Category Archives: Reblog

Beatriz Ferreyra ~ Echos +

At the moment, like many, I find myself taking a step back and reflecting on how to move forward but not sure how my little journey in sound will progress.
In the meantime I am using my time to catch up and revisit sites and reviews I have missed, this being a case from A Closer Listen.
Actually, I spent this afternoon listening in full to Echos+ and it seems sonically to reflect the mood.

a closer listen

There’s a memorial aspect to acousmatic sounds that can lead towards a conceptual end-point usually avoided by Schaefferian humanism: the severing of the sound from its source is a kind of death. Echos + is an in-depth exploration of their afterlife, the composer turned into a caretaker (without the apocalyptic overtones of the famous project of the same name) dedicated to the consideration of sounds’ new state. Like a written document, the recording marks an aural element’s transition from life into its other, a technological aid that turns preservation into an art of re-signification. To care for these sounds in death is not to simply reproduce them, nor is it to circumscribe them in a narrative about mourning for the loss of a certain world, but to help reconfiguretheir meaning in a context that is no longer their own.

Echos +is made up of three pieces that work precisely…

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Agnes Pe – De Eurodance

Review Reblog – I’m taking things a little slower here at the moment for a range of reasons but I thought this would be a very good time to revisit and try to catch up with some of the reviews and releases I’ve missed over the past years. What better way than to start with this release and the Yeah I Know It Sucks review, both make me smile : )

 

Yeah I Know It Sucks

Artist: Agnes Pe
title: De Eurodance
keywords: devotional, Lleida, Eurodance, Europa, experimental, electronica

De Eurodance. What is it, and how does it sound or simply goes?
Anges Pe is the brave Professional professor who had spent a great amount of time in researching this non favorable subject. She has traveled all over Europe, visiting every country, absorbing every form of culture and took as many first hand examples of ‘De Eurodance’ No stone has been unturned, no corner untouched as Agnes Pe simply wanted to know the bottom and the finest essence of De Eurodance. From Greek Hoompa Loompa parties, wooden shoe circle dances in the Netherlands, to Italian folklore fetish euro festivals and Eurozone neopolk gypsy’s..
Everything she has seen, heard, lived and noted down for the sake of De Eurodance.
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Her research results have been widely published in over popular new wave children books, and for the illiterate…

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Review Reblog – Laughing Ears ~ Metamorphosis 形变 — A Closer Listen

 

Instability, incompleteness, a certain kind of relativity. These are the sources of Laughing Ears’ Metamorphosis, which avoids totalizing effects and holistic conceptions of style in order to present listeners with an ever-shifting music that sounds like dance but is more akin to walking the streets of a city. For instance, the rhythms come mostly from […]

via Laughing Ears ~ Metamorphosis 形变 — a closer listen

 

Yes…all of this and more : )

Review Reblog -Despicable Zee – Zahra Haji Fath Ali Tehrani – عتیقه — Yeah I Know It Sucks

Artist: Despicable Zee – Zahra Haji Fath Ali Tehrani Title: Atigheh – عتیقه Keywords: diaspora drums electronic experimental farsi Oxford WITCHFORK We were lucky enough to be present at a live performance by Zahra Haji Fath Ali Tehrani late last year, and we would like to say that far from being ‘Despicable’ we found ‘Zee’ […]

via Despicable Zee – Zahra Haji Fath Ali Tehrani – عتیقه — Yeah I Know It Sucks

 

One of my favourite listens from 2019 : )

Reblog – Sofía Bertomeu – And you, In which movie are you playing? — Yeah I Know It Sucks

Artist: Sofía Bertomeu Title: And you, In which movie are you playing? Keywords: ambient experimental experimental electronicidm lars von trier sofia bertomeu technoglitch Spain And you, In which movie are you playing? I’m playing a fool in a silent black and white slapstick spaghetti western movie that almost hast seen the light of day, but […]

via Sofía Bertomeu – And you, In which movie are you playing? — Yeah I Know It Sucks

 

As usual, YIKIS have a wonderful off kilter review to go with this release : )

Reblog – amby downs – kinjarling studies

Atmospheric deep listening…

Please do as the reviewer asks and please listen : )

 

 

Yeah I Know It Sucks

Artist: amby downs
Title: kinjarling studies
Keywords: ambient dark ambient field recordings improvisation soundscape soundtrack Australia
Review by Furchick

https://ambydowns.bandcamp.com/releases

It is rare to have the privilege of listening to art by an Indigenous Australia artist. When I saw that Tahlia Palmer had created some music when I know her as a photographer and visual artist, I got excited. As it turns out my excitement was justified. This music is connected to country and made in a place familiar to the listener. “Amby Downs” is a station (farm) in Southern Queensland where Tahlia’s aboriginal ancestors lived and worked on for a few generations after they were dispossessed of their traditional homelands.

Tahlia’s father’s line is Yuwaalaraay/Gamilliaroi, from the Narran river area of Northern New South Wales. She informs me that connecting with Noongar boodja through these works has afforded her the confidence to go to her ancestral country for the…

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Review Reblog – Maria W Horn ~ Epistasis

“There’s a certain intensity to it, gazing into something too vast to apprehend, but small enough to take in, ”
This review says it all, so nothing to add except its’ sparseness seems to reflect my present mood – undercurents of unease or it could be the falling rain against the window.

 

a closer listen

Where last year’s Kontrapoetik was furious and direct, Epistasis is passionate and exploratory, structured like an ouroboros that in completing its form comes to both an end and a beginning. One depends on the other, the circularity of this mythical figure not so much an instance of unmoving things but of action and reaction, chains of effects whose relationships are anything but linear.

The “Interlocked Cycles” – the first and last tracks in the album – are thus the setup and the finale, a loop in which every instrument and every note aims for the subtle dissolution of the straight musical line. Like the snow in the cover, an almost White on White composition, the players lay down sheet after sheet of tones that, even when conforming clearly cut sequences, feels like staring into the sky. There’s a certain intensity to it, gazing into something too vast to apprehend, but…

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