Reviews that mention Oren Ambarchi

June 6, 2016

Fire!

She Sleeps, She Sleeps
Rune Grammofon RCD 2178

By Ken Waxman

Specializing in blending basement timbres, so all of their gradations are audible, the Swedish trio of drummer Andreas Werliin, double bassist Johan Berthling and saxophonist Mats Gustafsson welcomes a couple of guests here to add additional textures. But the auxiliary tones simply intensify the trio’s characteristically powerful stance.

Cellist Leo Svensson’s intermittent string plucks and swipes are permeable enough so like a youngster mimicking an adult’s movements, he merely strengthens Werliin’s thick power stops. On the other hand Gustafsson’s foundation-shaking bass saxophone gusts not only provide a bonding continuum throughout, but also showcase multiphonics encompassing glossolalia, split tones and concentrated overblowing. Most notably, that ad hoc foursome’s more-than-18½-minute “She Penetrates The Distant Silence Slowly” never plods, but is invested with rhythmic swing, even as it plays out at a tortoise-like gait. MORE

November 1, 2015

Oren Ambarchi

Live Knots
PAN 53

As committed to idiosyncratic improvisations as a yoga devotee is to the downward dog position, Melbourne-based guitarist Oren Ambarchi frequently twists his performances into quirky movements. That because during the decade plus he’s been maintaining this post-minimalist deportment his associates have moved to encompass not only grizzled Free Music veterans like Keith Rowe but experimenters whose primary allegiance is to Rock, noise, electronics or notated music. These live realizations of his “Knots” composition, recorded seven month apart in two cities in duo or with expanded personnel, prove this. Like fraternal twins of different sexes who have inherited disparate physiognomy, there’s a resemblance, but no more than would arise from any music created by the same composer. MORE

July 11, 2015

Rutger Zuydervelt

Stay Tuned
Baskaru karu 31

By Ken Waxman

One well-honed cliché of music anecdotes is when a talented performer walks into a room, asks another player to “give me an A” and once satisfied with the sound rhapsodically displays the breath of his mammoth talents. Rutger Zuydervelt, a conceptual artist and electronics manipulator from the Netherlands, subverts that bromide in a unique fashion on this fascinating CD. Contacting a cross section of international experimental musicians, he asked for an A alright and got 152 of them transmitted to him. Zuydervelt then processed the sound snatches into a 50-minute loop that approximates both the fantasy of a gigantic ensemble tuning up as well as a mesmerizing stand-alone electro-acoustic creation. MORE

June 7, 2004

AMBARCHI/MÜLLER/SAMARTZIS

strange love
FOR4EARS CD 1448

NO FURNITURE
No Furniture
Creative Sources CS 009 CD

For all intents and purposes, it appears as if the interaction between electronics and acoustic instruments has become the paramount preoccupation of improvising musicians in Northern Europe and is rapidly spreading.

But even with bandstands filled with computers, samplers, ipods and minidisks, the results don’t necessarily sound identical as is shown by the sounds on these two CDs. They do prove that this electro-acoustic engrossment is universal, however. MORE

September 1, 2003

OREN AMBARCHI/JOHAN BERTHLING

My Days are Darker than your nights
Hapna H 10

DAFELDECKER/KURZMANN/DRUMM/ERIKM/DIEB13/NOETINGER
Dafeldecker/Kurzmann/Drumm/eRikm/Dieb13/Noetinger
Charhizma 020

Perhaps the key to really satisfying improvised electro-acoustic performances is related to the number of players present. At least the group grope that populates the final track on the Charhizma CD here provides more than enough tones and textures to differentiate -- and elevate -- it above the other selections.

Self-aggrandizement plays very little part of this music, which thrives on nicknames -- dieb13 and eRikm here -- and a conception of the program as undivided tonality. For instance the six tracks were recorded in Berlin, Granz, Austria and Vienna, but run together as if they were one performance. MORE