Mathew Roth: The Vulture & The Sparrow

a3220467487_10Our first September release has been prepared by someone very well-known to all members of Fluttery Records family. His name is Mathew Roth and after his successful albums “Immersion” and “Written & Unsent”, he is coming with his third piece “The Vulture & The Sparrow”.

Let us remind you something of Mathew’s background. Mathew began his musical career behind a drum set. He played the drums for close to 15 years, playing out around town and touring with various metal acts. The next step in his career was presented by his uncle Harold, who, after talking with Mathew about his interest in the piano, bequeathed to him his wife’s piano; a Kranich and Bach upright console. The next year was spent in an intensive retreat into music, where Mathew wrote, practiced and also recorded. After his uncle passed away, Mathew set off for a 6-week journey and walked 500 miles across Spain, which was a very transformative event in his life and incorporates much of what he experienced into the current musical projects he is working on.

Fluttery Records present Mathew Roth’s breathtaking modern classical work. With the cadence and candor of a cinematic score, The Vulture & the Sparrow is a musical journey through the darkness and back out to the light. Interwoven amongst the tracks is a very haunting and percussive piano, transcendent violin, and a cello saturated in earthiness which come together to create an experience that is both ethereal and grounding. Carefully chosen and interspersed synthesizers add an additional element that is unique to this album.

This album is similar to “Immersion” in that both are microcosmic interpretations of something, this album is just a different object of interpretation; the very well known, very human, and very despairing internal struggle of the dark against the light.”

The title of this album is very applicable to the feeling of the music. The instruments play off each other in a fashion similar to a duet, most notably in the title track. There is a constant theme of a dance between them, one proposing an idea and then another offering a new perspective.

“The Vulture is one person, and the sparrow is another, and yet of course they are both the same. They are always the same, and they create each other. The reason I chose the vulture as a theme is because I believe that these birds are misunderstood, as is much of what is dark, including aspects of ourselves.”

Listen, buy or download this album.

New modern classicals by Bosques De Mi Mente

frontinsertBosques de mi Mente is a solo project of Ignacio Nieto Carvajal, who is based in Madrid, Spain.

The whole project started in 2007 when he decided to create music on his own to reflect some restlessness and feelings that were in his mind. The idea behind Ignacio’s first records was to remember and capture his childhood, a happier epoch of his life. He approached composing frantically, spontaneously and it was clear to him from the very beginning that the Bosques de mi Mente would be an open musical project.

One day in 2009, during a happier period of his life, he started a conceptual work about “The Little Prince”. The idea was to connect with the emotion of every chapter and write a song about it, while giving the work a full cohesion as a conceptual unit. The result of all this process is “Inocencia”.

Some months later, during a harsh winter in Madrid, spontaneously, “Nueve Días de Invierno” was born. Ignacio’s piano was to be tuned, and althought that’s a perfect ocassion to record new piano songs in perfect tune, he had no new stuff for piano, so he decided to record, during 9 days of winter, as an improvised performance, the music as it was played or created, and he spent those days alone recording in his home studio. Those were days of heavy rain, cold weather, snow and wind, and so… “Nueve días de invierno” was born.

“Nueve Días de Invierno” was a very fulfilling experience that showed him the beauty of the improvised, solo piano sounds, so he decided to repeat and magnify this experience for his next work, “Otoño”.

Since the days of “Inocencia”, Ignacio had been thinking about doing a different album, based on his passion for toy instruments, malfunctioning electronics, circuit bending and vocal harmonies. He also began experimenting with harmonies and reversed vocals. These two new ways of experimenting with sound resulted in “Colores”, a different album with a positive feeling.

Some time later, the 20th of April of 2011, the night before he was travelling to Berlin, there was a terrible storm in Madrid. Ignacio decided to set some ambient mics pointing to the storm and another two mics recording the piano, and started playing. He left his mind wander through the piano notes for three quarters of an hour and then closed the lid of the piano, pressed the STOP button and started to prepare my luggage. When he came back from Berlin, he played the recording again and was so impressed by what he heard that he decided to share it. The result is “20 de Abril” (April the 20th), the most minimalist album of Bosques de mi Mente to date.

Since “20 de Abril”, Ignacio worked on many projects but the one that will interest us today is his last work. The last Bosques de mi Mente’s album, released this year, was the first to be released publicly under a record label, Fluttery Records. It’s name is “…de los Valles y las Montañas”.

“… de los Valles y las Montañas” is a critical reflection on the duality of our existence on earth, of hate and love, of technology and wilderness, of civilization and brutality, of noise and silence. We live in world of skyscraper filled cities and vast, empty wilderness. There is a fragile balance there, so fragile it seems like on the edge of scattering into pieces. It’s sad and beautiful at the same time.

This duality is present in “… de los valles y las montañas”, gentle piano lines and violin melodies confront the screaming noise of street preachers and the background noises, almost trying to cast some light in the dar scenery. The music here does not try to make any judgments, it just tries to allow the listener a moment of peace to think about it.

Listen, buy or download this album

A new experiment of Mathew Roth: Written & Unsent

cover (1)

Our first March release has been prepared by someone very well-known to all members of Fluttery Records family. His name is Mathew Roth and after his successful album “Immersion”, he is coming with his second piece “Written & Unsent”. Let us remind you something of Mathew’s background.

Mathew began his musical career behind a drum set. He played the drums for close to 15 years, playing out around town and touring with various metal acts. The next step in his career was presented by his uncle Harold, who, after talking with Mathew about his interest in the piano, bequeathed to him his wife’s piano; a Kranich and Bach upright console. The next year was spent in an intensive retreat into music, where Mathew wrote, practiced and also recorded.

After his uncle passed away, Mathew set off for a 6-week journey and walked 500 miles across Spain, which was a very transformative event in his life and incorporates much of what he experienced into the current musical projects he is working on.

Written & Unsent is an exploration into the versatility of the piano; an attempt to play the instrument in a unique way. Roth’s heavy influence in rhythm and percussion is obvious in this album, as it will, at times, embody the emotion of a percussive instrument more so than a melodic one. The playing swings between extremes of soft and delicate melodies into a bass-drum-thumping rhythm which you will find yourself bobbing your head to. “When I first discovered my love for the piano it was because I realized that I could play it like a drum. I had been playing drum set for 15 years but grew tired of it. One day I started playing ‘drum beats’ on a piano and a little lightbulb went off in my head. The subtlety and melody that was lacking was now here.” Says Roth of his playing style.

This album is unique for Roth in a few ways. In “Immersion” he favors a heavy reliance upon violin and cello structure to tie the pieces together; the piano is often simple to leave room for the strings, yet W&U is filled with powerfully driven solo piano which encapsulates the entire spectrum of sound. It was only because of the desire to play live shows, and the difficulty in finding strings players, that drove Roth to write more piano driven pieces. Roth says that he is happy with how the album turned out, but he still sees it as more of an experiment. “The next album, which I’ve been enjoying obsessing over for the past few months, will definitely incorporate more strings and other instrumentation.”

Listen, buy or download this album

The sonic world in Iván Muela’s “Unsound”

Iván Muela is a young multi-instrumentalist, composer and engineer based in London. His music relies heavily on warm sounding pianos, strings and abstract surreal sounds, ultimately resulting in a sway of beautiful melodies and fascinating textures. Perhaps influenced by being immersed in the lo-fi/punk scene, Iván brings this attitude to his music. Placing special emphasis in capturing the moment, his compositions are splattered with improvisation and chance. Iván is fascinated by the way technology can become an essential part of the compositional process, therefore pushing the rigid boundaries that for so long have characterised classical music.

The sonic world created by the young composer in “Unsound” is a swirl of emotions. The melodies and textures captured in its 11 tracks bring the listener into a different dimension in which feelings like desolation and hope walk hand by hand. This time Iván’s exploratory spirit took him to traverse new musical territories, blending classical-sounding passages with modern electronic elements. Unsound, Ivan’s most ambitious work to date, features several upright and grand pianos, modular synthesisers, guitars, bass, upright bass and even a 9-piece string ensemble recorded in a church.

While not being necessarily a conceptual album, Unsound is heavily inspired by the composer’s everyday life. Some tracks are little snippets of his thoughts, reflections of personal events and some sound passages are reflecions of life in a big metropolis. “Trying to find beauty in a hectic city like London is sometimes tough. Hope, worries, calm, bliss, elation, feeling like exploding inside… There are a lot of emotions put into this music but what each person makes out of them… that is very personal”.

Listen, buy or download the labum

Mathew Row’s modern classicals: Immersion

Marthew Roth

We are starting December with a very special classical music record. Immersion is Mathew Row’s first endeavor into the world of modern classical music, and his first serious pursuit of album production as well. The result is just amazing, that’s why we felt a strong desire to get him in our label as soon as we listened to his pieces. We hope that you will enjoy this artist from Ithaca, New York as we do.

Immersion also has a very cosy feeling. For him, the experience of doing all the production work himself was “terribly important”. Mathew says “If I had sent the music off to be recorded / mixed / mastered by a professional which I was tempted to do many times, it would have come back to me in a different language, the intimacy would have been lost.”

Before talking more about the album, let’s have a look at his musical background. Mathew began his musical career behind a drum set. He played the drums for close to 15 years, playing out around town and touring with various metal acts. During these years he also taught himself to play guitar and a little bit later, he fell in love with piano, too, when he found an old electronic keyboard from his childhood. On this keyboard “Tiger Lilly” was written.

The kickstart to what happened next was on behalf of the kindness of Mathew’s great uncle, Harold, who, after talking with Mathew about his interest in the piano, bequeathed to him his wife’s piano; a Kranich and Bach upright console. The next year was spent in an intensive retreat into music, where Mathew wrote, practiced, recorded, and produced the album “Immersion”, on this very special piano, which was released in the summer of 2014. Harold was able to hear the finished version of the album, before passing away the next year.

After this Mathew embarked upon a 6 week journey with his aunt, Cathryn Smith, to walk the Camino de Santiago, a 500 mile trek across Spain. He describes this as a very transformative event in his life and incorporates much of what he experienced into the current musical projects he is working on. You can easily pick up on this with Mathew’s more recent compositions in the walking tempo of the pieces and the frequent and repetitive motif’s that echo the slow, steady, and simplistic lifestyle on the Camino.

Mathew Roth’s debut album, Immersion, is an introspective journey into the more subtle rhythms of the Earth and the human experience. Written and recorded in “The Tea House”, as he fondly refers to the 10×10 hut where he resided in Virginia for the year that this album took to produce, Immersion incorporates many nuances and “imperfections” that add to the ambience of the experience, such as footsteps, sliding piano keys, a crackling fire, and bird calls. Mathew refers to the production of this album as “a way for me to bring what was hidden into the light.”

What made us made us fall in love with his music before signing him to the label was mainly his amazing piano / strings driven compositions which brings us to lands of other worlds. (Personally it makes feel walking on bare foot on a meadow made of grass and tiny little flowers.)

Let’s give the last words to Mathew Roth. “Every song on this album is about a very profound and particular experience for me. My writing process involved taking a freeze frame of a memory or emotion, and taking a magnifying glass to that very specific moment, and expanding it into music.”

Listen, buy or download

Max Lilja release Morphosis

Max Lilja ex Apocalyptica release soloLast year we started the talks with Max Lilja about his upcoming album. Now, it is such a nice feeling to have such a gifted artist in your artist roster.

Lilja, known as one of the most versatile and adventurous cellist of all times, is a Finnish cellist and composer. Max Lilja is also co-founder of legendary Apocalyptica and touring member of Tarja Turunen (former Nightwish).

Morphosis is an album where all the music is written on the cello. Max found inspirations in the melodies which wrote themselves on jamming sessions. Also, he used different approaches to the instrument by using different tunings, “A possibility that is sadly and very commonly ignored” says Max.

“When I record I’m balancing in between the possibilities of the instrument added with the electronics and the challenges of doing it all on cello.” says Lilja “Some of the lines require a very classical approach and in others I need to completely reform the original cello sound. I really enjoy going deep into the sonic possibilities, tweeking the knobs of analog effect devices and finding the perfect sounds for all the parts of the arrangements.”

Lilja was touring while at the same time recording and mixing the album. Lilja thinks it made the process more intense. “Making a music album is an intense but rewarding process and especially when you do almost all yourself. Working on the vision, writing, producing, performing, recording, mixing and being involved in the mastering. In all the steps I’m working with material that is born deep inside me and is highly emotional to me. It’s very challenging to find inside me all the different roles needed in the process and respect when the producer tells me that the arrangement sucks… so many decisions to be made and all have an influence on what the listener will hear and feel.”

Morphosis is probably not the easiest music album in the world but the artist thinks that he has achieved something truly unique that the world has never heard before. In the album, the master of the electric cello utilizes a wide spectrum of analog and digital effects to build strong identities for the sounds originating from the cello. In the nine instrumental songs you can hear influences from trip hop to electronica, from rock to classical, all morphed to the amazing cinematic images through Lilja’s cello.

One more time, Fluttery Records is proud to be Max Lilja’s record label.

Listen, buy or download

Pre-orders start for Max Lilja’s Morphosis

Max Lilja pre-orderYes, the day is getting closer. Lilja’s Morphosis will be out on the 10th of April. Morphosis is an album where all the music is written on the cello. Max found inspirations in the melodies which wrote themselves on jamming sessions. Also, he used different approaches to the instrument by using different tunings, “A possibility that is sadly and very commonly ignored” says Max.

Lilja, known as one of the most versatile and adventurous cellist of all times, is a Finnish ​cellist​and ​composer​. Max Lilja is also co­founder of legendary ​Apocalyptica ​and touring member of ​Tarja Turunen ​(former ​Nightwish​).

Listen to the preview songs & pre-order

Apocalyptica’s Max Lilja signs to Fluttery Records

Max Lilja

Max Lilja, co-founder of legendary Apocalyptica and touring member of Tarja Turunen band has signed a recording contract with Fluttery Records. Label is to release Lilja’s sophomore solo album.

Max Lilja, known as one of the most versatile and adventurous cellist of all times, is a Finnish cellist and composer. Lilja prepares to release his new album on Fluttery Records and celebrate the album with a tour.

Artist choses Fluttery Records to release his upcoming work which became a home for brilliant artists from all over the world. Label mainly releases instrumental music and open its arms to post-rock, ambient, modern classical and experimentalism.

maxlilja-sml1

Lilja showed prodigious ability from his earliest childhood. At the age of five, when other children started to recognize colours and shapes of letter in alphabet, he became highly attentive to melodies created by playing his first violin. Two years later, he switched to cello, which had stayed his life passion ever since and he was accepted to the Junior Academy of Sibelius Academy when he was ten.

After years of studying and playing in various symphony orchestras, in 1996, Apocalyptica was created with Max (being only 21 years old) as one of the founders. In the following years, the band released three albums (Plays Metallica By Four Cellos in 1996, Inquisition Symphony in 1998 and Cult in 2000).

After leaving Apocalyptica in early 2000s, it seems Max unveiled his full potential – besides being a cellist in Finnish National Opera Orchestra, he became member of a multi genre metal band Hevein and a Finnish folk-pop band Tekijä Tuntematon, whose music is based on Finnish poetry.

In 2007, after initial ideas of solo album and searching for “the sound” of electrified cello, he started touring and recording with former Nightwish vocalist Tarja Turunen and eventually, in 2013, his first solo album Play Electronica By One Cello was released.

maxlilja5

In Lilja’s upcoming solo album Morphosis, the master of the electric cello utilizes a wide spectrum of analog and digital effects to build strong identities for the sounds originating from the cello. In the nine instrumental songs you can hear influences from trip hop to electronica, from rock to classical, all morphed to the amazing cinematic images through Lilja’s cello.

Fluttery Records is proud to host this gifted composer. Label manager Taner Torun says “While recording the new album, Lilja showed us how he grew his compositions. We were very excited whenever we received something new from the artist. The compositions are now fully grown and they are ready to go.”

Fans can start waiting April for the albu and the tour. In order to get notified, you can join mailing list.

Here are the confirmed tour dates for the album:

April 8th, Telakka, Tampere, Finland
April 9th, Henkka, Kuopio, Finland
April 15th, Poppari, Jyväskylä, Finland
April 22nd, Suisto, Hämeenlinna, Finland
April 23rd, Semifinal, Helsinki, Finland
June 12th, New Directions Cello Festival, Ithaca, New York, U.S.A

Nomawkish flavoured journey back in time : Diamond Gloss

Diamond Gloss-blog

Gonçalo Pereira (born 1984. Lisbon, Portugal) is a multi-instrument player, postrock and ambient electronica musician, producer. Pereira first started as a frontman of the postrock band “How Comes The Constellations Shine” before establishing himself as a solo artist under the moniker of Diamond Gloss.

His influences travels among modern composers such as Arvo Pärt and Henryk Górecki, the ambient experiments of Brian Eno or his peers Autechre, Hammock, Sigur Rós, Helios and Múm. Composing music, he relies on help of pianos, microbeats, effectstreated guitars and musicboxes. His sound and melodies incorporate elements of modern classical, electronica, idm, ambient, and postrock music with live instrumentation. Listeners of ambient and modern classical artists like Jónsi and Alex, Hammock, Olafur Arnalds, Sigur Rós, Múm, Nils Frahm may find the atmosphere they are looking for.

Nomawkish is the second studio album from Portuguese ambient / modern classical project Diamond Gloss. Three years after debuting with “Bears”, Gonçalo Pereira returned to his studio to record new Diamond Gloss songs. The whole album was recorded in Lisbon and like on the first album, piano is the key instrument also on this recording. “Bears” and “Nomawkish” also differ in their moods, the former was more joyful and open, whereas the latter is more dark and introspective.

The recording of this album started with various loops recorded after “Bears” was released. The album was recorded entirely with piano and then layered with strings, dulcitone, choirs and ambient noises. Nomawkish offers a lo-fi feeling, almost like an old tape playing back on a walkman. This lo-fi production was an intentional choice for this album. Compared to Diamond Gloss’ previous work, this album is a logical step forward.

Listen, buy or download this album