Acousmatic
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The great silence. JAY-DEA LOPEZ (3Leaves 2013) Review by David Vélez ‘…deathlike, dismal, gloomy and appalling…’ These are words used by British colonialists to describe the sounds of Australia in the 18th century as it can be read on the release’s liner notes. ‘The…
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Eolo. ANDREAS BICK (Galaverna 2013) Review by Cheryl Tipp A clue to the contents of Andreas Bick’s recent release on Galaverna can be found in the title ‘Eolo’, the Italian name for Aeolus, the ruler of the winds in Greek…
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The grey area that we inhabit Editorial by David Vélez Recently I have noticed a tendency in acousmatic composers* to move away from the recorders, microphones, computers, samplers and synthesizers in order to explore sculptoric objects and in general explore a less acousmatic…
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In the field. The Art of Field Recording. CATHY LANE, ANGUS CARLYLE (Uniformbooks 2013) Review by Patrick Farmer “A place is what it is because of its location. Where we are is who we are” -Alvaro De Campos If I were…
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248
Framework Seasonal -Issue #4 Spring 2013- VA (Framework 2013) Review by Chris Whitehead Words can be sound art too. The introduction to every one of Patrick McGinley’s framework programmes contains the promise that ‘framework is a show consecrated to field-recording’.…
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Flither and slipe. JAMES WYNESS (Reekin Lum 2013) Review by David Velez James Wyness’ ‘Flither and slipe’ is a successful example of the two most important formal aspects of the compositional work: 1) the search for a source of sounds to work with, and 2)…