Not Applicable

The instrumentation of the SCHUBERT-RUPP-OHLMEIER trio carries the idea of a classical piano trio (violin, piano, cello) further into contemporary improvisational music and, with the diverse expressive possibilities of soprano saxophone, bass clarinet and electric guitar, opens up completely new possibilities for transforming the colour of individual notes and combined sounds into a lively texture, free of stylistic or dramaturgical restrictions.

The intrinsic tonal vocabulary of the individual instruments is on an equal footing with extended playing techniques and both are used exclusively to shape a radically unconditioned sound progression. The result is a very multifaceted collective sound that is always in motion and always poses the right questions to the listener’s expectations in a fascinating way.

Entropy Hug by Schubert-Rupp-Ohlmeier on Bandcamp

“Best described as Avant Garde electronic jazz with undertones of the cabaret, this sense of the future is one to be taken seriously, and as tracks such as the fiercely demanding and ultimately satisfying The Graveyard of Sharks, Fluffy Wires, the homage in name in Eno’s Bathroom, Dolphin Suicide, and the fantastic It Must Have Been The Magpies, Pando Pando release an energy that is more than welcome, it is highly desirable, it is riveting, leaving the listener unsure of where the next note is coming from, but delighted when it arrives and with a flourish of generosity of flavour.” Ian D. Hall, Liverpool Sound & Vision

See Pando Pando Live!

Pando Pando + UKAEA + The Glass Key

Tue, Apr 16, 7:00 PM
Two Palms
289 Mare Street, Hackney, London, E8 1EJ, United Kingdom
£11.85

https://dice.fm/event/vl8y6-pando-pando-ukaea-the-glass-key-16th-apr-two-palms-london-tickets

‘Nebula 1 & 2’ is the first collaboration between Mieko Shimizu and Jasmine Morris, commissioned as part of a Not Applicable season of live performances hosted in venues throughout London in 2023.

Musical landscapes formed of arresting string harmonies dissolve into electro-acoustic seas, eventually submerging us into a world of rhythmic electronic currents and ancient memories. As the compositions evolve, we wash up on the shores of what might be distant planets, familiar but uncanny, our senses reawakened to a new reality where inter-planetary and inter-generational forces unite.

The recording captures a unique moment in Mieko and Jasmine’s respective lives and acknowledges a shared passion for electronic music, fostered in part through their relationship as mother and daughter.

“After the release of our first album, Hypertide Over Kiribati (2019), we were scheduled to play at the beginning of 2020 in Ausland (Berlin) and at the Kaleidophon Festival of jazz and improvised music (Austria). Both these shows were postponed until 2022, at which point, taking advantage of the suspension in time, we made this recording between these postponed, post pandemic shows, an occasion which was also the first time we had seen each other collectively in 3 years.

The sunny, spring day we recorded it on in Berlin and the other worldly, almost museum like atmosphere of Tito’s cinema recording studio, inspired and influenced our collective music making.

Our sonic conversations unfolded as the day faded. No one got up to turn the lights on, instead, we reveled in the spell that twilight weaved and the quieting world around us. Surroundings that had once seemed so absolute, rigid and certain, seemed to dissolve and unravel in a flow of allusions and enquiry.

The record is a reflection on the fragility of these type of collaborations and conversations, in that it might just as easily have never happened. But it did and in that sense, In The Gloaming serves as a memento to a kind of optimism for the future in the face of so much adversity.”

Releases February 16, 2024

Lothar Ohlmeier : Bass Clarinet
Isambard Khroustaliov : Electronics
Rudi Fischerlehner : Drums

Cover Photograph by Tomoroz

Recorded at Tito’s place, Berlin, 30th April 2022.
Mixed at Rudi’s place, Berlin, 25th & 26th February 2023.
Mastered at Coda to Coda, London.

New album from Tom Arthurs and Isambard Khroustaliov under the guise ‘Augmented Nature’, documenting a four-part surround-sound live performance on the island of Ufenau, in the lake of Zürich (Switzerland), that took place in July 2022.

The residency and performance were commissioned by the annual festival Musiksommer am Zürichsee (curated by Manuel Bärtsch), and culminated in an immersive concert in the island’s exquisite 12th-century St.Martin’s chapel.

Tom and Isambard collected field recordings in the church, on the island and in its surroundings, using a variety of conventional microphones and hydrophones, and microscopically documented the island’s environment, wildlife and uniquely delightful inner life.

These materials were then lovingly sculpted and edited, in order to be used as a foundation for performance and instant composition, creating a hyper-realistic multichannel installation that provides the perfect foundation for exploration and dialogue with the crystal-clear, meditative and deeply sensitive trumpet playing of Tom Arthurs.

https://augmented-nature.bandcamp.com/