{"id":9726,"date":"2017-04-30T10:56:34","date_gmt":"2017-04-30T09:56:34","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=9726"},"modified":"2017-04-26T18:57:48","modified_gmt":"2017-04-26T17:57:48","slug":"nowhere-exercises-in-modular-synthesis-and-field-recording-reviewed-by-vital-2","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=9726","title":{"rendered":"\u00e2\u20ac\u0153Nowhere: Exercises in Modular Synthesis and Field Recording\u00e2\u20ac\u009d reviewed by Vital"},"content":{"rendered":"

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\nTen years ago J. Smolders quit developing work from preconceived compositions, planned into the smallest details. Since them, he has been using ways of work more undefined and fuzzy. While taking these steps, he cultivates states of deep concentration, and then he makes the work with a few quick touches. He uses these elements when he plays with the modular synths and the field recordings. He prepares, and then lets it all flow, keeping the original sounds simple and limiting the overdubs and the editing procedures, according to the main free form concept of \u00e2\u20ac\u0153here and now\u00e2\u20ac\u009d. The sequences of Nowhere seem to be quite abstract, dilated, filled with hum and static discharges, cosmic hyperbole and crackle, feedback and distortions. The work has strong goals and is strong in its performing too, thanks to the unimpeachable work procedures.<\/p>\n