Label: Trips Und Träume – TT22, aufnahme + wiedergabe – a+w ep003 Format: Vinyl, 12″, Single Sided, EP, Limited Edition, Reissue, Translucent Red Country: Italy Released: 28 Nov 2014 Style: Experimental, Neofolk
Death Of Abel is an Apocalyptic Folk project formed by Luca Gillian in 2010 and, as of July 2014, performs as a full band consisting of Luca Gillian and Alexander Gallagher.
One-sided 12″ EP. Limited to 249 copies on clear-red vinyl. Includes free download code.
Tracklist A1. Blüte Des Lebens A2. Der Eiserne Tod A3. Der Weg A4. Die Hand A5. Schattenmal A6. Westwerke
All songs were written, recorded and performed by Luca Gillian between 2009 – 2012
Label: Dpto. de Escultura-Facultad de Bellas Artes. Valencia, 2008
Format: 2 DVD, Textos: Español/English, Limit Edition: 300 ejemplares
Country: Spain
Released:14 Oct 2008
Style: Abstract, Musique Concrète, Experimental
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Noises and whispers in Avant Gardes (1909-1945) by Laboratory of Intermedia Creations of The Dept. of Sculpture, BBAA, University San Carlos Valencia (Spain).
The contents of the DVD-Video are the results of the research project “Noises and Whispers….: a remake. These results have been showed in some expositions, concerts and publications, compiled in this double DVD-Video.
with sound sculptures, phonetic poems, art-radio, experiments with gramophon (pioneers of the present DJ’s) and Bruitism, Italian Futurism (specially Fortunato Depero), Russian Constructivism, Bauhaus and la Orden de Toledo by Luis Buñuel and Front Loudspeaker (Spanish Civil War)
Texts in Spanish and English.
El contenido de este doble DVD-Vídeo recoge los resultados del proyecto de investigación “Reconstrucción de obras artístico-sonoras de la Vanguardia Histórica (1909-1945)”, realizado por el grupo de investigación Laboratorio de Creaciones Intermedia (LCI) del Dpto. de Escultura de la Facultad de Bellas Artes San Carlos de Valencia. En el primer DVD se pueden ver y oír las distintas obras de la exposición “Ruidos y Susurros de las Vanguardias (1909-1945)”, con esculturas sonoras, poesía fonética, radio-arte, experimentación con discos de gramófono (que antecede a los actuales Dj’s) y otras manifestaciones pioneras del llamado “Ruidismo” y “Arte Sonoro”. Quedan representados movimientos de vanguardia como el Futurismo italiano (especialmente Fortunato Depero), Constructivismo ruso, Escuela de la Bauhaus y del entorno español como fueron la Orden de Toledo (fundada por Buñuel) y el Altavoz del Frente. Este primer DVD queda completado con entrevistas a los autores de las reconstrucciones y un resumen de los conciertos realizados sobre este tema, donde en uno de ellos se rememora la Bauhauskapelle (o Bauhaus Jazz Band) que era la banda de estudiantes de la Escuela de la Bauhaus que tocaban en sus fiestas creativas pervirtiendo temas de jazz bailable de los años veinte, introduciendo elementos ruidosos como cencerros, pistolas o instrumentos fabricados por ellos, que les servía de catarsis para las diferentes tensiones que se producían entre profesores y alumnos.
Finalmente, el segundo DVD recoge en archivos pdf y mp3, las diferentes publicaciones derivadas de este proyecto y que actualmente están agotadas, como el catálogo y doble-cd “Ruidos y Susurros de las Vanguardias” (Allegro Records, 2004), que ya se distribuyó en su día por Diskpol y que tanto para los que lo tienen, como los que no, es ampliado con nuevos textos y documentos sonoros y visuales, que completan este proyecto caleidoscópico sobre las múltiples aportaciones que plantearon la vanguardia histórica de la primera mitad del siglo XX dentro de la experimentación sonora y musical.
Textos: Español/English Edición limitada: 300 ejemplares
Edita: Dpto. de Escultura-Facultad de Bellas Artes. Valencia, 2008
Marc Behrens – Sleppet Label: Crónica Format:CD, Album Country: Portugal Released: 14 Oct 2009 Style: Abstract, Musique Concrète, Experimental
Sleppet originated from a sound art project in 2007, when six renowned artists — Natasha Barrett, Bjarne Kvinnsland, Steve Roden, Chris Watson, Jana Winderen and Marc Behrens — recorded sounds on a 10-day trip through the Norwegian Westlandet region and used the nature experience for a couple of sound installations and music pieces.
Sleppet leads back to Norwegian composer Edvard Grieg, for whom contemplation of nature and its influence on the artistic creation had high significance.
Sleppet deals with the energy and the transformation processes of the early springtime.
In the frame of the composition, realized exclusively with concrete sound material, Behrens created several parentheses: the first part starts with an unaltered field recording of a clamouring flock of seagulls as exposition, from which this part is further developed. The final part ends with an equally unaltered recording of a springlike forest patch with various songbirds, a few kilometers up the hill in the fjord valley — in which seagulls can be discerned in the distance. Bird song can be heard at other points within the piece, as by-products of recording other sounds, as sound windows into spring.
The second parenthesis consists of the sonic intensity of drones used in the first and the last part — in the first part sounding like a string group alongside acute cymbals, in the last part sounding purely electronic, but always displaying a certain sonority. Such nearly tonal quality does not exist in the middle parts of the piece. Instead of that, the third, rather noisy parenthesis depicts movements of tilting, slipping off and falling, as culminations within the internal structure: a rubble avalanche (the loudest one in a sequence in part 2), and a collapsing part of a glacier (which closely missed Behrens when he recorded melt water drops), after or framed by audible melting.
Acoustic utterances of animal impatience, which belong to nordic spring like the melting of snow and ice, bring forward the composition: besides the clamour of seagulls there is the noise of impatient cattle, still chained inside their stable. The atmosphere of a sheep shed in the final part picks up the theme again, but is almost completely warped by noises from a hydroelectric powerplant and a ferry.
Phases of contraction (loud, dense) and expansion (quieter, sometimes permeable) define the structures of parts 4 and 5. The first three parts show a somewhat more consistent sound impression. At many points in parts 1–4, figure/ground and foreground/background relations are fathomed out.
The great movements throughout the course of the 41-minute piece put focus onto the rendering conscious of accumulating and discharging energies.
