2014
Mostrando entradas con la etiqueta 2014. Mostrar todas las entradas
Date of release: 19.12.14
Format: FILE - MP3 / WAV 
Lenght: 21:00 min
Artwork: Adrià Bofarull / Audiotalaia

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Often musicians in the realm of free improvisation talk about intuition. This comes in hand with uncertainty, a feeling of stepping into the unknown, into the dark (or light?). When I asked Adrià Bofarull to write some notes on “fireworks” I came across a wide variety of forms of intuition and tons of unknown, a set of random thoughts that, all together, made sense.

Reading the notes, one realize that Bofarull is building a complex scaffolding system to keep away the feeling of getting lost into this “unknown”. It seems that all those rules, and games he applies to the process of making music are just there to avoid being sucked by the wormhole of wilderness. Even though he’s already in the deep wilderness (as you can listen).

Bofarull tells me that in every album he’s trying to constrain certain aspects, limite the use of effects or his concerns about sonic bearability or even post-production or mastering. In “Fireworks” he’s trying to keep things simple, trying to avoid superfluous chunks of sound and focusing on the crudeness of his own language, and this only can happen when one is certain about his own work, when one is truly committed to himself and fully aware that if the outcome of his work see the light of the day is to show him naked as an artist.

Independently of the work process “Fireworks” seems to me a window into Bofarull’s process. While hearing the tracks of this compiled album one can see, in the back of all those unpredictable compositions, an artist having tons of fun. Someone who’s research on composed sound has gone that far that doesn’t need to be labeled or legitimized, doesn’t need approval, it just stands by itself as a form of pure joy, leisure and harmless divertimento, which leads us to ask: ¿who dares to question that?

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Tracklist:

01. tetrastigma
02. double
03. tactil
04. plexus
05. kcaj
06. taumaturgies
07. grau
08. gaph
09. virgin
10. signes secrets

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Extra Items:

Adrià Bofarull has released a previous album under the monicker "Hydra" in our digital catalogue entitled L'Antimatèria and a track called Heritage on our 50th Compilation.

He has also been invited to play at Off_Herzios Festival back in 2012 at the Alba Cabrera Gallery In Valencia. Here it is the live recording of his concert:



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Licencia de Creative Commons



 Fireworks by Adrià Bofarull is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at076Arum.
Date of release: 24.11.14
Lenght: 46:00 min
Artwork & Image: Edu Comelles.
Format: 80 Copies of a Limited edition. CDr Limited Edition / Handmade Cardboard Box + Colored Paper (Mp3 320 Kbps)

SOLD OUT

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i.r.real 6: transcontinental electronic flight has been assembled through an exploration of the sonic boundaries of a Korg MS20 analogue synth. This is the culmination of a long process in which the synthesizer takes possession of the whole “I.r.real” concept.

i.r.real 6: transcontinental electronic flight is also a journey a transcontinental roller coaster, a drift made of sonic impressions around cities, buildings, airports, planes….

i.r.real 6: transcontinental electronic flight began to take shape in South America in april 2014 during a journey that included three cities (Buenos Aires, Lima and Montevideo). Those cities inspire nine of the short tracks of this album….

In between, flight hours back and forth the continent sonically translated into layers and layers of synthesizer in a extended central piece divided in two “drifting” parts….

i.r.real 6: transcontinental electronic flight doesn’t contain field recordings, isn’t faithful to no reality, it doesn’t listen to any reality, it suggests impressions, it streams hum, it’s a mental state of i.r.real sounds, its just electronic ¿music? …

Javier Piñango

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i.r.real 6: transcontinental electronic flight es el sexto volumen del proyecto en solitario de javier Piñango i.r.real…

i.r.real 6: transcontinental electronic flight está construido a través de la exploración de los límites sónicos de un sintetizador analógico Korg MS20, siendo la culminación de un largo proceso en el que este mismo sintetizador ha terminado por "adueñarse" del propio concepto i.r.real...

i.r.real 6: transcontinental electronic flight es también un viaje, un sube/baja transcontinental, un recorrido de impresiones sonoras construidas en torno a ciudades, edificios, aeropuertos, aviones...

i.r.real 6: transcontinental electronic flight comenzó a gestarse en Sudamérica en Abril de 2014, en un itinerario que incluyó tres ciudades (Buenos Aires, Lima y Montevideo), que a su vez en el disco inspiran un total de nueve piezas cortas… Entre medias, horas de vuelo continente arriba continente abajo traducidas sónicamente en pistas y más pistas de sintetizador en una extensa pieza central dividida en dos partes “voladoras”…

i.r.real 6: transcontinental electronic flight no contiene grabaciones de campo, no es fiel a ninguna realidad, no escucha ninguna realidad, sugiere impresiones, emite zumbidos, es un estado mental de sonidos i.r.reales, sólo es ¿música? electrónica…

Javier Piñango

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Licencia de Creative Commons
I.r.real 6 Transcontinental Electronic Flight by Javier Piñango is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 3.0 Unported License. Creado a partir de la obra en http://www.audiotalaia.net/store/atp005-javier-pinango/. Permissions beyond the scope of this license may be available at http://www.experimentaclub.com/i_r_real.htm.




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Live recording of the concert held by Avelino Saavedra & Edu Comelles at l'Antic Forn de Vallcarca (Barcelona) the 8th of November 2014. The concert was supported by Juan Manuel Castrillo and organised by l'Antic Forn de Vallcarca.

Many thanks to: Juan Manuel Castrillo, L'Antic Forn de Vallcarca, La Rebelión de los Antioxidantes.
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Credits:

Avelino Saavedra: Percussion, objects and pedals.
Edu Comelles: Miss-treated Field Recordings.

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Licencia de Creative Commons
Licencia de Creative Commons Live at l'Antic Forn (Barcelona) by Avelino Saavedra & Edu Comelles) is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Live concert held at Moroder Sound Club in Madrid the 17th of October of 2014. That night also played Madrid-Based Drone duo "Nebelmeer" formed by Marta Sainz and David Area.

Javier Piñango: Korg MS-20 + Rockman XPR.

Edu Comelles: Miss-treated Field Recordings.


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Rally! es la consecuencia adrenalínica de recorrer el DF montados en taxis de dudosa fiabilidad, de quedarse atascado en el Eje Central mientras a tu alrededor vendedores te asaltan con extraños artículos a la venta, martillos, plátanos, snacks y bebidas, en ese orden. Rally! es un viaje, agarrado al asiento de un Volksvagen Escarabajo, mientras el taxista fuerza la caja de cambios maltrecha que asoma por debajo de la tapicería, seis días de viaje por el DF, seis días de descubrimiento y sorpresa, de cúmulo, de saturación, de recuerdo, de horror vacui de altavoces y micrófonos, son seis días en la ciudad electroacústica.

Javier Piñango y Edu Comelles viajaron a México DF para participar en el Festival de Experimentación Sonora Radar / UNAM, dirigido por José Wolffer. Durante 6 días recorrieron la ciudad capturando sonido en varias derivas sonoras, que una vez mezcladas y editadas fueron sometidas a un diálogo acústico con un sintetizador Korg MS-20.

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Credits:

Vídeo: Enrique Zaccagnini.
Audio: Edu Comelles.
Diseño: Audiotalaia.
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Licencia de Creative Commons 

Live at Madrid 17.10.2014 by Rally! (Javier Piñango & Edu Comelles) is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Date of release: 06.10.14
Format: FILE - MP3 / WAV 
Lenght: 1.21:00 min
Artwork: Audiotalaia
Photos: Antonio Pérez.
Vídeos: Caixa Fosca, Paco R. Baños.
Valencia event: Carlos Flores.


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This document is a testimony of 6 Relays that took place in four Spanish cities during May 2014. The events where organized in Valencia by Audiotalaia and the Luis Adelantado Gallery, in Vitoria-Gasteiz by Ainara LeGardon and Artium Museum, in Madrid by Wade Matthews and Espacio Cruce and in Seville by Alejandro Rojas-Marcos and the University of Seville (CICUS).

The recordings here presented are a selection over more than 30hours of recordings done by Edu Comelles. All Relays where statically recorded using three independent digital recorders, each of them placed en each scenario of every Relay. Also a secondary set of recordings was made using binaural microphones technic and while moving.

The final mix here presented is a selection of the Binaural Recordings done during all four Relays. Those recordings are the result of wandering about the spaces in which Relays took place and taking an active position as recordist. This involved fast and slow movements, close-ups to determined gestures and instruments and soundwalks along hallways, corridors and staircases. The outcome of this approach provides a subjective perspective over a multifocal hearing experience that has to be listened through headphones to perceive the dimensionality of binaural sound.

Attached to this document we present three texts by Ainara LeGardon, Wade Matthews and Josep Lluís Galiana who kindly wrote their thoughts on the Relay and all about it. There is also a spanish version of the texts on the PDF booklet.

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Tracklist:

Relay Valencia / 10.05.2014 / Galería Luis Adelantado
Tracks from "Rel01_Vlc_01" to "Rel08_Vlc_08".

 Relay Vitoria-Gasteiz / 17-18.05.2014 / Artium
Tracks from "Rel10_VitGas_01" to "Rel10_VitGas_09"

Relay Madrid / 24-25.05.2014 / Espacio Cruce, Galería Liebre, Esto Es una Plaza, Función Lenguaje
Tracks from "Rel18_Mad_01 to Rel24_Mad_07

 Relay Sevilla / 28-29.05.2014 / CICUS, Universidad de Sevilla
Tracks from "Rel26_Svq_01" to "Rel34_Svq_09"
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Credits:

Relay VLC:
Venue: Luis Adelantado Gallery

Avelino Saavedra (Percussion, Objects)
Guillermo Torres (Flugelhorn)
Vicent Gómez (Electronics)
Negro (Electric Guitar)
Javier Pedreira (Guitar)
Carlos Edelmiro (No-input mixer, Amplified Objects)
Josep Lluís Galiana (Soprano sax)
Edu Comelles (Laptop, field recordings)
Alejandro Rojas-Marcos (amplified clavichord)
Manolo Rodríguez (Acoustic Guitar, loops)
Wade Matthews (Laptop)
Marta Sainz (Voice)
Ainara LeGardon (Voice, objects)
Antonio Sánchez (No-input mixer)
Francesc Llompart (Violin)
Bartolomé Ferrando (Voice)
Marta González (Viola)
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Relay VIT-GAS:
Venue: Artium, Centro-Museo Vasco de Arte Contemporáneo

Naiel Ibarrola (Visuals)
Javier Pedreira (Guitar)
Iban Urizar (Trumpet, Clarinet)
Ruth Barberán (Trumpet, amplified objects)
Lali Barrière (Objects)
Miguel A. García (Electronics, No-input mixer, laptop)
Mario Sarramián (Laptop, objects)
Edu Comelles (Laptop, field recordings)
Manolo Rodríguez (Acoustic Guitar, loops)
Wade Matthews (Laptop)
Xabier Erkizia (Prepared Percussion)
Ainara LeGardon (Voice, objects)
Idoia Zabaleta (Dance)
Paloma Carrasco (Cello)
Álvaro Barriuso (Voice)
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Relay MAD:
Venues: Cruce, Esto Es Una Plaza, Galería Liebre, Función Lenguaje.

Abdul Moimême (Electric Guitar)
Mario Sarramián (Laptop, Objects)
Naiel Ibarrola (Prepared Piano, Objects)
Guillermo Torres (Flugelhorn)
Lali Barrière (Objects)
Miguel A. García (Electronics, No-input mixer, laptop)
Carlos Costa (Double Bass)
Javier Piñango (Korg MS-20 synth)
Edu Comelles (Laptop, field recordings)
Alejandro Rojas-Marcos (Piano, Trombone)
Manolo Rodríguez (Acoustic Guitar, loops)
Wade Matthews (Laptop)
Marta Sainz (Voice)
Ainara LeGardon (Voice, objects)
Alessandra Rombolà (Flute)
Tomás Gris (Sax)
Paloma Carrasco (Cello)
Rubén Gutirérrez (Amplified surfaces, objects, electronics)
Álvaro Barriuso (Voice)
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 Relay SVQ:
Venue: CICUS, University Of Seville.

Ferran Fages (Electronic devices)
Guillermo Torres (Flugelhorn)
Juan Luis Matilla(Dance)
Natalia Jiménez (Body)
Javier Pedreira (Guitar)
Miguel A. García (Electronics, No-input mixer, laptop)
Carlos Costa (Double Bass)
Edu Comelles (Laptop, field recordings)
Alejandro Rojas-Marcos (Piano, amplified clavichord)
Manolo Rodríguez (Acoustic Guitar, loops)
Wade Matthews (Laptop)
Ainara LeGardon (Voice, objects)
María Cabeza de Vaca (Coreographer)
Emilio Salvatierra (Percussion)
Gustavo Dominguez (Clarinet, Bass Clarinet)
Sergio Rojas-Marcos (Bass)
Sara Martín (Flute)
Marta González (Viola)
Antonio Corrales (Double Bass)
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Recorded, mixed and mastered by: Edu Comelles. With occasional gear or help by Ainara LeGardon, Wade Matthews, Alejandro Rojas-Marcos and Miguel A. Garcia.

Recording gear: Audiotalaia Binaural PRO microphones, Zoom H1.

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History of the Relay.

The first Relay took place at 2:13 Club in London, organised by guitarrista and improviser, John Bisset. For many years this was a yearly event. After that first attempt other improviser have been organising Relays in números places.

The german percussionist Burkhard Beins took advantage of an abandoned power plant in Berlin to organize a Relay and cellist Nikos Veliotis did something similar in Athens. Wade Matthews organized a couple of Relays at the Reina Sofia Museum of Madrid, one at a Silk Market from the Sixteen Century in Deir el Kamar at the Shouff Mountains in Lebanon and a fourth one at the Faculty of Arts in Montevideo, Uruguay. As well the swiss violinist Charlotte Hug has organized a memorable Relay that took place inside Paris catacombs (a truly underground event). Finally flutist Jane Rigler organized two Relays at the Museum of Modern Art in New York as a commemoration of the first anniversary of the new building.

One of the main characteristic of the Relays is the acknowledgement of the contribution by other organizers in previous Relays. This who organized the previous Relay are usually included on the organization of the following as a gesture of gratitude. Bisset, Beins and Veliotis participated in all first Relays, while Beins, Veluotis, Hug and Rigler played in all Relays organized by Matthews. Also Beins, Veliotis, Bisset and Matthews participate in both Jane Rigler’s Relays in MOMA and also Matthews played agh the Paris Catacombs Relay organized by Charlotte Hug. Some other participants in all Relays are Robert Dick, Jack Wright, Ikue Mori, Pauline Oliveiros and Jon La Barbara.

Another characteristic of the Relays is that apart from the involvement of music improvisers there is a space for close-by disciplines such as dance through the participation of Valérie Métivier an the choreographer and improviser Elena Alonso among others, there is always a space for other disciplines.

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How it works?


At a given time, three trios of musicians start improvising in three nearby scenarios. Ten minutes later another group of participants join the improvisation. Each of them can choose freely where to go. As soon as someone joins an ongoing improvisation one of the musicians has to move to another location to relay someone else. This process takes approximately 2 hours in which music is constantly changing as musicians come and go. At last, its also possible that all musicians join in a given point and end up the event playing all together.

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Texts:

In the month of May, hunger and roses. Such disparate bedfellows!

 Or so an old Spanish saying would have it, but there is no particular reason to think that hunger and roses will both be present in the same month of May. Maybe these strange bedfellows alternate years. We don’t know, but we don’t really care, either. What matters is that May of 2014 was full of roses. Or maybe I should say rose bushes, because, of everything that blossomed that month, what most captured our attention wasn’t so much the flowers as the gardens themselves. It’s not about the pleasure of contemplating this or that flower, this or that delightful, though fleeting, patch of color. It’s about the satisfaction of finally witnessing the emergence of new and fertile terrains, fields where, with a certain degree of effort and determination, roses will blossom, not only this May but many more in the future. We don’t need to sew the seeds of hunger, it is already strongly rooted in our present economic system, and our politicians cultivate it so well that even many job holders are now living beneath the threshold of poverty.

 “Write the book you’d like to read” counsels a recent American saying, and that somehow describes what happened last May. Do you want interesting musical activities to take place where you live? Do you want cutting-edge sound artists to visit from all over the country, and to play with the finest local musicians? And, do you want it to be well organized? Then organize it yourself! That’s what happened and that, hopefully, is what will continue to happen. In Valencia, Vitoria-Gasteiz, Madrid and Seville, a handful of musicians with talent, imagination and initiative were tired of looking at photographs of roses, of listening to interesting musicians only on CDs, of preparing their seeds again and again without every having a garden to plant them in. Finally, they discovered that enthusiasm is a surprisingly powerful force for change, especially when it is shared. Musicians—and I do not employ the term lightly—like Ainara LeGardon, Edu Comelles and Alejandro Rojas Marcos chose to collaborate with me and with their own colleagues to carry out a multiple, ambitious and powerful project. Henry David Thoreau wrote: “If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.” That is exactly what Ainara, Edu, Alejandro and I set out to do. Beneath the castles of our respective musical communities, we have constructed foundations whose cornerstones are clarity and flexibility.

 Here, clarity means knowing what you want and how to communicate it to those who cannot help but share your enthusiasm once they understand the project. And so it has been with Olga Adelantado, of the Luis Adelantado Gallery in Valencia; Daniel Castillejo and Mari Fran Machin of Artium in Vitoria-Gasteiz; and in Madrid, Salomé Ramírez, of CRUCE, Mariejo Obeillero, of Esta es una Plaza, and the directors of the Liebre Gallery and Función Lenguaje, respectively. The decision-makers at the CICUS in Seville proved equally open, interested and willing to cooperate.

 Clarity also involves something else, something that fosters flexibility. Knowing what you want includes being able to distinguish what is essential from what is merely superficial, understanding that a rose can grow in places that differ considerably from each other, and from where we imagined planting them. That clarity and flexibility imply acting with the agility needed to get twenty musicians to your city so they can share their art, even when the roses decide to show their thorns rather than their flowers, and even when our politicians have depleted cultural subsidies to support causes considerably less noble than the construction of castle foundations.

 The result of this dedication, effort, clarity, flexibility and enthusiasm? A Relay of Relays, a harvest of many, many roses with very few thorns. Musicians blossoming in clusters of fifteen or twenty, instrument in hand, sharing their music, enthusiasm and creativity with their own communities and with those of their colleagues, creating another community, a larger garden where, hopefully, new projects will also flourish. None of us could have done this alone, because the lasting project was not the Relay, or even the Relay of Relays. What we were really building was the cooperation that made everything else possible. There is still hunger, and it will not disappear any time soon, but at least we’re starting to see some roses. Hopefully, there are more to come.

 Wade Matthews.

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The Aura of Space/time

 When guitarist John Bisset and flutist and saxophonist Lester Moses organized the first Relay in the history of sound art at the 2:13 club in London in 1992, they had no idea that their particular “multiple concert of free improvisation projected into the public sphere” would spark similar activities around the world. As an annual event, Relays were subsequently organized by other improvisers in numerous cities. German percussionist Burkhard Beins chose an abandoned power plant in Berlin and cellist Nikos Velliotis did something similar in Athens.

 Electro-acoustic improviser Wade Matthews has organized two at the Reina Sofía Museum in Madrid, another in a 16th-century silk market in Deir el Kamar, in the Shouff Mountains of Lebanon, and a fourth in Montevideo, at the National University of Uruguay’s School of the Arts. Swiss violist Charlotte Hug organized one in the catacombs of Paris, the most underground of any so far, and even the city that never sleeps shared this adventure when improvising flutist Jane Rigler organized two at New York’s MoMA to mark the first anniversary of its new building.

 This celebration of a place and a moment with the participation of numerous musicians has finally reached Valencia. Sixteen musicians moving freely between three areas in the Luis Adelantado Gallery have carried out a “session of improvised music in constant motion” that faithfully connects the Relay with the dérive, a Situationist practice that Guy Debord defined as “a technique of rapid passage through varied ambiences.” For him, as author of The Society of the Spectacle, the construction of a situation involves building a transitory micro-environment and unfolding artistic, psychological, emotional, acoustic, political, economic and environmental events, among others, to generate a unique moment in the lives of various people.

 Hic et nunc, the here and now that constitutes the essence of a Relay, is not the only element connecting this experience with the theory of the dérive, and also with the figure of the flâneur evoked by Baudelaire and later, in the context of the modern city, by Walter Benjamin. Each free improviser is like an installation or sound sculpture created to exist—ephemerally—in a particular space. He or she is thus site-specific, and that site owes its existence to sound, constituting a resonant space where time stops, bringing to mind Benjamin’s aura: “an original tissue made up of space and time.” This sonic aura extends over all of us, enveloping us and drawing us into its exclusive and festive play-space, where there is room for chance situations and unpredictable reactions, where the definitive is avoided, the border between art and everyday life is set aside and life is lived freely through careful listening and intuition. The Relay captures the joy of instantaneous and fleeting creative experience, a participation in collective creation that places both the improviser and the listener/viewer on the path to a liberating and unlimited sound world.

Josep Lluís Galiana

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If I were to describe the Relay with just one word, it would be commitment—an agreement to exercise our responsibility in pursuit of music (and I am tempted to write Music, with a capital “m”).

 Another word would be trust—the encouragement from others that potentiates one’s own decisions.

 The relay marks our turn to maintain the network, a tightly knotted net with links and connections that insure continuity of movement. We are waves carrying the message in its bottle, and some of us play the role of the wind while others are the Moon’s gravitational pull, or the mass of water on which it floats, or even the foam that cushions its journey… Together, we cradle and transport the idea of commitment.

 Following last May’s Relay of Relays, it was a pleasure to collapse after crossing the finish line, because the goal of thrilling, and of thrilling ourselves, had been reached. The seed was sewn and the baton passed to other hands so the adventure could continue.

 Enjoy listening

Ainara LeGardon
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With the collaboration, aid and sponsorship of:















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Licencia de Creative Commons



 Relay 2014 by Varios Artistas is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en www.audiotalaia.net/catalogue/at075-relay-2014.Puede hallar permisos más allá de los concedidos con esta licencia en www.audiotalaia.net/catalogue/at075-relay-2014
Date of release: 08.09.14
Format: FILE - MP3 / WAV 
Lenght: 29:00 min
Artwork: Juan Matos Capote / Audiotalaia

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It seems to me that Árum (the duo collaboration by Lali Barrière and Juan Matos Capote) drifts between two different sonic environments; two worlds colliding and pushing each other towards their own sonic realms. With this album there is constant feeling of disattachment or maybe juxtaposition of realities or planes of reality. This feeling of maladjustment comes straight from the core differences between languages and materials.

Barrière releases her characteristic unprocessed, but yet amplified, objects and gestures while Capote delivers steady tones and glitches produced by circuit bended radios and oscillators. Both musicians very consequent with the characteristic distance between sonic worlds manage to get together in a liminal territory that ultimately convinces us that it doesn’t matter what’s the formation of each musician in an ensemble as long as they understand and acknowledge each other to achieve harmony, not in musical terms, if not as a sonic couple.

Finally, listening to this album I have the impression that Lali is constantly dragging Juan towards an acoustic space, with walls, a certain soundscape a human space with a room tone; while Juan is trying constantly to remind us that inside cables there is sound without space, without walls where to crash, with no room tone and no space for humans.

“Diferents a Peu” presents three windows opening towards a territory crafted by two different sound workers, an entanglement between strangers and a drift to the unknown hand on hand with opposites.

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Tracklist:

01. DAP 01
02. DAP 02
03. DAP 03

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Credits:

Lali Barrière: amplified objects.
Juan Matos Capote: home-made electronics (oscillators and radios).

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Licencia de Creative Commons



 Diferents A Peu by Árum (Lali Barrière & Juan Matos Capote is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at074Arum.
Date of release: 16.06.14
Format: FILE - MP3 / WAV 
Lenght: 11:00 min
Artwork: Caseta Màgica

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Cuneta is a duo formed by Alba Murcia and Vicent Pelechano. Since 2006 they have been delivering parcels of electronic music and explored various terrains building their music that blends experimental music made with found objects and a certain electronic pop.

In 2008 they began “Músicas Brutas / Raw Musics II” a very special project within their biography. The project began while conducting a music workshop with a group of people with physical and psychical disabilities. The aim: to make music with people without musical prejudice and preconception, people whose minds are free to wander about in the boundaries of music, sound and composition.

This first approach was formalised by Cuneta using recordings done Clara Montana G. Murcia; Alba’s sister who had Down Syndrome. The recordings are based on improvisations using different instruments and voice and they were published as the first “Músicas Brutas. Raw Musics” on January 2013.

Finally we get to “Músicas Brutas / Raw Musics II” after the first glimpse of the project, Murcia and Pelechano ended up in Bristol UK. There they conducted a workshop at the National Star College an institution devoted to education and personal development of young people with complex disabilities. Through a series of sessions with the inmates of the college Cuneta assembled a variety of recordings that ultimately conform what’s presented here, the second instalment and a long time awaited project by this duo from Valencia, Spain.

"Músicas Brutas / Raw Musics II" can be understood as many things, and can be approached from many perspectives, disciplines, etc. In their own words Cuneta states that this project primarily seeks to attend in various issues concerning the people involved in the project. While trying to set up an album Cuneta is also providing tools to people with disabilities or people with different needs to understand sound as a medium as an alternative way to engage, express or communicate freely without musical constrains.

On their workflow Cuneta goes beyond the creative process and states that regardless of the condition anyone is capable of being creative, and no boundaries to creativity exist if the will is to work freely.

Finally, Cuneta aims to provide visibility to those people involved in the preliminary workshop as artists working in a creative project that transcends the walls of the caring and educational institution. “Músicas Brutas / Raw Musics II” is a beautiful tale about how to reclaim difference as a booster of creativity and inspiration.

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Tracklist:

01. Shipwreck
02. Hello, hello
03. La la la
04. Xenon Shruti
05. Momentum
06. 13, 14, 36 & 3

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Credits:

Recorded at National Star College (Cheltenham, England) on 8th & 9th October 2013 during Cuneta’s Raw Musics workshop. Mixed in Bristol between October 2013 and February 2014 by Cuneta. Cuneta are Alba Murcia & Vicent Pelechano.

The National Star College is a provider of specialist further education, training and personal development for young people with complex physical disabilities, acquired brain injuries and associated sensory, learning, medical, emotional and behavioural difficulties.

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Thanks to:

All amazing students and staff members from the National Star College Creative and Performing Arts Department (CAPA) who joined Raw Musics workshops and produced the picture for the album cover; Charlie Baxter for his support and collaboration; Juanjo Rico from Moments Arts; Paula Olivares for helping with translation tasks; Caseta Mágica for the artwork; Audiotalaia netlabel and special thanks to Paul Tarling, CAPA director, for trust in Cuneta.

You can find more about Raw Musics project at: www.cucuneta.blogspot.co.uk

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With the collaboration of:







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Licencia de Creative Commons



 Músicas Brutas / Raw Musics II by Cuneta is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at072Cuneta.
Date of release: 28.05.14
Format: FILE - MP3 / WAV 
Lenght: 24:50 min
Artwork: Audiotalaia 
Photo: Atilio Doreste
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In this troubled world of the field recordings is always great to get a breath of fresh air. We are constantly defining the genre or even discussing if it is a genre by itself. Since the democratisation of the technological aspect of field recordings things have got more and more uptight and perilous. Now a days, you cannot cough without a wake of opinions behind it.

So, being aware of the current situation and the abrupt irruption of field recordings in the “market”, the new album by Atilio Doreste, is in my humble opinion, a breath of fresh air. I’m completely unsure about the originality of the work but I’m certain that in the Spanish context it is a very interesting breakthrough.

“Shifting Boundaries” explores the possibility of another way to understand field recordings as a canvas or a creational or inspirational environment that can alter our creative and sonic process of work.

The album has been conceived as a series of fragments recorded live in various locations. In each location Doreste performed live a series of improvisations using small battery-powered circuit bended instruments and radios. Through an improvisational approach, Doreste performs accordingly to what he sees and hears. His intervention activates acoustically the spaces, while the very environment alters the way we listen to the sonorities of the circuit bended tools.

Both elements, the environment and the circuit bending blend together forming a very short but consistent compositions in which, movement, noise and the surroundings are playing a strange and uncanny composition that alters the way we understand field recordings and the core idea of what Rocha Iturbide names electroacoustic soundscape. Doreste pulls aside all the canonic ideas about not altering the soundscape and embraces a far more interesting field that blurs the limits of what we understand as field recordings and our capability of using them as a canvas or a creational framework.

Apart from the obvious, Doreste is also talking about a lived experience and a site-specific way to understand free improvisation. The author is confronting the idea of field recordings as documentation. Being aware of the site-specificity, the author is giving the same power or relevance to the recording and what its being recorded. Microphones are instruments, so as the soundscape, the environment, the acoustics of the space and all those radios, five elements shifting boundaries, blurring limits and making this world of field recordings a bit more fun.

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Tracklist:

01. Refuge I
02. Broken Greenhouse
03. Collapse
04. Vessel
05. Tenerife Norte
06. Ruined House
07. Refuge II
08. Notice to mariners

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Images (Courtesy of the author):






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 Reviews:

Last year two of my favorite field recordings were by the Canarian Atilio Doreste. The first recording I came across was Dog In The Cave on the netlabel Green Field Recordings. This fine album examines how human noise flows through various settings. The other release was Radio Chaos and Nature on the netlabel Post-Global. This album listens to nature but with the improvised sound of radio waves injecting themselves on the soundscape. Radio Chaos and Nature is much more in spirit with the Dorester´s latest release Shifting Boundaries on the Audiotalaia netlabel.

Shifting Boundaries is an improvised work rather than a strict field recording project. Using both natural landscape and radio waves, Doreste imposes improvised electronic sounds into the mix. This album paints a aural canvas that could be considered a field recording as easily as it could be considered as experimental electronic music.

If you enjoy any of these releases, you should check out Doreste´s website for several other works that are not mentioned in this post. It is well worth your time to check out Shifting Boundaries as well as Doreste´s other work.
David Nemeth. Acts of Silence.

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 Credits:

Recorded, produced and arranged by Atilio Doreste in 2014.
Edited by Edu Comelles.

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Licencia de Creative Commons



 Shifting Boundaries by Atilio Doreste is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at072AtilioDoreste.
Grabación de los conciertos de Mode On, Juan Antonio Nieto y Nad Spiro en la segunda edición de Off_Herzios / La Gallera Suena. Este álbum digital contiene también una interpretación fonográfica por parte de Benigno Moreno del evento Off_Hz 019.

Live recordings of the concerts by Mode On, Juan Antonio Nieto & Nad Spiro at the second edition of Off_Herzios Festival at La Gallera. This digital album contains also a phonographic interpretation of the event Off_Hz 019 by Benigno Moreno.


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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

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Vídeos:


Vídeo: Damià Jordà
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Vídeo: Damià Jordà
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Vídeo: Damià Jordà
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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Vídeo: Damià Jordà
Diseño: Audiotalaia

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Licencia de Creative Commons_
Grand Finale II // 12.04.14 by Mode On / Juan Antonio Nieto / Nad Spiro is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Grabación de los conciertos de Narcoléptica, Marredo & Montag y dot.tape.dot en la segunda edición de Off_Herzios / La Gallera Suena. Este álbum digital contiene también una interpretación fonográfica por parte de Benigno Moreno del evento Off_Hz 018.

Live recordings of the concerts by Narcoléptica, Marredo & Montag and dot.tape.dot at the second edition of Off_Herzios Festival at La Gallera. This digital album contains also a phonographic interpretation of the event Off_Hz 018 by Benigno Moreno.

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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

_

 Vídeos:


Vídeo: Damià Jordà.
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Vídeo: Damià Jordà.
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Vídeo: Damià Jordà.

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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Vídeo: Damià Jordà
Diseño: Audiotalaia

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Licencia de Creative Commons_
Grand Finale I // 11.04.14 by Narcoléptica, Marredo & Montag and dot.tape.dot is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
El Espacio Audible (Presentación de proyecto)

 Crearqció + Edu Comelles (performance sonora)
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Grabación de la jornada dedicada a Sonido y Espacio, articulada a partir de dos actividades, una charla y una performance sonora. Grabación de la charla y presentación del proyecto "El Espacio Audible" a cargo de Fernando Ortuño y Edu Comelles. Grabación de la performance sonora diseñada por Crearqció para transformar el espacio de La Gallera a través de un proceso creativo y sonoro.

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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

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Foto: Manu Marpel.
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Foto: Manu Marpel
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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Vídeo: Damià Jordà
Diseño: Audiotalaia

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Licencia de Creative Commons
Sonido y Espacio by Fernando Ortuño, Edu Comelles & Crearqció is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Grabación de los conciertos de Pablo Rega y Bregues de Moix (Saavedra, Galiana, Ferrando) en la segunda edición de Off_Herzios / La Gallera Suena. Este álbum digital contiene también una interpretación fonográfica por parte de Benigno Moreno del evento Off_Hz 016.

Live recordings of the concerts by Pablo Rega and Bregues de Moix (Saavedra, Galiana, Ferrando) at the second edition of Off_Herzios Festival at La Gallera. This digital album contains also a phonographic interpretation of the event Off_Hz 016 by Benigno Moreno.


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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

_

Vídeos:


Vídeo: Damià Jordà.
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Vídeo: Damià Jordà.
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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Vídeo: Damià Jordà
Diseño: Audiotalaia

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Licencia de Creative Commons_
Live @ Off_Herzios 07.03.14 by Erissoma + Rauelsson is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Date of release: 11.03.14
Format: FILE - MP3 / WAV / WAV 4 Channel
Lenght: 29:36 min
Artwork: d'incise
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Graphein is a work entirely made of pencils and paper sounds. It was at first conceived for an audio-visual project with Delphine Depres (where she did images only with.. pencils and paper, [link]).

The basic idea was to explore a material and its sonic capabilities. The idea was to dig into the object (in that case pencils) and transform its sonic properties (as a raw material) into a poetic version of it. The basic idea tends to be something extremely basic and understandable and yet the outcome arose as something extremely abstract and disattached from its source.

Compositionally D’Incise built a series of infinite loops or textures to create layers of steadiness or what he calls “sound states”. On the performance level there is no other action than the “next” button option.

According to his words, the system by itself relays on the sense of time and the author’s own perception of boredom. Changes will occur only between the different “sound states” or textures or loops, and the change between them becomes the only possible action for the performer.

This piece is mainly a conceptual work, the poetics of the piece relay on the use of time: how this is relativised by looping what can be heard as textures, and also by the use of just one single element to construct such a disattached from the source acoustic world.

Apart from those considerations, Graphein has certain warmth produced by the low frequencies and the subtle tickling that embellishes the whole work. Beyond the scope of the conceptual background of the work, one can cuddle their ears to that “sound state” and stay there for as long as you wish.

The album comes in two versions. A Stereo one and a 4-channel Version.
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Tracklist:

01. Graphein (Stereo Version)
02. Graphein (4-Channel Version)

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Credits:

Produced and arranged by D'Incise in 2011.

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Licencia de Creative Commons



 Graphein by D'Incise is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at070PacoRossique.
Grabación de los conciertos de Erissoma y Rauelsson en la segunda edición de Off_Herzios / La Gallera Suena. Este álbum digital contiene también una interpretación fonográfica por parte de Benigno Moreno del evento Off_Hz 012.

Live recordings of the concerts by Erissoma and Rauelsson at the second edition of Off_Herzios Festival at La Gallera. This digital album contains also a phonographic interpretation of the event Off_Hz 012 by Benigno Moreno


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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

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Vídeos:

 Video-creación del concierto de Erissoma celebrado el pasado 7 de marzo de 2014 en La Gallera dentro de la programación de Off_Herzios, Valencia.

 Vídeo: Damià Jordà
Audio: Benigno Moreno
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Video-creación del concierto de Rauelsson celebrado el pasado 7 de marzo de 2014 en La Gallera dentro de la programación de Off_Herzios, Valencia.

 Vídeo: Damià Jordà
Audio: Benigno Moreno

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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Vídeo: Damià Jordà
Diseño: Audiotalaia

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Licencia de Creative Commons_
Live @ Off_Herzios 07.03.14 by Erissoma + Rauelsson is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Grabación de la charla "El paisaje sonoro, esa ilusión" de José Manuel Costa en la tercera edición de Off_Herzios / La Gallera Suena.

Live recordings of the speech "El paisaje sonoro, esa ilusión" (Soundscape, that illusion) by José Manuel Costa at the third edition of Off_Herzios Festival at La Gallera.


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Off_Herzios, nació en 2012 como circuito itinerante de Arte Sonoro y Músicas Extrañas. A lo largo de 10 meses el certamen recorrió las principales galerías de arte de la Ciudad de Valencia. En su primer año de vida Off_Herzios ofreció a la ciudad más de 25 actuaciones repartidas a lo largo del curso ofreciendo una extensa y variada panorámica sobre el arte sonoro y las músicas experimentales en nuestro país y más concretamente en la Comunidad Valenciana.

Después del éxito de crítica y público, Off_Hz muta en una nueva forma y en vez de itinerar por galerías de arte, asienta su programación en un punto neurálgico, una caja resonante y un referente arquitectónico: La Sala La Gallera del Consorcio de Museos de la Comunidad Valenciana.

La programación de Off_Hz en la Gallera girará entorno a tres ejes principales: conciertos, comisariados de escucha y showrooms. Estas tres actividades se articularán en este singular espacio a lo largo de 4 meses, de enero a abril del 2014.

Esta nueva andadura producida por Audiotalaia pretende generar un espacio de reflexión, escucha y descubrimiento de las artes sonoras, su ambición es la de abrir el mundo del sonido a la ciudadanía llenando La Gallera de sonidos.

Off_Herzios / La Gallera Suena es una invitación a la escucha, un lugar de encuentro y manifestación, un lugar dónde hacer resonar propuestas emergentes y proyectos consagrados, un lugar para la escucha y la transmisión.

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Credits:

Grabación, edición y masterización: Benigno Moreno
Foto: Manu Marpel
Diseño: Audiotalaia

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Licencia de Creative Commons_
El Paisaje Sonoro, esa ilusión by José Manuel Costa is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.

All works under a Creative Commons License. Audiotalaia, .