Blog // Archive // By Date // 2016 // December

31 December 2016
By Simon Cummings in 5:4 (UK), December 31, 2016

Text

“… a stunningly vivid piece of uncanny metarealism…”

10. Jonty HarrisonVoyages

“[…] large-scale tapestries that exist at the delicate liminal point between authenticity (raw and untouched) and artifice (clearly juxta-/superimposed). The latter is emphasised throughout the fourteen minutes of Espaces cachés, something of an essay in qualitative shifts and jump cuts between assembled groups of sound sources. […] As its modest but ambitious title suggests, Going / Places doesn’t simply expand this idea, it explodes it […] Harrison’s moulding of the recordings into complex fabrics turns Going / Places into a stunningly vivid piece of uncanny metarealism that encapsulates both the physicality and the psychology of the present experience together with aspects of memory and anticipation.” (Reviewed in December 2016.)

blogue@press-5649 press@5649
31 December 2016
By Simon Cummings in 5:4 (UK), December 31, 2016

Text

“It’s another spectacular creation from an undisputed master of the art.”

8. Francis DhomontLe cri du Choucas

“When it comes to acousmatic music as its finest, though, Francis Dhomont remains one of the best of the best. […] Dhomont regularly fashions material that’s beautiful but barbed, sometimes arranged in multiple layers of dense activity, sometimes shot through with thin splinters of razor-sharp pitch over roiling depths. […] Coherent and organic throughout, the drama […] is just as much to do with the way musical materials are judged and handled than with the work’s more immediately tangible text component. […] Le cri du Choucas contains music more dark and uncomfortable than one expects from Dhomont, even in the work’s closing moments; far from offering a reassuring conclusion, it passes instead through angular, awkward, even ugly passages, surrounded on all sides by ominous glowering layers of sound seemingly coloured different shades of black. At its end, Le cri du Choucas sounds stunned, which is precisely how i felt too. It’s another spectacular creation from an undisputed master of the art.” (Reviewed in May 2016.)

blogue@press-5650 press@5650
30 December 2016
By Simon Cummings in 5:4 (UK), December 30, 2016

Text

“… a potent drama emanates from continual alternations between mild and torrential episodes…”

30. James O’CallaghanEspaces tautologiques

The four works on this fascinating collection from Empreintes DIGITALes vividly demonstrate O’Callaghan’s very physical relationship with found sounds. Isomorphic is a piece concerned with granular materials, whereas in the trilogy comprising Objects-Interiors, Bodies-Soundings and Empties-Impetus, instruments are not simply explored but thoroughly scrutinised, their sonic potential writ large in huge textures seemingly filled with a myriad whirring, clanking and gurgling machines and gizmos. This creates the startling impression that the instruments are organic life forms and we are hearing their internal organs and mechanisms, particularly in Empties-Impetus, where a potent drama emanates from continual alternations between mild and torrential episodes — the former of which become like pausing for breath between punches to the chest.

blogue@press-5646 press@5646
30 December 2016
By Simon Cummings in 5:4 (UK), December 30, 2016

Text

“… splendid album…”

29. Seth Parker Woodsasinglewordisnotenough

When writing about Seth Parker Woods’ HCMF 2016 performance, I demurred at some of the pieces in his recital, but I found myself eating those words when hearing them again in these recorded versions. Edward Hamel’s Gray Neon Life has something fascinatingly analytical about it, as though it’s peering into the makings and/or articulation of an idea, while the non-stop activity in George LewisNot Alone is seriously engaging, continuously changing its character and attitude such that cello and electronics seem to keep assimilating each other. Michael Clarke’s Enmeshed 3 puts a melodic urge through a dense network of inhibiting machinations—and then there’s Pierre Alexandre Tremblay’s asinglewordisnotenough3 (invariant), of which I’ll simply restate my original response, as true of this piece in particular as it is of Woods’ performance throughout this splendid album: “a composition masterclass in its seamless, aurally non-hierarchical interaction between acoustic and electronic, as well as a performance masterclass in its bravura display of frantic virtuosity from Woods.”

blogue@press-5647 press@5647
29 December 2016

Today on electro:thèque, hear a full album stream of Les méandres du rêve by Serge Arcuri.

blogue@theque_4255
23 December 2016

We suggest you check out Revue & corrigée #110 by Various artists, the latest addition to our shop.