Chi pensa che le potenzialità di uno strumento si fermino allo strumento stesso, sbaglia. Non sbaglia, invece, Alexander Rishaug che con Ma.Org Pa.Git circonda lo strumento e gli permette di fuoriuscire dal suo corpo, rimanendo comunque perfettamente ancorato alle sue possibilità . Ciò che trascende il possibile non solo non rientra nelle condizioni strumentali, ma nemmeno …
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The show has ended with Mathias Delplanque, a french artist who has release last september on the portuguese label, Cronica, “Transmissionsâ€. This production is made from recordings of various industrial machines. A loom at the Musée du Textile from Cholet in France not far from Angers. And then, machine-tools from the Lycée Technique of the …
Continue reading ““Transmissions†reviewed by Déphasage – Objets Sonores Non Identifiés”
CzoÅ‚owa postać norweskiej sceny eksperymentalnej, Alexander Rishaug, weszÅ‚a w taki dialog z jednym z koÅ›ciołów w Rotterdamie w 2012 roku, a efekty tego znalazÅ‚y siÄ™ na albumie „Ma.Org Pa.Git†(Crónica). DomyÅ›lam siÄ™, że jego uwagÄ™ przyciÄ…gnęło samo brzmienie organów, gdyż w pierwszej kompozycji „Ma.Org†sÅ‚yszymy, szczególnie w koÅ„cówce tego dÅ‚ugiego nagrania, jakie barwy artysta wydobywa …
Continue reading ““Ma.Org Pa.Git†& “Ma.Org Pa.Git Re.Mx†reviewed by Irate Music”
Retour au quotidien, ou presque, de la noise en music en compagnie d’un habitué des lieux, le toujours habile Mathias Delplanque. Alors que ses Chutes de 2013 ne nous avaient que moyennement convaincus, pour ne pas dire autre chose, le cru 2014 du producteur français est d’un tout autre acabit. Tout en jouant avec les …
Continue reading ““Transmissions†reviewed by Le Son du Grisli”
This project took place in Cholet (in the Maine-et-Loire department, France) between 2008 and 2014, associating an artist, Mathias Delplanque, with students in a technical school there. Some of the sounds were recorded in the local textile museum (Cholet has a tradition in this industry, specifically in the making of handkerchiefs). Resonances and rhythmic regularity …
Continue reading ““Transmissionsâ€Â reviewed by The Sound Projector”
Con una discografia a proprio nome di elevato pregio, preziosi “La Plintheâ€, “Parcelles 1-10†e “Passportsâ€, Mathias Delplanque in “Transmissionsâ€, alla maniera che fu di Jean-Marc Vivenza, registra il canto di macchine in azione. Pur lungi dal suggerire visione postmoderna invariabilmente catastrofista, Mathias coglie l’armonia meccanica non come esplicitazione di una inesorabile e infallibile potenza …
via Des Cendres à la Cave Residual Forms by Monty Adkins
Monty Adkins’ work continues to plough increasingly deep furrows into material at the meeting point of ambient and experimental electronics. The results are uniformly beautiful, and this short piece is no exception, slow shifting chords and clouds matched by episodes of more blistered music, positioned with Adkins’ typically unerring skill so as to draw out …
Continue reading ““Residual Forms†— one of the 10 best EPs from 2014 by 5:4”
Mathias Delplanque macht etwas, das beschrieben vielleicht abgedroschen klingt – Musik mit alten industriellen Maschinen –, aber wirkt wie der wahnsinnigste psychedelische Strom diesseits des Altersheims für überstrapazierte Deleuze/Guattari-Metaphern. Man vergisst mit Transmissions (Crónica) die Quellen sehr bald, hat auch keinen Unheimliche-Genauigkeit-Flash, sondern kann sich ganz dem unausgesprochen perversen Gemeinsamen zwischen Maschinenglück und Regelmäßigkeitszwang hingeben. …
Immaginate di essere all’interno di una fabbrica: vi sentirete subito soffocare a causa dell’aria irrespirabile e avrete la sensazione di rimanere storditi dai rumori metallici e di essere inghiottiti dall’oscurità delle pareti impregnate di olio lubrificante. È in questo luogo che l’uomo si aliena da tutto e da tutti, diventando una macchina. Transmissions è proprio …
Continue reading ““Transmissions†reviewed by The New Noise”
