Live at Cavallerizza Irreale.
10th Nov. 2016 – Turin (Italy)
Recorded by Tom Riethauser.
Giacomo Salis: Bass Drum, Percussion, Objects.
Paolo Sanna: Snare Drum, Percussion, Objects.
Special thanks to Giuseppe Sanna, Maurizio Murgia, Mixtura Orchestra and Cavallerizza Irreale’s crew.
This work of Luis Marte and Roger Delahaye aka Poltamento concentrates on a single musical space-time and, in the form of a single perspective, two dimensions that are both physical and categorical, the mobility and portability of electronic and granular software on one side, and the immobility of the great acoustic giant on the other. Categories of space and size, which are also of texture and dissimilar sonic thickness, nevertheless fused and assumed as part of a whole by ambient moments that are also impressionistic …
These fragments, wherein the warmth of the wood and the glitch’s abstraction solidify into a single entity, show us that the possible “N” worlds can converge in a singular sound synthesis, where the extremes touch and coexist, where, as Einstein said a century ago, motion or status depends on the viewer’s point of view, in this case the listener.”
Roger Delahaye
(Buenos Aires, Argentina. Junio / June, 2017)
All tracks recorded live in Detruita Sonon, Madrid, between 2015 and 2016
Cover art: Mario Sarramián
“We might expect that in the convergence of the works of Mika Martini and Iñaki Muñoz, one would encounter realizations that contain the most essential of the experimental music and visuality from this territory. From the auditory, Martini integrates sound clusters inspired by the electroacoustic ancestors of this generation, and from the visual, the glazes in motion of La Bella Violencia evoke the chromatic layers of Roberto Matta, adding without doubt, the chaotic force of chance and error.
Martini and Muñoz have experimented with the transit between materializations analogous and numerical, tangible and intangible. The work is configured as a portal. In ‘La Mirada del Sonido’ images and sounds are integrated, relieving a friendly narrative tension, it could be the soundtrack of an initiatory trip towards the center of our brain, where the neuronal transmissions seem to be granted an aesthetic through this work, chemically activating the DMT that exists in our systems.
These materializations, which function as neuronal chemical releasers, deliver a sensorial experience that determines a respectful concentration, where music and images are integrated into an organic volume that is perhaps unrepeatable, inconsistent, based on the unique experience of turning seeing and hearing into a total virtuality.”
Enrique Rivera
Researcher, Curator y Audiovisual Artist
(Santiago, Chile. May, 2017)
“Wenig Duo focuses on the activity of silence where the space works as an amplifier and assumes an important role in the performance.
With a crystallized language, the music of the duo is attentive to detail, it’s written and invites the listener for a greater awareness of the sound where this duo, formed by the musicians Guilherme Rodrigues and André Hencleeday operate.
The instrumentation is variable.”
“O duo WENIG foca-se na actividade do silêncio numa performance e no resultado deste enquanto amplificador do espaço.
A música do duo, já com uma linguagem cristalizada, é uma música atenta ao detalhe, de suporte escrito e que convida o ouvinte para um retiro de maior consciencialização do som do espaço, da música e dos seus envolventes.
É formado pelos músicos Guilherme Rodrigues e André Hencleeday e é de instrumentação variável.”
Guilherme Rodrigues – Cello and Objects
André Hencleeday – Electronics
Recorded by Carlos Santos
0116
0215
0216
0415
0515
song 11
song 31
song 71
Music by Gusev K.P.
Gusev I.K. voice
Martin Hoogeboom prepared guitar
Mix & mastering by Theo Calis
MAV [0kbps] Records, April 2017
recorded at E.A.R. Studios by Dario Della Monica (live in a room, no editing, no overdubbing) mixed and mastered by Fabrizio Piccolo (Trail Music Lab).
This album is inspired by and dedicated to Paul Motian, his music, his spirit and his poetics of the not-said in a metaphysics of absence.
Recorded in five days in London, at James Ogilvie’s studio in 2010, Dragon’s Teeth is the confrontation of eddie 135’s experimental tweaks and Shitblaster’s science of mix. Saturated like the oil from the fish and chips that three musicians greedily gulp up between two work sessions, the series of improvisations produced by Adrien, Matthieu, and James one evening, serves as the sizzling play-do used to conceive this future disc. From this initial magma that blends rhythm boxes, Juno synthesizer, and a deluge of pyrotechnical effects, accidental beaches form and reveal little by little large blankets that wrap the listener into an actual flow of lava. Petrified, the listener thus takes all the time needed to let oneself become invaded by the ensemble’s numerous textures…
Taking everything with them on their way, the four gobbling geezers deployed here evolve in jolts to bring back from the depths this mysterious dragon’s tooth. Instinctive, brutal, yet mastered, this album’s boiling energy proves once more that the first idea is often the right one.
Dragon’s Teeth, the 33rd release of Da! Heard It Records, is distributed under a Creative Commons License BY-NC-ND. The album is available for free listening and downloading at the following link:
http://www.daheardit-records.net/en/discography/dhr-33
Steve Coombes: saxophone
Martin Hoogeboom: noise/guitar
Juan Miñana: electronics
Theo Calis: sound-design, mastering
1st Movement – Crucible.
Silica immersed in the crucible of natural forces. The sea as a dynamic, wave-active element, with the destructive forces of rolling, the breaking and grinding of flint and chert stone, wave motion stresses produce sand over millennia – the raw material containing silica from which glass is manufactured. The human presence has metaphoric as well as literal significance in the responsible and sustainable use and management of this and all our natural resources.
2nd Movement – The Milk Round.
Part 1 – The Dairy Crest Depot.. Preparation for delivery, organization, distribution. The constructive and organizational forces of industrial, metal, mechanical motor motion operate together with human activity where silica is integrated as recyclable packaging for a consumable product.
Part 2 – The Milk Round Delivery. Silica embedded as container vessel within human, animal and mineral, intrinsic and extrinsic elements. Human activity takes place within a context of a wider urban ecosystem, with allusions to the co-existence of animal and human social behaviour in conversation.
3rd Movement – The Glass Collection. (Contains very occasional strong language.)
Following usage and consumption, silica disposal now becomes a recycling process as part of local government policy in an urban social context.
Notes.
1st Movement – Recorded on location at Milford on Sea (17/11/16), 2nd Movement – Recorded at Dairy Crest, Nottingham (21/09/09), 3rd Movement – Recorded at Carlton, Nottingham (05/01/17).
The artist would like to thank Dairy Crest and operative Pete for permission to record on their premises and in the electric milk float. All recordings were made in a single take live on location and have been edited for this work using Cockos Reaper software.
Recorded in binaural stereo using custom in-ear binaural techniques. Microphones DPA4060, recorders Tascam DAP1 (2nd Movement), Sound Devices 744T (1st and 3rd Movements). Optimised for headphone listening.
dallas simpson, january, 2017
The result is translated in a mixture of exquisite and varietal languages, distinguished by the hypnotic seduction corresponding to the interpretation of Elsa Bergman, who in accordance with her worldview manages to articulate a more onomatopoeic and percussive line as compared to Óscar Santis, the owner of a structured and ferrous sonic vocabulary.
These conversations, generated in an autopoietic state, deliver us soundscapes cemented with Nordic emulsions and the saline corrosion accumulated for decades in the territory of Ciudad Abierta (Open City).
The atmosphere that Errante offers us is divided in seven electrifying cuts, with “Autopista” being the most extensive track (12:05), which ends in magnificent fashion this exchange of musical expectations y concerns that pass through the fields of minimalist electronica and the indelible legacy of free-jazz.”
Sergio Miranda
(Valparaíso, Chile. Marzo / March, 2017)
“Somewhere Out There Was The Wave” was
improvised live to tape by Far Rainbow
(Emily Mary Barnett & Bobby Barry)
at Gunfactory Studios, London.
Photographs by Emily Mary Barnett.
Forefront | life inconvenience (LIVE)
Jack D’Amico_fake piano
Umberto Lepore_double bass, objects
Marco Castaldo_drums, objects
