Francisco López & Miguel A. García’s “Ekkert Nafn” reviewed by Music Map

Francisco López e Miguel A. García sono due musicisti spagnoli da tempo attivi rispettivamente nel campo della sperimentazione e dell’improvvisazione, con ottimi riscontri in termini di critica. “Ekkert nafn”, che in islandese significa “senza nome”, è il primo lavoro realizzato in duo (è appena uscito per Crónica Records), e mette insieme fonografia, ovvero le registrazioni sul campo, e suoni generati da dispositivi elettrici e meccanici. In realtà, i due hanno lavorato singolarmente e atteso il momento nel quale si sarebbero incontrati i due diversi modi di intendere l’estetica musicale. Il risultato è un lavoro che dura poco meno di un’ora, suddiviso in due brani. Il primo, “Untitled#351”, è firmato da Francisco López e si apre con rumori meccanici acuti che, a un terzo del percorso, cedono il posto a fraseggi più dilatati e atmosferici. Nel finale, si rendono più riconoscibili suoni “elettrici”, con un umore generale più cupo. “Applainessads”, invece, è il pezzo composto da García e segue un incedere diverso, che non conosce le pause e i silenzi del precedente, ma si caratterizza per il suo flusso costante e per il fatto di comunicare un senso di inquietudine. Dal minuto quattro al minuto dieci, conosce una fase di grande intensità e di ambient scurissima, dopo arriva un rallentamento, con suoni quasi impalpabili, prima di una nuova brevissima crescita e una chiosa con rumori naturali. “Ekkert nafn” è un lavoro che ha reso possibile l’incontro fra due approcci e stili più distanti di quanto possa sembrare superficialmente: il risultato è interessante, ma, data l’inevitabile vocazione meramente sperimentale dell’opera, l’ascolto è inevitabilmente consigliabile a palati finissimi. Piergiuseppe Lippolis

via Music Map

Posted in News | Comments closed

Haarvöl + Xoán-Xil López’s “Unwritten Rules for a Ceaseless Journey” reviewed by Blow Up

Posted in Reviews | Tagged , , | Comments closed

@c’s “Espaço, Pausa, Repetição” reviewed by Blow Up

Posted in Reviews | Tagged , , , | Comments closed

Francisco López & Miguel A. García’s “Ekkert Nafn” reviewed by Blow Up

Posted in Reviews | Tagged , , | Comments closed

@c’s “Espaço, Pausa, Repetição” reviewed by Rockerilla

Posted in Reviews | Tagged , , , | Comments closed

Haarvöl + Xoán-Xil López’s “Unwritten Rules for a Ceaseless Journey” reviewed by Bad Alchemy

Posted in Reviews | Tagged , , | Comments closed

@c’s “Espaço, Pausa, Repetição” reviewed by Toneshift

In these two nearly half-hour long works, otherwise known as ‘Sonic Annotations: Space, Pause, Repetition‘ the duo @C (Pedro Tudela + Miguel Carvalhais) has delivered a multisensory, immersive, site-specific sound installation from three-hundred sound objects (many collaborators).

Their video offers a good dose of installation porn, especially if you are into speakers and wires. No joke here as this gives you a glimpse into the experience within a white wall museum context. Look closely, and get lost. The first half of this tape features Espaço, Pausa. It sparse minimalist aesthetic seems to showcase many of these objects, one by one at first. I particularly like the anonymity of particular sounds (some are organic, most are not), and how they stir up your senses and make you think. All is interspersed in succession in quick, idiosyncratic actions. After five or so minutes overlaps in these voices, clangs, twists, semi/permeable, rings, and otherwise quirky intonations start to materialize. The mood is fairly open, ears pricked up, trickling and twitchy sounds breaking the tension before Speak n Spell murmurings surface.

One might compare this to a rag-tag orchestra trying to embody the din of any large urban city at full tilt, only through the filter of a dreamscape. It’s like you are inside a virtual reality video game fortress that is gaining and losing coins and points by the second, bouncing from screen to screen, yet falling into a glorified spatial black hole, and repeating (without revisiting familiar territory).

Repetição opens with a voice in repetition, and then strange silences. When the voice returns the layering is off by a beat, trying to decode the layered texts is futile. A contemporary spoken-word transmission-style beat poetry with intervals of blank space, and intermediate sizzle, feedback, tick-tock, crashes, tweaks.  I can imagine modern dance presented as part of the cadence as delivered, the pacing leaves the sudden space for the body to transition. As on the flipside, this piece starts to use up more of its silences with drone and transitory ambient textures. Stay for the final five minutes of sequences, it’s a sheer mind-meld time-warp worthy of any surround sound system! TJ Norris

via Toneshift

Posted in Reviews | Tagged , , , | Comments closed

Haarvöl + Xoán-Xil López’s “Unwritten Rules for a Ceaseless Journey” reviewed by Dark Entries

Unwritten Rules For A Ceaseless Journey bevat drie nummers (van telkens een kwartier) die gecomponeerd werden voor de dansvoorstelling Revoluções van choreografe Né Barros. Deze onderverdeling in stukken is niet toevallig, want ze belichamen de formele idealisaties van de drie beslissende lagen der tijd: verleden, heden en toekomst.

Hiervoor verantwoordelijk zijn Haarvöl, een collectief uit Portugal met drie vaste leden (Fernando José Pereira, João Faria en Rui Manuel Vieira die samen aan het werk gingen met de Galicische geluidskunstenaar Xoán-Xil López die naam maakt in de wereld van field recordings en experimentele muziek.

Haarvöl dat sinds 2012 actief is, en we daarom nog bij het beloftevol talent rekenen, ontwikkelt haar muziek conceptueel door eigenschappen van geluiden te exploreren waarbij men er naar tracht filmische en beeldvormingsomgevingen te bereiken. Daarom legt men de nadruk op de niet-illustratieve interactie van geluiden met afbeeldingen, wat duidelijk zichtbaar is in de video’s (die je kan bekijken op hun Vimeo pagina) die met opzet zijn voorbereid voor bepaalde composities. De geluiden zijn echter niet beperkt tot hun mediale oorsprong: zowel digitale als analoge bronnen worden gebruikt en gemengd, en dit in een zeer gedetailleerd eindresultaat.

Hoewel dus gebruikt voor een dansvoorstelling, lijkt het ons een te zijn van zeer abstracte aard. Dansen op dark ambient is veelal een uitdaging te noemen, zo ook hier waar ritmes die de benen in beweging dwingen schitteren door afwezigheid.

Wat niet wegneemt dat er heel veel over de plaat te vertellen valt, achter elk van de drie nummers schuilt immers een gans verhaal.

Dit helemaal uit de doeken doen zou ons veel te ver leiden, maar laat het u er niet van weerhouden zelf het nodige opzoekwerk hieromtrent te verrichten.

We kunnen wel meegeven dat het begrip “utopie” een belangrijke rol speelt in dit stuk. Men weet hier waarover men spreekt, en men haalt dan ook uitvoerig bronnen aan uit de sociologie en filosofie. Beslist de moeite waard om te ontdekken voor wie echt in deze plaat wil duiken.

Louter over de muziek kunnen we zeggen dat het verleden (‘Something’s Missing (Utopian)’) melancholisch lijkt terug te kijken, het heden (‘Pulsating Waves (Reality)’) zich onheilspellend roert, en wat de toekomst (‘Don’t Look Back, Run (Trauma)’) brengt weet je nooit, maar zolang er hoop is,…

Verleden, heden en toekomst en we denken dan aan een tarot legging, de vergelijking kan wel opgaan wat deze plaat betreft want de ene zal geloven in de kracht van deze dark ambient, terwijl anderen er eerder sceptisch tegenover staan wegens te abstract. Wie alvast zijn/haar pointes en tutu uit de kast gehaald heeft mag ons zeker contacteren, want hierop dansen lijkt ons dan ook vrij utopisch. Dimi Brands

via Dark Entries

Posted in Reviews | Tagged , , | Comments closed

Francisco López & Miguel A. García’s “Ekkert Nafn” reviewed by Toneshift

These two artists spent time collecting a pool of sounds together before individually exploring their own direction with them. The album title, Ekkert Nafn, is a mash-up of two Icelandic words that effectively translate as no name, and this abstract, mysterious title is certainly fitting for the release here on the Cronica label.

Francisco López contributes an extended, 31 minute piece that bristles with energy from the get-go. This track, to my ears, is a bit of a departure for López, whose work often hovers just above the possibilities of perception.  Untitled #351 is a sonically rich tapestry of processed field recordings, woven together in such a way that sounds whizz and whirl in abundance.  This slightly cacophonous introduction lasts for 5 minutes before we enter more familiar López territory. As the energy abruptly cuts out and we are left with silence, save for some microscopic pin pricks of audio.  Barely perceptible is a low frequency rumble, only heard if the listener turns up the volume.  But of course there’s the fear that a louder sound might suddenly burst out from the speakers… and it does!  Rasping, ragged digital detritus begins to sparkle and fizz across the stereo spread, and the whole track comes to life again.  Personally, I found this extremely satisfying, like López was really letting go and pushing the sonic boundaries.  Again, a silence encroaches at the track’s midway point, and this to-ing and fro-ing between the loud and the quiet is effective in keeping the listener’s attention, and serves as a precarious balance.

Applainessads by Miguel A. García also begins his piece with hard sounds.  There are more bass tones and speaker shaking low frequencies present here that contrast well with López’s piece, which overall lent more towards treble. García drops little sonic boom depth charges of that punctuate layers of stretched static and reversed samples.  There is a maximalist approach going on here, and those reversed sounds are repeated, creating a looped pattern that plays with the listener’s expectations.  The piece continues in this vein until half way through, when those layers begin to subside, and subtle details emerge.  The low end starts to take over, casting a murky shadow over proceedings, and little sonar-like pings escape up like bubbles rising to the surface.  Listening with my eyes closed brought images of deep water submersion, the weight and pressure of oceanic depth having a profound effect on my inner senses. Darren McClure

via Toneshift

Posted in Reviews | Tagged , , | Comments closed

Francisco López & Miguel A. García’s “Ekkert Nafn” reviewed by Silence And Sound

Ekkert Nafn qui signifie en islandais « sans nom », est un split album sur lequel les artistes Francisco López et Miguel A. García aka Xedh, proposent un titre chacun, intitulé Untitled #351 pour le premier, et Applainessads pour le second.

Composés à partir de field recordings, par la suite retravaillés et agencés via des procédés digitaux, les deux tracks forment un tout, dont chaque élément semble se répondre.

Untitled #351 donne à entendre un monde construit autour de bascules et de crissements industriels, où les cadences se voient entrecoupées de silence et de sursauts métallurgiques, monde mécanique aux bouillonnements incessants.

Applainessads quand à lui, circule sur des ondes presque aquatiques, avec ses sonorités enfouies sous des torsions électriques en mode basse tension, dont l’atmosphère générale n’est pas sans évoquer certains travaux de Pan Sonic.

En deux titres, Ekkert Nafn propose un monde aux contrastes saisissants, dont la matière première bien que profondément similaire, offre deux facettes opposées et complémentaires, Yin et Yang en mode électro-acoustique. Captivant. Roland Torres

via Silence and Sound

Posted in Reviews | Tagged , , | Comments closed
  • Tags

  • Categories

  • Archives