Saturday, April 27, 2013

FREE DOWNLOAD FERRAN FAGES

Novosibirsk


FERRAN FAGES, LALI BARRIÈRE - Novosibirsk e.p.
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Click on the Cy Twombly painting to download

01. Novosibirsk
- FLAC version
- artwork
- all files.zip
- stream release



Novosibirsk is the first release of Ferran Fages and Lali Barrière's duo, active since 2009. Novosibirsk was recorded live on May 5th 2010 at Niu, Barcelona.

Both, Ferran and Lali, use similar devices, some of them made by themselves. Lali's sound is more focused in amplifying textures of selected objects while Ferran's sound comes from small engines and electromagnetic interferences.
The unstability of their sound structures arises from the use of impredictable devices, which generate fragile sounds.



Novosibirsk is 5829 Km far away from Barcelona.
FF: contact mics, objects and electroacoustic devices.
LB: contact mics, objects and electroacoustic devices.
Recorded live on May 5th 2010 at Niu, Barcelona.
more info: www.lalibarriere.net www.ferranfages.net This audio is part of the collection: Conv Date: 2011-10-14 Keywords: electroacoustic improvisation
Creative Commons license: Attribution-Noncommercial-No Derivative Works 3.0
audio/video
picture of Ferran Fages
 
Ferran Fages, Pista(outtake), Cançons per a un lent 
retard, 2007 
picture of Ferran Fages 
 
ap'strophe, excerpt from live performance, november 27, 2007  
Three videos playing Radios with tube lights, flash lights and led lights on Vimeo. Videos by Noemi Laviana.
 


Ferran Fages

Ferran Fages plays guitar, turntables and electronics.He lives and works in Barcelona (Spain). He was member of the collective IBA from 1999 to 2006. He plays regulary in different improvisation projects like: CREMASTER (with Alfredo Costa Monteiro). Fages-Barberán-Costa Monteiro trio Fages-Gross-Guthrie trio Fages-Gross-Möslang trio FAGUS (with Pascal Battus) Rega-Fages duo He did different collaborations with the choreographers and dancers: Olga Mesa, Carme Torrent and Constanza Brncic. He's played with Mattin, Margarida García, Ivan Palacky, Manuel Mota, Xavier Charles, Francisco Ló pez, Thomas Chamertant, Andrea Neumann, Taku Unami, Masahiko Okura, Masafumi Ezaki, Bukhard Beins, Ingar Zach, Guiseppe Ielasi, Mark Wastell.... among others.Also he works in his own compositons for guitar. As a guitarist he normally plays solo, but he has played with Derek Bailey, Pablo Rega, Phil Niblock and Rhys Chatham. He has played in different festivals and venues such as: Nits de la Fundació Miró, Sonar, OFFF and LEM (Barcelona), Sonicscope (Lisbon), Ertz (Bera),Cruce, Auditorio Nacional Reina Sofia and La Casa Encendida (Madrid), Arteleku (Donosti), Sound 323 and LMC festival (London), Instants Chavirés and Les Voutes (Paris), Off-site (Tokyo), A4 (Bratislava), Cave 12 (Geneva), Music Lover’s Field Companion 2007 (Newcastle). He's also active in poetry More Info: http://www.ferranfages.net
 
 

Discography

  • 2001 CREMASTER "Oomfsquawk" (auto-edition)
  • 2002 CREMASTER "Flysch" (G3G Records)
  • 2002 COMPILATION "I've never thought you would had done it..." (Rossbin)
  • 2002 FERRAN FAGES and MARGARIDA GARCIA "Sloworthography" (Thin Ice)
  • 2003 CREMASTER "Infra" (Antifrost)
  • 2003 CREMASTER "23 novembre 2002" (SOund 323)
  • 2003 CREMASTER "Compilation Void" (Antifrost)
  • 2003 TAKU UNAMI, MASAHIKO OKURA, RUTH BARBERAN, FERRAN FAGES, ALFREDO COSTA MONTEIRO "Atami" (Hibari Music)
  • 2004 FERRAN FAGES "A cavall entre dos cavalls" (Creative Sources)
  • 2004 RUTH BARBERAN, FERRAN FAGES, ALFREDO COSTA MNTEIRO "Atolon" (Rossbin)
  • 2004 COMPILATION "Doggy Style. Poeme electronic" (L' Ovni Tendre)
  • 2005 RUTH BARBERAN, FERRAN FAGES, ALFREDO COSTA MONTEIRO, MARGARIDA GARCIA "Octante" (l'innomable)
  • 2005 RUTH BARBERAN, FERRAN FAGES, ALFREDO COSTA MONTEIRO "Itsmo" (Creative Sources)
  • 2006 MATTIN + CREMASTER "Barcelona" (Audiobot)
  • 2006 RUTH BARBERAN, FERRAN FAGES, ALFREDO COSTA MONTEIRO "Semisferi" (Esquilo)
  • 2006 FERRAN FAGES, JEAN-PHILIPPE GROSS, WILL GUTHRIE "Fages-Gross-Guthrie" (Antboy/Lmc Members)
  • 2006 FAGES GUTHRIE "Cinabri" (Absurd)
  • 2006 FAGUS "Dans L'involucre entre ouvert" (A question of re entry)
  • 2006 FRANCISCO LOPEZ "Absolute Noise Ensemble" (Blossoming Noise)
  • 2007 FERRAN FAGES "Cançons per a un lent retard" (Etude Records)
  • 2007 V.A "The art of the Gremlin" (Electronic Music Foundation Media)
  • 2008 FERRAN FAGES "Al voltant d' un para/.lel" (Etude Records)
  • 2008 FERRAN FAGES | BHOB RAINEY "ch004" (Compost and Height)
  • 2008 V\A "Sudamerica Electronica 2" (Suda 002)
  • 2009 CREMASTER "Noranta Graus a l'esquerra" (Monotype Records)
  • 2009 AP'STROPHE "Objects sense Objectes" (Etude Records)
  • 2009 OCTANTE "Lunula" (Another Timbre)
  • 2010 V-P V-F is V-N CS "Compilation series, cs02" (Winds Measure Recordings)
  • 2010 CREMASTER "Igneo" (Cathnor)
  • 2010 FERRAN FAGES "Lullaby for Lali" (Etude Records)
  • 2010 AP'STROPHE "Corgroc" (Another Timbre)
  • 2011 FERRAN FAGES-ROBIN HAYWARD-NIKOS VELLIOTIS "Tables and stairs" (Organized Music from Tessaloniki)

    About Ferran Fages

    One general aesthetic notion that unfailingly fascinates me is what I think of as the "pendulum effect", that is, when a form or individual artists swings between one (ostensible) pole and another, picking up information from each and applying it across town, so to speak. So, an abstract painter might return to a kind of realism, but it will be informed from lessons learned in abstraction and, inevitably, emerge differently than it would have otherwise, generally reinvigorated. -Brian Olewnick
     
     
     
    It falls somewhere between Derek Bailey, Taku Sugimoto circa Opposite and Loren Mazzacane Connor to my ears, meandering, partially melodic studies that hint at the angular awkward genius of Bailey’s Aida mixed with a hint of blues affectation. -Richard Pinnell
     
     
     
    Everybody demands honesty in music, but noone wants an artist to really share himself completely with his audience. It is a sad (or, if you like, perfectly natural) fact that what a listener perceives as truthfulness and “emotion” is really just the recognition of a shared element in the voice of a performer and his own. So how can one appreciate a work like “Cancons per a un lent retard”, which takes its seat right next to you, just like the virtual parents in a Freud’ean marriage bed? The answer is you can’t – and that’s what makes it stick out from anything we’ve heard this year. -Tobias Fisher