Montserrat Marfany, percussions, glockenspiel
Jordi offscope Buscà, Martin acoustic guitar, VoxLabEchoes & loops
Sir Pere Canals Miró, Roland synthesizer
Jaume Martín, xilophone & harmonica
Dr Antoni Robert, Fender Squire synthesized guitar, Roland GR-55
Captain Enric Solà, percussions
Excerpts from the 19′ track to be released soon.
Flying Dove Flock by mrtimtangblog
White bird flapping on black background shooting with high speed camera phantom flex, by dizi sever
White dove by vliegvogels
This is for shure the most impressive work of Skulptur Projekte Münster 2017, and the most expensive one, and it’ll be destroyed after Octobert the 1st.
A work including cancer cells, snails, algae, concrete, bees, mud, software and many other elements.
While touring possible locations for his contribution to the 2017 Skuptur Projekte in Münster, Germany, late last year, the 54-year-old French artist found one such site, a sprawling, old ice-skating rink, no longer in use, tucked behind a Burger King on the edge of town. “This place will be destroyed, so I could actually act on it as I wanted,” he said, recalling what attracted him to the space in a Skype call from Brooklyn last week.
Huyghe has transformed that abandoned rink into one of the most formidable and mysterious artworks that I have ever seen, an alien environment that seems secretly to teem with life and that operates according to its own furtive schedule.
You can have a coffee here before or after the visit.
Long waiting time, because the artist wants a limited number of visitors at a time.
The sea snail movements and the pattern of his shell control the opening and closing of the ceiling and the sound of the installation. Some cancer cells growing in an adequate place control the virtual movements of the black shapes located under the roof.
Downloading an app you can see those black structures moving on your head through your phone.
This is a bees nest, as part of the work. It contains real alive bees.
The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
Capturing the ambient in the 77 Million Paintings hall, just observing and listening to the generative sounds and images. You will never ever see the featured images or listen to the recorded sounds on live, because this is generative art, and so always changing and never repetitive.
Why “Phicus”? What is a phicus? A fancy spelling of the plant? Or is the explanation more elaborate? I suppose I’ll have to ask… but in a post-truth society, it’s more fun to guess or fabulate… #phikenews?
Well, whatever it means, what it is… is a new trio in Barcelona, comprising three beyond-busy stalwarts of the free improvisation scene. I was already tempted to check them out but when they described themselves as a “Keiji Haino meets AMM” kind of thing, that clinched it.
So is it a good description? With a samurai unhesitancy, they plunge directly in – clang, rumble, and clatter – with plenty of power, an absence of fear, and manage to avoid both cliché and repetition. So far, so good.
Fages utilises a nice big open, distorted tone, plenty of hollow twang beneath the grit and grumble; every touch of a string provokes a clear presence. The dry tremor and hiss of Trilla’s kit is a systematic, almost scientifically accurate beating; you never know where the next blow is going. And Reviriego ranges from incoming storm front to introspective arco, shifting from act of god, to querulous plaint, to aching groan.
But it’s not all bombast and noise. The higher intensity passages carry their weight because of the juxtaposition with subtler, lower volume interplay – rattling clockwork chimes, muted arco drone, and gently brooding feedback…
It’s a no holds barred pleasurefest of soundplay, matching and contrasting tones and textures, introduced, layered and discarded in an unstoppable kineticism. In other words, it’s pretty bloody exhilarating to listen to.
A recording please, and soon.
Text by Dave Foxall. Visit his blog: http://ajazznoise.com/phicus-at-robadors-23-keiji-haino-meets-amm/
Ferran Fages – electric guitar
Àlex Reviriego – doublebass
Vasco Trilla – drums, percussion
Joachim Badenhorst – saxophone
Robadors 23, Barcelona
july, 13th, 2017
Phicus return to Robadors 23, this time accompanied by Joachim Badenhorst on reeds. Last time, I burbled on about “matching and contrasting tones and textures… layered and discarded in an unstoppable kineticism,” and yes, I’ll stand by those words. Phicus are carving out their own intense brand of precision disorder. Passages of glorious frenzy alternate with more meditative minimalism, and throughout there’s a constant energy, a seething potential being tapped and channelled.
With the variety of extended techniques on display from all four musicians, it’s difficult sometimes to identify which alien sound is produced by whom but to give a flavour…
This is a chanel where I will share music related works that have had a strong influence on me , and so I consider them as “delicatessen”. I will not include the most obvious and commercial ones. No Beatles videos for instance, but less obvious stuff. I hope some of you will discover unexpected gems here. I hope you enjoy it.