Rutger Zuydervelt & Bruno Duplant’s “L’incertitude” reviewed by The Sound Projector

On L’Incertitude (CRÓNICA 157-2020), we have the pairing of two very productive Europeans Bruno Duplant and Rutger Zuydervelt, collaborating together for the very first time and producing two long sides of music / sound on a cassette, whose titles might be tinged with existential doubt. French composer Duplant often comes our way via the Rhizome.s label, a home for ultra-minimal and very challenging compositions, and we recently heard him team up with Pierre Gerard on the Soleil Clandestinrecord. Based on past performances, I tend to imagine Duplant is quite remorseless and ruthless in executing his cryptic, inscrutable plans, which may be why I found L’Incertitude surprisingly approachable and accessible. I shan’t say that it’s a tape packed with calliope tunes and exciting beats, but neither is it an example of his characteristic severe blanked-out style. To put it another way, there’s plenty of content and the content keeps changing. There’s also a user-friendly dimension to the work, which might be attributable to the Dutch drone-maestro Zuydervelt; whether recording as himself or as Machinefabriek, this very talented and able fellow always manages to arrange his layers and his collaged elements in patterns that make sense to the listener, even when dealing with quite abstract subject matter.

Even so, L’Incertitude does manage to insinuate that aura of metaphysical doubt, that grain of sand in the machinery, to bring us closer to that existential frame of mind so prized by every self-respecting French intellectual since old “laughing boy” J-P Sartre ruled his quarter of Paris with an iron rod of the mind. Sonically and musically, I think we get to that point through the wilful combination of unexplained and unusual elements (including a goodly dose of field recordings and found tapes) in among the musical drone which meanders like a babbling brook – unless it’s the water recordings that have planted that suggestion in my mind. In fine, our two composers see life as strange journey whose purpose is unclear, but it’s not a pointless one; and they make their observations in a spirit of genuine enquiry, without ever alienating us with cold tones or threatening minor-key drones. The label notes want to stress that D & Z arrived here through an extremely natural and organic process, based on intuition and mutual trust, without any intellectualising, pre-planned charts or discussions, and we’re all richer as a result. Ed Pinsent

via The Sound Projector

Francisco López’s “DSB” reviewed by Vital Weekly

The title doesn’t tell us much more than Francisco Lopez’  myriad “Untitled” works do; I’ve no idea what DSB is an acronym for, if it’s even an acronym at all. So I’m really unsure what this album is all about… which I imagine is fine with Lopez. While many of his previous albums have little by way of cover art, this one has an image… is it a blue sky? Or a painting? Or… who knows? Looking for context seems to be beside the point, so I’ll accept “DSB” as pure sound and not attempt to discern more from it than an experience of listening. The first side is a college of domestic machine clanking, airplanes (sourced from… a war movie?), engine roar, the hum of empty hallways, burbling water and gusts of air… each one treated as an isolated episode with sudden jarring edits from one sonic space to the next. “DSB” is not obviously organized with a dramatic though-line, as many other Lopez works are. A noisier section about 3/4 of the way into the first side that pairs breaking glass and irregular thump with what might have been hurricane-force winds could have been the focus of an entire piece. Unfortunately, it cuta off abruptly, shifting focus to an entirely different density… and then again… and again… and I started to wonder if the editing was random. Side two picks up where side one left off, with small someone-shifting-their-weight-in-a-chair movements accompanying a distant cyclic whine. After seven minutes of this, Lopez changes the channel again and we’re listening to a worn copy of “Changez les Blockeurs” on a record player at the bottom of a lake… and incongruous heavy breathing (hey, I like that TNB record also, but… keep it to yourself, okay?)… before more jarring edits that seem unrelated to one another… and we end on a battlefield with a sudden stop. Most Lopez albums are challenging. I expect to not have an easy listen, to have all the pieces spelled out and handed to me. “DSB” is no exception. But when this ride ended, I was left wondering what I just heard. The second time through didn’t make anything more clear. Was there cohesion to the source material that will reveal itself to me after further listens? Or is the episodic nature of the composition significant to a theme of war or machines or… is it purely sound and I should accept it as exactly what I heard and nothing more? Lopez certainly isn’t saying. But where other Lopez albums make a visceral impact without so much as a title or cover art, I feel that “DSB” would benefit from some context. (HS)

via Vital Weekly

Øyvind Brandtsegg’s “Nancarrow Biotope” reviewed by Nettavisen

Veldig annerledes – veldig fascinerende

Jazzfolket kjenner igjen navnet Øyvind Brandtsegg fra samarbeid med Kristin Asbjørnsen og Krøyt og Live Marie Roggen. Her møter vi professoren fra NTNU i en totalt annerledes setting.

Jeg bryter sammen, om ikke i krampegråt så i alle fall lett hulken, og tilstår at jeg beveger meg ut på relativt tynn is i forbindelse med denne musikken og denne utgivelsen.

Det har seg nemlig slik, og her må jeg ta forbehold om at det er mulig at jeg tråkker gjennom den nevnte isen allerede her, at den musikalske forskeren Brandtsegg, som jeg husker som vibrafonist fra før, har tatt for seg musikken til den amerikansk/mexicanske komponisten Conlon Nancarrow (1912-1997) og tatt den med til helt nye steder.

Nancarrow var spesielt kjent for stykkene han skapte for sÃ¥kalt player piano – sjølspillende piano. Pat Metheny har ogsÃ¥ jobba i dette musikalske spenningsfeltet og hans “Orchestrion”-prosjekt har sÃ¥ avgjort et visst slektskap med det Brandtsegg har skapt og og “spiller” her.

I løpet av to konserter, en i Stavanger Konserthus og en i Nidarosdomen, trigger Brandtsegg orgelet til Ã¥ spille – nÃ¥r ikke domkantoren i Nidarosdomen, Petra Bjørkhaug, spiller orgel sjøl. Det er med andre ord EDB-maskina til Brandtsegg som sørger for at orgelet spiller og at det er bÃ¥de spennende, fascinerende og unikt er ingen overdrivelse. Vi snakker MIDI input – skjønner? Tangentene rører seg ikke, men musikken som kommer ut er som om tangentene hadde blitt spilt pÃ¥. Tøft og veldig annerledes.

Programmeringsjobben Brandtsegg har gjort mÃ¥ ha vært av det voldsomme slaget – resultatet har i alle fall blitt usedvanlig stort og veldig annerledes. De som har lyst til et annet musikalsk sted og la seg utfordre pÃ¥ veien er hjertelig velkommen: “Nancarrow Biotope” og Øyvind Brandtsegg er svaret pÃ¥ musikalske bønner du ikke visste du ha hadde bedt.

Musikken er utgitt på kassett (!) og digitalt.

Pedro Rebelo’s “Listen to me” reviewed by Kathodik

Il compositore e sound artist portoghese Pedro Rebelo, nel 2017 si è ritrovato a poter seguire un gruppo di ricerca sull’applicazione delle nanotecnologie nell’ambito della sicurezza alimentare presso l’International Iberian Nanotechnology Laboratory di Braga, avendo cosi l’opportunità d’immergersi nel particolare panorama acustico offerto dai laboratori in cui questa avviene.
Macchinari in fasi cicliche, stridori, sibili e riavvolgimenti, apparati di ventilazione, avvisatori acustici, camere di sospensione vibrante e frequenze fuori scala percettiva che la ciccia avverte.
Segnali in allungo che si cercano e gradualmente trovano, nell’ambito di specifici percorsi, raramente esplorati dal punto di vista dell’ambiente sonoro.
Bello nastro bello.
Tanto.

Marco Carcasi

via Kathodik

New release: Øyvind Brandtsegg’s “Nancarrow Biotope”

“My essential concern, whether you can analyze it or not, is emotional; there’s an impact that I try to achieve by these means.” — Conlon Nancarrow

Conlon Nancarrow’s Studies for Player Piano were orchestrated for Pipe Organ, Disklavier and electronics by Ã˜yvind Brandtsegg. The work with these compositions instigated further exploration of improvisation with these mechanic instruments in combination with improvisation software written by Brandtsegg.

As each Pipe Organ is unique, the orchestration is necessarily also unique for each instrument. Two concerts of this material – in Stavanger Concert Hall and the Nidaros Cathedral in Trondheim – show how differently the music is shaped to match the possibilities of these two instruments and venues. Nancarrow’s music requires a quite extraordinary degree of articulation due to the rhythmic passages and high tempi. Sometimes an individual adjustment of each single note would be required, due to slight differences in timing between organ pipes. 

Algorithms and automation are ubiquitous in our modern society, and Nancarrow’s compositions allow an interesting perspective on automation and mechanization within an expressive aesthetic context. It also sheds light on the necessity of manual labour of implementation and adaption to make the algorithms matter for human communication.

The improvisation software is based on relatively simple algorithms and serial techniques. It comes to life in the interaction with the live performer, where data is continuously updated from the performer action. 

An extensive description of issues encountered in the production can be found in the paper “An interface to an interface to an interface”. A documentation video from the Nidaros Cathedral production is available at vimeo.com/463046453.

Tracklist:

  1. Follow Me 2020 (Nidaros) (05:23)
  2. Study 36 (Stavanger) (03:26)
  3. Study 8 (Stavanger) (04:01)
  4. Study 41a (Stavanger) (05:41)
  5. Study 11 (Stavanger) (03:54)
  6. Study 2b (Stavanger) (01:23)
  7. Study 12 (Stavanger) (03:57)
  8. Study 21 X canon (Stavanger X Nidaros) (03:02)
  9. Follow the Lines (Nidaros) (06:53)
  10. Vectors and Intervals 2 (Nidaros) (04:56)
  11. Study 37 (Nidaros) (07:26)
  12. Study 6 (Nidaros) (03:10)
  13. Study 12 (Nidaros) (04:03)
  14. Vectors and Lines (Nidaros) (07:33)
  15. Study 2b (Nidaros) (01:21)
  16. Study 11 (Nidaros) (04:01)
  17. Vectors and Intervals (Nidaros) (05:09)

Credits:

  • Performed by Øyvind Brandtsegg, except tracks 1, 9, 14 by Øyvind Brandtsegg and Petra Bjørkhaug. 
  • Compositions by Conlon Nancarrow except 10 and 17 by Øyvind Brandtsegg; 1, 9, 14 by Øyvind Brandtsegg and Petra Bjørkhaug. 
  • Recorded in Stavanger Concert Hall October 19th 2019, and Nidaros Cathedral (Trondheim) October 31st 2019 and April 13th 2020. 
  • Recording engineers: Øyvind Grong (Stavanger), Thomas Henriksen and Øyvind Brandtsegg (Trondheim). 
  • Mixed by Øyvind Brandtsegg and Thomas Henriksen. 
  • Mastered by Karl Klaseie at Øra Mastering. 
  • Artwork by Skurktur / www.skurktur.com 

“Nancarrow Biotope” is now available as a limited-release cassette and for download or stream.

Síria’s “Boa-Língua” reviewed by Neural

Boa-Língua in Portuguese literally means “good tongue”. This expression is often used in contrast to “bad tongue” that is “small talk”. For his second album Siria used structures of his former work, Cuspo. She used them as organising principle for the structure (9 songs in one sequence, the final one being a repetition) and length of the tracks, after collecting several different recordings of rehearsals. The whole result is a refined form of musicality, with the vocals in the foreground and a mix of various experiments. These might make us think of a world-music or ethnic approach, but they also display a passion for improvisation and electroacoustics. The repertoire of the album is made by different versions of traditional songs. They include a version of an Azeri song and two original versions, one in Turkish and the other in Portuguese, and two other unreleased songs where the vocal does not take the form of words. Within the catalogue of Crónica Electrónica, this production might seem atypical, but this independent media-label usually performs an elegant eclecticism. While listening, the different pieces of the puzzle come together. Later, the tracks were mastered by the specialist Miguel Carvalhais, who, along with Pedro Tudela, produced a remix of the second track, “Nos Montes”. That is not the only example of artistic convergence. “Canção do Gato” is a version of a song recorded by Tiago Pereira from A Música Portuguesa a Gostar Dela Própria. “Senhora dos Remédios” is a version of a song performed by Catarina Chitas and has a sample from Maile Colbert. “Belgian Shepherd” is a remix of a song by Rui P. Andrade from his album All Lovers Go To Heaven. “Ay Işığında” is a version of a song performed by Nərminə Məmmədova. “For Ghédalia” and “Boa-Língua” both have recordings from Los Niños Muertos, André Tasso and Bruno Humberto. Overall, this is a complex but lovable production, which a broader audience than the usual followers of electronicmusic and audio art can deeply appreciate. Aurelio Cianciotta

via Neural

New release: Nicola Di Croce’s “Deus Sive Natura”

“Deus sive Natura” is a latin expression later used by philosopher Baruch Spinoza to reflect upon the identity of God and Nature: “Individual things are nothing but modifications of the attributes of God, or modes by which the attributes of God are expressed in a fixed and definite manner” (Spinoza, Ethics, pt. 1, proposition 25, corollary).

This album results from a performance by Nicola Di Croce which closed an art residency developed in Viterbo (Italy) at the “Bullicame” thermal springs. The public springs were used by Romans and later by poets, writers and popes; the same natural crater was also cited by Dante as the access to Flegetonte, namely the infernal river.

The residency aimed at sonically investigating the aquatic environment of the area, and presented the results to the public through a quadriphonic performance realized beside the natural pools. The residency was curated by Serena Achilli within the framework of Algoritmo festival in August 2019.

Nicola Di Croce is a sound artist and scholar trained as an architect and a musician. He has a PhD in Regional planning and public policies and is currently a Postdoctoral Research Fellow at Università Iuav di Venezia (Italy).

His research deals with the relationship between Urban Studies and Sound Studies. In particular, he is interested in collaborative and participatory approach to urban policy analysis and design through methodologies emerging within Urban Planning and Sound Art.

Sound is central to his artistic and academic practice for he considers listening and field recording as pivotal tools to investigate urban atmospheres and social transformations. Through articles, lectures, compositions, performances, and installations he aims to foster sonic awareness and to empower institutions and local communities, exploring new potentials for local development.

“Deus Sive Natura” is now available for stream or download!

Roel Meelkop’s “Crossmodulated” reviewed by Silence and Sound

Ça commence par des frottements, peu à peu rattrapés par une forme d’énergie bourdonnante, parasitée par des ondes radio grésillantes…

Crossmodulated de Roel Meelkop est une entité sombre, un trou noir dans l’espace avalant les étoiles et le magma du temps, déversant le chaos sur le monde qui l’entoure dont il est lui même le créateur et le destructeur. 

Roel Meelkop ne nous épargne pas, nous rentre dedans pour sucer toute trace de résistance, nous prend par la moelle épinière pour nous électrifier sur place. 

Ses titres sont des déclarations de guerre, avant goût de la chute finale, rouleau compresseur caché derrière une forêt de cables, vecteurs de destruction et de soumission, roulant sur des tapis de vitalité déstabilisante, montées irrépressibles vers des cimes en tension, chargées de brillance frissonnante et d’abstraction coupante. Acéré. Roland Torres

via Silence and Sound

New release: Roel Meelkop’s “Crossmodulated”

Roel Meelkop (1963) studied visual arts and art theory at the Willem de Kooning Academy in Rotterdam, The Netherlands. During a post-graduate course at the same academy, he decided to dedicate his work to sound and music. His musical activities date back to the early eighties when he started THU20, together with Jac van Bussel, Peter Duimelinks, Jos Smolders and Guido Doesborg. THU20 have released several tapes and CDs and performed regularly in Europe. The working method of THU20 included many discussions about how to compose and why. This period was crucial in forming Meelkop’s ideas and concepts about sound and how to organise it, but it was not until the mid-nineties that he was able to fully realise these ideas. The purchase of a sampler and later a computer radically changed his possibilities of working with sound, offering infinitely more control and freedom. Since then he has worked steadily on a body of work, most of which was received enthusiastically in the small but dedicated world of sound art. His other activities include working with Kapotte Muziek, Wieman (both with Frans de Waard) and Pierdrie (with Machinefabriek and video artist Marco Douma). Recently he has worked with filmmakers Esther Urlus and André Schreuders and long-time friend and collaborator Jos Smolders (MeSm). He has also been digging into the universe of modular synthesis, the results of which are still under close scrutiny.

In the last years, Meelkop has been mainly concentrating on live work, especially in collaboration with other musical artists, such as Jos Smolders, Machinefabriek, Das Synthetische Mischgewebe, and visual artists such as Marco Douma and Esther Urlus. We has also been involved in sound design for film and video. His studio practice has been given a boost by the discovery of modular synthesis, much to the credit of Jos Smolders, who introduced him to it. In this release, Meelkop combines recordings of modular sessions with field recordings, either from his archive or newly made.

Tracklist:

1. Crossmodulated 1 (14:19)
2. Crossmodulated 2 (09:23)
3. Crossmodulated 3 (05:51)
4. Crossmodulated 4 (13:54)
5. Crossmodulated 5 (15:44)

Mastered by Jos Smolders at Earlabs. Cover art Drawing Machine Drawing #72 by Rosemary Lee.

“Crossmodulated” is now available as a limited-release cassette and for download or stream.