Trescoli – Lluvia (2018)

Audiotalaia

Archive.org

• Musique concrète 
• Field recording 
• Experimental electronica 
• Avant-garde 
• Experimentalism 
• Sound art 
• Improvised music 
• Organic electronica 
• Avant-electronica 
• Toytronica

Comment: this course of four compositions stopping by exactly at the 32 minute is as relaxing as it is intriguing. While employing a toy piano, by manipulating it through an immense amount of electronic effects, filters or accompanying it with found sounds like the wind, a remote thunderstorm and rain in different appearances or just intensifying it with elaborated signal processing all the whole will result in a compelling yet effortless result. Emotively the work of the Spanish composer instigates at times neutral sensations due abstract sonic extractions or positive infantile sentiments due to more loosely improvising on the toy piano, at times it is quite gloomy due to using the sound of clocking which reminds of the church bells as a hint of death (the whining wind as a sign of emptiness in the background is about to make the sorrowful feel even starker). Paradoxically, at the recent time, at the time of Coronavirus the churches should be closed though. Lots of sonic patterns and elements used to run permanently through or clash with each other to constitute a second sonic thread as if describing the state of mind within the brain of a pain-trodden deranged human being. No one couldn't foresee back then what would have been happening in a less than a couple of years. Nonetheless this outing already did embrace this feel of havoc and despair and sorrow. The astounding issue is a part of the discography of Audiotalaia, another Spain-related outstanding phenomenon.

Ann Deveria – Domingo Tarde (2009)

 
Audiotalaia
Archive.org

• Experimentalism 
• Ambient 
• Post-rock 
• Drone 
• Ambient drone 
• Americana 
• Electro-acoustic 
• Musique concrète 
• Abstract
• Live recording
• Avant-garde 
• Acousmatic music 
• Microtonal 
• Micronoise

Comment: this is a 2-notch track of unusual choice of music by Ann Deveria under the Spanish experimental imprint Audiotalaia. The beginning part is a 14-minute track consisting of whitish droning imbued with light hisses, accidental electro-acoustic/concrete music episodes a la door opening, walking and other every day's home noises which in fact add a positive, familiar impact upon the track. The pace behind the composition is brought forth by an act of simple pulsating and harmonized phase shifting. One may perceive it as if a dozen channels of electricity was embedded in a huge concave. Despite its apparently pale nature the result does have a deep sensibility.

The second part, however, is a surprise due to decelerated pace based on lone yet atmospheric acoustic guitar plucks and longing dreamy harmonica improvisations as if Route 66 was depicted in a panoramic view meandering in the middle of a secluded, uncivilized landscape as we frequently can see in the movies. It is also the kind of what Sergio Leone would have used in some episodes of his Spaghetti Western movies. Solid by any means.

Lauki - Gea (2013)

Audiotalaia

9.2

/Chamber music, Ambient, Post-rock, Modern classical, Epic, Crossover, Abstract/

Comment: Gea is the follow-up to 69?54´S?-?135?12´E which was one of the highlights in the year of 2012. Lauki, a Basque/Catalan artist`s 6-track publication continues in a similar vein due to shifts somewhere in between halcyon chamber music, epic post-rock climbing, slightly blossoming modern classical developments and moody ambient drifts in the stratosphere. In a word, the result is organic and highly blissful.

Juanjo Palacios - Rambleña (2013)

Audiotalaia

9.5

/Neoclassical, Chamber music, Soundscapes, Ambient, Electro-acoustic, Musique concrète, Organic electronica, Crossover/

Comment: firstly, I can remember for a fabulous issue, entitled Arbole created by Blezna  which was nom the plume of Asturian musician Juanjo Palacios. Later on, Palacios started to compose music under his own name. However, the recent issue of 3 tracks comes to mind some elements from it. More concretely, the whole is an organic blend of electro-acoustic rubbing and scrapes, brooding (even ghastly at times) yet panoramic neoclassical and ambient interlaced terrains, chamber music-alike explorations and soothing symphonies where elements within it will intensely be sprouting, undulating and blooming. Very important element on this album are those eargasmic transitions from one phase to another, from one style to another. Mostly in the last part these slivers are shuffled with concrete sounds (which are recorded by Juan López López, though) filled with viable energy torrents and near-nature feeling. Hopefully such kind of music will be played at opera houses and classical music venues in the future. It would be great, it would be fitting.

David J. Fonseca - Re Menor (2013)

Audiotalaia

9.1

/Abstract, Avant-electronica, Sound art, Minimal, Experimental electronica, Noise/

Comment: this album consists of short-running signal-based compositions providing either sharp or soothing edge to the listener. Despite its minimal approach it does have an impact on the listener. Indeed, less seems to be more and quiet is enough loud on this 10-track occasion.

Xesùs Valle - Gently Annoying (2012)

Audiotalaia

9.3

/Abstract, Experimental electronica, IDM, Microtonal, Glitchtronica, Glitch ambient, Avant-garde, Experimentalism/

Comment: Xesùs Valle is a knob-twiddler from Galicia, Spain whose current album of 12 compositions consists of glitchy beats, rough bass thudding and more or less microtonal frequencies, abstract digitalized chirps and twitters, some ambient-affected appearances and noiseful progressions within it. Sometimes it is emotionally evocative and even obsessive (full of glowering repetitions and minimal shifts within it). It is a sophisticated and intriguing issue of basing on algorithm-induced analogue and granular synthesis. In a word, it is a consistent result.

Tsone - A Sound Beyond Reckoning (2010)

Audiotalaia
Lastfm

9.5

/Ambient, Microsound, Minimalism, Experimental electronica, Drone, Microtonal, Soundscape, Abstract, Avant-electronica, Ambient drone/

Comment: This is an excellent issue of the nowadays ambient music (actually masterpiece) filled in with subtle sounds of droning electronics, chopped-up microsounds, and fluttering, highly emotive electric piano chords (by its sound characteristics you may suppose this way). However, I cannot myself to tear apart from the Arctic-related ice plateaus and cold yet warm imaginations. Indeed, very minimal yet following the maxim less is more. The author of such blessing soundscape is Anthony Obr from USA (not to be confused with another tsone, an artist from Finland).

Dave Tucker, Ricardo Tejero, Julian Bonequi Machinations of Joy (Audiotalaia)

David Tucker - kitarr ja elektroonika; Ricardo Tejero - saksofon ja klarnet; Julian Bonequi - trummid, vokaal ja elektroonika. Kolm staažikat ja tunnustatud muusikut, kelledest tuntuim on ilmselt Tucker, kes kuulunud klarnetimängijana 80ndate alul Manchester`i kultusbändi The Fall koosseisu (minialbum "The Slates" ning ülesastumised laividel).

Turmlevad vabas vormis improvisatsioonid, elektroonilised manipulatsioonid, vaiksemad ja maalilised jazz-numbrid/downbeat-sahinad. Nimilugu on meistriklass - sulnis intro kasvab väga ruttu üle free jazz`iks - kriipivaks, torkivaks ja trummeldavaks -, mida taamal toetab massiivne tume helisein. Kunagi ühes intervjuus Bobby Gillespie Primal Scream´ist rääkis Miles Davis`est kui punkmuusikust. Ning tal oli kuradima õigus - no kurat võtaks, mida muud veel see Miles`i muusika oli ja nimilugu ning album tervikuna on?! Kuigi trompet käesoleval albumil puudub, ei saa Miles`ist üle ega ümber. Eriti vaiksematel hetkedel, mis toob meelde ja meeltesse jazz-legendi koostöö Gil Evans`iga 60ndate lõpul. You Need This on järjekordne näide trio suurepärasest kokkumängust, kusjuures enim avaldab mõju kihtide "salakaval" nihestamine üksteise suhtes, kontrapunktid, progressioon ning dünaamilisus. Elektroonilised efektid on läbitöödeldud, eksaktselt suunatud - ei teki kordagi muljet sellest, nagu oleks see kuidagi täiteks seatud. Ning kui palju on ikka jazz-muusikat, seesugust, mida toestataks feedback`iga. Konstruktiivne kaootilisus.

Siinkirjutajale meenub, et kui Vaiko Eplik oma kaaskonnaga hakkas tegema ansamblit Koer, siis ta rääkis uuest projektist kui punkmuusikast jazz-meetodil (või oli see vastupidi). Enivei, reaalset katet tema jutul ei olnud - küllap see oligi keel õieli mõeldud -, seevastu siin see skeem töötab ideaalselt. Teiseks - The Fall vajaks hetkel hädasti Tucker`it (ning Scanlon`it ja Hanley`d), iseasi muidugi, kas Mark E Smith teda (neid) vajab. Kolmandaks - kas maailmas on veel seesuguseid teravaid ning piire mittetunnistavaid improkollektiive? Kindlasti soovitan kuulata Les Dix-Huit Secondes`it.

Kuula albumit siit

9.8

[Artistid] Super D`Orch

Super D`Orch
Myspace

[Artistid] Ann Deveria

Albumid:
Domingo Tarde (2009, Audiotalaia)












Sant Pedro E.P (2008, Error! Lo-Fi)













patio de luz (2008, yoyo pang!)












Videod:
Ann Deveria

Gogoth | MySpace Video

Videocreacción Llevame Alto AnnDeveria from sinenaPunk on Vimeo.

Ann Deveria Myspace

SuperD`Orch SuperD`Orch (Audiotalaia)

SuperD`Orch on rüperaalirühmitus, mille taga on Gavin Fort, Gisli Gudmunsson, Peter Clarke, Liam Webster ning Christian Baker. Seltskond on akadeemiline ning koondunud Edinburgh`i ülikooli ümber. Nad tegelevad suunitletud helieksperimentide- ning uuringutega. Selles eristuvad 2 eesmärki: a) mängida muusikat laiv-ansamblina; b) heliprogrammeerimiskeelte SuperCollider ning Max/MSP (reaalajas opereeritavad programmid) abil luua eeldustingimused perfomantsi läbiviimiseks. Nende eesmärk on viie rüperaali helidest tekitada "metainstrument", mis omakorda eeldab tehniliste võimaluste ning parameetrite kindlaksmääramist-piiramist nimetatud idee realiseerimisel. Põnevaid kontseptuaalseid ning operatsionaalseid skeeme võib leida selle tagant - ühelt poolt on määratletud tehniline pagas, mida osalejad võivad kasutada, teisalt, eelpoolkirjeldatu piires, on ka muusikule endale jäetud valikuvõimalusi. See ei lase protsessil laiali valguda ning võimaldab masina versus inimese hetkeliste valikuotsustuste koosmängu paremini jälgida.

Nagu öeldud, on tegu rüperaaliansambliga, mis rõhub live-esinemistele. Seetõttu nende püüdlused on rihitud "arvutimuusikute meililugemise efektist" distantseerumisele. Iseasi muidugi, kui atraktiivne saab arvutimuusik üleüldse olla (nt võrdluses popmuusikuga) Tõmmata endale veider kostüüm selga? Tantsida oma muusika taustal? Jõllitada arvutiekraani, et mängida sünkroonis mõnd lisapilli juurde ei ole ka atraktiivne. Tegelikult sellesuunaline nõudmine on suht mõttetu - kui keegi läheb arvutimuusiku kontserdile, siis teadku juba ette, mida sealt visuaalse poole pealt oodata võib. Piirid on oma loomulikkusesse paika settinud.

See album on tõepoolest kontseptuaalne üksus - kui tausta ei teaks, võiks vabalt uskuda, et see protsess on toodetud ühe inimese poolt mõne heliprogrammi viiel layer`il. Muusikaliselt on esindatud akadeemilisele elektroonilisele muusikale iseloomulik emotsioonitu helikeel - elektroakustiline avapala Ring Cycle ning Thin Drum ning minimalistlik digi- ning vokaalabstraktsioon Convoxational; teisalt helikeeles on ka lopsakat paisumist ning sügavust (A.S.A.P). Mäng emotsioonide ning emotsioonitute konstateeringutega. Kvintett tõestab, et isegi väga minimalistlik helikeel võib omandada emotsionaalse värvingu, kui sellesse on progress sisse kätketud. Tegelikult juba Steve Reich`i "Drumming"-album tõestas ilmekalt, et minimalism võib emotsionaalselt olla mõjusam kui mõne poplolluse pealetükkiv tundekiimlus. Less is more, you know. See loomulikult eeldab, et muusikat kuulataks keskendunult. Hoolimata kontseptuaalsetest piirangutest kõlab muusika vägagi veenvalt ning avaralt. Kui keegi peaks tulema teile seletama, et akadeemilise taustaga heliloojad ei oska elektroonilist muusikat huvitavalt luua, siis soovitage neile seda albumit kuulata. Ah jaa, ansambel jagab oma koduleheküljel sämpleid ning skeeme, milledest nende muusika üleval püsib - tehke ise sellest album!

Kuula albumit siit

8.9