Repetitions
Samuel Reinhard
Repetitions
Boomkat Product Review:
Formerly known as Wildlife!, Swiss electro-acoustic composer Samuel Reinhard flexes his compositional muscle on "Repetitions", a slow-motion rendezvous between Erik Satie's sublime minimalism and Charlemagne Palestine's restricted repetition.
Following on from last year's "Interior" - an exploration of resonant spaces using looped piano recordings - Reinhard digs deeper into experimental investigation on "Repetitions", playing with our expectation, orientation and attention. A cursory listen might not reveal much: skipping through "Repetitions" or listening in the background really doesn't do it justice, or at least only lets us see the first layer. But focus your attention a little more and Reinhard's process becomes more obvious. He uses three pianos to play harmonic motifs deliberately slowly, letting the notes ring out almost completely, but they're not in sync, so the harmonies, silences and repetitions sound randomized.
It's a relatively simple process - not unlike Steve Reich's phasing method used on 'It's Gonna Rain', adopted later by Brian Eno - but a rewarding one. "Repetitions" is familiar but subtle, warm and inviting - the more you listen, the more its sustained tones and icy silences begin to make sense.
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Boomkat Product Review:
Formerly known as Wildlife!, Swiss electro-acoustic composer Samuel Reinhard flexes his compositional muscle on "Repetitions", a slow-motion rendezvous between Erik Satie's sublime minimalism and Charlemagne Palestine's restricted repetition.
Following on from last year's "Interior" - an exploration of resonant spaces using looped piano recordings - Reinhard digs deeper into experimental investigation on "Repetitions", playing with our expectation, orientation and attention. A cursory listen might not reveal much: skipping through "Repetitions" or listening in the background really doesn't do it justice, or at least only lets us see the first layer. But focus your attention a little more and Reinhard's process becomes more obvious. He uses three pianos to play harmonic motifs deliberately slowly, letting the notes ring out almost completely, but they're not in sync, so the harmonies, silences and repetitions sound randomized.
It's a relatively simple process - not unlike Steve Reich's phasing method used on 'It's Gonna Rain', adopted later by Brian Eno - but a rewarding one. "Repetitions" is familiar but subtle, warm and inviting - the more you listen, the more its sustained tones and icy silences begin to make sense.
Boomkat Product Review:
Formerly known as Wildlife!, Swiss electro-acoustic composer Samuel Reinhard flexes his compositional muscle on "Repetitions", a slow-motion rendezvous between Erik Satie's sublime minimalism and Charlemagne Palestine's restricted repetition.
Following on from last year's "Interior" - an exploration of resonant spaces using looped piano recordings - Reinhard digs deeper into experimental investigation on "Repetitions", playing with our expectation, orientation and attention. A cursory listen might not reveal much: skipping through "Repetitions" or listening in the background really doesn't do it justice, or at least only lets us see the first layer. But focus your attention a little more and Reinhard's process becomes more obvious. He uses three pianos to play harmonic motifs deliberately slowly, letting the notes ring out almost completely, but they're not in sync, so the harmonies, silences and repetitions sound randomized.
It's a relatively simple process - not unlike Steve Reich's phasing method used on 'It's Gonna Rain', adopted later by Brian Eno - but a rewarding one. "Repetitions" is familiar but subtle, warm and inviting - the more you listen, the more its sustained tones and icy silences begin to make sense.
Boomkat Product Review:
Formerly known as Wildlife!, Swiss electro-acoustic composer Samuel Reinhard flexes his compositional muscle on "Repetitions", a slow-motion rendezvous between Erik Satie's sublime minimalism and Charlemagne Palestine's restricted repetition.
Following on from last year's "Interior" - an exploration of resonant spaces using looped piano recordings - Reinhard digs deeper into experimental investigation on "Repetitions", playing with our expectation, orientation and attention. A cursory listen might not reveal much: skipping through "Repetitions" or listening in the background really doesn't do it justice, or at least only lets us see the first layer. But focus your attention a little more and Reinhard's process becomes more obvious. He uses three pianos to play harmonic motifs deliberately slowly, letting the notes ring out almost completely, but they're not in sync, so the harmonies, silences and repetitions sound randomized.
It's a relatively simple process - not unlike Steve Reich's phasing method used on 'It's Gonna Rain', adopted later by Brian Eno - but a rewarding one. "Repetitions" is familiar but subtle, warm and inviting - the more you listen, the more its sustained tones and icy silences begin to make sense.
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