Musique concrete
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Retrospective article for 2012 PART I (213)
2012 Retrospective post: what our Editors, and some guest artists, curators, journalists and managers think was noteworthy by David Velez. Chief Editor of The Field Reporter 2012 was a very busy year in terms of the number of field recordings-based…
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211
In Berlin. DIKTAT (Harsh Media 2012) Review by Flavién Gillié Libres comme l’air Parce qu’ils sont su s’affranchir du studio, quitter les salles feutrées dédiées au free jazz et autres musiques nouvelles grassement subventionnées, les membres de Diktat ont gagné haut…
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v-p v-f is v-n. VARIOUS ARTISTS (Winds Measure 2012) Review by Jay-Dea Lopez Winds Measure Recordings’ new compilation, “v-p v-f is v-n”, could best be described as a celebration of contemporary field-recording. Featuring sounds captured from swamps, oceans, barns, kitchens and…
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208
Bird cage wallpaper. HANKIL RYU, JEZ RILEY FRENCH (Engraved Glass 2012) Review by John McEnroe What I care about when I listen to a sound work is how much I enjoy it, with this I mean how the piece transformed things before,…
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Plotina. SALA (Obs 2012) Review by Chris Whitehead Traditionally music is linked to performance. At a gig you expect the musicians to play whilst you, the listener, catch the vibrations in the air as they radiate towards your ears, like…
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What Are The Roots That Clutch. MURMER (Helen Scarsdale Agency 2012) Review by Daniel Crokaert How to associate sounds from different timbre & origins, and give them the strength & cohesion of the real capture while imparting them an increased…