Recordings done in Castellón de la Plana (Valencia, Spain) the 13th of May 2016. Recorded, conducted and edited by: Edu Comelles.

Concierto íntegro:



Entrevista:



Monográfico:



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Diálogo, improvisación y deriva.

El dúo formado por Wade Matthews y Josep Lluis Galiana es una oportunidad única para escuchar en un mismo lugar y un mismo encuentro a dos de los músicos más inquietos y reflexivos entorno a la libre improvisación musical o sonora en este país.

Wade Matthews es un veterano improvisador electrónico, trabaja con grabaciones de campo o registros sonoros y la manipulación en tiempo real a través del ordenador de todo tipo de fuentes sonoras. Es, sin duda, una de las figuras clave para entender la música hecha con ordenador y su puesta en escena e interacción en vivo y en tiempo real con instrumentación acústica o electrónica.

La vertiente electrónica de Matthews se complementa en este singular concierto, con los saxos de Josep Lluis Galiana, uno de los músicos improvisadores más destacados de la Comunitat Valenciana. Su dilatada carrera y su constante empuje de la música electroacústica y contemporánea en el territorio destacan junto a sus dominio del instrumento y su posterior y certera exploración del saxofón hasta límites insospechados.

Las cartas están sobre la mesa, los talentos: evidentes, el tiempo dirá, y el espacio resonará y lo que en el Espai Sonor suceda, allí se quedará. El accidente, el momento, la deriva, el diálogo y sobretodo la escucha conducirán este concierto único e irrepetible.

+ info:

http://www.wadematthews.info/
http://www.joseplluisgaliana.com/

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Espai Sonor 2016 - 

Espai Sonor, el espacio dedicado a la creación y experimentación sonora contemporánea del EACC ofrece conciertos únicos, el segundo viernes de cada mes. El conjunto de eventos se presenta como una panorámica abierta, plural y didáctica a la creación sonora y musical a nivel local, nacional e internacional; siempre con el oído puesto en aquellos territorios fronterizos entre géneros, estéticas y técnicas.

La programación se complementa con una serie de podcasts a modo de documentación que permitirá la escucha en streaming de contenidos tales como entrevistas con los artistas, monográficos sobre sus obras y grabaciones totales o parciales de los conciertos.

Programació comisariada per Edu Comelles.

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Imagenes:

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Produced and organised by:

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Monográfico, entrevista y concierto by Wade Matthews & Josep Lluis Galiana is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://www.audiotalaia.net/offhz/eacc003-alfredo-costa-monteiro/.

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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DOWNLOAD FULL RELEASE (WAV)
DOWNLOAD FULL RELEASE (MP3)

DOWNLOAD ARTWORK (JPG)
DOWNLOAD ARTWORK (PDF)

hosted at: archive.org

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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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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

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.

+ info: http://offherzios.blogspot.com.es/

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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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Live @ Off_Herzios 07.03.14 by Erissoma + Rauelsson is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.

Grabación realizada por Benigno Moreno del concierto de L'Eix y Quartet A La Deriva en la Galería Luís Adelantado de Valencia. Registro realizado el pasado 26 de Abril de 2013.

Junto a la grabación del concierto, Benigno Moreno ha realizado una introducción fonográfica al ambiente sonoro previo y posterior al concierto.

+ info:
www.audiotalaia.net/store/atp003-leix

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Credits:

L'Eix: Ferran Fages (Guitarra), Oriol Rosell (Electrónica), Julià Carboneras (Dispositivos)
Quartet A La Deriva: Josep Lluís Galiana (Saxo), Gregorio Jiménez (Electrónica), Vicent Gómez (Electrónica) y Sisco Aparici (Percusión objetos).

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Vídeo: Damià Jordà.

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Foto: Manu Marpel

Foto: Manu Marpel

Foto: Manu Marpel

Foto: Manu Marpel

Foto: Manu Marpel

Grabación del Concierto que ofrecieron Josep Lluís Galiana y Gregorio Jiménez en La Clínica Mundana, en el marco del Ciclo Herzios! Grabación realizada el 2 de marzo de 2012.

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CICLO HERZIOS!

2010-2012 / Valencia, La Clínica Mundana.

El Ciclo Herzios fue una serie de conciertos que tuvieron lugar en La Clínica Mundana. Después de dos años (entre 2010 y 2010) de actividad ininterrumpida, el ciclo finalizó su actividad.

A lo largo de los dos años de vida artistas de Valencia y el resto del estado, participaron en los conciertos conformando una iniciativa única en el ámbito de la música experimental y electrónica en Valencia.

El ciclo Herzios ha sido ámpliamente reconocido por medios locales y nacionales y ha recibido el apoyo de muchos artistas emergentes. El objetivo de Herzios siempre fué el de ofrecer un espacio para la realización de conciertos a proyectos locales y a la vez combinar esa labor ofreciendo espacio a aquellos artistas interesados del resto del estado.

De dicha empresa surgió un recopilatorio que recoge una variada plétora de composiciones inéditas o reeditadas e incluso un extenso archivo con grabaciones íntegras de conciertos celebrados en el Ciclo Herzios. La compilación y el archivo accesible en el siguiente enlace cuenta con la presencia de artistas tales como Llorenç Barber, Juan Antonio Nieto, Ferrer-Molina, Javier Piñango, Alozeau, Jean Montag o Avelino Saavedra entre muchos otros.

Ciclo Herzios fué fundado y coordinado por Josué Coloma y en una segunda etapa, coordinado por Edu Comelles hasta su fin.

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Ciclo Herzios was a monthly series of concerts held in Valencia at La Clínica Mundana. After almost 2 years of uninterrupted events, Ciclo Herzios closed its activity.

During the course of concerts we invited artists form Valencia and the rest of Spain to participate on this activities that became a milestone of experimental Music endevours in Valencia.

Ciclo Herzios have been widely reported by local media and National radio Stations and has received support by many emergent artists. Our aim was to provide a space where local artists could play life and also a venue to host artists touring Spain.

Ciclo Herzios curated a compilation gathering most of the participants on the Series of concerts. The compilation counts with works by Llorenç Barber, Juan Antonio Nieto and many other artists tha have been present on Ciclo Herzios.

Ciclo Herzios was founded and curated by Josué Coloma and on a second period curated by Edu Comelles until its end.

+ info: http://herzios.audiotalaia.net/

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Inside @ Herzios By Josep Lluís Galiana & Gregorio Jiménez is licensed under aCreative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://herzios.audiotalaia.net/track/inside-herzios