mercoledì 30 giugno 2010
For Les 120 Jours, Michel Chion, Lionel Marchetti and Jérôme Noetinger assembled a common bank of many original sounds which each of them had worked on, transformed and re-composed in his own style. This gives the listener the ability to hear a musical language in the form of collage-citations, which, for this occassion, they also named a 'concrete diversion'. Musique concrète composed in 1997/98 for the Festival Musique Action, 16 May 1998, at Vandoeuvre-lès-Nancy, France. This is a 2 disc set.
sabato 26 giugno 2010
"Francis Plagne" is the second album by fractured kaleidoscope pop sound by the pound Francis Plagne. This eponymous release further explores Francis' obsessions with 'pop' and 'organised sound', all from a modest bedroom studio in the Eastern Suburbs of Melbourne, Francis has developed his craft to a level way beyond his 19 years. Incorporating field recordings, drones, electronics and improvisations, along with harmony-rich pop songs of the finest order. Unusual, identifiable and exciting. Leave your delay pedals and cheap drone at the door.
giovedì 24 giugno 2010
Austin's Stars of the Lid are one of the leading lights of the '90s ambient/experimental music world. GRAVITATIONAL PULL, their second recording, was initially released only in an extremely limited vinyl edition. The goods folks at Kranky kindly reissued it for mass consumption, and thankfully so, since it is one of the band's finest efforts. Though they use heavily processed instruments to achieve a spacious, whirling conflagration of sound, Stars of the Lid downplay any futuristic/electronic elements in favor of a more organic vision. True to the title, this is music in tune with the elements, and the sounds of the natural world seem to pervade these works. At once spectral and earthy, GRAVITATIONAL PULL is full of subtle dynamic shifts and low-key electronic impressionism.
martedì 22 giugno 2010
erikm : 1 turntable + fx
martin tetreault : modified turntable + surfaces
otomo yoshihide : 1 turntable + guitar
recorded on 22th may during musica genera festival 2004
by artur nowak. edited & mix : erikm. cover artwork : trace cut / erikm .
lunedì 21 giugno 2010
pieces of winter by john hudak and stephan mathieu" is based on one composition by each of the two sound artists originally made for a small personal edition as season greetings for friends in the winter of 2002/2003. john hudaks recordings for "winter garden" were based on a contact microphone buried overnight in snow that turned to ice, then he recorded snow falling on this enveloping ice. the basic recordings for stephan mathieus "nuit blanche" were made on christmas eve 2002 with eva-lucy mathieu on ocarina and himself on pump organ. Finally these original pieces were exchanged and transformed into a calm, minimal suite of digital variations.
domenica 20 giugno 2010
Uneasy Flowers, the second album by Autistic Daughters, is an incremental improvement over their fine 2004 debut Jealousy and Diamond. But any other degree of advancement would feel inappropriate, since this group's music deals in small steps and minute shifts. This can make for a sleepy listen-- sometimes it even sounds like the trio has drifted off into musical unconsciousness. But more often this album is like a quiet dream, filled with moods and images that linger past the end of each song.
That effect combined with the fact that Autistic Daughters are on Kranky might imply their music is pure ambience. But the trio is actually a song-based entity, relying on vocals, guitars, drums, and some modest electronic effects. The seven tunes here sometimes evoke the soothing drift of Kranky stalwarts like Stars of the Lid. But they're closer sonically to the slow melodies of Low, the soft glitch of the Books, or even Wilco's mellower moments (the alluring bent of Dean Roberts' voice at times recalls Jeff Tweedy).
The miniaturist feel of Uneasy Flowers is enhanced by Roberts' lyrics, which explore ideas in subtle shades. Phrases and images recur, tracing the outline of an enigmatic character named Rehana. Through clever repetitions of terms like "rain," "gin," and "value judgment," Roberts paints an impressionist portrait that makes surreal sense. On the title track, over chopped snare hits, he describes an elusive "it"-- "tell your brother it's a balancing act"; "it makes our laughter more easily stomachable"-- without ever fully revealing his subject. Later, on the sparse "Bird in the Curtain" and the minimal "Hotel Exeter Dining Room", Roberts slyly dodges meaning, singing about uncertainty and awkwardness with apt imprecision.
Musically, the songs on Uneasy Flowers are skeletal, offering bare bones where more impatient bands might pile on sonic flesh. Sparse and measured, each tune forms gradually, letting its elements grow into each other like ivy on a wall. This encourages the listener to connect dots and color in shapes that may never actually be there. Not every tune rewards the effort, but enough do, especially "Gin Over Sour Milk", the album's masterful midpoint. Over a descending rhythm, Roberts whispers about a pretty obvious choice-- who wouldn't take alcohol over spoiled dairy? But as in most of Autistic Daughters' music, that simplicity hides a more complex idea lying just beneath the surface.
Marc Masters (Pitchfork)
sabato 19 giugno 2010
Throughout his life Enore Zaffiri has dedicated himself to the study of extended time duration in music, from a mathematical and geometrical standpoint. Early in his career, it became evident to him that electronic music was able to open infinite possibilities for this type of experiments. As early as 1964, Zaffiri started to use self-built and modified electronic instruments in order to find a new musical perspective based on a structural principle derived from Euclidean geometry. From this principle he was able to determine the various sound parameters and both the formal and spatial dimensions of his compositions.
The seminal project "Musica per un Anno” (Music for One Year, 1968) was composed and recorded in 1968. Based on a cycle of 360 days, it was conceived as a possible sound track for ambients: the sound events change imperceptibly but continuosly, in relation to months, days, hours and minutes. Every instant of time has its unique music, which merges with the light and the air of the ambient. As this music develops over time, with no clear beginning or end, every minute of it is "important", when listening to it. A masterpiece.