MATTHEWS, KAFFE / MARTUX_M (MAURIZIO MARTUSCIELLO) — Environmental cleaning moments / Dissectio
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Zwei hochkarätige, spannende Arbeiten mit rein synthetischen, minimalen Sounds ....
”Two composers thriving to create musical aesthetics out of cold, clinical electronic sound. Although Kaffe Matthews' recorded works are mostly based upon improvisational sessions and Martux' is purely composed, both clearly show that it's ideas that weigh, more so than the use of affective or anecdotal material.
"Dissectio" has been originally commissioned by GMEA (Groupe de Musique Electroacoustique d'Albi-Tarn) and La Muse en Circuit, as a reworking of "Natures Vives II", a chamber electronic music piece by Vincent Geais realized on a Serge modular synth. It has been composed in the GMEA studios during an artist-in-residency and conceived as an extension of Geais work.
Martux_M, aka Maurizio Martusciello, created a strong and demanding new work out of "Natures Vives II", one that is all now. The 3 pieces bounce between high and low - big and small, in a most radical way. At first it leaves the impression that these loose parts show no coherency at all, but as the piece develops over time and unravels it's bigger compositional structure, the puzzle is made to fit. This is not a source for instant satisfaction, but one that asks for repeated listening, growing in its powerful dynamics and very well balanced emplacements in a generous fundament of silence. In all its minimalism, there's so much to hear, not a tick too much or a tone too little.
Maurizio Martusciello has made Geais' work into a composition of extremes. There's no news in the use of seemingly clinical material as pure sines, crackles and pulses are, but Martusciello adds something extra. Not just by means of generating slightly different sounding workingmaterial (within this almost geometrical domain), it's more through his compositional gift that he knows how to express with these bald ingredients. Although still just pulses, sinesoïds and crackles, altogether they create a vivid, mysterious and in a special kind of way, highly narrative musical work, which pushes the listener between the pleasure of relaxation and irritation because of its hectic structure. This dualistic character makes 'Dissectio' an intriguing work that will keep up fascinating.
Kaffe Matthews continues where 'Dissectio' had evolved into; a gently deve-loping and wringing body of tones, showing an almost opposite way of how to deal with more or less similar sound-components. Matthews has developed a unique sound over the years, one of great subtlety and high intensity at the same time. 'Environmental cleaning moments' might be one of her more quiet works, with great transparency too. These tracks often do not consist of more than slowly modulating tones with different timbres, fine-tuned to get the typical rough-cut sound Matthews gives along to all her work. A certain sweetness is hidden in there, but always with a sharp edges. Her compositions revolve around the idea of repetition -or recycling is perhaps a better word given her extensive use of Live Sampling- at different speeds, either with small ping pong-like proportions of sound, or with long sustained sweeps, occasionally shifting gears
and changing harmonic boundaries doing so. 'Environmental cleaning moments' moves through its different acts, with great care and without any doubt about the choices being made or the music being heard. It tells its story very clearly, through an awaiting beginning growing more intense on it's way, a breathpauze afterwards and a concluding ending to round things up in a assuring way. Kaffe Matthews is, as one of few, able to write such a play with so minimal means and still fuse them into a full and pulsating body with beautiful organic development in it.” [press release]
”Two composers thriving to create musical aesthetics out of cold, clinical electronic sound. Although Kaffe Matthews' recorded works are mostly based upon improvisational sessions and Martux' is purely composed, both clearly show that it's ideas that weigh, more so than the use of affective or anecdotal material.
"Dissectio" has been originally commissioned by GMEA (Groupe de Musique Electroacoustique d'Albi-Tarn) and La Muse en Circuit, as a reworking of "Natures Vives II", a chamber electronic music piece by Vincent Geais realized on a Serge modular synth. It has been composed in the GMEA studios during an artist-in-residency and conceived as an extension of Geais work.
Martux_M, aka Maurizio Martusciello, created a strong and demanding new work out of "Natures Vives II", one that is all now. The 3 pieces bounce between high and low - big and small, in a most radical way. At first it leaves the impression that these loose parts show no coherency at all, but as the piece develops over time and unravels it's bigger compositional structure, the puzzle is made to fit. This is not a source for instant satisfaction, but one that asks for repeated listening, growing in its powerful dynamics and very well balanced emplacements in a generous fundament of silence. In all its minimalism, there's so much to hear, not a tick too much or a tone too little.
Maurizio Martusciello has made Geais' work into a composition of extremes. There's no news in the use of seemingly clinical material as pure sines, crackles and pulses are, but Martusciello adds something extra. Not just by means of generating slightly different sounding workingmaterial (within this almost geometrical domain), it's more through his compositional gift that he knows how to express with these bald ingredients. Although still just pulses, sinesoïds and crackles, altogether they create a vivid, mysterious and in a special kind of way, highly narrative musical work, which pushes the listener between the pleasure of relaxation and irritation because of its hectic structure. This dualistic character makes 'Dissectio' an intriguing work that will keep up fascinating.
Kaffe Matthews continues where 'Dissectio' had evolved into; a gently deve-loping and wringing body of tones, showing an almost opposite way of how to deal with more or less similar sound-components. Matthews has developed a unique sound over the years, one of great subtlety and high intensity at the same time. 'Environmental cleaning moments' might be one of her more quiet works, with great transparency too. These tracks often do not consist of more than slowly modulating tones with different timbres, fine-tuned to get the typical rough-cut sound Matthews gives along to all her work. A certain sweetness is hidden in there, but always with a sharp edges. Her compositions revolve around the idea of repetition -or recycling is perhaps a better word given her extensive use of Live Sampling- at different speeds, either with small ping pong-like proportions of sound, or with long sustained sweeps, occasionally shifting gears
and changing harmonic boundaries doing so. 'Environmental cleaning moments' moves through its different acts, with great care and without any doubt about the choices being made or the music being heard. It tells its story very clearly, through an awaiting beginning growing more intense on it's way, a breathpauze afterwards and a concluding ending to round things up in a assuring way. Kaffe Matthews is, as one of few, able to write such a play with so minimal means and still fuse them into a full and pulsating body with beautiful organic development in it.” [press release]