Mechanique(s) Logos
by Naphtali, Speicher, Tammen
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Digital Album
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Compact Disc (CD) + Digital AlbumCD Version, cellophane wrapped.
Includes unlimited streaming of Mechanique(s) Logos via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 3 days$13 USD or more
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1. |
petals
11:46
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2. |
parallax
09:13
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3. |
providence of (dis)order
10:33
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raub/ruinen
12:06
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5. |
precipice
15:04
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6. |
pppp
02:47
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about
Mechanique(s) is an ongoing collaboration between Dafna Naphtali, Hans Tammen and Martin Speicher involving live electronics, endangered guitar, reeds and voice. The trio was formed to investigate the overlap of various elements of their technical and aesthetic practices -- in compositions and improvisational settings for Naphtali's interactive processed sound/noise system, Speicher's extensive sound palette of extended techniques on saxophone, clarinet and bass clarinet, and Tammen's mechanical and electronic manipulations for guitar.
Dafna Naphtali, singer, sound artist/improviser and composer, comes from a genuinely eclectic background of music-making. In the early 90's she began studying classical voice and turned her attention to contemporary classical and experimental music. She performs and composes using her own custom Max/MSP programming for sound processing of voice and other instruments, appearing in venues and festivals in NY, Germany, Canada, Belgium, Holland, Israel and Russia.
Hans Tammen calls his style of performance "Endangered Guitar," because of the extreme alterations he enacts upon his instrument's sound and construction. Signal To Noise called his playing "...a killer tour de force of post-everything guitar damage".
Multi-reed player Martin Speicher has his roots in contemporary classical music as well as in Free Jazz. Since his early concerts in the 80s he performed with Paul Lytton, Evan Parker, Barry Guy, Cecil Taylor, the London Jazz Composer´s Orchestra among others. "Signal to Noise" wrote about him: "Speicher's (excellent) clarinet playing recalls Boulez's "Domaines" one minute, Peter Brötzmann the next."
Dafna Naphtali, singer, sound artist/improviser and composer, comes from a genuinely eclectic background of music-making. In the early 90's she began studying classical voice and turned her attention to contemporary classical and experimental music. She performs and composes using her own custom Max/MSP programming for sound processing of voice and other instruments, appearing in venues and festivals in NY, Germany, Canada, Belgium, Holland, Israel and Russia.
Hans Tammen calls his style of performance "Endangered Guitar," because of the extreme alterations he enacts upon his instrument's sound and construction. Signal To Noise called his playing "...a killer tour de force of post-everything guitar damage".
Multi-reed player Martin Speicher has his roots in contemporary classical music as well as in Free Jazz. Since his early concerts in the 80s he performed with Paul Lytton, Evan Parker, Barry Guy, Cecil Taylor, the London Jazz Composer´s Orchestra among others. "Signal to Noise" wrote about him: "Speicher's (excellent) clarinet playing recalls Boulez's "Domaines" one minute, Peter Brötzmann the next."
credits
released January 14, 2014
Recorded live 2001 at Logos Foundation, Ghent, Belgium. Released 2008.
Recorded live 2001 at Logos Foundation, Ghent, Belgium. Released 2008.
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Acheulian Handaxe Records Brooklyn, New York
The Acheulian Handaxe appeared first around 1.4 million years ago. For about 1 million years it was used by early humans throughout the Pleistocene period without significant design changes. Modern archeological evidence suggests that the handaxe was more than just a tool, and was used for elaborate social displays and for sexual selection. ... more
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Jun 2020