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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>2012-02-07T10:56:30Z</updated>
    
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<entry>
    <title>Thorsten Knaub - Listening Station</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/02/thorsten_knaub_listening_station.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=9206" title="Thorsten Knaub - Listening Station" />
    <id>tag:www.neural.it,2012:/sound//2.9206</id>
    
    <published>2012-02-07T10:56:16Z</published>
    <updated>2012-02-07T10:56:30Z</updated>
    
    <summary>CD - Thorsten Knaub Thorsten Knaub - Listening Station It&apos;s not the first time - of course - and it won&apos;t be the last here at Neural that in an experimental music, soundscapes or field recordings review we concern ourselves...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
            <category term="field recordings" />
            <category term="soundscapes" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Thorsten Knaub, Listening Station, site-specific, experimental music, soundscapes, field recordings, shakuhachi, Teufelsberg, Berlin, National Security Agency, Aurelio Cianciotta, Thorsten-Knaub---Listening-Station.jpg" src="http://www.neural.it/sound/images5/Thorsten-Knaub---Listening-Station.jpg" width="114" height="109" align="left" /><b>CD - Thorsten Knaub</b><br>
Thorsten Knaub - Listening Station

It's not the first time - of course - and it won't be the last here at Neural that in an experimental music, soundscapes or field recordings review we concern ourselves with audio productions that are somehow correlated with architectures and abandoned spaces, be they buildings or disused structures, old ]]>
        <![CDATA[factories or former military bunkers. What happens to buildings, when people simply move and leave the place unused? The decay of territory and the obsolescence of technologies and social organization models today often give rise to such situations: we are not surprised, then, that the inspiration for a project like this one comes from the radar station of Teufelsberg in Berlin, a former listening center of the American National Security Agency, a set of buildings placed on an artificial hill in the Western periphery of the German metropolis. We can't afford not to underline just how these kinds of spaces remind us that in the years after the war, technologies became an important part of the everyday life of millions of people. Thorsten Knaub - to tell the truth - is an eclectic investigator, an artist who doesn't limit his actions to sound research, even though in the first digression of the record he seems to concentrate on the "musical" rather than the "conceptual" aspect of the operation, perhaps fascinated by the recent discovery of the shakuhachi, a traditional Japanese straight flute, made of bamboo, an instrument often used in Buddhist meditation and effective, in this case, at sketching improvisational threads, iterated patterns and dreamy site-specific digressions.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Fabio Selvafiorita / Valerio Tricoli - Death By Water</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/02/fabio_selvafiorita_valerio_tricoli_death_by_water.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=9204" title="Fabio Selvafiorita / Valerio Tricoli - Death By Water" />
    <id>tag:www.neural.it,2012:/sound//2.9204</id>
    
    <published>2012-02-02T10:41:12Z</published>
    <updated>2012-02-02T10:45:23Z</updated>
    
    <summary> CD - Die Schachtel It&apos;s not irrelevant that &quot;Death By Water&quot; was recorded on the small island of Giudecca in Venice, even if the distilled threads shine very abstractly and synthetically - a highly imaginative trip among field recordings,...</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="Fabio Selvafiorita, Valerio Tricoli, Death By Water, Die Schachtel, audio art, experimental, field recordings, Neural, Aurelio Cianciotta, Fabio Selvafiorita : Valerio Tricoli - Death By Water.jpg" src="http://www.neural.it/sound_it/images5/Fabio%20Selvafiorita%20%3A%20Valerio%20Tricoli%20-%20Death%20By%20Water.jpg" width="172" height="156" align="left" />
<b>CD - Die Schachtel</b><br>
It's not irrelevant that "Death By Water" was recorded on the small island of Giudecca in Venice, even if the distilled threads shine very abstractly and synthetically - a highly imaginative trip among field recordings, effects and multi-faceted patterns, effectively unraveled by Fabio Selvafiorita and Valerio ]]>
        <![CDATA[Tricoli, two investigators who aren't new to weaving digital suggestions of various natures and semantical structures. Things, events, attributions and connections - in the process of understanding a work - always imprint their manifestations, even if in the research spheres they often differ in their true grammatical connections: the nature and quality of the sounds - in this case - are particularly evocative, serial, rarefied and very descriptive at the same time, resulting from a narrative, poetic and sensitive attitude. It's mostly muffled frequencies, enigmatic sound signals, echoes and fluid sound emergencies,  recorded and then manipulated in a studio. Obscure vocal threads are added, alongside overlapping fluidities and jumps, evoking improvisational lyricisms, post-production technicalities and acousmatic refinements. Successions, eddies, sound gusts and ambivalent moods infect the virtuosities of "Death By Water" -  a title with clear reference to Eliot's work, an author equally at ease with strange and "desolate lands". A gain and a loss in the evocation of the verses of "The Waste Land" proudly breaks into whispers, intense virtuosities and falls: water purifies sins but at the same time it can bring a slow and painful death. 
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>Paul Baran - Panoptic</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/01/paul_baran_panoptic.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8890" title="Paul Baran - Panoptic" />
    <id>tag:www.neural.it,2012:/sound//2.8890</id>
    
    <published>2012-01-26T15:36:46Z</published>
    <updated>2012-01-26T15:37:51Z</updated>
    
    <summary>CD - Fang Bomb A hoarse voice stands out. This is the beginning of &quot;Scotona Song&quot;, conceived as something like an opening sketch that features walkie-talkie humming and a droning organ - a dirge characterized by minimal but expressive musical...</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="Paul Baran, Panoptic, Fang Bomb, experimental, avant-jazz, elettroacustica, Werner Dafeldecker, Keith Rowe,  Andrea Belfi, Michel Foucault, Sorvegliare e punire, panopticon, Aurelio Cianciotta, Paul-Baran---Panoptic.jpg" src="http://www.neural.it/sound/images5/Paul-Baran---Panoptic.jpg" width="122" height="110" align="left" /><b>CD - Fang Bomb</b><br>
A hoarse voice stands out. This is the beginning of "Scotona Song", conceived as something like an opening sketch that features walkie-talkie humming and a droning organ - a dirge characterized by minimal but expressive musical elements. "Panoptic" by Paul Baran moves on to balance multiple influences in a sort of melancholic instrumental avant-jazz, a hybrid conceptual and electro-acoustic ]]>
        <![CDATA[production. The sound sequences, most of them recorded in Glasgow and Vienna, are organised into a series of unstructured ballads. Their production relied on many fruitful collaborations with musicians like Werner Dafeldecker, Keith Rowe, Ekkehard Ehlers, Timothy Cooper, Andrea Belfi and several others. All the tracks are inspired by the oppressive leverage inherent in the idea of the "panopticon", a "control architecture" but also a place of ruthless experimentation and analysis. In "Discipline and Punish: The Birth of the Prison", a critical essay written in the mid-seventies (which became an absolute reference point in discussions about the society of control) Michel Foucault suggests that "any form of identity is never pure". In the same way these eleven tracks are linked by unsettling, enigmatic and contagious chains whose roots are never certain and distinguishable. The crossed signals and elliptical phrasing have been recorded in the form of a free polyphonic non-writing, apparently able to roam among multiple possible states of reality, but not completely free from the control of some deep, unnatural constraints.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Mpld - Lacunae</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/01/mpld_lacunae.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8888" title="Mpld - Lacunae" />
    <id>tag:www.neural.it,2012:/sound//2.8888</id>
    
    <published>2012-01-24T09:41:35Z</published>
    <updated>2012-01-24T09:42:47Z</updated>
    
    <summary>DVD - Winds Measure Randomly found old Kodachrome slides and an uncomplicated digital set-up (laptops, midi controllers, a video projector, two diaprojectors, dimmer, lights and induction/contact microphones) are the basis of &quot;Lacunae&quot;, an audio-visual project by Gill Arno, better known...</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="Mpld, Lacunae, Winds Measure, Gill Arnò, audio-video, modified, amplified slide projectors, computer, laptop, controller, audio art, dvd, Aurelio Cianciotta, Mpld---Lacunae.jpg" src="http://www.neural.it/sound/images5/Mpld---Lacunae.jpg" width="147" height="113" 
align="left" /><b>DVD - Winds Measure</b><br>
Randomly found old Kodachrome slides and an uncomplicated digital set-up (laptops, midi controllers, a video projector, two diaprojectors, dimmer, lights and induction/contact microphones) are the basis of "Lacunae", an audio-visual project by Gill Arno, better known as Mpld, the Italian-born music ]]>
        <![CDATA[investigator now residing in Brooklyn. Through the controller, the software manages iterations realized by the four microphones. The two induction mikes are located on the diaprojectors, while the other two are arranged by the fans, which are accurately positioned in line with the light beams. The final set-up is complimented by a mixer and a more general controller for adjusting the speed of the image flicker. There is vintage quality to the overall feeling of the performance, which is at the same time sentimental, detached and poetic, perhaps due to the texture of the images or the undoubted charm of the diaprojectors. These are scenic icons of yesteryear; they were innovative and essential tools in experimental theatre productions in the seventies.  Here they produce "drifts of memories" that suggest nostalgic interactions and emotional landscapes, tinged with lo-fi technology thanks to the mechanical sounds produced. The musical potential is enhanced by the combination of these multiple structural elements, giving life to a carousel (similar to photos made with the software instagram), that makes us forget all the contradictions and anxieties of a purposefully fabricated "memory".
<br><font size=1>Aurelio Cianciotta</font>

]]>
    </content>
</entry>
<entry>
    <title>Miguel Prado - Comedy Apories</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/01/miguel_prado_comedy_apories.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8885" title="Miguel Prado - Comedy Apories" />
    <id>tag:www.neural.it,2012:/sound//2.8885</id>
    
    <published>2012-01-19T09:20:59Z</published>
    <updated>2012-01-19T09:22:01Z</updated>
    
    <summary>CD Anty-Copyright Let&apos;s be honest, when faced with a new Anty-Copyright crew release we are always prepared to encounter something unusual, radical and extremist, even from the perspective of audio art and experimental music. Even so, these...</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="Miguel Prado, Comedy Apories, Anty-Copyright, audio art, conceptualism, experimental, Aurelio Cianciotta, Miguel-Prado---Comedy-Apories.jpg" src="http://www.neural.it/sound/images5/Miguel-Prado---Comedy-Apories.jpg" width="111" height="109" 
align="left" /><b>CD Anty-Copyright</b><br>
Let's be honest, when faced with a new Anty-Copyright crew release we are always prepared to encounter something unusual, radical and extremist, even from the perspective of audio art and experimental music. Even so, these ]]>
        <![CDATA[elements are often so surprising that it becomes impossibile to separate them from the sound component of the work. In "Comedy Apories" after twenty minutes of listening the only sound is still the same as that heard at the beginning: a group laughter that continously loops, following irregular rhythms of repetition in a total absence of other sounds. Miguel Prado is interested in the minimalist qualities of people's laughter, preferably as a result of an improvisation - his work here is radically independent of any other artifice or affectation. The author does not seem at all interested in creating a network of hypercomplex sounds, although the conceptual premises of the work may suggest a more intricate and careful handling as part of the imposistion of the author's "aesthetic considerations". The consistency of this work should be acknowledged: the tear between knowing and hearing is enhanced, forcing attention on the concept rather than the feeling. After thirty-six minutes, the laughter is still the same and our ability to judge is one again tricked by the extreme force of the artist's argument, which cryptically turns to its advantage certain clichés of contemporary experience. In short, this art is not only identification with an artifact – it also plays the role of a theoretical and poetic displacement and intellectual provocation.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Martin Neukom - Studien 5-7</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/01/martin_neukom_studien_57.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8883" title="Martin Neukom - Studien 5-7" />
    <id>tag:www.neural.it,2012:/sound//2.8883</id>
    
    <published>2012-01-12T09:21:17Z</published>
    <updated>2012-01-12T09:22:05Z</updated>
    
    <summary>CD - Domizil S basic elements of each auditory event: the oscillations. The feedback and non-linear filters, frequency distortion, granular synthesis work, crackle and various kinds of noise, combine to generate a continuous flow that is both engaging and fascinating:...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="ambient" />
            <category term="electronica" />
            <category term="experimental" />
            <category term="noise" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Martin Neukom, Studien 5-7, Domizil, experimental, electronica, space, ambient, noise, Aurelio Cianciotta, Martin-Neukom---Studien-5-7.jpg" src="http://www.neural.it/sound/images5/Martin-Neukom---Studien-5-7.jpg" width="109" height="109" align="left" /><b>CD - Domizil</b><br>
S basic elements of each auditory event: the oscillations. The feedback and non-linear filters, frequency distortion, granular synthesis work, crackle and various kinds of noise, combine to generate a continuous flow that is both engaging and fascinating: it could work as an ideal soundtrack for ]]>
        <![CDATA[uninhabitable spaces. Many of the modifications made after the sounds were captured were enacted by recalibrating the stability of the system through a number of control circuits: at the root this is an aesthetic choice (also sensory and analytical) that has produced some significant new chains. Coarse vibrations, ringing, acute pulses and deep roars collide in a very propulsive way, giving rise to an intricate retro-future mosaic, oscillating between electronic digressions from the past and more contemporary experimental manipulation. Martin Neukom has studied musicology, psychology and mathematics at the University of Zurich, music theory at the Musikhochschule Zürich and choral conducting at Kantorenschule Zurich. In his work as a composer, music theory is always a decisive factor, albeit tempered by a certain randomness of the combinatorial factors in play.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Burkhard Friedrich - Città Utopica</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2012/01/burkhard_friedrich_citta_utopica.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8878" title="Burkhard Friedrich - Città Utopica" />
    <id>tag:www.neural.it,2012:/sound//2.8878</id>
    
    <published>2012-01-02T15:09:18Z</published>
    <updated>2012-01-02T15:10:15Z</updated>
    
    <summary>CD - Ahornfelder The sound is deep and suggestive in &quot;Città Utopica&quot;. This project by Burkhard Friedrich was created in the guise of an environmental installation enriched by visual elements and traversed by intense drones, digital iterations and synthetic frequencies....</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
            <category term="soundscapes" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Burkhard Friedrich, Città Utopica, Ahornfelder, experimental, audio-video, soundscapes, elettroacustica, Aurelio Cianciotta, Burkhard-Friedrich---Città-Utopica.jpg" src="http://www.neural.it/sound/images5/Burkhard-Friedrich---Citta%CC%80-Utopica.jpg" width="109" height="109" 
align="left" /><b>CD - Ahornfelder</b><br>
The sound is deep and suggestive in "Città Utopica". This project by Burkhard Friedrich was created in the guise of an environmental installation enriched by visual elements and traversed by intense drones, digital iterations and synthetic frequencies. The cavernous plot is full of auditory stimuli, pulsating an ]]>
        <![CDATA[orchestral energy, strongly reflecting the operatic origins of the author. The record unravels many relevant layers, overlapping them in a complete way, creating dark atmospheres, swollen streams, swirling eddies and eccentric concretions. Along the 55-minute continuum of sound it's possible to perceive startled tones, tremulous but powerful abstractions, all organized into a fully perceptive space that leaves no room for distraction. The combinative microstructures explore the unique utopian potential that exists in the tension between imagined reality and formal models that can represent truth. A virtual reference is also made to the issue of the "ideal city" in connection with some models of shared spaces, including some extreme architectural theories about utopian but very disciplined social organisations. These tensions make the electro-acoustic editing more vibrant and fruitful, and also help to align the rhythm of the projections with the purely musical elements, with a performative result.  Although they are behaving independently, all the musical and visual components here give life to a new, much more effective aesthetic construct.
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>AAVV - Myths &amp; Masks Of Karol Szymanowski</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/12/aavv_myths_masks.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8875" title="AAVV - Myths &amp; Masks Of Karol Szymanowski" />
    <id>tag:www.neural.it,2011:/sound//2.8875</id>
    
    <published>2011-12-27T16:14:17Z</published>
    <updated>2011-12-27T16:15:26Z</updated>
    
    <summary>CD- Kvitnu At the beginning of 2011, eight Ukrainian musicians were invited to play the same number of works by Karol Szymanowski, one of the most important European authors of the first half of the twentieth century. The renowned composer...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="acoustic/digital" />
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="AAVV, Myths & Masks, Karol Szymanowski, Kvitnu, Dunaewsky69, Nikolaienko, Kotra, Zavoloka, v4w.enko, Ujif_Notfound, Alla Zagaykevych, Andrey Kiritchenko, Polish Institute, Kiev, Tymoszówka, Ucraina, experimental, acoustic-digital, musica classica, Aurelio Cianciotta, AAVV---Myths-&-Masks.jpg" src="http://www.neural.it/sound/images5/AAVV---Myths-%26-Masks.jpg" width="112" height="112" 
align="left" /><b>CD- Kvitnu</b><br>
At the beginning of 2011, eight Ukrainian musicians were invited to play the same number of works by Karol Szymanowski, one of the most important European authors of the first half of the twentieth century. The renowned composer and pianist was born in 1937 in Tymoszówka, at the time a Polish]]>
        <![CDATA[ town but now part of Ukraine. Szymanowski lived through the deep European post-war crisis, whose defaults were the result of a systemic structural meltdown heavier than the one currently being experienced. The desire to revive lives through creativity inspired these musicians to renew Szymanowski's wondrous musical sequences. This hybrid mix of classical music and electronic experimentation still sounds very fresh. Dunaewsky69, Nikolaienko, Kotra, Zavoloka, v4w.enko, Ujif_Notfound, and Andrey Kiritchenko Zagaykevych are artists that do not need much by way of introduction. They were selected after careful thought by the Polish Institute in Kiev, in order to strengthen interest in specialist electronic research in that region and increase consensus in the international scene. The set of eight compositions, curated and produced by Dymitri Fedorenko, is presented by Kvitnu in an elegant cardboard box, with a booklet of twelve pages, including comprehensive notes, photographic material and brief biographies.
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>Guillaume Laidain - Instants Mobiles</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/12/guillaume_laidain_instants_mobiles.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8873" title="Guillaume Laidain - Instants Mobiles" />
    <id>tag:www.neural.it,2011:/sound//2.8873</id>
    
    <published>2011-12-15T08:43:08Z</published>
    <updated>2011-12-15T08:44:16Z</updated>
    
    <summary>CD - Brut Claire La Manufacture de Chaussures in Bordeaux is a 1930s shoe factory that since 1998 has been transformed into TNT, a urban place for the re-appropriation of public space. This building is being used as a space...</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="Guillaume Laidain, Instants Mobiles, Brut Claire, Para_Site, experimental, ambient, audio art,  Manufacture de Chaussures, Bordeaux, TNT, Aurelio Cianciotta, Guillaume Laidain - Instants Mobiles.jpg" src="http://www.neural.it/sound/images5/%20Guillaume%20Laidain%20-%20Instants%20Mobiles.jpg" width="112" height="112" align="left" /><b>CD - Brut Claire </b><br>
La Manufacture de Chaussures in Bordeaux is a 1930s shoe factory that since 1998 has been transformed into TNT, a urban place for the re-appropriation of public space. This building is being used as a space for independent artistic creation and promotion. Despite the restructuring (substantial]]>
        <![CDATA[ changes to the structure are still incomplete), most of the architectural elements and furnishings still testify to the building's old function. In this environment Guillaume Laidain has created a series of nine sound "panels", sort of snapshots that tendentiously trace the sound memory of the building, a sensitive document that testifies to the atmosphere and the fervent activity of days gone by.
The recordings were made between 2009 and 2010: every month a single "snapshot" (including sounds) has been posted on the TNT website, a "work in progress" of the bigger project to both create and promote art. The project was completed - finally - with a sound installation of 400 audio speakers in the main hall of the theatre, which played back all the recordings made during the project. The nine tracks were recorded at different times of the day and are organised by the location of the recording: an operation by which the "decoding" and "interpretations" of authorship are certainly not negligible. In fact, the proceedings in this case are not "automatic" at all - it seems very dependent on the personal choices of the artist, through a sort of "poetic" between the spaces and the final audience; those who witnessed the live performance, the online audience or indeed those who have bought the CD, released on the Brut Claire label.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Martin Tétreault + Le Quatuor De Tourne-Disques - Points, Lignes Avec Haut-Parleurs </title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/12/martin_tetreault_le_quatuor_de_tournedisques_points_lignes_avec_hautparleurs.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8693" title="Martin Tétreault + Le Quatuor De Tourne-Disques - Points, Lignes Avec Haut-Parleurs " />
    <id>tag:www.neural.it,2011:/sound//2.8693</id>
    
    <published>2011-12-13T10:25:48Z</published>
    <updated>2011-12-13T10:27:25Z</updated>
    
    <summary>CD - Oral Even with its ultra-minimalist conceptualization, this collection of very abstract and harsh sound elaborations - made by manipulating turntables – manages to function as a kind of &quot;symbolic scratching&quot;. Designed by Martin Tétreault and produced by Magali...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="abstract" />
            <category term="audio art" />
            <category term="experimental" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Martin Tétreault, Le Quatuor De Tourne-Disques, Points, Lignes Avec Haut-Parleurs, Oral, Magali Babin, David Lafrance, Alexander MacSween, Nancy Tobin,  scratching, Bernard Falaise, Philip Jeck, Otomo Yoshihide, experimental, audio art,  Aurelio Cianciotta, Martin-Tetreault.jpg" src="http://www.neural.it/sound/images5/Martin-Tetreault.jpg" width="110" height="110" 
align="left" /><b>CD - Oral</b><br>
Even with its ultra-minimalist conceptualization, this collection of very abstract and harsh sound elaborations - made by manipulating turntables – manages to function as a kind of "symbolic scratching".  Designed by Martin Tétreault and produced by Magali Babin, David Lafrance, Alexander ]]>
        <![CDATA[MacSween and Nancy Tobin, the recording is organized into ten different tracks and divided into those pieces that can technically be called compositions and others - instead -  that are the result of improvisation. It is hard to separate the results of the different approaches, as common  ground is found through hyperbolic references to "turntablism". Interpretation always takes place in a context and the obvious thread here is - of course - the technical virtuosity of DJs. Martin Tétreault is not new to this type of production, having been a DJ for real: to this end we also recall his work in "Des gestes défaits" with Bernard Falaise, as well as collaborations with Philip Jeck and Otomo Yoshihide, other artists who are often engaged in similar meta-linguistic operations.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Novi_sad - Inhumane Humans</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/12/novi_sad_inhumane_humans.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8700" title="Novi_sad - Inhumane Humans" />
    <id>tag:www.neural.it,2011:/sound//2.8700</id>
    
    <published>2011-12-05T11:29:21Z</published>
    <updated>2011-12-05T11:30:39Z</updated>
    
    <summary>Sub Rosa Thanasis Kaproulias, using the moniker Novi_sad, questions the intimate structure of environmental sounds created with a hypothetical &quot;sculptural integrity&quot; in mind. The artist presents auditive articulations whose essences somehow seem to precede the listening experience. The ear follows...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="drone" />
            <category term="experimental" />
            <category term="field recording" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Novi_sad, Inhumane Humans, Srebrenica, Aircraft Noises, drone, electronica, audio art, noise, field recordings, ambient, Aurelio Cianciotta, Novi_sad---Inhumane-Humans.jpg" src="http://www.neural.it/sound/images5/Novi_sad---Inhumane-Humans.jpg" width="109" height="109" align="left" /><b>Sub Rosa</b><br>
Thanasis Kaproulias, using the moniker Novi_sad, questions the intimate structure of environmental sounds created with a hypothetical "sculptural integrity" in mind. The artist presents auditive articulations whose essences somehow seem to precede the listening experience.  The ear follows ]]>
        <![CDATA[the intrinsic placement of the elements, which are marked by the characteristics of the places from where the sounds were "captured". Samples of insects, cicadas, rivers and storms (recorded in the area of ancient Olympia in Greece) make up "Srebrenica", the first of the two tracks of Inhumane Humans, a score interspersed with Morse signals and a female voice, the sad testimony of a woman repeatedly raped while pregnant during the civil war in Bosnia. The background of "Aircraft Noises" is populated by shrill and manipulated samples of aircraft engines, sounds recorded on both commercial and military flights, weaved together to produce a high tone density that is imbued with additional inserts and powerful cacophonies. The album is full of hard conjunctions, omens perhaps, that generate a distorted perception of "almost human" sounds.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Mark Templeton - Mort Aux Vaches</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/11/mark_templeton_mort_aux_vaches.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8691" title="Mark Templeton - Mort Aux Vaches" />
    <id>tag:www.neural.it,2011:/sound//2.8691</id>
    
    <published>2011-11-29T11:05:07Z</published>
    <updated>2011-11-29T11:05:53Z</updated>
    
    <summary>CD - Mort Aux Vaches &quot;Mort Aux Vaches&quot; (death to cows) shouted the anarcho-Communards as they turned against every form of authority. Echoes of this turbulent time still resound in the catalogue of Staalplaat, a Dutch indie label whose Berlin...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="acoustic/digital" />
            <category term="drone" />
            <category term="experimental" />
            <category term="impro" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Mark Templeton, Mort Aux Vaches, Mort Aux Vaches, Aurelio Cianciotta, Mark-Templeton---Mort-Aux-Vaches.jpg" src="http://www.neural.it/sound/images5/Mark-Templeton---Mort-Aux-Vaches.jpg" width="119" height="112" align="left" /><b>CD - Mort Aux Vaches</b><br>
"Mort Aux Vaches" (death to cows) shouted the anarcho-Communards as they turned against every form of authority. Echoes of this turbulent time still resound in the catalogue of Staalplaat, a Dutch indie label whose Berlin store has released some of the most interesting international experimental]]>
        <![CDATA[ music over the last three decades. This time the task of holding the label's flag high has been assigned to Mark Templeton, a Canadian sound artist with an acoustic and instrumental background, a composer noted for his "pastoral" and "elegiac" sound with experimental and post-rock nuances. This recording contains improvisational scores, drones, soft noises and lo-fi beats, and recordings made in 2008, and is certainly the result of multiple sessions and complex editing work. The artist clearly reveals the piano sequences, the iterated sampled frequencies, the moments of suspension, together with slide guitar manipulations and the many patterns - all layered with skillful authorial expertise and inspired passion.
<br><font size=1>Aurelio Cianciotta</font>
]]>
    </content>
</entry>
<entry>
    <title>CM von Hausswolff - 800 000 Seconds in Harar</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/11/cm_von_hausswolff_800_000_seconds_in_harar.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8690" title="CM von Hausswolff - 800 000 Seconds in Harar" />
    <id>tag:www.neural.it,2011:/sound//2.8690</id>
    
    <published>2011-11-24T17:04:17Z</published>
    <updated>2011-11-24T17:05:17Z</updated>
    
    <summary>CD - Touch When he was twenty-four, Arthur Rimbaud left the world of literature and lounges to wander through Europe before finally landing in Harar in Abyssinia, a city that boasted of possessing 99 minarets. CM von Hausswolff, commissioned to...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="audio art" />
            <category term="drone" />
            <category term="experimental" />
            <category term="field recording" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="CM von Hausswolff, 800 000 Seconds in Harar, Touch, Arthur Rimbaud project, Mies van der Rohe, Andrea del Sarto, Neural, Aurelio Cianciotta, CM-von-Hausswolff---800-000-Seconds-in-Harar.jpg" src="http://www.neural.it/sound/images5/CM-von-Hausswolff---800-000-Seconds-in-Harar.jpg" width="123" height="110" align="left" /><b>CD - Touch</b><br>
When he was twenty-four, Arthur Rimbaud left the world of literature and lounges to wander through Europe before finally landing in Harar in Abyssinia, a city that boasted of possessing 99 minarets. CM von Hausswolff, commissioned to write music for a play about the life of the "damned poet", has ]]>
        <![CDATA[here adopted the guidelines of a well-established style: following the inspiration suggested by many field recordings made on-site and arranging them in impressive drones that contain frequencies resulting from careful work with analog oscillators. In this case a quote from poet Andrea del Sarto seems to resonate: “Less is more”. This phrase was used successfully by the rationalist architect Mies van der Rohe, who believed that with a few minimal elements the structure of a composition can be defined and organized in all its unadorned, beautiful essence. All this is enriched by the reverberations of a perpetual journey, of life, death and art; flashes of a reality that is "hard to snuff out".
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>Philip Corner - Pieces from the Past</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/11/philip_corner_pieces_from_the_past.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8891" title="Philip Corner - Pieces from the Past" />
    <id>tag:www.neural.it,2011:/sound//2.8891</id>
    
    <published>2011-11-15T11:59:28Z</published>
    <updated>2011-11-15T12:00:26Z</updated>
    
    <summary>CD - Pogus Philip Corner configured these five scores specially for the violinist Malcolm Goldstein, using a non-traditional notation (sometimes linear or with graphic and verbal notations). They were mostly recorded in live performance, leaving the residual noise of the...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="experimental" />
            <category term="free form" />
            <category term="impro" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="Philip Corner, Pieces from the Past, Malcolm Goldstein, Pogus, impro, free form, violino, Tone Roads Chamber Ensemble, James Tenney, Aurelio Cianciotta, Philip-Corner---Pieces-from-the-Past.jpg" src="http://www.neural.it/sound/images5/Philip-Corner---Pieces-from-the-Past.jpg" width="109" height="109" align="left" /><b>CD - Pogus</b><br>
Philip Corner configured these five scores specially for the violinist Malcolm Goldstein, using a non-traditional notation (sometimes linear or with graphic and verbal notations). They were mostly recorded in live performance, leaving the residual noise of the public and of the environment in order to]]>
        <![CDATA[ preserve the particular texture of the sound plots as much as possible. Goldstein is no stranger to the poems of Philip Corner, an esteemed author with whom he has collaborated since the early sixties. He is well accustomed to the variety of Corner's improvisation and familiar with his experimental background through collaborating on a trio project with James Tenney called the "Tone Roads Chamber Ensemble". According to Corner improvisation is already inherent in sound; it is the "here and now" of making music - every moment is unique, without any past or future. He has stated: "In the academy of music they play dead music, and in this way it remains dead... at the time of Corelli, if you do not improvise you were not a musician". Corner has an unconventional, almost superior awareness of improvisation – a perspective which could offer many benefits if shared with the experimental music culture at large. In the track "Pieces from the Past" the intention is clear in the free form sequences, in the unspecified conceptual elements that are apparently not organized according to preconceived structural lines. The music employs an infinite range of pitches and meticulous and sublime changes to vibration. These scores are, however, not very approachable for audiences unaccustomed to the style and thrills of the avant-garde.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>
<entry>
    <title>AAVV - Table For Six: All Quiet? #3</title>
    <link rel="alternate" type="text/html" href="http://www.neural.it/sound/2011/11/aavv_table_for_six_all_quiet_3.phtml" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.neural.it/mt/mt-atom.cgi/weblog/blog_id=2/entry_id=8686" title="AAVV - Table For Six: All Quiet? #3" />
    <id>tag:www.neural.it,2011:/sound//2.8686</id>
    
    <published>2011-11-02T15:21:03Z</published>
    <updated>2011-11-02T15:22:14Z</updated>
    
    <summary>CD - EE Tapes EE Tapes have released an interesting collection of ambient electronica, made with contributions from six different authors, who have each composed one extended track between 10 and 13 minutes long. We will try to mention everybody:...</summary>
    <author>
        <name>Aurelio Cianciotta</name>
        <uri>http://wickedstyle.neural.it</uri>
    </author>
            <category term="ambient" />
            <category term="drone" />
            <category term="experimental" />
            <category term="field recording" />
    
    <content type="html" xml:lang="en" xml:base="http://www.neural.it/sound/">
        <![CDATA[<img alt="AAVV, Table For Six: All Quiet? #3, Various Artists, Neuestrasse, Buio Omega, Stormhat, Substanser, Anemone Tube, Projected Cataclysm, Bruno De Angelis, Every Man Is A Civil War, Frans de Waard, Wortel (Root), (ad)vance(d), Ambience #01 Electric Potatoes, Electronic, Ambient, dark, experimental, Aurelio Cianciotta, AAVV---Table-For-Six.jpg" src="http://www.neural.it/sound_it/images5/AAVV---Table-For-Six.jpg" width="140" height="139" align="left" /><b>CD - EE Tapes</b><br>
EE Tapes have released an interesting collection of ambient electronica, made with contributions from six different authors, who have each composed one extended track between 10 and 13 minutes long. We will try to mention everybody: first up is the Italian Neuestrasse ]]>
        <![CDATA[with "Buio Omega", a synthetic, dark score that is followed by Stormhat (aka Peter Bach Nicolaisen), a Danish sound-artist who in "Substanser" evocatively articulates field recordings, drones and multi-levelled layers of sound. Next it's the turn of Berlin-based Anemone Tube, with "Projected Cataclysm", from whose sequences emerge restless and rarefied electronic threads, the end result of a very complex and artistically introverted sensitivity. Bruno De Angelis isn't lacking inspiration in his preparation of the many improvised elements and pseudo-melodies in "Every Man Is A Civil War", while Frans de Waard in "Wortel (Root)" seems more focused on a kind of absence, using faint hissing sounds sampled from old tapes that are put together in a very evocative ways. The last track is "Ambience # 01 Electric Potatoes" by (ad)vance(d), which confirms the dense and mysterious appeal of the record.
<br><font size=1>Aurelio Cianciotta</font>]]>
    </content>
</entry>

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