Experimental music composer Jos Smolders is a friend of these pages, and it warms the heart a bit to see him pay tribute to Frans de Waard, the composer known as Kapotte Muziek and Beequeen who has also been one of the editors of the crucial Vital Weekly for eons. It is because of both Frans and my old friend, David Cotner, that I was inspired to start this blog. I am indebted to all three men.
Fifty cents isn’t a bad investment for well over 400 releases on the Genetic Trance label out of Ohio. One of the releases caught my ear – this one by Surrogate Sigma. Unsurprisingly, there is no information on the band that I can find, save that they are from Ukraine and operate under a ridiculous amount of aliases. Still, this particular release reminded me of the works of old composers who were active during the 1980’s cassette culture days.
Only a fool would believe we’re not living in a great time for music. The world of pop is banal, and should only be seen as entertainment. Actual music, that which is trying to continue breaking borders, bending (or snapping) rules, is doing quite well.
Iranian-born composer Maryam Sirvan has been featured on the blog before, having her powerful solo album reviewed here, but this is a newer release where she teams up with fellow composer Milad Bagheri and saxophonist Rezo Kiknadze. Few composers of this stripe are able to combine the intellectual rigors of electroacoustic music, especially that of the INA-GRM variety, with the gritty, ghostly feel of 20 Jazz Funk Greats-period Throbbing Gristle.
This is a brilliant work, and I hope to see more composers appearing out the of Caucasus soon.
Los Angeles based sound and video artist Ryan Connor has quite a reputation behind him, appearing on labels such as Serac (USA), Pehr (USA), SEM (France), Dragon’s Eye Recordings (USA), Friendly Virus (Portugal), Ahora Eterno (Argentina) Hibernate Recordings (UK) and Felt.
According to the composer:
“Every Sublamp record has been about an imaginary space, so the concept of pinning each release on Eilean to a fictional continent was exciting; the perfect excuse to indulge myself in layered textural sound again. Inspired by the cloud forests of Monteverde, Costa Rica, Lianas is an audio map of a densely wooded mountain range, shrouded in fog, where fern and vine drip with condensation and small animals slip quietly through the undergrowth. Very little computer manipulation was used in the creation of these tracks. Most of the sound on the record is simply looped guitar through various pedals and a nice warm tube amp, sometimes recorded through an old reel to reel tape machine for extra crackle and hiss.”
Guest blog post by Eli Coderoni Rigamonti, MLitt Theatre Studies, on placement in Archives and Special Collections. This article aims to draw a connection between artists Edwin Morgan and John Cage, focusing on their common interest for Modernist techniques, and their view on art and perception. Sometimes authors who never had a chance to meet […]
Along with Benjamin Aït-Ali, I think it’s safe to say that Bérangère Maximin is the best thing to come out of France in terms of avant-garde music. For a long while, I kept seeing her work pop up on my Facebook feeds, and each piece left me impressed. Things stopped around 2016 or so, but by that time, I found out the she had been working with Sub Rosa Records, and I figured she was in good hands. Judging by the quality of this release, she certainly is.