Review Reblog – France Jobin – scènes — Fluid Radio

 

The various interlocking scenes of experimental and ambient music are geographically dispersed but nonetheless close-knit, and the effects of significant events in these genres ripple out far and wide. 285 more words

via France Jobin – scènes — Fluid Radio

 

New review: France Jobin’s “scènes” is a beautiful and moving tribute to her friend Mika Vainio

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Review Reblog – Sharon Gal: Brilliant Fish

We need no swords

galFractal Meat Cuts cassette and download

For those experimental musicians whose remit is the voice, making an explicit connection between the physical apparatus of breath making and its intangible, ethereal products is often a foundational part of the job. The growls, gargles, coos and shrieks of a Phil Minton or Meredith Monk foreground their bodily origins – lungs, throat, diaphragm, mouth – while offering routes through which the human voice can roam free from its usual sociolinguistic constraints. The tension is exacerbated when electronic processing is brought into the mix,  doubling or manipulating this organic source material. Something once thought of as quintessentially human – the voice – is transformed into digitized hybridity.

The work of composer, vocalist and improviser Sharon Gal exemplifies how these opposites – organism and machine, physical and incorporeal – are held in uneasy balance. Gal’s pterodactyl screeches and rutted, throaty gasps channel the satanic chanteuse…

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Reblog – ICEBERG THE DRIFT on Sublunar Society

There are an awful lot of modular synthesizers and also releases out there at the moment, but Ch. Webster always manages explore subjects that I wish to find out more about and creates something sonically interesting with the technology….

 

 

You can find ICEBERG THE DRIFT here on Sublunar Society

Christine Webster

Iceberg/The Drift is a poetic and sonic tribute to the Larsen C Ice shelf rift in Antartica which caused during the summer 2017 the complete breaking of the oversized A-68 iceberg, drifting now in the open sea for years, maybe decades.

It’s the second sound work, i composed being directly inspired from a natural catastrophy, like i did with the Fukushima Days project in 2012.

With Iceberg/The Drift, i investigate the structural ice shelf perception and the vibrant life hidden inside it from an organic and abstract perspective, working only with modular synthesis.

The seven tracks are available for preview on Soundcloud and the official release is set to the 12 january 2018 on Sublunar Society

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Review Reblog – Strië ~ Perpetual Journey

a closer listen

Perpetual Journey is inspired by the heartbreaking story of Laika the space dog, sent to an unwitting death in the most frightening of circumstances.  Looking outside the capsule, the creature had no sense of scale, or purpose, or the weight of expectations.  Instead she saw only the unfamiliar, spinning abyss.  Since then, she’s become a figure of tragic nobility, when all she really wanted was to come back home.

But as with all of Strië‘s productions, there’s an additional layer of meaning.  This isn’t just about the space dog.  On a personal level, the artist has twirled between pseudonyms before announcing that she and Olga Wojciechowska are the same artist, merging her personas, in essence returning home.  The cover art implies a capsule, and is echoed in the artist’s latest press photo, intimating that the artist is herself within a capsule, under scrutiny beyond what she desires, sent into…

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Review Reblog – Dalot and Sound Awakener – Little Things [Fluid Audio]

Stationary Travels

One of the most unexpected and pleasant surprises of the year so far is a stunning new collaboration between a pair of sound artists from separate continents – Dalot (Maria Papadomanolaki), originally from Greece and currently based in London, and Sound Awakener (Nhung Nguyen) from Hanoi, Vietnam.  Imaginatively conceived and elegantly packaged, Little Thingspresents a pastiche of sonic artifacts and divergent personal narratives transfigured into wondrous inner landscapes that become wholly immersive for the listener.

It starts from ground-level interactions, field recordings of soundwalks in parks, on the streets, hydrophones in rivers and contact microphones on bridges and delicately moves to the ethereal…The album creates a journey for the listener; a journey of changes between the two artists’ lives; the changes in seasons, life-events, ordinary moments and creative processes that affected the perspectives and emotional states within which this album was produced. In ‘Little Things’…

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Review Reblog – Bana Haffar ~ Matiere

It’s only the beginning of the year and I already feel swamped with new releases which is a good thing : )

You can get the release here

 

More here –

a closer listen

All manner of gorgeous tracks occupy Bana Haffar‘s Soundcloud page, many unreleased.  The Los Angeles artist has been swiftly building her sonic resume over the past two years, and Matiere is her latest public declaration.  This follow-up to last year’s Alif 12″ sees her continue to expand the length of her tracks into something resembling mini-sets; “Endo” and “Exo” are dual movements of the same work, at eighteen total minutes a light yet satisfying two course meal.

Much of Haffar’s work is with patches (see photo), but she keeps the shifts to a minimum here, preferring to approach the movements in different manners rather than to alter their base sound.  As “Endo” begins, it sounds like the tuning of a bass guitar, demonstrating the range of the Make Noise modular synthesizer.  One knows a song is going to break out; one simply doesn’t know when.  The wait turns…

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Maria W. Horn: Excitation – Frustration – Excitation

The title expresses everything in a good way..

 

We need no swords

HornConditional cassette / DL

Less shot through the head with a diamond bullet than being walloped repeatedly with a crystal hammer, Maria W. Horn’s ‘Excitation – Frustration – Excitation’ matches elegance with brutality in admirably brain-wrenching fashion. Tough kickdrums and serrated noise jags serve the pain, their unquiet digital gristle occasionally recalling Ben Frost at his glowering best. The title track is a fine example, its percussion stomping holes in the space time continuum through which pour gibbering waves of sleety, saturated howl.

Despite all that slurry, Horn’s compositions have a stony grandeur that impress as much as they terrify. Rapid-fire squelches, carousel synths and silky keystroke jabs lift things from the abyss, their textures nodding towards the disco, even if Horn keeps things awkward and arrhythmic. The clubby bleeps of ‘Voluntary Auto Intoxication’ sparkle in the spluttering backdrop like gemstones set into a cliff-face, while the steely, D&B-tastic tessellations…

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