Sonido 13 | Versorium

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Avant Garde: Free Improvisation Avant Garde: Electro-Acoustic Moods: Type: Improvisational
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Versorium

by Sonido 13

Versorium is an improvised soundtrack to the subconscious; a post-classical collection of electroacoustic excursions which must be experienced to be believed.
Genre: Avant Garde: Free Improvisation
Release Date: 

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1. Locusts
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5:54 $0.99
2. Collateral Damage
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6:05 $0.99
3. Chase Scene
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2:31 $0.99
4. Gekruiste
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4:09 $0.99
5. Gelaagde 3
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6:46 $0.99
6. Melody
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0:15 $0.99
7. Wisselen
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9:51 $0.99
8. Muurbloem
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4:39 $0.99
9. The End of My Beginnings
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3:24 $0.99
10. Bttf
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5:54 $0.99
11. Chooch
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1:57 $0.99
12. Deserted Dreams
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4:00 $0.99
13. White Pants, Hot Girlfriend 1
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5:23 $0.99
14. For You, Ten Euro
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5:23 $0.99
15. Industrial Grind
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4:19 $0.99
16. Swell
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7:11 $0.99
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ABOUT THIS ALBUM


Album Notes
Sonido 13 uses and abuses their classical training, along with an unbridled spirit of exploration and freedom, to create spontaneous pieces of chamber music which defy classification. Expanding on the original concept of the ‘13th sound'--microtonality--the duo has used virtuosic extended techniques to create a unique personal musical language informed by contemporary concert music, electronic music, noise, free improv, jazz, folk musics and many others. The music is mostly improvised but somewhat composed: attempts to create structured chaos within chaotic structures, it was fueled by equal parts inspiration and french fries.

Harry Cherrin is an American saxophonist and woodwind player currently living in the Netherlands. Originally from a suburb of Philadelphia that not many people have heard of, he eventually relocated to Boston where he studied, lived, and performed with a variety of groups for four years. He recently finished a master's degree in Amsterdam, under the tutelage of the great Dutch saxophonist Arno Bornkamp, where he remains as a valued member of the Dutch experimental music scene. Always striving to find new ways to integrate his classical training with a sense of spontaneity and creativity, Harry plays alto saxophone in the Esquire Saxophone Quartet and is a founding member of Bram Stadhouders Korps, Twombly, Sonido 13 and several other groups. He also teaches music and saxophone in The Hague and Amsterdam, and as such sometimes gets sick of all the long train rides.

Jason Alder grew up in a musical, computer literate family in metro Detroit during the Reagan administration. He began playing guitar and clarinet at an early age, with bass clarinet and saxophone quickly following. He holds a BM from Michigan State University (US) where he studied clarinet, computer/electronic music, and recording. In 2006, after spending many years in the multi-faceted Detroit music scene, he moved to Amsterdam to join the bass clarinet legacy at its conservatory. He is very active in contemporary music and frequently works with composers to premiere new solo and chamber music repertoire, performing regularly around Europe. He also often performs with improvisers of other arts, specifically dance, theatre, & film; the Magic Lantern Show Orchestra; and is a founding member of the klezmer band Payazen. He continues to live in Amsterdam as an active musician and recording engineer, operating his business N&K Music and Audio, Inc., and is a freelance spicy food connoisseur.

locusts: a single line on a single trajectory wherein momentary diversions materialize and morph, darkening and clashing in curious intersections, contextualizing and reconfiguring towards a final implosion

collateral damage: a torrent discovers that it is, in fact, a brook

chase scene: imitation is the best form of flattery

gekruiste: bizarre rituals with muffled and vague beginnings; an affirmation

gelaagde 3: as we expand to cover more and more territory, we discover that we’re not so different, you and me

melody: ‘the secret to a great pb&j: no pb, double j’

wisselen: always slaps and whines over a murky ground bass, but no one can seem to hold onto his materials for very long, you can’t buy, only rent

muurbloem: a chant at first, using the merest of means, ultimately scatters into a collection of splashes in the air

the end of my beginnings: quivering interval grinding itself against the armosphere, relishing its own dissonance and ultimately squeaking its way back to outerspace

bttf: percussive possibilities. floating tones and dark jabs against persistent tongues-speaking

chooch: let’s make like a tree and get out of here

deserted dreams: slithery sneak slurps and slides, ever intimidated by mutilated chunks with electronic powers

white pants, hot girlfriend 1: it’s true, check for yourself

for you, ten euro: an artist begs forgiveness with every stroke of the brush, forgiveness for spoiling the purity of existence with his paints

industrial grind: the bellowing of overtones with ever patient plops. he might be convinced, but at the very last minute he returns to the dark side

swell: a note is like a snowflake--if you collect enough of them into a ball and put it in the freezer until july, you have something with which you can surprise the heck out of your little brother! similarly, when i play a note and you play a note, a third thing is made for us and them to feel, to vibrate inside of, to understand. pretty swell


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