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SANTIAGO ASTABURUAGA â GRADO DE POTENCIA #1 (CDR by Caduc)
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This time I started with the one that said to me: you donât know anything about this. I only came across the name Santiago Astaburuaga as the composer of the piece âPiezo De Escucha IIIâ, as performed by Cristian Alvear Montecino (see Vital Weekly 970). Here he acts again as the composer of a piece, performed by a group of fourteen musicians, and their instruments include more regular instruments such as clarinet, cello, double bass, viola, bassoon, bass clarinet, snare drum and trumpet, but also lists 'no tone arm, turntable, plastic brush, diapason, laptop, no-input mixer, radio, bow, cassette case, sand-paper, industrial sanding discs, guitar and blackboardâ (some people play more than one instrument). Astaburuaga doesnât belong to the performers, and his role is strictly as a composer. It would have been nice if we learned a bit more about the score, which I gather to be of a more graphic nature, rather than notes to be performed. I am not sure but Astaburuaga might be a Wandelweiser composer, even when this particular work is not entirely about quietness. Here it alternates between being quiet, using sparse sounds and notes and blocks in which maybe everyone is allowed to play. These blocks usually have a sustaining and orchestral feel to it. Sustaining through the use of the non-instruments, I would think and orchestral through the instruments. When things are quiet we hear all of this also, but then reduced quite a bit, and with what seems to be field recordings, or perhaps this is an outside recording? I am not sure. With the amount of instruments used there is naturally quite an amount of variation in this approach. All of this makes up quite some intense music, with lots of things happening on all levels and there is a solemn feel to the work. All of this is perhaps modern classical, but it is for once something I very much enjoyed from that world.
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I hate the phrase âfield recordingâ almost as much as 'experimentalââcuz what recording isnât all of the above in one way or another? A mic in a space somewhere; somebody seeing if something 'worksâ. Sounds like sound-gathering to me.
So letâs skip all of that. Losoncy passes through the world with a smartphone like the rest of us, but engages her surroundings and her device better than most. What to us mightâve been a rough night around town instead is churned up into a maelstrom of ripping wind, swarms of cops, a lost and smothered voice in the distance, and a final stop at a gallows clanging bell-like in the thick gray sky. Losoncyâs walk is audible and it ainât no stroll. She damn-near takes flight at times. Whether itâs into or away from the chaos remains nicely oblique. A glancing wound; a wound from glances. I popped the disc out feeling cold, displaced, and abandoned, which are all fine by me. Keeps me sharp.
If you were quick enough, you caught Losoncyâs 4x cd-r set â2015â before it peaced out. After a few listens Iâve come to dig it even more than Judgement. They share means of production but 2015 runs in all directions with em: from goofy encounters with strangers after a community college shooting; to quiet lonely spaces to a pair of performances that seem to ideologically link Phillip Best, sound poetry, and motivational  speaking. Losoncyâs public encounters often put me in mind of Jean Rhysâ Good Morning Midnight and Voyage In the Dark, wherein displaced heroines find theater, absurdity, commiseration and revulsion in the company of strangers. Everywhere is safe and nowhere is safe. Hooray and cheers to that!
Chris Strickland is worried.  This is his first release, his five-year labor of love, and heâs afraid that people will listen to it too quietly, or not closely enough.  But thereâs no need to worry ~ Animal Expert is a rewarding listen.
With three tracks totaling one hour, Animal Expert is no pop product.  Instead, itâs a study in compositional direction and tonal contrast.  The disc opens inâŠ
For example, each of the 12 CD-Rs in that boxed set, which are also available in made-to-order sets of three, contains a single track altered to highlight a particular kind of noise. Listeners are encouraged to play those discs simultaneously, but itâs not as if they come with an instruction manual describing exactly how they should be heard. You can play them one at a time or in tandem. You can put them on in separate rooms. Or you can combine them all on your computer, adjust the levels, and create a custom Vinculum mix of your own. If it sounds like fun, try it. Thereâs no wrong way to approach the music and nothing is forbidden.
Some might call that process remixing and wonder why anyone should find it so unique. In the case of Vantage/Cordoned,it comes across more as recycling than as remixing. The music, as fascinating and physically impressive as it is on its own, points away from itself and underscores the systems that bring it to life. Those systems are modular and endlessly adaptable, capable of producing way more variety than any one performance, installation or album could contain, so Coppice makes music that emphasizes that fact. Sounds are processed and reprocessed, instruments are broken down and rebuilt with new functions, and previously recorded material is given new life as part of a new composition. The music begins with these core elements andgrows from them the way a tree grows up from its roots. Itâs also limited by those elements, but thatâs what pruning is for.