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Taschendrache
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SLAMCD 298
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Irene Kepl Violin and electronics; Mark Holub drums.
New Jersey born Mark Holub first appeared on SLAM 10 years ago on the best selling CD ‘ARBORETUM’ (SLAMCD 261) by his ground breaking quartet ‘Led Bib’. This new album showcases him in an improvised duo setting with renowned Austrian violinist Irene Kepl.
'Taschendrache' delves deep into all of the sonic possibilities that this unusual duo instrumentation can offer, moving from delicate pastoral sections to heavy grooving to more abstract improvisation and electronics. Before recording, this duo had already carefully honed their sound through concerts at clubs and festivals across Austria, and it shows. One can here the intense interplay between the two players as if they always know where the other one is headed. With the release of their first album together, there promises to be even further development, with more continental European touring scheduled in 2015 and a UK tour in April 2015.
Of his new recording ‘Taschendrache’ Mark writes:
"Irene was one of the first people I played with after relocating to Vienna from London in 2012. We met after I heard her with her string quartet and immediately hit it off musically, but it wasn't obviously clear what exactly we were going to do together. After a few plays as a duo, it dawned on us that this was a great sound to explore. Playing in duo is always an exciting prospect, a chance to have a proper musical dialogue with just one person, but also it allows you to fully have the space to explore your own sound-world because of the openness in sound that a duo can bring. With this particular duo, with its slightly unusual instrumentation, the aforementioned things are of course true, but it also has the excitement that derives from it being an instrumental combo that is rarely heard which helps to enable us to approach it afresh each time, without preconceptions of what the music could or should sound like.
With the actual recording process I think we were able to capture the various approaches of the duo, from freewheeling grooves, to abstract noise to beautiful soundscapes, and I look forward to continue working and developing this duo."
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CD Title – Taschendrache
Catalogue number SLAMCD 298
Leader or group name: Irene Kepl and Mark Holub
Names of musicians and the instruments they play.
Irene Kepl – Violin and electronics
Mark Holub – Drums
Track details:
1. Brake Pebbles 1:57
2 Planetarium im Quadrat 4:21
3. On The Carousel 7:05
4 Taschendrache 5:40
5. Arachnid 6:21
6 Seifenblasen Bauen 8:01
7. A Day at the Beach 4:33
8 Finsteres Zeitfenster 4:52
9. Dancing Beetles 4:20
10 Holz hackende Flecken 6:31
11. Emergency Broadcast System 1:24
12 Speed-date 1:43
Composers
All compositions by Irene Kepl and Mark Holub
Recording details:
Date and place of recording.
Name of sound engineer(s) for recording and mastering.
Recorded, mixed and mastered by Chris Janka at Scottenfeldgasse, Vienna
Recorded on October 15th, 2013
Mixed on March 24 and 25 2014
Mastered on June 26 2014
Mark Holub:
Drummer and composer, originally from the US who now has one foot in London and one in Vienna, Mark Holub is most notably known as the bandleader and composer for Led Bib. With Led Bib, he was nominated for the Mercury Music Prize 2009 (One of 12 albums of the year) and was also the winner of the Peter Whittingham Jazz Award 2005. Led Bib have topped college radio charts across the US and Canada and have played live across TV and radio in Europe, and featured in press across the world including cover features in Jazzwise and Jazz UK. They have released 7 albums and have toured to some of the highest profile festivals in Europe including North Sea Jazz Festival, Jazzfestival Berlin, London Jazz Festival, Saalfelden Jazz Festival and many others, as well as supporting Ornette Coleman and Pharoah Sanders. Holub is also active in other projects which see him tour around the UK, Europe and the US, including Blueblut(with Pamelia Kurstin), Mustard Pie(with Seb Rochford and Jan Kopinski), various free-improv configurations, work as a composer and performer with various contemporary dance companies and a myriad of other projects. Recently, Holub has been leading a number of masterclasses and workshops. These have included work with the Royal Welsh College of Music, British Council Nepal, Aldeburgh Young Musicians and Kathmandu Jazz Conservatory.
Irene Kepl:
Violinist and composer Irene Kepl studied classical violin and jazz in Linz, Austria and she now lives and works in Vienna. Her work focuses primarily on contemporary classical music, free improvisation, composition, Jazz and groove based musics.
She has performed at many prestigious venues and festivals including: Klangspuren Schwaz, Festival 4020, Festival Unlimited, 12 points Festival/SE, Donau Festival Ulm, DanceKiosk Hamburg/GER, and Jazz Festival Petrovac/ME. Her music has been broadcast on various radio stations in Austria and abroad including Ö1, Montenegro, Sweden and Italy.
She received the second prize in the Gustav Mahler Composition Competition and the Theodor Körner Price for composition. Free improvisation is also an important component in her search for her own spontaneous musical language. She has worked in this setting with Malcolm Goldstein and George Cremaschi/USA, Korhan Ehel/TR, Petr Vrba/CZ and Moe Staiano/USA amongst others. She is also the founder of the monthly held concert series "Musik in Raum" in Upper Austria which will feature many different projects. Further work includes commissions for theater, film and sound installations.
CD 298
This is a gritty, earthy program for two resourceful and intense improvisers. It more or less charges out of the gate with the probing, slashing "Break Pebbles," whose effectiveness is marred slightly by what sounds like an inconsistency in the recording – dry and boxy for the drums, some more reverb for the violin. But it doesn’t undercut the effectiveness of the music, subtle and intense in equal measure. They’re able to work well in textural, minimalist areas, as with "Planetarium im Quadrat," with rolled objects on drum heads, bells, grainy string overtones, and subtle tom-toms. The basic language of this piece evolves into "On the Carousel," buzzing with energy, as Kepl’s slashing arises from the froth of the snare. This general feel for contrast enlivens the majority of these pieces. Amid the heady groove of the rumbling title track, Kepl favors minimalism, repeating patterns with subtle variations of tone and attack. From the mournful, ritual plod on "Arachnid" there arise subtle percussive jabs, woodblocks, damped strings, and resounding cymbals. Some of the middle tracks get slightly repetitive, but I like the fractured lyricism in Kepl’s playing on "Finsteres," the understated funk on "Beetles," the lonely landscape on "Hols," and the moaning feedback and rough incisions on the closer. All pieces are focused, not overlong, and they’ve got a refreshing sense of form and ending. Recommended. Jason Bivins Cadence Oct 2015 file:///C:/Users/me/Downloads/74-120%20the%20reviews.pdf
On busman’s holidays from his role as drummer with the highly popular, Jazz Rock-oriented Led Bib quintet, Mark Holub immerses himself in experimental sessions that are much more attention grabbing than his day job. Proofs positive are these CDs. Now a Vienna resident, on Taschendrache Holub immerses himself in a dozen duets with Austrian-violinist/electronics-manipulator Irene Kepl, who adds contemporary notated music tropes to his Jazz-Improv orientation. More conventional, in that saxophone-drum duos have long been part of Jazz, is Viscera, the fourth collaboration between the drummer and British alto, tenor and baritone saxophonist Colin Webster, also a member of the otherwise Dutch Dead Neanderthals trio. Substantiated by the CD title the Webster-Holub meeting probes the coarsest most lymphatic corners of unrefined improvisation. Unrefined in this duos uncompromising fashion may be characterized as unafraid, but not unresponsive. Completely improvised without pre-planning – except that is for using Roscoe Mitchell’s "Chant" as the launching pad for the final track – the drum-sax narratives embellish the gut ejaculations pioneered by among others Evan Parker, Peter Brötzmann and Albert Ayler and make them potentially rawer, with strategies developed in Metal and Noise music. From Webster’s first ejaculated whinny plus pile-driver thwacks from Holub on "Big Paws on A Puppy", the slurps, clatters, clunks and smears multiply as the two stake out their in-the-moment territory. At points the visceral cacophony is such that the result seems to emanate from a single primeval beast with the bloody inevitability of any fantasy monster’s attack. Consider "Oaxacao" for instance, where penetrating snarls echo through the saxophone’s bow and gooseneck more than its bell, then with ruffs from the drummer grinding the beat to a sluggish pace, Webster’s solo sounds as if he’s scraping his stomach lining and intestines to illuminate near-animalistic rapture. Never forget that this is Improvised Music (caps intended) not Metal or Noise Music though. Besides the sibilate razzing and quivering wallops, overblowing is sometimes replaced with more measured tones. "Then There Was" is the most languid outing for instance, with a swaying almost dance-like beat reminiscent of a Sonny Rollins’ calypso. Considering that the final "Chant" ends up sounding like a bugler’s call-to-arms followed by measured chanting, the concentrated thesis involving smashing cymbals mixed with bagpipe-like tremolo intensity, that doesn’t relent until the finale. Perfect to provide of a pure shot of adrenaline, Viscera could be improved though if the two players investigated a few more of the body’s humors. That is done to some extent on Taschendrache since the signal processed drone and bell-like pings from Kepl’s electronic interface increase the number of sonic parameters on its dozen tracks. The oscillations are especially prominent on "Arachnid" and "Holz hackende Flecken". On the second the narrowed electronic squeals add to taut bow motions, leading to dynamic tension between the two. Meanwhile Holub’s slaps and pops grow equivalently louder. "Arachnid" on the other hand has synthesizer-like hums and twitters reflecting and pumping up the fiddler’s microtones almost replicating a string ensemble. The percussionist’s unremitting beat emphasis prevents the string-set from blasting off into the stratosphere, though. Instead Holub’s multi-fold dynamics create appropriately ruggedly complements to the violinist’s spiccato strategies, especially when it appears that her knife-like sweeps are in danger of shredding the instrument’s catgut. Squeezing her strings to produce expanded partials, his raps and paradiddles are transformed into melody enhancers. This is especially noticeable on the concluding "Speed Date", where splattering triple stopping from the violinist and jerky pops and patterns from the drummer meld into rapprochement. Earlier on, during "A Day at the Beach" the excitement torqued due to her slashing spiccato lines and his solid parade-ground pumping reaches such a climax of Free Jazz ecstasy that memories of the connective skills of percussionist Jerome Cooper and violinist Leroy Jenkins in the Revolutionary Ensemble are evoked. On the rewarding evidence here, one conclusion is that Holub should step out of his comfort zone more often. Maybe next time though, he should set up a trio session with his partners on both these discs. —Ken Waxman
The passing moments are variously marked in this free programme. The diffidence of Emergency Broadcast System belies the title, with small sounds punctuated by Holub’s tendency to impose something more concrete. Arachnid is clearly a title too irresistible for the duo to avoid soundtracking spiderly movements, and to the extent that the music might unnerve the arachnophobic. Speed Date proves to be appropriately busy, although the music has a more lasting impact than that ridiculous social phenomenon. Overall, I can’t help feeling that the addition of a guitarist would have had the effect of making the music feel less disjointed.
Nic Jones Jazz Journal May, 2015.
Since Mark Holub relocated to Vienna in 2012 he’s been able to put some distance between himself and the peppy jazz-rock he helped create as drummer with Led Bib, and get back to free improvisation. Violinist Irene Kepl was one of the first local musicians he hooked up with after his move and this duo debut revels in finding ways of reconciling two instruments that don’t often play together. On pieces like the title track, Holub’s unable to resist flirting with a loose and subtle groove but, for the most part, he takes a much more abstract approach, ranging from hyperactive fidgeting on rims and cymbals to low, rumbling tom-thunder with a spare, ceremonial feel. Kepl responds with gestures that seem more intent on establishing mood than making clear melodic statements: from knife-edge, minimal harmonics with the bow barely touching the strings, through lurching scratches and tics and rising up to rough stridulations. It’s convincing and compelling, with a genuine sense of dialogue throughout. Daniel Spicer Jazzwise March 2015
Drummer Mark Holub joins together with violinist/electronicist Iren Kepl for a dozen free form conversations. Chimes mix with fingernails on the chalkboard bowing on "Planetarium…" while the scratching continues with scrambling percussive effects during "On The Carousel." Eerie moods similar to a Hitchcock movie climax creep up on "Dancing Beetles" and "Arachnoid." Some of the tunes such as "Emergency Broadcast System" have a direction, but at other times you feel like instruments are used for simply throwing around the room as on "A Day At The Beach." What do they do in concert? by George W. Harris Jazz Weekly, March 19, 2015 http://www.jazzweekly.com/2015/03/slam-dunkserika-dagnino-trio-sides-mark-holub-irene-kepl-taschen-drache-clockwork-groove-waiting-for-injection-luiz-moretto-quintet-vampyroteuthis-infernalis/
KEPL / HOLUB taschendrache Slam / slamproductions.net Irene Kepl (v), Mark Holub (dr)
Eine ungemein aufregende und intensive Duoproduktion wird hier von Irene Kepl und Mark Holub vorlegt. Taschendrache – das ist ein Er- und Zer-Spielen im besten Sinn; eine spannungsgeladene Geschichte vom gemeinsamen Suchen, Geschehen-Lassen, Bauen, Finden, Festhalten, Verändern, Zerlegen und Fahren-Lassen. Das wird auf so vielfältige und abwechslungsreiche Weise, energetisch und sensibel zugleich, vorgeführt, dass sich alsbald ein – anhaltendes – Wohlgefallen einstellt. Kepl und Holub sind äußerst hellhörige und variable SpielerInnen, die auch die, der jeweiligen instrumentalen Tradition geschuldeten, angestammten Terrains gerne verlassen und bestrebt sind, in die des/der Partners/in einzutauchen. So wird die Violine unter anderem auch als Perkussionsinstrument interpretiert sowie an das Schlagzeug mit einem melodiösen Spielansatz herangegangen (Kepl nutzt zudem gerne Mehrfachgriffe, leere Seiten, Flageoletts, Glissando- und vielfältige Bogentechniken sowie elektronische Hilfsmittel, z.B. zur Erzeugung umfangreicherer vertikaler Elemente). Der Gestus reicht von Zartem, fast Geflüstertem, über offenes Dahin-Grooven, heftiges Zupacken, bis zu wüsten Ausbrüchen, bei denen wohl kein Auge gänzlich trocken zu bleiben vermag (auch mikrotonale Optionen werden dabei nicht verschmäht). Kurzum: eine wirklich beeindruckende und absolut gelungene Sache. Toll ist auch die Verpackungsgestaltung; übrigens: Taschendrache = Feuerzeug. Ganz großes Lob! (bertl)
An incredibly exciting and intense Duoproduktion is submitted here by Irene Kepl and Mark Holub. Pocket Dragon - this is an ER and cerium games in the best sense; a suspenseful story of a common search, event-Lassen, Building, Find, Gripping, modify, disassemble and driving-let. This is in so many and varied ways, energetic and sensitive at the same time, demonstrated that a once - adjusts well pleased - continued. Kepl and Holub are very clairaudient and variable players who like to leave even those of the respective instrumental tradition owed, ancestral terrain and are eager to dive into that of / the partner / in. Thus, the violin is interpreted, among other things as a percussion instrument and on the drums with a melodic approach to the game approached (Kepl also uses like multiple stops, blank pages, harmonics, glissando, and a variety of bowing techniques and electronic aids, eg for the production of larger vertical elements). The gesture ranges from delicate, almost Geflüstertem, across open Thither-grooving, violent grabs, up to wild outbursts, which probably can not sleep to stay completely dry (also microtonal options can not be despised). In short, a truly impressive and absolutely successful thing. It's also great packaging design; by the way: Pocket Dragon = lighter. Very high praise! (Bertl)
IRENE KEPL / MARK HOLUB - Taschen Drache (Slam 298; UK) Featuring Irene Kepl on violin & electronics and Mark Holub on drums.
I know of UK drummer Mark Holub from his work with the fine jazz/rock Led Bib (1/2 dozen discs, 3 on Cuneiform), as well as a duo he has with Colin Webster on the New Atlantis label. Ms. Kepl is an unfamiliar name for me. This duo plays quite well together, each piece is well-balanced and cleanly recorded. This disc sounds like an ongoing conversation between two friends. Ms. Kepl sounds like she is playing an acoustic violin without using any devices to alter the sound. The same for the drums, all acoustic. In a blindfold test, I might have guessed that this was Billy Bang and Dennis Charles, at least this is what it sounds like at times. There is a mostly calm center to these inspired improvisations, an almost folky quality to the sound of the violin. On "Arachnid", Ms. Kelp plays a series of bent notes, see-sawing back and forth, like an ocean of quicksand sounding a raft. The effect is hypnotic as if we are on the edge of a precipice, balancing precariously. Although Ms. Kepl plays electronics, I didn't hear much of this before getting the last part pieces on this disc. It is a thoroughly inspired offering nonetheless. - Bruce Lee Gallanter, DMG
https://mail.aol.com/38865-418/aol-6/en-gb/Suite.aspx
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