Posts Tagged ‘Pia Ercole’

4/21/18 Fhloston Paradigm Live: The Gatherings Concert Series

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Fhloston Paradigm Live Show

Fhloston Paradigm (the innovative music project by

King Britt w/ Pia Ercole) & Spacemusician Chuck van Zyl

are set to co-headline live within the remarkable setting of

St. Mary’s Hamilton Village as part of

The Gatherings Concert Series’ annual free admission event

on Saturday, April 21, 2018 at 8:00 pm

3916 Locust Walk in Philadelphia, PA

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To intrepid travelers along the deep and dark spaceways, King Britt‘s innovative music project Fhloston Paradigm will put a hum in your ear drum.

With a gentle precision his music generates reassuring atmospheres of electrical synthesizer tones and digital textures. From a pervasive sense of calm, to a most potent magic, we journey through a rare sonic realm against the strong tug of some unseen charm – and wonder what strange spell has been cast? Progressing through spacey thought-zones, we seem to be on an excursion where every track is a detailed mind trip. Some notes are so deep your DNA will vibrate, while further in they are as light as cosmic cotton candy.

King Britt confirms that blending technology and music at this level can produce touching works – music as intimate as our own blood cells, with the structure and strength of just discovered alloys. Writing music for other people is just nuts and bolts. King Britt makes music for all of creation. Wrapped in the luminous glow of human consciousness, it is full of electronic poetry – as, with its focus on the electro-sonic, it contemplates new narratives of existence.

While the rigors of Julliard and its prestigious training prepared Pia Ercole for the opera world, it also groomed her for the stage in another way entirely… After years of rigorous study she found that a great many other genres of music outside of classical still called to her. In working with Electronic Music luminary King Britt on Fhloston Paradigm, innovative vocalist Pia Ercole combines both her classical training in opera with her vast compositional and vocal sensibilities in a unique and beautiful way. In this project, Ercole has found a sonic landscape with the proper breadth and range to support and inspire (what she can only refer to as) her more “operatic voice”. In this collaboration the music and moment direct every nuance of her phrasing and tone. What we hear when these two get together is their connection with an atmosphere – a sonic vibe. An exercise in listening, their sessions are a place of discovery – where even the most basic rhythm, repeated melodic motive, or drone is found to be an inspiration which draws out a unique expression from Ercole’s interior world. Britt’s music directs every nuance of Ercole’s phrasing and tone – as the emerging vocals are born from connecting with a particular sonic vibe. Thus far Pia Ercole has embarked on several significant sonic journeys with King Britt – culminating in the auditory magic of the Fhloston Paradigm live and studio projects – a zone where voice, song, Electronic Music and analog synths meet – re-imagined in a beautiful, divine, and other-worldly aural plane. Pia Ercole believes that this endeavor is what her voice was meant to be used for – to translate the truth…

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Groove Magazine Review Fhloston Paradigm The Phoenix

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GROOVE Magazine GROOVE Magazine Review

GROOVE MAGAZINE

Fhloston PARADIGM

The Phoenix

(Hyperdub)

7.23.2014

“Those will be potentiated by the, also from Philadelphia singer Pia Ercole, who sings haunting operatic on tracks like ‘Tension Remains’ or ‘It’s All About’ hums and breathes. Her voice seems to be a secret pact with the grooves and sounds to be received, because it is not a cumulative addition. Rather, it operates as a further, detailed but not fully costed inserted instrument.”

Space Is The Place : King Britt , DJ, producer and label owner from Philadelphia, where a musical stylistics was never enough, is back with its approximately 2009 launched Project Fhloston Paradigm back. His gloomy rumbling album The Phoenix conjures musical science fiction and has everything a special plate needs: the courage to experiment, deepness that requires no cheerfulness to display their magic, and rhythmic characteristics that first move inside the body and then the extremities . Ambient, Acid, broken beat, hip-hop, soul, techno and Jazz go here as the parent coordinate system hand in hand and are united under a gloomy, atmospheric blanket.

Fhloston Paradigm was initially intended as a live project that combines human voices, electronic music and analog synthesizers to an extraterrestrial vibrating work of art.

Coupled with the belief in the science of exobiology has now produced an enchanted sonic journey of the former co-founder of the House labels Ovum, for a particularly fine facility with a detailed sound image you wish for. Because especially in the spaces between the rhythms and sounds makes the old buddy of Josh Wink created a suction effect, the laptop speakers or MP3 player does not really reproduce.

Those will be potentiated by the, also from Philadelphia singer Pia Ercole, who sings haunting operatic on tracks like “Tension Remains” or “It’s All About” hums and breathes. Her voice seems to be a secret pact with the grooves and sounds to be received, because it is not a cumulative addition. Rather, it operates as a further, detailed but not fully costed inserted instrument. So do the others, only occasionally occurring vocal guests as the composer Marlo Reynolds, a native of Portland singer Natasha Kmeto or the Paris-based Australian pianist and soul singer Rachel Claudio.

For Britt even Fhloston paradigm is a recent manifestation old Afro-futuristic ideals, nestled in a contemporary electronic sound. He tries ideas of avant-garde vocal improvisation with jazz, oscillating ambient and sometimes more, sometimes less to weave kickin ‘club music styles. The result so is an adventurous album that perfectly classifies itself the label Hyperdub between the publications of Laurel Halo, and Fatima Al Qadiri Ikonika.

Text: Michael Leuffen

English (Translation)

German (Original)

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Hyperdub Album Release Fhloston Paradigm The Phoenix

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Cielo 1 - Deep Space - Fhloston Paradigm 7.7.14

FHLOSTON PARADIGM

THE PHOENIX

Hyperdub

Album Release

7.7.14 

Release Party at Cielo in NYC for Francois K’s Deep Space

I will perform with Marlo Reynolds alongside King Britt for an amazing improvisatory journey amidst Fhloston Paradigm!

Cielo 7.7.14

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Cielo 2 - Deep Space - Fhloston Paradigm 7.7.14

“[King Britt’s] new album, The Phoenix, under the guise Fhloston Paradigm, is being released on Hyperdub. He is pushing the boundaries of sound, time & space with his sonic palette of beauty. Deep Space is an adventure into future dub, spacey vibes, & abstract grooves featuring resident dj François K. live on the mixing board every Monday at Cielo. No dress code – just an open mind.”

Cielo, 18 Little W. 12th Street, NYC

www.deepspacenyc.com


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LISTEN TO THE ALBUM – PITCHFORK ADVANCE STREAM – VISUALS BY MICHAEL TODD 


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FACT MAGAZINE Review Fhloston Paradigm The Phoenix

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FACT Magazine Logo

The Phoenix - Cover

FACT MAGAZINE

FHLOSTON PARADIGM

THE PHOENIX

HYPERDUB

6.23.14

“Of the vocal tracks, the album highlight ‘Tension Remains’ lives up to its title, owing as much to spiritual jazz as to the space opera of The Fifth Element, Pia Ercole’s rich, suspenseful melisma a perfect counterpoint to the slowly building rhythm and buzzing synths. Her soulful vocal also features on ‘It’s All About’, one of the more understated tracks, and the percussive workout of ‘Letters of the Past’.”

King Britt draws from The Fifth Element, Blade Runner and more on his first Hyperdub album.

Science fiction and electronic music have long been bedfellows, from Detroit techno deploying its mythological tropes as conduits for themes of racial oppression and civil rights, to more recent works by Kode9, u-Ziq and Kuedo. King Britt’s debut LP as Fhloston Paradigm fits rather elegantly into this model. In interview, he’s described The Phoenix, his debut album under this alias, itself a corruption of The Fifth Element’s Fhloston Paradise, as a “re-scoring” of soundtracks from such sci-fi classics as Blade Runner and The Fifth Element.

In fact, the most immediate contemporary touchstone for The Phoenix isn’t Kuedo, whose debt to Vangelis’ Blade Runner soundtrack is equally hard to overstate, but Nicolas Jaar. Britt has a similar knack for folding disparate threads into his own design, here drawing on sci-fi film soundtracks, Afrofuturism, techno, ambient and soul. Like Space Is Only Noise, The Phoenix never quite settles on one style, but even as it takes in all manner of genres it rarely loses focus, thanks not only to its conceptual core but also to Britt’s command of melody and sequencing.

The album is split fairly evenly between vocal tracks and sprawling, slow-burning instrumentals. Clattering snares and a heavy bassline are ballast for the dazzling synth arcs of ‘Race to the Moon’, and when they lift the noodling they leave behind is cut off at just the right moment, cosmic without being indulgent. ‘Chasing Rainbows’ pivots on a dubby bassline, swooning synth chords and drum machine hits that slap hard, while ‘Never Forget’ is all broken rhythms paired with heady chords and vocal snippets plastered in echo.

The Phoenix’s dramatic apex, its nine-minute title track, is dub techno as seen through the prism of the album’s conceptual underpinning, its percussive skeleton overlaid with gurgling melodic passages, bleeps and echo, their push and pull the stuff of pure narrative drama. ‘Portal 4’ and ‘Portal 3’ are interludes that wouldn’t be out of place on a genuine soundtrack, perhaps to a fault; although they flesh The Phoenix out, the voiceovers feel a little too obvious and their emphasis on sound design threatens to dwarf the musicality of the rest of the album. The same can’t be said for the opener ‘Portal 1’, which successfully pairs thrumming rhythms with ominous melodic touches and potent low end.

Of the vocal tracks, the album highlight ‘Tension Remains’ lives up to its title, owing as much to spiritual jazz as to the space opera of The Fifth Element, Pia Ercole’s rich, suspenseful melisma a perfect counterpoint to the slowly building rhythm and buzzing synths. Her soulful vocal also features on ‘It’s All About’, one of the more understated tracks, and the percussive workout of ‘Letters of the Past’. Only on ‘Never Defeated’ does The Phoenix feel overloaded, Rachel Claudio’s breathy refrain threatening to dwarf the bassline and fizzing rhythms. In contrast, the closer ‘Light On Edge’ is more pared down, featuring Natasha Kmeto singing over a contemplative, swirling instrumental. The Phoenix’s title alone hints at its ambitiousness, but even given the sheer wealth of variety and detail Fhloston Paradigm crams in, it’s never lofty or inaccessible; instead, it both upholds an electronic music convention even as it carves its own singular niche.

PUBLISHED
23 Jun 2014

WORDS BY
Maya Kalev

FACT Magazine – The Phoenix – Review

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