Lapslap’s third release is now available on Leo Records.

We augmented our usual lineup of brass, sax, keys and computers with some
tracks featuring long-time lapslap collaborator Mark Summers on viola da gamba,
as well as ocarina and drumsticks.

The blurring between acoustic and electronic sound in these single-take
improvisations happens when small digital samples of acoustic material are used
to emulate and imitate instrumental sound sources. To confuse matters, the live
instruments mimic electronic material so that it becomes unclear who is playing
what.

We’ve developed our computer-based performance systems in the max/msp
programming language. These are controlled by various input devices from
joysticks to midi wind controllers. While Michael’s system is a complete
performance environment allowing spontaneous access to an array of features for
sampling, processing and synthesising sound, Martin’s tools are more like
separate instruments, selected and occasionally modified as the session
unfolds.

Zuppa Inglese, Italian for custard or trifle, was recorded in the Reid Concert
Hall in Edinburgh in September 2008. Recorded by Martin Parker and Michael
Edwards; mixed and mastered by Michael Edwards.

Extract: flatuway teaser

Extract arg teaser

Radio Jazz 34 (Sussargues, France) Zuppa Inglese: Shield 20.04.10

Radio Jazz 34 (Sussargues, France) Zuppa Inglese: Old Liptauer 08.04.10

CHRW Radio (London, Canada) Zuppa Inglese: Bela 06.04.10

CHRW Radio (London, Canada) Zuppa Inglese: Shield 31.03.10

CHRW Radio (London, Canada) Zuppa Inglese: Droh 23.03.10

CHRW Radio (London, Canada) Zuppa Inglese: Arg 16.03.10

Radio Jazz 34 (Sussargues, France) Zuppa Inglese: Bela 15.03.10

CHRW Radio (London, Canada) Zuppa Inglese: Flatuway 09.03.10

Radio Jazz 34 (Sussargues, France) Zuppa Inglese: Old Liptauer 07.03.10

CHRW Radio (London, Canada) Zuppa Inglese: Shield 02.03.10

La Nuit des Sauriens (90.1 FM) (Sense, France)  Zuppa Inglese Jan/Feb 10

Radio Jazz 34 (Sussargues, France) Sratch: Rustle, Zerbroetzeln 9.06.09

Radio Jazz 34 (Sussargues, France) Sratch: Rustle, Zerbroetzeln 2.06.09

Radio Jazz 34 (Sussargues, France) Scratch: Zerbroetzeln 25.05.09

La Nuit des Sauriens (90.1 FM) (Sense, France)  Scratch March/April 09

Radio T Chemnitz (Chemnitz, Germany) Scratch: Itchy 10.04.09

CHRW Radio (London, Canada) Scratch: Throut Horn 8.04.09

CHRW Radio (London, Canada) Scratch: Zerbroetzeln 1.04.09

CHRW Radio (London, Canada) Scratch: Pinned 18.03.09

KBOO fm (Portland, USA) Scratch: Blau 14.02.09

KWVA Radio (Oregon, USA) Itch: Sloppy Lips 16.11.08

WUSB Radio (Long Island, USA) Itch: Not Cheddar But 25.10.08

Jazz Excursion Radio (USA) Itch 23.10.08

Radio Brussel (Brussles, Belgium) Itch: Rhapsody in Light Yellow 12.10.08

CHRW Radio (London, Canada) Itch: Not Cheddar But, Spoons, Sloppy Lips 2.09.08

In februari van dit jaar besprak ik in JazzFlits de debuut-cd ‘Itch’ van het trio Lapslap uit Edinburgh. ‘Scratch’ is het tweede deel van een tweeluik, dat een portret van deze unieke groep geeft. Ook hier wordt de laptop gebruikt als instrument (vandaar de groepsnaam), maar de nadruk ligt toch (anders dan op de eerste cd) op het akoestische instrumentarium van piano, tenorsaxofoon en hoorn. Alle drie de groepsleden openen de cd met een solostuk, waarin opvalt dat de klanken die ze produceren soms akelig dicht tegen elektronische sonoriteiten aan liggen. In ‘blau’ maakt pianiste Karin Schistek veel gebruik van het linkerpedaal, en de aldus ontstane boventoonsspinsels zijn er een mooi voorbeeld van. Hoornist Martin Parker gebruikt dubbeltonen in ‘Throat Horn’ en saxofonist Michael Edwards betoont de Europese aartsvader van de saxofoonschreeuw, Peter Brötzmann, eer in de titel ‘Zerbrötzeln’. Wel speelt hij veel gestructureerder dan zijn held, zodat een associatie met Peter van Bergen of Luc Houtkamp mij eerder voor de geest kwam. Die gestructureerdheid is de kracht van Lapslap, want hun muziek klinkt bij vlagen bijna gecomponeerd, terwijl er sprake is van pure improvisatie zonder afspraken vooraf. Ook weten ze goed wanneer te stoppen of een nieuwe wending aan een stuk te geven.

(Herman te Loo)

Nach Itch heißt der zweite Streich von LAPSLAP, logisch, _Scratch_ (LR 531), und das Triostück mit Blockflöte wurde “Blödflocke” getauft. Die Tiroler sind lustig, was hab ich gelacht. Zuerst hört man Karin Schistek, Martin Parker und Michael Edwards aber solo – Piano, gehämmert, French Horn, geröhrt, und Tenorsax, zerbrötzelt, und das Piano macht nach “blau” später auch noch “gelb”, während das Sax beim zweiten Mal beißt. Dazwischen vereint sich das Trio mal akustisch, mal computerisiert als Piano-Laptop-Sandwich. Die Computer sind “touch-sensitive” programmiert, d. h. man muss sie “spielen”, wenn sie einen Ton machen sollen, oder so, dass sie den Instrumentalklang reflektieren. Kontrast wird groß geschrieben, Punkte vs. Linien, zwei Konsonante gegen einen “Störer” oder Eigenbrötler. Schistak pingt, dröhnt, dongt, unverbindlich, dezisionistisch, mit Donner- und spitzen Meißelschlägen oder Innenklavierschraffuren. Lässt sich zerschroten, verschleifen, verhackstücken, als Perlen an die Säue verfüttern,
eintauchen ins alltägliche Gelärme. [BA 62 rbd]

stutter

http://www.lapslap.co.uk/wp-content/uploads/2009/04/stutter.mp3

Pour, notamment, paraître bien moins l’œuvre de jeunes musiciens soignant leurs frénésies en ludothèque sonore et amonceler dans la mesure d’encourageants penchants improvisés : piano profitant des effets imprévisibles de la pédale de soutien, cor récalcitrant et ténor éreinté, se partageant les solos qui ponctuent cet essai d’électroacoustique assagie. Sur lequel Lapslap respecte les codes établis de l’improvisation britannique telle que l’histoire musicale la considère, tout en l’agrémentant des effets de postures rappelant celles de Charlemange Palestine  ou de John Zorn.

]]> http://www.lapslap.co.uk/archives/99/feed 0 http://www.lapslap.co.uk/archives/95 http://www.lapslap.co.uk/archives/95#comments Wed, 11 Mar 2009 08:23:20 +0000 medwards http://www.lapslap.co.uk/?p=95 From All About Jazz

http://www.allaboutjazz.com/php/article.php?id=32104

By John Eyles

It is not a surprise for an improvising group to integrate computers and
instruments in its music; since the turn of the millennium, that has almost
become the norm. Neither is it unusual for a group’s music to combine elements
of contemporary composition, free jazz and improv. In both respects, Lapslap
ticks all the boxes; what is remarkable about this threesome is the verve and
imagination with which they manage it. Based in Edinburgh, Lapslap consists of
the English-born Michael Edwards on tenor saxophone, computer and midi wind
controller, Martin Parker on French horn and computer, and Austrian-born Karin
Schistek on piano. The group “grew out of a desire to make well-formed music in
real-time using computers and instruments”.

The albums Itch and Scratch were both recorded at the Reid Concert Hall,
Edinburgh, from 7th to 9th September 2007. Itch was released in autumn 2008,
followed by Scratch in spring 2009. There are many similarities between the
two, including their complementary titles, and monochrome visual style; they
are best considered as two different parts of a double album. As if to
reinforce the link, Itch contains a track entitled “Scratchy,” while Scratch
contains a track entitled “Itchy”. (Hmmm, “Itchy” and “Scratchy.” Maybe these
guys are fans of The Simpsons?)

Lapslap
Itch: 10 improvisations for instruments and live electronics
Leo
2008

Lapslap’s first release is a showcase of the breadth and range of their music,
particularly their use of electronics. None of the ten pieces is long and only
one—”Spoons”—features all three instruments together without computers;
it reveals the trio to be a creative improvising environment in which no
instrument dominates but where there are ever-shifting collaborations between
the players, creating a kaleidoscopic effect. The piece features effective
metallic percussive effects that are not obviously attributable to any of the
credited instruments—maybe these are the spoons of the title? This piece may
leave you wanting to hear the trio improvising together for longer than its
four minutes. The sound of the Reid Hall is richly resonant and is captured in
great detail by the recording.

The other pieces all feature computers; three feature tenor sax plus piano plus
computer; the rest feature a lone instrument plus one computer or more. Edwards
and Parker both have a history in computer manipulation of instruments, as
evidenced by Parker’s use of “reactive sound environment” on “Not Cheddar
But”. As ever when computers are deployed in this way, their use raises more
questions than it answers; to fully understand what one is hearing, a full (and
doubtless quite lengthy) explanation of their role would be useful. Based on
the aural evidence of “Not Cheddar But,” the computer seems to create a
background drone which is not obviously “reactive” but certainly contributes to
the piece’s laid back ambience. Here as elsewhere, Edwards on tenor saxophone
impresses with a rich tone plus keen melodic instincts on a slowly unfolding
solo. The only track that belies this impression of the saxophonist is “Honk,”
which largely showcases Schistek’s fractured piano punctuated by occasional
loud contrasting blasts (honks, indeed) from Edwards.

Just as surprising is “Hungry,” on which the use of two computers subsumes the
solo piano into an industrial blast of metallic percussive noise and
glitches. The piano gamely fights its way to the surface to recapture the
limelight with an appropriately percussive display of block chording offset by
finer detailed soloing.

Lapslap
Scratch: 11 improvisations for instruments and live electronics
Leo
2009

In contrast to its partner album, Scratch rather downplays the role of the
computers and electronics. Its opening three tracks feature solo instrumental
performances by Schistek, Parker, and Edwards respectively, affording the
listener the chance to hear the key ingredients of the three tracks that
follow, all of which are trio improvisations without a computer to be
heard. All six tracks satisfy the craving created by Itch, and support the
impression gained there of three improvisers bursting with creativity.

Intriguingly, Schistek is a synaesthete—one who actually experiences the
sensation of colour when a sound is heard. This explains the references to
colour in Lapslap pieces such as “Rhapsody in Light Yellow” and, here, her two
solo piano pieces, “Blau” and “Gelb”. The contrasts between the moods of these
two pieces give some insight into the experiences of a synaesthete; while
“Blau” is grandiose and majestic with a sense of deliberation, “Gelb” is more
subdued and understated. They make an intriguing pair when heard back to back.

Only two of the albums pieces, “Pinned” and “Rustle,” employ computers, and the
sleevenotes of Scratch provide more explanation than those of Itch, informing
us that Lapslap apply a loosely held rule to exercise control over their use:
if the computer is not being “touched” then it does not make sound. This is a
refreshing approach, as it avoids some of the less creative uses to which
computers are put elsewhere, uses which can overwhelm the instrumental
contributions. The two tracks demonstrate this admirable restraint, including
the computers’ music as an equal partner in the improvisations rather than as
an added extra or a novelty ingredient.

As a contrasting pair, Itch and Scratch demonstrate the strengths of this trio,
particularly their improvisatory skills and innovative use of computers, and
can be highly recommended. The only question that remains: after these two, how
will they title their third album? Whatever the answer, it will be worth
waiting for…

Tracks and Personnel

Itch

Tracks: Not Cheddar But; Spoons; Sloppy Lips; Nailed; Honk; Hungry; Schweigen; Scratchy; Motor Mouth; Rhapsody in Light Yellow.

Personnel: Michael Edwards: tenor saxophone, computer, midi wind controller;
Martin Parker: French horn, computer; Karin Schistek: piano.

Scratch

Tracks: Blau; Throat horn; Zerbrotzein; Kettle; Itchy; Seep; Pinned; Gelb;
Bite; Blodflocke; Rustle.

Personnel: Michael Edwards: tenor saxophone, computer, midi wind controller;
Martin Parker: French horn, computer; Karin Schistek: piano.

Scratch, our second CD release, came out on Leo Records in January 2009.  This is a companion disc to itch, released in October 2008.  Like itch, scratch features several tracks with intricate live electronics however the album is more instrumental in feel, the first three tracks being the instrumental solos:

extract: blau
for solo piano by Karin Schistek

extract: throat horn
for solo horn by Martin Parker

extract: Zerbrötzeln
for solo tenor sax by Michael Edwards

Our first release Itch is now available from Leo Records .

Some samples: not cheddar but | rhapsody in light yellow | hungry | spoons

All tracks on this release were performed live in a single take and recorded during a three-day session at the Reid Concert Hall in Edinburgh, September 7th to 9th 2007. The special acoustic of the hall is featured on several tracks, often with each instrument in its own space (recording purists beware). The recordings were made in surround and mixed into stereo by Michael Edwards and Martin Parker. Surround versions of the recordings will hopefully be made available via Leo’s website (watch this space).

Het trio Lapslap heeft z’n thuisbasis in Edinburgh en combineert akoestische instrumenten met live elektronica. Anno 2009 betekent dat vooral de laptop. Tenorsaxofonist Michael Edwards en hoornist Martin Parker wisselen hun ‘gewone’ instrumenten dus regelmatig af met een schootcomputer. Alleen pianiste Karin Schistek houdt het bij haar vleugel. Op ‘Itch’ verkent het trio (soms ook in duo’s) in tien vrije improvisaties de mogelijkheden van dynamiek. Fraaie voorbeelden zijn ‘Honk’ waarin Edwards de verstilling en de stiltes dramatisch doorbreekt met Peter van Bergen-achtige saxexplosies (vandaar ook de titel). In ‘Schweigen’ omspeelt hij subtiel de randen van de stilte. ‘Hungry’, daarentegen, is weer heftig met stompende computerpercussie die de luisteraar vanaf de eerste seconde overdondert. In alle gevallen wordt de laptop ingezet als een volwaardig instrument, en het onderscheid in klank vervaagt langzamerhand steeds meer. Het puur akoestische ‘Spoons’ lijkt elektronische klanken te bevatten, maar die komen voort uit ongewone instrumenttechnieken.