Banda sonora para "Cuaderno de viaje para una exposición", dentro de la exposición "José Luján Pérez - El hombre y la obra 200 años después". San Martín Centro de Cultura Contemporánea, Del 28/04/2015 al 30/08/2015, Las Palmas de Gran Canaria.
lunes, 20 de julio de 2015
jueves, 16 de julio de 2015
Review de Collages & Dispersions en we need no swords
Paco Rossique: Collages and Dispersions
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This album of electronics, field recordings and prepared piano pieces from Canary Islander Rossique is so atmospheric you can almost taste it. Those familiar with Rossique’s previous releases – such as 2013’s Caves or last year’s Resounding Graphic – will have an idea of the aesthetic approach: ominous synth drones, criss crossed by fragments of piano and distant voices, and underpinned by irregular, percussive strikes of stone and metal.
On Collages and Dispersions Rossique has pared things down from the closely-woven spookiness of those previous records. The vibe is unsettling, displaced and, although the recordings are often drenched in reverb, are strangely claustrophobic. There’s a drier, almost mustier feel on tracks like The Long Waiting or The Space of a Door, as if they’re hewn from the volcanic Canary Island rock to form elemental, cubist structures.
It’s that cold, still feeling you get from being inside a vast underground cave – or occasionally a deserted building – with the constant squeaks and scuffles of nature going about its business magnified into nameless terrors by the twin lenses of the reverberant space and the repressed memories of the listeners deep unconscious. Fears from the ancient lizard brain…
There’s a departure from the template on Parallel Roles, its opening hubbub of voices and drones reminiscent of Radioactivity-era Kraftwerk. The voices fade after a while, replaced with machine-like clanks and layered washes of synth, before returning towards the end. They’re slowed down this time, slurred, which adds to the narcotic, hallucinatory feel.
In After Noon O, a series of hollow, mournful whistles rise up from the deep. I’m reminded of Arve Henriksen’s early solo recordings, Sakuteiki perhaps. These simple melodic figures could be calling to us from across time and space, looping away and disappearing before we can adequately grasp them, as the lower register rustles and prepared piano base notes beaver away like mysterious excavations.
Preparations for rituals we’ll never experience. Despatches from the outer reaches.
This album of electronics, field recordings and prepared piano pieces from Canary Islander Rossique is so atmospheric you can almost taste it. Those familiar with Rossique’s previous releases – such as 2013’s Caves or last year’s Resounding Graphic – will have an idea of the aesthetic approach: ominous synth drones, criss crossed by fragments of piano and distant voices, and underpinned by irregular, percussive strikes of stone and metal.
On Collages and Dispersions Rossique has pared things down from the closely-woven spookiness of those previous records. The vibe is unsettling, displaced and, although the recordings are often drenched in reverb, are strangely claustrophobic. There’s a drier, almost mustier feel on tracks like The Long Waiting or The Space of a Door, as if they’re hewn from the volcanic Canary Island rock to form elemental, cubist structures.
It’s that cold, still feeling you get from being inside a vast underground cave – or occasionally a deserted building – with the constant squeaks and scuffles of nature going about its business magnified into nameless terrors by the twin lenses of the reverberant space and the repressed memories of the listeners deep unconscious. Fears from the ancient lizard brain…
There’s a departure from the template on Parallel Roles, its opening hubbub of voices and drones reminiscent of Radioactivity-era Kraftwerk. The voices fade after a while, replaced with machine-like clanks and layered washes of synth, before returning towards the end. They’re slowed down this time, slurred, which adds to the narcotic, hallucinatory feel.
In After Noon O, a series of hollow, mournful whistles rise up from the deep. I’m reminded of Arve Henriksen’s early solo recordings, Sakuteiki perhaps. These simple melodic figures could be calling to us from across time and space, looping away and disappearing before we can adequately grasp them, as the lower register rustles and prepared piano base notes beaver away like mysterious excavations.
Preparations for rituals we’ll never experience. Despatches from the outer reaches.
miércoles, 15 de julio de 2015
Carpeta Dimes y diretes, rostros
La Carpeta Dimes y diretes, Rostros ha sido producida por Gas Editions en 2014. Consta de diez ejemplares, numerados del 1/10 al 10/10 y firmados por el autor.
Contiene seis collages originales, impresos en papel Hahnemüle Photo Rag Bright White de 310 gr., con tintas pigmentadas.
Actualmente en exposición en la Galería Krabbe del 10.07 al 12.09-2015 en su Collective Summerexhibition
Artistas: Charlotte Bøgh (computer print), Jytte Møller (keramik), Pedro Zayas Medina (skulptur), Rusudan Gobejishvili (maleri), Paco Rossique (grafik), Martin Bruggisser (linoliumstryk), Kirsten M. Brøndum (maleri), Dorthe Krabbe (keramik), Caroline Krabbe (maleri) og Luise Haugen (mixed media).
martes, 14 de julio de 2015
viernes, 3 de julio de 2015
Sonho perdido en el blog Prepared guitar
“A Human Form In A Deathly Mould”, 1999, Julião Sarmento
12 GREAT PORTUGUESE exploratory GUITARISTS
Abdul MOIMEME 13 Questions
MEKHAANU / improvisation #2
Manuel MOTA 13 Questions
Solo guitar 2013 - previously unreleased
home recording, spring 2013. Rickenbacker 330
Abdul MOIMEME 13 Questions
MEKHAANU / improvisation #2
Manuel MOTA 13 Questions
Solo guitar 2013 - previously unreleased
home recording, spring 2013. Rickenbacker 330
Quando os lobos uivam - Livraria Sá da Costa
Pedro CHAMBEL
(Soon in 13 Questions)
Sonho Perdido Pedro Chambel, Bruno Duplant, Paco Rossique
Sonho Perdido Pedro Chambel, Bruno Duplant, Paco Rossique
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