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Frans de Waard, Vital, no. 1360, November 7, 2022
Tuesday, November 8, 2022 Press

The biography of Vanessa Massera is relatively short. She is a composer of electroacoustic music, “a medium she uses to express poetic ideas within the multiple cultural spaces and environments that fuel her inspiration”, plus a list of places that programmed her music. There are six lengthy pieces of music on this disc, with a total length of seventy-one minutes. Massera uses a lot of field recording, from fireworks and bonfires to industrial objects and environmental recordings. She also works with instruments, such as saxophones (played by Stockholms Saxofonkvartett), her grandmother’s voice, and an accordion. Most of the time, none of these sounds are recognized as such. It’s only when you read the liner notes that one thinks, oh, fireworks or saxophones, indeed it is. When she writes about her piece Omega 3, using “elements of traditional Nordic folk music”, I can safely say that ’indeed it does’, didn’t come to mind. As with many releases by Empreintes Digitales, the way the working methods of Massera are all in the digital domain, emphasising granular synthesis and stretching of sounds, topped with a good amount of reverb. All of this results in sturdy music with a serious approach. I think this is all solid music, good pieces, but not really something that seems to stand out. I enjoyed the way she treated the saxophone sounds into a densely orchestrated piece of minimalist attacks (using the sound of the keys, it seems) and the aforementioned Omega 3, which goes from near-silent to something that could be classified as weird techno music (with an all too strong 4/4 beat, however). Solid and good are the keywords here, but it is also something I heard before on more than a few occasions.

Solid and good are the keywords here…

David Berezan’s Tongue Drum

Musicworks, November 1, 2022
Tuesday, November 1, 2022 Press

Third place in the 2021 Musicworks Electronic Music Composition Contest was awarded to UK-based composer David Berezan’s Tongue Drum.

The piece premiered online in May 2021 at the European Art Science Technology Network for Digital Creativity (EASTN-DC) in Corfu, Greece. It was subsequently performed in person at Sonic Matter (Zurich), METS Fest (Cuneo, Italy), Noise Floor (Staffordshire, UK) and New York City Electroacoustic Music Festival.

Tongue Drum was composed in 2021 during a period of lockdown in the UK “The piece follows a series of my previous acousmatic works that were each developed from a single sound source: bicycle, thumb piano, and spinning top,” Berezan explains. “I am drawn to the challenges and rewards of working with reduced starting points in much of my work: sculpting, designing, and revealing greater complexities of texture, timbre, and music from the original source and sound, and reflecting the character and stories that the source objects bring with them.

“I had recently been given a tongue drum (a pitched metallic percussion instrument) as a gift and was immediately drawn to the potential of its sound for use in an electroacoustic work. The recordings of the instrument that I made were explored through a wide range of sound transformations and techniques: micro-montage and granulation, specialized audio processing plug-ins, and techniques of scrubbing and skipping of audio. Various forms of rhythm, pulse, and melody emerged and were further developed to thread through more abstract textures of noise, drone, and sonic impacts. I completed the majority of the work in my home studio, with the mix finalized in the electroacoustic studios at the University of Manchester.”

“During a masterclass in electroacoustic composition that I gave at the Conservatorio di Musica in Cuneo in April 2022, one of the attending students, Marta Zigante, drew an incredible artistic response to the work upon hearing me play and discuss it. I believe this captured some of the character and essence of the work’s sonic forms and landscape.”

Edmonton-born and Calgary-raised David Berezan started writing and performing music in the late 1980s and eventually found himself drawn to electroacoustic, and in particular, acousmatic music. He moved to the UK in 2000 to study a PhD under the supervision of Jonty Harrison at the University of Birmingham, where he also became a member of BEAST (Birmingham ElectroAcoustic Sound Theatre) and gained experience with sound diffusion performance practice. In 2003 he joined the Music Department at the University of Manchester where he is now Professor of Electroacoustic Music and Director of the Electroacoustic Music Studios and MANTIS (Manchester Theatre in Sound).

His work has been awarded prizes at competitions and festivals including Klang! (France), Music Viva (Portugal), Bourges (France), Luigi Russolo (Italy), Radio Magyar (Hungary), São Paulo (Brazil), L’espace du son (Belgium) and Jeu de temps / Times Play (Canada). He has worked in residence in the studios of the University of Calgary, Université de Montréal, Mexican Center for Music and Sonic Arts, Elektronmusikstudion (Sweden), Visby International Center for Composers (Sweden), Banff Centre for Arts and Creativity, Center for Art and Media Karlsruhe, Groupe de recherches musicales (France), Institut international de musique électroacoustique de Bourges (France), Electronic Studio of the Academy of Music Basel, and Tamagawa University (Japan). His work is published by Empreintes digitales.

AMN Review

Mike Eisenberg, Avant Music News, October 12, 2022
Wednesday, October 12, 2022 Press

Never to stay put within one musical style, British sound artist Monty Adkins’s music has shifted gears a bit over the years. This write-up will be concerned with the album Mondes inconnus, a collection of works he put together in 2006 (but has pieces dating from 1994). At that time, he was associated with BEAST (Birmingham ElectroAcoustic Sound Theatre) studying with fellow empreintes DIGITALes label mate Jonty Harrison. He has gradually drifted away from the acousmatic style of that label into a much more lowercase, minimalistic sound with his recent releases. Interestingly enough, he did diverge into all things dark ambient under the name Skrika with one album called Fifth Nature on the Cryo Chamber label in 2021.

There may be future observations from me about his recent output, but let’s focus on the earlier acousmatic works of Mondes inconnus. The format is DVD-Audio so that allows for a lot of musical content (and 5.1 sound)… of which there is, almost 90 minutes worth. Unlike some of the longer empreintes DIGITALes releases though, I didn’t get that feeling of vastness on this release. There is no sense of an overarching grand sonic landscape or vision like I felt, for instance on Ned Bouhalassa’s Gratte-cité or Annette Vande Gorne’s Haïkus. In the case of those two, I often felt that after hearing them I just completed a long acoustic saga, and I was even able to tell myself stories as if there was some contiguous narrative logic happening throughout. I’m not experiencing that on Mondes inconnus but, I don’t necessarily miss it either because, just as alluring… my senses were mobilized in a different way. A way that I was able to distill the eight tracks on this album (all in somewhat varied styles by the way), down to one commonality.

Smoothness (or polished, shiny, glossy… yes, a thesaurus comes in handy).

Reading the liner notes to Mondes inconnus there are certain related touchpoints that present themselves throughout many of the tracks, and they all share a celestial, speculative fiction, cyberpunk theme. This first manifests itself in Deepfield which was inspired by the Hubble space telescope and its ability to look back in time. On the piece Symbiont, Adkins straight out name checks HR Geiger and William Gibson (this was composed in 2002 so… rather retro in our time) and Cortex, crediting Gibson again along with Asimov (and I can swear I hear a vocoder in there too).

The subject matter and more importantly, the general vibe on these works suggests to me, in a kind of synesthetic manner a sense of physical texture. Thus, the smoothness, or glossiness mentioned above. This is not some Ridley Scott Blade Runner grit, but something closer to Lucas’s THX 1138 or Besson’s The Fifth Element. A sense of hard chrome-like coldness. For another reference point, if they ever want to bring Æon Flux back to the screen… someone should give Adkins a call.

Even pieces like Aerial, Mapping, and Silk to Steel that don’t share these retro-futurist themes bring out a tactile sense of running my fingers down a smooth, steel piece of sculpture with perfectly rounded edges and high reflectivity. No seams, just a continuous metallic surface.

The exception is the one mixed piece on the album, Still Time. This work has a wonderful flute performance by Alejandro Escuer which is equally paired and lightly transformed by Adkins well placed studio manipulations. Still Time is much less frenetic than most of the other works on this album and allows for a welcome sense of natural earthiness, even amidst its acousmatic accompaniments.

In addition to Mondes inconnus being another fine release on empreintes DIGITALes (a label that has a roster of fine releases so deep that I’m starting to take them for granted and I apologize to readers who are starting to hear the monotony in my words), I alluded earlier to the “way” I was able to experience the album. This very direct observation of sound inputs through my ears and outputting them as sensations of touch was never this sharply rendered for me. At least where I was able to write down words about it and intentionally examine it.

I’m going to try and not fall down the trap door of being overly analytical, but I suspect many, maybe most composers and musicians have experienced something similar. Now that I look back on the last few write-ups, there were certain descriptive comments I made that described the sounds I was hearing in a manner of using more than one sense. When I talked about the Dave Kerman / 5uu’s release I mentioned a “gossamer veil of dust” that inundated the sound field. On a more recent write-up about the band Pox, I thought the overall sound environment on the album was “REALLY small”. At the time, these were just simple observations. For deep listeners though, this may be a good way forward to increase enjoyment on future listens.

Right about now, you may think… so what? This is not really a new concept, but let me suggest that when it comes to the appreciation of acousmatic music it might have legs. For a newer listener, or a listener that maybe wants to try and understand a little more about why the music has an appeal when, on the surface they just sound like stray and random “sounds”, an observation like this may be significant.

It might clarify the intentions of the composer in a way that wasn’t visible previously. It might even enhance and bust open a new and fruitful way for your own personal listening. Feeling the beat in your gut is one thing, but equating sounds heard through the ears into physical touch sensations sounds like something different… something that may inform future acousmatic experiences.

In that respect, Mondes inconnus gets even higher marks than usual. I think this is what acousmatic music in general excels at and I’ll certainly be looking forward to the next multi-sensory experience.

Mondes inconnus gets even higher marks than usual.