Brontal no.6 is a short episodic piano piece built around static harmonic fields that are punctuated by tiny explosive “Tori Amos” gestures that briefly generate a beautiful resonance which quickly dissipates.
In Search of Lost Color is a four-movement work that explores the expressive possibilities of piano resonances decaying and overlapping one another. The sounds are generated through physical gestures that are both violent and graceful. The initial attack of the sound is often shrill but what results is a cloud of rich harmony that can be heard glowing in the background. One is encouraged to listen to the way these harmonies decay and bleed into each other. The “bleeding” is a formal element helping to give shape to the melodic lines throughout the piece.
Movements no.’s I-III similarly share an opening section composed of repeated material followed by a cloud-like section where the piano’s decaying resonances take over the texture. Movement no. IV seems to start in the middle things and is one large cloud-like section unto itself. The slow moving decaying resonances create a texture that is stretched-out evoking an empty space of solemn desolation.
This recording: Yegor Shevtsov, piano
Chaos Analog is about the physicality of playing an instrument and the animal nature of creating a sound. Various kinds of bodily experiments took place at the piano; screaming, dancing, grunting, nudity and auto-eroticism. The question became: How do I record the immediacy and violence of an improvised gesture? Notation? What I ended up with is an “analog” of the sounds created in the heated moment, a Chaos Analog. As Gilles Delueze says, an “analogy (resemblance) that is produced by non resembling means”.
Blue Inscription is a miniature piece and it is my attempt to write a simple song. The piano, with its unique resonance, creates a kind of hazy harmonic field. Certain notes will stand out for a brief moment and then quickly fade away and disappear into the wash of harmony. I wanted to make a song that always seems to fade away.
Natacha: “…a strange synthesis of schizophrenically sourced sounds, surreptitiously settling cerebrally in the soulful center of solemnity and frivolity…”.
Scott: “I would call them ‘secret’ and it’s about how they are constructed…a strange conceptual synthesis of how a machine would be personal to the point of a secret, almost something naughty…”.
Secret Machines are a series of pieces based around the idea of schizophrenic musical flows cut and connected together to form little musical machines.