Musique concrete
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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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254
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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253
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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246
Efequén. JEREMY MATHES (Unfathomnless 2013) Review by Caity Kerr In the artists’ own words: ‘Efequén’ is a recollection of the geomorphological structure of the island of Lanzarote which I visited in March of 2010. During one week I had the opportunity…
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245
Intercession. SETH COOKE (Impulsive Habitat 2013) Review by Caity Kerr From the artist’s online notes: “Likewise the Spirit also helpeth our infirmities: for we know not what we should pray for as we ought: but the Spirit itself maketh intercession for…