorations shows Swedish-born Espvall and Mills College graduates Szelag and Jakobsons (both received their MFAs from the esteemed institution in 2006) to be natural bedfellows. Mention also must be made of the lavish handmade presentation that the Ontario-based Arachnidiscs Recordings has given the limited-run release (100 copies), with the disc housed within a multi-layered package that includes a lino-block printed envelope and transparent outer-sleeve. The evident care with which the trio’s work has been presented enhances the already strong impression imparted by their music-making.

March 2012

Ray Dickaty, Tomek Chołoniewski and Michał Dynmy @Swieta Krowa KRK

Tomek Chołoniewski is one of the top players in the Kraków improv music scene. I have seen him play in a number of contexts and there’s a balancing act he is really good at. On one hand. he always blends in with what is going on musically on the stage; on the other hand he always maintains his own voice. He’s not quite a Jordan Glenn, but then who is besides Jordan Glenn?

This performance was by far the most interesting improv performance I have seen in Kraków. One of the reasons I haven’t really reviewed some of the performances is because I really don’t have anything new to say. This is because I haven’t seen anything new happening; much of the improvisation I have seen has been run of the mill, this-is-what-improv should sound like and I haven’t been inspired.

There was a great energy in the air at the Święta Krowa this February night. I felt incredibly activated and the audience couldn’t get enough of this trio. It was funny because it seemed like after the third or fourth number Tomek thought it was over, and got up and then they played three more pieces due to crowd enthusiasm.

One of Tomek’s other collaborators told me that he can’t keep a groove and that’s why I haven’t seen him do it. Well he was certainly doing it this night, and yes it fell apart a few times, but when it worked it lay a sold foundation for the saxophone and guitar. At times the collective beat was a bit chaotic but definitely in a good way like the odd beats of The Shags or something.

I asked them if they had rehearsed because they sounded like a band, abstract at times, but seemingly polished and in tonal unison at other times. I found out there are no rehearsals but they have performed together four times.

Ray Dickaty is a fantastic horn player. His creativity and repetition together formed the kind of shapes I like improv to take. No constant gratuitous note playing and random key clicking from this guy. He composed on the go and was on tonight. I was also impressed with the guitar player Michał Dymny. I’ve seen him perform in a totally different context with an ensemble at Audio Art and couldn’t really get a sense since the band was huge, but he really shone at the Swieta Krowa.

All three players brought something to the table and with welcome variety. Tomek started off the set with a groove, and the other two joined in as if it were a rehearsed song somewhere between rock and jazz. Between the times they were jamming, there were beautifully composed staccato parts. Dymny prepared his guitar with a cymbal that he struck with a metallic wand (i think) and used this for much of the set. I’ve seen many people do this including Fred Frith, and Dymny certainly had a knack. In between his staccato notes Ray composed repetitive short phrasings that connected the piece. Tomek at this point played what I call his “kitchen” – pots and pans and it turned into a non-western delight. The three really seemed to understand the art of creating a distinct sound and piece within the bigger picture of improv. They sounded like a third entity that wasn’t any one of them. Dymny was also very good at using his volume pedal.

There were a few “cloud” moments where they could have been any three improv players, but because it was sprinkled in between the seemingly composed staccato parts, and beat based jams, it led to a very complete set. I feel like these guys could really develop some material that would be solid as a recording (if they haven’t already).

On the ICC website.

The News.pl.

One of the most intense sections of the display is a big photo of the Reich with Hitler looking at some modernist sculptures.  In the photo (which is wall sized) you see Rudolf Belling’s Female Head (1925) among other sculptures and then you see it in front of you in real life.  It’s truly a gorgeous sculpture to begin with, but somehow seeing it in a very strange historical context adds weight.  Apparently, right behind this wall, there is old documentation film of spectators going to this exhibit, but somehow I missed it.  Here’s some images of it I found online.

Rudolf Belling, Female Head (1925)

The fact that the Reich showed this degenerate art to prove some kind of point is curious.  It was probably confusing at the time whether you were actually supposed to go, or not.

I loved Karl Rabus’ linoleum and wood cuts made into prints.  Alloys Ludwig Wach’s woodcuts were also interesting (see both below). Something about this  Street with Houses a lithograph by Fritz Bernhard Stuckenberg struck me.  I think it’s because when I imaging a place I usually imagine it in bird’s eye view and this sketch is something between that and land view.  The geometric shapes a piling on top of each other, but through repetition there exists a really nice balance in the composition.  It’s exact and messy at the same time.

Stuckenberg, Street with Houses

I took some photos before I learned that I wasn’t supposed to.

Otto Freundlich, Abstract Composition (1936)

Otto Freundlich’s piece made me think of my sister Olivia’s paintings.  Her color selection can be similar to his and she works with abstract shapes.

Carl Rabus, The Limpe (1925) 6-part series

I particularly loved this image by Rabus.

Aloys Ludwig Wach, To: Georg Kaiser, Gas, 1919

This Wach piece is really heavy, and I would say there were definitely pieces that struck me emotionally.  At that point I couldn’t take pictures anymore, but Lea Grundig’s images were some of those and I found a few online.

I have a mild obsession with wolves and I thought Hans Grundig’s Evening Song was striking.  He was married to Lea Grundig.  If curious, this blog has has some info on them.

Lea Grundig, Hunger in the Ghetto (1946_

Lea Grundig, Hitler means War! (1936)

Hans Grundig, Evening Song (1938)

I don’t usually read all the bios of artists in an exhibit, but at this exhibit I did.  My perception of the war changed in a way that I can’t really explain in words.  The fact that all of these artist’s works are shown in one space again takes on another meaning.  Something sublime.

I went on the 7th which had Piotr Kurek headlining with Kacper Ziemianin playing second, and Maciej Miskiewicz opening.

Piotr Kurek‘s set was fabulous.  I have never heard his music at all so I had complete virgin ears.  His set followed Kacper Ziemianin’s set which was much noisier so in some ways I was relieved to hear melodic patterns.

I often write about show order and how it effects my perception because I do feel that it is impossible to experience something objectively.  I’m often a victim of tired ears, or a certain kind of mood and I can’t review people’s music without owning up to that.  That night’s set order was perfect.

Piotr uses an electric accordion and modular synthesizer on stage.  I had never heard an electric accordion so I was a bit mystified.  There are still western instruments I have not heard!!  The combination of the two sounds was compelling because the synth was sounding reedy but it wasn’t too much.  Sawtooths?  He laid down minimal layered melodies that interplayed with each other.  The music has a wailing element, a bit like Balkan vocal melodies and performances.  This was the aspect I really enjoyed – a very electronic sound but composition that has strong folk elements in it.  I would also describe it as psychedelic, it put me in a that kind of zone where I just wanted to move my head in a circular motion and have my eyes closed.  Smoking something would have been fitting.

As a performance, it is pretty mellow.  Piotr just sits calmly in from of his rig and plays, twittering his knobs and playing his keyboards; his head bobbing.  It wasn’t the most active performance, but the music doesn’t call for it and more than makes up for it (plus it was hard to see him from where I was sitting).

I made a couple of iphone recordings:
Piotr Kurek London 12.07.12 pt1 by agnesszelagreviews
Piotr Kurek London 12.07.12 pt2 by agnesszelagreviews

And here’s a youtube someone posted:

Kacper’s set was varied but began and ended the same way.  He uses all instruments that he has created by circuit bending – he seems to have quite a collection.  My memory fails me but I remember that he started off and ended his set with a toy that played “twinkle twinkle little star” or something of that nature.  Perhaps it was a speak and spell.

Then we go on a long journey of varied circuit bended sounds that are not necessarily related to each other.  Truly a journey that has very little holding it together besides the experimental nature of  some of the sounds.  Kacper kindof fascinates me in that way.  I don’t understand his compositions.  I saw him at the Audio Art Festival in Krakow playing with another guy, and I felt the same thing, I wasn’t sure how all the sounds were connected.

In the middle of his set he played a drone sound, which I recorded (below) because I really enjoyed it.  It was quite a lush, heavy sound to be coming from a little toy.  His piece that night had a mirror structure.  I think he literally started on one end of the table worked his way to the middle and then back.  In some ways a very appropriate way of organizing your sound if you are in fact going to play your toys in a row.

Kacper Ziemianin live in London 12.07.12 by agnesszelagreviews

Kacper may not be my favorite composer, but he is an interesting performer.  He is jovial and fun to watch.  During his performance he was standing and it was gratifying to see him messing around with his toys.  Circuit bending or circuit bended sounds are not new, but I do think he has a unique perspective on it, and manages to pull out some really ripping sounds.

Maciej’s set was dreamy and multi-layed.  He had a turntable and other playing devices – cassette players, pedals, some sort of digital device and the rest I don’t remember.  (note to self, take a picture of the gear)   I should really get better at writing these reviews within a few days of the performances.  I felt that he played some amazing music (not original) but also had a  keen gut intuition on what to layer, what to mess with.  It really put me in a spell.  It wasn’t transparent in the least, my intellect wasn’t able to completely dissect what was going on and I loved that.

Maciej Miskiewicz live in London @ Jazz and Experimental Music from Poland by agnesszelagreviews

Overall a wonderful night, turns out the bar owner is an old friend of mine, so I will certainly be back to Servant Jazz Quarters.  The place itself was old and dank but had a great atmosphere, awesome drinks and beers, a very nice staff, and and upstairs and downstairs which is awesome for shows.  The bar was upstairs and the stage was downstairs so it was possible to enjoy the music without a ridiculous amount of crowd noise.  I would say there were about 40 people there and that was enough to fill the small performance space downstairs.

The other nice thing to see was that this festival seemed supported by the Polish Cultural Institute and the Arts Council in England.

Drekoty were a wave of relief for my ears.   I hadn’t heard songs, lyrics, and structure performed for two weeks because I had been attending the  Audio Art Festival (review coming – it’s a monster, so many acts!)

I had a fabulous time at this show.  Honestly, I was a bit captivated because I’ve been in Poland for four months and hadn’t really seen any Polish pop that I liked and bands made up of women.

Their songs are short, often with A, B, C and D parts with rhythms that can vary and syncopate so you don’t get tired of the same beat.  The drummer Ola Rzepka who writes most of the material was hypnotizing on stage.  Her earrings were swinging back and forth while she pumped energy into her drumming, singing, and sometimes keyboard playing.

The girls would switch around sometimes. Ola would be on the drums and at times she would switch with Magda Turłaj on keyboards.  The main vocalist seemed to be Zosz Chabiera but they all sang and that was another reason I really loved the music – the variety of vocals.  At times they would talk and scream.  They also had a small megaphone fastened to a mic stand which provided a nice filtered sound and gave the listener a different set of frequencies to focus on.

I liked the songs for song’s sake.  Each unique and accentuated by extended violin techniques that seemed like a cross between playing fiddle and playing extremely nonchalant avante garde music (oxymoron I know .  They use pretty funny sounds on their yamaha CS6X (I think, I didn’t check).  The combination of the rustic string playing and the very dated keyboard sounds gave the music it’s own space and time.

Their lyrics were pretty amusing and in Polish which I really appreciated.  Nothing is more grating on the ears than English sung with an accent.  Their content is punchy and silly.  For example one song is about wobbling (as in something is seriously wrong with your leg) into town during traffic.

Supposedly they’re pretty popular in Poland (as they should be), but they didn’t seem to have much of an audience that night at Club RE.  People were there to see Evangelista.  That’s why I was there, but am so glad I showed up early.

I went to see Evangelista because I know them and had been asked to play cello with them at one point.  They were a completely different vibe than Drekoty, but also amazing.  Carla’s performance is emotional and heartfelt.  She’s a total pro.  Her voice is low and husky and she’s an absolute natural on stage; now I understand why she tours so much and how she gets people to go with her. The band sounded epic even tho they didn’t have a proper drum kit.  The music reminded me of home which is the San Francisco Bay Area.

I always wondered if the Bay Area has something about it that connects some of its experimental music aesthetically.  Maybe it’s the way we all use effects or which pedals we drift towards.  Drekoty didn’t use any effects while much of Evangelista’s sound is drawn out textures that happen either in the beginning of the song or somewhere in the middle.  A dreamy scratchiness full of moods and feeling very vulnerable and human.  A very dirty love.