Date of release: 03.10.2019
Format: FILE - MP3 / WAV
Length: 21 min
Artwork: Audiotalaia
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Hydromancy: ancient method of divination by means of water, its colour, movement or ripples, aiming to understand the past and to foresee the future.

Just as hydromancy uses water as a medium, Subespai (moniker of Mauri Edo, experimental musician born in Barcelona but currently operating from Sydney) used water as the main component for this record. His interpretation of "Hydromancy" mixes multiple aquatic recordings and samples to create a set of soundscapes representing the stages of a fictitious divination session. 

Armed with a long history of fascination with and respect for the occult, Subespai delivers four ominous pieces filled with underwater ambiance, haunting bubbly noises, distant clanks and other unexplained sounds, bringing images of sunken ships, cursed lakes and ghostly rivers to the attentive listener.

With "Hydromancy", Mauri perseveres in his attempt to walk the line between ambient and noise, field recordings and experimentation. He delivers short works consistent with the rushed times we live in, but still offering a treat to deep listeners, producing tracks full of nuances and hidden details, ready to drown into it. 

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Date of release: 03.10.2019
Format: FILE - MP3 / WAV
Length: 44 min
Artwork: Audiotalaia
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En el inicio la conversación. El primer contacto siempre es el personal, los “yo” artísticos muestran sus dientes y olisquean la debilidad del otro. De este preámbulo queda la sensación de conformidad y la unión de ideas.

Se siguen una serie de mensajes cruzados ,en su gran mayoría de texto, firmando las bases del acuerdo y se marca la ruta a seguir.

Siempre uno de los dos saca cabeza al otro e inicia la composición derrochando las pistas que dan velocidad y espacio a los pies; o en este caso a las manos. En esta ocasión es Jaula.

La ruta es inexistente, no es necesario porque el contacto es al 100%. Simplemente fluyen las ideas y se entremezclan. No hay segundas tomas, no hace falta ni corrección ni balance; todo está ahí esperando a que se ordene y de forma, en bruto y sin barreras.

La primera toma de los cinco temas es la que prevalece, dejando que la rabia original tome el mando. Las capas de sonido surgen y se funden entre ellas, hay un matrimonio sónico que lo cubre todo sin dejar espacio para las dudas. Jaula sobre Suero, Suero sobre Jaula.

La fusión a veces es complicada, hay que posicionarse, tomar el espacio y hacerlo tuyo. Desarrollar un campo común en el que ambos nos sumergimos habitualmente tiene sus complicaciones. Los papeles varían y se cambian. Las adaptaciones son necesarias y los ajustes entre ambos una necesidad empujada por las grabaciones originales de Jaula.

Es necesaria la búsqueda y desarrollo de nuevos sonidos que enlacen y unan las composiciones. Hay que buscar los huecos y trabajar texturas que se adapten. La labor de Suero es esta; unir, incluso apaciguar la maquinaria de Jaula. A veces sutil y otras digamos que no tanto.

El resultado final pasa por poca alteración, el imperativo es mantener la crudeza inicial. La producción se limita al motivo de la escucha, las texturas y el desarrollo de un ambiente, nada más que esto. Suficiente.”

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Deal at the Swamp. Acoustics and Composition.

At the beginning there is a conversation. The first acquaintance is personal, each artistic egos show their teeth and smell each others weaknesses. From this preamble a feeling of accordance and union of ideas prevails.

A stream of crossed messages follows, mostly text, signing the basis of the agreement, a roadmap is established.

Always there is one of the two take the lead initiating a composition, throwing into the mix tracks gaining speed to each of the hands. Jaula is the one that begins.

The roadmap reveals itself as inexistent, there is no need since, contact is at 100%. Ideas just simply flow and intertwine. There are no second takes, there is no room for correction or balance; all is there, waiting to be assembled and ordered, raw, without barriers.

The first take is the one that prevails in all five tracks, letting the primal rage take control. Layers of sound fade in and merge between them, there is a sonic marriage shadowing it all, erasing all trace of doubt. Jaula over Suero, Suero over Jaula.

Fusion is sometimes complicated, one must choose a side, take the space and own it. To develop a common ground to immerse ourselves has its perks. Roles are constantly shifting and changing. Adaptations are necessary, and shared adjustments are a need pushed by the original Jaula recordings.

There is a further need to seek and develop new sounds to tide together all compositions. Gaps must be found, textures have to be accommodated. That's Sueros task, unite, and somehow constrain the Jaulas machinery, sometimes subtle and sometimes not that much subtle.

The outcome goes through a process of alteration, but keeping the primal rawness. Production is limited to the listening, textures and the knitting of an ambience, nothing more, enough.

Nacho Jaula y Carlos Suero.
Translated by Edu Comelles.

Date of release: 02.09.2019
Format: FILE - MP3 / WAV
Length: 41:20 min
Artwork: Audiotalaia
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This release, presents the outcome of the process and culmination of a concert held the final day of the Ur Tanta Summer Camp 2019. The work was developed by a small group formed by Miriam Matthys, Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar. Through their own words, this project is explained:

At the heart of the composition was a process, born out of a desire to find a collective and inclusive methodology, to create a group concert that truly everyone was a part of. The final score was a culmination of the community we formed during the residency, and a document of our incredible time spent together at the Ur Tanta Summer Camp.

To achieve this, all participants were invited to plot the course of one day at Ur Tanta, on a graph, on which the X axis represented the 24 hours of the day, with the parameter of the Y remaining undefined, and open to the interpretation of the individual. After all graphs had been completed, we collated an average and plotted a single trajectory of our collective experience. This line formed the basis of the composition.



The group, through self selection, was subdivided into three sonic categories, and in this way an orchestra of Voices (singing and vocalization), Field Recordings/ Sounding Objects and Electric/ Acoustic Instruments was created. Informed by the dynamics of the graph and a sensitivity to the unfolding narrative and rhythms of the day, Miriam Matthys composed an arrangement of three atmospheres. Beginning outside, the first movement represents ‘Sounds surrounding the house’ before progressing into ‘Sounds within the house" and ending with the ‘Sounds of the people’, in which George Chinnery, together with Emma Camell read a specially composed poem.

The resulting concert was a three-part work in which the main composition ‘Three Hundred and Thirty-Six’ was preceded by ‘Opening’, a spontaneous composition, emerging naturally from a warm-up and succeeded by ‘Closing’, another spontaneous improvisation, just because we couldn't get enough of playing together!

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The full composition has been released as an album on the Audiotalaia Digital Catalogue. That contains a preliminary improvisation ‘Opening’ and a final jam session ‘Closing’ as well as the whole composed and performed piece ‘Three Hundred and Thirty-Six’ worked out by all members of the Ur Tanta Summer Camp.

Concept and Composed by: Miriam Matthys in co-creation with Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar.

Conducted by: Miriam Matthys

Performed by: Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell

Recorded by: Edu Comelles
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This is the release page of the outcome of the 9 days workshop "Audiotalaia Summer Camp" held at Ur Tanta, Iltzarbe, Valle de Ollo, Navarra. between the 2nd and the 11th of August 2019. The works are the result of various exercises proposed by Edu Comelles and the outcome is the what remained of different collective processes taking place within various groups of participants at the Summer Camp. 

Very short premises where stablished for the exercises giving a big amount of creative freedom and the right amount of constriction. Final presentations open to the public are also featured in this album. These are works done collectively and without creative or technical restrictions. 


Credits:

All works done collectively by Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell.

Photos and video by Sara Galán & Edu Comelles.
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First Exercise / Composition

Five different compositions done only with field recordings, found objects and soundscapes from the surrounding area.

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Second Exercise / Installation




Pond Deity Installation - Konstantin Guz, Emma Camell, Andreas Von Stosch
Site-Specific sound installation. 8 floating portable speakers on a pond.

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Log Pile Installation - Krysia Kordecki, Simon Bahr, George Chinnery
Site-Specific sound installation. 4 Portable Speakers, logs and lightning.


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Lavadero Installation - Miriam Matthys, Thibaut Quinchon, Alberto Garcia Aznar
Former village laundry of Itzarbe. Rural sound installation with 8 portable speakers, water dripping and various lighting.


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Drainage Field Installation - Chloe Brenan, Riccardo Martorana
Site-Specific sound installation. 4 Portable Speakers, drainage pipes, field.


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The Cave Installation - Mandy Fox, Jack Hyde, Ida Blom
Site-Specific sound installation. Four Transducer speakers, objects and lightning.

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Third Exercise / Concerts

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Last Day / Installations




Connecting, Hilltop Installation - Thibaut Quinchon, Andreas Von Stosch
Site-specific sound installation. Portable Speakers, microphones, headphones and field recordings
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Forest Archive, echoes of the past and present 
Chloe Brenan, Ida Blom, Emma Camell, Mandy Fox
Site-specific sound installation. Portable Speakers, voice and field recordings
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Fieldscape - Krysia Kordecki, Konstantin Guz.
Site-specific sound installation. Headphones and electroacoustic composition

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Last Day / Final Concert



The full composition has been released as an album on the Audiotalaia Digital Catalogue. That contains a preliminary improvisation and a final jam session as well as the whole composed and performed piece worked out by all members of the Ur Tanta Summer Camp.

Listen & Download full album at: 
http://www.audiotalaia.net/2019/09/at096-three-hundred-and-thirty-six.html

Concept and Composed by: Miriam Matthys in co-creation with Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar.

Conducted by: Miriam Matthys

Performed by: Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell

Recorded by: Edu Comelles

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Photos:


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This is the release page of the outcome of the 9 days workshop "Audiotalaia Summer Camp" held at El Polell, Sant Esteve de Palautordera, Montseny, Catalunya. between the 12th and the 21st of July 2019. The works are the result of various exercises proposed by Edu Comelles and the outcome is the what remained of different collective processes taking place within various groups of participants at the Summer Camp. 

Very short premises where stablished for the exercises giving a big amount of creative freedom and the right amount of constriction. Final presentations open to the public are also featured in this album. These are works done collectively and without creative or technical restrictions. 


Credits:

All works done collectively by Diego Bermudez Chamberland, Menczel Robert, Lluis Surós, Benn Malca, Luca Grappi, Lianne van Roekel, Birgit van der Knaap, Ruari F Green, Djuna Lund Llopis, Ambe-Zoe Cheesman, Ryan Woods, Saskia Singer, Chrystine Rayburn, Marquis' McGee and Geoff Gersh.

Photos and video by Sara Galán & Edu Comelles.
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First Exercise / Composition.

Five different compositions done only with field recordings, found objects and soundscapes from the surrounding area.

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Second Exercise / Installation.





















Totem Installation - Djuna Llopis, Birgit Van Der Knaap & Luca Grappi
Site-Specific Installation. Transducer speakers and wood log


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Way Out / Way In - Lianne Van Roekel, Geoff Gersh & Benn Malca
Site-specific Installation. 8 Portable DiY speakers.


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Fountain Installation - Rory Green, Chrystine Rayburn & Lluís Surós
Site-Specific sound installation. 8 portable speaker array, dripping water, lights.

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Rocks Have Ears - Marquis' McGee, Diego Bermúdez-Chamberland & Ryan Woods.
Site-Specific sound installation. 4 portable speaker site-specific installation.


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Displaced - Saskia Singer, Robert Menczel & Amber-Zöe Cheesman
Site-Specific Sound Installation. 4 Portable Speakers and Laptop Screens.

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Third Exercise / Concerts.


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Presentation Day.














Entrada - Benn Malca
Site-Specific sound installation. 2 portable speakers, microphones and feedback.



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Quatre Miniatures - Robert Menczel, Chrystine Rayburn, Diego Bermúdez-Chamberland
Site-Specific sound installation. Portable speakers, pedal, lighting.

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Esbarjo - Rory Green, Saskia Singer, Lluís Surós.
Interactive sound installation. Portable speakers, sensors, software.


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Ataraxia - Djuna Llopis, Marquis McGee, Ryan Woods.
Bone induction sound composition. A piece to be heard through physical contact between two people.


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La Història que Resta - Djuna Llopis, Marquis McGee, Ryan Woods.
Headphones composition and field recordings.

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Stringed - Lianne Van Roekel and Birgit Van der Knaap
Contact microphones, wire structure and amplifier.

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Final Concert - Luca Grappi, Geoff Gersh and Ambe-Zoe Cheesman. 


Conducted by Sara Galán.

Performed by Diego Bermudez Chamberland, Menczel Robert, Lluis Surós, Luca Grappi, Lianne van Roekel, Birgit van der Knaap, Ruari F Green, Djuna Lund Llopis, Ambe-Zoe Cheesman, Ryan Woods, Saskia Singer, Chrystine Rayburn, Marquis' McGee and Geoff Gersh.


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Photos:

Date of release: 28.05.2019
Format: FILE - MP3 / WAV 
Length: 96 minutes.
Artwork: Audiotalaia 
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A modo de preámbulo y gps escrito, déjenme introducir a continuación algunas ideas, básicamente presentar aquí las coordenadas que pueden ayudar a situar los límites de esta audiolectura. Creo que al menos pueden servir para ayudar a aproximarse al punto exacto de partida desde el que éste que escribe ha emprendido un viaje exploratorio hacia adentro que, no lo discuto, raya a veces con el exceso expansivo y en otras con una simbología íntima difícilmente franqueable desde el exterior. 

Hay mucho de cápsula cerrada en estas líneas y en su transmisión sónica, lo sé. Y ante eso quizá solo cabe el enfrentamiento del oyente/lector con lo que expulsan los altavoces y lo que dicen las palabras aquí escritas. Y ese enfrentamiento va mucho más allá de lo que uno haya pretendido construir. Aun así, déjenme facilitar esas herramientas, útiles o inútiles, que podemos llamar pistas o coordenadas o apuntes de un supuesto cuaderno de trabajo. 

i.r.real 9 cierra la trilogía sonora que abrí en 2015 con el volumen 7 de esta serie, continuada (y concretada) un año más tarde con la publicación del octavo volumen. Una particular trilogía de sonidos, paisajes y estados mentales, todos en lento pero inexorable movimiento, que ha ido transitando al ralentí por territorios de poesía y violencia, devastación y ruinas, dando paso después al descenso, el abismo, la piedra y la fuga en un territorio sureño íntimamente ligado a mi vida personal (la Alpujarra de Granada, en la que nació mi padre, como un más allá extraplanetario y extracorpóreo), para finalmente ahora, en 2019, retomando todo justo a partir del momento final de ese anterior volumen 8, convertir ese mismo territorio en la barrera y alambrada que delimita un exilio mental que inevitablemente se presenta al final como deliberado autoexilio, guiñándole (lo sé) un ojo o dos a aquella goytisoliana Reivindicación del conde don Julián. 

Pero conviene también aportar aquí algunas coordenadas más referentes al propio proyecto i.r.real en sí y su evolución sonora. En este 2019 se cumplen nueve años de trayectoria del mismo, compaginado con múltiples colaboraciones, proyectos compartidos y trabajos propios editados en paralelo a los pertenecientes a esta serie i.r.real. En 2010 comencé esta andadura bajo unos conceptos muy concretos: planos electrónicos, utilización (también podría denominarse musicalización) del ruido (que no ruidismo), choques y superposiciones sonoras aplicados a un pasaje siempre cambiante con la tensión como continuidad y elemento narrativo. Con el paso del tiempo este proyecto ha ido además centrándose también en el uso y exploración de los límites sónicos del sintetizador analógico Korg MS-20, que por otra parte ha estado siempre ligado en mayor o menor medida a mi trabajo sonoro desde los años 80. 

Bien, hasta aquí los puntos de partida. Solo añadir que la gestación de este multiforme i.r.real 9 ha estado marcada por un largo y complejo proceso, tanto en lo temporal (más de dos años de idas y venidas) como en el abordaje y enfrentamiento conceptual del mismo. Han sido horas y horas de grabaciones de entre las que extraer el material de audio definitivo: 96 minutos repartidos en dos partes de cuatro piezas sonoras cada una. Han sido también infinitos los viajes exploratorios al cajón de las fotografías unidas a la memoria y al paisaje íntimo y geográfico del entorno de éste que aquí escribe. Y por último han sido páginas y más páginas saturadas de oblicuas líneas cruzadas y mildireccionadas, necesitadas de ser amarradas, literalmente atadas, sujetadas, con alguna clase de ancla adhesiva más o menos comprensible (para mí mismo). 

Ah, déjenme finalmente dar las gracias a mi querido amigo Edu Comelles, cómplice desde su Audiotalaia de toda esta locura audioescrita y parte fundamental en su plasmación en esta cosa sólida y tangible que tienen ante sí... 

Javier Piñango

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Tracklist:

01 exilio_ocho_abismo  [07:58]
02 exilio_sima_ingravidez  [16:19]
03 exilio_tierra_aceite  [08:36]
04 exilio_interior_saeta  [15:32]
05 autoexilio_caldera_oscilación  [14:25]
06 autoexilio_filtro_ebriedad  [06:03]
07 autoexilio_radiografía_cosmos  [08:38]
08 autoexilio_nueve_superficie  [18:28]

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Diseño 

Publicación impresa, numerada y ensamblada a mano, en BN con textos e imágenes. Papel verjurado gris oscuro, tapas de goma negra y faja de cartón Kraft. Edición Limitada de 50. Solo 30 a la venta online.
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Créditos

Javier Piñango: sintetizador (Korg MS-20), ruidos, efectos y textos.
Escrito, compuesto, grabado, mezclado y masterizado en Madrid. 2018 - 2019

Diseñado y Editado por Edu Comelles. Impreso en Valencia, primavera 2019

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