Muito foda!!! Parece um enxame de abelha! Hahaha! Melhor som que ja ouvi na minha vida muito artchy conceitual 💩💩💩

From "Lacuna", third Cadu Tenório`s album as VICTIM!

VICTIM! - Círculos

A pioneering force behind the evolution of minimalism, violinist and composer Tony Conrad’s performances employ a droning, mesmerizing performance idiom of long durations, amplification, and precise pitch to explore new worlds of sound. In this episode, Conrad performs live on solo violin in celebration of ISSUE Project Room's 10th anniversary, recorded live in July 2013.

Conrad returns to ISSUE Friday, October 18th 2013, performing solo on a bill that includes the lo-fi analog drones of LA multi-instrumentalist Lee Noble, and a collaborative performance by Damon McMahon aka Amen Dunes and visual artist Tom Thayer.

Polymath Tony Conrad is known by many names: composer, filmmaker, video artist, media activist, writer, and educator. Associated with the founding of minimal music and underground film, he is well known for his pivotal role in the formation of the Velvet Underground and as a co-founder The Dream Syndicate— who utilized intonation and sustained sound to produce what the group called "dream music", what we know now as drone. Conrad has composed more than a dozen audio works with special scales and tuning for solo amplified violin with amplified strings. Conrad has played and collaborated with Rhys Chatham, Charlemagne Palestine, Jennifer Walshe, Tony Oursler, Eli Keszler, and many others. In the early 1970s Conrad produced several series of works that severely stretched the limits of “film,” including his cooked and electrocuted films, and the “Yellow Movie” series, and "The Flicker" (1966), which is considered a key early work of the structural film movement. Conrad’s work has been shown at the Museum of Modern Art, Documenta, Venice Biennale, Tate Modern, LA Museum of Contemporary Art, and many others. He exhibits at Greene Naftali Gallery in New York and Galerie Daniel Buchholz in Berlin and Cologne. Conrad’s early career is the subject of a study by Branden Joseph, Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone, 2008).

Tony Conrad solo at ISSUE, 7/2013

Misto de instalação e performance, 8² (versão 2013) - expansão temporal de 8' para Giacinto Scelsi (2008), com a duração de 64 minutos. Música de feixes, acompanha o espaço ocupado pelas linhas de Sanannda Acácia. Acolhimento mútuo, moldura mútua.

8²  - [ibr47]

HELLNOISEDRONE [2014]
de Valério Fiel da Costa
[ibr49], Ibrasotope, São Paulo, 24 de janeiro de 2014.
com:
Alexandre Torres Porres: contrabaixo, eletrônica ao vivo, objetos;
Lucas Araújo: contrabaixo elétrico;
Mário Del Nunzio: guitarra elétrica;
Valério Fiel da Costa: eletrônica ao vivo.

[ibr49] Valério Fiel da Costa: HELLNOISEDRONE (excerto)

Trecho de apresentação dos grupos Paralized Blind Boy e Yersiniose.
[ibr49], Ibrasotope, São Paulo, 24 de janeiro de 2014.
com:
Guilherme Henrique e Mário Brandalise Baril.

[ibr49] Paralized Blind Boy + Yersiniose

Suprematismo: Hypericone

Icon, for orchestra 



score:

- Saturate a given sound space.


comments to the score

1. We understand by sound space any interval delimited by a frequency x and another frequency higher or lower than x. 

The sound space in question must first be selected taking into consideration the extensions of the instruments that comprise the orchestra.

2. The order "saturate" should be understood as an attempt to occupy all frequencies closed between preset limits (high and low).

To facilitate the implementation of this order, the instruments used in the orchestra should be able to play microtones.

2.1. The musicians should listen to the texture that is sounding, seeking to fill empty spaces, that is, spaces which are not already occupied by a sound.

The frequencies proposed by the instruments must be sustained for longer or shorter periods of time, after which one can exchange one’s sound, always obeying the logic stated above.

3. The order proposed in the score is impossible.

The musical space comprised within a frequential interval can always be further divided, resulting in the existence of new empty spaces:
The space cannot be saturated.

From the point of view of the performing musician, the work must be an experience of this impossibility. From the point of view of the listener, it is a long cluster with internal timbral exchanges.


The work should last long enough.


J.-P. Caron
2006/2009


.........................................

2012 version:
Claudio Cabral- guitar
Magno Caliman- guitar
Marcos Campello- guitar
J.-P. Caron- amplified viola and voice
Paulo Dantas- tenor saxofone
Rafael Fortes- tenor saxofone
Henrique Iwao- electronics
Rafael Sarpa- voice
Carlos Eduardo Soares- guitar
Felipe Pacheco Ventura- amplified violin
Felipe Zenicola- bass guitar


Mixed by Felipe Zenicola and J.-P. Caron

Ícone (2012 version)

Philosopher, artist, and avant-garde composer Henry Flynt joins WKCR's Tommy McCutchon and ISSUE Project Room artistic director Lawrence Kumpf  Wednesday, June 20th to discuss and listen to rare and never before heard selections from his diverse body of work, as well as his participation in PAN_ACT, a June 2013 festival at ISSUE Project Room.

Henry Flynt on WKCR - 6/20/13

-notyesus> is a noise/drone duo originated in Rio de Janeiro. 

1st album> http://www.toclabel.com/2013/07/toc009-notyesus-preto-sobre-preto.html 
free download available

for more information, write to jpccaron@gmail.com
or to https://soundcloud.com/j-p-caron profile

Suprematismo: Hypericone

-notyesus>

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