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    Alexandr Vatagin – Serza (Vinyl)

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    Just in time for valeot records 5th anniversary, co-founder and label head alexandr vatagin presents his third solo album “serza”. in combining the analogue and tender atmosphere of “valeot” (2006) with the harsh, yet subtle digital electronics of “shards” (2008), “serza” is attesting to a consequent and traceable development towards maturity in sound and structure. featuring a huge spectrum of common as well as unusual instruments, it takes you on a thirty minute trip full of delicate melodies, pushing drums, gentle noise, swirling celli, warm vibraphone chimes and sweet piano tunes.

    The album features friends from all over the world including martin siewert (radian, trapist), hideki umezawa (pawn), james yates (epic 45, pattern theory), fabian pollack, giulio aldinucci, all tupolev members and patrick pulsinger, who provided several self-recorded synth samples.

    Serza is presented live either by alexandr vatagin (cello, synth, laptop) solo or as a trio: alexandr vatagin (bass, nordlead, laptop), martin siewert (guitar, devices) and david schweighart (drums).

    Born in ukraine in the early 80ies, vatagin moved to austria in the beginning of the 90ies, and only started to make music another decade later. he plays in tupolev and port-royal and founded the project quarz, which recently released its first album on cronica. he has collaborated with b. fleischmann, stefan nemeth (lokai), steven hess (pan american), philippe petit (strings of consciousness), bernhard breuer (elektro guzzi, metalycee), alexander schubert, kutin (dirac), nicolas bernier and many others and played concerts all over western, central and eastern europe. his solo works and works he was involved in were released on valeot records, morr music, cronica, n5md, mikroton, moozak and many more.

    £15.00 £8.00
    £15.00 £8.00
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  • Sale
    £10.00 £6.00
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    Alexandr Vatagin – Serza

    ,

    Just in time for Valeot Records 5th anniversary, co-founder and label head alexandr vatagin presents his third solo album “serza”. in combining the analogue and tender atmosphere of “valeot” (2006) with the harsh, yet subtle digital electronics of “shards” (2008), “serza” is attesting to a consequent and traceable development towards maturity in sound and structure. featuring a huge spectrum of common as well as unusual instruments, it takes you on a thirty minute trip full of delicate melodies, pushing drums, gentle noise, swirling celli, warm vibraphone chimes and sweet piano tunes.

    The album features friends from all over the world including martin siewert (radian, trapist), hideki umezawa (pawn), james yates (epic 45, pattern theory), fabian pollack, giulio aldinucci, all tupolev members and patrick pulsinger, who provided several self-recorded synth samples.

    Serza is presented live either by alexandr vatagin (cello, synth, laptop) solo or as a trio: alexandr vatagin (bass, nordlead, laptop), martin siewert (guitar, devices) and david schweighart (drums).

    Born in ukraine in the early 80ies, vatagin moved to austria in the beginning of the 90ies, and only started to make music another decade later. he plays in tupolev and port-royal and founded the project quarz, which recently released its first album on cronica. he has collaborated with b. fleischmann, stefan nemeth (lokai), steven hess (pan american), philippe petit (strings of consciousness), bernhard breuer (elektro guzzi, metalycee), alexander schubert, kutin (dirac), nicolas bernier and many others and played concerts all over western, central and eastern europe. his solo works and works he was involved in were released on valeot records, morr music, cronica, n5md, mikroton, moozak and many more.

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    Attilio Novellino – Through Glass

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    Attilio Novellino is an Italian soundartist born in Catanzaro in 1983. He started to make music under the moniker of “Un vortice di bassa pressione”, under which he has released “Anonymous said” (2009, Inglorious Ocean), a mainly electronic-ambient work with some post-rock echoes. He also curated and contributed a track to “Underwater Noises” (2010, Ephre Imprint / Lost Children), a compliation album about the theme of water, which contains tracks by 15 Italian artists. A one-track Ep called “Lost Days” will be released in January by Small Doses. Attilio is also a member
    of Sentimental Machines.

    Through Glass emerged from thoughts about the power of the light filtered through glass: as the light, so the sound can be reflected in a thousand directions, giving rise to previously inaudible material, with a mysterious and intense charm. Attilio Novellino explores the intersection between noise, dissonance and melody, with a physical and emotional approach to his compositions, aiming to create an unconventional and uncontrollable beauty. Guitar, electronics, deep basses, field recordings, piano and harsh distortions are used to build dreamy and melancholy soundscapes, to draw floating layers and to launch drone textures that become noise, streaked by misty romanticism, characterized by a pronounced emotional side that combines post-industrial visions, deep-sea creature lights, nocturnal glows, blurred pictures and old memories.

    Over the last years, Attilio Novellino has performed at festivals and art events such Flussi Festival and Diagonal Jazz / Diagonal Visual, playing, during the last edition, a fully improvised set with Ahleuchatistas, as a duo with his live partner Leastupperbound.

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    Kutin – Ivory

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    Digipak CD…

    ‘Ivory’ is the third solo-record by Vienna-based ‘soundworker’ Peter Kutin. The guitar is the instrument that creates / triggers most of the sound we can hear on this record, real-time transformed by Peter’s laptop. Only for three tracks other instruments were used additionally: a viola, a korg synth and a double bass, the latter being played by Matija Schellander on the sparkling ‘after the plague’ (#4).

    ‘Ivory’ developed while Kutin was writing music for old silent movies for the Austrian film-archive. Somehow one can still hear the filmscore, the cinematographic idea within the music. The album offers sounds that will thrill our ears, allows journeys through different sonic spaces, creates pictures inside the listeners head; ‘world without end’ might be the only track that almost reaches the format of a ‘pop-track’, while most of the other tracks want and need you to listen closer. The minimal final anthem ‘lonesome monster’ seems to move only in its spectrum, not in metrum. The partial-tunes sing the song. A piece of music that stretches time, positioning itself somewhere besides Stars of the Lid’s orchestral style.

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