Freitag, 31. Dezember 2010
Mittwoch, 15. Dezember 2010
frufru goes graz
frufru will be playing in the interpenetration festival next thursday some of their most lazzy works! don't miss it!
frufru are:
maja osojnik and angélica castelló: paetzolds, electronics and voice.
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| foto by david murobi |
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| Positionen, über Musik im steirischen Herbst/ORF-Musikprotokoll Graz Oktober 08, Gisela Nauck |
Dienstag, 7. Dezember 2010
Review in Vital Weekly – Low Frequency Orchestra & Wolfgang Mitterer: MOLE
Frans de Waard writes about our new release Low Frequency Orchestra & Wolfgang Mitterer: MOLE (chmafu nocords) in Vital Weekly #758:
Every CD that drops on this doorstep is inspected and judged: is it for me, or for one of my reviewers, specialized in some genre? With this one I must admit I really had a hard time. The improvisational nature of the Low Frequency Orchestra made me think this would be more suitable for Dolf Mulder’s expertise on the subject but there is something quite captivating about this release which made me think about this more myself. The Low Frequency Orchestra is a small ensemble of ‘paetzold’ recorders, electronic devices, voice, double bass and drums and they team up here with one Wolfgang Mitterer who plays organ. The starting point of this CD is a live recording which has been ‘repeatedly revised, de- and re-composed’. Taking into account this and the fact that this is a small ensemble, I was reminded of Mnemonists and Biota, who used similar group playing and extensive studio techniques to define their unique sound. Something of this I recognize in this music, especially in the title piece. It is preceded by five short solo pieces by various members of the orchestra and I am not sure why they are included. They nevertheless sound great, but its ‘Mole’, lasting thirty minutes which makes this really great. A very vibrant piece of rock music which meets up, as easily, with improvised textures and studio techniques to further alienate the listener. Things happen at considerable speed, with a nice sense of brutality and careful when necessary. An excellent release.
(FdW / vital weekly / 2010)
Sonntag, 5. Dezember 2010
Review in Bad Alchemy – Low Frequency Orchestra & Wolfgang Mitterer: MOLE
Rigo Dittmann writes about our new release Low Frequency Orchestra & Wolfgang Mitterer: MOLE (chmafu nocords) in Bad Alchemy 68/10:
Zuerst stellt sich das LFO einzeln vor, jede/r gibt seine akustische Visitenkarte als Appetizer ab, ‚Slug‘, eine Schnecke als Fressen für den Maulwurf: Angélica Castelló mit ihren Electronic Devices, Mathias Koch mit einen Percussionsolo, Maja Osojnik mit Vokalisation und Electronics, Thomas Grill mit Digital Sounds, Matija Schellander mit einem im Synthesizer zermurxten Kontrabass. Auf diese 2-3 min. Miniaturen folgt dann ‚MOLE‘, eine halbe Stunde mit dem durch den Kontrabassisten Herwig Neugebauer komplettierten Orchestra, Castelló und Osojnik auch an Paetzold Blockflöten und Mitterer an der Orgel. Mit Mitterer, dessen ‚Mixture 5‘ für Orgel und Electronics ich diese Woche DLF-wellenbeglückt noch im Ohr habe, wird der Maulwurf zum elektroakustischen RIESENMAULWURF. Die Musik, eine postnatale Mixtur einer konzertanten Begegnung 2007, wühlt sich durch mulmig dröhnendes Terrain, amorph im Dunkeln, Erdreich schaufelnd, Essbares sich einverleibend. Stimmlaute erreichen auf Radiowellen den Untergrund. Die perkussiven Partikel, Tom-Tom-Pochen, Cymbaltickling und -crashes, sind, al dente, noch die griffigsten. Der Paetzold-Sound, mal piccolohell (?), mal bassblockdumpf (?) sich mit den Kontrabässen mischend, ist schon ein Mysterium. Im Zweifelsfall, der hier Methode hat, liefern die Electronics die Muskeln und die Energie für diese Wühlarbeit an den Fundamenten der Konzertsaalkulinarik. Die Orgel gibt dem Ganzen Volumen und schillernde Dichte. Der Maulwurf als Leuchtturm, als Philosoph mit der Laterne am helllichten Tag auf der Suche nach Menschen? Musik, so überwirklich wie subversiv.
[ba 68 rbd]
Donnerstag, 2. Dezember 2010
chesterfield (castello/stangl) in k48
thursday 02.12.10, 21:00 (band on window stage: 21:30 Uhr)
chesterfield:
angélica castelló-electronics
burkhard stangl-guitars
Samstag, 27. November 2010
cilantro/die schrauber 29.11.2010 @ rhiz
cilantro
A/V live project by angelica castello & billy roisz
angelica castello: recorders, electronics
billy roisz: computer, electronics, video
cilantro pics from MGF07 szcezin
review on Baggage Reclaim:
Assuming that what one expects from a Festival of Experimental music is to be
surprised, then Friday night didn't disappoint from the very start. The first act was a duo of two women, Billy Roisz and Angelica Castello on "recorders and video", "Recorders" somewhat stretched the definition from the things we tooted on at primary school, as one of them was a boxy tube about six foot long - when blown into it produced eerie wheezing, ghostly sounds as the player's breath was routed around the internal catacombs of this monstrous thing - the "video" was pretty arcane too, an old telly and various bits and pieces of electrical equipment (placed on doilies I was pleased to see) produced crackles and noise whilst a projection on the wall seemed to freeze sound waves.
It was enigmatic and decidedly peculiar, but more importantly rather wonderful and evocative. There was an interplay between these two divergent sounds - one the very human sound of breath, the other the fractured noise of obsolete consumer electronics, that was baffling, witty and full of unexpected turns. I liked it. .... (Richard Sanderson)
A/V live project by angelica castello & billy roisz
angelica castello: recorders, electronics
billy roisz: computer, electronics, video
cilantro pics from MGF07 szcezin
review on Baggage Reclaim:
Assuming that what one expects from a Festival of Experimental music is to be
surprised, then Friday night didn't disappoint from the very start. The first act was a duo of two women, Billy Roisz and Angelica Castello on "recorders and video", "Recorders" somewhat stretched the definition from the things we tooted on at primary school, as one of them was a boxy tube about six foot long - when blown into it produced eerie wheezing, ghostly sounds as the player's breath was routed around the internal catacombs of this monstrous thing - the "video" was pretty arcane too, an old telly and various bits and pieces of electrical equipment (placed on doilies I was pleased to see) produced crackles and noise whilst a projection on the wall seemed to freeze sound waves.
It was enigmatic and decidedly peculiar, but more importantly rather wonderful and evocative. There was an interplay between these two divergent sounds - one the very human sound of breath, the other the fractured noise of obsolete consumer electronics, that was baffling, witty and full of unexpected turns. I liked it. .... (Richard Sanderson)
die schrauber
Hans Tammen - endangered guitar, live sound processing
Joker Nies - omnichord, circuit bent instruments
Mario DeVega - SPK®, turntables, glitch sampling
Hailed by their critics as "fiercely intrepid improvisers", who would "win any title fight against the bastard sons of onkyo", the trio DIE SCHRAUBER produces a wide variety of dense musical textures and high-energy interaction. With veteran circuit bender Joker Nies (Cologne), sampling artist Mario deVega (Mexico City) and Hans Tammen (New York) on Endangered Guitar and live sound processing, the trio exerts extreme control over their bizarre instruments. As "Signal To Noise" observed: "They exploit their remarkable control and on-the-fly flexibility on this caffeinated exchange of pointillist fractals, oscillations, whirrs, drones, whizzes, buzzes, slurps, whoops, pops and clacks that bombard and scorch the ears with a heat-seeking intensity."
Hans Tammen (New York) works with a bizarre collection of mechanical devices on his "endangered" guitars, and uses an interactive software of his own design to rework his sounds in realtime. His music has been described by "Signal To Noise" as "...a killer tour de force of post-everything guitar damage".
Joker Nies (Cologne) modifies or builds his instruments to his needs. Apart from other techniques, he acts as a connector of circuits not intentionally related. He touches and combines the circuitry of the instruments through skin-resistance, creating spontaneous and delicate music with subtle control.
Mario de Vega (Mexico City) works with several self-designed sound objects, analog and modified electronics, turntables and computer based interfaces. His work moves towards glitch sampling, microtonal scratches, pips, squeaks, and needlesharp noise clusters developed by a wide range of self-design and hacked gadgets.
Hans Tammen - endangered guitar, live sound processing
Joker Nies - omnichord, circuit bent instruments
Mario DeVega - SPK®, turntables, glitch sampling
Hailed by their critics as "fiercely intrepid improvisers", who would "win any title fight against the bastard sons of onkyo", the trio DIE SCHRAUBER produces a wide variety of dense musical textures and high-energy interaction. With veteran circuit bender Joker Nies (Cologne), sampling artist Mario deVega (Mexico City) and Hans Tammen (New York) on Endangered Guitar and live sound processing, the trio exerts extreme control over their bizarre instruments. As "Signal To Noise" observed: "They exploit their remarkable control and on-the-fly flexibility on this caffeinated exchange of pointillist fractals, oscillations, whirrs, drones, whizzes, buzzes, slurps, whoops, pops and clacks that bombard and scorch the ears with a heat-seeking intensity."
Hans Tammen (New York) works with a bizarre collection of mechanical devices on his "endangered" guitars, and uses an interactive software of his own design to rework his sounds in realtime. His music has been described by "Signal To Noise" as "...a killer tour de force of post-everything guitar damage".
Joker Nies (Cologne) modifies or builds his instruments to his needs. Apart from other techniques, he acts as a connector of circuits not intentionally related. He touches and combines the circuitry of the instruments through skin-resistance, creating spontaneous and delicate music with subtle control.
Mario de Vega (Mexico City) works with several self-designed sound objects, analog and modified electronics, turntables and computer based interfaces. His work moves towards glitch sampling, microtonal scratches, pips, squeaks, and needlesharp noise clusters developed by a wide range of self-design and hacked gadgets.
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| cilantro (roisz/castello) |
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| die schrauber |
Donnerstag, 25. November 2010
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