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████ ■ ███▓█ █▓███ ■ ████
████ · ▄▓███▓ OPEN MUSiC ASSOCiATiON ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ Portico Quartet - Terrain ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ARTiST..[ Portico Quartet ▓▓▓▓█
█▓▓▓▓ TiTLE...[ Terrain ▓▓▓▓█
████ GENRE...[ Jazz CAT#....[ GONDCD042 ████
████ LABEL...[ Gondwana Records ENCODER.[ Lame 3.99.5 ████
████ YEAR....[ 2021 QUALiTY.[ 160kbps ████
████ SOURCE..[ WEB MODE....[ Stereo ████
████ PLAYTIME[ 78:53 REL.DATE[ 05.28.2021 ████
████ TRACKS..[ 03 RiPPER..[ TEAM OMA ████
████ SiZE....[ 90,29 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
█▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
█▓▓▓▓ ▓▓▓▓█
████ 01 Terrain: I 39:04 ████
████ 02 Terrain: II 19:01 ████
████ 03 Terrain: III 20:48 ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 78:53 ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
██████▓▀ ▀ ▀ ▀▓██████
█████▀ ▀█████
████▀ ▀████
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█▓▓▓▓ ▓▓▓▓█
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████ https://www.amazon.de/dp/B091G8G9YS ████
████ ████
████ When Duncan Bellamy and Jack Wyllie û the ████
████ driving force behind Portico Quartet got ████
████ together in their East London studio in May ████
████ 2020 and started work on the music that would ████
████ become their new album, the world, or most of ████
████ it, was in the midst of the first lockdown. The ████
████ unique impact of the events of 2020 became the ████
████ backdrop to their time composing and recording; ████
████ causing them to take stock, re-think, and plot ████
████ a new musical path. ████
████ ████
████ Indian novelist Arundhati Roy expressed the ████
████ sense of grief and rupture from the pandemic as ████
████ "a portal, a gateway between one world and the ████
████ next", and as they created the music that would ████
████ become Terrain they were drawn towards longer, ████
████ slowly unfolding pieces, which are perhaps the ████
████ most artistically free and also the most ████
████ beautiful they have ever made. ████
████ ████
████ These are compositions more in the lineage of ████
████ Line and Shed Song (Isla/2009), Rubidium ████
████ (Portico Quartet/2012) and Immediately Visible ████
████ (Memory Streams/2019). Wyllie expands: "We've ████
████ always had this side of the band in some form. ████
████ The core of it is having a repeated pattern, ████
████ around which other parts move in and out, and ████
████ start to form a narrative. We used to do longer ████
████ improvisations not dissimilar to this around ████
████ the time of our second record Isla. On Terrain ████
████ we've really dug into it and explored that ████
████ form. I suppose there are obvious influences ████
████ such as American minimalism, but I was ████
████ particularly inspired by the work of Japanese ████
████ composer Midori Takada. Her approach, ████
████ particularly on 'Through the Looking Glass', ████
████ where she moves through different worlds ████
████ incorporating elements of minimalism with non- ████
████ Western instruments and melodies were at the ████
████ front of my mind when writing this music". ████
████ ████
████ Terrain I, II & III are all subtly different, ████
████ but a short rhythmic motif that repeats is the ████
████ starting point in all three movements. There is ████
████ a sense of a shared journey to all these ████
████ pieces, they move through different worlds, ████
████ with a sense of horizontal movement that lends ████
████ the music real momentum. Terrain I was the ████
████ first piece they worked on and it started with ████
████ a hang drum pattern, improvised by Bellamy, who ████
████ added cymbals and synthesiser. From there on it ████
████ grew, Wyllie adding saxophone, another ████
████ synthesiser section, strings. For Bellamy "It ████
████ felt more like filmmaking than music making, a ████
████ bricolage of conflicting, shifting signs, ████
████ subtle tension and multiple narratives. Andrei ████
████ Tarkovsky's 'Mirror' and British artist John ████
████ Akomfrah's incredible 'Handsworth Songs' were ████
████ pivotal points of reference for me." Wyllie ████
████ expands the point. "There is a sense of ████
████ conversation between us both, in that someone ████
████ presents a musical idea, the other person ████
████ responds to it with something else, which would ████
████ then be responded to again... until it feels ████
████ finished. These responses are often consonant ████
████ with each other but there is also a dissonance ████
████ to some of this work. The music slowly evolves ████
████ through these shared conversations." ████
████ ████
████ It is this sense of dialogue, both between the ████
████ composers, and between tranquillity and a ████
████ subtly unsettling melancholy, that makes ████
████ Terrain such a powerful statement. One that ████
████ speaks to both our interior and exterior ████
████ worlds, to our own personal landscape, to our ████
████ terrain. ████
████ ████
████ ████
████ ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ MAiL: oma@never-ever.com ▓ │▀▀▀█▓▄▄ █████
█▀ ▀██▓▀ ▀ ▀ ▀▓██▀ ▀█
██▄██▀ ▀██▄██
████▀ The only thing that really matters is music!!! ▀████
▀██▓ ▓██▀
▀██▓▄ ▄▓██▀
.▀ │ ▀▀██▄▓▄ .···. G R E E T S .···. ▄▓▄██▀▀ │ ▀
. ▄▓▓▄ │ ▀▀▀█▄▄ ▄▄█▀▀▀ │ ▄▓▓▄ .
▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀
▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀
▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .