Øyvind Brandtsegg søler på kjøkkenet. Han tar mjøl, krydder og en del andre kjøkkenprodukter, drysser dem utover en glassplate og setter på strøm. Slikt blir det bråk av. Brandtsegg er professor i musikkteknologi ved NTNU og en nestor i den punkete DIY-glade musikk-avantgarden i Trondheim. Han spiller på «instrumentet» sitt med å bikke fatet i ulike …
Continue reading “Øyvind Brandtsegg’s “Persistent Disequilibrium” reviewed by Ballade”
«Persistent Disequilibrium» is a new sound art project of Norwegian experimental composer-scholar-educator Øyvind Brandtsegg. Brandtsegg devised a set of new musical instruments where finger-mounted piezo contact pickups are used with transducers on vibrating plate-like objects (metals, plastics, wood, ceramics, concrete, glass, bioplastics and even human bones in a living body) to explore intimate resonances by …
Continue reading “Øyvind Brandtsegg’s “Persistent Disequilibrium” reviewed by Salt Peanuts”
Having seen various videos of Gintas K’s improvisations, involving a keyboard and a dusty old Lenovo ThinkPad running some custom software, it’s apparent that his approach to composition is nothing if not unusual, and it’s matched by the results. His Crónica debut, Lengvai / 60 x one minute audio colours of 2kHz sound was sixteen years ago, …
Continue reading “Gintas K’s “Lėti” reviewed by Aural Aggravation”
Der litauische Klang-, Performance- und Konzeptkünstler Gintas Kraptavičius alias Gintas K bringt dieser Tage ein neues Tape heraus. “Lėti”, das im Litauischen “langsam” bedeutet, enthält elf Miniaturen, gebaut aus filigranen Sounddetails unterschiedlichster Herkunft, die einer ebensolchen Vielfalt an Bearbeitungsstufen unterzogen wurden und in ihrer finalen Gestalt einer großen Wunderkammer gleichen, in der man bei jedem …
Continue reading “Gintas K’s “Lėti” reviewed by African Paper”
This is my second review of the works of Gintas K, a fascinating and innovative sound artist, born in Lithuania in 1969 and a person who has generated considerable interest. As with the previous album I reviewed, this electronic music work needs a good sound system or headphones and a nice quiet environment to truly …
Continue reading “Gintas K’s “Lėti” reviewed by Classical Music Daily”
We’re proud to release Gintas K’s new album, Lėti, 16 years after Gintas’s first release in Crónica, the now classic Lengvai / 60 x one minute audio colours of 2kHz sound and after several other encounters in compilations, collaborations, and four albums. Lėti, Lithuanian for slow, is a set of 11 short pieces created from recording and improvising …
Matilde Meireles is a recordist, sound artist, and researcher who makes use of field recordings to compose site-oriented projects. Her projects often have a multi-sensorial approach to ‘site’ which draws from her studies and experience in areas such as field-recording, site-specific visual arts and design. Her latest album is an in-depth study of potato in …
Continue reading “Matilde Meireles’s “Life of a Potato” reviewed by Felthat”
Mad Disc est le projet solo du musicien japonais Takamichi Murata, batteur et percussionniste. Impliqué dans plusieurs groupes, dont le sien, il a collaboré avec de nombreux improvisateurs et compositeurs. Dans Material Compositions, il joue non seulement de la batterie et des percussions diverses, mais fait intervenir l’électronique et les synthétiseurs pour retravailler le son. Material Composition 1 commence …
Continue reading “Mad Disc’s “Material Compositions” reviewed by Inactuelles”
Persistent Disequilibrium is based on a set of new musical instruments where finger mounted piezo pickups are used with transducers on vibrating plate-like objects to explore resonances by touch. This creates a feedback loop where sonic vibrations pass through the material to be investigated and are not transmitted through the air. The direct contact let …
Continue reading “New release: Øyvind Brandtsegg’s “Persistent Disequilibrium””
