Tag Archives: Jos Smolders

“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Chain DLK

The “Nowhere” in the title is initially a barren place, the first three minutes of the opening track little more than faint geiger-counter-like glitches, before being crashed into by industrial electronics and barely discernible vocal declarations that form a jolting chaos for a couple of minutes, before disappearing as abruptly as they arrived, leaving only […]

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“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Westzeit

Der Name sagt alles. Streng experimenteller, suchharter Stoff aus Modulen. Knacken-Sille Knacken. Kakophonie & Exotik. ***** Nowhere: Exercises in Modular Synthesis and Field Recording by Jos Smolders

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“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Revue & Corrigée

Il est d’ailleurs un instrument on ne peut plus électronique qui dit aujourd’hui ce paradoxe apparent, celui de jouer — non, d’utiliser — un instrument sans viser uns musique particulière, juste le simple plaisir de produire du son, comme à son insu: le synthétiseur modulaire, dont c’est actuellement l´âge d’or (alors qu’on le penserait quelque […]

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Futurónica 184

Episode 184 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 20th. The playlist of Futurónica 184 is: Jos Smolders, Incident at Ras Oumlil (revised 2016) (2017, Nowhere: Exercises in Modular Synthesis and Field Recording, Crónica) Jos Smolders, For […]

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“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Amusio

Auf dem portugiesischen Crónica-Label erschien soeben mit Nowhere ein sowohl physische als wahrscheinliche auch physikalische Kapazitäten grenzwertig strapazierendes Konvolut aus mehrdeutigen Erfahrungswerten an synaptischer Konnektivität. Was der Klangkünstler Jos Smolders von Tilburg aus verantwortet, rührt in seiner assoziativen Anmutung an den Versuch einer Vergewisserung unbefleckter Integrität. Sicherlich ist der Titel dieser Zusammenstellung insgesamt nachvollziehbar und […]

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“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Silence and Sound

S’il aime comparer son travail à celui du calligraphe, Jos Smolders sculpte les sons plus qu’il ne les peint, composant des structures au fluxes mouvants, où glitches scintillants et bruitages familiers forment un tout à la précision abstraite. Car l’abstraction est ici partout et ailleurs, comme poussée par ces sons qui changent de consistance, à […]

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“Nowhere: Exercises in Modular Synthesis and Field Recording” reviewed by Bad Alchemy

Smolders sieht sich durch jahrelange Zenübung vom niederländischen Planer zu Klangkalligraphen befreit. Ein Klangfluss kann sich nun in einem Zug entfalten, statt erst in akribischer Feilerei und Korrigiererei Gestalt anzunehmen. “Nowhere” spielt dabei schon auch irgendwo, ‘Incident at Ras Oumlil’ führt nach Marokko, irgendwo zwischen Guelmim und Tan-Tan. Aber es gibt Orte, an denen man […]

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Sven Schlijper on Jos Smolders’s “Nowhere: Exercises in Modular Synthesis and Field Recording”

Nowhere marries brutalism to beautalism. Smolders knows the tools of his trade, inside and out. Movements are trained, skilled and well honed. The performance and the product it delivers open up to the moments of making and of reproduction. The controls handed over to aesthetics, again: moving swiftly. Gently also, like an inked brush gliding across […]

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Massimo Ricci on Jos Smolders’s “Nowhere: Exercises in Modular Synthesis and Field Recording”

Those who have seriously attempted to operate a synthesizer know from experience how easy getting lost in the meanders of programming is. In a plurality of parameters and wave shapes, finding a way to produce a decent result – let alone a beautiful one – is not exactly a walk in the park when the necessary practicality […]

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Chris Dooks on Jos Smolders’s “Nowhere: Exercises in Modular Synthesis and Field Recording”

The first track from Jos Smolders’s Nowhere is a good example of music generating images of somewhere, even if it is an unstable, ungraspable locale. Smolders’s modular synthesis works are surprisingly cinematic for music of a kind that is often labeled clinical, academic or heavy. The work has a ‘materiality’ that is nimble and strong, like a kind […]

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