Arturas Bumšteinas . Pastoral

Boletus Satanas

Laimonas Masevičius: tuba. Recorded in the studio of Lithuanian Composers’ Union in January of 2010.

Once I was picking mushrooms in thick Polish forest and i found this mushroom called Borowik Szatana. Encounters with Satan always leave long lasting impressions. A bit later I came up with the concept of Polish Roulette which is simple – “go to the forest and eat the first mushroom you find there”. This piece sounds better if sped up substantially. Dedicated to Krzysztof Gutfranski.

Dough

Lina Lapelytė: violin; Tuto Ensemble: kanklės, birbynė, barškutis.

This piece was recorded live in an open-air concert which celebrated City of Vilnius as an European capital of culture in June of 2009. If listened on high volume (and preferably on headphones) then in the beggining it‘s possible to hear faintly somebody saying “Ė, nachuj” and in the end, together with the applause, one can hear an audience member saying “Ačiū už pabaigą, blet”. Let it never be translated into english language but rather kept preserved as an unique stratum of our complex cultural heritage. This piece is dedicated to Birutė Asevičiūtė who commissioned me to write it.

Violin, Viola and Untitled

Lina Lapelytė: violin; Kęstutis Pleita: viola.

Recorded live in Marių Klavyrai festival in Klaipėda in October of 2003. This piece could be approached as an exercise in several kinds of superimpositions in micro and macro levels. Micro level is taken care by computer which multiplies the same layers of extremely short loops and superimposes them on top of each other – this way producing minimalistic variations of timbre. Macro level is intended for harmonic explorations which is carried out by string instruments who play the canon of identical harmonic series. This piece is dedicated to an empty room.

Widna

Seth Josel: guitar; Eva Zöllner: accordion.
Recorded in “Studio 10 0 10” in Berlin (sound engineer Jacopo Carreras) in December of 2009.

“il Widna” means “an ear” in Maltese language. In Polish it means “bright”. Somehow this reminds me of the title of my recent exhibition called “Transparent Ears”. But this long piece is in no way transparent nor related to my visual arts. Dedicated to Miguel Carvalhais.

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Nicolas Bernier strings.lines

“strings.lines” came to life from an obsession for old and forgotten objectmatter and the desire to produce music that exists in between the new and the old. The staring point to the composition of this work were acoustic tuning forks. In 2007 Nicolas Bernier became fascinated with this object/instrument of particularly beautiful design, and started a collection of all the different kinds of tuning forks he could find. Some of these reached 21Hz, near the lower-limit of human hearing, some others produced extremely high frequencies, all of them became tools and instruments for improvisation through electroacoustic transformation, in a process of discovery. These improvisations were at the heart of a composition stage that was developed for almost two years. At the heart of the project was a state of mind leaning towards the restraints imposed by the tuning forks.

The “lines” in the title originates from here: from the constant pitches imposed by the tuning forks. They produce sounds that are perceptively close to sine waves, graphically represented by lines or sinusoids, the elementary sounds of electronic music and obviously the perfect musical object to draw a music around the boundary of electronic and instrumental music. The tuning fork is also a symbol of centuries of occidental music making that culminate with western tonal music, and the preservation of that symbolism was an important part of the second stage of the composition process, involving two string players, Pierre-Yves Martel on viola da gamba and Chris Bartos on violin. During the recording sessions, the instrumentalists were requested to play close to a single pitch, exploring the wood, the attacks and the resonant qualities of their instruments, while following some of the motives that had already been composed with the forks. The pieces presented in this edition are studio compositions of layers from the two stages of the work, blending both worlds while trying to keep a sense of the original materiality and timbres, but not refraining from using other sounds and sources whenever necessary.

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Ephraim Wegner . Audible Landscapes

Noises dispose of an aesthetic quality being taken up and evaluated far stronger than pictures by the unconscious. In a world where the immense flood of images has made individuals nearly deaf against acoustic stimuli, field recordings offer an unbelievable source of inspiration and imagination. The sound recordings sharpen and sensitise the hearing, reveal apparently well-known, pique curiosity on the unknown and the interest in quite concrete sceneries, in our environment with its tonal variety. As never congruent copies of an independently existing reality they play with the individual adaptation and cognition ability.

The field recordings taped between 2008 and 2009 at places like the Pyrenees, the Atlantic Sea or the Black Forest serve to Ephraim Wegner as basis for compositions of sound sceneries.

Typical tones of certain regions, but also omnipresent everyday noises are processed and edited, put on top of each other, distorted up to unrecognisability and assembled again. Thus musical sound fields / collages and new acoustic rooms are generated which invite to reflexion and abstracting or just listening: The apparently weird, but strangely melodic bell ringing of the flock of sheep in the Pyrenees reveals its musical structure which testifies to astonishing harmony. Heavy rains, thunder storm rumbling, wild buzzing of insects and shrill chirping of crickets mutate to tonal arrangements which remind of minimal music or classical noise every now and then. Everyday occurrences become unusual hearing experiences, the pasture land idyll rumbling wild noise.

All tracks by Ephraim Wegner,
except #07 by @c, #08 & 09 by Durán Vázquez.
Mastered by Miguel Carvalhais.
Cover photo by Julia Weinmann.

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Donations

A lot of hard work is invested in these releases and in Crónica’s operations. We do not believe in DRM and we certainly don’t want to create any barriers between you and our releases, so, all of the Unlimited Releases will be free to download, but if you can, please consider to leave us a small donation for the benefit of both artists and label. Don’t forget to leave us your address, so that we can send you a thank you postcard in return.

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Mosaique . Shattering Silence

Following his 2008 release in Crónica, “Filare”, Jan Ferreira presents his new work “Shattering Silence”, 14 tracks totalling over one hundred minutes of music. Once again, Mosaique releases in the Unlimited Series and is available as a free download in either 320kbps MP3 or Apple Lossless formats.

Jan Ferreira is one of the most promising Portuguese new composers of hands-on electronic music, creating his pieces from a limited palette of tools and resources, including the manipulation of feedback, analog synthesis and distortion. His pieces have deep roots in live performance, and that imbues them with a characteristic immediacy and freshness, as traces of his creative touch and direct manipulation are felt throughout the pieces.

“In this release I worked for the first time with analogue synthesis. It was new territory so I spent long time exploring timbres and textures and what especially drew my attention was the “sharpness” of sound as if one could sense its outlines like with forms and shapes. Also how sounds emerged and ‘cut’ through the air was of special interest to me. After recording the material it was put into composition with emphasis on the effect of layering certain sounds (and hence what depth or sense of contrast they create) and the feeling of change that occurs when the “sound scenery” shifts. The composition then was more a frame in which these things were allowed to occur (especially in the more abstract pieces) than a linear narrative. All this is also based on a general visual quality that sound conveys to me.”

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Ran Slavin . The Mediterranean Drift

“The Mediterranean Drift” is composed by six new/old pieces split in two movements. The first three tracks function as establishing shots. They are textural compositions, reflective soundscapes that can be played as loops back to back to form a prolonged meditative audio space. Whereas the first half points to a feeling of nostalgia, positive feelings and a yearning to a ‘solution’ the second half of the release brings us to a more poignant zone and points to uncertainty, threat, fear and the turmoil omnipresent in the middle east and epitomized in Claude-Joseph Vernet’s painting “The Shipwreck” (1772) — set in an unidentified maritime landscape that very much resembles the port of Jaffa in Israel. This scene blends the sublime and the beautiful that can be found in a horror scenario, it is the background and the prime mover of Slavin’s music in these new/old compositions. It is the region’s omnipresent new/old political tension and war that is reflected indirectly in the bittersweetness that flows from “The Mediterranean Drift”, an album that is yet another big step in Ran Slavin’s maturing work as a composer.

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A lot of hard work is invested in these releases and in Crónica’s operations. We do not believe in DRM and we certainly don’t want to create any barriers between you and our releases, so, all of the Unlimited Releases will be free to download, but if you can, please consider to leave us a small donation for the benefit of both artists and label. Don’t forget to leave us your address, so that we can send you a thank you postcard in return.

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Piotr Kurek : Lectures

I have no clue as to what Piotr Kurek does to generate his music. Sometimes it seems like improvisations on acoustic percussion (such as in ‘Part 1?) but then something like ‘Tripartite’ could very well be a duet between accordion and laptop. The title refers to lectures given by Cornelius Cardew, who died in 1981, but whose son Walter has from lectures, performances and rehearsals. He handed them to Kurek, who used them in this work. An odd-ball, that brings up some questions, like what the relation is between the spoken word pieces by Cardew and the music by Kurek. Just inspired? Or is the music from Kurek all so spontaneous as Cardew wanted? Why not just add those as liner notes? In some cases music and talking mixes, which is nice, such as in ‘1963?, but when the talking is ’solo’, it turned me a bit off. However the music here is quite nice. A most curious mixture of laptop music (I assume) and improvisation makes this something that is not heard often. Great one. (FdW) Vital Weekly 700

“Lectures” was initially composed in 2007 for a live performance in Warsaw, during a Cornelius Cardew music festival that was part of the series of events “Zakrzywienia Ig?y”, organized by Micha? Libera. The original idea was to perform Cardew’s pieces but this later evolved towards an improvisation based on sounds appropriated from various Cardew recordings, complemented by additional instruments. With the help from Walter Cardew, the composer’s son, Kurek was also able to use unreleased recordings from lectures, performances and rehearsals conducted by Cardew, and recorded for private use. This release presents a further development of the pieces composed for the live performance, inspired by Cornelius Cardew and his lectures.

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The Beautiful Schizophonic : Erotikon

Jorge Mantas, the man behind The Beautiful Schizophonic, is a romantic man – at least that’s what I think, as I never met him. For the press release he wrote a long text, dealing with erotics – and thus he creates a dreamworld of his own. His music, through the years he’s been active, is also of a romantic nature. String like computer sounds, a bit like Gas did, form the basis of all his compositions. Here he gets help from Yui Onodera, Sleeping Me and Christina Vantzou doing voices. Thus he carves out a fine niche of his own. Nothing abstract, nothing ‘nothing’, no mystery – just a plain guy (his own words) with a love for beautiful women and beautiful textured music. Ambient? Sure. Microsound? Of course. Something special? Mwah… no, not really. If you take the music face value, what is left is a beautiful woven tapestry of sound, very ambient, most suitable for long evenings near the fireplace. Nothing special. What makes it special is the context in which he brings us this music – that is a particular daring thing, to be so open about it. Nice indeed. FDW Vital Weekly 700

I dream of dead poets and supermodels, fancy software and scenic drives, Paris or Los Angeles on a late night flight, maybe a PowerBook in a Louis Vuitton bag with a picture of you on the seventeen inches wide screen, I dream of glossy drones and dark eyeliners, long legs and bright sounds, fake breasts and uptight asses, I feel like the speed of your heart when you’re so full of grace, I feel like the light in your smile, the slip of the tongue, I float an inch from the sky to the point of you, I’m out of my eyes with a ballad, washing with kindly tears, I cherish the acoustics of your invisible caress, I undress you in poetry, I read your body, soul of doll, I taste your body of sound with the acoustic memory of love, your flesh in stereo, drunken with loud cells on the rocks, resonance of an old soul with metasynth delay, oh you’re so cute when you loop my heart, you are a beautiful loop in my heart, a phantom voice in high heels, you you so you, baby blue eyes drinking champagne underwater, kissing my heart shaped ears, you look beautiful when you dream, you are all the night gave me in return, you whisper in sweetness the distant melody of the stars, suggesting but truth to my divining, I’m just this superficial guy though, plain and superficial, like your skin when you striptease me, when you fuck me like a virgin, I’m a dirty romantic, too sexy for myself, more a loner than a wolf, more a bleeder than a bruiser, night cruiser with a faded touch of love, chasing in dreams the heart of it all, in dreams, in dreams, like when we walk together, hand in hand, like two strangers, and then your pony tail, pink pony, the ten thousand ponies of your pyjama running every night after me, and then the sound, the almighty sound, the greatest sound of all, the sound of you kissing the snow with dark blue lips.

All tracks composed by Jorge Mantas, except track 6 by The Refractors (J. Martinez) and track 9 by Sleeping Me and Jorge Mantas. Special guests: Christina Vantzou (voice on 2, 3 & 4, rhodes on 2), Yui Onodera (piano on 8), Sleeping Me (guitar on 9), The Refractors (piano on 6). Track 8 contains a sample of a 1860 recording of Au Clair de la Lune, possibly the first recording ever of a human voice.

Designed by P. Tudela and M. Carvalhais. Postcards courtesy of Paulo Silva. Mastered by M. Carvalhais.

I dream you are a song. Love Forevermore

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Durán Vázquez : Home, Sweet Home

Thanks to Miguel Carvalhais and everybody at Crónica for their support and excellent work. Thanks to Alejandro Durán and Miguel A. García from Larraskito netlabel for their support and advices. Thanks to Berio Molina and Isaac Cordal from alg-a collective for their kind words and feedback. Thanks to everybody at Exp+LIMb0 for their support and friendship. Special thanks to Xesús Valle, Carlos Suárez, Paulo Raposo and Ricardo Reis for their friendship and advices. Most important, thanks to my family at San Amaro for always being there.

All the pieces in Home, Sweet Home use soundscapes as compositional resources that are able to testify a social, historical and geographical context, to which is implicit an emotional and aesthetic component. With electronic synthesis and manipulated recordings, Durán Vázquez developed each composition from the fusion of truth and fiction, employing a well-balanced number of elements that never fill the entire gamut of frequencies but that always develop harmonics that catch the ear of the listener.

Pictures From The Atlantic City Of Vigo is an electroacoustic composition with several field recordings that are assembled as shots in a cinematographic montage.

Building uses a series of succeeding recordings that follow from within each other, always finding some conceptual connection point in air, wind and pressure.

Cars is composed from synthesized sound, developing an artificial soundscape that reminds the sounds of car horns in a city.

In Alarm, Anxiety, Eagerness we can hear the young boys and girls of a grammar school over the carnival festivities. Their sounds picture an agitation that is characteristic of their age, but it is also the reflection of other social tensions, more complex and buried, that find a link in those other sounds of alarms and sirens.

In Boat Dockage the studio sounds converge with field recordings of the piers at the Cíes islands, in the Vigo estuary.

Finally, Seagulls is composed from the recordings of the colonies of birds at the Cíes islands. All the audio montage revolves around the dramatic moment when two adult seagulls attack a younger bird, breaking the peacefulness of the moment.

All tracks composed and produced by Durán Vázquez between April and May 2008 in Vigo. Mastered by Miguel Carvalhais in August 2009. Cover photo by Pedro Tudela.

Press-release

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Ran Slavin : Nocturnal Rainbow Rising

Crónica is very proud to present Ran Slavin’s “Nocturnal Rainbow Rising”. After 2004′s “Tropical Agent / Ears in Water” and last year’s “The Wayward Regional Transmissions” — awarded a
honorable mention at the Prix Ars Electronica — Ran’s third full-length release in Crónica is now available in the Unlimited Release series, with 10 tracks available for free download or choose-to- pay-as-you-will donations.

“Nocturnal Rainbow Rising” drifts across far removed cinematic panoramas of lush nightly atmospheres. The tracks bear forms of sound memories, occlusions of dreamy nocturnal passages, of introspective and illusory projections arising from the metropolitan environments to the tundra.

The 10 tracks form evasive atmospheres between the audible and the visual, at times resembling fragments of a cinematic tale yet untold, a characteristic of Ran’s ongoing work that has made it so dear to his listeners.

With Nocturnal Rainbow Rising we present the third release in the Limited Series of original artworks, especially produced for each digital release. The Limited counterpart of this Unlimited release is “Nocturnal Rainbow Rising”, a certified signed and numbered limited edition of ten 50 x 70cm Lambda prints, produced for Crónica by Ran Slavin. For ordering, please see this page.

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Durán Vázquez : Terror Film for Radio

A piece by Durán Vázquez for the RadiaLX radio festival in 2008.

With this piece, conceived for radio, I wanted to work on three of my main influences: cinema, electroacoustic music and politics.

Playing with the several meanings of terror I set up a sound travel that imitates the movie pictures montage with one aim in mind: to introduce the audience into a shocking experience that puts together all those possible meanings of terror. Indeed it seems the times of changes we live in are like a terror movie… well, these are my feelings.

I took original sounds from movies and also from original music by me, including my previous piece “Asturias, patria querida” in which I worked on March 11th 2004 sounds taken from different Spanish radio stations, the day of the trains megablast in Madrid.

I selected the movies Zeitgeist by Peter Joseph (2007), Imprint by Takashi Miike (2006), Le Monde Selon Bush by William Karel (2004), Hellraiser by Clive Barker (1987) and Rosemary’s Baby by Roman Polanski (1968). With these sources and my own stuff I set up a montage full of stereotyped but disturbing sounds, all organized into the sequencer software. The cut & paste process is the main tool in this work.

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Gintas K : So On

A piece by Gintas K for the RadiaLX radio festival in 2008. Innuendos, errors, noise, microwaves, banalities, crackles, soft pulses of synthesized tones.

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PURE – Ification

Known for pulverising works on the Mego label like Noonbugs and The End Of Vinyl, Austrian sound sculptor and former member of the notorious Ilsa Gold, Peter Votava returns to his noisy oeuvre via the excellent Cronica label, this time toting dark ambience, digitally remodelled guitars (sampled from the fretboard of Digital Hardcore survivor Christoph De Babalon) and plenty of ear-melting microsonic experimentation. This one gives KTL a run for their money in the experimental metal stakes. Powerful stuff. “Ification presents a collection of seven highly diverse tracks that revolve around dense, filmic and eerie atmospheres, without ever drifting into obvious or simple harmonies. As in his previous work, Pure takes from music history whatever serves his narrative needs and appropriates it through his very own sound-mangling strategies. Complementing this approach, here, and for the first time in his work, there is a very tight integration of various instrumentalists, whose recordings – produced for this CD – are often the compositional base of the tracks.” Highly recommended.

Boomkat

Guitar samples for 1: Christoph de Babalon.
Drums on 2 & 7: Martin Brandlmayr.
Screams on 5 & 7: Alexandra von Bolzn.
Bass guitar sample for 6: Anke Eckardt.

2021

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Gintas K : Lovely Banalities

“Lovely Banalities” is the second release in Crónica from Lithuanian sound-artist Gintas K, after the much acclaimed double CD from 2006 “Lengvai / 60 x one minute audio colours of 2kHz sound”.

“Lovely Banalities” presents fourteen short pieces — a collection of miniatures, impressions, sketches, innuendos and errors — inspired on the exceptionality and suprisingness of the quotidian, on the extraordinary everydayness.

Gintas K draws analogies between these pieces and Modest Mussorgsky’s suite “Pictures at an Exhibition”, mapping fourteen individual moments, ready to be visited by the listener. The pieces of synthesized digital music are contrasted with evocative field recordings, captured in Gintas K’s hometown of Marijampol?, during a windy summer Sunday afternoon. These are sounds of lovely and quotidian moments, unremarkable sounds that are an evocation of forgotten and rediscovered feelings, of small and precious things from the past that still hover in the air, that remain in the streets, somewhere in the grass. The field recordings weave the pieces together, guiding this auditory visit. “Lovely Banalities” thrives by its apparent formal and structural simplicity, but this simplicity — as in everyday life — is an illusion.

Field recordings of my hometown, Marijampol?.
Thank you to Crónica and Audio_Z.

Composed by Gintas K.
Cover art by David Muth.
Design and master by MCarvalhais.

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paL : Essays on Radio mix

A mix by paL for the RadiaLX radio festival in 2008, from the tracks released in the Essays on Radio: Can I have 2 minutes of your time? compilation and several other sources.

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Stephan Mathieu: On the Concept of History

Cronicast 44

(An Introduction / 2008 Top 16)

78RPM Transcriptions by Stephan Mathieu. Monaural re-recordings made with a mechanical HMV 102 gramophone, Decca Cactus Needles and a customised Oktava MK-319 microphone.

This selection is part of an upcoming series of transcriptions by Stephan Mathieu.

Tracklist

• Telephone Effect #1
  Standard Sound Effect Records #903
  mid 1930s
• Kelly Harrell
  Oh Molly Dear, Go Ask Your Mother
  Victor Records #20280-A
  June 09.1926
• Blind Willie Johnson
  God Moves On The Water
  Vocalion Records #03051 B
  Dec. 12.1929
• Biddleville Quintette
  I’m Tormented In Flames
  Paramount Records #12813-B
  Aug. 01.1929
• Rev. Edward W. Clayborn (The Guitar Evangelist)
  Death Is Only A Dream
  Vocalion Records #B1096
  April 19.1927
• Les Paraphonistes de Saint-Jean-des-Matine
  Josquin Despres: Deux Chansons – 1/ Se congié prends (à 6v), 2/ Vive le Roy (à 4v)
  Disques L’Anthologie Sonore #108
  1941
• Mamie Smith and Her Jazz Hounds
  Don’t Mess With Me
  Okeh Records #4752B
  Dec. 06.1922
• Steam Shovel In Operation
  Standard Sound Effect Records #302A
  mid 1930s
• Prof. Erwin Brodky, clavichord
  J.S. Bach: Sarabande and Gavotte, 5. French Suite
  Parlophone Records #B.37033 II (2000 Years of Music Box-Set, compiled by Dr. Curt Sachs)
  early 1930s
• The English Singers
  William Byrd: O Christ Who Art The Light (Evening Hymn)
  Roycroft Records #161
  early 1930s
• Norfolk Jubilee Quartette
  Ezikek Saw The Wheel
  Paramount Records #12217-A
  July 17.1924
• Woody Guthrie
  Grow, Grow, Grow
  Cub Records #4A
  1948
• Frank Ferera and John Paaluhi
  Ua Like No Alike
  Okeh Records #41012
  March 03.1928
• DeZurik Sisters
  Sweet Hawaiian Chimes
  Vocalion Records #04704
  Dec. 16.1938
• Telephone Effect #6
  Standard Sound Effect Records #903
  mid 1930s
• Elder Richard Bryant’s Sanctified Singers
  Lord, Lord He Sure Be Good To Me
  Okeh Records #8559
  Feb. 28.1928

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Franke Neumann Schmidt Weinheimer: INNEN & AUREN

Crónicast 043

The piece INNEN & AUREN is a mixed and edited version of the concert INNEN & AUßEN, that took place as AlulaTonSerien.Konzert #35 at the New Building of the Gallery for Contemporary Art in Leipzig, Dec. 15, 2007. Neumann, who edited it, translated the spatial experience of the live concert to this stereo version. The chronological order of the concert was kept, but condensed. No sounds or effects were added.

For the original concert, the four performers created a set-up, which took place in three rooms inside the gallery and outside the gallery. Each of the four performers had his own position and function within the set-up and with each position made a certain statement about the relationship between inside and outside.

The set-up included: a microphone outside of the gallery (Franke, outside), speakers behind a glass wall, microphone in room 1, feed from Franke and computer (Neumann, room 1), speakers outside the gallery and in room 1, two headphones in room 3, microphone, sine wave generator, feed from Franke and computer (Schmidt, room 3), four speakers in room 1, one speaker outside the gallery, violin, bass flute with internal microphones and electronics (Weinheimer, room 1).

Patrick Franke, Daniel Neumann, Ole Schmidt & Chris Weinheimer, recorded live in Muenster, 29 November 2008.

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Pure Hati

Crónicast 042, Pure Hati, 9’50″, 22.6MB

Recorded live in Muenster, 29 November 2008

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Jorge Haro : Crnicast 036[

Jorge Haro : Crnicast 036

Jorge Haro is a sound and audiovisual artist based in Buenos Aires. He is the director of LIMb0, a series of concerts in Buenos Aires, the co-director of the ExperimentaClub + LIMb0 project and of the Sudamrica Electrnica label.

Recorded on May 9, 2008 at the Offf festival in Lisboa.

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P. Tudela / M. Carvalhais : A Mix for Framework

Pedro Tudela and Miguel Carvalhais : A Mix for Framework

Crnicast 033

57’00″, 118.2MB

Tudela / Carvalhais : A Mix for Framework

Framework, phonography / field recording; contextual and decontextualized sound activity, presented by Patrick McGinley, broadcast every Sunday on Resonance 104.4 FM in London, or worldwide on resonancefm.com

The April 13 2008 edition featured a Chronicle of Crnica, mixed by Pedro Tudela and Miguel Carvalhais from music that Crnica has released or was about to release, looking back to the first five years of Crnica and ahead to what we hope is a much longer time.

The full mix is presented here without track markers, with the timing in the mix of each of the tracks used.

–

00:00-28:25

Gilles Aubry, Berlin Backyards

in Berlin Backyards (tbr)

02:00-11:13

Paulo Raposo, A Bag of Water

in Mus*****c

04:08-10:02

o.blaat, one morning (w/ Kaffe Matthews)

in Two Novels: Gaze / In the Cochlea

06:10-15:16

Pigeons in the street, recorded by Miguel Carvalhais

10:49-15:56

Lawrence English, Relocated (UTC)

in Happiness Will Befall

12:57-18:22

PTs cats, recorded by Pedro Tudela

16:19-17:47

Gintas K, track 8 from Lovely Banalities (tbr)

17:19-23:47

@c, 18 (with Manuel Mota and Joo Hora)

in v3

20:57-21:59

Recorded live (1:02:026) by Pedro Tudela

21:22-27:42

The Beautiful Schizophonic, Music for Lonely People

in Mus*****c

23:09-27:04

@c + Vitor Joaquim, Ouvertre

in De-Tour, Feld 005, 2007

25:20-42:19

@c, Blues, recorded live May 19 2006

Crnicast 016

27:57-30:14

kos Garai, To Bjeller

in Essays on Radio

29:19-31:40

Boca Raton, Circle 4

in Product 05

31:18-34:09

James Eck Rippie, Black Transmission

in Mus*****c

32:39-36:37

01.1 – 01.4 (work in progress files) by Pedro Tudela

35:08-39:14

Ran Slavin, DAT Beats

in The Wayward Regional Transmissions

37:33-41:48

Cem Gney, A Phonetics Theme

in Praxis

40:23-41:23

Stephan Mathieu & Janek Schaefer, Maori Love Song

in Hidden Name

41:00-41:59

Davor Mikan, Animal

in Tuschung

41:44-43:31

Autodigest, Expansion

in A Compressed History of Everything Ever Recorded, Vol. 1

42:01-44:13

Davor Mikan, Der Eisverkufer explodiert einfach

in Tuschung

42:18-45:28

Freiband, De Kabale Brug

in Leise

44:00-46:45

The Beautiful Schizophonic, La Lectrice (avec Colleen)

in Musicamorosa

45:12-49:47

o.blaat, Nightvision

in Two Novels: Gaze / In the Cochlea

46:11-47:17

Tilia, …and coming back

in vous rvez/ vous ne rvez pas

46:20-54:45

Feltro, from Crnicast 021

47:41-54:53

Sonega, Alentejo, Portugal. Recorded by Pedro Tudela

50:07-52:20

@c, 56E1

in Compilatorio #2, Alg-a, 2006

52:14-56:59

Pal, live at Passos Manuel, 22 December 2007

53:09-56:59

[des]integrao, 4to

in On Paper

56:34-57:00

Karlheinz Stockhausen, on sound

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Margrave Ruediger – Back To Mono

Margrave Ruediger – Back To Mono

Abyssa Netlabel

Margrave Ruediger semble se definir des ses premiers morceaux par un eclectisme revendique et l’utilisation quasi unique d’un sampler aux possibilitees limitees, creant ainsi une musique a la frontiere des genres (electronica, ambient post-indus, post-rock, pop) et au son deliberemment lo-fi.Si l’introduction de l’ordinateur dans la composition et la collaboration avec d’autres artistes (avec notamment l’excellent album de Martin’s Trombone on the Moon et le projet Nacre collaboration avec Trombone et Le ciel se couvrit de bombes -) ont contribue a faire evoluer le son de Margrave Ruediger, le maitre mot de celui ci reste avant tout le plaisir de sans cesse se reinventer.

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_________________
ABYSSA NETLABEL is a DIY and non-profit project based in France, created for the music, in reaction to the music business model, and with the intention of releasing unsigned artists to help them to get a little more exposure.

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@C : Up, Down, Charm, Strange, Top, Bottom

@C : Up, Down, Charm, Strange, Top, Bottom

cronica 031

Composed and mastered by Miguel Carvalhais and Pedro Tudela. Cover photos by Pedro Tudela. Cover art by Lia. Design by MCarvalhais.

Reviews

Although by no means one of the more prominent acts currently operating in the microsound field, @C have consistently made valuable contributions to the genre, publishing work through labels like Sirr, Room40, Grain Of Sound and of course, Cronica. For this album, the duo render vivid acousmatic soundscapes from a variety of recordings: room sounds, voices, running water and even a stray cello make up this electroacoustic banquet, and it’s all structured in a highly unconventional fashion. The album is bookended by the two most substantial pieces, the first lasting twenty minutes, the last more than double that duration. Through these two lengthy works you’ll bear witness to a vast and evocative auditory environment, coloured by intimately recorded details and enigmatic clouds of drone wafting past. Importantly, you’ll find two incredibly brief miniatures wedged between these, proving that @C aren’t all about the long haul. These two compositions reveal an incredibly vivid, intensely tactile sound world and break up the other more expansive, pensive pieces. In their own way these 90-second interludes are they key works here, painting rich sonic portraits of some imaginary location. Highly recommended.

1887

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Enrico Coniglio: : Abibes

Enrico Coniglio: : Abibes

cronicaster 031

Abibes is the name of an ex coastal depot of GPL, classifyed as an high risk of accident area, in Porto Maghera, a big industrial site at the door of the Venice lagoon (Italy).

I have recorded same samples from the environment with a binaural stereo mic, so use headphones for the best result. In a second time Ive work on the recordings adding some guitar/synth drones treated with Cycling 74 technology. Here is the result.

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Carlos Santos : Orla

Carlos Santos : Orla

Crnicast 031

This audio piece is a full recording of a audiovisual concert called “memory”, presented @ Bang Festival, FBAUL, Lisbon, on April 3, 2008. Audio by Carlos Santos and video by Andr Sier.

I renamed it Orla because the sound material deals with the notion of presence, something thats concrete, that we take for granted in a audible way, but never presents itself in a fully open range, something near the threshold, as the video imagery accents that with its black canvas and small emerging white signs.

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Crnicast 030: Pure

Crnicast 030: Pure

31’26″, 72.0MB

Recorded live at Club Transmediale Festival in Berlin on January 29th 2008. The performance uses mainly sounds from Pures forthcoming studio album, to be released by Crnica later in 2008.

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Cronicast 028

Crnicast 028 Pedro Tudela & Pedro Almeida

, 35’07″, 31.6MB

Pedro Tudela and Pedro Almeida recorded a rehearsal for a performance at the auditorium of Casa da Animao, in Porto. Tudelas laptop and microphones created sounds of gestures and attrition that met the ASR piano of Pedro Almeida.

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