Christina Vantzou - No5 - VINYL LP
Reviews coming soon
About this product
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as Incha moment of focusInch-a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the Inchreductive processInch of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as Inchalmost like a first album.InchDrawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as Inchone who joins thingsInch is here both plumbed and proven; Vantzou describes Nº5 as Incha letting go,Inch a place of Inchsoft borders,Inch unfixed and undefinable.
Specifications
- GenreRockDescriptionWhile on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as Incha moment of focusInch-a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the Inchreductive processInch of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as Inchalmost like a first album.InchDrawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as Inchone who joins thingsInch is here both plumbed and proven; Vantzou describes Nº5 as Incha letting go,Inch a place of Inchsoft borders,Inch unfixed and undefinable.ArtistChristina VantzouTitleNo5FormatVINYLLabelKranky
Reviews
This product doesn't have any reviews yet.
Compare similar products
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as Incha moment of focusInch-a specific vision for the sprawl of raw recordings she'd been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the Inchreductive processInch of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to Nº5 as Inchalmost like a first album.InchDrawing on sessions staged in February 2020, Vantzou's editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as Inchone who joins thingsInch is here both plumbed and proven; Vantzou describes Nº5 as Incha letting go,Inch a place of Inchsoft borders,Inch unfixed and undefinable.
Vinyl LP pressing. 2018 . Belgium-based composer Christina Vantzou's fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the album she speaks of focusing particular attention on the effects of the recordings on the body, and of Inchdirecting sound perception into an inner space.Inch No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs de Klerck, and members of Belgium's Echo Collective. During the creation process Vantzou wanted to Inchblur lines of hierarchy,Inch and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. A mindset of premeditated exploration informs the album's emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. Vantzou cites sleep and Inchthe loosening of timeInch as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of her music. No. 4 feels both endless and ephemeral, immersive and immaterial. It's a music of horizon lines and half-light, mapped with feeling and foresight.
Vinyl LP pressing of this 1982 album from the British Rock band led by guitarist/vocalist Mark Knopfler. When their self-titled debut album was released in 1978, the band garnered plenty of attention but it took another seven years before BROTHERS IN ARMS turned them into global superstars. After one more studio album, the band split up but they left behind a lasting legacy that continues to be embraced by new fans and new generations every year.
![Malskey - Geographies & Geometries - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/d7ba0b1e-186d-45f1-b545-353f5173f2f4.jpg;maxHeight=422;maxWidth=264?format=webp)
Malskey - Geographies & Geometries [COMPACT DISCS] date 07/08/2014
Specs
Be the first to ask a question.
We’ll try to get your question answered within 24 hours by a Best Buy customer or brand representative.