“eins bis sechzehn” reviewed by Rif Raf

eins bis sechzehn
Retour sur la magnifique microstructure portugaise Cronica pour notre troisième écoute mensuelle – qui vaut sacrément le détour. Collaboration entre une photographe allemande (JULIA WEINMANN) et un compatriote de producteur (EPHRAIM WEGNER), ‘Eins bis sechzehn’ (de un à seize) offre un fascinant chassé-croisé entre visuels et sonorités, mais aussi de formidables croisements stylistiques au sein même des vingt minutes de son. Electronica abstraite, noise parallèle, musique concrète et soundscapes angoissants, les six étapes du processus ne cessent d’épuiser notre imaginaire, heureusement secouru par le passionnant travail photographique de Frau Weinmann. Question une : pourquoi seulement 1200 secondes ? Question deux : qui songera un jour à ériger une statue à Miguel Carvalhais, infatigable tête chercheuse de son label? Fabrice Vanoverberg

“Five Years on Cold Asphalt” reviewed by Rif Raf

Five Years on Cold Asphalt
Premier disque du mois, ‘Five Years On Cold Asphalt’ du collectif Quarz (Cronica) réunit en son sein quelques artistes remarquables, à commencer par – et oui, m’sieur dames – NICOLAS BERNIER ET STEFAN ‘RADIAN/LOKAI’ NÉMETH. Entourés de quelques complices du meilleur cru, dont Martin ‘Klingt’ Siewert, le quintet (entouré de deux invités) invite à une lecture qui navigue entre vrai faux calme electronica et fausse vraie free jazz experience. On songe souvent à la rencontre entre Kapital Band 1 et Giuseppe Ielasi mais c’est surtout dû au remarquable travail d’Alexandr Vatagin (lui aussi Klingt), véritable cheville ouvrière du projet, qu’on doit ces atmosphères captivantes de lenteur insaisissable et déliée. Fabrice Vanoverberg

“Čiurlionis” by Gintas K (Crónicaster 84) reviewed by Disquiet

ÄŒiurlionis
When the MoCA, in Los Angeles, and the Hirshhorn, in Washington, D.C., combined forces in 2005 to produce the exhibit Visual Music, one of the key precedents it cited for audio-visual synaesthetic engagement was the work of Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911). The sound artist Gintas K created a tribute to the composer during a residency in the composer’s one-time home in the city of Druskininkai. It takes the form of a rough assemblage of noises, of moving throughout the house, and what may be recordings of his works echoing in its halls, slowly gaining volume and intensity. There is, of course, the suggestion of ghostly apparation, but what’s especially intriguing is that echoing, the room tones of a place where a composer spent much of his time (MP3). As a kind of sonic stress test of that space, the piece is a map of the environment that no doubt helped give shape to the composer’s music. The work was performed in late August of this year at the Čiurlionis Memorial Museum.

via Disquiet


Flash is not installed

You can still download “Čiurlionis” here or subscribe to the podcast in iTunes.

“Five Years on Cold Asphalt” reviewed by Atmosferas

Five Years on Cold Asphalt
Quarz es un proyecto creado y dirigido por el músico austriaco Alexandr Vatagin, personaje inmerso en otros proyectos como Tupolev y Port-Royal, una excelente banda que Atmósfera conoció hace ya algunos años y de la que hemos sabido muy poco de su trayectoria. Así que nos alegra encontrarnos ahora con su artífice en este nuevo trabajo “Five Years On Cold Asphalt” en el que se aprecia la influencia de sus famosas colaboraciones con artistas como Nicolas Bernier, Stefan Nemeth, Alexander Schubert y Martin Siewert. Para esta ocasión las colaboraciones se han extendido a otros artistas: Bernhard Breuer (Elektro Guzzi) en las percusiones y David Schweighart (Tupolev) que se encarga de algunas delicadas grabaciones de campo.

Este disco se caracteriza por un sutil sonido electrónico socavado continuamente por la improvisación en el se Combina la intensidad de una colaboración en directo con la precisión de un proyecto de estudio.

via Atmosferas

Futurónica 76


Episode 76 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, November 30th.

The playlist of Futurónica 76 is:

  1. Pete Namlook, Trip 1 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  2. Pete Namlook, Trip 2 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  3. Pete Namlook, Trip 3 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  4. Pete Namlook, Trip 4 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  5. Pete Namlook, Trip 5 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  6. Pete Namlook, Trip 6 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  7. Pete Namlook, Trip 7 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  8. Pete Namlook, Trip 8 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  9. Pete Namlook, Trip 9 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  10. Pete Namlook, Trip 10 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)
  11. Pete Namlook, Trip 11 (1994, Air 2: Traveling Without Moving, Fax +49-69/450464)

You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir.

“eins bis sechzehn” reviewed by Whisperinandhollerin

eins bis sechzehn
In a world where visuals are everywhere, photography has been devalued by Facebook and Instagram and music has been devalued by the iPod generation, free streaming and greedy major labels favouring quick cash over artistic integrity, releases like this really do stand out.

While marvelling at the exquisite presentation of the 6” square slipcase, almost half a centimetre deep, with its cutout front (which facilitates changing the cover according to the ordering of the box’s contents) and minimalist text, and the stunning images of the interior of a derelict hotel, I did, much to my shame, find myself contemplating the question, ‘how the fuck am I going to store this?’

With the Ephraim Wegner’s soundtrack to Julia Weinman’s crisp, stark images of deterioration filtering into my ears, I stopped thinking almost completely. It begins as a low rumble, like the wind when heard from a mountain top, or a train approaching from a distance. Low hums, drones and indeterminate space-filling sounds, favouring the lower frequencies provide the basis for the six minimalist ambient pieces which serve as the perfect backdrop to the desolate scenes of slow decay.

I’ve still no idea how I’m going to store it, though.

Christopher Nosnibor

via Whisperinandhollerin