Organized Music from Thessaloniki has released two new albums today. The first comes from Enrique R. Palma, one of the label heads of Lengua de Lava. His album is entitled Contenance and the press release describes the album as such:
Contenance presents a fleeting marriage between the immediate and the conceptual, featuring as it is captures of solo improvisations, but brought together under a unifying tone of approach to the music that runs deeper than a surface exploration of techniques. Similarly, the sounds themselves offer a seamless montage of varying approaches, ranging from computer noise, to acoustic improvisations performed by Palma and his collaborator Javier Beci. Brought together by this holistic electroacoustic sensibility that permeates the material, the results are difficult to pigeonhole under one tradition, maintaining instead a vibrant potency at their core. What remains is a fascination with edges, residues and decay; a meeting point of sound experiences, an object brought together by the traces left from a series of visitations. Like the feel of humid air just before the rain carries both the memory of the past and the anticipation of the future, the music here carries manifold possibilities within itself.
The second new album comes from Socrates Martinis and it's entitled Under the arches of her voice. The press release for the album is as follows:
The tools [Martinis] employs, objects, found sound and field recordings, cannot help but root the music into place – there are clear traces of the environments that surround the myriad sounds of friction, clangs, noises and thin sizzles that shape the narrative of the tracks. But this could be any place. The snapshots Martinis arranges are abstracted and shaped into an unassuming poetics of observation, with the action progressing and cutting from one microscopically detailed sound-moment to the next. The first track (‘Under the arches of her voice love echoes through metallic cylinders’) sets the tone with an extended survey of the quotidian, the listener’s lens shifting to a different scene only once a certain grounding has already been established. Subsequent tracks linger similarly, but often also jump more freely from a moment to the next, releasing the album from any obligation of storytelling, and instead developing a rare warmth of presence and immanence.