Download here or subscribe to the podcast in iTunes.

New podcast: Mosaique

More information at Culturgest.

“N’est Pas” by Pedro Tudela at Culturgest Lisboa

Microestruturas

more information.

Gintas K live in Vienna

via Monsieur Délire

“Untitled #284” reviewed by Monsieur Délire

@c live in Guimarães

“Untitled #284” reviewed by Bad Alchemy

The official opening for SOUND//SPACE and for the V22 Summer Club itself (where SOUND//SPACE is located) is on 5 May from 5pm until late, with Will Montgomery and Carol Watts performing three works linked to a new body of work.

Crónica is very happy to be associated with SOUND//SPACE, where some of its releases will be available for purchase.

More information at SOUND//SPACE

SOUND//SPACE, a pop-up record store and community hub

Coclea live in Porto

The playlist of Futurónica 60 is:

• Machinefabriek, Mosaic (2012, Colour Tones, Fang Bomb)
• Luc Ferrari, Episode 2: From Page To The Grand Canyon (1) (2006, Far-West News: Episodes 2 and 3, Blue Chopsticks)
• Machinefabriek, Red (2012, Colour Tones, Fang Bomb)
• Luc Ferrari, Episode 2: From Page To The Grand Canyon (2) (2006, Far-West News: Episodes 2 and 3, Blue Chopsticks)
• Machinefabriek, Brown (2012, Colour Tones, Fang Bomb)
• Luc Ferrari, Episode 2: From Page To The Grand Canyon (3) (2006, Far-West News: Episodes 2 and 3, Blue Chopsticks)
• Machinefabriek, Green (2012, Colour Tones, Fang Bomb)
• Luc Ferrari, Episode 2: From Page To The Grand Canyon (4) (2006, Far-West News: Episodes 2 and 3, Blue Chopsticks)
• Machinefabriek, Grey (2012, Colour Tones, Fang Bomb)
• Luc Ferrari, Episode 2: From Page To The Grand Canyon (5) (2006, Far-West News: Episodes 2 and 3, Blue Chopsticks)
• Machinefabriek, Blue (2012, Colour Tones, Fang Bomb)

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

Futurónica 61

“Untitled #284” reviewed by Vital Weekly

Their work was distributed to a host of musicians and sound artists that, looking from afar to Italian industry, but perhaps feeling much of the effects of the crisis that is affecting it, reinterpreted the original sources and provided the ten reinterpretations that complete this release.

This release is born of AIPS — Archivio Italiano Dei Paesaggi Sonori, an initiative by Alessio Ballerini and Francesco Giannico for promoting soundscape culture in Italy and all those musicians and soundscape artists who are involved in the practice of the field recordings and in ambient, noise, drone and folk music.

You can download “Loud Listening” as AIFF or MP3 files directly from Crónica and free of charge. Donations are very welcome! :)

New release: “Loud Listening”

Redesigned

Coclea live in Porto

Soon in Crónica: “Loud Listening”

Download here or subscribe to the podcast in iTunes.

New podcast: Manuel Mota

The playlist of Futurónica 60 is:

• Daphne Oram, Light Music (Excerpt) (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Oxford (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Encephalagraph (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, 2001 Effects Tape 2 (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Stroke (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Hydrogen Tones (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Hospital (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Anacin Components (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Mermaid (Excerpt) (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Shell Flight (Excerpt) (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Shell (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Electronic Sound Patterns (Excerpt) (1962) (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Pure Tone Excerpts (2012, The Oram Tapes Volume One, Young Americans)
• Daphne Oram, Speech Test (2012, The Oram Tapes Volume One, Young Americans)

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

Futurónica 60

Störung Festival in Barcelona

“Three Suns”, a new application by Lia

Rafael Toral (with Gustavo Costa) live in Porto

@c live in Porto

The playlist of Futurónica 59 is:

• Russell Haswell, A.N.S. #2 (2011, Acid nO!se Synthesis, eMego)
• Coil, ANS 6 (2004, ANS, Eskaton)
• Edouard Artemiev (1972, Andrey Tarkovsky’s “Solaris”)
• Russell Haswell, A.N.S. #1 (2011, Acid nO!se Synthesis, eMego)

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

Futurónica 59

Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms […] the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but — and this is the source of the current suspense — is it, in fact, the real we worship, or its disappearance?
Jean Baudrillard, Why hasn’t everything already disappeared?, translated by Chris Turner, Seagull Books 2009.

“untitled #284” was created in 2011 by extensive evolutionary transformation of original environmental recordings made in Lisbon during the year of 1992. These sources were recovered for a commission of the Teatro Municipal Maria Matos, where the composition was premiered on 16 July 2011.

“untitled #284” is now available directly from Crónica or from selected retailers and online distributors.

New CD release: “Untitled #284” by Francisco López

Rafael Toral live in Porto

Download here or subscribe to the podcast in iTunes.

New podcast: Carlos Santos

You can listen WDR at wdr.de, and download the piece for a week after the broadcast.

“Crowd”, by Marc Behrens, premieres tonight in WDR

Soon in Crónica: “Untitled #284”

The playlist of Futurónica 58 is:

• Pedro Tudela, Falha (2012, LX(RMX), Disquiet)
• In Bet Tween Noise, I Have in Me Like a Haze (2012, LX(RMX), Disquiet)
• @c & Vitor Joaquim, LXDolceVita (2008, Sonic Scope 2008, Grain of Sound)
• Kate Carr, Sing On For No Reason (2012, LX(RMX), Disquiet)
• @c & Vitor Joaquim + Pure, Lissabon (2007, De-tour, Feld)
• Steve Roden, I’m Wrapped By It As By a Fog (2012, LX(RMX), Disquiet)
• Feltro, That Was Then (2008, Sonic Scope 2008, Grain of Sound)
• Darwin’s Bitch, Last Remnants of a Final Illusion (2012, LX(RMX), Disquiet)
• Johnny Days, RYLY (2012, LX(RMX), Disquiet)
• The Frigatebird, No One Wonders What Lies Beyond My Local River (2012, LX(RMX), Disquiet)
• Scanner, A Heart Wound Like Clockwork (2012, LX(RMX), Disquiet)

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

Futurónica 58

Mise_En_Scene and Steve Hess release “Non-Distinction”

Mosaique live in Berlin

Download here or subscribe to the podcast in iTunes.

New podcast: Marc Behrens

The playlist of Futurónica 57 is:

• Pure, Live in Luzerne (2012, Crónica)
• Giuseppe Ielasi, 15 Tapes (2010, 15 Tapes, Senufo)
• Christian Vogel, Rocks in Motion (2010, Black Swan, eMego)
• This Immortal Coil, Red Queen (2009, The Dark Age of Love, Ici D’Ailleurs)

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

Futurónica 57

Mosaique live in Porto

“Active Crossover” is a project initiated by Simon Whetham during a residency at the Polymer Factory Culturehouse, Tallinn, Estonia in 2009. During the residency he met and worked with many artists who were all working with sound and music in different and interesting ways, prompting him to exhibit the work he composed alongside work created by those he met and worked with throughout his time in Estonia and Latvia.

Performing at events a number of times during the residency became an integral part of the project, so when Whetham came to exhibit the works in the UK, each exhibition began and ended with a live performance event, drawing on a pool of diverse local artists and musicians. The format for each performance was that artists were organised into pairs, with one artist beginning to play solo, would then be joined by the second for a short collaborative crossover section, and then the first would end their performance, leaving the second to play their own solo piece.

Gathered on this compilation are a number of the crossover sections, where artists who had not met or collaborated before are captured performing together for the first time.

The project was supported financially by the Arts Council England, I Love West Leeds Festival and PRS for Music Foundation. Thanks go to those organisations, plus all at South Hill Park, Bracknell; Wolstenholme Creative Space, Liverpool; Millspace, Armley; Soundfjord, London; Vicki Laurie and family; Nina and Camlo Edge; Hannah Kemp and all of the artists who got involved, both included here and not…

You can download “Crossovers” as AIFF or MP3 files directly from Crónica and free of charge. Donations are welcome! :)

New release: “Crossovers”

Mosaique live in Lisboa

Tickets are 5€ at the door or in advance at Matéria Prima. More information at Mana and O Meu Mercedes É Maior Que o Teu.

David Maranha live in Porto

LX(RMX) / LISBON REMIXED

The playlist for Futurónica 56 is:

• Simon Whetham + Iris Garrelfs, Crossover (2012, Crossovers, Crónica)
• Rebecca Joy Sharp + Philip Jeck, Crossover (2012, Crossovers, Crónica)
• Ben Gwilliam + Phill Harding, Crossover (2012, Crossovers, Crónica)
• Duncan Harrison + Paul Khimasia Morgan, Crossover (2012, Crossovers, Crónica)
• Simon Whetham + John Grzinich, Crossover (2012, Crossovers, Crónica)
• Alexander Wendt + Slow Listener, Crossover (2012, Crossovers, Crónica)
• Felicity Ford + Mark Durgan, Crossover (2012, Crossovers, Crónica)
• Martin Franklin + Cheapmachines, Crossover (2012, Crossovers, Crónica)
• Rodrigo Constanzo + Mark Pilkington, Crossover (2012, Crossovers, Crónica)
• Kathy Hinde + SJ Esau, Crossover (2012, Crossovers, Crónica)

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

Futurónica 56

More information at Mana and O Meu Mercedes É Maior Que o Teu.

David Maranha live in Porto

Download here or subscribe to the podcast in iTunes.

New podcast: Pure

Autodigest vol. 5, “Unlearn All Languages in 15 Minutes”

All concerts start at 8PM and admission is free.

More information at Electric Spring’s webpage.

Electric Spring 2012 in Huddersfield

Whetham took advantage of Olim being native of Madeira, and as with the best field recordings (using microphones and hydrophones), they explored a few landmarks finding small, random gems along the way. A very nice documentary about this is included in the DVD, giving the viewer a “behind the scenes” view of the recordings. It also introduces a few local perspectives and give viewers the chance to appreciate the locations of the sounds recognizable in the performance.

The recordings were composed in multichannel way (and there’s also a luxurious 5.1 version). On the visual side, Olim used a microscope connected to a digital camera, magnifying exclusively typically local objects and substances. The video signal was also set to react live to specific audio frequencies coming from the recordings. The two scales (the visual “micro” and the sound “macro”) are both interacting with “invisible” Madeira; its DNA, the magnified molecules of its own territory and its sound-propagating air molecules.

“Mic.Madeira” reviewed by Neural

Ran Slavin in Germany

Of course, a musical work is more than the sum of such prosaic details, and that thirty minutes does not represent the entirety of the artistic process. Why virginals and violin? Why play in the park? Why the key of A? Clearly some thought went into such decisions, they did not happen to be in the same place in the same key by chance. There was a creative dialogue which extended back over days or weeks or months before this piece was performed; as is typical with any duo performance, by the time it came to be performed, a certain number of the parameters had actually been fixed.

In fact, had this been a laptop duo performance, many more of the parameters would have been fixed. Unlike with software, when using acoustic instruments (especially ones as old as the virginals and violin), there are clearly certain variables relating to the instrument or the instrumentalist which can’t be controlled precisely – for example on a violin, exactly how hard or fast you bow on the strings, or whether you happen to catch another string as you do so. So at times in the recording of this performance you can hear Maranha’s strings creaking and groaning, squeaking and sliding over the surface of Mathieu’s ebowed virginals, these unexpected inflections appearing like disruptions on the calm surface of a lake, as if a pebble had been tossed in from the shore.

By playing outside in a public space, as opposed to in the more tightly constrained environment of an indoor concert venue, yet more uncontrollable variables appear. After just one minute of Mathieu’s shimmering sonic heat haze, there is the unmistakeable sound of wind blowing into an unprotected microphone, a fairly typical summer sea breeze rumbling in from the Atlantic Ocean. A few minutes later, an airplane roars overhead, probably carrying tourists on their way to visit the sights of Porto’s old town, with its modern buildings rubbing up against baroque architecture. Such details could probably have been prevented from being captured in the first place, or even excised later. So why weren’t they?

There is a sense that Mathieu and Maranha are reaching back to some sort of root. The call of that A drone is as magnetic as the pull of the past, and the pull of nature. By using acoustic instruments in an outdoor setting, it is as if they are aligning themselves with the inherent unpredictability of the natural world, as opposed to the more controllable digital world; any glowing apples here are the result of sunlight dancing through orchards. The choice of the baroque virginals and violin, and the way they deploy them, takes us back from that thirty minute performance. It takes us back through the creative decisions that led up to them, and beyond. Ultimately, their strings lead us back through around 500 years of musical history, towards something timeless: the creative dialogue between man and nature. Scott McMillan

via The Liminal

“Strings” reviewed by The Liminal

Advance tickets are just £4 and are available through SOUNDkitchen’s website.

@c live in Birmingham

“Strings” documents the long awaited first encounter of David Maranha and Stephan Mathieu, taking place in the Tennis Court of the Parque de Serralves, in Porto, on a sun-drenched yet gusty late-afternoon in July 2011. Having discussed in advance which instruments, tuning and notes to use, the piece was accomplished as an improvisation on the violin, shruti-box and virginals, reflecting both players love for classic minimalism, but also their ability to transform this language and make it their own. The acoustic instruments were amplified through a quadrophonic system to captivating volume, that nevertheless allowed environmental sounds to permeate.

The complete 30 minutes performance of “Strings“ is now published in a limited and numbered edition of 300 single-sided 12” records, pressed on white audiophile vinyl, with sleeves featuring a silkscreen print by Pedro Tudela.

David Maranha: Violin and Shruti Box
Stephan Mathieu: Virginals and Electromagnets

Concert curation: Pedro Rocha
Live recording: Nuno Aragão
Mastering: Stephan Mathieu
Vinyl transfer: Andreas Lupo Lubich at D&M Berlin
Audiophile pressing: Pallas Group, Diepholz, Germany
Design: MC
Cover art: Pedro Tudela
Printing: Célia Esteves and Márcia Novais at FBAUP

This is a joint release with Fundação de Serralves

This release is now available for direct orders from Crónica.

New LP release: “Strings”

The playlist for Futurónica 55 is:

• Stephan Mathieu & David Maranha, Strings (2012, Strings, Crónica)
• David Maranha, Redemption Torture (2007, Marches of the New World, Grain of Sound)
• Stephan Mathieu + Caro Mikalef, Radioland (Panorámica) (2012, Radioland (Panorámica), Line)

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

Futurónica 55

“FAKEless” centres on the conception of a space in which we can watch emotion being constructed, the possible ways of perceiving a face and the transformation of that face through an act of presence. Although the viewer’s first impression is of digital manipulation, “FAKEless” makes no use of any kind of artifice or performative tool. It attempts to bring us close to the most intimate emotion generated by the slow, subtle movement the performers themselves produce during the action, avoiding any kind of technological process such as slow motion or still images. The installation consists of a total of fourteen black and white portraits projected from the ceiling to the floor.

“FAKEless” can be seen until the end of July.

“FAKEless”, an installation by Abraham Hurtado

Soon in Crónica: “Strings”

“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 travail d’archivage, compilant morceaux pour compilations et arrangements sonores pour des installations. Fieldrecording, vinyles manipulés, paysages sonores denses et mélancoliques, ces longues plages ambiantes sont autant de dérives sonores vers un monde forcément apaisés et apaisants. Dans ces nappes érodées, ces fragments de mélodie, on retrouve en reflets les albums instrumentaux de David Sylvian (” Approaching Silence” ), le jeu mélancolique de Sakamoto, les orgues de Charlemagne Palestine et les poussières de Machinefabriek.

via Essmaa

“Double Exposure” reviewed by Essmaa

“Ovo” will be presented daily until February 26th.

More information and tickets at TNSJ.

“Ovo”

“Poststop” reviewed by Westzeit

“Travaux mécaniques” by Nicolas Bernier

David Maranha live in Aveiro, Coimbra and Lisboa

Soon in Crónica: “Crossovers”

more information at www.switchonndon.blogspot.com

Marc Behrens live in Kuala Lumpur

CROWD will have its world broadcast premiere on March 23, 2012.

Marc Behrens’s “Crowd”

“Double Exposure” reviewed by Bad Alchemy

“Poststop” reviewed by Bad Alchemy

Soon in Crónica: “Strings”

The playlist for Futurónica 54 is:

• Brian Eno, Fierce Aisles Of Light (2011, Drums Between The Bells, Warp)
• The Beautiful Schizophonic & Yui Onodera, This Crying Age (2011, Night Blossom, Whereabouts Records)
• Taylor Deupree, Snow (Dusk, Dawn) (2010, Snow (Dusk, Dawn), 12K)
• S.E.T.I., Revelation (1998, Above Black, Ash International)
• Stock, Hausen & Walkman, Women (1993, Giving Up With Stock, Hausen & Walkman, Hot Air)
• The Beautiful Schizophonic & Yui Onodera, Washing In Slow Colours (2011, Night Blossom, Whereabouts Records)
• S.E.T.I., Urban Storm Observation (1995, Mesmer Variations, Ash International)
• Nurse With Wound, Black Is the Color of My True Love’s Hair (2005, She and Me Fall Together in Free Death, Beta-lactam Ring)
• Stock, Hausen & Walkman, Giving Up (1993, Giving Up With Stock, Hausen & Walkman, Hot Air)

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

Futurónica 54

“Double Exposure” reviewed by De:Bug

“Double Exposure” reviewed by RNE3 Atmosfera

“Poststop” reviewed by De:Bug

Crónica ad for Neural 41

Download here or subscribe to the podcast in iTunes.

New podcast: Piotr Kurek

“Ursulimum” a video by Ran Slavin

The playlist for Futurónica #53 is:

• Yasunao Tone, MP3 Deviation # 7 (2011, MP3 Deviations # 6 + 7, eMego)
• Yasunao Tone, Geography And Music (Excerpt) (1979/2010, Music for Merce, New World Records)
• Yasunao Tone, Anagram for Strings (1990, Tellus #24: FluxTellus, Tellus)
• Yasunao Tone & Hecker, Man’yo #36-37 / 750654 Zero Crossing (2004, Palimpsest, Mego)

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

Futurónica 53

via Touching Extremes

“Acute Inbetweens” reviewed by Touching Extremes

The playlist for Futurónica #52, looking back at a year of Crónica releases is:

• @c + Pierre Alexandre Tremblay, 78 (2011, Homem Fantasma, Crónica)
• Janek Schaefer, D2: Crossed Wires (2011, Double Exposure, Crónica)
• Irene La Sen & Jazznoize, 1 (2011, Humus (2005-2010), Crónica)
• Oriol Rosel, Seidl 2 (2011, Ulrich Seidl E.P., Crónica)
• Marc Behrens, Neighbour 3F (2011, Poststop, Crónica)
• Lawrence English + Stephen Vitiello, Christening the Blackbird (2011, Acute Inbetweens, Crónica)
• Zimoun, Room Nr. 3 34 (2011, Leftovers (Reworked), Crónica)
• Jazznoize, Iberia 2.0 (2011, Humus (2005-2010), Crónica)
• Marc Behrens, Neighbour GS (2011, Poststop, Crónica)
• Janek Schaefer, C1: Unfolding Honey (2011, Double Exposure, Crónica)
• Mathias Delplanque, Radio Station (2011, Crónica)
• Pure, This Side (1999, The End of Vinyl, Mego)

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

Futurónica 52

“Poststop” is in the list of A Trompa’s compilations of the year

via Monsieur Delire

“Double Exposure” reviewed by Monsieur Delire

Together with Cem Güney, a Turkish musician and composer, it was possible to get to locations which would not have been accessible to regular visitors. The recordings of markets, mosques, ferryboats, suburbs, demonstrations, street vendors, craftsmen and scenes in cafés in the five selected electroacoustic compositions constitute a portrait of a city, in which Eastern and Western cultures, religions and traditions converge – as perhaps in no other European city.

Tracklist:

• Stefan Zintel, Eclipse
• Cem Güney, Error at the Fish Market
• Alexandra von Bassen, Flowers of Istanbul
• Christina Kubisch, Dogs and Voices
• Cem Güney, What Are You Looking for, Treasure?
• Marc Behrens, Mobilization of Ecstasy

Produced by Hochschule der Bildenden Künste Saar and ~tildmusic, 2011
Photography & Cover Design by Marc Behrens

Download at iTunes, Amazon

Marc Behrens and Cem Güney featured in “Istanbul Split” CD

via Monsieur Delire

“Poststop” reviewed by Monsieur Delire