Musique concrete
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263
Decentering. RICHARD GARET (Sourdine 2011) Review by Caity Kerr Although it’s hard to find anything much about the work online apart from a few snippets (like this) I can tell you that Richard Garet is a well known US based…
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261
Murmur. ATILIO DORESTE (Very Quiet 2013) Review by Chris Whitehead The dérive as envisaged by Guy Debord is not a meaningless wander governed by chance. It is directed by decisions made by the participant who chooses the route according to psychogeographical…
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260
Siilo. EERO PULKKINEN, TEEMU ITOLA (Whitecolors 2013) Review by David Velez No matter how funny I find the piece of jewelry attached to the USB unit containing the release data (the screw alone would have been enough), ‘Silo’ is a strong entry…
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259
Unheard Kyoto / Unheard Tokyo. JASON KAHN (radio broadcast 2013) Review by David Vélez From the liner notes: ‘Unheard Tokyo and Unheard Kyoto are two installments in the ongoing series Unheard Cities where I investigate the acoustics of social space by…
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258
40:43. MECHA / ORGA -Yiorgis Sakellariou- (OtO 2013) Review by Maria Papadomanolaki Four untitled tracks, stripped down to their bare essential: time. The beautifully packaged edition comes with abstract black and white images by 0t0 label’s owner Takanobu Hoshino. While reading…
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257
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…