the etude records catalogue
Et si “l´oeil écoute”, comme le voulait Claudel, j´ajouterai que l´oreille peut aussi voir. B.Parmegiani
Metropolis proudly presents Etude Records, Pau Torres label from Barcelona, Spain. Created on 2006 and focused on experimental and obscure sound archives. Pau Torres edited four releases which can be found now in our Metropolis shop here… Pau Torres started with artist’s like Mike Hansen, Augusti Martinez, Lngtche, Ferran Fages and Alfredo Costa Monteiro.
Buena suerte Pau.
FERRAN FAGES
“CANÇONS PER A UN LENT RETARD”
Etude Records 013 - Digipack
Tracklisting:
1- Suspens vertical (9:31)
2- Més ràpid que l´ull (3:26)
3- Tanget al dit (3:54)
4- L´ombre del dit (7:08)
5- Suspens horitzontal (16:08)
6- Paraula clau (17:39)
7- El retard del mirall (2:29)
8- Gir lent (5:15)
9- Retard llarg (6:05)
Ferran Fages: Acoustic guitar
Dimitra Lazaridou-Chatzigoga: Detuning on track 6.
15 Euro incl. world-wide shipment
… Guitar compositions curving time with suspense, delay, slower or faster remnants. We are confronted with intensity “colored” with dense and resistant materiality and aggressiveness… and it is not pure materiality. The musical event is immanentized by a death operation. The Imminent death of a close person, totally unpredictable, was constantly interrupting or (not) the process of synthesis, retroactively forming the song by assuming and distorting their materiality. The emotional and predetermined character of this operation dissolves through the insistent and continuous listening of the cançons, thus it seems that the songs´time can truly exist outside Ferran´s emotional temporality (that´s why the ARE songs).
The conjunction and interconnections of these autonumous musical events, that coexist in many levels, produces refrains, small melodies, and many other different figures…in short Ferran designates a “new” musical timeplace where improvisation and composition is open-from being open-form or aleatoric, a destinerrance where something eventually must happen, something beyond calculation and labor, not negating death, but something that comes from the other, wich is any-particular song listener.” -Michalis Kyratsous (July 2007)
LNGTCHÉ
“MUSIC FOR AN UNTITLED FILM BY T.ZARKKOF”
Etude Records 012, CD
Composed, produced and performed by p.t. (january/february 2007). Artwork by Seldon Hunt.
Titled “Music for an untitled film by T.Zarkkof”, the release is a long 44:22 piece of dark isolation, drones and exploration of the ambient music blending the electronic soundscape with the sound of the raw guitar.Beautiful, haunting and darkly complex work packaged in an exclusive triptic panel with a brilliant artwork by Seldon Hunt.
12 Euro incl. world-wide shipment
I’ve been spending probably too much time on the edge of righteous oblivion by making repeated listens to MUSIC FOR AN UNTITLED FILM BY T. ZARKKOF by the strangely-monickered Lngtché. Released on the Barcelona record label Etude, Lngtché’s music is herein presented as a single 44-minute track that issues forth from the speakers like one continuous and unrestrained flow of lava bursting out from under the floorboards and seeping out of the walls, like bubbling plasma from the mind of Roky Erikson.- Julian Cope (Head Heritage | Adress Drudion)
MIKE HANSEN
“AT EVERY POINT”
Etude Records 010 Digipack
Tracklisting:
1-the day before the day (15:35)
2-tidying up after (11:08)
3-the alarm went off sooner than expected (11:06)
4-once held a lighter high in the sky (6:59)
5-an example of what I meant (7:40)
15 Euro incl. world-wide shipment
With Mike Hansen’s “At Every Point,” the Toronto-based musician steps out of his familiar role of turntablist-improviser to explore thepossibilities of a purely digital medium. While each of these five compositions is clearly sequenced, the improviser’s sense of openness and play consistently comes through. The raw materials of Hansen’s compositions are the sounds of cowbells, harmonicas, Vietnamese drums, an electric guitar and amp, and of course sounds and samples captured off a set up of prepared turntables, reassembled from thekind of rugged record players kids played with in grade schools across Canadain the 1970s.
The compositions of “At Every Point” avoid making a grand statement - say, a
theme followed by variations - in favour of exploring textures and moods: the introspective “An Example of What I Meant,” the brash nod to the rock and roll drum solo in “Once Held a Lighter High in the Sky,” the between-waking-and-dreaming of “The Alarm Went Off Sooner than Expected,” the overt minimalism of “Tidying Up After.” Yet it is the lack of a grand statement that allows the listener to focus on the depth of each detail. -Andrew Johnson. Toronto 2006.
AGUSTÍ MARTÍNEZ
“ARE SPIRITS WHAT I HEAR?”
Etude Records 011 CD
1-Serie B (To Scelsi)
2-For Pau
3-Tic
4-Are spirits what I hear?
5-Meeting
6-Stateless folk song
7-Cross-Light
8-Moc and Caniche (To Paula)
9-Che collons!
10-Island Lava
Recorded by Agustí Martínez and Pau Torres 2006/2007
Agustí Martínez: Live solo alto saxophone (no overdubs).
15 Euro incl. world-wide shipment
This is the first release by composer Agustí Martínez, born 1960 in Barcelona, this is the first ever released record of some of his minimal,graphic scores and homemade compositions for alto saxophone. A figure in the underground avant guarde of Barcelona, “Are Spirits what I hear?” is an unique oportunity to hear the ghosts inside this amazing composer.
Agustí Martinez is a saxophone player from Barcelona who grew up in several chamber orchestras and jazz bands, then began to perform solo in the mid-nineties. This is his first release, a very good one. The initial “Serie B (for Scelsi)” is a one-note theme alternated with lyricism spotted by irony and desperation, a firm statement of intents under any circumstance. “For Pau” nears certain areas of John Butcher’s work, but instantly runs away from the dangers of classification, becoming infectiously multicoloured and rhythmically unpredictable; Martinez is a player that loves silences and pauses, which deepen the meaning of every note he plays. Even the occurrence of (by now commonly used) lingual-and-salival spurts is more welcomed than accepted. In “Meeting”, voice is added to augment and expand the palette; sharp outbursts and membrane-carving harmonics precede a whistling anti-song whose body is boned by additional glottolalia.
Indeed, Martinez’s personal approach makes him different from most saxophonists, essentially due to a more pronounced rhythmic presence (check “Cross-Light” for reference). “Moc and Caniche (to Paula)” is the most rage-and-enthusiasm act, where smoothness and elegance are thrown into a pot of dense articulation and sulphuric straightforwardness; the result is probably the best in terms of compositional interest. “Che Collons!” - a title that makes me suspect that Martinez knows Italian idiomatic expressions quite well - is a long improvisation whose balance of collateral significance, serene melodicism and disturbed spontaneousness is probably the best summary of everything that Agustí is able to conjure up from his right mind.
Instead, “Tic” allows him to mix bubbles and rainbows in a metamorphosis of technical prowess, as effervescent scalar runs collapse all at once, delivering the instruments from jazz impediments. The title track is based on the tube-ish sound of the air, things we heard in a thousand records of the genre, but executed with precision and musicality by the Catalan. Overall, this album is permeated by an evident mastery of spacing and timing that renders the listening an extremely pleasing experience any time. -Touching Extremes.
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