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2LP
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MS 092LP
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Double LP version. Gatefold sleeve. Pianist and composer, Francesco Tristano, joins forces with one of the godfathers of Detroit techno Derrick May on Surface Tension. Described by the man himself as his "most techno and synth-based project yet," the eight-track effort is both a celebration of electronic instrumentation and the first record Derrick May has worked extensively on for the better part of two decades. "I had to lure him into my studio," Tristano says of May with a smile, "he was like Alice in Wonderland when he saw the synthesizers." Originally developed as a way create new material for Tristano's p:anorig project - a unique live set-up debuted at Barcelona's Sónar festival - Surface Tension grew into a project in its own right. With an instrumentation of analog, digital, classic and modern gear - ranging from Prophets to Moogs, to Rolands and Yamahas - at his and May's disposal, Tristano has aimed to keep processing to a minimum. The pair are not just using these synths, they're paying tribute to them, honoring their rich, recognizable sound palettes. The result is an album that feels, at once, nostalgic and fresh; that feels like an old friend, but one who never ceases to surprise. From the ambient vision of "Esoteric Thing", drifting along to the sound of birdsong, to more beat-centric pieces such as "The Mentor" and the quirky "Xokolade", the equipment, and the love it's been treated with, shines through. Both Tristano and May's individual presences are obvious too, yet work in a way so complimentary to each other as to blur the lines at which they cross. "Pacific FM" is a lesson in uplifting techno, keys fluttering over pad-foot bass; the futuristic Detroit dance of "In Da Minor" is undercut by eerie, unpredictable glass synth-work; "Rocco's Bounce" is free-form jazz tugged into line by structured four-to-the-floor; there's even an itchy, jittering, Decca Records-sanctioned remix of Japanese pianist and general Renaissance man, Ryuichi Sakamoto's classic "Merry Christmas, Mr. Lawrence". Those hoping for a Francesco Tristano piano album: be duly warned. "The piano is there, but it's more like the shadow of the piano. We don't have the mass of that sound, it's more like the reminiscence of that sound," says Tristano. It gives Surface Tension the aforementioned significance. Tristano hasn't abandoned his roots, yet has simultaneously transcended what it means to be a pianist in the 21st century.
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CD
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MS 092CD
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Pianist and composer, Francesco Tristano, joins forces with one of the godfathers of Detroit techno Derrick May on Surface Tension. Described by the man himself as his "most techno and synth-based project yet," the eight-track effort is both a celebration of electronic instrumentation and the first record Derrick May has worked extensively on for the better part of two decades. "I had to lure him into my studio," Tristano says of May with a smile, "he was like Alice in Wonderland when he saw the synthesizers." Originally developed as a way create new material for Tristano's p:anorig project - a unique live set-up debuted at Barcelona's Sónar festival - Surface Tension grew into a project in its own right. With an instrumentation of analog, digital, classic and modern gear - ranging from Prophets to Moogs, to Rolands and Yamahas - at his and May's disposal, Tristano has aimed to keep processing to a minimum. The pair are not just using these synths, they're paying tribute to them, honoring their rich, recognizable sound palettes. The result is an album that feels, at once, nostalgic and fresh; that feels like an old friend, but one who never ceases to surprise. From the ambient vision of "Esoteric Thing", drifting along to the sound of birdsong, to more beat-centric pieces such as "The Mentor" and the quirky "Xokolade", the equipment, and the love it's been treated with, shines through. Both Tristano and May's individual presences are obvious too, yet work in a way so complimentary to each other as to blur the lines at which they cross. "Pacific FM" is a lesson in uplifting techno, keys fluttering over pad-foot bass; the futuristic Detroit dance of "In Da Minor" is undercut by eerie, unpredictable glass synth-work; "Rocco's Bounce" is free-form jazz tugged into line by structured four-to-the-floor; there's even an itchy, jittering, Decca Records-sanctioned remix of Japanese pianist and general Renaissance man, Ryuichi Sakamoto's classic "Merry Christmas, Mr. Lawrence". Those hoping for a Francesco Tristano piano album: be duly warned. "The piano is there, but it's more like the shadow of the piano. We don't have the mass of that sound, it's more like the reminiscence of that sound," says Tristano. It gives Surface Tension the aforementioned significance. Tristano hasn't abandoned his roots, yet has simultaneously transcended what it means to be a pianist in the 21st century.
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12"
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GPM 343EP
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Francesco Tristano's "Place On Lafayette" is remixed by Tuff City Kids, Guti, and, a collaboration between two highly respected artists, Thomas Gandey and Radio Slave.
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2LP
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GPM 108LP
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Get Physical Music invited Francesco Tristano to mix the 16th volume of their Body Langauge series and join the ranks of M.A.N.D.Y., Dixon, DJ Hell, Catz 'n Dogz, andhim, and DJ T. Melodic and harmonic elements constitute the core of Tristano's first DJ mix release, which is itself a hybrid production/mix/live session -- Tristano performed live synths on top of the tracks. The basis of the session is in fact his own work, along with tracks by his entourage and a few special appearances, including the "Reboot Remix" of KhalifeSchumacherTristano's "Afrodiziak," edits, and mash-ups. The mix includes several tracks produced specially for the occasion, and exclusive and previously unreleased tracks by Julio Victoria, P41, and Studiovacanze (aka Francesco Tristano and P41). Also includes tracks by Danton Eeprom and NYMA & Carreno Is LB.
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CD
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GPM 108CD
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Get Physical Music invited Francesco Tristano to mix the 16th volume of their Body Langauge series and join the ranks of M.A.N.D.Y., Dixon, DJ Hell, Catz 'n Dogz, andhim, and DJ T. Melodic and harmonic elements constitute the core of Tristano's first DJ mix release, which is itself a hybrid production/mix/live session -- Tristano performed live synths on top of the tracks. The basis of the session is in fact his own work, along with tracks by his entourage and a few special appearances, including Joe Zawinul, proto-techno from 1985 and a great inspiration for Tristano; Tristano's collaboration with Luciano, previously unreleased; the "Reboot Remix" of KhalifeSchumacherTristano's "Afrodiziak," and edits and mash-ups. The mix includes several tracks produced specially for the occasion, and exclusive and previously unreleased tracks by Julio Victoria, Faktorm, Savvas Ysatis, P41, and Studiovacanze (aka Francesco Tristano and P41). Also includes tracks by Danton Eeprom, NYMA & Carreno Is LB, M.A.N.D.Y., Cardopusher, and DJ Pierre (remixed by Roland Leesker). Includes download code for all tracks and the continuous mix. Edition of 1000.
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12"
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GPM 289EP
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Virtuoso pianist and composer Francesco Tristano blows away dance-music heads with his live sets, solo and alongside the likes of Moritz von Oswald and Carl Craig. Inspired by an "ongoing quest to unite the sounds of the acoustic grand piano with electronic synthesizers, sequences, and drum loops," Piano, Hats & Stabs opens with the split personality of "Dminorloop," with its build-ups and deconstructions, and continues with the decaying bassline of "Stekker Sound Driver" and the driving "Sarasani (feat. P41)." It all ends on a lighter note with "Place On Lafayette," featuring almost psychedelic keys recorded on Lafayette Place, Detroit.
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12"
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IF 2010EP
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2008 release. Vinyl re-issue of The Melody, including remixes by Balil (aka Plaid) and Carl Craig.
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12"
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IF 2030EP
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Francesco Tristano released his third solo album for InFiné Idiosynkrasia (IF 1012CD), recorded in the Planet E studio in Detroit. "Idiosynkrasia": an aesthetic manifesto livened up by the search for an idiosyncratic language between acoustics and electronics, a musical odyssey permeated by the peculiarity of the town, which originated the rhythm and blues as well as the techno genres. The eponymous track is reinterpreted here by Ben Klock, Ark, Tom Taylor & Paul Woolford and Fumiya Tanaka.
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12"
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IF 2032EP
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The title track to Francesco Tristano's Idiosynkrasia (IF 1012CD) is a nod to more upfront dancefloor fare. Pressed on one-sided clear vinyl in a plastic bag. Limited to 300 copies.
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CD
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IF 1012CD
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This is a full-length album by Luxembourgian pianist and composer Francesco Tristano, recorded in Detroit with Carl Craig. A close musical encounter of the third kind: that might be the most appropriate way to describe what the people at The Space on July 18, 2010 were lucky enough to experience. That night, a grand piano had landed in the illustrious Ibiza club. At its helm, Francesco Tristano -- a long-distance adventurer in sonic space. Also on board, in the DJ booth, was Carl Craig, controlling Ableton with the help of his iPad. Carried away by the fervor of an audience in perfect osmosis, the duo flew higher and higher, eluding the borders between musical genres and giving a performance that has already gone down in The Space's history. A few months earlier, in Detroit, a similar sighting had been reported: a grand(iose, of course) piano had settled for a week amidst an impressive number of machines and a no less impressive number of records, virtually filling the studios of Planet E, Carl Craig's label. For it was precisely there, in that stronghold of Detroit techno, that Francesco Tristano had chosen to record Idiosynkrasia, his third solo album for InFiné. As the artist himself explains, "This record is the fruit of a quest for an idiosyncratic language that is somewhere between acoustic and electronic, a quest that spans time and space, and I want to bring the piano into the 21st century. My ambition is to provide the piano with a new identity, because it is often associated with classical music and viewed as an instrument of the past, while I genuinely see it as an instrument of the future." Fundamentally polychromatic, evolving ceaselessly from one mode to the next, Idiosynkrasia proves to be perfectly coherent and reveals an extra-large conception of music.
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