Detali Zvuku, Ukraine and the horror of bureaucracy

Just listen again to the excellent live recordings of the Detali Zvuku festival 2006/2007, and realising that this festival really must be one of the qualitatively best festivals for experimental sound.

While listening, I thought that it must be worth a journey and searched for announcements and found this:

At the beginning of September official city [of LVIV] didn’t solve not one general question from the list of agreements. We couldn’t start advertisement company in Ukraine, couldn’t choose company to deal with tech rider questions; we didn’t receive money for flight tickets for artists, not even talking about guarantees to pay fees in time. In fact all control on every organizational question up to the size of flier and quantity of posters was taken from us.

[festival page]

What a shame. Seriously, I really find this shocking.
I mean, it is already insane to not support such a great festival, but to additionally make them believe that there is support makes it even worse.

But, nevertheless, hear these excellent recordings of combos like “Kapital Band 1″, “Plesk” and many others here and here.

Music Is Not A Language

Wow. Could you also die for good experimental music, sometimes?

Then this link is exactly what you’re searching for. This. Is. Truly. A. Goldmine. Seriously. Thanx so much of a lot, minal!

Oh, and if someone responsible will read this: The availability of sound files made me buy 2 CDs and one mp3 pack of the music of featured artists. Think about it.

[Music Is Not A Language]


Discovered Nexsound, an Ukrainian Label that distributes on the net as well.

On “When I’m not”, Bluermutt discovers the relation of guitars and electronics. Experimental slow electro at its best. If you like relatively experimental and slow music this one is a must.

[nexsound: Bluermutt - When I'm Not - ns55]

taylor deupree

Taylor Deupree is a photographer, architect, electronic musician, and (which seems to be new for him) a soundscape recordist. In this particular investigation, his goal for 2009 is to record a sound a day. He publishes them on his weblog. His pictures are also quite interesting, he has a very inspiring view. Especially the winter scenes are quite rare. Thanx for sharing

[From taylor deupree :: photography, via BLDBLOG]

Found Sound City

This story is so amazing.

There’s a building somewhere in New York City: every time you go there – maybe it’s a bank or a department store or the office where you work – you hear what sounds like air-conditioning equipment, a distant droning noise in the background that you can’t quite place.
But it’s always there – maybe sometimes higher pitched than other days, but always audible…

[read the whole story on BLDBLOG: Found Sound City]

Photophob – Memplex [laridae045]

45 starts into 2009 with Memplex, the new release by label co-founder Photophob. Leaving behind his Drill’n Bass escalations of recent productions, Photophob surprises with a calmed down mixture of Ambient, Oldschool Electronica and Field recordings – your sonic guideline for discovering the well hidden resorts of beauty in this world of overwhelming complexity.

All in one ZIP

[From DeBug-Pod: Photophob|Laridae Release]


A catch-all term for all those aspects of a sound not included in pitch and duration. Of no value to the sound composer!

[Trevor Wishart: Audible design – A Plain and Easy Introduction to Practical Sound Composition, Glossary]

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Poème Symphonique in Bielefeld

Letzten Sonntag in der Oetker-Halle, Bielefeld:

  1. györgy ligeti (1923-2006): poème symphonique für 100 Metronome
  2. wolfgang amadeus mozart (1756–1791): konzertarien für sopran und orchester
  3. joseph haydn (1732-1809): teseo mio ben! (arianna a naxos), kantate für mezzosopran und orchester, hob. XXVI:b.2
  4. wolfgang amadeus mozart (1756-1791): arie für bass kv 584
  5. joseph haydn (1732-1809): symphonie nr. 101 d-dur

Leider war das Bielefelder Konzertpublikum etwas überfordert mit derlei ungewöhnlichem Programm; gegeben wurde die Fassung des Poème Symphonique, welche vorsieht, dass die 100 Metronome schon laufen wenn das Publikum eintritt. Abgesehen von der etwas ungünstigen Platzierung der Geräte auf dem Boden der Bühne ohne jegliche Resonatoren und ihrer Beschaffenheit (manche waren Plastikgeräte, die den durch den Zeiger erzeugten Trigger mittels eines elektrischen Knackens höbar machten; nicht im Sinne des Komponisten aber nachzuvollziehen, immerhin ist es sehr schwierig überhaupt 100 Metronome aufzutreiben), war es dem Publikum —trotz vorheriger Einführung und vielen Plakaten im Vorraum— unmöglich nach einer Weile das Geschnatter aufzugeben und still zu sein. Selbst als nur noch zwei oder drei Metronome tickten gelang es einem Herren in Reihe 14 nicht, sein Interesse an gebratenen Enten und deren Verzehrsmöglichkeiten noch einen Augenblick für sich zu behalten.
Auf den letzten Tick des letzten Metronomes hustete ein Herr in Reihe 12. Schade. Dann: Applaus, untermalt mit, und —man lese und staune— Buhrufen. In Bielefeld. Unglaublich. Aber bestimmt im Sinne des Komponisten.
Alles weitere verlief dann so wie man es von Aufführungen von Mozart und Haydn erwartet; die Gemüter kühlten sich ab, und man konnte sich wieder der sanft dahinäuselnden Darbietung einfach zu konsumierender Klassik hingeben. Kurz: ein ganz normales Sonntagskonzert in Bielefeld. (ich muss hier weg :-)

[Spielanleitung Poème Symphonique] [Programm Bielefelder Philharmoniker]