“GRM veteran Beatriz Ferreyra is carrying Pierre Schaeffer’s utopian musique concrète into the future... Ferreyra manages to occupy an idiosyncratic position where she almost stands alone. Her pieces are possessed by an almost phantasmagoric intensity.” – The WIRE



One of the last active members of the original Groupe de Recherches Musicales (GRM), Beatriz Ferreyra began her composing career accidentally, having been exposed to the musical methods of Pierre Schaeffer and the GRM shortly after moving from her native Argentina to study with Nadia Boulanger and Edgardo Cantón in Paris in the 1960s.



Ferreyra contributed to Pierre Schaeffer’s book 'Traité des Objets Musicaux' (1966), collaborated on the realisation of Schaeffer's 'Solfège de l’Objet Sonore' (1967), and went on to take composition lessons with Earl Brown and György Ligeti at Darmstadt.



As an independent composer, Ferreyra has received major international commissions for performance at festivals and concerts, and also composes for film and ballet. In 2014 she was elected as an Honorary Member of the International Confederation of Electroacoustic Music.



This album presents three unreleased contemporary works that reveal how Ferreyra continues to create compelling sounds from classic musique concrète techniques.

90's shoegaze band from Argentina (1992-2001).
Members:
Agustina Mendiburu Elicabe / voz
Roger Delahaye / guitarra, voz, sintetizadores
Hilarión del Olmo / batería
Brian Magallanes / Bajo
María Pérez / teclados, sintetizadores y samplers

Born into a musical family in Argentina, Sebastian Plano is a classically-trained contemporary music composer / multi-instrumentalist. Exploring his strong roots in folk music, Tango, and enchanted by the resonance of electronic music, he began to interpret his imagination into own sounds at the age of 12.
There are classical musicians who embrace the modern world we live in today and that is what Sebastian Plano does. Already with the first release of his debut album "Arrhythmical Part of Hearts", Plano has gained international acclaim, placing him as one of the pioneering artists combining classical and electronic elements. His new and second full length album is entitled "Impetus" - a moving force, stimulation and momentum that originated right after completion of his debut album.
In comparison to Plano's debut, "Impetus" comprises a larger acoustic instrumentation and a nurtured way of handling sounds. Instruments and sounds are added and dropped, the tempo is raised and lowered, sudden subtle changes of mood generate forward motion and lead us into new episodes and interludes. The tone is by turns insistently yearning, wistfully pretty, gently melancholic, and urgently rhythmic. Intimate quiet moments leading to vast soundscapes of strings and electronic percussion. Plano's new album is full of such miniature dramas, filled with life and beauty creating a storyline of boundless imagination.
Sebastian Plano's music draws from a wide pool of influences. Indeed, it is influenced by much of classical music, but we also find similarities to some soundtrack composers, as well as certain musicians such as Ólafur Arnalds, Sigur Rós, Arvo Pärt, Nils Frahm or Max Richter. Sebastian has recently collaborated with ex-Kronos Quartet's cellist Jeffrey Zeigler, who takes part in his forthcoming EP album called "Novel".
"Impetus" will be released in September 2013 by Denovali Records. The release is accompanied by a re-release of Sebastian Plano's debut "Arrhythmical Part of Hearts" with entirely new artwork and worldwide distribution as well as a tour throughout Europe soon after.

Argentinean singer Molina was introduced to the American public with the release of her second album, "Segundo". A mixture of acoustic guitars, traditional percussion touches, electronic textures, and her disarming vocals make it one of the most evocative and original albums in recent memory. NPR's "All Things Considered" praised her, as did Entertainment Weekly when it named "Segundo" "Best World Music Album of 2003". "Sounds like Stereolab's Laetitia Sadier covering Nick Drake, whispering luminous folk tunes amid electronic thickets while acoustic guitars and pianos flicker like votive candles" ¿ Entertainment Weekly. 2004's follow-up, "Tres Cosas" was equally revered, as Jon Pareles of the NY Times named it a top ten record of the year, and it won even more fans as diverse as Savath & Savalas, David Byrne, Belle And Sebastian, and Sam Prekop. This is her first new material in over two years and is the first of her albums to be released simultaneously around the world, which should heighten the album's impact.

All-female post-punk band from Argentina
* Ceci Kelly - guitar, vocals
* Betty Kelly - bass, vocals
* Sil Kelly - drums, vocals

Juana Molina is back with another masterpiece album, overflowing with emotions, musical ideas and mysterious atmospheres. With 'Halo', the Argentinian singer picks up where she left off with her previous acclaimed album 'Wed', and shows once more that she really is 'on an evolutionary journey of her own devising' (Pitchfork).
'Halo' is Juana's seventh album recorded in her home studio outside of Buenos Aires, and at Sonic Ranch Studio in Texas, with contributions by Odin Schwartz & Diego Lopez de Arcaute (who have both been playing live with Juana for a number of years), and Eduardo Bergallo (who has taken part in the mixing of her previous albums), with Deerhoof's John Dieterich making a guest appearance in a couple of tracks.

阿根廷民乐电子

Persistence of Sound presents a split LP from two leading voices in electroacoustic music. It would be hard to find a better-suited combination of contemporary acousmatica on one record.
Beatriz Ferreyra and Natasha Barrett are known for their intense exploration of the movement of sounds through space. Ferreyra has been at the cutting edge of developments in acousmatic music and sound morphology since she joined Pierre Schaeffer’s small team of researchers in his tape experiments at the GRM Paris studios in 1963. Barrett has established an international reputation as a composer of 3D audio and ambisonics.
Following her 2019 album, Huellas Entreveradas, Beatriz Ferreyra returns with her major new work, Souvenirs Cachés (2020), a free journey through a distinctive mix of Ferreyran sounds, a carousel of disembodied vocal sounds, growls and susurrations, sprinkled across the stereo image, and joined intermittently by sustained drones or ethereal, melodic whines, with a hint of prepared piano. Hernan Gomez’s percussive and manipulated flute is featured throughout.
Natasha Barrett’s Innermost (2019) was first composed with natural but abstracted recordings from two outdoor Norwegian events. These were mass community celebrations, particular to Norwegian culture and devoid of political anxiety, although some of the electronically-treated, disembodied vocals seem to express elements of angst or anger. The interplay of manipulated vocal sounds and marching band samples contextualises the music in the open acoustics of a public event. Barrett describes the second section as an example of her notion of ‘spatial counterpoint,’ where many layers of minimal pitched sounds linger, intersect and interact.
The record also features Ferreyra’s Murmureln (2003), commissioned as a danceable electroacoustic piece. Ferreyra’s Argentinian roots are explored in a playful rendition of an old Comparsita, made from collaged vocal sounds and sampled fragments of tango musicians Astor Piazzola, Anibal Troilo, Susana Rinaldi and Roberto Goyeneche.
Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years.
Natasha Barrett describes her inspiration as coming from the immediate sounding matter of the world around us, as well as the way it behaves. “I’m really concerned with the idea of tangibility. Sound is invisible, but we can do things that make you want to reach out and touch it.” Barrett's works are performed and commissioned throughout the world, and have received a long list of prizes, including the Giga-Hertz Award and the Bourges International Electroacoustic Music Awards.