“Lemuria” reviewed by Neural

This project is authored by Giovanni Lami and Enrico Coniglio, recorded by Miguel Carvalhais and enriched by the charming artwork of Dead Meat. The vinyl edition of Lemuria immediately grabbed our attention with its universe of sounds. These recordings were not made in a studio, but in an abandoned house and have a certain ‘clotted’ quality; dreamy, abstract and essential. The ancient Romans had a broad calendar of celebrations and feasts: Lemuria or Lemuralia consisted of five days of celebration dedicated to the spirits of the dead, the so-called Lemures. However, the term later began to refer to the souls of people unable to find eternal rest because of the violent manner of their deaths. They were thought to spend their time wandering among the living, persecuting them until madness ensued. We are unsure how these historical musings inspired the duo, or if the ritual aspects of the sound are supposed to be dominant. Nor do we know whether the implied sonic realities or the editing and subsequent manipulations matter more. There is, however, a feeling of a fertile exchange between ‘presences’ and ‘characters’ and the generation of a mental landscape that is potentially dangerous; one that stimulates individual and shared visions. This is an imaginary kingdom in which our internal and external worlds meet and merge. The references to “death scenes” is delicate and light without being minimized or exaggerated. Enrico Coniglio claims that, for him, the only possible artistic direction is that implied by the interaction between the performer and the “raw material” of the field recordings. Aurelio Cianciotta

via Neural

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“Transmissions” reviewed by Babylon

Delplanque_Babylon_Nov14 copy

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Futurónica 127

Episode 127 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, November 14th.

The playlist of Futurónica 127 is:

  1. Emídio Buchinho & Ricardo Guerreiro, W.o.W. – Wand of Watt (2014, W.o.W. – Wand of Watt, Crónica)
  2. Luís Antero, (ANT(i)SOM) (2014, (ANT(i)SOM), Crónica)

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

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Edwin van der Heide speaks in Porto

Next wednesday, November 19, Edwin van der Heide will speak on Interaction in Physical Space. The works Spatial Sounds (100dB at 100km/h), Radioscape, Wormhole and The Speed of Sound will be used to convey different approaches to interaction with(in) our surrounding physical space.

Edwin van der Heide is an artist and researcher in the field of sound, space and interaction. He extends the terms composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the artwork.

Beside’s running his own studio he is part-time assistant professor at Leiden University and heading the Spatial Interaction Lab at the ArtScience Interfaculty of the Royal Conservatoire and Arts Academy in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009), won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work and was an invited artist and guest professor at Le Fresnoy, studio des arts contemporain in 2011-2012.

Wednesday, November 19, 17h30 at the Faculty of Fine Arts, University of Porto.

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“Transmissions” reviewed by Monsieur Délire

A new CD by electroacoustician Mathias Delplanque, based this time on sounds from industrial machines – looms and machine-tools. Four pieces: three short ones and a final 40-minute track. The first three pieces are like hors-d’œuvres: sophisticated and elegant. “Part 4” is a monster. You step inside it unsuspecting, as it starts pretty much like the first three tracks, but soon it degenerates, and we’re caught in a descent, a drowning into the heart of the industrial beast. High frequencies disappear, low frequencies take over, and there’s no way to know if these are mechanical movements or organic peristalsis. And there’s simply no way out. This movement is inescapable and it reaches the only logical conclusion: extinction when everything has been consumed. It’s a work of genius. François Couture

via Monsieur Délire

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