Clap, clap, clap, clap, clap, clap… L’ovni sonore de l’année ! Soit l’alignement ininterrompu, pendant une heure, d’applaudissements captés à la fin d’une multitude de spectacles. Un patchwork à mettre au compte d’Autodigest, un des projet les plus emblématique du “media-label” Crónica. Un mystérieux collectif (ou artiste solo) se faisant un malin plaisir de dynamiter …
Author Archives: Miguel Carvalhais
“Product 05†reviewed by GothTronic
This on the Portugese Cronica released CD holds the live recordings of Freiband and Boca Raton as recorded on the Earational Festival 2004 which took place in Den Bosch, Holland. Freiband starts off under the title Replay. To many of you a new name, but the man behind the project is no other then Frans …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Seattle Weekly
Why applaud? To make a noise, to show approval, because it’s part of the social contract of seeing a performance. (The Magnetic Fields’ Stephin Merritt, who has hearing problems, reportedly requests that his audience shows its appreciation by snapping fingers instead of clapping.) Applause is an artless noise; it reinforces the power relationship between the …
“Product 05†reviewed by Terz
Hochorigineller Titel und verschenktes Coverartwork, guten Tag, kommen sie rein. Musikalisch jedoch hochspannend: Frans de Waard mit 11 luzid konzentriert-fordernden elektronischen Miniaturen, Martijn Tellinga umkreist 8 elektroakustische Hörstudien zwischen Narration und Abstraktion. Quadrophon- und Klang achsen experi mente vom Earational 2004 – Kopfhörer anempfohlen!
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Rockerilla
La Crónica si sta velocemente imponendo all’attenzione degli appasionati di ellettronica ‘colta’ grazie a pubblicazioni che cercano di rimettere in gioco il discorso intrapeso dal movimento glitch. (…) Il secondo volume realizzato dal progetto Autodigest prosegue invece all’insegna dell’eccedenza: un’unica traccia interamente registrata con applausi e urla del pubblico, un progressivo climax che, come è …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Chain DLK
Accompanied by mysterious pictures of nearly deserted places, but with a blurred photo of a cheering crowd in a stadium or concert hall, Autodigest’s new installment is a tough one to, ahem, digest. Conceived as a “history of audience applause” (“Somewhere along the way, we seem to have forgotten what exactly we were cheering for… …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Funprox
After a highly interesting and surprising debut (see review on this website), Autodigest presents their second work. This time it is released on both Cronica and Ash International. While the first work focussed on highly processed and very abstract digital sounds, this work is a bit less intense. The CD contains one long track that …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Touching Extremes
At first, it makes you think of a bad joke or a divertissement: an infinite round of cheer and applause sampled from live recordings, more or less the same for long minutes. Then you notice it: there’s a drone – a dark, deep growl – lurking under all this mess. The low buzz slowly grows, …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by D-Side
Avec leur projet conceptuel plutôt dingue capable de jouer des concerts d’une seconde comme de compresser en un seul album toute l+histoire de la musique, les Portugais anonymes d’Autodigest poursuivent leur exploration des limites de la composition à l’heure où quelques secondes suffisent à télécharger un titre qu’il faudra cinq minutes pour écouter, et peut-être …
“A Compressed History of Everything Ever Recorded, vol.2: Ubiquitous Eternal Live†reviewed by Spex
In den Diskursen der Photographie und der bildenden Kunst geht die Idee ja schon etwas länger um: die Aufstellung eines Kanons, einer Bibliothek von archetypischen Bildern, die individuelle Bildproduktion eventuell einmal überflüssig machen. Ein erhellendes Beispiel aus den 60er Jahren ist Hans-Peter Feldmanns “Bilderfundus” aus vermeintlich unkünstlerischen Babyphotos und Passbildern, der Fragen über die Wahrnehmung …