Here’s a sombrely presented CD (pro-pressed and printed) on Crónica. The imagery, and explanatory notes on the back cover, suggested to me that Juryo: Durée de la Vie de L’ainsi​-​venu koxx might be an album dominated by field recording, and whilst it very much is, in one sense, sonically it’s really quite different. The album …
Continue reading ““Juryo: Durée de la vie de l’ainsi-venu†reviewed by Musique Machine”
Episode 193 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, May 26th. The playlist of Futurónica 193 is: Pan Sonic, Säteily / Radiation (2004, Kesto (234.48:4), Blast First) You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras …
Because of their often undefinable nature, most field recording-based albums cannot be committed to memory. Still, the few artists who can really operate a studio to produce materials worthy of being positively absorbed act as invisible aids for the listener to retrieve – you guessed it – memories. At this exact point stands the work …
Continue reading ““Stikhiya†reviewed by Touching Extremes”
“Stikhiya†is a pair of soundscape compositions comprising layered environmental found sound with additional electronic elements that sound sometimes like arcing electricity, sometimes like industrial gas processing, sometimes like the interference caused by mobile phones on unshielded audio cables. Repetitive mechanical processes occasionally form firm rhythms, ignored by their sonic neighbours. It’s an uncomfortable inserted …
“Having realised the errors in rational knowledge I found it easier to free myself from the temptation of futile theorizing†Leo Tolstoy (1880) I understand this phrase as an expression of Stikhiya, the word used by Russian poet Aleksandr Blok in early 20th century to describe the fundamental value of primitive immediacy. Contradictory to intellectualism …
Continue reading “New release: Yiorgis Sakellariou’s “Stikhiya—
Vázquez è un (ehm) musicista galiziano autodidatta che traffica con computer e programmi per inventare suoni. In questo caso manipola samples da vecchi videogiochi. Il risultato è spaesante, una specie di ambient siderale più sinistra che giocosa, con suoni che sembrano nuvole galleggianti ora pulsanti ora eteree a cui si accostano distrattamente scampoli di rumori …
Continue reading ““Hiku Komuro, Hikikomori†reviewed by Blow Up”
L’etichetta portoghese inaugura la collaborazione com l’artista italo-svizzero con una musicassetta, una breve compilation in cui troviamo la rielaborazione di una registrazione per un documentario, una composizione che parte dai suoni di una miniera di carbone e un assemblaggio di suoni captati passeggiando tra Normandia e Parigi. La diversità di origine dei pezzi invece che …
La carriera di Slavin continua articulando lo stesso discorso che il titolo ben rappresenta, lasciandosi andare in un quello che in mano meno abili potrebbe diventare un ammaso di cianfrusaglie sonore (canzoni R&B, field recordings, ekettronica manipolata, qualche tocco jazzy…). La vena giocherellona che scova tra la spazzatura che il nostro mondo sta diventando va …
Continue reading ““Digital Junkies in Strange Times†reviewed by Blow Up”
The worlds created by Ran Slavin are all part of the nocturnal universe and this album is definitely one of them. All twelve Bittersweet Melodies is a collection of unique stories between sunrise and sunset. Each of the tracks is unlike the other, some bitter and some sweet, as the title of the album suggests. …
Continue reading ““Bittersweet Melodies†reviewed by Data.Wave”
Durante su preparación, colocando el papel, mojando el pincel y moliendo la piedra de la tinta, el calÃgrafo está profundamente concentrado. Luego, cuando está listo, realiza el dibujo en unos cuantos movimientos rápidos. Esta alegorÃa le sirve a Jos Smolders para afirmar que sus trabajos siempre han sido precisos, meticulosamente editados. En la última década …
