Marc Behrens’s new mini-album “The Religion of Toxins†was released as a digital edition. The work was first presented as a sound installation at Museu Serralves, Porto, Portugal, May 30–31, 2015, during “Serralves em Festa 2015â€, inside the Serralves chapel.
“The Religion of Toxins†is now available to stream and buy in Bandcamp.
Episode 148 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, September 4th.
The playlist of Futurónica 148 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
You could light a space with fire. It would burn for as long as there was flammable material and oxygen. It would leave ash for you to clean up (sweeping the floor with a large broom). It would provide heat. It would smell bad – and perhaps set off fire alarms. But for a while the space would be altered in way that let you know something about its capacities and fragilities.
On the evidence of this recording, Martijn Tellinga’s music does something like this with a sounding space. The architecture and the people and objects who inhabit it are made to resonate. The aural landscape that is revealed is unbalanced, creating a sense of vertigo as the ears re-orient. It is filled with potential.
Low and/or loud sound sources meant to send reports to the walls and surfaces, waiting sometimes to hear the report, but forging ahead anyway, as if digging an aural tunnel. The dogs like this.
Sometimes (as in Three Modulators for trombones) the movement is slow, as if attempting to rebalance or reground the structure from the bottom up, like a small earthquake. At other times (as in Three Modulators, for basses) the movement is impatient, a whirlpool of Styrofoam peanuts changing density, coagulating and dissipating, bouncing off walls, creating fleeting winds.
Sound is utterly dependent on position. We occupy one at a time, but are aware of others. We’re drawn for mysterious reasons to other places, we pace and move to the walls and windows. We whistle, we rattle and sing and stamp. The dogs like this too.
Michael Pisaro
July, 2015
Positions is available as a limited-edition CD or a digital download, available from cronica.bandcamp.com and selected retailers.
Episode 147 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, August 21st.
The playlist of Futurónica 147 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Martijn Tellinga’s new album, Positions is now available for preorder trough cronica.bandcamp.com!
Episode 146 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, August 7th.
The playlist of Futurónica 146 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Vitale e ingegnoso, il disco parla la lingua ritmica delle macchine. Novellino e Rosi ne ascoltano e registrano la voce, dediti a magnificare i suoni prodotti in questo antico stabilimento tessile nei presso di Catanzaro. Trattasi di field recordings: puri e semplici nella prima parte (testimonianza audiofila e timbrica da manuale), re-inventati in chiusura. Magnifico e intelligente, il tutto. Daniele Ferriero
There aren’t many cases in which a musical instrument is imbued with the characteristics of architecture and environment in addition to sound production. The organ is essentially a tool of location and has a special connection to liturgical music. It was described as the king of musical instruments by Pope Benedict XVI at the unveiling of the new organ at the Alte Kapelle in Regensburg in 2006. Alexander Rishaug, has developed two long-form pieces for the particular acoustics and mechanics of the organ at the Norwegian Seamen’s Church in Rotterdam — compositions that vibrate with hiss, overtones and feedback from an old tube amp and electric guitar. A comfortable and stylistically consistent release for the Norwegian experimenter, especially int he articulation of its hypnotic and haunting structures. Aurelio Cianciotta
