Save the date! Coming up next Friday, December 14th in Passos Manuel, Porto — it’s 2012′s Natal dos Experimentais, Crónica’s hioliday season event, this year with a host of guests: SSS-Q with visuals from Maria Mónica, Luca Massolin’s Golden Cup project and the trio of Carlos ZÃngaro with @c.
More information at the FB event.
Luca Massolin’s Golden Cup project will perform at this year’s Natal dos Experimentais, next Friday in Passos Manuel, Porto. Rui Costa was unfortunately forced to cancel his participation, but we expect to feature him in a future edition.
Golden Cup is the solo project of Luca Massolin, an active figure in the young generation of outsider musicians.
Born in Italy, he is now living in Portugal. His sound is focused on string instruments (guitar, bass, mandolin), voice and analog electronics. He is constantly encouraged by his fascination for the work of the early electronic music pioneers, early 70s guitar rock as well as cosmic improvisation, minimalism, and free jazz. In his solo
recordings and live performances, as well as his involvement in Golden Jooklo Age and Neokarma jooklo experience, he developed a personal sound focusing on the power of music to create images and visions.
His efforts as bandmember and solo artist have been documented by labels such as Blackest Rainbow, Ikuisuus, Qbico, Digitalis, Troglosound, Peasant Magik, Utmarken, Holidays, Full of Nothing and his own 8mm imprint.
An intense non-stop live activity, performing in 20 nations across Europe, Middle East Asia and the United States. Playing music on stage and in the studio with artists like Anla Courtis, Peaking Lights, Takeisha Kosugi, John Paul Jones, Sonic Youth, Sachiko, The Merce Cunningham Dance Company, and Stefan Neville.
Since 2003, he runs his record label 8mm Records focused on limited editions of free improvised and obscure underground music from all over the world.
More information at the FB event.
Save the date! Coming up next Friday, December 14th in Passos Manuel, Porto — it’s 2012′s Natal dos Experimentais, Crónica’s hioliday season event, this year with a host of guests: SSS-Q with visuals from Maria Mónica, Rui Costa and the trio of Carlos ZÃngaro with @c.
More information at the FB event.
“Striping Strings and Broken Objects†was develop in the ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, IMA | Institute for Music & Acoustics, Germany. For be integrated in the Klangdoom exploring the Zirkonium software possibilities for sound spacialization.
This composition is configured as a dynamic study for prepared piano and other electronic sounds, generated and processed elements. To compose this work Hugo Paquete develop some patches where he explores additive and subtractive synthesized signal processing from the material source and stochastic composition methods to construct oscillation of frequencies and tones and granulation. Constructing and deconstruction, the referential origins of the sound with collage technique.
The tension of striping the time strings of physics to just stay with broken objects.
Hugo Paquete (1979) is an intermedia and sound artist which in his research uses concepts about space and microtonality as a visual and audible ecosystem according to spatial and psychological characteristics (acoustic, architectonic, sculptural, perspective, communicative, evocative and environmental). The result is an audible interaction, open and indeterminate to the present time scales nano and macro. Territory of hyper-sensation and experimentation, observation and enclose the body in the listening act, turning it active and explored referential and resonator propulsive in a psycho-acoustic level. In his works he uses technical elements and practices from field-recording to computer generated sound synthesis and audio spacialization, denoting an interest in stochastic probabilities between computer algorithmic and programming interaction.
He was a resident artist in the ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, IMA | Institute for Music & Acoustics. He received a ZKM grant for the development of different compositions, multimedia projects focused in sound spacialization and interaction between sound and psycho-acoustic in multichannel configuring systems and free software uses. He received a commissioned compositional work from Chris Ziegler to develop an interactive composition system for iPhones, integrated in a dance media piece premiered at the ZKM in 2011 with the name “Pygmalionâ€.
He has actively presented his research in solo and collaborative art activities, nationally and internationally. He is developing other project with the name SSTFM and Quadrivium project focus in electroacoustic and acousmatic music.
He collaborated with the Lithuanian Artist Julijonas Urbonas to the development of the sound composition to the Talking Doors project that earned the Prix Ars Electronica of 2010, and a recommendation from the jury of the 14th Japan Media Arts Festival in 2010 and a honorary mention in the Media, Live 2011 Grand Prix in Turku, Finland.
Next Saturday evening, Michael Rüsenberg’s interview with @c will be broadcasted by HR-2 Kultur in Germany. 54 minutes with Miguel Carvalhais and Pedro Tudela on music, Crónica, live performance, etc. (overdubbed in German) This interview was recorded while in Huddersfield last February, for Electric Spring (and including some selections of the performance).
CRÓNICA ist ein Label aus Porto in Portugal, das sich selbst Media-Label nennt – also nicht nur in musikalischen Dingen aktiv ist, sondern auch visuelle Kunst fördert. Dem Label ist dabei vor allem an der Abbildung der modernen Welt gelegen, anstatt irgendwelchen Reminiszenzen hinterherzujagen. Seit 2003 veröffentlicht man jedenfalls elektronische und experimentelle Musik, die sich nicht vorschnell in die üblichen Kontexte einordnen lässt.
Mit dem Album „Five Years On Cold Asphalt†von QUARZ zeigt man dann auch unmissverständlich, wie man sich das Abbild der modernen Welt als Klang vorstellt – offen, vom Charakter her urban – aber nicht technoid. Schon die Erarbeitung des Materials durch die verschiedenen Projektbeteiligten erfolgte nicht an einem Ort, sondern dezentral. Die Musik wurde quasi in Schleifen von allen Beteiligten immer weiter bearbeitet und verändert, bis am Ende der fertige Track stand. Somit ist das Album ein Soundfluss – ein einziges Stück.
Der Hauptteil der Musik besteht dabei aus elektronischen Klängen und Soundbearbeitungen. Lediglich eine mit Effekten beladene, punktuell eingesetzte Gitarre sowie sehr vereinzelte, ebenfalls bearbeitete Schlagzeugparts klingen durch. Mit Rhythmen wird in dem Sinne allerdings nicht wirklich gearbeitet. Mäandernde, überraschend erdig, krautige Sounds bestimmen das Bild. Man darf sich somit keinen elegischen Ambient vorstellen sondern Elektronik, die klanglich kantiger ist und tatsächlich etwas von einem Live-Mitschnitt oder einer Studio-Session hat – wozu man sich auch gut eine interessante visuelle Umsetzung vorstellen könnte.
„Five Years On Cold Asphalt“ ist in jedem Fall etwas für Spezialisten, die sich letztlich für Sounds und Atmosphären begeistern können. Liebhaber von Struktur, Melodie und Rhythmik werden hier jedenfalls kaum fündig. Tony F.
via Nonpop
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
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
Next Friday, O Meu Mercedes, in Porto, will host the (sadly) last performance of the Mana residence at this venue, this time featuring the new formation of Caveira, with Pedro Gomes (guitar), André Abel (guitar) and Gabriel Ferrandini (drums).
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
You can still download “Čiurlionis†here or subscribe to the podcast in iTunes.
