Zweikommasieben #7. Patrick Alexander, Guy Schwegler, Ezgi Polat (Eds.). Präsens Editionen.
August 2013
Die Tanzfläche
Modeselektor
Tin Man
Lee Gamble
Terre Thaemlitz AKA DJ Sprinkles
Jan Rohlf
Holy Other
Wie viele Clubs braucht eine Stadt?
Darkstar
German Language
48 Pages
8 €
Buy it
Traditional Music Of Notional Species Vol. I. Rashad Becker. PAN Recordings.
*Pressed on 140g vinyl, packaged in a pro-press color jacket and a silkscreened pvc sleeve* At long last PAN present the radical, revelatory debut album of sonic fictions by peerless mastering engineer, sound artist and composer, Rashad Becker. Via his day job as a cutting engineer at Berlin’s Dubplates & Mastering and his post-production studio, Clunk, the Syrian-born German-raised autodidact has in some respects contributed more to the shape and timbre of contemporary electronic and avant-garde music than anyone else. He’s blessed with a heightened sensitivity to frequency and a love of bass and subbass which has no doubt enhanced hundreds of recordings and provided him an invaluable, hawk-like view of modern sonic aesthetics. With this in mind, the inspired architecture, dynamics and feel of ‘Traditional Music Of Notional Species’ can be heard as a deliberate and hyper-conscious bypassing of staid conventions in melody, harmony and meter, searching out and inhabiting the microtonal spaces between sounds with an in-depth understanding of their complex relationships and structures. Yet, far from being an avant-garde academic exercise, it provides a breathtaking richness of ambiguous human expression and emotional triggers, albeit from the periphery of human experience. His multi-tiered layers of oily quacks, slyding tones, convulsive spurts and spatial displacements present an embarrassment of fictional sonic capital, setting out a new and idiosyncratic grammar of computer music language with an inimitably exotic ancient-futuristic accent. For us it’s something close to a waking dream rendered in sound, it’s sincerely one of the most phantastical, far out records we’ve heard in a while, at once lending a gridless, human/alien aspect to the harsher sounds of say, Florian Hecker or Andre Vida, with the guile and unswerving, syncretic avant-folk vision of Ghedalia Tazartes and even the soured sensation of Korean classical music. It’s one of the boldest musical statements on PAN yet, and, if like us you crave genuinely new sonic thrills, this album is an absolute must.
19.50 €
Buy it
Sonidero City. Mirjam Wirz. Mirjam Wirz & Buzz Maeschi (Eds.).
Sonidero City – Sound system and DJ Culture in Mexico and Colombia, by Mirjam Wirz
“DJs as messengers delivering greetings between friends and communiques between rival gangs: Cumbia-rhythms slowed down to accomodate traditional dance styles. Low tones and ludicrously distorted voices. The Sonidero-culture of Mexico’s neighbourhoods is impossible to ignore.” – Jonathan Fischer on Sonidero City, DU Magazine 819 / 2011
The long-term photographic reportage of Sonidero City is an homage to the Cumbia DJs / Sonideros of Mexico City, who from the 60s to today have stood behind their sound systems’ mics, sending music as well as greetings across the capital’s streets. While some stack loudspeakers into massive towers, others stick to a modest set-up, spinning their own LP collections on 70s-era record players. They go by names such as Sonido Sensación Tropical, Sonido África, Sonido La Conga.
In contrast, on Colombia’s Caribbean coast, giant flourescent- painted speakers called “Picó” spill afro-colombian Champeta music through local communities, where the accompanying dance of choice is called “polishing the belt buckle.”
Over the course of three years Swiss photographer Mirjam Wirz visited the living rooms, courtyards and dance events of Mexico City, Monterrey and Barranquilla. The result is her book Sonidero City, a lively visual collection tracing the paths Mexico and Colombia’s sound system culture have forged.
/
Sonidero City – Soundsystem und DJ-Kultur in Mexiko und Kolumbien
von Mirjam Wirz
“DJ’s als Vermittler von Liebesgrüssen und Botschaften für rivalisierende Gangs: Cumbia-
Rhythmen, die auf den landestypischen Tanzstil heruntergebremst sind. Tiefe Töne und
aberwitzig verzerrte Stimmen. Die Sonidero-Kultur ist aus den Nachbarschaften Mexikos
nicht mehr wegzudenken.”
Jonathan Fischer über Sonidero City, DU Magazin 819 / 2011
Die fotografische Langzeitreportage Sonidero City ist eine Hommage an die Cumbia DJ’s/
Sonideros von Mexico City, die seit den sechziger Jahren und bis heute am Mikrophon ihres
Soundsystems stehen und Musik sowie Grussbotschaften in die Strassen der Hauptstadt
hinaus senden.Einige bauen riesige Türme von Lautsprechern auf, andere spielen mit kleiner Anlage aus ihrer LP-Sammlung auf den Plattenspielern der siebziger Jahre. Sie tragen Namen wie Sonido
Sensación Tropical, Sonido África, Sonido La Conga.
An der Karibikküste Kolumbien hingegen dröhnt aus in fluoreszierenden Farben angemalten,
gigantischen Lautsprechern die afrokolumbianische Champeta-Musik durch die Nachbarschaften. Das Soundsystem heisst Picó und den Tanz dazu nennt man sich gegenseitig die Gürtelschnalle
polieren.
Die Schweizer Fotografin Mirjam Wirz hat während drei Jahren mit ihrer Kamera Wohnzimmer,
Innenhöfe und Tanzveranstaltungen in Mexico City, Monterrey und Barranquilla besucht, daraus ist das Buch Sonidero City entstanden, eine lebendige visuelle Sammlung, die den Spuren dieser Soundsystem Kultur folgt.
Language: Spanisch / English
Pages: 224
Size: 19.9 x 26.5 cm
31 €
Buy it
mono.kultur #34: Brian Eno
mono.kultur #34
BRIAN ENO: REVALUATION (A WARM FEELING)
“I think of surrendering as an active verb, not a passive verb.”
Summer 2013 / English / 15×20 cm / 44 Pages
Interview by Irial Eno
Introductions by Jess Gough & Irial Eno
Portrait by Matt Anker
Design / published by Kai von Rabenau
D 5€ EU 6€ WW 7€
Buy it
Les Siestes Electroniques élargissent leur champ d’intervention en éditant une revue baptisée Audimat. Une vraie revue, pas un magazine ni un programme du festival : des articles long format sur la musique, écrits par des contributeurs français ou étrangers, pas forcément issus de la presse spécialisée. L’idée est d’ébaucher en langue française un discours critique exigeant, sans être abscons, sur la pop music, son histoire, son écoute, sa diffusion dans le monde.
SOMMAIRE N° 1
Yuppies versus Hipsters : l’underground d’hier et d’aujourd’hui par Adam Harper
Thrash-Metal, orgies pop et gesticulations outrées : manifeste de l’immodéré et du déraisonnable par Lelo Jimmy Batista
Musique numérique : pour quoi faire ? par Guillaume Heuguet
La world n’est plus de ce monde par Johan Palme
La « nébuleuse Drexciya » : une musique conceptuelle ? par Quentin Delannoi
Faustus et moi : L’inauthenticité de la pop Par Agnès Gayraud
Les rouleaux de bois par Tristan Garcia
10€
Motto Melbourne & S.T. Lore present
INVITATION TO LOVE
An event featuring public presentations of text and sound by
MOUVING, S.T. LORE & DANIEL STEWART
Saturday 13th of July 2013 from 3pm
(refreshments available)
Motto Melbourne / Magic Johnston
27 – 29 Johnston Street
Collingwood, Melbourne
VIC 3066
For more information on these projects please visit
This book, conceived by Anri Sala and Christine Macel, is first and foremost intended to be a research tool, and to provide the reader with an entry point to the issues that the artist was exploring in the process of creating Ravel Ravel Unravel.
A range of different texts offer a variety of perspectives, which complement and enter into dialogue with each other in order to convey a complex reality: on the one hand, we have the historic statements by Maurice Ravel, Paul Wittgenstein and Marguerite Long (a famous pianist and friend of Ravel’s), texts taken from novels by Alexander Waugh (a Wittgenstein specialist) and Jean Echenoz (extracts from his novel Ravel), a text about John Cage and the Harvard anechoic chamber by Dana Samuel or about the left hand musical technique written by Hans Brofeldt, and finally essays by Laurent Pfister (on the notion of copyright in different countries), by Peter Szendy (a musicologist and philosopher) and Christine Macel (commissioner of the French Pavilion).
Similarly, the illustrations stem from, and illustrate, various different aspects of the project: archive images and illustrations, preparatory drawings by the artist and images from the films he produced for the Biennale.
Quentin Walesch’s design for the book coveys a sense of movement, of a discrepancy between the musical tempi: the pages are given a sense of rhythm by vertical black strips that run across the entire publication, the fore edge slides from the back to the front cover.
This books is just as much an informative work as an artist’s book, and offers both an immersion into the eventful story of a piece of music and into Anri Sala’s mind as he conceives a work and develops its main themes and principles.
Texts by Hans Brofeldt, Jean Echenoz, Theodore Edel, Marguerite Long, Christine Macel, Laurent Pfister, Maurice Ravel, Dana Samuel, Peter Szendy, Alexander Waugh, Paul Wittgenstein
Publisher: Manuella Éditions, Institut Français, Centre National des Arts Plastiques
Language: English – Français
Pages: 160
Binding: Hardcover
ISBN: 978-2-917217-48-1
Price: €30.00
Though based in Berlin, musically, Care Of Editions focuses on the Los Angeles experimental music scene, with artists whose work is rooted in variants of musique concrète, with defining components of drone and noise.
The latest release, Ezra Buchla’s At the Door, is the most accessible record so far. The LP comprises four tracks, three on the a-side and a single 20-minute musing on the flip side. Buchla creates immersive, intricate, and at times overwhelming soundscapes carried by masterful viola and synth renditions, broken up only by his dark yet soft, almost hushed voice.
Scott Cazan’s Swallow is an album that lingers at the borders between memory, ambience and feedback. It’s built on a patch made of innumerable compositions, the overabundance of which tends to cloud he program’s internal logic. What we hear is the resonance of an impossible space that is, at once, immersive and peripheral.
Boris Hegenbart’s First / Dew branches away from the very beginnings of Hegenbart’s TAU series. It takes his debut album. Hikuioto (a self-published CD released in 1996), and re-imagines it on vinyl. Doing so not only accentuates the array of materials, it proposes an alternate history.
First / Dew, The Hikuioto Selection. Boris Hegenbart
D 17€
Buy it
At the door. Ezra Buchla
D 17€
Buy it
Swallow. Scott Cazan
D 17€
Buy it
Ein neues Magazin aus der Schweiz, das sich theoretisch mit Gegenwart beschäftigt. Denn Vergangenheit ist nicht mehr und Zukunft gibt es nicht, «bis man sie als etwas Gegenwärtiges erlebt», so die Experimentalmusikerin Laurel Halo, die in der ersten Ausgabe im Kontext der Denkrichtung des Magazins zitiert wurde. Praktisch geht es vorrangig um die gegenwärtige Clubkultur in und um Luzern.
Language: Deutsch
Binding: Softcover
Price: €8.00
Buy it
Onement is a label created in 2006 for releasing unique, one-copy records on LP (Keith Rowe, John Tilbury, Robert Hampson…). For its second evening at WIELS, the label invites Yannick Franck to perform a live version of his « Austral » opus (Onement #3), a gorgeous suite of dark and delicate drones which could be seen as a sound equivalent to Ad Reinhardt’s late black paintings.
Musician, performer and founder of Idiosyncratics Records, Yannick Franck has developed a music based on the treatment of sources such as instruments and non-musical objects, voice, radio signals and field recordings. Also a member of noise band Y.E.R.M.O. he has performed in venues and festivals such as Issue Project Room (New York), MUDAM and Philharmonie du Luxembourg (Luxembourg), Young Arts Biennial (Moscow), EPAF (Warsaw), Instants Chavirés (Paris), Ausland and Electronic Church (Berlin) among many others.
www.yannickfranckchronicles.blogspot.fr/