Musique concrete

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    In place. JASON KAHN (Winds Measure 2013) Review by Patrick Farmer “Tarrantino is interested in watching somebody’s ear getting cut off; David Lynch is interested in the ear.” David Foster Wallace. A supposedly fun thing I’ll never do again. A…

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    Archaic variations: Localization. VA (Obs 2012) Review by Flavien Gillié John Grzinich dans une réflexion publiée sur le Field Reporter disait récemment  : ‘In the mid-90s we were saying ‘I guess we’ll call what we’re doing “experimental music” ‘ Cette…

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    Baltic Triangle. SALA (OtO 2013) Review by Chris Whitehead ‘And the answer came from the sea, quietly howling and murmuring among the swaying shore grass: It is the wind, wind, wind.’ (M. K. Ciurlionis, 1875 – 1911) To successfully bring…

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    Sabbion. ENRICO CONIGLIO (Green Field Recordings 2013) Review by Jay-Dea Lopez There have been several studies by field recordists into the various tonalities of water – Enrico Coniglio’s latest work “Sabbion” may be one of the finest to join this body.…

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    Helgoland. LASSE MARC-RIEK (Gruenrekorder 2013) Review by Jay-Dea Lopez Field recordists often demonstrate the concept of place through its indigenous sounds. Another approach considers how present-day sounds reveal layers of history. The latter is an intriguing practise. What events have…

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    Wā jiè méng xūn. YANNICK DAUBY (Ini Itu 2013) Review by Caity Kerr Yannick Dauby’s wā jiè méng xūn is a vinyl release on the very fine ini itu label. Two track of 18 minutes each make up the music…