Lubomyr Melnyk

Erased Tapes first introduced Lubomyr Melnyk and his unique continuous music technique to a wider audience with ‘Corollaries’, an album produced by Peter Broderick in 2013. Now he returns with a 24-minute mini album entitled 'Evertina'. Featuring three newly composed solo piano pieces, the long-form EP showcases another side to Lubomyr Melnyk – his more gentle and melodic work. In 2012 Lubomyr's ears began to notice the remarkable tonal depth of upright pianos. To Lubomyr the upright piano sound is like a natural forest of microcosmic colours. 'Evertina' and 'Awaiting' were created on a middle-aged upright piano at a friend's home in New York in October 2012 – just before Hurricane Sandy hit the city. Some children were listening to Lubomyr as he played in a hotel lobby in Cologne and 'Butterfly' is the piece that he made for them. It was recorded on a battered grand piano somewhere in Switzerland in late 2013, with the lid closed down to soften the effect. ‘Evertina’ will be available on 10” vinyl, CD and download from December 15th. IN HIS OWN WORDS: „The piano for me has so many different faces, so many personalities and wonders, it is like life itself, ever-changing yet always holding to a permanence of beauty. Like butterflies that never fly in a straight line but always carry their loveliness with them in their multi-angled paths. I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view. May everyone enjoy them for their gentle simplicity and quietude. These three pieces fit so nicely together in spirit, they present a tableau, a tiny triptych that can reach the world without waiting for a major work, they stand beautifully on their own, and do not need an album to surround them with comfort and padding. No, they are what they are, and a short musical interlude as this record gives, is just perfect for their nature.“

Martin Kohlstedt Born in Eichsfeld, a stretch of land amidst the Thuringian Forest, meanwhile Martin Kohlstedt lives in Weimar, still in a province, but far away from the moloch Berlin. Maybe the young pianist needs the seclusion from the urban rush to develop his compositions.

In 2012, he released the album “Tag”, last year “Nacht” followed. It contains nine pieces, in which Kohlstedt deals with his instruments, with out losing himself in a pop pathos or hard to follow classical music. He follows his hands and his hearing and creates airy light pieces, which leave plenty of room for associations or the listener.

Kohlstedts compositions are like a trip to the darkness, during which one has to rely the ears rather than the eyes. This journey opens new worlds, the most important part is the total commitment to the sound of the grad piano. Kohlstedt is one of the most interesting representatives of young classic, whose most important feature is stylistic openness.v