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<nettime-ann> New Issue: Furtherfield's 2/11 Explorations in Sound, The
Alan Sondheim on Thu, 10 Feb 2011 04:39:01 +0100 (CET)


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<nettime-ann> New Issue: Furtherfield's 2/11 Explorations in Sound, The Sound of Live Performance! (I'm in it -)


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From: Roger Mills <roger {AT} furthernoise.org> -

Welcome to the new years issue of Furthernoise.org in which we are proud to announce the launch of our new net label release Explorations in Sound, Vol. 4, The sound of Live Performance. The release is free to download from http://www.furthernoise.org/netCD/EIS_vol4.zip

We also have loads of new reviews and our audio player is once again stocked with new sounds from featured noise makers.

Enjoy !!!

Furthernoise issue February 2011
http://www.furthernoise.org/index.php?iss=90

"Explorations in Sound, Vol. 4 The Sound of Live Performance - Various Artists" (feature)

The live sound and music performance is like no other medium for expression and unpredictability, frequently yielding interesting sonic results, both on, and off stage. Sound checks, sound failures, the misassigned patch, unintended playing outcomes, FX overloads / calibrations and pinnacles of performative exploration can all create sources for eclectic new material.

http://www.furthernoise.org/page.php?ID=383
feature by Roger Mills

"Chance Reconstruction - M. Ostermeier" (review)

M. Ostermeier's piano-based compositions inhabit a similar wistful sound world to other post-classical artists, but his electronics provide more of an irregular ambiance for the piano rather than commenting on the delicate melodies directly. Chance Reconstruction is the first full-length album from an artist with an eclectic background in post-rock and independent music in Minneapolis.

http://www.furthernoise.org/page.php?ID=382
review by Caleb Deupree

"Edward Rizo ? Soundscapes I" (review)

Volume One of Edward Rizo's Soundscapes is constructed from smooth and serene electronics that creates its own sense of place. Deep bass and sounds mysteriously appearing from nowhere suggest a subaquatic environment, isolated and reverberant.

http://www.furthernoise.org/page.php?ID=380
review by Caleb Deupree

"Fragments" (review)

Steve Roberts takes parts of his past, arranging them to create new pieces, the resulting Fragments essentially remixes of tracks from three previous Amongst Myselves albums. In many places single musical sounds get a refresh through re-setting them against field recordings; their deployment throughout serves to render Fragments a flowing whole.

http://www.furthernoise.org/page.php?ID=376
review by Alan Lockett

"Music In Four Movements" (review)

Talvihorros deploys an array of instruments to touch various musical bases on Music In Four Movements, which dwells on the emotional dynamic of a suicidal impetus. An ostensibly bleak theme, but it presages no doom-laden death ambient suite; a more ambiguous tenor presides, at times hymnal, amid the murk and midden in an evolving involving suite.

http://www.furthernoise.org/page.php?ID=379
review by Alan Lockett

"Out and About" (review)

On Out and About Herion's melding of post-classical sonorities with an expansive remit issues in a kind of spatial chamber music with shifting cadences which might be designated 'post-ambient'. Marzorati?s piano motifs, mixed with Coniglio?s melodica, harmonica, and treated guitar, all commingle sonorously in Errante?s settings.

http://www.furthernoise.org/page.php?ID=378
review by Alan Lockett

"Over Pass" (review)

The latest release on Gears Of Sand from Montreal's Skinwell sits well in the label's collection of works, in the corner where post-industrial and ambient consort. Of 50-plus exhibits in GoS?s exhibition halls, the contents of Over Pass are among the most densely layered sound sheets hammered out in Delaware or anywhere you care's foundries.

http://www.furthernoise.org/page.php?ID=381
review by Alan Lockett

Roger Mills
Editor, Furthernoise

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