Francisco Lopez is a man institution. Creatively active in the field recording and musique concrete, he elevated the art of both to something completely different. His newest album is no different but definitely somewhat of a surprise. The processing of the field recordings is his trademark – you might be surprised how nuanced and elaborate …
Continue reading “Francisco López’s “DSB†reviewed by Felthat”
From the very opening seconds, Francisco López’s latest offering assails the ears and scorches the brain: the first track – which hits the magical running time of twenty-three minutes – is nothing short of explosive – literally. Opening with a roaring blast of brutal harsh noise, it soon separates into a series of samples and …
Continue reading “Francisco López’s “DSB†reviewed by Aural Aggravation”
What do nanotechnologies, innovative industrial food safety processes and experimental music have in common? Is the ‘charm’ of certain sound environments alone enough to inspire an entire album of contemporary experimentation? Yes, if the formal result is so rich that it almost conceals the fact that its essence is simple field recordings. A residency in …
Continue reading “Pedro Rebelo’s “Listen to me†reviewed by Neural”
<a href=”https://cronica.bandcamp.com/album/dsb”>DSB by Francisco López</a>
<a href=”https://cronica.bandcamp.com/album/nancarrow-biotope”>Nancarrow Biotope by Øyvind Brandtsegg</a>
The Robotic Gamelan of Casa de Musica is just as cool as you’d imagine it is. In fact, Google it right now. Check out some photos of the thing, then meet me back here… see, isn’t that a neat thing? Gamelans are cool… robots are cool… and so a robotic gamelan is very cool. Pedro Tudela and …
Continue reading ““GML Variations†reviewed by Vital Weekly”
Jos Smolders was inspired to write “Submerge- Emerge†by a teenage encounter with an 1897 poem called “Un Coup de des Jamais N’Abolira le Hasard†by Stephane Mallarme. As art tends to do when a receptive kid encounters it for the first time, the poem stuck with Smolders for decades afterwards. He continued to think …
Continue reading ““Submerge-Emerge†reviewed by Vital Weekly”
We last heard Portuguese composer Pedro Rebelo in 2011, when he played stiff classical piano on Faint for the School of Music and Sonic Arts of Queen’s University in Belfast. He’s here today with Listen To Me(CRONICA 161-2020), a process based electro-acoustic thing which seems to continue the academic lineage to some degree. The starting point is scientific research conducted at …
Continue reading “Pedro Rebelo’s “Listen to me†reviewed by The Sound Projector”
Und nun etwas komplett anderes.Diese Musik hab ich seit Dezember hier liegen. Mehrmals angehört und ich wusste sie nie so richtig zu fassen.Die Musik von Conlon Nancarrow ist mir bekannt, aber auf einer Orgel?!?Ich muß zugeben, dass ich mit dem ersten Hören dieser Veröffentlichung so meine Schwierigkeiten hatte.Ich mag Orgelmusik, schon als Jugendlicher bin ich …
Continue reading “Øyvind Brandtsegg’s “Nancarrow Biotope†reviewed by Soundexpeditionen”
American iconoclast composer Conlon Nancarrow’s «Studies for Player Piano» is a series of 49 études for a mechanical piano, exceeding human performer limitations, composed between 1948 and 1992 and often relying on mathematical formulas and overtone series. These «Studies» emphasize in a playful and acrobatic manner, often with provocative and complex sounds, that the use …
Continue reading “Øyvind Brandtsegg’s “Nancarrow Biotope†reviewed by Salt Peanuts”
