martedì 17 maggio 2011

Zeno Gabaglio - "Uno"

zeno gabaglio: cello, electric cello and looping tools.

produced by zeno gabaglio, luca and vasco viviani.
recorded and mixed by nello sofia at blackdog studio, lugano, july 2006.
technical support: francesco bissolotti, eric jensen and stephan schertler.
graphic design: alfio mazzei.


domenica 15 maggio 2011

RLW - "Views"

In the 25th year of Ralf Wehowsky's recording career, Anomalous Records presents his first truly solo release featuring four new compositions based on instrumental improvisations. Using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. Each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. The disc opens with a 20-minute piece of mysterious and drifting electronic tones. Other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. Previous releases by RLW have seen him collaborate with such diverse artists as Achim Wollscheid, bernhard günter, Andrew Chalk, David Grubbs, Jim O'Rourke, Kevin Drumm, and Bruce Russell. He is the founder of the now defunct group P16.D4 and the still active label Selektion. Other releases of his work have appeared on Table of the Elements, trente oiseaux, Streamline, Perdition Plastics, Swill Radio, Meeuw Muzak, and Metamkine.


sabato 14 maggio 2011

Snawklor - "It Would Have Lived Here"

Snawklor is a decade long musical collaboration between visual artists Dylan Martorell and Nathan Gray.

Snawklor as a duo make improvised electro acoustic music and sound installation with whatever is at hand exotic instruments, feild recordings, toys and electronics. As a trio with Duncan Blachford on drums they explore the possibilities available only in louder volumes.


giovedì 12 maggio 2011

Jealousy Party - "Live"

JEALOUSY PARTY: Roberta WJM / mixer, JP Set (cd, md, microfoni, percussioni) Mat Pogo / mixer, voce reale e registrata Edoardo Ricci / sassofono contralto e soprano, clarinetto basso, trombone Jacopo Andreini / batteria, percussioni Andrea Caprara / basso Alessandro Boscolo / mixer, suono, registrazione, missaggio, master

1. Amaranta's Dance 2. Hold'em Punca 3. Play On 4. Ora Quando
5. Ci Sta (Serve Qualcosa) 6. No Melody


mercoledì 11 maggio 2011

Otomo Yoshihide - "Ensemble Cathode"

  1. Cathode #4 (20:57)

    Taku Sugimoto: electric guitar
    Tetuzi Akiyama: turntable without records, contact microphones
    Yasuhiro Yoshigaki: waterphone
    Kumiko Takara: snare drum
    Masahiro Uemura: bells
    Ami Yoshida: voice
    Itoken: crotales
    Mari Furuta: snare drum
    Yoshimitsu Ichiraku: cymbal with bow
    Sachiko M: sine waves, contact microphone
    Yoko Nishi: prepared 17-string koto

  2. Cathode #5 (14:19)

    Yoko Nishi: prepared 17-string koto
    Taku Sugimoto: electric guitar
    Andrea Neumann: inside piano
    Sachiko M: sine waves, contact microphone
    Otomo Yoshihide: turntable

  3. Cathode #3 (Variation of Modulation #1) (22:15)

    Taku Sugimoto: electric guitar
    Yasuhiro Yoshigaki: percussion
    Kumiko Takara: vibraphone, percussion
    Ko Ishikawa: sho
    Ami Yoshida: voice
    Mari Furuta: crotales, percussion
    Yoshimitsu Ichiraku: percussion with bow
    Sachiko M: sine waves, contact microphone
    Yoko Nishi: prepared 17-string koto

All composed by Otomo Yoshihide

Recorded and mixed by Yoshiaki Kondo at GOK Sound, Tokyo, May-July 2001
Additional recording by Otomo Yoshihide at A-102 Studio and M-101 Studio, Tokyo, August 2001 and March 2002
Mastered by Toshimaru Nakamura in May 2002
Produced by Otomo Yoshihide
Design by Masae Tanabe
Includes liner notes in Japanese and English (translation by Cathy Fishman and Yoshiyuki Suzuki) by Otomo Yoshihide

Released in July 2002


martedì 10 maggio 2011

Bill Horist - "Songs From The Nerve Wheel"

Songs From the Nerve Wheel is a collection of solo guitar improvisations from the free jazz/avant garde end of the spectrum. Horist's use of extended techniques and effects give the whole album a dark, otherworldly tone. Delays are used at times to provide a hint of rhythm as Horist squeaks and scrapes on his guitar, using a musical vocabulary that owes a great debt to Derek Bailey. At times you'd swear this was somehow electronically generated. In fact, there is hardly a hint of any conventional guitar technique anywhere on this recording. Horist definitely knows how to operate his toys, but the lack of a wide tonal range makes the pieces all sound similar. Fans of Henry Kaiser's outside solo guitar improv and K.K. Null's sheets of sound experiments should check this out. Not for the timid. ~ Sean Westergaard


mercoledì 4 maggio 2011

Elio Martusciello - "Aestethics of the machine"

The musical research that I have undertaken goes beyond man's "point of listening" (instead of "point of view") to experiment what could be defined as the machine's "point of listening" (the aesthetic of the machine). Therefore it is an aesthetic that privileges a "beyond-feeling", the meeting with the "outerness", with the "totally-out".
The audio frequency field of this work is beyond the possibilities of our "perceptions"; it is in fact in the range of the "ultrasounds" (up to 20kHz) and the infrasounds (down to 16Hz). Throughout this work the sounds were generated at the maximum volume available for digital systems (0dB).
Therefore this composition is totally full, saturated, without dynamics, with a volume level consistently turned up to "fortissimo" (classical notation), just outside the range of human perception. What remains for our hearing? Only silence? However all that we perceive in this work is entirely the result of what has been discarded, the driftage, the limits of technology and our auditory apparatus; anything that springs out of those interferences, from those collisions, the clashes of those hyper-frequencies, their results, the difficulties and the noises of the sound-reproduction system (amplifiers, loudspeakers, filters, etc.) actually produced by the surrounding space (those objects that vibrate), our very own auditory apparatus and body (often it is not our ear but our whole body that feels and vibrates).
This work could be defined as the "place of paradoxes", the place in which "limits" transit and collide.
Inversion: in this composition, emptiness and silence are the consequence of the total fullness, of the "totally sonorous" (even if beyond our hearing possibilities); in contrast sounds, signs, traces of those, are entirely the result of the instability of the "totally-full", from its collapse, from those results, from the marginal effect of these "depressions", from what is discarded, from the turbulences. Finally we can confirm that here we are listening to the results of "absence", of the "emptying" of the "sonorous", of its "non-result".
Interactivity and invariableness: this work, which seems to be an "Art des sons fixes", an art of the medium therefore always equal to itself, here it becomes "event", "open work", interactive, "aleatory"; it is in fact totally variable, depending on what the listener chooses as even turning the head slightly is often enough to experience changes in what we hear; it depends on the place, the objects in the room, the environmental characteristics (the impact and reflection of these unheard frequencies create totally different effects), from the system of reproduction and how it is regulated (deliberatedly controlled or unconsciously affected by the listeners) and also from the anatomical-physiological characteristics of the listener (the extreme characteristic of these frequencies allows a subject to listen to a hiss or a loud sound and for another subject to listen to total silence).
Concrete-electronic: in this work it is possible to listen to concrete waste, to the left overs of audio material of a totally synthetic nature. Therefore, this work sits on that border, within an enigmatic trace, on the border between two paradigms; in effect at the same time it answers to a radical "concrete" logic and one of "electronic purism".
Therefore, a pure "objective" sound (a simple "sinusoidal wave"), purely inorganic, inexpressive, beyond-human, a sharp, metallic object, that can also hurt, a totally "extraneous" sound (an extreme-experience, sometimes toxic, harmful, but not only for man, but also for the machine).
Well, what we actually listen to in this work is the meeting (clash, collision) point between man and his technological extension (amputation); this leads us into that listening zone, shady and disturbing which, ultimately is not only within both the mind and thinking, but also a product.
Even the resulting audio wave images in this work are very anomalous. The normal audio waves visual system of reproduction... collapses... breaks down. The coordinates logic systems are not longer valid...the readouts are no longer legible. The algorithms are completely unreliable... unfounded... they only tell us of an other world...beyond our mind.

Elio Martusciello


martedì 3 maggio 2011

Henrik Rylander / Leif Elggren - "Gottesdienst"

Armed with a sampled rhythm and shredding feedback, Swedes Henrik Rylander and Leif Elggren do the lord’s work on Gottesdienst, their first collaboration, recorded live in Göteburg in 2005. There’s nothing especially ecclesiastical about the piece, though from eyewitness accounts, one can imagine that the force of the live performance sent more than a few in the crowd into prayer for the salvation of their quickly degenerating sense of hearing.

Rylander’s 2004 solo disc Traditional Arrangements of Feedback showcased his ability to wrangle feedback, bending it to his musical will, and it’s a technique that’s all over Gottesdienst. A snippet of strings – repeated for nearly the 20-minute duration of the piece – is its rhythmic base, interspersed occasionally with fragments of recorded dialogue. Laid overtop with heavy-handed abandon is a thick sheet of white hot sound, a distorted presence that threatens to demolish all in its shadow, though the less abstract facets of the piece endure unharmed. Gottesdienst isn’t a complicated work; the two aforementioned ingredients are its primary players, with minor deviations as the sampled strings and vocals are altered underneath the gritty screams and roughly hewn gurgles. The monotony that evolves from the largely unchanged rhythmic base would be nicely mind-numbing if it weren’t for the intrusive quality of the oft-insistent feedback, but, all the same, at its stormiest, Gottesdienst stays firmly tethered where a more tumultuous climax might have been more effective. Still, even if the two individual voices might be better if more thoroughly intermingled, there is a hypnotic effect to the work, and it’s not hard to see how it might have mesmerized live.

Annexed to Gottesdienst are two remixes of the work, one from the iDEALIST, the other from C.P.U. The former wraps the recording in a hazy cloud, with the hint of a rhythm somewhere in the depths, and the spirit of the feedback carried on in a subtle buzz. The drone of the iDEALIST’s reconstituted Gottesdienst isn’t concerned with the relationship of the piece’s primary actors; instead it dilutes the two and molds them into an amorphous dirge. C.P.U. works in an even more incongruent fashion, and while the second remix contains more identifiable remains of the original track, C.P.U.’s filters and effects render the music far more inorganic. Both remixes are interesting slants on Rylander and Elggren’s original, and, unlike so many releases they feel as substantial (especially in the case of the iDEALIST’s) as the piece upon which they’re based, not extra scraps tacked on in a misguided attempt to offer more value to the paying consumer. It’s not to their detriment that Rylander and Elggren are upstaged a bit by their remixers; it’s a product of the disc’s construction, both in terms of time (the original piece constitutes just over half of the CD), and the way a rather straightforward statement, with two individual voices, is slowly dissolved as the disc progresses, forcing two into one, clouding the simplicity of the original performance, and wiping nearly all traces of Rylander and Elggren from Gottesdienst’s mutilated corpse.

By Adam Strohm - dusted magazine


lunedì 2 maggio 2011

Andrea Belfi - "Ned n° 2"

1-Kaspar Hauser
2-Come un giorno parte 1
4-Firenze parte 1
5-Come un giorno parte 2
6-Firenze parte 2

Electroacoustic compositions performed and recorded between December 2000 and June 2001, dedicated to Claudio Fasoli.

Inside cover design by Nicola Smanio
Inside photography Chiara Zorzi
Velvet case by Luciana Meneghini


Olivia Block - "Mobius Fuse"

Chicagoan Olivia Block made her debut on Sedimental with Pure Gaze in 1999. This sequel, assembled over the course of five years, starting in December 1997, is a similarly meditative and surprising 30 minute mix of environmental sounds, unobtrusive electronic enhancements and precisely placed instrumental passages. Like Luc Ferrari, Block knows how to draw seductive music from the blending of such elements, making creative interventions in the natural world, casting enigmatic shadows across familiar ground. Both releases are effectively self-portraits, showing Block caught up in a Moebius Loop of listening and composing, discovering and deliberating. She acts as a gateway for the found sounds of indoor and outdoor spaces, birds and insects, crackling ice, fire, and wind buffeting the microphone, which are captured and relocated. Once caught suggestively between raw and processed states, their identity is complicated. Block uses silence effectively, it oozes in and out of the predominately quiet sounds that form the music. Her electronic interventions merge with the field recordings, and often the two become indistinguishable. The carefully organized sounds of the wind quintet, including Jeb Bishop on trombone, carry associations of a social world, and although initially droning on the borders of the electronic zone, the group are ultimately heard playing a slow, dignified tune, saturated with communal values and counterpointed against a firework display that Charles Ives would surely have appreciated. At which point it seems appropriate to press “play” and light out for the territory once more.