“Bittersweet Melodies” reviewed by DLSO

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Ran Slavin, artista multimediale israeliano, ha una carriera lunga e variegata alle spalle che lo ha portato a presentare il propri lavori nei quattro angoli del mondo, allacciando collaborazioni di tutto rispetto con altri artisti e produttori ed etichette discografiche. Dopo la pubblicazione della bellezza di undici album, uno dei capitoli fin´ora inediti del suo percorso discografico vede la luce proprio in questi giorni grazie alla label Crónica. “Bittersweet Melodies” infatti è una raccolta di dodici inediti, rispolverati e rimasterizzati per l´occasione, risalenti ai primi anni 2000 ed originariamente pensati per la pubblicazione sulla defunta Mille Plateaux. I brani sono la rappresentazione di uno stile molto personale dove l´uso apparentemente casuale di samples di respiro cinematico sconfina nel il rumorismo più astratto. Un disco eccitante e coinvolgente nella sua originalità. Tony D’Onghia

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Futurónica 165

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Episode 165 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, April 29th.

The playlist of Futurónica 165 is:

  1. Simon Whetham, Contact (2016, Contact, Crónica)
  2. Sound Meccano / Jura Laiva, Mooste Järv (2016, Sireli Aeg, Crónica)
  3. Sound Meccano / Jura Laiva, Põlva Tuul (2016, Sireli Aeg, Crónica)
  4. Sound Meccano / Jura Laiva, Sireli Laul (2016, Sireli Aeg, Crónica)
  5. Sound Meccano / Jura Laiva, Emajõgi Delta (2016, Sireli Aeg, Crónica)

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

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“Three-Body Problem” reviewed by Aural Aggravation

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The sixteenth album from @C, like its predecessor Ab Ovo, began as a soundtrack for puppet theatre play Agapornis, inspired by the life and works of Anais Nin, and as such, has nothing to do with the kind of Three-Body Problem Elton John has. It also isn’t a soundtrack album per se: the soundtrack was rewritten after the play’s premiere, and as such, Three-Body Problem is a satellite work which evolved from the original concept.

So, what is the problem around the three bodies? It transpires there are in fact two distinct but related problems: the first descends directly from the production of the play itself, which is centred around two main characters, played by puppets, and a third character with several spoken lines, played by an actor. The challenge of representing the characters in sound was core to the development of the album, the actor being replaced by musicians.

And then there was the process of developing the album itself, from the initial soundtrack, through the album, to a third, ongoing process, of creating video pieces to accompany the album’s tracks. As such, the problem is concerned with both physical bodies and with body of work.

The nine pieces are sparse, static crackles, hisses and fizzing sounds spin in co-ordinates around dank, gloopy bass rumbles. Creating a spooky kind of ambience, it’s darkly atmospheric, ominous and unsettling. Toward the end, trumpet squawks and honks add additional texture and discord, and introduce further contrast to the squeaks and scrapes which flitter and twitter. The final track marks a change of direction, drifting toward the horizon on a wash of delicately strummed harp chords which ultimately evaporates in a wash of noise, far removed from the original starting point.

It’s this gradual, subtle progression that proves to be the album’s ultimate success, because it’s a work that confounds the expectations it sets. Intriguing and quietly compelling, the problem is solved. James Wells

via Aural Aggravation

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Soon in Crónica: “Three-Body Problem”

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“Everything Emanating from the Sun” reviewed by Loop

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Yiorgis Sakellariou is an experimental electronic music composer. Since 2003 he has been active internationally as a solo artist and doing collaborations. He has composed music for short films and theatre and leading workshops.

His practice is based on the digital manipulation of environmental recordings. His sound palette covers from the clatter of rails, to the refrigerators’ static, buzzes and field recordings.

His current research as a doctoral student at the University of Coventry explores the relationship between electroacoustic music and sound use in rituals.

Yiorgis Sakellariou is a member of Contemporary Music Research in Athens and the Hellenic Association of Composers of electroacoustic music. Since 2004 he has curated the Echomusic label.

This album is the first in a series of releases that will take place this year, “Corollaries, which is a compilation of works produced in Active Crossover: Mooste, a residence with artists from around the world, curated by Simon Whetham and organized by MoKS in April and May 2015.

On this album Yiorgis Sakellariou of only one track of 31 minutes long is in charge of environmental recordings and composition, additional recordings by John Grzinich and bowls, metallic percussion sounds by Simon Whetham.

Field recordings captured the sound of wind, rain and metallic blows are sometimes treated electronically, producing abrasive textures and disturbing atmospheres. In the desolate and cold landscapes which emerge from the darkness hardly see the light. Guillermo Escudero

via Loop

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