Tuesday, August 19, 2008
Lezet's"Meld2" EP released with AUDIO TONG (Poland)(free dl)
Lezet - Meld 2
[tng1043]word on the release from the AUDIO TONG label site:
"Lezet is one-man experimental project from Serbia. He has released quite an impressive bunch of recordings on various netlabels and we are happy to have him here in our catalogue as well.
"Meld2" was conceived as a set of experimental collaborative pieces with artists from different countries and of somewhat different avantgarde sensibilities."Conversing in The Universal Language - says Lezet - gave birth to this EP and the stretching itself was a reward.Lezet was able to learn and grow from his fellow comrades as he progressed with this EP."
This is the second part of Lezet's collaborative project in which he explores various techniques and possibilities of interactions and collaborations between artists usually not working physically together.
The music is a mixture of avant-garde,electroacoustic, jazz, world music etc. At some points it sounds like improv, at other it reminds of contemporary academic pieces.
Intriguing and intelligent, demanding lots of attention from the listener but rewarding with its quality. Great stuff, listen to it on a good sound system to get as much from this music as possible."
1. Lezet + Isaac De La Concha - Gulliver's Travails 2
2. Ensemble Phase 3 + Lezet - Nexus (excerpt)
3. Leo Alves Vieira + Lezet - Chain Reaction
4. John Colin Conass + Jimmy Bandit + Manji + Lezet - L'urgence d'un rechange de couac
5. F! + Lezet - An Adonis (Alternative Piano Take)
artwork by Vojkan Nedeljkovic
Here is some info concerning the authors/ensembles/bands that have collaborated with Lezet on "Meld2":
fellow contributors and co-authors:
ISAAC DE LA CONCHA -Ciudad de México, DF,Mexico
Composer, Improviser and Music Teacher. (Mexico City, DF, 1971). ______________________________________________________________ Keyboard improvisation: I had represented all kind of emotions and imitated my imagination movements with the keyboard free improvisation. Through the improvisation I found my own voice and left the copy my favorites composers and improvisers methods. ______________________________________________________________ He studied piano and guitar with private teachers. Took composition classes with Julio Estrada in Escuela Nacional de Música, ENM-UNAM, and obtained the composer license. He took composition courses with François Bernard Mache, Patrick Butin, Tristan Murail and Stefano Scodanibbio. He has been searching the improvisation with the midi keyboard, guitar, flute and percussions with a creative objetive. Taught music in kindergarden, primary school, secundary school, high school, and university. He has been improvising with another musicians in ENM, CNA and Pasagüero´s Bar in México City. He´s member of the improvisation group Generación Espontánea. Your work was performed at Mexico City and Ensenada, transmited for radio in Barcelona Spain, and sound everyday in MySpace. ______________________________________________________________ Mainly Keyboard Improvisations: El leopardo, 2001; La rubia, 2002; Recuerdos de en el camino de Jack Kerouac, 2003; Improvisación para percusiones electrónicas, 2003; Varadero, 2004; Sueños, 2004; Caminos, 2004; DF, 2005; Italia, 2007.
influences:Julio Estrada, Iannis Xenakis, Giacinto Scelsi, Karlheinz Stockhausen, Keith Jarret, Jimi Hendrix y Ravi Shankar
ENSEMBLE PHASE DREI -Leipzig, Germany
The Ensemble Phase 3 devotes itself to the performance of intuitive music. Common intersection of three musicians of the ensemble phase three is the composition lessons with professor Bernd Franke. Here the idea originated to just such project. It was realized for the first time for the opening of the exhibit "dot comma line" in the gallery stair work Leipzig. Other appearances followed with the Veranstaltung " concert and reading in the Krochhochhaus " as well as in the German literature institute of Leipzig.
Christoph Beyer, Horn
Frank Hilpert, Elektronik
Torsten Krause, Klavier
LEO ALVES VIEIRA-Rio de Janeiro ,Brazil
influences and musicians that he admires: Gyorgy Ligeti, Pixinguinha, Chico Buarque de Holanda, Penderecki, Zbigniew Preisner, Villa-Lobos, Edgard Varèse, Tom Jobim, Stockhausen, Steve Reich, John Cage, Phillip Glass, Cartola, Nelson Cavaquinho, Vivaldi, Aphex Twin, Rodolfo Caesar, Marisa Rezende, Alexandre Shubert, Yahn Wagner, Paulo Dantas, Marcos Campello, Olavo Vianna and Victor Neves (Paralax), Marco Vinício Nogueira, Genesis, Mario Travassos, Led Zeppelin, Cynic, Ismael Silva, Noel Rosa, Friendly Bears, Elma, Mr. Bungle, Brahms and Beethoven, Henry Threadgill, Nicky Skopelitis, Eric Satie
Leo Alves Vieira (biography):
Brazilian, born in February 13th, 1978, at Rio de Janeiro, Leo Alves Vieira's parents both had musical experience. Portuguese father, Diniz, used to play the violin in a priest school orchestra in Portugal, and Brazilian mother, Lucia, used to play the acoustic guitar and sing along with her friends, a successful Brazilian group called "Clube da Esquina", that recorded their first record with Milton Nascimento on vocals. She gave up her instrument to the MPB guitar player Francisco Horta, at that time a political prisoner of Brazilian dictatorship.
Leo's grandfather, Mario Alves de Souza Vieira, father of Lucia, was killed by that dictatorship, tortured (impaled) to death. It seems that his revolutionary grandfather's blood runs in his veins. His musical energy is filled with struggles to musical patterns of all sorts, especially the so-called avant-garde academic scene around the western musical world...
Though his influences relates to various avant-garde composers, as well as popular Brazilian and worldwide 'folk' traditions, Leo Alves Vieira tried to develop a intuitional composition process that flows equally between rational and emotional boundaries.
He began his musical instruction in primary school at Niterói, Rio de Janeiro, Brazil along this school's choir, conducted by Hermano Vianna. Since then, he has had acoustic and electric guitar lessons with teachers from Rio and São Paulo as well (when he lived there from 1988 to 1992). In 1994, he entered a full musical education at the Rio de Janeiro State Conservatory, that included Classical Guitar lessons, Traditional and Functional Harmony. After a 2 year period in Philosophy unfinished graduation (1998-2000) at the Brazilian Federal University (UFRJ), he entered the Composition Graduation Course at the same institution (2001) where he continues his studies and also works as a researcher.
His first professional artistic work was a musical score composed for a short movie called "O Fantasma do Theatro Municipal" written and directed by Luis Carlos Lacerda (1994). After some rock bands demo-tapes recorded, and a CD from band called GORE, shows an etc, he began a steady career into composing, signing musical directions, conducting and eventually playing for theater and short movies scores.
Composing for theatre has given Vieira a great opportunity to study and establish a new musical language research within this medium. The organicity between the text, especially the ones written for children, and music is always the goal, without transforming the musical score primary to the theatrical performance, as it happens in musicals or plays for children, where 'all of the sudden' everything (named, the dramatical flow of the theatrical text) stops so that the music comes in and so forth.
The compositional writing process developed by Leo at the academia scenario has the objective to filtrate the historical composing techniques into a personal writing style that blends the 'music for concerto' expression with the other media ways of listening and expressing music such as electroacoustic, jazz, traditional (popular) and rock/pop music. Using the standard instrumental formations of the 'music for concerto', chamber, orchestra or solo, this blending effect is a result not only of exploring new gestures (execution and feeling), taken from these other musical genres, but also from literally mixing up pre-recorded chamber sounds (electronically altered or not), for instance, with electroacoustic fabrics. Or even the other way round where we have electroacoustic timbres played live, in a chamber concerto format. In this case, either acoustic instruments altered in real-time or MIDI / Plugged electronic instruments are used. That was done by the time of his debut as a composer at the XV Biennial of Brazilian Contemporary Music, 2003, with the piece "Estilhaços-Constante Volta ao Indeterminado" (2002) for acoustic and electronic instruments, played by electroacoustic orchestra OFELEX.
Another musical aspect has a very important role in Leo's music making and experimentations: rhythm. Polyrhythmical grids, exploring different rhythmical accents and variations, and, above them all, bringing some
Brazilian feel to this so European influenced format that is the 'music for concerto', are among of the best results Leo Alves Vieira's music has achieved.
Leo Alves Vieira's debut solo album "Sounds of the Orange Coloured Forest" was released September 2006 by Brooklyn, NY based Pralaya Records, and brings mostly his electroacoustic work between 2003 / 2006, which pairs chamber music and Brazilian rhythms. Some of the 11 pieces of this album has been featured in festivals, concerts and several radio shows around the globe, focused on electroacoustic music or even rock/pop music.
Leo Alves' interest in video and image manipulation began in 1994, when he started composing for short-movies, in Lacerda's film "O Fantasma do Theatro Municipal". Until he had his own little digital camera, he did several experimentations with VHS, besides working as a producer in some other short-movies too, all of them shown at cinemas and movie clubs. He also studied acting with great Brazilian movie and theatrical play directors such as Moacir Chaves, Marcus Vinicius Faustini and Carlos Augusto Nazareth.
Such experimentations involved collages and real time documentation on day-by-day living of anonymous normal people from the streets of Niterói, São Paulo, São Tomé das Letras (Minas Gerais) and Rio de Janeiro. The documentary aspect was always influenced by the ideas of Brazilian movie director Arnaldo Jabor, and his documentary technique in the '60s (by the time of Cinema Novo movement) called Cinema Verdade ("Truthful Cinema").
Nowadays, Leo Alves Vieira's production is focused on digital means of filming, especially, the exploration of light and texture on cheap digital equipment, which can result in many interesting effects one almost cannot capture on hi-tech sources. The editing work would either not interfere on these capturing effects or would enhance it creativity, seeking always a great variety of tasteful plasticity and form structure. Subjects are still connected to routine actions, only now we have other than people as players/actors (always anonymous, non-professionals), objects and places.
His last video project was done with assistance and music of several great fretless guitar players around the globe, "Kronosonic Spheres". It's a collection of great fretless and microtonal works and a video installation, a philosophical research over the main theme that surrounds and structures the whole 13 video pieces: "The Elements of Reality". These 'elements' are, in sequence: Fire / Air / Mutation / Speed / Work / Addiction / Obsession / Unknown / Consciousness / Truth / Death / Silence. The video installation features the musical works of Dan Stearns, Marco Oppedisano, 3 Pups Music (Newbie Brad & Pantha), Chris Shaeffer, Vincent Bergeron, The Carousel Painter, Sonic Deviant, Leo Alves Vieira and has just received an offer to be shown at museums and video clubs from Washington DC and Nashville, Tennessee.
Recently, a video piece has been commissioned to Leo Alves Vieira, over a musical work of his debut solo electroacoustic album "Sounds of the Orange Coloured Forest" and will be screened at Bydgoszcz, Poland.
Beside all his musical career as composer, conductor, instrumentalist (acoustic guitar, clarinet, flute, percussion), and video maker, Leo Alves Vieira makes his day-by-day living teaching acoustic guitar to young children up to 17 years old at local schools. Recently he became involved with a non-profit project at the poor community of Grota do Surucucu (Niterói, Rio de Janeiro). In that internationally accomplished enterprise he's responsible for teaching composition, harmony, counterpoint and instrumental arrangements to poor young wood house community inhabitants.
COLIN JOHN CONASS -Paris, France
member of courtaud, larmes magnétiques, moukabarô, lem preo, the starpocks, love tracy, leo lenzio.
He likes pink clothes........ He 's looking at the data machine............ He can't explain why....
: La véritable histoire de CJC
: L'architecture du casque V et VI (avec Hopen & Dorian Danielsen)
: L'architecture du casque BOX (november)
: L'architecture du casque IV (november)
: Ed Rolll (november)
: Antique solution to coco presto (august)
: Conass motel (april)
: L'architecture du casque III (march)
: L'architecture du casque II (march)
: Nu (janvier)
: Effroissé (december)
: Tracy Lee Summers (december)
: Modection (november)
: The end of the second trial theme (september)
: L'architecture du casque (october
F! -Philadelphia, Pennsylvania,United States
The music of F! pulls from influences around the world. From classical composers such as Bartok and Grieg, to Italian Opera, Parisian Polka, Balkan or Klezmer music. F! paints an atmosphere akin to a Fellini film or a Man Ray dream - the ultimate cartoon score for high society. Music for the villain. Nostalgic God Jazz.
Nicky Cardillo-- upright bass
Elliott Hasiuk -- drums, percussion
David Romberg -- percussion, projections
Justin Berger-- guitar
Nick Lerman -- guitar
Shinjoo Cho -- accordian, piano
you can download the whole album in flac and mp3 formats at: