wurde, entstand über einen längeren Zeitraum zwischen 2016 und 2022 und sind sehr von der Hinwendung des Musikers zur Meditation und zu Shinto und Buddhismus geprägt. Die Musik rangiert von senften, von mystischem Bimmeln durchzogenen Ambientstrukturen über brummende Dröhung, die bisweilen etwas schweres und melancholisches aufweisen kann, bis zu bedrohlich knarrenden Szenarien an der Grenze zum Lärm. Was durchweg spürbar ist ist die feine und sichere Hand für klangliche Gestaltung. Das Album erscheint bei Subcontinental Records und ist auch zum Download erhältlich.

Two musicians. Saxophone and effected guitar. No plan. No discussion. No edits. No overdubs. Just play! The resulting album of ten freely improvised pieces are presented in the order in which they were recorded and form a spellbinding narrative arc with the two musicians empathically responding and willfully disrupting, as they seek and discover meaning and beauty from chaos and chance”. Das Album ist auch digital erhältlich.

@ Subcontinental

“The unholy indo-euro dual avatar of Mia Zabelka and Arun (IcosTech) return to Aftershock Vol. 2, this time reinforced with veteran avantgarde / atmospheric cello player Henrik Meierkord from Gothenburg, Sweden. Starting with a new dialect of OST driven ambient music intertwined with electroacoustic improvisations and noise, the trio takes you through a whirlwind of calmness and calamity in this second installment of aftershock. Equal measures of soothing pastures meet chaotic industrial techno driven pulses, caressing through ambience and noise in this power packed hour long album, all three musicians display their strengths and contribute a never before heard unique side of their own craft and playing. Adding to this explosive concoction is once again Joshua Trinidad from Denver, USA, who lends further melody and drama with his seamless trumpet playing, To complete this effort, we have Juul Krajier returning with her amazing art/craft on the front cover. Adding final touches to the album is none other than resident mastering engineer, Subcontinental Records – Michael Valentine West” (Subcontinental)

@ Subcontinental

@ Subcontinental

Feliciati und Vantomme geben mit Bass, Synthies und sonstiger Elektronik die Richtung vor für drei Gäste, die das Album ebenfalls stark prägen – allem voran der von seinen Arbeiten mit Pat Metheny, Laurie Anderson, David Bowie u.a. bekannte Trompeter Cuong Vu, ferner Eraldo Bernocchi und DJ Skizo, die jeweils in einem Stück mit elektronischer Percussion und Turntable auftreten. “Lorenzo Feliciati and Dominique Vantomme met for the first time in Brussels where both of them lived for a couple of years. Ever since their first interaction, the chemistry between the counterparts were established, music spoke to them in different tongues, more than words, furthermore their friendship grew with their ongoing recording sessions that they were involved in”, heißt es bei Subcontinental Records, die “Fake” Anfang Februar auf CD herausbringen.

@ Subcontinental

“Tinctures is a pioneering piano-guitar duo from Bangalore and Berlin that explores the nature of consonance and dissonance in sound-worlds they create with their compositions and improvisations. Their music is a confluence of three distinct traditions — jazz, Indian classical music, and European chamber music, performed on two instruments not commonly paired, forged through a process of gameplay and exploration. The duo maintains a schedule of regular performances and workshops in India and Berlin.

In 2019, they recorded their first studio album Heads and Tales, which will be out in 2021. They are currently completing their second album Moments, Remote as part of a Goethe-Institut funded residency, exploring ways to make interactive music online during the coronavirus pandemic.” (Subcontinental)

@ Subcontinental Records

“Aftershock is a collaborative effort by violinist extraordainaire Mia Zabelka (Vienna) and extreme metal bassist/guitarist Arun N (Bangalore) which reflect their respective styles and playing, equal parts of soothing ambience, textures make way for improvised parts created predominantly from violin and bass guitar. Juxtaposed with a vibe of post apocalyptic illegal but now legal gatherings, Aftershock gently caresses never before heard hard ambient with free improvisation, techno and experimental electronic music all in a single wave packed into a solid 60 min set meant to be heard from beginning to end in a single sitting to grasp. Adding to this concoction is a special guest, trumpet veteran Joshua Trinidad from Denver.

In her music, Mia Zabelka deals with acoustic interaction between the body and its surrounding environment, with special focus on the “sound gesture”. The sound gesture is the notion of how sound moves and how it moves the body at the same time – the embodiment of sound, an intuitive body-sound-machine linkage. Mia Zabelka scrutinizes this form of interface technique with her sound art and explore it with a view to its potential for application in communication between humans and autonomous machines; the coexistence of man and machine in converged environments is entrusted to hearing.

Mia Zabelka is very interested in the interdisciplinarity between music and science. The term “scientific music” best applies to her work. It is music beyond melodies, harmonies and rhythm. Scientific music is concerned with making automatic, mechanical processes audible. It is noise, movement, automation, division, symbiosis, dissonance and resonance. An endless adventure of sound discovery. Arun Natarajan, founder of Subcontinental and Guitarist / Bassist / Eextreme metal musician / Electronic musician under the moniker ICOSTECH complements Mia Zabelka’s performance on Aftershock with electronic sounds, Guitars, Bass, Noise and Ambiance.” (Subcontinental)

@ Subcontinental Records