You can watch him prepare his piano in a fascinating series of videos on NPR. Thus the piano, or a few notes of it, anyway, can come to imitate growling synthesizer bass, congas, and spluttering ride cymbals. The computer is used as a multitrack recorder, allowing him to build each song in a succession of parallel lines. There is very little evidence of digital post-processing; it sounds, for Album) most part, like he has played each part in full in real time, rather than cutting and pasting phrases and fragments into a post-hoc collage.
For anyone interested in a really close examination of his method, you can download all 20 multi-track parts to "Ping" from Juno. It sounds, for lack of a better word, organic. I don't mean that in a loaded way; some great electronic dance music is radically inorganic, fit together out of tiny snippets of isolated sound in such a way that emphasizes disjuncture. But this album, in contrast, feels natural, artless. There are no evident seams. The preparations give Hauschka an enormous range of timbres to work with, lending the music a wonderful sense of depth and texture, and tugging it closer to sounds normally thought possible only from electronic instruments.
He also makes a good case for the piano as a percussive instrument, layering parts in short, repetitive bursts, indebted both to electronic music's syncopations and to the "pulse" minimalism of the s and 70s.
The influence of Steve Reich's Music for 18 Musicians and Terry Riley's In C is all over Salon des Amateursparticularly in Hauschka's method of daubing on tone color, even if his sense of structure owes more to popular music. Ultimately, the album succeeds not in imitation, but interpretation, borrowing house music's rudiments and riffing on them until it takes the music somewhere else.
Piano house is in vogue right now, but the vast majority of it sticks to a single sampled chord. This is something else. It isn't so much Subconscious - Hauschka - Salon Des Amateurs (File it's Album) facsimile of house, with downbeats here and staggered chords there, but a way of assuming its voice, of learning its vocabulary and grammar, stumblingly, and embellishing along the way with ideas borrowed from jazz and pop and classical music. It's gleefully polyglot, confident even in its own clumsiness-- awed by the scope of its subject and humbled by its own limitations, but still bright-eyed and unstoppable.
This is Hauschka's 6th or 7th album, depending on how you count them. The album concludes with "Sunrise", the most relaxed tune on this collection. In all, this is quite the album! I saw Hauschka in concert this past weekend here in Cincinnati, where he brought a fantastic set in a intimate setting maybe people in attendance at the Contemporary Arts Center. His set focused on longer pieces, and he also played a couple of tunes from his upcoming new album "Abandoned City" out Album) March.
It is impossible to overstate what the concert experience is like with Hauschka. Truly a memorable evening, so if you have a chance to see him live, do not miss him! These are deep, but happy, experiments in the art of exploratory rhythmic composition that are simultaneously busy and ultimately calming. See all reviews from the United States. Top international reviews. Album) all reviews to English.
Wonderful record! The remixes are catching the essence of the original tunes and enforcing it, repeating it, and turning it into a set of new and very powerful listening experiences. Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Translate review to English. En plus, on avance dans la recherche du son et du rythme, ce qui ajoute encore au plaisir. So geht's mir jedenfalls. Load more international reviews.
Hauschka does it again. A very beautiful record. He just gets better and better with each release. Well recommended. Hauschka hat mit diesem remix-album gebracht was viele lange geforderthaben. Wird bestimmt eines meiner Lieblingsalben werden, mal was anderes, weiter so.
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