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Paul Stapleton & Simon Rose - 2013 - Fauna (FLAC, pfMENTUM 74)

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Torrent File Content (18 files)

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Music : Jazz : Lossless
      

pfMENTUM CD074.

1. Borealis 6:35
2. Felt 7:36
3. Deep 10:25
4. Zwischenfall 2:30
5. Shift 8:36
6. Zeitenheit 4:44
7. Set 4:23
8. Vertreiben 5:13

Recorded and mixed by Elmar
Susse, 22 September 2011, Hoffnungskirche, Pankow, Berlin
Mastered by Paul Stapleton, Sonic Arts Research Centre,
Belfast

Photograph and cover design: Matilde Meireles

The Bonsai Sound Sculpture (BoSS) is a
portable modular musical instrument (Paul Stapleton and Neil Fawcett, 2010) combining a repurposed turntable, DIY
electronics, amplified metallic percussion and strings.

Paul Stapleton: bonsai sound sculpture
(BoSS)
Simon Rose: baritone/alto saxophones

This is a great free music record, it sounds as
experimental and furious than during the FMP / INCUS / RING era… but terrifically modern ! Paul Stapleton plays a
jaw-dropping Bonsai Sound Scuplture (BoSS) while Simon Rose is performing with his baryton & alto saxos with a
first-class energy and sense of harmonics. BoSS is, a portable modular musical instrument (Paul Stapleton & Neil
Fawcett 2010) combining a repurposed turntable, DIY electronics, amplified metallic percussion and strings. This duet
offers a non-concessional free music, shares and sublimes a sonic adventure. The first time the record is over, you just
want more. With enjoyment, Paul Stapleton’s music makes us think of legendary Hugh Davies’ ludic sound
universe (Felt’s opening). But this doesn’t change anything of the fact that I let myself sink into this
duet’s evil conversation. This is a best kind of improvised music, either you’re more into its global
soundscaping or its very musical quality along the many blazing improvisations that have been recorded on a Berlin show.
Simon Rose gets angrier while he makes his baryton bark (or trumpet) to some kind of gritty basses. Circular respiration
is used to transform the sound or slide from an harmonic to another, with a great feeling for details and the ability of
whistling at the edge of silence or for a complete loud outbreak. His partner has the solid imagination required to make
his machine talk. Their perfect independence of these two improvisators and their ability to play in such different
genres and coordinate their efforts stimulates any listening (both normal listeners and musicians), and push the two
artists to take off towards a permanently unsatisfied research. They literally do the splits in their inspiration but
always gather on magical and unexpected convergences. This is a very remarkable duet. Many famous people playing
so-called “free” improvised music don’t perform any better and sound any more interesting. Therefore,
if you enjoy real free improvised music, with no additive, go and get this wonderful FAUNA and its authors. -
Jean-Michel Van Schouwburg, improvandsounds.blogspot.co.uk

It's the greatest story Hollywood can muster:
"differences find a way to make it work", such as , Fools Rush In (Matthew Perry actually has a hard time
loving Salma Hayek?), Enemy Mine and the episode of (vintage) Battlestar Galactica where Starbuck and a Cylon, stranded
on a planet together, get in adventures and eventually recognize the good in each other ("Cy" eventually dies
in the lieutenant's arms). I guess a whole movie about two cultures / a romantic couple sans tension, celebrating
dissimilarity and getting along really well doesn't make for an engaging two-hour ride.
But this theme does
translate really well when applied to fifty minutes of improvised music.
Fauna is a wonderful mixture of two
disparate instruments, self-compelled to find a bond. Simon Rose on baritone and alto sax meets Paul Stapleton and his
Bonsai Sound Sculpture (BoSS), a contraption that melds a turntable with metallic surfaces (homemade mbiras, a
three-stringed harp, etc.), manipulation and amplification. They have almost nothing in common, but the fervent, alien
textures created from a reed and a box of tricks are ear-prickingly inviting. For the opener, "Borealis", the
duo comes out swinging with Rose's staccato hiccups and Stapleton actively rattling his machine (think prepared piano
sounds). They swap melodies, ranges, attitudes and occasionally bisect points of interdependence with Rose carrying the
last few minutes in a rapid, vibrating, pulsing murmur. On "Felt", Stapleton demonstrates his ability to
deconstruct the notion of turntablism which he takes from mere abstract scratching to mechanical purrs to mouse song to
dog whistle to electrical misfires; Rose is patient, fading a warbling ostinato in and out of tempi and dynamic swells.
The duo is deft at keeping a tense bubble of intrigue on "Deep" and "Zwischenfall", where space and
pause are incorporated to enjoy the whisper and spittle, resonance of bells and strings and rumble of thumps. Stapleton
and Rose blend these techniques, incongruous colors and shapes throughout the disc, eventually closing out the finale,
"Vertreiben", with a bulbous, static drone cloud.
Stapleton and Rose successfully smooth out the seams
and stiches of this Frankenstein with a sensitivity to their craft and each other while exploring an uncharted android
aesthetic. One thinks about musical inventor Harry Partch who tried to find an almost more refined musical dialect, or
replace Latin with Sanskrit as a baseline for his and his client's endeavors; however — and no insult to Partch
— whereas he sought an extension, this duo looks for what's on the other side. - Dave Madden, SquidsEar

Fauna is the duo of Paul Stapleton and Simon Rose…and the strangely-titled //////// is a very peculiar album
recorded by the two. The album features strange spontaneous creations in which the two musicians feed off each
other’s energies…and allow anything to happen. Stapleton is credited with playing the bonsai sound
sculpture (BoSS) and Rose plays baritone and alto saxophones. These tracks are sparse…and we get the impression
that they were recorded live with no overdubs. Eight tracks of experimental sounds here that will best be appreciated by
those into the strange and more artsy realms of music. Eight intriguing cuts…sounds range from bizarre to
spooky…and then splinter off into other parallel universes. Eight smart tracks including “Borealis,”
“Deep,” “Shift,” and “Vertreiben.” Purely puzzling material for adventurous
listeners… - babysue.com          
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