Kyron / Molina | Melting Point

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Electronic: Experimental Electronic: Illbient Moods: Type: Experimental
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Melting Point

by Kyron / Molina

Minimalist Experimental Improvisation - A touch of melody, a touch of tender noise.
Genre: Electronic: Experimental
Release Date: 

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Tracks

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1. Winding Waters
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2:12 $0.99
2. Melting Point Part 1
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6:31 $0.99
3. Coil
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3:48 $0.99
4. Kettle
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3:55 $0.99
5. Where Wave Meets Shore
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4:05 $0.99
6. Forge
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3:14 $0.99
7. Melting Point Part 2
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7:32 $0.99
8. Surge
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3:08 $0.99
9. White Forest, Black Road
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4:34 $0.99
10. Steam
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3:54 $0.99
11. Nevermore
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2:07 $0.99
12. Melting Point Part 3
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8:31 $0.99
13. Critical Mass
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ABOUT THIS ALBUM


Album Notes
On April 3, 2007 Kyron and David Molina performed at Melting Point gallery in San Francisco, California. Together, they improvised a live film score for Susana Aragon's short film "Personal Luggage". Using electronic software and acoustic improvisation, Kyron and Molina pieced the minimalist score together moment by moment, creating an ideal compliment to the film. Mirrors were placed in front of the two performers so that they could see the images as they were projected onto the screen behind them and respond musically to what they saw.
David Molina played a variety of instruments including: autoharp, cello, harmonica, and electric guitar as well as some unique instruments of his own creation.
Kyron processed the sounds as David played them, expanding, contracting, morphing, looping and re-mixing them, combining them with electronic drones and beats, creating a complex thick instrumental web.
During the following year, Kyron took the raw recordings of that night and produced multiple re-mixes, variations and tangential explorations.
Melting Point is an audio artifact from that night of audiovisual experimentation and a collection of the musical explorations that developed from it. Both elements are woven together to form a continuous aural experience.

About Artists:

Native to El Salvador, Kyron is a composer and electronic musician willing to explore a wide range of musical genres. His experiments with improvisation and noise influenced electronic compositions have led to the release of a large number of titles over the last 15 years, all of which are available through the Black Note Music label.

For over 12 years, David Molina has been composing, performing scores, and designing sound for theatre, dance, film, installation, radio and multimedia productions. He tours and performs extensively with the experimental, electro-acoustic band Transient, based in San Francisco.

A note from JC Mendizabal aka Kyron / Ki-rin

I come from a country with a long tradition of human warmth and a painful and bloody history: El Salvador. I came to the United States in the early '80s, at the start of the civil war there, and I have lived here in San Francisco since then. I have travelled back to El Salvador many times since then, so I consider myself a kind of synthesis of both cultures. Much like the music that I create my mind is equal parts magic and science, logic and madness!

I studied creative writing in college and wrote many short stories. I slowly became dissatisfied with the way that creative writing was taught in college and I changed my major to music, which I studied in SFSU. I graduated in 1993 with a specialty in Music Composition and Electronic Music. The main skill I feel that I learned in school was the careful application of attention to each and every detail of a musical composition. I learned that this attention could be applied to any style of music.

Several of my pieces in a "classical" style were performed by the Symphonic Orchestra of El Salvador and by other smaller chamber groups. In 1994, the University of Santa Clara gave me a comission to create the music for a Multimedia Piece (involving dance and theatre) based on the massacre of El Mozote. This piece was finally performed in 1996.

But even before then, around 1992, I started to realize that something was missing from my musical work. I started to experiment with various shamanic and magical traditions, slowly finding my way through this mine field to arrive at the start of what is known as the Path. I began to realize that music could be used as a practical method of travelling to other dimensions or planes, to gently (and sometimes not so gently) push the human machine into awakening and to create spaces of invocation.

As I explored more deeply in these regions, I became involved with other people that were also interested in these ancient questions. During several years I devoted myself almost completely to this work. I participated in and directed many shamanic and musical experiments. Some of these have been recorded and may soon be available. Others were as ephemeral as truly beautiful moments have to be.

These days I give all my energies to the project that we now know as "Black Note Music" - through which I hope to truly develop and explore at least some of the infinite panorama of possibilities that I see before me. Together with my current friends, and others that I still haven't met, I hope that we can really find and offer those places where ancient shamanic practices and invocations meet the age of synthesizers and electronica.

"I started playing music more than 15 years ago and I really feel that I have barely started to penetrate into the marvelous mystery that is held within those structured vibrations. I have created pop music, classical music, minimalist music, electronic, blues,experimental, jazz, industrial... almost all genres. I don't feel that the particular genre that is used to classify music should have any importance. What truly matters is what kind of vibration is awakened in those that listen.
So my most recent work is dedicated to creating music that will affect the listeners in subtle but profound ways. Music operates at a pre-linguistic level. The parts of the brain which listen to notes, to rhythms, are not intrinsically connected or dependant on language. This makes these areas of the brain more innocent, more open to the greatest questions that we can make, they are more ready and willing to embark on journeys with no return. I wish that my music may be the starting point and a faithful companion in such journeys."


Reviews


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Jack The Ripper

Kyron & Molina - Melting Point
This is a split collaboration between Kyron & David Molina.

Improvisation plays a fundamental role as basic source for inspired ideas, out of hand events, unexpected turns and general speculation, by getting rid of the fixed norm the author may be able to find the more appropriate sounds to form his own idea, or to get the uncommon compositional way to articulate a plot, a figure, an action or a sentiment. In many cases this may result in a fiasco that is only interesting for the artist, some other times he may find a way to communicate heart to heart with his public and to surprise them with an uncanny innovation. When improvisation is contextualized inside music the results may be truly genuine and unique just like a psychological game of “free associations”. This is the case for “Melting point” a release issued by the Ethnic experimental ambient and shamanistic electronica promoter Black Note Music managed by JC Mendizabal Aka “Kyron”. David Molina & Kyron were invited in 2007 to a performance in San francisco located in the Melting Point Gallery. David a multi instrumentalist expert brought an arsenal of instruments for the performance including conventional instruments to be played in unconventional ways like Flutes, Cello, Bells, Water phone, Water kalimba, a mini tabla and other alien instruments entirely created by him. JC brought the electronic compost, amongst other items the sacred sampler machine and rhythmic boxes. In front of each artist a screen projecting an experimental film score by Susana Aragon called “Personal lugagge” and then the improvisation commence. David starts by playing the instruments and constructing the message, creating the soundtrack as it comes and Kyron readapts everything adding an outworldly touch and fragmentary finality coming from his electronic mediums. A year later and after multiple magical additions and remixes the work we have in here took its definitive form. “Melting point” is a very demonstrative episode of transient experimentalism with an extremely spiritual touch in it.

“Melting point” mix the magical contours we can find in Electro acoustic music with eerie rhythms from ritual music. Strange instrumental formations take hold during the whole transition often presenting an irregular and alien sonority, sometimes not even associated with the functionality of the very instrument. A constant rhythm is transmitted through the percussive cadence given to the string instruments, like for example the stunned broken harp delicately hammered or twanged during the first track (later converging as soundtrack theme and becomes a constant return reworked and morphed) and slowly introducing a subtle rhythm that gets the form of a mellow tribal dirge. The sound of the instruments is often eerie, unrecognizable but magnificently pleasant. This tribal cadence introduced is never monotonic or boring but grabbing, enthusiastically calling the listener in adherence with its trance like rhythm, and while it does drones other instrument applications gets morphed in other extravagant organic atmospherics of progressive colouring. An example of this lies on “Coil”. But not everything is tribal mesmerisms and organic drone usage applied in incredible amplitude and most suggestive appeal. “Kettle” brings a set of bizarre glitchs and quasi breaks constructed with bells and other instrumental sources all of them floating over a sub bass undulation that results both intriguing and meditative. “White forest, black road” brings a Western like feel with an atonal guitar chord that brings psychedelic vibes amidst a mystic atmosphere of sandy textures and arid flutes opaqued by winds and the unfathomable profundity of a deserted landscape. Or the dissimilar and more heavy constituted “Steam” that grants a strange equivalent of a Hip-Hop like rhythm appropriated in a tribal logic, introducing in a very deep mental journey of aural stimulation and eerie instrumental atmosphere as background. The general ambience is heavily marked by a set of percussive arrangements that bring an attractive tribal ritualised atmosphere and this is one of the aces from the work, the right use of percussions like tabla, or the string instruments giving this percussive tone aside innumerable other elements and effects joined by right guessed drones, electronic additions and morphing gives to the work an strange aura that results always intriguing and hypnotic. All tracks are interconnected interweaving a narrative that is both prosaic and magical and while the story is told each track remains as a particular element that becomes a fundamental piece for the appreciation of the wholeness.

“Melting point” is an extraordinary example of modern Tribal music aided by electronics and thus not resulting an eminently sociologic study reserved for the versed but a piece of art at within the reach from anyone who wants to experience it. It could be lectured as a world in its own without being necessarily linked with the performance that initiated its creation. Its simple yet utterly versatile creation creates proximity with the listener, its narrative results visionary, manifesting hypnotic states of mystic beauty and magical scenes of natural presence. Cheers for the brotherhood of Shamans established by this duo, hope they bring new experimentations for us to experience. Recommended!