"Should you be without any information and listening to this music, you could easily believe this is some electro-acoustic music; maybe of objects pushed around on a carpet, but then heavily amplified; very soft in volume but very powerful at the same time. This is some fascinating stuff.” Frans De Waard, Vital Weekly.
Elizabeth Millar - amplfied objects
Craig Pedersen - amplified objects
Video: https://www.youtube.com/watch?v=RJ51Tq9jAfk (live in Taipei)
Craig Pedersen Victoria Quintet
In reviews, Craig Pedersen’s small band music has been compared to Robert Wyatt, Henry Threadgill, Albert Ayler, and the Art Ensemble of Chicago. In his own words, his music draws influence from the work of Cecil Taylor, Joane Hetu, Joe McPhee, Anthony Braxton, Ruins, and Keiji Haino.
Ranging from full-out intensity to the near-pastoral, the rapid fire trumpet lines, wailing woodwind squeals, punching bass articulation, and pummelling drums serve to push and pull against Pedersen’s compositions. It is music that often sounds like it’s falling apart and being put back together, only to fall apart again
Formed in 2011, the Craig Pedersen Quartet came together to perform the compositions of Montréal- based trumpeter Craig Pedersen. Their fifth release, "Approaching the Absence of Doing" saw the unorthodox addition of a second drummer. Recorded by Howard Bilerman at Montréal’s iconic Hotel2Tango, mixed by Mark Molnar, and mastered by Harris Newman. The LP and CD jacket were designed by Bennett Bedoukian at Oh! Underworld, and the LP pressed at Canada’s own Precision Pressing in an edition of 300.
This all-new west-coast iteration of the band features Australian clarinet player Elizabeth Millar, and three of Victoria’s own forward-looking musicians: Shane Krause on bass clarinet, Dave Riedstra on bass and Cyril Lojda on drums.
Sound of the Mountain:
A duo featuring the hollowed-out sounds of Elizabeth Millar and Craig Pedersen on amplified clarinet, trumpet and objects, Sound of the Mountain comes from a strong history of improvisation and extended performance techniques, offering their audience long-form deep listening experiences through the sculpting of vitalized breath.
Since forming in 2015, they have played over 100 concerts together, developing a sound language which merges acoustic and electronic textures through amplification and extended performance techniques. With this language they create long-form improvised soundscapes, evoking a vast range of textures, from silence and spaciousness, to rumbling bass and room saturation. The duo works with closely-mic’d instruments and minimal equalization, avoiding the use of effects pedals and loops, such that their constant physical attention drives the music. The whistles and creaking of metal and reed anticipate the more dense moments of distortion and feedback in pieces that can be appreciated as discreet moments, or longer forms.
Active touring artists, they have played internationally throughout Japan, Taiwan, Vietnam, Malaysia and Australia, and coast-to-coast throughout Canada. Making a point of collaboration, the duo has collaborated with Japanese improvised music pioneers Toshimaru Nakamura, Tetuzi Akiyama, Takahiro Kawaguchi, Michiyo Yagi and Akira Sakata , Canadian experimental trailblazers like the electro-acoustic duo Instant Places, Tone Deaf’s Matt Rogalsky, or Guelph’s own hurdy-gurdy player Ben Grossman, and members of Quebec’s experimental electronic community Alain Lefevbre, Anne-F Jacques, and Emilie Mouchous, along with many many more. Favouring community-building and DIY ethics you’re most likely to hear them playing in your friend’s basement, artist-run-centres, galleries and cafes.