Richard Vergez's Album

Night Foundation - Desperate Entities

1st section of the music I composed for  'Holding Present', a dance piece by Ictus Ensemble & choreographer Ula Sickle.

Music for Holding Present <for modular synth>

Grabación de campo en el "Salón" de las Grutas de Salamanca, Maldonado, Uruguay; parte del proceso de investigación del proyecto Tierra Quemada: Memorias y resonancias. 

Investigación y escritura: Rafael J.Sarasqueta & Matías Ygielka
Fotografías: Mery Arias Simonovis
Grabaciones de campo: Matías Ygielka
Producción editorial: Rafael J.Sarasqueta

TQ: Investigación artística orientada a indagar en la diversidad cultural de nuestra región a partir de la memoria indígena, sus cosmovisiones y las nociones implícitas de territorio a través de un abordaje interdisciplinario; en un proceso de creación de nuevas narrativas referidas a la memoria histórica.
Como parte del proceso de investigación se realizó un trabajo de campo en determinadas localidades del interior del país, así como entrevistas con científicas y especialistas de diversas disciplinas.

El libro publicado reúne las derivas y reflexiones escritas, junto con fotografías y grabaciones de campo.

Esta registro sonoro corresponde al capítulo de las Grutas de Salamanca, página 73. Se recomienda escuchar mientras se lee el libro (con auriculares)

Link al libro (pdf, gratis): https://archive.org/details/tierra-quemada-ygielka-juarez/mode/2up
Link al libro físico:

Grutas de Salamanca (Proyecto de investigación Tierra quemada)

Hydrophonic sample of snow with some added instrumentation. Half speed Macumbista Benjolin, Soma Dvina and other friends.

Samplad snö

Our initial dialog with Synthia was an adventurous creative endeavour that made us question whether machines could have a soul. This one definitely spoke her mind, and left a fascinating mark on both of us as a wondrous machine––––––woman, a marvelous piece of engineering, an entity trapped in a modular eternity.

Considering that neither of us had any previous contact with such a complex modular system such as EMS Synthi 100, we took a somewhat intuitive approach. This is a fairly raw glimpse of the first days spent in the studio.

Oh, Synthia, we only just met...

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Happy birthday Mark!!!

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Composing, editing, patching & live mixing: Manja Ristić
Live mixing & patching: Mark Vernon
Cover art: Manja Ristić –– segment of the sculpture by Angelina Gatalica made in memory of Serbian painter Nadežda Petrović, erected in 1989 in the Pioneer’s Park, on the occasion of the IX Summit of Non-Aligned Countries.

basne——side B

NOÉMI BÜCHI - DOES IT STILL MATTER
Cat #: OUS050
Release date: May 24, 2024
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«The new avant-garde isn’t about creating something that doesn’t yet exist, it’s about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past.» — Noémi Büchi @noemibuchi

Noémi Büchi’s album ‘Does It Still Matter’ completes a series of releases whose titles - ‘Matière’, ‘Matter’, and ‘Does It Still Matter’ - place the physicality of music in the center of attention. Büchi’s specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.

From ‘Matière’ to ‘Matter’, Büchi subtly transferred from a focus on substance to questioning the enigmatic core of
being, passing from a noun to a verb, and from a single word to an inquiry. ‘Does It Still Matter’ weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners’ bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.

Deviating from conventional time divisions, ’Does It Still Matter’ immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi’s electronic maximalism questions our linear perception of time, offering a glimpse into a world where the past, present, and future converge into a singular moment. Her avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.

‘Does It Still Matter’ unfolds against a backdrop of collective disaster and biocidal urgency, challenging the very essence of time. Büchi explains: «The world appears to have gone mad. It’s all but impossible to reflect on the meaning of avant-garde in music, considering the future in this sepulchral kind of stability of the human condition.» Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions.

’Does It Still Matter’ is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.



CREDITS
Written and produced by Noémi Büchi 
Mixed & mastered by Manuel Oberholzer, Suoni Speziali (VFBM)
Album cover by Mirko Eremita, Encor Studio
Graphic design by Rebecca Morganti-Pfaffhauser

Does It Still Matter?

Window Display Of The Year

Buy on Bandcamp

Noémi Büchi - 4 - Window Display Of The Year

5:2397

Beautiful, entrancing set from highland bagpiper, composer and improviser, Erwan Keravec.

In seeking out the more unusual sounds, and ways of playing and listening to his instrument, far from its original cultural setting, Keravec explores improvised music, free and ‘noise’ jazz. With an interest in movement and in settings associated with reinvention, he also writes, plays and improvises for dance.

In this performance, recorded in October 2022, Keravec lets the breath ebb and flow over 40 hypnotic minutes. Dense tones buzz and drone, woozily circling the room, occasionally breaking into brief peels of light before building up into rapturous hamonic clusters and almost-giddy uliulations. With a sound that seems to perfectly fill the room - and make full use of its own sonic idiosyncrasies - Keravec utilises a dizzying range of techniques that makes this solo instrumental set one to savour.

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Recorded by Billy Steiger
Mixed and mastered by James Dunn
Cover photograph by Nicolas Godin

Erwan Keravec - 23/.10.22 [excerpt]

Manja Ristić/Joana Guerra/Verónica Cerrotta, Slani pejzaži

LINE_151

Serbian sound artist, poet, curator, and researcher, Manja Ristić returns for her second release for LINE after 2023's 'Awakenings' (LINE_138). Her new album 'Ma' recalls the incredibly subtle, detailed works of Steve Roden, Francisco López, or Bernhard Günter fused with the adept field recordings of Jana Winderen and the delicate resonances of Toshiya Tsunoda. Two entrancing long form works incorporating field recordings, acoustic instruments, and unexpected found sounds.

> https://lineimprint.bandcamp.com/album/ma 

Ma — depth of the space, of the environment, of relations and mystical interrelatedness. The hidden or obvious void that defines the form and liberates from it at the same time. Ma and the sound? The weight of emptiness and quietness is revealed by unexpected density—the space chants, the chants spread in waves, pulsations, a pellucid spectrum of timbre.

“I hear the water dreaming” echoes in my mind.

Patterns of the forest chorus build pandiatonic clouds, on the brim of sonic hallucinations, we hear the space breathing, vellum of light expanding, beyond our hearing range.

Sounds of Ma deep in the ground, on the surface, underwater, on the surface of the water, in the air, between gravity and the air; Ma between air and objects, tubes and thermal bodies, between the Moon and its reflection; bottom of the silent lake and the stratosphere far beyond our world next to the frozen planet with the hidden ocean.

Ma of the soul caught on the tape.

Nothing is necessary.

Nothing holds everything together.

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List of field recordings and samples:

• Giant anthill in the abandoned forest quarry
• Cricket chorus next to Pohořský rybník lake
• Hydrophone recording of the “silent lake” Stierhüblteich
• Hydrophone recording of the river Schwarze Aist and its various tributaries
• Bowing cymbal under the full moon next to the Schwarze Aist (recorded by Abby Lee Tee)
• Museum of Contemporary Art Ljubljana—ventilation in the man’s toilet (recorded by Mark Vernon)
• Cassini passing between Saturn and Enceladus Moon (NASA sounds)
• Dad’s boiler
• Breath and broken tape recorder hum extracted from Toru Takemitsu’s tape “Ki Sora Tori” (1956)
• Bowing glass vase
• Two wine glasses gently trembling in front of the fan
• Electro-magnetic field around the broken socket
• Violin

Sounds, composition, images, text by Manja Ristić
Mastering La Plant Studio

MANJA RISTIĆ - Ma - 02 Full Moon Trembles On The Surface Of The Creek

A binaural recording, headphone listening recommended.

I walk around the market at Porta Nolana, past a table selling CDs blasting the song  "P' Secondigliano" by Geôlier and Nicola Siciliano, witness someone play fighting with a dog, and then walk down a side street of the Mercato neighborhood.

Useless Sounds is a weekly series by Joseph Sannicandro, sharing short, unprocessed field-recordings.

[Useless Sounds] - The market at Porta Nolana, Napoli, and surrounding, 29 January 2019

Since 2012, A Closer Listen has claimed a specialized niche in the music industry: instrumental album reviews!  By concentrating on this above all else (singles, videos, concerts, interviews, lyric albums, announcements), we’ve built a healthy fanbase and a strong reputation.

If music is recorded and nobody listens, does it still make a sound?

[Useless Sounds] - The market at Porta Nolana, Napoli, and surrounding, 29 January 2019

acloserlisten

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