Patrick Brennan & Abdul Moimême | Terraphonia

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Avant Garde: Electro-Acoustic Jazz: Avant-Garde Jazz Moods: Type: Improvisational
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by Patrick Brennan & Abdul Moimême

Spontaneously composed dialogues recorded direct without overdubs: electroacoustically altered two-guitars-with-objects & alto saxophone.
Genre: Avant Garde: Electro-Acoustic
Release Date: 

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  Song Share Time Download
1. Terrafonia
Patrick Brennan & Abdul Moimême
11:31 $1.99
2. Nilch'i . Telespire . Nilch'i
Patrick Brennan & Abdul Moimême
11:05 $1.99
3. Ndụ Enweghị Ihe Abụọ / No Two
Patrick Brennan & Abdul Moimême
10:39 $1.99
4. Gotabrilhar
Patrick Brennan & Abdul Moimême
5:41 $1.99
5. Mycellerate
Patrick Brennan & Abdul Moimême
11:31 $1.99
6. Tactiludic
Patrick Brennan & Abdul Moimême
5:19 FREE
7. Witness Ampersand
Patrick Brennan & Abdul Moimême
8:51 $1.99
Downloads are available as MP3-320 files.


Album Notes
Liner Notes:

You know, I was really intrigued by the timbral and textural expanse of the prepared guitars. They have distinct minds of their own & a very soundwave inflected pulsation. - p

Back in the mid 90’s, when I first came into contact with your music, I was initially perplexed by the substantial use of silences in your solo saxophone work, until I realized that, as a composer, you were allowing space for the implicit arrangements to resound in the listener’s ear. What became clear to me was that they were also an integral part of your rhythmic invention. So, when you suggested this project, I wondered how my sound might complement your sonic universe. - a

I do make a point of accenting silences for just that reason. The saxophone emerges through breath & syllabic percussion, but as flexible an acoustic instrument it may be, there's no way it can match, or converse within, the guitars’ far broader timbral palette. The mystery for me, then, was in discovering a dialogical interface that would allow us both to interact without compromising either of our sonic or personal identities. - p

I posed myself the very same issues, as it’s one thing to have two sets of events somehow concur on parallel planes, it’s quite another to transmute them into a totally new and unique substance. - a

Still, I was still surprised by how it all found itself. What I did was listen in terms of framing your own sounds, accenting them, augmenting their clarity, following where they took me. There was a lot of freedom in discovering how to adapt to such a variegated soundscape resounding well outside the tempered pitch system that my instrument was designed for. - p

Conversely, the possibilities posed by interacting with your melodic transformations were exhilarating, sometimes functioning as an extension of that order, at other times as its deliberate contrast. - a

Yeah, collaborative differences can forge some serious alchemies. - p

Trust is essential, but when you also have friendship in the mix… what more can one ask for? - a


patrick brennan – alto saxophone, cornet (briefly on terrafonia)

Abdul Moimême – 2 electric guitars (played simultaneously) with objects

Recorded live (without overdubs) at Namouche Studios, lLsbon; 8th april 2018. by Joaquim Monte.

Mixed and mastered by Abdul Moimême

Cover art & design by Carlos Santos

Produced by Ernesto Rodrigues


AMN Reviews: Patrick Brennan & Abdul Moimême – Terraphonia [Creative Sources CS579CD]
July 2, 2019 ~ dbarbiero

The pairing of alto saxophonist patrick brennan and guitarist Abdul Moimême on terraphonia is an especially piquant one whose symbiosis is, paradoxically, an organic outgrowth of a constant polarity of sound.

The album was recorded in April in Lisbon, the home base for Moimême, a Portuguese native who also has lived in Ireland and the United States. Although his main instrument, as here, is electric guitar, Moimême also studied tenor saxophone under brennan, a New York-based musician. A composer as well as an improviser, brennan has since the 1970s pursued an original musical vision that includes solo saxophone performances as well as composing polyrhythmic works based on short, overlapping melodic cells for a large, modularly-organized ensemble.

There is a basic structure that ties together the seven tracks on terraphonia, a structure that consists in a timbral juxtaposition and contrast growing out of a more or less ongoing difference in voices. On the one side, abstract electronic sound from Moimême’s prepared guitars; on the other, the voice-like inflections of brennan’s wind-channeling alto saxophone and cornet. Moimême’s creative use of a broad spectrum of sounds based on qualities other than pitch frames each piece, while the emotional center of gravity lies in the forceful immediacy of brennan’s playing. The latter includes a generous but judicious use of extended technique, dynamic variation and broken phrasing that parallel the multifaceted qualities of the human voice—its confident assertion and hesitation, its full-throated stridency and confidential whisper. The opposition of timbres that emerges from the relationship between brennan and Moimême makes possible a distinctive kind of confluence: In place of the conventional motive engine of harmonic tension and release, the two set up an intricate, contrapuntal web of convergence and divergence in phrasing and dynamics. Through their sensitivity to each other’s contributions, brennan and Moimême are able to transform the particulars of contrast and difference into a higher-level, expressive synthesis.

Daniel Barbiero



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