If you’re around Porto on Thursday (October 10), or Barreiro on Friday (October 11), make sure not to miss Mohn’s performances scheduled for Culturgest and AMAC. Mohn is the collaboration of two musicians that need to introductions: Jörg Burger and Wolfgang Voigt.
More information at http://www.culturgest.pt/actual/03/12-mohn.html and http://outfest.pt/2013/.
Outre une apparition sur l’excellentissime HD de son compatriote Atom™, Marc Behrens est surtout connu pour son œuvre électroacoustique, qu’il développe depuis plus de vingt ans avec une constance qui n’a d’égale que son inifni sens de la recherché. Son nouveau bébé, Queendom Maybe Rise, ne fait nullement exception à la règle, bercé qu’il est entre field recordings ovipares et traitement numérique soigné.
En de nombreux instants, on a l’impression d’assister à un documentaire animalier sur le monde des airs et/ou de l’inifiniment petit mis en ondes par Nicolas Bernier, avant qu’un violent orage ne vienne tout bouleverser ; à d’autres instants, on retrouve les excellents échos de Thomas Köner, voire de Jana Winderen, pour quarante-et-une minutes de bravoure captivante. Second et dernier titre, Quuendom repose entièrement sur la voix de Yoko Higashi (déjà aperçue chez Lionel Marchetti), directement ou régénérée digitalement telle la rencontre entre Luciano Berio et Machinefabriek. Pourquoi se priver ?
Fabrice Vanoverberg
via Le Son Du Grisli
Episode 98 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, October 4th.
The playlist of Futurónica 97 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Crónica is delighted to present the new release of Arturas BumÅ¡teinas, “Meublesâ€, performed by the Works & Days ensemble.
Recorded and mixed by Arturas Bumšteinas on various portable studios, 2011-2013.
Performed by the Works & Days ensemble:
Arturas Bumšteinas
If music could be furniture, which piece of furniture it would be?
Anton Lukoszevieze
If music could be furniture it would be an ornamental chaise longue, covered with purple velvet and with intricate carved wooden legs. I would lie on this chaise longue for hours, sipping green tea and caressing a meek and mild Ocelot.
Hubert Zemler
If music was furniture it would be something that isn’t essential for living, but essential for being a human. Something that could be easily dispensed of, but you would miss it. Something that contains love, hate, tears, happiness, sadness, calmness, enthusiasm, boredom, amusement or any emotions you can feel. Something which sometimes contains nothing. Something which not everybody needs or wants. I don’t know… Maybe music would be a wine cabinet?
Bartek Kalinka
I would like music to be a stove. Because it’s a place where cooking is done, so it’s an alchemical altar, where substances are transferred by the music’s heat.
Kamil Szuszkiewicz
A bed. Definitely. Human civilization has began when people invented some kind of bed (no, not a circle; circle was much later). We are born in a bed, we die there, we sleep, fuck, lay there looking up to a ceiling and pondering. The rest of a lifetime seems to be meaningless interruption. I want music to be like that: ancient, basic, necessary (in a way).
BirutÄ— AseviÄiÅ«tÄ—
Music is not material thing, so it’s hard to materialize it… But… if music could be a furniture, it could be “pufikas†(tuffet with removable top). You can put anything inside, but nobody knows, what’s really inside it… It can have many segments inside, but it can be empty as swell. And you don’t feel you really have this kind of furniture (music), it exists somewhere, beside you or very near. It can have different forms, many segments or just “to beâ€.
Tadas Žukauskas
If music could be furniture it would be a window. Medium between myself and the Images of the World or the Imagination itself.
Piotr Bukowski
Billy Bookcase by IKEA — basic furniture in every home. You can use it it to store whatever you need, it uses space effectively by accommodating various items in a minimum of space. Known all over the world, flag product of IKEA, cheap and practical.
Ilia Belorukov
A couch. One may sit or sleep on it; one may also unfold it to get more space. It is not a univocal piece of furniture, it has multiple functions. The couch reminds me of the fact that music is just as multi-faceted, and the perception of sound largely depends on the listener – namely, his or her wishes/moods/needs. If you want to lie down, here you go; if you need more seats for guests – just move the couch closer to the table. One can immerse oneself in a music piece or merely use it as a background.
Maarten Ornstein
Furniture? Well, a bed I suppose. It’s nice to lie down in some good music.
Lina LapelytÄ—
If i could be music and if this music could be furniture then with no doubt i would prefer to be music & furniture than just to be furniture or just to be music. If i could be music, furniture and a woman — that would really please me! On the other hand — i would probably annoy somebody if i am a sofa or dinning table that always produces a certain tune.. How boring it would be to have me around! I probably would end up being thrown away… and the good thing about that is that undoubtedly i would travel to a new house – somebody would be very happy to find a musical table or sofa that maybe is also a woman. So to be clear – i would like to be a little drawer in the closet – so i am only audible when wanted. Did i get the question right?
You can download “Meubles†from Crónica’s bandcamp page, from Boomkat or other selected retailers in a variety of formats!
ket3m are Shay Nassi (aka Mise_en_Scene) and Tom Kemeny (aka Darmock) currently located in Tel Aviv, Israel. They joined together for a side-project to explore the boundaries of sound and express themselves together as one, each contributing his own very-unique techniques and perspective. They now release “sy3rgy†as a 3″ mini-CDr in a limited edition of 75 copies.
More info at ketemta@gmail.com
Episode 97 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 20th.
The playlist of Futurónica 98 is:
You can follow Rádio Zero’s broadcasts at radiozero.pt/ouvir and Rádio Manobras at radiomanobras.pt.
Durán Vázquez’s new release on Tecnonucleo netlabel, Nuovo Ordine Nuovo, is now available through: http://archive.org/details/tn039
This work returns to the idea sketched in “50, 50 y 2” (Doministiku, 2010), with a recording for one loudspeaker, and hopefully with loud volume.
“50, 50 y 2” was an improvised live recording. The new work shows improvised digressions at the homestudio, mainly playing with effect parameters and with no overdubs.
It’s more than likely that the only time I’ve ever come across product from the Portuguese Crónica label was back in 2009 with a peculiar strand of sensual electronica, in the willowy form of Erotikon by The Beautiful Schizophonic, which delivered a reassuringly human touch, instead of the usual clanky, cold metallic feel of a poorly articulated claw hand. A great release for sure. So there were high hopes in spadeloads, when I received one of the more recent outpourings from the house of Crónica; namely Quarz‘s Five Years On Cold Asphalt, which effectively blurs the distinctions between live and studio and improv and scored audio. A collective of some seven years standing, that’s masterminded by Austrian composer Alexandr Vatagin (also with Tupolev and Post-Royal), who beachcombed diligently for other like-minded individuals and guest empaths along the analogue way. These include electronicists Nicolas Bernier (also of Radian), Stefan Nemeth (Lokai) and Alexander Schubert (Sinebag) to mention but three. Five Years… is a thirty-four minute exercise that actively resonates with methodically constructed studio strategies in pre and post production. The gist of which is that the recordings of player three are a reaction to the output of players one and two and so on. A kind of pyramidal recording concept I guess. This approach surprisingly, avoids an expected scattershot tableau and instead reveals a pleasing example of organic mid-period AMM’isms captured in a widescreen Mille Plateaux styled setting, replete with bowed cymbals, drawkcab tapery, amorphous field recordings and keening, gently screechy electronics. As a p.s., I could’ve easily stood for an extra twenty minutes or so…as the exuberant percussives of Bernhard Breuer come in and are ushered out in what seems to be double quick time. Now that’s no way to treat a guest (drummer)!
