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A fixture of the downtown avant garde scene since the early-‘80s, Zeena Parkins is perhaps best known for her pioneering work with the electric harp. Notorious for her unorthodox playing techniques, Parkins makes extensive use of digital and analogue processing, using guitar pedals and non-musical objects to wrest new sonic possibilities from her instrument. Initially working as a member of ...
Glass Triangle : Zeena Parkins, Mette Rasmussen & Ryan Sawyer: Amazon.de: Digital Music. Skip to main content.de. Delivering to Kassel 34117 Update location ...
Zeena Parkins (born 1956) ... Parkins / Mette Rasmussen / Ryan Sawyer, Glass Triangle (Relative Pitch, 2021) As instrumentalist. With Björk. Telegram (One Little Indian, 1996) Vespertine (One Little Indian, 2001) Drawing Restraint 9 (On ...
Blue and Sun-lights by Glass Triangle, released 12 May 2023 1. Earth O 2. Triangular Globe 3. mosquito mind 4. [Moth] Territory - Full Length Mirror 5. Seraph 6. beaming_becoming chrystal 7. Spine 8. Glass Spell 9. doo wap BREAK BREAK 10. Earth OO Not too long ago, harpist Zeena Parkins, alto-saxophonist Mette Rasmussen and drummer Ryan Sawyer ...
Where Glass Triangle immediately tossed the listener into the free jazz deep-end, Blue and Sun-Lights takes a moment to draw a few slow, percussive breaths. On opener "Earth O," Sawyer's snare shudders and Rasmussen's sax sighs, as Parkins' electric harp (which can sound like so many things) begins to interject, weaving voltaic jabs into a staticky futuristic landscape.
New York based electro-acoustic composer / improviser Zeena Parkins is a pioneer of contemporary harp practices. Using expanded techniques, object preparations, and electronic processing she has re-defined the instrument’s capacities. Concurrently, Parkins self-designed a series of one-of-a kind electric instruments.
Where Glass Triangle immediately tossed the listener into the free jazz deep-end, Blue and Sun-Lights takes a moment to draw a few slow, percussive breaths. On opener "Earth O," Sawyer's snare shudders and Rasmussen's sax sighs, as Parkins' electric harp (which can sound like so many things) begins to interject, weaving voltaic jabs into a staticky futuristic landscape.
