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CLADE, - KlavierstŘcke

Format: CD-R
Label & Cat.Number: CLADE_REC Clade 3
Release Year: 2014
Note: a kind of continuation of the "Vietnamese Piano" release, this uses again processed recordings of piano, organ and keyboard, "12 hours of raw materials are in turns cajoled, caressed, genetically modified and burnt beyond recognition" lim. 100
Price (incl. 19% VAT): €13.00

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"san francisco, march 2012: the scottish delegation arrives on the sun-drenched american west coast. studio is rented, microphones selected, supplies procured. 7 days later they emerge, blinded by the light.

oakland, december 2013: over the course of 7 more days some 12 hours of raw materials are in turns cajoled, caressed, genetically modified and burnt beyond recognition, at long last distilled into the 12 pieces we present you with here.

as these recordings utilise piano, organ and keyboard as the most salient sound sources they will no doubt remind some listeners of last yearĺs Ĺvietnamese pianoĺ release. in point of fact the present recordings were completed some months prior to the session in hanoi that produced clade 2.5, but while that release was effectively entirely improvised the ĹklavierstŘckeĺ have undergone a much more rigorous process of composition, editing and post-production. at once delicate, haunting, and cinematic, the result is the most mature and rewarding clade release to date.

file next to: deaf center, stars of the lid, jonathan coleclough, AMM, harold budd with a migrane

with apologies to k.s. " [label info]


"More mysterious music by Clade, whose bandcamp these days says they are from Edinburgh these days - although maybe they always were? The cover and CD print look like a nice modern classical recordings rip-off and we find here twelve pieces, called 'KlavierstŘck' (piano piece, in case you were wondering), of which the last four are four parts of 'KlavierstŘck IX'. The first four pieces are dedicated to Harold Budd, the second four to David Jackman, and the last four to Otto Totland. Apparently recorded over a seven-day period in March 2012, and a further seven in Oakland in December 2013. The first seven to record the piano sources, the next seven to 'cajole, caresse and genetically modify' them. Not unlike their previous, 'Vietnamese Piano', this is a further exploration of the world of quiet music; highly atmospheric and sparse. The treatments are kept to an interesting minimum, or perhaps they are done to such an extent that we no longer recognize them as treatments; maybe the
treatments are kept more natural? Like being played in a large and natural reverb becomes part of it? All of these things you could wonder about while listening to this music. But better is to sit back and enjoy. I am not sure if the three dedications are reflected in the music, even when I know Jackman's best and Totland's music not much, but it seems to me that all twelve are along similar lines. Much reverb suggests much atmosphere, and it works very well. Sometimes it sounds like a William Basinski piece, but then trimmed down a lot in length and there is quite an amount of variation in these pieces also which makes this a most enjoyable album. An excellent album in fact of some imaginative ambient music." [FdW/Vital Weekly]