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    <title>electronic music :: Neural.it</title>
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    <link rel="service.post" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2" title="electronic music :: Neural.it" />
    <updated>2013-04-26T08:04:08Z</updated>
    
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<entry>
    <title>Ulrich Troyer meets Georg Blaschke - Somatic Soundtracks</title>
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    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10539" title="Ulrich Troyer meets Georg Blaschke - Somatic Soundtracks" />
    <id>tag:www.neural.it,2013:/sound//2.10539</id>
    
    <published>2013-04-26T09:03:10Z</published>
    <updated>2013-04-26T08:04:08Z</updated>
    
    <summary>CD - 4Bit Among the cuts of Somatic Soundtracks we find analogue synthesizers, loops, effects and guitars. The compositions were created in 2010 and 2012 to provide material for the choreographic work of Georg Blaschke, a dancer and maths/philosophy/pedagogy graduate....</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Ulrich Troyer meets Georg Blaschke - Somatic Soundtracks, 4Bit Productions, Neural, electronic, experimental, minimal, audio art, Aurelio Cianciotta, Ulrich-Troyer-meets-Georg-Blaschke_Somatic-Soundtracks.jpg" src="http://www.neural.it/sound/images5/Ulrich-Troyer-meets-Georg-Blaschke_Somatic-Soundtracks.jpg" width="110" height="110" align="left" /><b>CD - 4Bit </b><br>
Among the cuts of Somatic Soundtracks we find analogue synthesizers, loops, effects and guitars. The compositions were created in 2010 and 2012 to provide material for the choreographic work of Georg Blaschke, a dancer and maths/philosophy/pedagogy graduate. Blaschke was previously ]]>
        a member of Pilottanzt, a contemporary dance academy very interested in inter-disciplinary collaboration and the integration of different formal languages. The scores here are very minimal, sensitive and pulsating. They are articulated by a symbiotic harmony of atmospheres, movements and spaces, deconstructed in experimental blends and saturated with a mixture of noises and drones, producing hypnotic sequences. The fascinating result is partly due to the multichannel audio techniques employed. The quality of the sound and the merging of acousmatic features are evidence of an approach that doesn’t get stuck in abstractions or formalisms, and there are clear references to Troyer’s passion for dub, reggae and techno. There is no lack of rigour and coherence on display and listeners should bear in mind the original context of the compositions – focus should be placed on the inner worlds recalled, on the passages of “scenes” and on the iterations of the different audio elements that suddenly form exciting new musical units. There is a certain lack of information available regarding how the two artforms are conjoined in the performance of this work, but this absence is largely made up for by the narrative density and extensive imaginative scope of the sounds. 



    </content>
</entry>
<entry>
    <title>Radiomentale / Eric Pajot - I-Land</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/04/radiomentale_eric_pajot_iland.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10529" title="Radiomentale / Eric Pajot - I-Land" />
    <id>tag:www.neural.it,2013:/sound//2.10529</id>
    
    <published>2013-04-23T09:49:33Z</published>
    <updated>2013-04-23T08:51:33Z</updated>
    
    <summary>CD - f4 Music On first listening it is not easy to recognize the genealogy of this duo, whose origins are grounded in the rave and techno scenes of the nineties, in dj culture, and in a fascination with synthetic...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="ambient" />
            <category term="drone" />
            <category term="field recordings" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Radiomentale, Eric Pajot, - I-Land, f4 Music, field recordings, drone, texture, field recordings, Aurelio Cianciotta, Radiomentale_Eric-Pajot_ILand.jpg" src="http://www.neural.it/sound/images5/Radiomentale_Eric-Pajot_ILand.jpg" width="110" height="110" 
align="left" /><b>CD - f4 Music</b><br>
On first listening it is not easy to recognize the genealogy of this duo, whose origins are grounded in the rave and techno scenes of the nineties, in dj culture, and in a fascination with synthetic sounds and sci-fi movie settings. Jean-Yves Leloup and Eric Pajot, aka Radiomentale]]>
        <![CDATA[, maintain the evocative flavour of those years, hypnotically aesthetic and soaked with declarative vocals. In this work, however, we encounter a totally new approach, packed full of field recordings and drones, acoustic sounds and digital weaves. The audio captures include recordings made in both natural and urban environments, giving life to very ethereal textures. The first of the three substantial tracks of this project was inspired by “Carré Blanc”, a dystopian film by the Canadian director Jean-Baptiste Leonetti, an author familiar with futuristic contexts filled with dark and pervasive atmospheres. “Sinking”, a more dilated but nicely textured score, features insistent, well-balanced and modulated iterations, presenting electronic manipulations and sound passages with sensitive interlacing and rarefied strings. The album closes with “Gotlander”, a solo work by Eric Pajot, whose recordings were captured during a journey through the homonymous Swedish island during the shoot of a movie called Are you there by Grégory Abou. This composition is also very ambient and filled with various quotes, in the wake of the Tarkovskij and Bergman desert and freezing imagination. It is evocative of mysterious lands and features an abstract narration, playing with various references and suggestions. <br><font size=1>Aurelio Cianciotta</font>
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    </content>
</entry>
<entry>
    <title>Plinth - Collected Machine Music</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/04/plinth_collected_machine_music.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10527" title="Plinth - Collected Machine Music" />
    <id>tag:www.neural.it,2013:/sound//2.10527</id>
    
    <published>2013-04-18T09:39:51Z</published>
    <updated>2013-04-18T08:38:31Z</updated>
    
    <summary>CD - Time Released Sound We are immediately moved to an unreal dimension, hyper melodious and out of time. This work has been realized using boîte à musique (music boxes), devices that function as automatic instruments. Thin sheets of steel...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Plinth, Collected Machine Music, Time Released Sound, ambient, classical, experimental, folk, minimalist, machine music, mechanical music, michael tanner, music box, toy music, victorian, United Kingdom, Aurelio Cianciotta, Plinth_Collected-Machine-Music.jpg" src="http://www.neural.it/sound/images5/Plinth_Collected-Machine-Music.jpg" width="110" height="110" 
align="left" /><b>CD - Time Released Sound</b><br>
We are immediately moved to an unreal dimension, hyper melodious and out of time. This work has been realized using boîte à musique (music boxes), devices that function as automatic instruments. Thin sheets of steel arranged in combs are made to vibrate using pins and rollers or a spinning plate, producing]]>
        <![CDATA[lush chords. Music boxes are typically small in construction, though larger versions (sometimes the size of large pieces of furniture) have been created for use in the bell towers of churches, civic building and monasteries. The roller acts as a sort of lo-fi hard disk, containing the information to be played and the track length is limited to its circumference. Time Released Sound has released this work in the form of an elegant box containing a limited edition cd, a music box and equipment for creating a personalized melody. Michael Tanner (the real name of the eccentric English artist) is not new to inventive projects that combine sound production and broader aesthetic concerns. Collected Machine Music should not be conceptualized as a merely historicist endeavour; the hybrid compositions sound contemporary and are highly enjoyable. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Mathias Delplanque - Chutes</title>
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    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10524" title="Mathias Delplanque - Chutes" />
    <id>tag:www.neural.it,2013:/sound//2.10524</id>
    
    <published>2013-04-12T10:17:44Z</published>
    <updated>2013-04-12T09:18:14Z</updated>
    
    <summary>CD - Baskaru Mathias Delplanque is a talented musician with experience performing sound installation works and electro-acoustic compositions. His creations often balance objects and audio captures, giving life to interesting digital textures. His approach includes improvisational elements but emphasis is...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
            <category term="field recordings" />
            <category term="impro" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Mathias Delplanque, Chutes, Baskaru, Karu, elettroacustica, experimental, free form, impro, Aurelio Cianciotta, Mathias-Delplanque_Chutes.jpg" src="http://www.neural.it/sound/images5/Mathias-Delplanque_Chutes.jpg" width="124" height="110" align="left" /><b>CD - Baskaru</b><br>
Mathias Delplanque is a talented musician with experience performing sound installation works and electro-acoustic compositions. His creations often balance objects and audio captures, giving life to interesting digital textures. His approach includes improvisational elements but emphasis is ]]>
        <![CDATA[also placed on structured frameworks. This latest work appears to occupy a middle ground: Chutes is filled with dark atmospheres, sharp passages and deafening, swollen sounds. The elaborations are realized through a streamlined strategy, allowing different stages of production (execution, manipulation, mixing) to flow seamlessly into one another. The results are then transformed into live solo performances, without the addition of overdubs. The evolutions of the experimenter and sound-artist, a native of Ouagadougou, Burkina Faso (but now resident in Nantes) are persuasive. They are, however, always permeated by a pulsating anxiety, crammed with ticking sounds and a very broad and ethereal “dubbing”. The more abstract sequences produce a suspended narration: captivating, melancholy and elliptical, dripping with the relationship between space and music, places and resonances. The Baskaru staff should be pleased with the result: Delplanque ranges over uncertain territory, but always keeps an intense inner coherence, a mix of recurring drones and ambient textures that are unexpected, persistent and hypnotic. Here the sound particles combine to form an emotionally sweet and melancholic intrigue.
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>Ephraim Wegner &amp; Julia Weinmann - Eins Bis Sechzehn</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/04/ephraim_wegner_julia_weinmann_eins_bis_sechzehn.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10522" title="Ephraim Wegner &amp; Julia Weinmann - Eins Bis Sechzehn" />
    <id>tag:www.neural.it,2013:/sound//2.10522</id>
    
    <published>2013-04-09T09:19:41Z</published>
    <updated>2013-04-09T08:20:14Z</updated>
    
    <summary>CD - Crónica A hotel in ruins, burdened with memories and environments evocative of fascinating decadence. Here are spaces that became uninhabitable, now only remotely reminiscent of the splendour of the 60s through 80s, during which period the tourist industry...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="field recordings" />
            <category term="soundscapes" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Ephraim Wegner & Julia Weinmann, Eins Bis Sechzehn, Crónica, Miguel Carvalhais, field recordings, audio art, Fast Fourier Transform, granular synthesis, site specific, modernist, Clovis Vallois,  Ephraim-Wegner-&-Julia-Weinmann_Eins-Bis-Sechzehn.jpg" src="http://www.neural.it/sound/images5/Ephraim-Wegner-%26-Julia-Weinmann_Eins-Bis-Sechzehn.jpg" width="110" height="110" align="left" /><b>CD - Crónica</b><br>
A hotel in ruins, burdened with memories and environments evocative of fascinating decadence. Here are spaces that became uninhabitable, now only remotely reminiscent of the splendour of the 60s through 80s, during which period the tourist industry embraced an approach that leaned ]]>
        <![CDATA[on a depersonalized and “modernist” sensibility. The location is, however, more than just a pile of rubble, re-appropriated by weeds, animals and insects. The spaces still “breath” and screech and murmur, appearing to persist as an independent entity. In Eins Bis Sechzehn Ephraim Wegner and Julia Weinmann present a work that transforms the surroundings through photos and live recordings, weaving together identities and relationships between the transitory groups of people who stayed there. In this sense the artist is not anymore a simple on-site correspondent limited to recording the ‘actuality’ of the sights and sounds of a particular moment in time. Some recordings have been treated in post-production with FTT techniques (Fast Fourier Transform) and granular synthesis. Finally, a special mention should go to Miguel Carvalhais for the highly calibrated mastering and to Clovis Vallois for the packaging; a minimal and refined 6'' box, which includes a number of very high quality photographic images.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>AAVV - Between</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/04/aavv_between.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10520" title="AAVV - Between" />
    <id>tag:www.neural.it,2013:/sound//2.10520</id>
    
    <published>2013-04-05T09:47:37Z</published>
    <updated>2013-04-05T09:16:59Z</updated>
    
    <summary>CD - 12K Recorded live at the Kinse Ryokan in Kyoto, on 8th October 2012, Between is the creation of an ensemble of uncommon talent and inspiration. It is rare to come across a roster that combines such names as...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="experimental" />
            <category term="field recordings" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="AAVV, Between, 12K, Simon Scott, Corey Fuller, Marcus Fischer, Tomoyoshi Date, Taylor Deupree, Recorded live at Kinse Ryokan, Kyoto, on October 8th, 2012, experimenta, drone, impro, audio art, sound designer, Aurelio Cianciotta, AAVV_Between.jpg" src="http://www.neural.it/sound/images5/AAVV_Between.jpg" width="110" height="110" align="left" /><b>CD - 12K</b><br>
Recorded live at the Kinse Ryokan in Kyoto, on 8th October 2012, Between is the creation of an ensemble of uncommon talent and inspiration. It is rare to come across a roster that combines such names as Taylor Deupree, Simon Scott, Corey Fuller, Marcus Fischer and Tomoyoshi Date. Although]]>
        <![CDATA[the work of a formidable team, the textures in Between are not overwrought and there is no pervading sense of incoherence through multiple voices. The varying stylistic approaches that inform the whole are not so easily identified, however. The treatments are sensitively realized, conjuring whispering, ethereal atmospheres. They are well defined in their harmonic movements, remaining quiet and sweetly melancholic. The album consists of a series of small details shared, a transient condensation of breaths and airy essential musicality, “tuned” with the assistance of contact microphones, eccentric audio captures and harmonic glares. The location of the performance – a traditional Japanese inn, refurbished with touches of art deco during the first Showa age – has proved to be a suggestive environment, with interesting acoustical properties generated by wooden floors and glass walls. The work breathes life into a calm and enchanting location in which it is possible to find refuge, connecting with the tradition of the ryokan, where travellers could stay, finding shelter and rest during long journeys. 12K should be very satisfied – another small but precious gem added to the catalogue of this praiseworthy label. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Tree People, Pokemachine - Split</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/03/tree_people_pokemachine_split.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10331" title="Tree People, Pokemachine - Split" />
    <id>tag:www.neural.it,2013:/sound//2.10331</id>
    
    <published>2013-03-27T11:22:36Z</published>
    <updated>2013-03-27T10:23:39Z</updated>
    
    <summary>7&quot; + 3D book - Le Petit Mignon Located in the shop of the Staalplaat crew in Berlin, Le Petit Mignon is a music label that also hides a publishing house and an itinerant art gallery focused on DIY culture,...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="noise" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Tree People, Pokemachine, Split, Staalplaat, Le Petit Mignon, improvisation, noise, experimental, electronic, DIY, underground art, Aurelio Cianciotta, Tree-People,-Pokemachine---Split.jpg" src="http://www.neural.it/sound/images5/Tree-People%2C-Pokemachine---Split.jpg" width="110" height="111" align="left" /><b>7" + 3D book -  Le Petit Mignon</b><br>
Located in the shop of the Staalplaat crew in Berlin, Le Petit Mignon is a music label that also hides a publishing house and an itinerant art gallery focused on DIY culture, underground art and graphic design. The company has recently released a new album that is absolutely worthy of attention]]>
        <![CDATA[. This production is on the whole very interesting and unconventional for several reasons: first, the tendentious artwork by Fredox, presented with a diaphanous-emerald colour flexi disc and 3D glasses, and, from a musical point of view, for the rough sound, brutal and pervasive, realized by a combination of two noise bands, Tree People and Pokemachine. Furthermore, there is also a 12-page 3D booklet presenting the vitriolic prints of Le Dernier Cri. The first ensemble consists of John Hegre, Morten J. Olsen and Ignaz Schlik, while the second includes Anders Hana and Mat Pogo. In spite of the implicit differences in their approach to sound (though both are more or less structured, sharp, iterated, improvised and percussive) the feeling doesn't change: harsh, monolithic, with penetrating and underground vocals. The album can be compared a certain avant-rock school with small electronic insertions and punkish theatricality. The contrasts and the similarities between the two compositions, “The Early Years” and “Eg Ottast Ingen” are not so important; what matters is the renewed interest of the new generations in experimental audio-abuse. The live elements of this extravaganza production (the meta-rock performances and compulsive rhythms) also deserve a mention. The first live exhibitions arranged by Le Petit Mignon took place in Tokyo and Osaka at the beginning of 2012 and they will soon be on tour in Europe. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Quartz - Five Years On Cold Asphalt</title>
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    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10329" title="Quartz - Five Years On Cold Asphalt" />
    <id>tag:www.neural.it,2013:/sound//2.10329</id>
    
    <published>2013-03-21T11:27:39Z</published>
    <updated>2013-03-21T10:28:30Z</updated>
    
    <summary>CD - Crónica His debut album on Crónica Electronica, a Portuguese label well known to the lovers of the experimental scene, Five Years On Cold Asphalt is the beginning of the solo career of Alexandr Vatagin, aka Quarz, already famous...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="drone" />
            <category term="experimental" />
            <category term="field recordings" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Quartz, Five Years On Cold Asphalt, Crónica, field recordings, drone, Alexandr Vatagin, Electronic, Experimental, Alexander Schubert , Nicolas Bernier, Martin Siewert, Stefan Nemeth, David Schweighart, Bernhard Breuer, Tupolev, Port Royal, Aurelio Cianciotta, Quartz---Five-Years-On-Cold-Asphalt.jpg" src="http://www.neural.it/sound/images5/Quartz---Five-Years-On-Cold-Asphalt.jpg" width="124" height="110" align="left" /><b>CD - Crónica</b><br>
His debut album on Crónica Electronica, a Portuguese label well known to the lovers of the experimental scene, Five Years On Cold Asphalt is the beginning of the solo career of Alexandr Vatagin, aka Quarz, already famous for his collaborations with Valeot and Liska Records, and for his commitment ]]>
        to the Tupolev ensemble and Port Royal. The Viennese artist realizes refined scans, blending field recordings and drones, electronics and electroacoustics, microtones and pulsing audio emergencies, creating passages that are always mellow and mysterious, involving and animated by passion. Vatagin’s mixes seem to combine many different stylistic approaches: as a result, he makes possible a coexistence between free improvisation and abstract jazz influences, the digital contributions of Alexandre Schubert and Nicolas Bernier, Martin Siewert, Stefan Nemeth and David Schweighart’s guitar, synth and samples and Bernhard Breuer’s drums. We are presented with a very personal cosmogony, filled with textures that are full of life and supported by a complex musical plot. As if by magic, passages with no apparent shape gradually find their own way. The record leaves a strong impression on the listener for a number of reasons, including the sensitivity and the linear progression of the harmonic characters and the alternation and mutual transformation of opposing elements. Due to this meeting, something coherent and complete comes to life, underpinned by the creation of elegant, reactive and changeable synthonies. 
    </content>
</entry>
<entry>
    <title>Nad Spiro - Atomic Spy</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/03/nad_spiro_atomic_spy.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10328" title="Nad Spiro - Atomic Spy" />
    <id>tag:www.neural.it,2013:/sound//2.10328</id>
    
    <published>2013-03-18T06:30:06Z</published>
    <updated>2013-03-18T05:31:52Z</updated>
    
    <summary>CD - Geometrik Dark, twisted, cerebral resonances filled with electronic retreats and industrial audio emergencies are mixed with drones, percussive electroacoustic insertions and clotted vocal breaks. The whole generates maudit suggestions and shocking and claustrophobic atmospheres that maintain a great...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="drone" />
            <category term="electronica" />
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Nad Spiro, Atomic Spy, Geometrik, electronic, experimental, drone, Aurelio Cianciotta, Nad-Spiro---Atomic-Spy.jpg" src="http://www.neural.it/sound/images5/Nad-Spiro---Atomic-Spy.jpg" width="110" height="110" align="left" /><b>CD - Geometrik</b><br>
Dark, twisted, cerebral resonances filled with electronic retreats and industrial audio emergencies are mixed with drones, percussive electroacoustic insertions and clotted vocal breaks. The whole generates maudit suggestions and shocking and claustrophobic atmospheres that maintain a great charm ]]>
        <![CDATA[and leave an impressive mark on the listener. As usual Rosa Arruti, aka Nad Spiro, is able to manipulate different textures, employing experimental techniques to explore a universe of suggestions that feel very dark and underground in tone. Although the basic elements are more accessible to the listener than the extreme conceptualisms, they do create a kind of niche as they interweave several unconventional elements of the dreamy environment via cut-upping and editing procedures, ghostly harmonic loops and guitar samples. The narration proceeds with connotations of nighttime and hyper-metropolitan surroundings, as if searching for the synthetic and the inorganic, in a manner reminiscent of Ballard novels. It pulses with a sense of its own self-referential development, while remaining ambiguous in the creation of its own inner contrasts. The release is published by Geometrik Records, a label that has already published Nad Spiro’s Vs. Enemigos De Helix, Fightclubbing and Tinta Invisibile. This musical route began in 2000 and is still characterized by a very strong and passionate outlook; insane and yet fascinating. 
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>Murmer - What Are The Roots That Clutch</title>
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    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10326" title="Murmer - What Are The Roots That Clutch" />
    <id>tag:www.neural.it,2013:/sound//2.10326</id>
    
    <published>2013-03-12T10:27:20Z</published>
    <updated>2013-04-14T18:32:39Z</updated>
    
    <summary>CD - Helen Scarsdale Under the moniker of Murmer hides Patrick McGinley, a field recordist who we remember for his We Share a Shadow, released in 2007 and the interesting live albums with Jim Haynes, another sound artist who works...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="drone" />
            <category term="experimental" />
            <category term="field recordings" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Murmer, What Are The Roots That Clutch, Helen Scarsdale, field recordings, experimental, site-specific, acusmatica, ambient, drone, Aurelio Cianciotta, Murmer---What-Are-The-Roots-That-Clutch.jpg" src="http://www.neural.it/sound/images5/Murmer---What-Are-The-Roots-That-Clutch.jpg" width="110" height="110" align="left" /><b>CD - Helen Scarsdale</b><br>
Under the moniker of Murmer hides Patrick McGinley, a field recordist who we remember for his We Share a Shadow, released in 2007 and the interesting live albums with Jim Haynes, another sound artist who works with Helen Scarsdale, a label specializing in the ambient and drone genres]]>
        <![CDATA[. McGinley is also well known for his radio broadcasts, which focus on site-specific explorations and on sound as a distinctive matrix of the places under consideration, in order to recreate a non-fleeting relationship between listeners and their surroundings. In this work the experimenter has been greatly fascinated by the dull emissions and vibrations of an air duct, sounds with an iterated murmuring quality offset by whistles and micro-emergences, glitches and disturbances. There are also passages with a more acousmatic quality, natural sounds, rough percussive elements, semi-melodic patterns and insertions of liquid digressions. In the various forms expressed in the recordings there are several audio features that are typical of an approach to composition that is not simply documentary or objective in nature. The captures become an opportunity to create a sensitive microcosmos wherein it is possible compare and create a dimension for every movement, every variation of volume and management of sound intensity: a dream journey in the artistic universe, maybe sometimes too abstract but defiantly not lacking elegance and a capacity for transmission. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Lingouf - Terre De Pierres</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/03/lingouf_terre_de_pierres.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10323" title="Lingouf - Terre De Pierres" />
    <id>tag:www.neural.it,2013:/sound//2.10323</id>
    
    <published>2013-03-08T10:31:35Z</published>
    <updated>2013-03-08T09:32:34Z</updated>
    
    <summary>CD- Ant-Zen The record opens with the minimal sounds of a clock, its ticking mixed with very frail ambient sounds. The texture gradually fills out with overlapping recordings and other elements that reveal a melodic and rhythmic matrix. The matrix...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Lingouf, Terre De Pierres, Ant-Zen, experimental, elettronica, acoustic, digital, field recordings, Aurelio Cianciotta, Lingouf---Terre-De-Pierres.jpg" src="http://www.neural.it/sound/images5/Lingouf---Terre-De-Pierres.jpg" width="110" height="110" align="left" /><b>CD- Ant-Zen</b><br>
The record opens with the minimal sounds of a clock, its ticking mixed with very frail ambient sounds. The texture gradually fills out with overlapping recordings and other elements that reveal a melodic and rhythmic matrix. The matrix appears to be based on a fascination with time, with cryptic ]]>
        <![CDATA[orchestrations creating the sense of something scanning.   This album by Vincent Lingouf mixes analogue electronics, acoustic instruments and field recordings. Lingouf is clearly an unconventional artist who has moved from comics to music and who is prone to sudden stylistic changes. Without hesitation he migrates from classical-influenced compositions to breakcore. In spite of the many influences perceivable in his work the scores remain defiantly musical, not too far removed from certain electroacoustic experimentations. The French artist, native of the Lower Normany area, is able to manipulate a certain structural naïveté (ingenuity). His poetic inspiration accommodates recordings of an accordion, water and filled crystal glasses. He adds emphatic and very melodic loops via a Bontempi pipe organ, together with metal sounds and his own voice. Terres De Pierres effectively integrates catchy atmospheres, crooked rhythms, instrumental resonances and stylistic consonances. There is an obvious pleasure in producing music in a very free way on display here, with no sense of the artist following specific tendencies and abstractions. This very cross-sectional conceptualism and declaration of style comes across as a precise choice, not produced entirely from spontaneity and simple impulses. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Lawrence English - For / Not For John Cage</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/03/lawrence_english_for_not_for_john_cage.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10322" title="Lawrence English - For / Not For John Cage" />
    <id>tag:www.neural.it,2013:/sound//2.10322</id>
    
    <published>2013-03-06T09:34:45Z</published>
    <updated>2013-03-06T08:35:01Z</updated>
    
    <summary>CD - Line The ambivalence of the title “For/Not For John Cage” and the reference to the master (whose birthday saw its hundredth anniversary last year) is suggestive of a versatile, multi-sided and chaotic treatment. While partially the case the...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Lawrence English, For / Not For John Cage, Line, Experimedia, ambient, experimental, musica aleatoria, Aurelio Cianciotta, Lawrence-English---For-Not-For-John-Cage.jpg" src="http://www.neural.it/sound/images5/Lawrence-English---For-Not-For-John-Cage.jpg" width="110" height="110" align="left" /><b>CD - Line</b><br>
The ambivalence of the title “For/Not For John Cage” and the reference to the master (whose birthday saw its hundredth anniversary last year) is suggestive of a versatile, multi-sided and chaotic treatment. While partially the case the record also features pleasantly iterated and ambient frequencies]]>
        <![CDATA[. Laurence English unravels his textures in elegantly breezy and evocative passages, whispering and rarefied. Here we have a “refurbishment” and reinterpretation of one of Cage’s last works, One11 With 103, from 1991/2, a delicate piece organized for a black and white film without script that is evocative of dilated and ethereal time. The perception of absence, of emptiness as opposed to presence, and the casual quality of the unfolding is exploited by English, here joined by video-artist Scott Morrison who takes on the role of original director of photography Theodore Carlson. Throughout this process of “drawing from the real”, the intimate participation in Cage’s vision has produced additional materials: the section called “Not For John Cage”, which is drenched in a moving and philosophical atmosphere, permeated with uncertain and emotionally vague elements. Near the end a sophisticated quote is included, wherein a mushroom peeps out during a fade, referencing Cage’s curious appearance on an Italian tv quiz show “Lascia o Raddoppia” in the fifties in the guise of a mycologist.  
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>Kid Koala - 12 Bit Blues</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/03/kid_koala_12_bit_blues.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10319" title="Kid Koala - 12 Bit Blues" />
    <id>tag:www.neural.it,2013:/sound//2.10319</id>
    
    <published>2013-03-01T11:09:38Z</published>
    <updated>2013-03-01T10:09:52Z</updated>
    
    <summary>CD - Ninja Tune Thanks to the ability and versatility of Kid Koala, it is possible that an album in an oblique blues style with abstract hip-hop contaminations may also assume more experimental connotations, attractive to a certain niche audience...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Kid Koala, 12 Bit Blues, Ninja Tune, abstract hip-hop, experimental, Neural, Aurelio Cianciotta, Kid-Koala---12-Bit-Blues.jpg" src="http://www.neural.it/sound/images5/Kid-Koala---12-Bit-Blues.jpg" width="112" height="112" align="left" /><b>CD - Ninja Tune</b><br>
Thanks to the ability and versatility of Kid Koala, it is possible that an album in an oblique blues style with abstract hip-hop contaminations may also assume more experimental connotations, attractive to a certain niche audience used to dissonances, manipulations and other extreme exercises in style]]>
        <![CDATA[. The Canadian dj and turntablist is well known for his radical and speculative approach, being among the first to experiment with new scratching techniques that allow him to play the record player as a melodic instrument. This album works on the evolution of the blues, (especially the raw elements of the first wave) which was a precursor of jazz, rap and graffiti street culture. Here “bit” – the unit of measurement and unavoidable landmark of any contemporary digital production - supplants “bar” - 12-bar blues being the standard form of the genre. The release has a playful tone to it and there is a small cardboard hand-powered turntable kit and flexi-disc included with each limited edition CD. The “vintage” charm of the record is maintained by the exclusive use of an old E-mu SP-1200, a classic drum machine from the late eighties, which has been operated without recourse to software. The crowds of b-boyz will rejoice in the old skool vibe and the troops of “experimental” fans will wink satisfied.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Dakim - 34 Fragments</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/02/dakim_34_fragments.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10317" title="Dakim - 34 Fragments" />
    <id>tag:www.neural.it,2013:/sound//2.10317</id>
    
    <published>2013-02-27T10:48:47Z</published>
    <updated>2013-02-27T09:48:16Z</updated>
    
    <summary>CD - Senufo Editions From the San Francisco Bay Area in California comes Dakim Saadiq, also known under the moniker Dak as an abstract hip-hop producer and lo-fi experimenter. In 34 Fragments, varying the sound quality of his sources, Saadiq...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="abstract" />
            <category term="experimental" />
            <category term="field recordings" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Dakim, 34 Fragments, Dak, Senufo Editions, abstract hip hop, Bay Area Rapid Transit (BART), field recording, experimental, Aurelio Cianciotta, Dakim---34-Fragments.jpg" src="http://www.neural.it/sound/images5/Dakim---34-Fragments.jpg" width="110" height="110" 
align="left" /><b>CD - Senufo Editions</b><br>
From the San Francisco Bay Area in California comes Dakim Saadiq, also known under the moniker Dak as an abstract hip-hop producer and lo-fi experimenter. In 34 Fragments, varying the sound quality of his sources, Saadiq subjects his audio captures – collected along the many branches ]]>
        <![CDATA[of the Bay Area Rapid Transit (BART), the rapid transport network that extends for more than 160 kilometers – to tape cassette treatments. These were then added to other recordings from his collection, making cuts, overdubs and manipulations directly on the project master tape, purposefully manipulating pitches and employing various compositional techniques. Some parts turn out to be more bare, composing something similar to environmental background music, an amplification of rustling and a loss of sound “coherence”, with the addition of audio loops and the products of studio editing. The subsequent developments prove to be more percussive and it is hard to tell if they are a result of neutral captures or production. The whole is permeated by infinite passages that stray between analogue and digital worlds, in a kind of post editing audio-abuse. The result is charming, enigmatic and a thousand miles away from the artist’s musical “origins”. Dakim allows himself to be transported by his knowledge of recording processes and doesn’t let many aesthetic-emotional moves “flood” the coherence of the project, creating a sensitive and involving experience for his listeners. 
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>John Cage - Song Books</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2013/02/john_cage_song_books.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=10316" title="John Cage - Song Books" />
    <id>tag:www.neural.it,2013:/sound//2.10316</id>
    
    <published>2013-02-21T11:01:23Z</published>
    <updated>2013-02-21T10:02:31Z</updated>
    
    <summary>2CD + booklet - Sub Rosa The re-release of a John Cage work always gives a reviewer the opportunity to underline the importance of this figure in the evolution of the contemporary music. 2012 saw the hundredth anniversary of the...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="John Cage, Song Books, Sub Rosa, contemporary music, Compositions, Aurelio Cianciotta, John-Cage---Song-Books.jpg" src="http://www.neural.it/sound/images5/John-Cage---Song-Books.jpg" width="112" height="112" align="left" /><b>2CD + booklet - Sub Rosa</b><br>
The re-release of a John Cage work always gives a reviewer the opportunity to underline the importance of this figure in the evolution of the contemporary music. 2012 saw the hundredth anniversary of the composer’s birth, resulting in celebrations and special event across the world]]>
        <![CDATA[. John Cage was a very special author, theorist and an absolute pioneer of the most atypical and progressive events of twentieth century music. He was fundamental to the elaboration of key concepts such as open-endedness and unconventional instrument usage. Compositions like 4′33″ (4 minutes and 33 seconds of silence) were able to overturn the traditional relationships between life and art. The Song Books are a collection of short works from 1970 that includes four kinds of tracks: songs, songs performed with electronic instruments, notes for theater performances and notes for theater performances with electronic instruments. According to Cage’s instructions, “any of them could be performed by one or more singers” and a variety of music notation systems are considered. Originally conceived in three volumes, the collection is now presented by Sub Rosa in a 2 CD package with a 24-page booklet, complete with pictures, scores, exclusive content and the first ever recording of “Solos for Voice”. 
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>

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