Elliott Sharp - Void Coordinates - COMPACT DISCS [CD]

In August 2023, guitarist Elliott Sharp met with fellow guitarists Sally Gates and Tashi Dorji in his Manhattan recording studio. Ere Guitar celebrates the great art of the guitar, played by musicians who seek new paths and create the current sound of the day. InchThe line-up of the album Ere Guitar initially ties in with it's predecessor Err Guitar with Mary Halvorson and Marc Ribot (Intakt CD 281). Here, too, we meet a trio chosen by Elliott Sharp, whose focus is on spontaneous improvisation. Although the compositional element was greater on Err Guitar and reduced to a minimum on Ere Guitar, these two albums are in no way complementary. Together they recount the search for the unexpected, the unheard, for a formal and tonal complexity that develops from the encounter of three creative musiciansInch, writes Harry Lachner in the liner notes.

Elliott Sharp continues to publish exceptional projects with his Carbon ensembles. After the Carbon Quintet InchVoid CoordinatesInch and the InchThe Age of CarbonInch with legendary recordings of the 80s, a new Carbon album is now being released on Intakt Records InchTransmigration at the Solar MaxInch with Zeena Parkins and Bobby Previte. Elliott Sharp writes InchAlready teeming, activity on the sun increases further culminating with the peak, an elevated state in which sunspots and flares proliferate with profound effects throughout the solar system fever dreams, ecstatic dances, restless movements both of populations and thought, soul transfers. On this occasion forces coalesced in the Austrian Tirol with drummer Bobby Previte and electric harpist Zeena Parkins joining Carbon for the manifestation of 'Transmigration At the Solar Max.' Part cosmic turbulence and part roiling soundscape, 'Transmigration at the Solar Max' travels through successively hypercharged zones, the musicians building their activities on and against shifting electro-acoustic drones and matrices of rhythm, unisons splitting and refracting.Inch

Adam Fischer writes InchIn the Düsseldorf Tonhalle in late February and early March 2020, we gave Mahler's Sixth Symphony in three live concert performances which we recorded for this album. This date in the calendar had special significance the first lockdown period due to the Corona pandemic set in immediately thereafter. The orchestra was playing in full line-up in front of a full house for the last time for a long while. The mood was ominous we all felt something was amiss, and the next day everything had to be cancelled. We strongly associate those circumstances with our work on the Sixth, and with the foreboding we felt of a catastrophe that has since ruined the livelihoods of many musician colleagues and deprived us all of a meaningful period in our lives. Mahler's Sixth is always a major event for the orchestra and for the audience. One leaves the concert hall weary and exhausted; time is required to regain one's composure. This symphony requires a gigantic orchestra here, once more, Mahler was attempting to stretch the boundaries of what was possible in his day. Not to achieve a mere effect, but simply because he needed such a gigantic instrumental apparatus to express his feelings. The sheer amount of emotions we deal with in this symphony is almost unbearable. The controversial third hammer blow provides a good example Mahler most certainly crossed it out after a rehearsal, overcome by emotion, afraid of dying. In his very bones he thought and felt that this symphony would prompt his demise...Inch