“Transmissions” reviewed by KindaMuzik

Transmissions
Mathias Delplanque maakt industrial. Niet van die bonkmuziek in vierkwartsmaats, al dan niet opgesmukt met metalen gitaren en nihilistische eindtijdlyriek. Hij presenteert ware industriële composities: drie korte en een heel lang stuk opgebouwd uit veldopnamen van machinegeluid.

Zo te horen is de machinerie in het Textielmuseum van Cholet in prima geoliede conditie. Het raderwerk knarst en piept nauwelijks, maar ratelt gesmeerd. En je hoort de olie- of brandstofvaten zachtmoedig pruttelen en borrelen. Zo zachtmoedig zelfs dat je je niet zozeer afvraagt waarnaar je luistert, maar waarom? Delplanque maakt ambient die in weinig afwijkt van het rumoer dat een normale, niet eens al te drukke stadse straat voortbrengt. Moet je daarvoor de oren spitsen?

De Fransman raakt de luisteraar bijna kwijt in een ietwat te loze exercitie in vooral niet opvallen. Voor het zover is, zet hij in het slotwerk van veertig minuten de troefkaart in. Op het Technisch Lyceum Livet in Nantes gaf Delplanque workshops. Hij kwam thuis met een enorme collectie opnamen van de studenten die in de weer waren met een veelheid aan gereedschappen en materialen. En juist met die rijke schakering op zijn palet weet hij pas echt danig raad.

Delplanque maakt van vele honderden samples een symfonie waarin op elk moment de ene machine in conversatie of duet treedt met de andere. In die een-op-een ‘gesprekken’ dwingt hij de focus van het luisteren naar de zeggingskracht van de geluiden an sich. Hier geen breed uitgesmeerde en gedragen wolligheid meer, maar de industriële techniek zelf die het hoogste woord heeft. Deze aaneenschakeling van machinale dialogen in miniatuur blijkt zo veelzijdig dat bovenstaande waaromvraag van tig intrigerende, sprankelende en twinkelende antwoorden voorzien wordt. Steeds weer een klein: daarom, dus. Sven Schlijper

via KindaMuzik

Posted in Reviews | Tagged | Comments closed

Futurónica 125

futurónica_125
Episode 125 of Futurónica, a broadcast in Rádio Manobras (91.5 MHz in Porto, 18h30) and Rádio Zero (21h GMT, repeating on Tuesday at 01h) airs tomorrow, October 17th.

The playlist of Futurónica 125 is:

  1. Robert Hampson, Signaux 2 (2012, Signaux, Editions Mego)
  2. Eleh, Reflections On Living Space (2012, The Weight of Accumulation, Important Records)
  3. Robert Hampson, Signaux 1 (2012, Signaux, Editions Mego)

You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.

Posted in Radio | Tagged | Comments closed

Soon in Crónica: Emidio Buchinho & Ricardo Guerreiro

W.o.W.

Posted in Releases | Tagged , | Comments closed

Marc Behrens’ YouTube channel

jhicjdcj
A probably never-ending story, and subject to updating, but here is Marc Behrens’ YouTube channel.

So far, some live-performances and documentary videos of installation projects have been uploaded. Check out Behrens’ ongoing exploration of the subjects of mass air transportation vs. mythological creatures who supposedly live in the skies («Clould») or move backwards in time and watch the duo Behrens Heyduck (Marc Behrens and Nikolaus Heyduck) play with plastic waste in 2001 («Plastic»).

Posted in Artists, News | Tagged | Comments closed

“Concret-Sens” reviewed by The Sound Projector

cronica084-2013_520
In recent years there has been a resurgence of interest in the techniques of musique concrète and electro-acoustic composition. A substantial reissue program from Editions Mego and subsequent attention from outside the fields of modern composition has brought particular attention to Groupes Researches de Musicales, Pierre Schaeffer’s influential research organization. Yet, rather than considering the GRM as an organizing principle for diverse and radical experimentation, contemporary music alluding to the GRM too often takes an ideal of its sound and output as a concrete object. Instead of a research facility interested in the nature of recording, the limits of composition and of responses to rapid technological change, it has become a demarcated sound to be replicated and an image of the future divorced from historical change or development.

Regardless of this narrowing of the studio’s work, the GRM did not cease operation after the period associated with its most famous alumni. Directed by Christian Zanesi it still conducts research, runs teaching programs and develops sound processing and representational software. As a graduate of the organization, Emmanuel Mievile forms part of a generation working through these issues of legacy and technology. Unfortunately, the press surrounding his Concret-Sens record sounds suspiciously elegiac for a lost state of musique concrète; of sharp-suited technicians tinkering with unwieldy technology and novel means of recording sound. According to the attached notes the techniques Mieville employs are defined by the framework employed by Pierre Schaeffer and the title is derived from the French adjective ‘concresence’, borrowed from previous GRM director François Bayle’s conceptual work. Similarly, the structure of each piece, electrical outlets, tape and field recordings and granular synthesis, are approaches that echo the preoccupations of those post-war modernists. Wireless transmission, blurring distinctions between recording and manipulating sound, proposing similarities between tape recording and haunting and the studio as musical instrument are all common themes echoed between Mieville and the early GRM output.

Despite this framing, Mieville’s work does possess a distinctive and progressive quality. The three pieces can be placed on a continuum of musique concrète and it is certainly grounded in an appreciation of the original terms of electro-acoustic composition; the technology and the approaches to composition it necessitated and defined. But Mieville possesses enough skill and unusual interests to mark his own contribution to the field. His aptitude with modern recording techniques and concern with acoustics responds to the question of what the GRM represents for this decade. Mieville brings a field recordists’ willingness to concede pace and structure to chance and his preference for dense, continuous tones indicates an awareness of the lessons imparted by electro-acoustic composition to contemporary drone and harsh noise. Mieville’s work is grounded in a theoretical background and that comes through in his techniques. As recognizable sounds meet abstract pulses and snatches of spoken word, notions of subjectivity and objectivity and composed and found sound are drawn out. Much like the relation of software and hardware, the sounds and their origins are sometimes clear and at others completely indistinguishable.

At times there is too little that disrupts the process and challenges the listener. But Concret-Sens is a bold attempt to play with the legacy of the GRM and test those limits against Mieville’s own interests and compositional ability.

Chris Trowell

via The Sound Projector

Posted in Reviews | Tagged | Comments closed