Michael Riesman, the multi-talented composer, conductor, keyboardist, and record producer, has influenced many of today’s greatest talents as the innovative musical director of the world-renowned Philip Glass Ensemble. Riesman has had a long-lived collaborative relationship with Philip Glass. Indeed, when Glass received his Golden Globe Award in 1999 for The Truman Show score, he publicly proclaimed Riesman "a genius."
Riesman has been playing keyboards in the Philip Glass Ensemble since 1974, and has served as its Musical Director since 1976. In addition to conducting the Oscar nominated scores Notes On A Scandal, The Truman Show, and Martin Scorsese’s Kundun, he is the conductor of the revolutionary Einstein on the Beach (both recordings), Glassworks, The Photographer, Songs From Liquid Days, Dance Pieces, The Illusionist, Hamburger Hill, Music in 12 Parts (all three recordings), Passages, Koyaanisqatsi (both recordings), Mishima, Powaqqatsi, The Thin Blue Line, Anima Mundi, The Secret Agent, A Brief History of Time, La Belle et La Bête, Candyman, , Naqoyqatsi, Taking Lives, Secret Window, and numerous other soundtracks and albums. Riesman was the pianist on the Oscar-nominated score for The Hours, and has also released an album of his arrangement of that music for solo piano.
In addition to his work with the Philip Glass Ensemble, Riesman has also conducted and performed on albums by Paul Simon (Hearts and Bones), Scott Johnson (Patty Hearst), Mike Oldfield (Platinum), Ray Manzarek (Carmina Burana), David Bowie (BlackTie/White Noise), and Gavin Bryars (Jesus' Blood Never Failed Me Yet).
Along with interpreting the music of others, Riesman also finds time to create original works. He has released an album, Formal Abandon, which he wrote, produced and performed entirely, on the Rizzoli label, which originated from a commission by choreographer Lucinda Childs. In the theater, he collaborated with Robert Wilson on Edison (presented in New York, Paris, and Milan). His film scores include Enormous Changes at the Last Minute, Pleasantville (1976), and Christian Blackwood's Signed: Lino Brocka.
Juan Pablo Abalo siguió desde su adolescencia estudios particulares de batería y piano. Se perfeccionó luego en composición y dirección orquestal en estudios de grado y posgrado en la Escuela Moderna de Música, el Conservatorio de la Universidad de Chile y el XX en París. Su trayectoria cruza lo popular y lo docto, con trabajos para ensambles y orquestas, la producción de los proyectos pop Dënver yMarineros, y la colaboración como arreglador para conciertos del trovador Eduardo Gatti. Ha publicado cuatro álbumes solistas hasta ahora: El participante (2010), Siete canciones (2011), Canciones de misa (2012) y Como un animal (2014). Este último trabajo fue elegido en varias revistas y webs chilenas como uno de los mejores discos publicados en Chile en 2014.
Natisu is a Chilean born Brooklyn based singer and composer. She moves through rock, pop, folk and electronic influences. 2 albums and 3 EP's.
Cochebomba is a band founded in the city of Talca, (Chile) in 2016. The band consists of six musicians with different local music backgrounds, who together build a project that aims to explore the most diverse rhythms, which as a result creates a very diverse sound. The mixture of electronic instruments such as drum machines and samplers with the classic melody of Latin drumming, creates a strong sound foundation, where voices take shape through rap music and pop melodies, accompanied by guitars inspired by psycodelic, indie and shoegaze. At the beginning of 2018 will release their first Ep under the name Ponk Records.
Cochebomba es una banda que se forma en la ciudad de Talca (Chile) en el año 2016. Está compuesta por 6 músicos provenientes de distintas tendencias de la escena musical local, quienes se unen para dar cuerpo a un proyecto que busca explorar los más diversos pasajes sonoros, dando como resultado un sonido de personalidad múltiple. La mezcla de instrumentos electrónicos, tales como sintetizadores, drum machines y samplers, con el clásico sonido de las percusiones latinas, crean una base rítmica sólida y envolvente, sobre la cual las voces y líricas toman forma a través del rap y melodías pop, acompañadas por guitarras inspiradas en la psicodelia, el indie y el shoegaze. A inicios del año 2018 lanzan su primer EP homónimo bajo el sello Ponk Records.
Sole's music has been noted for its original blend of electronic beats and folk. Her tunes call to mind familiar songs, but sound little like any of them. Le Parody rejects the logic of fusion and instead creates music that reflects the confusion of travel and the discords of misunderstanding—fashioning a universe of her own that is as heartfelt as it is eclectic.
In between tours, Sole retreated to the isolated Andalusian countryside to work on new material. Hondo, her new album, comes from this lifechanging experience. The new songs go deeper into Le Parody's particular universe, exploring festive tribal landscapes, filling the gap between spanish folk and electronic dance music with a lush mosaic of samples from eastern pop songs, forceful beats and ambient recordings. Hondo will be released in September 2015, published by Warner Music Group in Spain, with special editions for America (Ponk Records) and the UK (New Hispanic Music).
ESDLCP (El Sueño De La Casa Propia) is the music project of the Chilean José Manuel Cerda, released in early 2005 in the city of Valparaiso. It is also the natural result of the search for a unique musical language by mixing elements of traditional instrumentation (strings, percussion etc.), experimental electronics and styles ranging from folk through rock, pop, house or whatever serves its purpose and matizadolo with a subtle emphasis on the social.
Has been part of festivals like Primavera Fauna, Mutek, Lollapalooza and Nrmal among others.
“Algodón Egipcio excels at crafting experimental and difficult electronic music that’s hard to grasp if you’re not too familiar with this kind of music. But he can easily turn it into something poppy and memorable. As if that weren’t enough, he makes fractured synths and textures into an irresistible dance party. Few can achieve —let alone master— one of these things; Bertho can do all of them magnificently in a single song.” Marcos Hassan, Remezcla – September 2015
“One of my favorite reinterpretations of Canto Cardenche is by Venezuelan DJ Algodon Egipcio. His rendition of ‘La Espina Del Cardenche’ adds instrumentation to the traditionally a cappella music, but it's minimal and ethereal. Rather than sounding like a music track under vocals, it simply sounds like a man floating in the clouds, singing his heart out.” Jasmine Garsd, NPR – May 2013
“For me, ‘La Espina del Cardenche’ illustrates why music matters, in this specific era. It showcases the skill of Ezequiel Bertho, a young producer from Venezuela known as solo act Algodón Egipcio, whose work is proof of the excellent talent coming out of Latin America. But it also represents the hybridization of music via the internet, and the union of traditional and contemporary sounds.”
Moni Saldaña, The Fader – December 2012
“So, imagine how rare it is that a random email about Algodón Egipcio’s wonderful, textured, luxurious La Lucha Constante not only found its way through the miasma of ill-aimed promo fodder to my ears, and not only did I end up liking what I heard, but that I would think it was one of the best albums of the year. [...] The album is excellent in its own regard, well worth listening to independently of this rant. But I think it’s important that there’s a sense of discovery still intact when I listen to La Lucha Constante that mirrors that bin-digging sense of discovery one gets from good old fashioned corporeal fetish items.”
Conrad Amenta, Cokemachineglow – December 2011 (The ‘This Is Why I Write Music Criticism’ Award)
“La Lucha Constante is touching, heroic, & disorienting, where even the cloudy tracks are triumphant. Cheky’s dislocating treatment of the medium as both, mechanism & text, sum up to a radiant slice of selective nature. La Lucha Constante is 2011’s wildflower, also, one of the year’s best albums.”
Carlos Reyes, Club Fonograma – March 2011 (90/100)
“It’s good, dynamic pop, with an undercurrent of maturity and grace. A beautifully scripted album, and one that really allows you get to know the man behind the moniker. [...] Cheky manages to create a relaxed intimacy in his music that envelopes your mind into a conversation that bridges language barriers. Who needs to speak in dialogue when you can converse with the medium of music?”
Gina Louise, The Line of the Best Fit – March 2011 (RECOMMENDED)