A lot ambient-electronic have a distinct industrial feel: the hum of giant machines and installations, soothing at some times, ominous – or even threatening – at other. Quiet and reassuring when distant, but loud and aggressive when close. Though this may not be exactly what you expect of “ambient music”, it definitely is part of …
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Родные руÑÑкой душе березы и буреломы ельника (Ñтавшие в маÑÑовом Ñознании такой же неотъемлемой чаÑтью руÑÑкого коÑмоÑа, как матрешки и балалайка), украшают обложку альбома немецкого ÑкÑпериментатора Марка БеренÑа, названного «Sleppet» и к РоÑÑии никакого Ð¾Ñ‚Ð½Ð¾ÑˆÐµÐ½Ð¸Ñ Ð½Ðµ имеющего, Ñ…Ð¾Ñ‚Ñ Ð¸ запиÑанного в Ñтране, природные уÑÐ»Ð¾Ð²Ð¸Ñ ÐºÐ¾Ñ‚Ð¾Ñ€Ð¾Ð¹ мы можем отчаÑти принÑÑ‚ÑŒ за «Ñвои» – в Ðорвегии. Ð’ …
I think I hear church bells at the beginning of this 43-minute work, a lively and constrasted work. If you have ever felt that López’s music was monotonous or minimalistic, please know that his style has been evolving. The latest recordings I have heard are often quite varied to the ear. For instance, this “Untitled …
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Eines muss ich López hier lassen. Die ruhigen, leicht ominös rauschenden Passagen dieses Soundscapes eigen sich gut, um dabei Baudrillard zu lesen. Sein Essay über “Die Gewalt im Bild” etwa. López zitiert daraus selbst den Satz: So kann man sagen, dass hinter jedem Bild etwas verschwunden ist (das macht ja gerade die zweideutige Faszination des …
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In 1992 Francisco Lopez did a bunch of ‘environmental recordings’ in Lisbon. In 2011 he did an ‘extensive evolutionary transformation’ of these recordings and presented that in Lisbon. No wonder the CD of that of that piece is now released on a Portuguese label. Its a forty-three minute in a fashion that Lopez uses a …
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Firld recording exploded as a practice in experimental music during the 2000s. It has been used in the most varied ways, transcending its basic nature of “sampling” the environment, and in some inspired cases evolving a more conscious sense of recording something specific, then trying to preserve the sense of that place in subsequent uses. …
On 17 July 2011, the minimalist musicians Stephan Mathieu and David Maranha performed an acoustic concert in the tennis court at the Fundação Serralves park in Porto. Stephan Mathieu played his virginals harpsichord with electromagnets, while David Maranha used violin and shruti box. The performance lasted 29 minutes and 20 seconds. The performance centred around …
Découverte de cet album un jour de neige. Le jardin est recouvert d’une fine épaisseur blanche. Le ciel, pas bien haut, est gris. “Broadstairs Childrens Piano Trio†(tiré de la compilation digitale Mus*****c), se révèle la bande son idéale. “Double Exposure†regroupe des compositions des six dernières années. Janek, compositeur et artiste sonore, propose un …
Es beginnt wie eines jener wundervollen Tuxedomoon-Alben: Blaine L. Reininger predigt zu schwebenden Violin-Schleifen und dezent-avantgardistischen Synth-Basteleien. Dann aber hebt die von ihm (an)geleitete Projektband zu einer höchst interessanten, in diesem Zusammenhang aber zumindest für mich auch recht verblüffenden Klangreise durch die zwar schon vor Jahren von Nurse With Wound & Co. entdeckten, inzwischen durchaus …
Auf Double Exposure (Crónica 062-2011, audiofile) sind 12 Kompositionen von JANEK SCHAEFER versammelt, die bisher auf den Kompilationen ‘Mus*****c’ (Crónica), ‘Fabrique’ (Room40), ’10’ (Room40/Wire Magazine) und ‘Panels. An Inquiry Into The Spatial, The Sonic And The Public’ (NAIM/Bureau Europa) verstreut oder nur live in einer raumspezifischen Aufführung oder im Radio zu hören gewesen waren. Einen …
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