Soon in Crónica: Alexander Rishaug

Crónica 91

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“Transmissions” reviewed by Blow Up

Transmissions
Con una discografia a proprio nome di elevato pregio, preziosi “La Plinthe”, “Parcelles 1-10” e “Passports”, Mathias Delplanque in “Transmissions”, alla maniera che fu di Jean-Marc Vivenza, registra il canto di macchine in azione. Pur lungi dal suggerire visione postmoderna invariabilmente catastrofista, Mathias coglie l’armonia meccanica non come esplicitazione di una inesorabile e infallibile potenza di stampo futurista, quanto come frastagliato animarsi che modella stoffa concreta in narrazione emotiva generosa di cromatismi nella eccellente Part 1, che come la breve Part 2, trae la materia prima da tracce carpite al Musée du Textile di Chalet. Più riconducibili a capitoli passati di Delplanque i due successivi episodi, elaborati su suoni catturati durante un workshop da lui diretto in un istituto tecnico di Nantes, con le movenze di Part 3 che trovano fondale in un turbinoso quanto incessante drone, e Part 4 che si estende al limite dei quaranta minuti, con una prima tranche di inquietante scabrosità, un arresto quasi in panne, a preludio di un frangente che, assumendo dimensioni di sostanza post-industrial, abbina ad anodini battiti cascate noise, con indugi a lambire il silenzio che si svelano preparatori allo sconfinare in atmosfere da dark ambient, per un lungo finale, oltre il quarto d’ora, cui forse uns sforbiciata si poteva concede. Paolo Bertoni

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New podcast: Savvas Metaxas

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Composed by Savvas Metaxas. Mastering by Dimitris Damaskos. Photo by Nikos Koustoz.

Senza is based on a collection of sounds recorded in various places and in different periods of time. It is a form of sound-documentation of events. The track is divided into five parts, a train journey, a game with sound-marbles in a place near the sea, a ride with a bicycle, a homemade drum kit made of casseroles, and moving furniture in various tones.

Born and raised in Thessaloniki, Metaxas is a self-taught musician who started playing the electric guitar in various groups before forming Good Luck Mr. Gorsky. Better acknowledged for his work as inverz, he gradually shifted to the use of modular synthesizers, tapes, and field-recordings as sound tools, rather than instruments. He is also active with the Granny Records label, publishing works of contemporary Greek musicians.

Download here or subscribe to the podcast in iTunes.

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Futurónica 132

futurónica_132
Episode 132 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, January 23rd.

The playlist of Futurónica 132 is:

  1. Drøp, Tensegrity (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  2. Franz Rosati, Symmetry Breaking (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  3. Mark Cetilia, FTFM (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  4. Ken Ikeda, Uruoi-Moisture (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  5. Gianluca Favaron, Three Elements (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  6. Precocious Mouse, Cconfin6 (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  7. Y:E:T, Mind Crack Between L and R (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  8. Giuseppe Pradella, Le Ombre (2014, Quark: How Does the Invisible Sound?, Farmacia 901)
  9. Inner8, Quantum Interference (2014, Quark: How Does the Invisible Sound?, Farmacia 901)

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

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“Residual Forms” is the best EP of 2014 to Des Cendres à la Cave

Residual Forms

via Des Cendres à la Cave

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