Wednesday, March 29, 2017

Sounds of the Day #80/2017: My Inhaled books #40 // Belisha Beacon(1), Alexandre Navarro (1), Helena Hauff (1,2,3) / Enrique Tomás (1,2,3,4,5)


Inhaled books #40
Jean-Luc Marion - Étant donné
Antidotes against brainless deconstructionisms since 2004

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Belisha Beacon This Is Fine (2017)


Alexandre Navarro - Anti-Matière (2017)

Helena Hauff - Lex Tertia  (2015)

Helena Hauff - Discreet Desires (2015)

Helena Hauff Actio Reactio (2014)

Enrique Tomás - SDR (2016)
In this album, Enrique Tomás appropiates of SDR devices (Software Defined Radios) and makes them use as electronic music instruments. Through the active exploration of the radio spectrum (1MHz - 3GHz) at various european locations, Tomás builds artificial soundscapes with extreme ranges of frequencies and amplitudes. Originally composed for a multichannel setup, here we offer you the stereo version.

Enrique Tomás Ultranoise Live (2016)

Enrique Tomás Der Hirsch des Wahnsinns (2016)

Der Hirsch des Wahnsinns is one of the verses of "Al Infierno" ("To Hell") by the Spanish poet Leopoldo María Panero. This poem and some others by Rainer María Rilke, Rafael Alberti and John Milton were used at a soundwalk commissioned in 2010 for the gardens surrounding a famous statue of the Fallen Angel in Madrid. Updating some of those sound materials (in binaural format) with some new others (in ambisonic format) I propose you the listening of an acousmatic composition inspired by the Fallen Angels, understanding them as those who, though created as good beings, freely chose the wrong way. 

This is a stereo version of the original work for 6 channels.


Enrique Tomás Seyðisfjörður (2012/2016)
Seyðisfjörður (Iceland) is the northest latitude where I have ever been on Earth (October 2012). A permanent drone of blue noise covers everything at every moment due to hundreds torrents conducting water from glaciers to the sea. The always changing weather destroys whatever humans try to build there, converting old fishing industries into oxidated landscapes. Underwater field recordings, sound improvisations with found objects and Icelandic language conformed the sonic architecture of the work, articulated into a number of proposed scenes where listeners will be self-located through their aural imagination.


Enrique Tomás - The Wrong Answer (2012/2016)


Some more retrofuturetronics
very slowly starting to transgress
or tranceform yawn-techno-tronics