Thanos Chrysakis, Sue Lynch, James O' Sullivan, Joe Wright
Duration 49.21 | Released October 2018
Thanos Chrysakis | laptop computer | synthesizers |
Sue Lynch | tenor saxophone | flute | clarinet |
James O’Sullivan | electric guitar |
Joe Wright | tenor saxophone + dynamic feedback system |
Recorded at OneCat Studio in London
on the 29th of November 2017 by Jon Clayton.
Between June — July 2018
at Meridian Studio.
About the Artists
Thanos Chrysakis’ output consists of composition, performance, and installation. He was born in Athens in 1971. After residing in the UK between 1998–2014 he moved in 2015 to Belarus.
With several albums to his name his work has appeared in festivals and events in several countries, including CYNETart Festival, Festspielhaus Hellerau – Dresden, Diapason Gallery – New York, XXII “Sound Ways” International New Music Festival – St Petersburg, Spektrum – Berlin, Artus Contemporary Arts Studio – Budapest, CRUCE Gallery – Madrid, Fylkingen – Stockholm, Relative (Cross) Hearings festival – Budapest, ZEPPELIN festival – Barcelona, Festival Futura 2013 – Crest-Drôme, XIII Festival Internacional de Música Nueva – Monterrey, Areté Gallery – Brooklyn-New York, Nádor Terem – Budapest, Utzon Centre – Aalborg, Oosterkerk – Amsterdam, Störung festival – Barcelona, Fabricca del Vapore – Milan, Center for New Music – San Francisco, Västerås Konstmuseum –Västerås, BMIC Cutting Edge concert series - The Warehouse – London.
His music has been also frequently aired by RAI Radio 3, BBC Radio 3, Radio Portugal Antenna 2, Radio Nacional de España, FM Brussel, Polskie Radio (Warsaw), Elektramusic (Strasbourg), Undae! Radio and Onda Sonora - Radio Circulo de Bellas Artes (CBA) (Madrid). He composes for electronic and acoustic instruments as well environmental sounds, focusing on the structural, aesthetic and transfigured capacity of sonic matter.
His work was amongst the selected works at the International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category œuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Competition Musica Viva in Lisbon.
Sue Lynch (Tenor saxophone/clarinet/flute/composition)
She currently runs ‘The Horse Improvised Music Club’ with Adam Bohman, Hutch Demouilplied and Adrian Northover. Performs with Adam Bohman, Eddie Prevost, Richard Sanderson, John Edwards, Steve Noble, Crystabel Riley, Caroline Kraabel and Sharon Gal.
In 2015 she performed with Maria Vatentina’s opera ‘Mannequin’ and in 2016 as part of Tarek Atoui’s ‘Reverse Collection’ at The Tate Modern. She performs with Psychedelic Afro Beat Sudanese band ‘The Scorpios’, performing at the 2018 Womad Festival. Sue Lynch is currently one of the featured musicians for The British Music Collection interviews with 'Unpredictable Series' presented by Steve Beresford and Blanca Regina.
In 2016 she formed, ‘Paradise Yard’, an electro accoustic ensemble, performing at Iklectik, Cafe Oto and The ICA. In 2018, she performed at 3 Klange Tag Festival (celebrating literature and improvisation),in a duo with Hildegard Kleeb.
Using a combination of feedback, conventional guitar techniques and instrumental preparations, London-based musician
James O' Sullivan exploits the full sonic potential of electric guitar and amplifier, relating them meaningfully to the immediate physical environment.
His interest in improvisation, recording and performance has led him to record and perform across the UK and internationally, both solo and with numerous improvised music groups. More longstanding arrangements include Found Drowned, a trio with Pete Marsh and Paul May, and his collaboration with Thanos Chrysakis on several releases on the Aural Terrains imprint.
His debut solo album, 'feed back couple', was released in 2011. His second solo album, IL Y A, is out now on the Linear Obsessional imprint.
Joe Wright is a London-based musician, sound designer and researcher with an interest in experimental music, curiosity-driven musical interaction and neurodiversity. He has performed across the UK and Europe as a soloist and collaborator in various projects, these include: duck-rabbit, an electroacoustic trio with Tom Taylor and James Opstad; Onin, a volatile electronics duo with James L Malone; and solo work exploring disruptive feedback systems with the saxophone. In all cases, active or unstable sonic material is sought that disrupts comfortable or familiar interactions between performer and instrument. Joe also works in inclusive theatre/arts as a composer, sound designer and performer with aboutNOWish and Ellie Griffiths, helping to create immersive work for neurodiverse audiences.
His PhD research incorporates his practical experience in these fields by exploring the design of digital musical instruments for exploratory sonic play with/for young people on the autistic spectrum. The research, now nearing its completion, has produced a digital musical instrument, research tools, and design strategies that aim to broaden the range of musical/sonic experiences available to young people with complex needs.
Orynx— Jean-Michel Van Schouwburg — 04.01.2019
Iridescent Strand, une œuvre sonore constituée de cinq parties numérotées I, II, III, IV et V. Un ensemble instrumental atypique : Thanos Chrysakis, le responsable du label, laptop computer et synthétiseurs, Sue Lynch, sax ténor, flûte et clarinette,James Sullivan, guitare électrique et Joe Wright, sax ténor + « dynamic feedback system ». Une telle instrumentation indique au premier abord que les artistes travaillent au cœur de la musique alternative expérimentale et/ou improvisée. Leur méthode dans l’improvisation, leurs modes de jeux, l’étagement des sons et leur imbrication dans l’instant créatif les rapprochent plus du courant AMM que de l’interactivité qui découle de l’expérience du Spontaneous Music Ensemble, John Russell, Phil Wachsmann etc… Comme toujours pour ses propres productions pourAural Terrains, le compositeur - improvisateur Thanos Chrysakis a opté pour une œuvre graphique géométrique sur le recto de la pochette. Avec une couleur dominante verte foncée – noire, elle est faite de courbes disposées autour d’alignements verticaux, de surfaces arrondies d’un côté hachurées et traversées de lignes droites horizontales ou obliques parallèles évoquant (peut être) une partition graphique. L’imbrication des sons électroniques abrasifs et étirés, des froissements des colonnes d’air des saxophones, du traitement du feedback, des effets saturés de la guitare, des drones décalés, leur étalement dans le temps trouvent quelque correspondances temporelles avec l’ordonnancement de ces motifs géométriques et leur perspectives. Ceux-ci sont l’œuvre du graphiste Carlos Santos, lui-même responsable du graphisme du label Creative Sources. On découvre des liens esthétiques évidents entre ce label portugais et la musique d’Iridescent. Une écoute attentive de leur continuum sonore, dont chaque partie plonge dans le silence par la vertu du fading ou d’une coupure nette (dans la partie V) à la fin de chacune d’elles, révèle la profonde cohérence et l’intensité croissante et obsessionnelle de la musique. Un déroulement dans l’infini qui ne trouve de solution que dans l’instant et par l’activité sonore collective et une écoute astucieuse. Un excellent album.
Todd M. McComb — Jazz Thoughts — 3.01.2019
Thanos Chrysakis returns with another quartet of deterritorialized (or deconstructed) sounds reterritorialized into classic forms: Iridescent Strand was recorded in London in November 2017, and features five tracks from Chrysakis himself (credited with laptop computer & synthesizers), Sue Lynch on reeds, James O'Sullivan on electric guitar, and Joe Wright on tenor saxophone with dynamic feedback system. (O'Sullivan has appeared with Chrysakis before, e.g. mentioned here in March 2015 around Asphodels Abide, while Lynch & Wright appear to be new collaborators: I found nothing by Wright, but Lynch has recorded with The Remote Viewers.) A horn is sometimes recognizable, although generally blended into the overall texture, but not always, and most sounds seem to be highly processed. For instance, the striking opening with its loud bass roar around various strange bounces & boings suggests an origin on guitar for the latter, but the latter might also be synthesized or related to whatever this "dynamic feedback system" is doing with the tenor sax. Harmonics fly, bass is generally big (despite no obvious bassist), ringing tones develop, and before the album's end there's a sort of metallic gonging — such that, once again, one might associate metallic sounds with the guitar? In between, there's all kinds of pitch bending, a bit (at least) of sampling, various loops (I guess?), some industrial buzz, and even a bit of horn skronk.... As "dynamic feedback" suggests, and as Chrysakis' previous keyboard work has already suggested (especially for organ, e.g. Music for Two Organs & Two Bass Clarinets, discussed here in May), there's a unifying overall texture, and indeed an evocation of some of the happenings of Pauline Oliveros' late Phase/transitions triple album. (The sorts of sounds that break up the larger textures are surprisingly similar in both.) One might also note the precedent of the dual electronics setup on Skiagraphía, which suggests more of a surging, ambient wave. (Despite the substantial electronic manipulation, sax & viola might actually be more identifiably themselves on the latter album.) I've noted before how Chrysakis excels at highlighting particular musical elements on the fly, thus drawing a structure into existence out of seemingly chaotic sounds, and Iridescent Strand indeed seems to consist of studies on molding or fusing deterritorialized sounds into e.g. grooves or recitatives, such that they come to take on an eerie familiarity despite their disembodiment. It's almost as though Chrysakis is taming & rearticulating (or sculpting) wild or orphaned sound fragments. (And as the synthesizers credit suggests, he adds some sounds of his own, including "spacey" sounds that quickly reassimilate to the texture.) Although sonically unfamiliar, and sometimes dissonant, the result comes to have real sensual appeal.... Iridescent Strand is thus a transformative album, generating (relative, musical) simplicity from (timbral) chaos — a real-time study in sonic form & perception — always finding a way forward. (Simplicity per se might be overrated, but we do need a way forward amid chaos today, and so such a result definitely seems relevant.)