Acousmatic

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Wasted five years. JACK HARRIS, SAMUEL RODGERS Kona kai. YPARXEI PROVLIMA AMALIA Reviews by Patrick Farmer The two newest releases on the Organised Music...

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Karren. OLIVIA BLOCK (Sedimental 2013) Review by Patrick Farmer Block writes in her liner notes that Erving Goffman’s dramaturgical metaphor described in Th...

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An Extended Meaning For Something Meaningless FRANCISCO MEIRINO (Auditory Field Theory 2013) Review by Caity Kerr On Auditory Field Theory we read: From t...

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Yoi. DAVID VÉLEZ, SIMON WHETHAM (Unfathomless 2013) Review by Flavién Gillie En avril 2011 David Velez invite Simon Whetham à animer un workshop de field re...

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Big Wad Excisions. COPPICE (Quakebasket Records 2013) Review by Caity Kerr Here are some lines from the promotional literature:- …have now blasted open the...

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Sound Atmospheres of the Colombian Orinoquia JOSÉ RICARDO DELGADO FRANCO (Gruenrekorder 2013) Review by Cheryl Tipp For somebody like me, who has never ve...

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O Rio / The River Vol 2. LUÍS ANTERO (Impulsive Habitat 2013) Review by Cheryl Tipp Luís Antero returns to the Alvoco Valley with ‘O Rio / The River Vol. 2’...

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Ars abscondita JOAO CASTRO PINTO (OtO 2013) Article / interview by David Vélez 'Ars abscondita' is an interesting release by composer Joao Castro Pinto. I...

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Quasi static crack propagation YANN LEGUAY (Consumer Waste 2013) Review by David Vélez From the liner notes 'Yann Leguay is a true media saboteur. He appro...

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Circle wind HIROKI SASAJIMA (Felt Collective 2013) Review by Jay-Dea Lopez Night-time. Without light to guide us we are reliant upon auditory cues. Surround...

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Placed JEPH JERMAN, TONY WHITEHEAD (Very Quiet 2013) Review by Caity Kerr Preface I’ve been listening to two new releases which have so much in common in thei...

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Dah Eum. UNA LEE (Impulsive Habitat 2013) Review by Caity Kerr Preface I’ve been listening to two new releases which have so much in common in their treatm...