Soon in Crónica: “Prevailing Wind, Tangled Under”

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“Roha” reviewed by The Sound Projector

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We’ve heard from Andreas Trobollowitsch some time ago in 2009 as one half of Nörz with Johannes Tröndle; their record for Schraum struck me as “disconnected electro-acoustic sounds…thrown into a cardboard box which is gently rattled about”. Trobollowitsch continues his explorations into electro-acoustic composition solo now, with Roha (CRÓNICA 105-2016). On these eight pieces, the starting point is always a conventional acoustic instrument or two, usually played by himself, though drummer David Schweighart helps on one track and Manuel Brunner plays the double bass on ‘zain’. He also makes use of feedback, electric fans, and some home-made instruments. Once recordings are captured, he uses them as “basic materials” to build a composition, through a process of combinations and edits and much careful selection.

This is pretty much the “standard” (if we can call it that) method of creating musique concrète as developed by Pierre Schaeffer from 1949 onwards, except that Trobollowitsch presumably doesn’t use magnetic tape but digital recording, like everyone else these days. He’s also not much for radical reworking or transformation of the sources, and it’s fair to say that for at least 50% of the time it’s quite possible to recognise many of his original sound sources, their acoustical organicness showing through and indeed blending into the digital twistiness. If I’m halfway right, this might place him at some distance from the current Canadian school of composers, who seem to use every digital effect at their disposal to create unrecognisable, alien, and over-processed sounds in their sweeping endeavours. This Viennese fellow by contrast has a certain starkness and precision to his sounds that the ear can engage with, and the air crackles with tension and dynamic force.

The actual compositions are not quite so bold; for some reason the ideas feel a little under-developed, quite often simply repeating the same basic structure which tends to contrast two or more unfamiliar sounds against each other, hoping that through this friction, the fur will fly. While the first 60 seconds produce a tingle, by the end of four minutes I’m wondering what he was trying to communicate. Despite this hesitancy, a good effort from Trobollowitsch. Arrived 11th February 2016. Ed Pinsent

via The Sound Projector

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New podcast: Durán Vázquez

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Reduced, Reinterpreted, and reconstructed by Durán Vázquez at bedroom, Vigo (Galicia, Spain), early January 2016. Mastered by Durán Vázquez.

Using Beamrider (Activision, 1984), Demon Attack (Imagic, 1982), Dragon Defender (Ariola, 1984), Dragonfire (Imagic, 1982), Gravitar (Atari, 1983), Space Jockey (Vidtec, 1982), Star Wars Return of The Jedi: Death Star Battle (Parker Bros, 1983), Time Pilot (Konami/ Coleco, 1983). ROMs executed using Stella 3.9.2.

Download here or subscribe to the podcast in iTunes.

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Three-Body Problem video program at Curtas

Three-Body Problem (video program preview) from Miguel Carvalhais on Vimeo.

The “Three-Body Problem” video program was premiered at the CD launch event in Passos Manuel, last May, and will now be shown in its entirety at the amazing Curtas, the short film festival in Vila do Conde. With music by @c (Pedro Tudela & Miguel Carvalhais), with guests Susana Santos Silva, Angelica V. Salvi, João Pais Filipe, and Ricardo Jacinto, the program includes videos for all the nine pieces in “Three-Body Problem”, directed by Miguel Leal, Rosi Avelar & Nardran Teluric, Nuno Tudela, Cristina Mateus, LIA, André Rangel, Marc Behrens, Rodrigo Carvalho, and Pedro Tudela & Miguel Carvalhais.

The “Three-Body Problem” session will happen on July 11 at 21h45, and several of the artists will be present. More info at festival.curtas.pt

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“X-RUN-4 Prismatique” reviewed by Ondarock

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Tedesco ma da tempo trasferito a Lisbona, il violoncellista Ulrich Miztlaff ha un impressionante curriculum di collaborazioni in progetti di ricerca elettroacustica e collettivi di improvvisatori, e di sonorizzazioni di audiovisivi, coreografie e installazioni: “Invisibility Of The Small Perceptions” (2008), “Pedrinez” (2009), “Stretto” (2014). Una di queste, “X-RUN-4 Prismatique” (improvvisata per il Laboratorio Nacional De Engenharia Civil di Lisbona), è stata anche incisa diventando di fatto il suo debutto discografico solista.

È così possibile isolare e tastare con mano il modus (a un tempo isterico e meditato) del violoncellista. L’elettroacustica di “X-One” nasce da fruscii indistinti fino a ergere stecche che esplorano timbri ai limiti del conosciuto, incarnando folk e armonici aborigeni. Altri elementi folkloristici, una sorta di polka russa, emergono nella sonata per soli stridori di “X-Two”. La doppia “RUN-One”, una delle più virtuosistiche, prevede un pizzicato tarantolato e un tremolo indiavolato.

Il cuore è ovviamente “4-One” (venti minuti), con un’altra introduzione concreta di rumore bianco che si sfoga in un repertorio di tecniche quanto più distanti dall’accademia, dagli “assoli” per polpastrelli sfregati sul legno all’archetto “preparato” con le unghie dell’esecutore, facendo risuonare lo strumento come un fiato da camera, strillare come una bestia sgozzata, sibilare come un allarme nucleare. Vi è comunque anche una parte in qualche modo classicheggiante, un cupo informe fugato che degenera via via in scale fradice di armonici e dissonanze.

Registrato in due tranche nel 2014, supportato dall’ingegneria e la coreografia di Paula Freire per la dinamica dell’installazione, una sorta di nuova antologia in negativo dei codici per lo strumento solista. Dal serialismo si passa al puro gestualismo, in un’aura quasi sacrale. Sotto il segno di Anthony Braxton si transita dalle convezioni del free-jazz al livello più primordiale di plasma sonoro. Un filo rosso lo collega alle suite per violoncello di Bach. Michele Saran

via Ondarock

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