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Giulio Aldinucci * OSA7029 * Zeger de Vos

Aldinucci - Goccia

Aldinucci - Goccia

GIULIO ALDINUCCI – GOCCIA

Giulio Aldinucci is an Italian experimental electroacoustic composer actively exploring all kinds of soundscapes and field recordings. His earliest releases were released as Obsil, but since 2012 his releases are presented under his own name.

Goccia (the word means ‘drop’) is his latest album for the Home Normal label “balances organic layers with some fantastic melodic synth hooks, flying straight through a maze of frequencies from drones, bleeps, bloops, background music, jingles, jangles, gut-punching subs, and whatever else he can.”

It’s a fantastic and kaleidoscopic sound palette that defies any strict genre definition; it combines ambient soundscapes, field recordings, experimental electronics and sound effect samples into one. At times the album atmosphere can be quite gloomy, especially in the first half, but gradually the music becomes more ‘serene’ – welcoming the ‘drops’ of the Tuscany spring in the closing track Candles. 

Also on Spotify


A Sense Of Belonging

OSA7029 – A SENSE OF BELONGING

OSA7029 – it’s a strange name for a group of artists from Finland. The track titles OSA1 – OSA7 don’t give away much information either. It is unknown who are in this ‘band’, only the name of two supporting artists are disclosed: Canadian mezzo-soprano Debi Wong (on Osa2) and Finnish throat singer Sauli Heikkilä (Osa3).
The title for their debut album, however, tells more about what music to expect.

OSA7029 combines acoustic and electronic sounds, and doing so they manage to create a sense of belonging indeed. 
I’m just not sure of belonging to whát, exactly – but judging the warmth of this music, that question is hardly of any importance.

Also on Spotify


Zeger De Vos

ZEGER DE VOS – EXPIRED SCENERIES

Zeger de Vos is a young (and hitherto unknown) Dutch artist who holds a Master’s degree in composition from the University of Huddersfield… Which is the same university where Monty Adkins is Professor of Electronic Music (he was one of Zeger’s examiners).

His (digital only) debut album is released on the Spanish label Seattle Dott Records, and presents four tracks (totalling 32 minutes) of soundscapes created from sound sources like ‘gurgling gas vents in Landmannalaugar (Iceland), the engine of a ferry in New York, The Tanzanian shore or a fence in the Peak District (UK)”.

This may suggest this is an album full of field recordings, but that’s not what it is. The sources are heavily manipulated into full-fledged electro-acoustic soundscapes “inspired by decaying memories and Edgelands.” 

“Atmospheres of melancholy and introspection”, created from “recordings of spaces, objects and instruments with analog- and algorithmic synthesis to create virtual spaces with meditative qualities”. 

A fascinating debut album! I’m sure that there will be a lot more great music from Zeger de Vos in the future!

Also on Spotify

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Jacob Kirkegaard * Francesco Giannico & Giulio Aldinucci * Andreas Usenbenz

Bells Breath

Sabulation

JACOB KIRKEGAARD – SABULATION

Singing Sand Dunes have puzzled travellers for ages. Marco Polo heard it in China (and suspected evil spirits), Charles Darwin wrote about a ‘bellowing’ hill in Chili. Only recently, scientists have explained this mysterious sound. “the sound of millions of little shocks”.
It may sound innocent – the sound of those tiny grains of sand. But it can be roaring, booming, squeaking up to 105 decibel, lasting several minutes.
“The sound is similar to a loud low-pitch rumble. It emanates from crescent-shaped dunes, or barchans. The sound emission accompanies a slumping or avalanching movement of sand, usually triggered by wind passing over the dune or by someone walking near the crest.”

A phenomenon like that is a challenge for Jacob Kirkegaardwho previously recorded the sound of the inner ear (Labyrinthitis), Icelandic geothermal motions (EldFjalland the soul of forsaken Chernobyl rooms (4 Rooms) – to name only his best known album titles.
He travelled to Oman to record and film the singing sands in the desert, and the result is presented on a 30 minute audio/ visual presentation released by mAtter (Japan).

I can’t really judge how the sound on this film relates to that in real life, because I haven’t experienced it myself. But I assume it’s every bit as overwhelming as this recording is.
The images of the shifting sands (presented in black and white) have a fractal effect: it’s impossible to determine the scale because there are no references to the size. But it is very beautiful to watch these mountains of sand, shifting down and the slowly climbing up again.

mAtter has taken great care of the presentation of this project: the DVD (PAL, Region free) is packed with a 56 page book (with B/W photographs and travel annotations) and a A5 photo card, together in a beautiful sealed paper envelope.
There is no audio-only release planned for this project.

 


Agoraphonia

FRANCESCO GIANNICO & GIULIO ALDINUCCI – AGORAPHONIA

Agoraphobia is the extreme fear of open or public spaces. So Agoraphonia is a perfect name for an album dedicated to the sound of those spaces: the soundscapes of a town square, an open public space commonly found in the heart of a traditional town.

The basic recordings were collected after an open call to send audio recordings concerning the “square” theme.
The resulting soundscapes were reworked by Francesco Giannico and Giulio Aldinucci “in order to create an ideal symphony of all living squares all over the world”.  They not only rearranged the location recordings, but they also added musical details so that the result is as much music as it is environmental sound. 

Four of these tracks contain the sound of specific squares in Morocco, Argentina, China and Italy. The additional 18 minute title track contains samples from 20 different contributors, morphing into a ‘global meta-square’.

Agoraphonia
 
is officially released on World Listening Day 2016 – which happens to be today: July 18.
“A day to celebrate the listening practices of the world and the ecology of its acoustic environments.”


Bells Breath

ANDREAS USENBENZ – BELLS BREATH

Most environmental recordings aim to reproduce the recorded sound as natural as possible.
For Bells Breath, Andreas Usenbenz‘ approach is different. On the occasion of its 125th anniversary, he recorded the 10 church bells of the Ulm Minister, stretched them and layered the different sounds until they are no longer recognisable as church bells but still have its intrinsic character. The result was presented as an audio installation inside the minster in the fall of 2015.

A vinyl LP release with three ‘Studies’ from this installation is scheduled to be released later this year. To help fund this release, an extended (59’30”) Sleep Version of Study III is already available as CD-R version or digital download.

[Update 08-02-2017]
A beautiful clear vinyl version is released on february 17 on the Klanggold label. I’ve updated the purchase links to reflect this.

The Bells Breath release contains three different Studies (III, 20:38; IV, 13:00; II, 7:00), and it also includes the 59″  Sleep Version as an added bonus in the digital download (included with the purchase of the LP, and also available as digital-download only).

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Pleq & Giulio Aldinucci; Umchunga; Dronny Darko & ProtoU; Matthew Atkins

Dronny Darko & ProtoU

Pleq + Giulio

PLEQ & GIULIO ALDINUCCI – THE PRELUDE TO
Italian electroacoustic artist Giulio Aldinucci (also known as Obsil) meets Polish experimental wizard Bartosz Dziadosz (aka Pleq). The opening (title) track was their first collaboration, previously published on Home Normal’s Elements 5They continued working together after that, which resulted in these four tracks. It’s a fascinating mix of matching ingredients: the subtle piano notes, vocal samples, field recordings and stretched drones all seem to fall into the right place.
The piano notes in the title track never take center stage: they are mere accents in the background, yet once you heard them you’ll always recognise them.
Three of the four tracks are reworked by The Green Kingdom, Christopher Bissonnette and Olan Mill to complete this full album.
If this is the prelude, we can definitely look forward to further collaboration work from these two artists!


Umchunga

UMCHUNGA – SHOULD HAVE BEEN DONE BY NOW
It starts with a quiet drone, but after a few minutes there’s an unexpected twist in intensity. Droning organ sounds and effects reminiscent of early Pink Floyd, from their most psychedelic period. But on the other side, there are also the calm guitar themes from the title track.
Nima Pourkarimi (from Tehran) named Umchunga after the Mira Calix song Umchunga Locks. This is his debut album: ‘six tracks of atmosphere drones and static noise, each reflecting a particular state of mind in which he found himself at the time.’
I don’t know if it’s the context and being from Tehran that gives this album an extra, and somewhat different, dimension: there’s a cry of despair in almost every track, but there’s also hope.


Dronny Darko & ProtoUDRONNY DARKO & PROTOU – EARTH SONGS
A (dark) ambient concept-album: starting out with the Big Bang (13.8 billion years ago), and exloring various stages of evolution from there – even into the distant future in Leaving Earth (2135 AD).
Given the enormous span of time it thematically covers, it’s remarkable that these seven tracks sound remarkably consistent: it’s a calm atmospheric, misty cover to immerse yourself deeply into.
Of course, you can also ignore the concept if you want, and just see where your own imagination gets you.
Dronny Darko is Olec Puzan (and onviously fascinated by all things outer space), and ProtoU is Sasha Cats  – a trained violinist and choir vocalist now exploring more experimental territories. They are both living in Kiev (Ukraine).


Geometric Decay

MATTHEW ATKINS – GEOMETRIC DECAY
Matthew Atkins (not be confused with Matthew (‘Monty’) Adkins – the difference is only one letter) runs the Minimal Resource Manipulation label, and this album is the fourth release under his own name.
Atkins uses all kinds of found sounds, field recordings and drones, takes them out of their original context to replace them in these sonic collages ‘whose textures teeter at the edge of noise in places. This is offset with almost meditative passages with snatches of repeated melodies and looped textural blocks’.
The result is a fascinating kind of abstract, industrial, but above all otherworldly soundscapes. Bandcamp offers the digital download, but you can order a hand stamped cardboard sleeve physical edition here.

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