Sonic Circuits VII
Sonic Circuits VII
Buenos Aires, Argentina
|Sonic Circuits, Vol. 7iTunes Artist's PageiTunes Album Page|
|1.||The Breaking of the Scream||10:44||$-1|
|2.||Dead White Males ReMix||06:00||$0.99|
|4.||Long Slender Heels||03:16||$0.99|
|7.||Angola du Sons||06:04||$0.99|
|8.||Night Ascends from the Ear Like a Butterfly||08:10||$0.99|
Jose Halac: The Breaking of the Scream 10:52. An Argentinean American composer using indigenous folk song as the basis for the ultimate homage to divorce
Mark Applebaum: Dead White Males Remix 6:03. A kick-butt exercise in auto-plundering, Mississippi composer Applebaum first wrote an orchestral piece, had it performed, then shredded it in the studio. Truly labor intensive
Mike Frengel: Long Slender Heels 3:15. A delight for creepy fetishists everywhere.
Mario Verandi: Figuras Flamencas 12:30 A surreal journey across a flamenco dreamland by an Argentinean composer based in Birmingham
Timothy Oesau: Angola du Sons 6:20. Minneapolis noise-and-anagram artist
Thomas Gerwin: Rollenspiel 17:02. A German binaural epic that will turn your head into a roulette game
Hideko Kawamoto: Night Ascends from the Ear like a Butterfly 8:10. A delicate Japanese Texan nocturne
Christina Agamanolis: Aftermath 5:27. A CalArts student's post-apocalyptic vision.
"Philip Blackburn's Innova label and its series of Sonic Circuits CDs documenting the International Festival of Electroacoustic Music always provide a fresh and varied selection of today's electronic music. This fine disc brings together works as diverse as Jose Halac's "The Breaking of the Scream" (emotional exorcism through Argentinean folk song), Mario Verandi's "Figuras Flamencas" (title self-explanatory), Thomas Gerwin's "Rollenspiel" (which, as the Press Release says, "turns your head into a roulette game") and the cavernous ambient of Christina Agamanolis' "Aftermath". The shorter pieces are, as is often the case, more effective. Mark Applebaum's "Dead White Males Remix" (nice title, but I still prefer David Lang's long-lost "Eating Living Monkeys") is a ProTools hatchet job on Applebaum's existing orchestral work, while Mike Frengel's "Long Slender Heels" is a slab of post-rock foot-fetishism worthy of Zorn, and Timothy Oesau's "Angola du Sons" (to be played "at a volume slightly below permanent damage") should slightly realign the configuration of your internal organs. A nice variation on the inevitable end-of-the-year compilation albums, this is an ideal Christmas gift for impressionable youngsters. "
- Dan Warburton, Paris Transatlantic