BOOKING OFFER: ALEXANDER TURNQUIST

Dear all, I’m arranging some dates in November for ALEXANDER TURNQUIST. At the moment datewise things are a bit open. Could you get back to me and tell me what your favourite date is/are? Please find here some reviews and a link you can click on to listen what he sounds like: http://alexanderturnquist.com/music.html http://soundcloud.com/lefserecords/alexander-turnquist-spherical Selected Media Quotes Pitchfork Media (score of 8.2) « By embedding both new age and noise-oriented electronic themes into his pastoral pieces, Turnquist unites disparate traditions and ideals, essentially employing sonic counterweights to construct 57 minutes that are as surprisingly dynamic as they are perfectly beautiful. » – Grayson Currin (Pitchfork Media) Mojo Magazine « Turnquist layers his six and twelve string guitar instrumentals with electronic drones, piano and vibes. This first widely available release is a filmic beauty, its chilly pastoralism distinguished by the physicality of his playing » The Silent Ballet The Silent Ballet Top 50 Albums of 2009 #6 of 50 If the album’s title is any indication, Alexander Turnquist has crafted a very dynamic poem of dreamful instrumentation; horizontal simplicity intertwines with vertical complexity in ways that recall the workings of the mind at rest, a permanent harmony of acoustic neurotransmission bristling with small, but enormously significant events in the form of short keys, violin, and cello interventions. The twelve-string guitar functions as the bloodstream of this impressionistic system, taking its textures and minimalist developments forward, backward, sideways, and everywhere in between. Like both a system and a poem, the movements in this music are rhythm and harmony-based, a continuous flow of ideas made in precise short movements that gradually build a greater whole – a whole that is one of this year’s best, one of those albums that is a practically must-listen regardless of musical preference. (David Murrieta) « Few artists have broken the TSB radar as quickly as Alexander Turnquist. After receiving rave reviews on Apneic and Faint at the Loudest Hour, Turnquist performed the hat-trick by contributing the stunning « We Are Magnets » to TSB Volume IX: Wenn Ich Ein Eisbär Wäre. Yet, with his second full length, As the Twilight Crane Dreams in Color, he appears to have only begun his dominance of the acoustic guitar album. If the « We Are Magnets » indicated that Turnquist would be migrating away from guitar-based compositions, then it was a red herring. The three quarters of an hour of music on the album are largely guitar centered, but subtle additions are made by other instrumentation, such as piano, glockenspiel, and vibraphone by Turnquist himself, cello by Marlan Barry, and violin by Christopher Tignor. The cohesion of elements is stunning and easily places Turnquist at the top of his class. Although there has been many acoustic guitar albums in the past few years, none have been as accomplished as As the Twilight Crane Dreams in Color.  » (The Silent Ballet) « Here is an instrumentalist who pushes plumes of tightly woven acoustic patterns into the atmosphere, quickly following them with other tufts of strings or occasional electronic passages, sculpting thick patterns that escape the casual listener, but tease and engage anyone who takes the time to sit down and share a moment with his work. » – Jonathan Brooks @ The Silent Ballet Direct Current « Minimalist New York guitarist Alexander Turnquist creates shifting layers of intricate finger-picked guitar with piano, violin and cello shadings for a sound that is mesmerizing and hypnotic. Second album « As The Twilight Crane Dreams In Color » may have a title that should have been a Pink Floyd epic but the touch here is delicate and dreamy not psychedelic on tracks such as the ten-minute opus « Dancing In Borealis Ribbons of Vivacity ».Recalling at times guitarist virtuosi James Blackshaw and Jack Rose, Turnquist uses his instrument as a Takoma tapestry of chiming, detailed patterns, adding subtle melodic turns to the extended repetitions of « raga-style » chording. If Philip Glass had played guitar on his groundbreaking works such as « Metamorphosis », it might have sounded something like what Turnquist is exploring here. » -Direct Current Textura « What makes the new recording so special? In simplest terms, it’s because the New York-based guitarist fulfils the promise evidenced by his previous releases and challenges himself to go beyond what he’s done before. What recommends the album even more is that Turnquist shows himself to be not only a distinguished instrumentalist but most importantly a composer of distinction. Ambitious in structure, the album features three long-form tracks, the shortest ten minutes and the longest almost nineteen, but all fully justify their length. One of the most interesting aspects of the compositional design is that Turnquist often extends the guitar’s dense clusters throughout the pieces so that they act as stabilizing anchors for the intermittent voicings of the tracks’ themes. » – Ron Schepper I hope to hear from you soon. Regards. Alain Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 https://debloque.wordpress.com info@somenoise.be

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