Next wednesday, January 29th, we will be very honored to welcome Simon Whetham for an unmissable solo performance at Porto’s Passos Manuel. Simon has so far released two albums in Crónica, “Mic.Madeira†(with Hugo Olim, in 2011) and “Never So Alone†(in 2013), as well as the wonderful “Crossovers†compilation, available as a free download.
More information on the event.
Episode 106 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, January 24th.
The playlist of Futurónica 106 is comprised of pieces from “Phonon”, a project of Hugo Paquete for the Institute of Viral Sonology with contributions by Anton Mobin, Chris Black, Dezroy Adam, Evan X Merz, Hugo Paquete, Irad Lee, Jaime Casal, Miguel Carvalhais, Nathalie Fougeras and RMEDL. “Phonon” is available as a free download from Modisti.
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Comenzamos el programa con el nuevo trabajo de @c, “Ab Ovo” y un montaje con dos de sus tracks para tener una visión más amplia de este trabajo que se deriva de la banda sonora que el artista realizó para OVO, una obra de teatro de marionetas de Oporto, que estuvo en cartel a finales de 2011 y principios de 2012. A partir de una idea original de Eric de Sarria, OVO fue creado durante una serie de ensayos que involucraba a todos los participantes en la obra: actores, titiriteros, músicos y otros creadores – y se estrenó finalmente el 10 de febrero de 2012 en el Monasterio de São Bento da Vitória.
La traducción musical de este proceso son 19 composiciones grabadas que constituÃan la banda sonora de esta obra teatral y el problema les surgió a la hora de plasmar este trabajo sonoro y visual en un formato tan solo de audios, sin los actores, sin los tÃteres, sin la dramaturgia en una palabra. Asà pues Pedro Tudela y Miguel Carvalhais nombres detrás de @C sintieron la necesidad de reelaborar todas las piezas, optando por reeditar partes de la banda sonora original y componer una serie de seis piezas nuevas que es lo que han presentado en este Cd que abre hoy nuestro Atmósfera. El resultado final, aunque se mantienen muy cercano a lo que es la banda sonora de la obra, es un disco que conserva principalmente rastros de recuerdos de la obra pero ampliando su proceso de creación y llevando a cabo una relectura, una reinterpretando y un redescubriendo de la original obra “OVOâ€.
Arturas BumÅ¡teinas es un reconocido artista visual y compositor lituano conocido por vosotros, porque hemos ido presentando su obra en Atmósfera desde hace tiempo. Arturas nos presenta ahora “Meubles†un disco con cuatro piezas creadas con varios métodos de composición a partir de las experiencias vividas por el artista durante una gira por Europa. Las grabaciones de campo se encuentran siempre presentes, pero tratadas de una forma suave, casi ocultas tras un velo, y acompañadas también por colchones y pads con un estilo suave que se van desarrollando lentamente.” El disco está interpretado por The Works&Days ensemble compuesto por 8 músicos, entre los que por supuesto se encuentra Arturas que se hace cargo de los órganos eléctricos, sampler y flauta.
The show ended with Emmanuel Mieville and “Concret-Sens†released on Cronica at the end of the last year. This french sound artist is close to the electroacoustic school of the GRM from which he took some teaching. This is not a coincidence if he has chosen this title that is a reference to an adjective used by the composer François Bayle to describe in his music, the concrete substance of the sounds he used. Their texture, if we can say that, that gives them a materiality.This term is also playing on the meaning of “sense†that means “direction†here, we can talk about the direction towards the concrete of sounds, in more simple terms, where does their substance lead us ? This is one of the questions that we’re asking to ourselves when we listen to those three pieces appearing of “Concret-Sensâ€. Emmenuel Mieville plays here with the soul that characterized some sounds, and as the late-lamented Bernard Parmegiani said “the sounds objects are living soulsâ€, we can say that this sentence finds a certain justification with this release. Everything is terribly living no matter the type of sounds we’re hearing, from the neon lights and electrical outlets that we encounter on “Cillages†to the field recordings and other “corps sonores†captured and finally transformed or not. This a true biotope of fixed sounds to which we attend here, a deep wild sonorous life.
via Déphasage
Lemures make industrial field recordings. Far from these evoking some sort of pretty pastoral scene they are harsh unrelenting explorations into the dark underbelly of machines. Thanks to the intensity of the vision there is hardly any relief from these foreboding soundscapes. Aspects of it do focus on the natural when necessary but even these fleeting moments are relatively hopeless. By staying consistent throughout nearly the four expansive passages the listener is forced to confront the sounds that often escape attention. In a way it is a celebration of the ugly ambient noise that surrounds everyone. Only here it is amplified.
‘II’ grates at the ears with random effects that spin out of control. Digital processing is extremely strong on this particular track. For the first three minutes these noises are completely left alone. When an actual motor arrives to give the piece some context it is greatly appreciated even given the mechanical nature. ‘I’ takes an anxious approach to sound design with greatly unstable pieces flirting with outright chaos. Eventually the chaos does arrive at the very end in bitterly harsh angry static. ‘III’ offers a rare melodic glance. Surrounded by light ambient sounds it builds up into a large swell similar to that frequently used by Fennesz. Pleasantness fades away after a while revealing a positive maelstrom at the end.
‘VI’ ends the album off on a relatively mellow note. Though it is not outright beautiful there is something charm about its restrained mechanical hum. Unlike the previous tracks there is no sudden increase in volume or distortion. It simply chooses to fade out like the ambient noise the entire collection celebrates.
via Beach Sloth
Next wednesday, January 29th, we will be very honored to welcome Simon Whetham for an unmissable solo performance at Porto’s Passos Manuel. Simon has so far released two albums in Crónica, “Mic.Madeira†(with Hugo Olim, in 2011) and “Never So Alone†(in 2013), as well as the wonderful “Crossovers†compilation, available as a free download.
More information on the event.
Voici ce que j’ai entendu de plus convaincant à ce jour de la part d’Emmanuel Mieville. Le titre de l’album est un jeu de mot sur la notion de “concrescence†développée par François Bayle pour parler de la substance concrète des sons. Ainsi, Mieville propose trois morceaux où la source sonore est magnifiée dans sa réalité concrète et détournée dans sa présentation hors contexte. On a droit à des néons qui bourdonnent, des enregistrements de terrain, des extraits de documentaires radiophoniques et des transformations par synthèse granulaire, le tout combiné avec un sens esthétique qui vise à tirer l’oreille vers des régions inexplorées. François Couture
via Monsieur Délire
@c est un merveilleux duo d’électroniciens portugais (Pedro Tudela et Miguel Carvalhais). En 2012, ils ont réalisé la musique d’un spectacle de marionettes pour adultes intitulé “Ovoâ€. Ils ont ensuite retravaillé ce matériel pour en faire un album (on me dit que le résultat final est très différent de la musique de scène, tout en en conservant l’esprit). J’y retrouve la vivacité d’esprit, la profondeur de champ et le sens théâtral auxquels ce duo m’a habitué… sauf dans une pièce, la plus longue, dont je décroche totalement: interminable, vacueuse – peut-être que si j’avais vu le spectacle… mais sur disque, elle ne passe pas la rampe. Autrement, on a droit à de la solide électroacoustique, mais vous feriez mieux de vous initier à @c ailleurs (avec leur CD chez Baskaru, par exemple). François Couture
via Monsieur Délire
