Acousmatic

Yui Onodera – semi lattice

Sound appears as ghostly seeds of memory that eventually unfold as a universe in which there are infinite listening possibilities. Today's compositional appro...

Stephan Mathieu – Before Nostromo

Fantasy: is it beyond visual and sonic? Listening: is it beyond visual and sonic? Is listening a fantasy? What's what is actually hidden in the sonic texture cr...

385

A Sound Map of the Art Institute of Chicago JOHN KANNENBERG (3Leaves 2014)  Review by Cheryl Tipp Recording the “active sounds of history”. This lies at the...

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The Hebrides Suite CATHY LANE (Gruenrekorder 2013) Review by Cheryl Tipp  ‘The Hebrides Suite’ is a multi-layered collection of composed works that reflect Cat...

361

Tracing a boundary. DEVIN DISANTO (Task 2013) Review by Flavién Gillie Que devient le groupe quand il ne joue pas? Devin Disanto publie un disque audacieux...

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  Between dawn and dusk SABRI MEDDEB (self release 2013) Review by Daniel Crokaert Settled in Brussels since about ten years, Sabri Meddeb, from Tunisian or...

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Blank tape positive RICHARD GARET (Contour Editions 2013) Review by David Vélez I from the liner notes: 'Blank Tape Positive focuses on the modification o...

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Vaccabons et malfactours FRÉDÉRIC NOGRAY -working with recordings by Cédric Peyronnet- (Kaon 2013) Review by David Vélez I There is a strong level of inten...

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Strata. TARAB -Eamon Sprod- (Unfathomless 2013) Review by Caity Kerr 'Strata' is described as having been created from recordings made in a series of vacant...
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Solace. BILL THOMPSON (self release 2012) Review by Caity Kerr Bill Thompson’s work is wide-ranging and largely experimental. He should be described as a st...

2013 in retrospective I (336)

2013: The year in retrospective. Part I -TESSA ELIEFF- Text, images and sound by Tessa Elieff Download 'Caris Clocks' by TESSA EILEFF Download 'Craster Blo...

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Offset. PALI MEURSAULT (Doubtful Sounds 2013) Review by David Vélez From the liner notes This work is the result of a research about the mechanical sounds ...