TYFT is Hilmar Jensson-guitars, Jim Black-drums & electronics and Andrew D'Angelo- reeds & electronics
TYFT will be touring in Europe in January 2010. For booking contact Ralph Gluch P.O. Box 2201CH- 3601 Thun +41 - 33 - 223 26 01 Fax - 33 - 222 06 01 ralph@gluch.ch
For U.S. booking please contact hilmar@hilmarjensson.com
TYFT WILL BE TOURING IN EUROPE JANUARY 2010. FOR BOOKING CONTACT RALPH GLUCH.
NEW CD "SMELL THE DIFFERENCE" OUT ON SKIRL RECORDS WITH CHRIS SPEED & PETER EVANS AS GUESTS.
I first picked up the guitar at the age of six but started studying formally at age eleven. I graduated from the FIH school of music in Iceland in 1987.
I then went to Boston to study at Berklee College of Music and graduated from there in 1991. While in Boston I took private lessons with Mick Goodrick, Jerry Bergonzy and Hal Crook to name a few.
After teaching and performing in Iceland for two years I went to New York in 1993 where I played with various musicians as well as taking private lessons with Joe Lovano. Since returning to Iceland in 1994 I have performed and recorded in a wide variety of settings and appeared on over 40 records including 7 as a leader or co-leader.
Kjár is an ongoing collaboration of mine and bassist Skuli Sverrisson.
TYFT is my trio with Jim Black on drums and Andrew D'Angelo on reeds. Our first CD was released by Songlines in 2003 and the second one "Meg Nem Sa" in 2006 on Skirl Records.
Since 1999 I've been a member of Jim Blacks AlasNoAxis, a critically acclaimed NY based quartet that records for Winter & Winter and has toured extensively in Europe.
I'm is also one the founders of Kitchen Motors, an Icelandic record label, think tank and art organization.
I have performed in 30 countries and performed or recorded with Tim Berne, Leo Smith, Kevin Drumm, Herb Robertson, Trevor Dunn, Greg Bendian, Jim Black, Chris Speed, Briggan Krauss, Jamie Saft, Cuong Vu, Rafael Toral, Carlos Zingaro, Tom Rainey, Ben Perowski, Per Jörgensen, Eyvind Kang, Terje Isungset, Arve Henriksen and Ståle Storlokken to name a few.
Adviruz is the artist psedonym of Istanbul’s Pinar Gurcan, whose growing passion for sound is translated through her music. Since an early age, she has been listening and mimicking opera singers, writing melodies, songs and poems in which she spoke her mind and reflected her soul. All of which are evident on "Nightly Sounds", an 8 track album which is the equivilent of having a glimpse into a diary, learning of love lost, gained, a snapshot of the human condition from which we can all draw experience... All of these things are developed musically into minimalistic glitch, noise, idm, experimental music and microsounds, its influences reminiscent of work by artists like Tujiko Noriko, Mira Calix, Plaid and Björk.
Adviruz and Section 27 present "Nightly Sounds", an intricately woven and rewarding musical tapestry. Available now for free download.
To celebrate our first 27 releases on Section 27 Netlabel, we proudly present to you "Sectioned", a compilation of 27 tracks, amounting to 2 hours across two discs of twisted electronic beats, discordant melodies, haunting passages, broken ambience, bending senses of time and space, microscopic glitches, pounding bass frequencies, sounds between sounds, the human voice and the audible sensation of music dissolving in acid. This is the sound of your mind's eye. This is the sound of the Sectioned... Strap yourself in and enjoy the experience.
Also features a 75 minute bonus disc "Sectioned : Nonimxs", including 9 remixes of selected Section 27 artists by Nonima and 2 original tracks created by Silent Snow and Nina Kardec using existing Nonima tracks.
Almost Tomorrow is the third full length collaboration album from Section 27 Netlabel founders Tam Ferrans and Andrew Paterson, under their Nonima & theAudiologist guise. This time around the sound is more melodic, and has a definite feeling of a complete and more mature sound than heard on the previous LP's "Dystopian Battle Hymns" and "Ceremony After Amputation". If you are familiar with their individual projects you may even be in for a slight surprise, as the tracks are not as beat driven like before, but are more atmospheric and sound, well... "bigger". In its 75 minutes, Almost Tomorrow takes you on a trip from the digital rain-soaked cavernous scraping in "Thoughtograph", the ethereal beat jittering of "The Colour of Rain", intercepted transmissions from unknown places in "Com-Intercept", "Ganzfeld"s huge yet strangely insect-like beats until everything you knew comes crashing around you in "Almost Tomorrow". Burning pianos, glitched out soundscapes and intricately programmed beatplay, this may well be their best work to date. Consider it the soundtrack to a rainy overcast day, but with just that glimmer of sunshine peeking from the clouds. "Almost Tomorrow" wears its heart on its sleeve.
