![\"Catorce](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_193_320px.jpg\" "\\"Catorce")
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Catorce reflexiones sobre el fin | Ang\u00e9lica Castell\u00f3<\/a><\/strong> <\/p>\n <\/p>\n Lorena Moreno Vera, 2023<\/strong> <\/p>\n Like every body, these have a unique history made up of mixed fragments spun by Ang\u00e9lica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed<\/em> (Castell\u00f3, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.<\/p>\n <\/p>\n During the Catorce reflexiones sobre el fin<\/em>, Castell\u00f3 takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm? <\/p>\n <\/p>\n First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.<\/p>\n <\/p>\n To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira<\/em> (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.<\/p>\n <\/p>\n Ma fin est mon commencement<\/em> <\/p>\n After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces<\/em> (3) with hints of harpsichord and bells.<\/p>\n <\/p>\n The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen<\/em>, tides, and birdsongs.<\/p>\n <\/p>\n An immersion into deep waters.<\/p>\n <\/p>\n And in the end, we all commit sins! <\/p>\n _______________________<\/p>\n <\/p>\n (1) Anger. <\/p>\n <\/p>\n A side<\/strong> <\/p>\n B side<\/strong> <\/p>\n 14 Tracks (54\u203200\u2033) <\/p>\n <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n Music: Ang\u00e9lica Castell\u00f3 <\/p>\n Thanks and love to Ana Cortina, Gudinni Cortina, Monika Gold, Roberto Morales, J\u00e9r\u00f4me Noetinger, Carlos Prieto, Martin Siewert, Burkhard Stangl, Museo de Arte Contempor\u00e1neo de Oaxaca, Foro Cultural de Austria de M\u00e9xico, SKE & Gruerekorder.<\/p>\n <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong> <\/p>\n textura<\/a><\/strong> <\/p>\n Castell\u00f3’s functions effectively as a standalone recording, but it actually originated out of a 2019 sound art exhibition at the Museo de Arte Contempor\u00e1neo de Oaxaca, Mexico; in the presentation, recordings were coupled with fourteen magnetic tape-woven bodies hanging in space (photos at her site show one such body hanging from a tree limb). Inspiration for the project came from French medieval poet Guillaume de Machaut, and specifically his words, \u201cMy end is my beginning and my beginning is my end\u201d (reminiscent of \u201cIn my beginning is my end\u201d from T. S. Eliot’s Four Quartets). Castell\u00f3 uses the text as a springboard for self-referential ruminations on memory, death, entropy, \u201cthe return that is always renewed [and] the beginning, as an inevitable mirror of the end itself.\u201d While all bodies inevitably decay and die, they’re reborn too, albeit in a different form.<\/p>\n <\/p>\n The sound artist in this case subjected field and voice recordings, radio and cassette devices, and a paetzold recorder to various manipulations to render the fourteen settings into their presented form. On the A side, glassy drones, bird chirps, and breaking glass noises engage the attention in \u201cR\u00f3mpeme,\u201d the activity level high but also portending the intense action to come. The onset of \u201cIra\u201d brings with it granular transmissions, industrial noise, and a general sense of turbulence. Churning rhythms suggest the presence of machinery relentlessly burrowing into the ground. Peacefulness sets in thereafter, with high-pitched tones whistling alongside soft voice utterances. Blustery breezes, voice babble, and breaking waves merge thereafter into a disorienting stream as the programme perpetuates its alternation between soothing and aggressive episodes. Squeaks and squeals appear amidst gentle vocalizations, cicada thrum, bell rustlings, and dog barks. The flip side advances through haunted harpsichord- and tinkling piano-driven passages, weird folk detours, bell tolls, crackle-smeared conversations, and other synapse-firing moments. Even though the pieces are individually titled, the album plays like an impossible-to-predict phantasmagoria that unfolds largely without pause and fluctuates between moments soothing and unsettling. […] <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Ang\u00e9lica Castell\u00f3 \u2013 \u201eCatorce reflexiones sobre el fin\u201d (Gruenrekorder | lipiec 2023) <\/p>\n Najnowsza i niedawno wydana na winylu p\u0142yta Castell\u00f3 \u201eCatorce reflexiones sobre el fin\u201d (\u201eCzterna\u015bcie refleksji na temat ko\u0144ca\u201d) jest zapisem instalacji d\u017awi\u0119kowej zaprezentowanej w Museo de Arte Contempor\u00e1neo de Oaxaca w Meksyku w 2019 roku. Czterna\u015bcie fragment\u00f3w, kt\u00f3rych mo\u017cna s\u0142ucha\u0107 ca\u0142o\u015bciowo ci\u0105giem, jak i odbywa\u0107 pojedyncze, wybrane fragmenty. Otwieraj\u0105cy \u201eR\u00f3mpeme\u201d (s\u0142ycha\u0107 m.in. odg\u0142osy intensywnie t\u0142uczonego szk\u0142a) zapowiada, \u017ce nie b\u0119dzie to \u0142atwa podr\u00f3\u017c pod wzgl\u0119dem intensywno\u015bci zestawianych ze sob\u0105 faktur, nagra\u0144 terenowych czy te\u017c zdekomponowanych lub skomponowanych struktur. Ten zestaw utwor\u00f3w powsta\u0142 na podstawie d\u017awi\u0119kowej antologii Meksykanki.<\/p>\n <\/p>\n Du\u017ce wra\u017cenie zrobi\u0142 na mnie fragment \u201eIra\u201d mog\u0105cy przypomina\u0107 pobyt w jakiej\u015b fabryce z pot\u0119\u017cnym industrialnym t\u0142okiem bezlito\u015bnie mia\u017cd\u017c\u0105cym wszystko na swoje drodze, gdzie z niedookre\u015blonego t\u0142a przedziera si\u0119 wrzawa zbiorowych okrzyk\u00f3w oraz noise\u2019owe chroniczne zgrzyty. \u201eMa fin\u201d otula niespodziewanie lekko\u015bci\u0105 ambientowej serpentyny, szepcz\u0105cych cykad i cichymi recytacjami po hiszpa\u0144sku.<\/p>\n <\/p>\n Cykady mkn\u0105 dalej w \u201eSicilia\u201d, lecz s\u0105 zderzane z jak\u0105\u015b nierozpoznan\u0105 emanacj\u0105 \u201ecyfrowego wiatru\u201d i pomrukami w j\u0119zyku francuskim oraz odg\u0142osami szumu fal radiowych. W \u201eGracias\u201d z kolei ko\u0142ysz\u0105ce d\u017awi\u0119ki chlupocz\u0105cej wody przenika ptasi i ludzki \u015bpiew. Ten drugi, jakby wydobywaj\u0105cy si\u0119 z morskich g\u0142\u0119bin. Takie podwodne libretto o hipnotycznym syrenim powabie. Szorstkie \u201eMu\u00e9rete\u201d jest jednocze\u015bnie silnie abstrakcyjne, a z drugiej strony odzywa si\u0119 tu przyziemne ujadanie psa. \u201eSilver\u201d zamyka stron\u0119 A. Tu r\u00f3wnie\u017c mo\u017cna wyr\u00f3\u017cni\u0107 odg\u0142osy padaj\u0105cego deszczu przesi\u0105kni\u0119te za\u015b noise\u2019owymi klastrami, w kt\u00f3re zosta\u0142y powtykane rozmaitych drobiny brzmieniowe.<\/p>\n <\/p>\n Drug\u0105 stron\u0119 rozpoczynaj\u0105 w \u201eTombeau 1\u201d klawesynowe repetycje powolnie transformuj\u0105ce do postaci romantycznego szumu. \u201eTombeau 2\u201d to przeskok w zupe\u0142nie inn\u0105 przestrze\u0144 z nieco z\u0142owieszczo trzaskaj\u0105cym d\u017awi\u0119kiem pal\u0105cego si\u0119 ogniska (?) i podmuchem przeszywaj\u0105cego \u015bwistu wiatru. Ekspresyjne bicie dzwon\u00f3w w \u201eBells\u201d \u2013 np. z wie\u017c ko\u015bcielnych \u2013 w surrealistycznym zestawieniu z ambientow\u0105 delikatn\u0105 elektronik\u0105. Pi\u0119kne ptasie trele wraz z fortepianow\u0105 improwizacj\u0105 zawini\u0119te w drone\u2019ow\u0105 pow\u0142ok\u0119 i spadaj\u0105cymi kroplami deszczu unosz\u0105 nasz\u0105 wyobra\u017ani\u0119 w \u201eUn enfant\u201d.<\/p>\n <\/p>\n Odleg\u0142e brzmienie fortepianu utrzymuje si\u0119 w \u201eUn homme\u201d z zap\u0119tlonym kobiecym \u015bpiewem operowym i orkiestr\u0105 w postaci cykad. Jeden z najpi\u0119kniejszych fragment\u00f3w z tego albumu. Podobnie r\u00f3wnie\u017c \u201eLlorona\u201d, w kt\u00f3rym z du\u017c\u0105 lekko\u015bci\u0105 opadaj\u0105 przekle\u0144stwa w j\u0119zyku w\u0142oskim i towarzysz\u0105cy im melancholijny szelest (czego?). Wieje tu \u2013 i nie tylko \u2013 hauntologi\u0105 z rejon\u00f3w projektu The Caretaker. Zamykaj\u0105cy \u201eChanson triste\u201d zalewa totalnie nasze zmys\u0142y ptasio-cykadow\u0105 orkiestr\u0105 sprz\u0119gni\u0119t\u0105 z d\u017awi\u0119kami zdeformowanej gry ludzkiej orkiestry. Wszystko jest tu niesamowicie p\u0142ynne, abstrakcyjne i nie do ko\u0144ca \u0142atwe do okre\u015blania, opisania.<\/p>\n <\/p>\n Niech ka\u017cdy zinterpretuje po swojemu \u00f3w \u201ekoniec\u201d, podany przez Ang\u00e9lik\u0119 Castell\u00f3 na \u201eCatorce reflexiones sobre el fin\u201d w czternastu r\u00f3\u017cnych ods\u0142onach. Wed\u0142ug mnie ca\u0142o\u015b\u0107 wy\u015bmienicie pracuje wewn\u0105trz tej soundartowej kuli kosmicznych dozna\u0107 d\u017awi\u0119kowych. <\/p>\n Henry Kozok | radiohoerer<\/a><\/strong> <\/p>\n „Insgesamt pr\u00e4sentiert sich Ang\u00e9lica Castell\u00f3 mit \u201eCatorce reflexiones sobre el fin\u201d einmal mehr als eine K\u00fcnstlerin mit einer eigenst\u00e4ndigen musikalischen Idee und Vision. Ihre Arbeit ist experimentell, k\u00fchn und gleichzeitig fesselnd. Sie zeigt die Vielseitigkeit und kreative Herangehensweise von Ang\u00e9lica Castell\u00f3, die es ihr erm\u00f6glicht, durch Kl\u00e4nge und Musik emotionale und imaginative Welten zu erschaffen.“ (Michael Ternai)<\/p>\n <\/p>\n Sendung \u00fcber Ang\u00e9lica Castell\u00f3 von Nina Polaschegg<\/a> <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin (120)<\/a><\/strong> <\/p>\n Michael Ternai | music austria<\/a><\/strong> <\/p>\n Es ist faszinierend zu sehen, wie die Musikerin, Klangk\u00fcnstlerin und Komponistin Ang\u00e9lica Castell\u00f3 in ihrer neuesten Ver\u00f6ffentlichung \u201eCatorce reflexiones sobre el fin\u201d ihre musikalischen F\u00e4higkeiten und k\u00fcnstlerische Vision zum Ausdruck bringt. Die Tatsache, dass sie diese St\u00fccke speziell f\u00fcr eine Installation im Museo de Arte Contempor\u00e1neo de Oaxaca komponiert hat, zeigt ihre F\u00e4higkeit, mit anderen Kunstformen zu interagieren und ein Gesamtkunstwerk zu schaffen.<\/p>\n <\/p>\n Ang\u00e9lica Castell\u00f3 verwendet eine Vielzahl von Methoden und Klangquellen, um ihre Musik zu erschaffen. Field Recordings, Stimmaufnahmen, Tapes und Fragmente ihrer eigenen fr\u00fcheren St\u00fccke sowie Anleihen aus anderen Werken kommen zum Einsatz. Durch Experimentieren mit verschiedenen Wiedergabeformaten, analoger und digitaler Verarbeitung, Improvisation und Dekonstruktion schafft sie ein elektroakustisches Klangschauspiel, das keine festgelegte Struktur hat, aber dennoch eine hypnotische und geheimnisvolle Kraft entfaltet.<\/p>\n <\/p>\n Die Klanglandschaften von \u201eCatorce reflexiones sobre el fin\u201d erzeugen suggestive Bilder von verborgenen Orten in den K\u00f6pfen der Zuh\u00f6rerinnen und Zuh\u00f6rer. Das Zusammenspiel von Klirren, Knistern, Dr\u00f6hnen, Zirpen, Gezwitscher, entfernt erklingenden Melodiefragmenten, kaum verst\u00e4ndlichen Sprachfetzen, dichten Soundschleiern und elektronischen Verfremdungen schafft eine einzigartige Atmosph\u00e4re. Es ist eine Musik, die sich von traditionellen Strukturen losl\u00f6st und den H\u00f6rerinnen und H\u00f6rern Raum f\u00fcr eigene Interpretationen l\u00e4sst.<\/p>\n <\/p>\n Insgesamt pr\u00e4sentiert sich Ang\u00e9lica Castell\u00f3 mit \u201eCatorce reflexiones sobre el fin\u201d einmal mehr als eine K\u00fcnstlerin mit einer eigenst\u00e4ndigen musikalischen Idee und Vision. Ihre Arbeit ist experimentell, k\u00fchn und gleichzeitig fesselnd. Sie zeigt die Vielseitigkeit und kreative Herangehensweise von Ang\u00e9lica Castell\u00f3, die es ihr erm\u00f6glicht, durch Kl\u00e4nge und Musik emotionale und imaginative Welten zu erschaffen. <\/p>\n felix | freiStil \u2013 Magazin f\u00fcr Musik und Umgebung<\/a> \/ #108<\/strong> <\/p>\n Eyal Hareuveni | salt peanuts*<\/a><\/strong> <\/p>\n Like many of the works of Castell\u00f3, Catorce reflexiones sobre el fin<\/em> is a reflective one and includes field recordings, tapes, self-references to previous works and sonic experiences, and voice recordings made specifically for these compositions. These fragmented elements were re-recorded in various formats, from low to high fidelity, analog and digital, then were composed, decomposed and recomposed. These 14 short pieces are sonic thoughts about the end, the farewell, and the return that is always renewed. They sound as if anticipating their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.<\/p>\n <\/p>\n The album is a series of unsettling and elusive, quiet meditative journeys and emotional storms that embrace the sounds of shattered glass, stridulation of cicadas, church bells, murmurs in French, Italian maledictions, and soft recitations in Spanish. It moves between uproar to solace and is wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions.<\/p>\n <\/p>\n Mexican curator and writer Lorena Moreno Vera, who contributed the liner notes, described the listening experience to Catorce reflexiones sobre el fin<\/em> as a dive into the void that encounters the \u00abbewilderment announced by the scent of uncertainty condensed in the air\u2019s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return\u00bb. This impressive and thoughtful work marks a possible way out of this existential void. <\/p>\n Guillermo Escudero | Loop<\/a><\/strong> <\/p>\n Gruenrekorder @ Bepi Crespan<\/a><\/strong> <\/p>\n framework radio<\/a> | #848<\/a><\/strong> Catorce reflexiones sobre el fin | Ang\u00e9lica Castell\u00f3 (Fourteen reflections on the end) Gruen 193 | Vinyl (+ Digital) | Digital > [order] Reviews Lorena Moreno Vera, 2023 Catorce reflexiones sobre el fin (Fourteen Reflections On The End) originated from an installation exhibited at the Museo de Arte Contempor\u00e1neo de Oaxaca, Mexico, in 2019. […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-20469","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/20469","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20469"}],"version-history":[{"count":41,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/20469\/revisions"}],"predecessor-version":[{"id":21327,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/20469\/revisions\/21327"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20469"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n(Fourteen reflections on the end)
\nGruen 193 | Vinyl (+ Digital) | Digital > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
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\nCatorce reflexiones sobre el fin (Fourteen Reflections On The End)<\/em> originated from an installation exhibited at the Museo de Arte Contempor\u00e1neo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Ang\u00e9lica Castell\u00f3. Thus, Catorce reflexiones sobre el fin<\/em> is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.<\/p>\n
\nEt mon commencement ma fin<\/em> (2)<\/p>\n
\nQueste maledette!<\/em> (4) <\/p>\n
\n(2) Guillaume de Machaut, Ma fin est mon commencement (Rondeau 14)<\/em>, c.1360
\n\u201cMy end is my beginning, and my beginning my end.\u201d<\/em>
\n(3) From the original in Spanish \u201cese temporal,\u201d \u201cel silencio musical de los abrazos.\u201d Temporal<\/em> can refer to \u201ctemporary\u201d and to a \u201cstorm.\u201d
\n(4) These damned ones!<\/em><\/p>\n
\n
\n1 R\u00f3mpeme 3:47
\n2 Ira 3:40 | MP3<\/a>
\n3 Ma fin 4:00
\n4 Sicilia 3:16 | MP3<\/a>
\n5 Gracias 4:02
\n6 Mu\u00e9rete 3:08
\n7 Silver 5:11 | MP3<\/a><\/p>\n
\n1 Tombeau 1 4:24
\n2 Tombeau 2 3:24
\n3 Bells 3:35
\n4 Un enfant 3:52
\n5 Un homme 4:15
\n6 Llorona 3:23
\n7 Chanson triste 4:12 | MP3<\/a><\/p>\n
\nVinyl (300 copies)<\/p>\n
\n
\nMastering: Martin Siewert
\nArt work: Monika Gold<\/p>\n
\nGermany \/ 2023 \/ Gruen 193 \/ LC 09488<\/p>\n
\n
\nThese recordings from Mexican composer Ang\u00e9lica Castell\u00f3 were originally developed in 2019 for an installation at the Museo de Arte Contempor\u00e1neo de Oaxaca and are now released on the Gruenrekorder label. The tracks are relatively short with only one of them lasting more than five minutes. They allude to the end of life and have been developed with the use of field recordings and unconventional sounds from various musical instruments, radio frequencies, quotations and references to other songs. Echoes of multiple languages can also be heard. The sound quality is intentionally non-homogeneous, corresponding to the nature of the recorded materials, not worrying too much about format or resolution. Nor is there any special manipulation of the sound sources, everything seems to be the result of different juxtapositions. A new beginning always provides new energy: each of these meditations might also be meant as the viaticum for a new journey or existence. Ang\u00e9lica Castell\u00f3 is at ease when she plays an abstract combination of sounds. Her multifaced approach facilitates the creation of relationships between music, performance, visual arts and daily life, adding other sources of inspiration into these areas, such as literature, aesthetics and philosophy, in an elusive union between modernist collage, electroacoustic music, along with contemporary conceptualism. Then even fragility becomes a strength, and what could only once be dreamed of is able to manifest itself, culminating in something that is disturbing and adventurous, meditative and fragmentary, experimental and visionary.
\nlink<\/a><\/p>\n
\nBoth of these recent ‚Sound Art Series‘ releases from Gruenrekorder embody the label’s experimental aesthetic and forward-thinking sensibility, the first from Mexico City-born and Austria-based sound artist Angelica Castell\u00f3 and the second Bremen-born and Frankfurt-based Hannes Seidl. Whereas Castell\u00f3’s fifty-four-minute Catorce reflexiones sobre el fin (Fourteen Reflections on the End) spreads fourteen electroacoustic miniatures across two vinyl sides, Seidl’s Befreit die Maschinen (Liberate the Machines) presents its forty-two-minute \u2018Radio drama‘ as a single-track CD, each release available in 300 physical copies.<\/p>\n
\nlink<\/a><\/p>\n
\nGruenrekorder: Ang\u00e9lica Castell\u00f3 i Melissa Pons & Nils Mosh
\nOdwiedzam katalog niemieckiej wytw\u00f3rni Gruenrekorder i odkrywam nowe wydawnictwa Ang\u00e9liki Castell\u00f3 oraz duetu Melissa Pons & Nils Mosh.<\/p>\n
\nSi\u0119gaj\u0105c po nowy album meksyka\u0144skiej kompozytorki, artystki d\u017awi\u0119kowej i kuratorki Ang\u00e9liki Castell\u00f3 u\u015bwiadomi\u0142em sobie, \u017ce pisa\u0142em o jej tw\u00f3rczo\u015bci r\u00f3wno dziesi\u0119\u0107 lat temu przy okazji kasety \u201eSilvertone E Il Sentimento Oceanico\u201d<\/a> wydanej w nieistniej\u0105cej ju\u017c polskiej wytw\u00f3rni MonotypeRec. Castell\u00f3 ma na koncie r\u00f3\u017cnego rodzaju wsp\u00f3\u0142prace. Lista artyst\u00f3w jest naprawd\u0119 pot\u0119\u017cna, w\u015br\u00f3d nich m.in. Burkhard Stangl, Maja Osojnik, John Butcher, Dafne Vicente Sandoval, Wolfgang Mitterer, Martin Siewert, Kazu Uchihashim, Bonnie Jones, J\u00e9r\u00f4me Noetinger, Mario de Vega, Steve Bates.<\/p>\n
\nlink<\/a><\/p>\n
\nRelease Tipp: Ang\u00e9lica Castell\u00f3 \u2013 Catorce reflexiones sobre el fin \/ gruenrekorder
\nWenn ich jetzt die Musik von Ang\u00e9lica Castell\u00f3 h\u00f6re, frage ich mich, wie ich sie im Mai\u201923 \u00fcberh\u00f6ren konnte? Eine absolut eigenst\u00e4ndige und faszinierende Klangwelt erwartet Euch. Das Ganze hat auch einen Vorteil. Es gibt sehr positive Kritiken und so kann ich auf diese Links verweisen und nur hoffen, dass ihr Lust bekommt, diese au\u00dfergew\u00f6hnliche K\u00fcnstlerin zu entdecken. Dazu gibt es noch ein Portr\u00e4t von Nina Polaschegg \u00fcber Ang\u00e9lica Castell\u00f3.<\/p>\n
\nlink<\/a><\/p>\n
\nInformation is available about Ang\u00e9lica Castell\u00f3’s new record ‚Catorce Reflexiones Sobre El Fin‘, meaning ‚fourteen reflections on the end‘. She composed this music for an installation at the Museo de Arte Contempor\u00e1neo de Oaxaca, Mexico, in 2019. She uses many field recordings, but according to the label, also she refers to her previous work, including voice work, recorded in very high and very low quality. I assume some recordings include her instrument of choice, the Paetzold recorder. There are fourteen pieces on this album (as they were on display in the installation, hanging from the ceiling), and I admit it also sounds like two long pieces, with the occasional silence occurring. The shuffling of a spade in the first piece, ‚R\u00f3mpeme‘, reminded me of digging a grave. There are more of these death references, such as the church bells of ‚Bells‘ or the shattering of glass, also an end. There are lots of animal sounds, and there is an eerie atmosphere throughout these pieces. In ‚Un Homme‘, there is the sound of an old record; there is a marching rhythm, jackhammer or funeral march? Hard to say. Castell\u00f3 carefully uses reverb to add to the creepy atmosphere. It is uneasy music, but at the same time, it is beautiful uneasiness. The ‚death’\/’end‘ theme is not throughout all these pieces; perhaps, they aren’t always that noticeable. Sometimes, she’s more observing the scenery from some distance, which makes it spooky, as if the impending doom is coming your way any time (and you know it will come to all of us). Castell\u00f3 uses musique concr\u00e8te techniques in mixing various sounds and telling a story, and she does that very well. No extensive processing techniques are used, but they are more collage-like, with seemingly unrelated sound events becoming one narrative. Of the three new releases by Gruenrekorder, this is the best, in terms of music, at least. There is an underlying concept, yet the music can be enjoyed without knowing too much about it.
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\nCatorce reflexiones sobre el fin (gruen 193, LP), diese ’14 Reflexionen \u00fcber das Ende‘, spenden zugleich den von Guillaume de Ma- chaut ausgesprochenen Trost der Ouroboros- schlange: Mein Ende ist mein Anfang und mein Anfang ist mein Ende. Die mexikanische Kom- ponistin ANG\u00c9LICA CASTELL\u00d3, letztes Jahr 50 geworden, hat seit ihrem elektroakusti- schen Solo-Debut \u201eBestiario\u201c (2011) das In- teresse an ihr wachgehalten im Spiel mit Burkhard Stangl, Billy Roisz, J\u00e9r\u00f4me Noe- tinger oder dem Quintett Zimt und Ver\u00f6ffent- lichungen auf Interstellar und Mikroton. Ihr Instrumentarium sind die Paetzold-Bassfl\u00f6te, Tape, Radio und Electronics, ihr komposito- risches Spektrum umfasst aber auch das vom Ictus Ensemble aufgef\u00fchrte \u201eTres Texturas Ar\u00e1cnidas\u201c (2021) for electric guitar, viola da gamba, recorder, percussion sets, cassette player and electronic sounds, \u201eStar Washers\u201c (2021) f\u00fcr Orchestra und Electronics, aufge- f\u00fchrt vom Baltimore Symphony Orchestra, oder das Musiktheater \u201eRed Rooms\u201c (2022), dargeboten vom Ensemble PHACE und Wien Modern. Die Schlange, die hier sich windet und dreht, besteht aus Tonb\u00e4ndern. Gemus- tert ist sie: Mit metalloiden Drones und Per- cussion, krachiger noch als bei ihrem \u201eBodies of Noise\u201c f\u00fcr 2 Pianos, 2 Percussion Sets, Radios und Electronics. Mit rauschendem Wasser, nein, D\u00fcsenmaschinennoise und dunklem Pauken eines festlichen Umzugs. Sirren, Akkordeon und murmelnder Frauen- stimme. St\u00fcrmischem Brausen, weiter mur- melnden Frauen, einer Blaskapelle, singenden M\u00e4dchen, pfeifendem Glissando. Rauschen- dem Wasser, schrillem Pfeifen, \u00fcberrausch- tem Singen. Sirren und katastrophischem Brausen, Schellackgesang, Hundegebell. Klir- render Percussion, dunklem Tuten, Regen, piepsenden und quakenden V\u00f6geln. Die mit barocker Trauermusik anhebende B-Seite ist mit pfeifendem Sturmwind \u00e4hnlich verflochten durch Alltagsl\u00e4rm, Glockenl\u00e4uten, Regen, Vogelstimmen, Klimperpiano, einem Kunst- lied, der aus M\u00e4dchenmund wehklagenden Geisterfrau ‚Llorona‘, die ihre Kinder ermordet hat. Und kulminiert als ‚chanson triste‘ mit hysterischen Grillen, aufgeregten V\u00f6geln, ver- zerrter Musik. Doch wie gesagt, die Schlange bei\u00dft sich in den Schwanz.
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\nMit \u201eCatorce reflexiones sobre el fin\u201d (Gr\u00fcnrekorder) pr\u00e4sentiert ANG\u00c9LICA CASTELL\u00d3 einmal mehr ein eindrucksvolles Beispiel ihrer au\u00dfergew\u00f6hnlichen musikalischen Idee.<\/p>\n
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\nVierzehn Reflexionen \u00fcber das Ende lie\u00df sich Ang\u00e9lica Castell\u00f3 2019 in ihrer elektroakustischen Musik zu einer Ausstellung von vierzehn Objekten im Museum zeitgen\u00f6ssischer Kunst in Oaxaca, Mexiko, einfallen. Was jetzt auf Schallplatte nachzuh\u00f6ren ist, sind flirrende, schwebende, sph\u00e4rische, auch z\u00e4rtliche akustische Interventionen \u2013 unter komplettem Verzicht falsch verstandener Ambientmusik, also auf einen schn\u00f6den Soundbrei. Ganz im Gegenteil: Castell\u00f3s Klangerfindungen charakterisiert eine beinah gl\u00e4serne Transparenz, selbst in ihren heftigeren Passagen bzw. Kulminierungen. Immerhin geht es um nichts weniger als das Ende! Einmal mehr besticht Castell\u00f3s souver\u00e4ner Umgang mit (unter anderem in Mexiko, Frankreich und Sizilien aufnommenen) field recordings, mit Kassetten, Stimmen, Radiofrequenzen und anderen handlichen, niederschwellig verf\u00fcgbaren Quellen. Wenn man so will, eine demokratische, emanzipative Herangehensweise an die Elektroakustik, die konkrete Kl\u00e4nge in einen neuen Kontext stellt. Tonale wie sprachliche Vieldeutigkeiten bereichern die Erotik der Abstraktion. Etwa am Beispiel der Integration von kirchlichen wie revolution\u00e4ren Liedern, beides ganz ohne Kitsch, aber immer mit einer Portion Empathie, oder in der Verwendung des spanischen Worts temporal, das sowohl tempor\u00e4r als auch einen Sturm bezeichnen kann. Wie also eigentlich eh immer, l\u00e4sst uns Ang\u00e9lica Castell\u00f3 auch hier an ihren inneren Abenteuern teilhaben und vermag sie zugleich, in den Ohren, Hirnen und Herzen der H\u00f6renden auszul\u00f6sen. Und das (ganz wichtig!) h\u00fcbsch weit oben auf der H\u00f6he der \u00c4sthetik. Kunst, die eine\/n unm\u00f6glich kaltl\u00e4sst.
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\nCatorce reflexiones sobre el fin<\/em> (Fourteen reflections on the end) originated from a sound art installation of Mexican-Viennese composer and sound artist Ang\u00e9lica Castell\u00f3, inspired by the French medieval and poet Guillaume de Machaut, who wrote: \u00abMy end is my beginning and my beginning is my end\u00bb. The installation presented 14 bodies woven with magnetic tapes hanging inert in space, exhibited at the Museo de Arte Contempor\u00e1neo de Oaxaca, Mexico, in 2019. The album weaves 14 electroacoustic miniatures reflecting the sound art installation but with a life of their own. The album is released in a limited edition of 300 vinyls and a download option.<\/p>\n
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\nThe Mexican composer, sound artist, improviser, curator and teacher, Ang\u00e9lica Castell\u00f3, releases her latest „Catorce reflexiones sobre el fin“ album, on the renowned Gruenrekorder, a German label that brings together artists from all over the world who carry out experimental works, using materials of all kinds and field recordings in specific places or in natural or urban environments. This label is also known for the series featuring field recordings and soundscapes.
\nCastell\u00f3 studied classical recorder and composition in Mexico, Canada, Holland and Austria. She performs solo or in collaboration with other musicians between Mexico City and Vienna, the latter city, where she begins a career that already has over 20 years, publishing around 30 releases on labels such as Gruenrekorder, Interstellar records, Mikroton recordings, Monotype records, Mosz, among others. She composes for ensembles, fixed media, radio works, and installations and for the Paetzold recorder (at the RADAR festival, in Mexico City, in March 2010, alongside Burkhard Stang, Castell\u00f3 played this recorder).
\nIn this 14-piece album, she uses field recordings, recorded cassettes, radio and cassette devices, as well as the Paetzold tape recorder. Bells, clang noises, the nibs (or similar), objects that are thrown, broken glasses and a sustained whistle is the sound space of the opener \u201cr\u00f3mpeme\u201d. \u201cira\u201d takes place somewhere where screams are heard and mechanically repeated noises are produced, and for this reason the title of this track accounts precisely for this suffocating and altered atmosphere. \u201dma fin\u201d has a playful character due to its melodies that seem to be taken from an organ recording. Whereas, on „sicilia“ digital clicks are scattered while on one side a woman is heard a singing of a religious song and on the other, a woman tells a story in French. Two different moments that coexist at the same time. On \u201cgracias\u201d the sublime moment is also produced with an angelical song that along with static noises. Castell\u00f3’s sound world is abstract; the elements have a life of their own, evoking past eras such as the recording of a bolero singer that is included on \u201cmu\u00e9rete\u201d. The subtlety with which the fields recordings come out, which in some cases can be heard from afar (\u201ctombeau1\u201d), as if Castell\u00f3 is off the scene, observing how the story unfolds. On „tombeau“ the sinuous whistles, the piano phrases and the babbling of mouth noises that Castell\u00f3 makes over the microphone, is a closer approach to the recording; yet not as an observer but acting in it, as she being part of the plot. The chimes on „bells“ are a call to the people of the city\/town, who want to congregate. It is part of a tradition; also, part of urban\/rural music. On \u201cun enfant\u201d someone improvises on the piano, while the bird chirps breaks through this abstract piano set. \u201cun homme\u201d, the windy sound that is heard in the distance is the backdrop for an opera that slowly fades away, while being swallowed by the wind. \u201cLlorona\u201d captures the voice of a singer with the refrain of this legendary and sad Mexican song that ends in tragedy. Traumatic encounters is one of the issues that Castell\u00f3 addresses in her work. To close this album, \u201cchanson triste\u201d combines the songs of crickets from a park, while in the distance a couple can be heard arguing. Another disagreement.
\nAng\u00e9lica Castell\u00f3 invites us to observe and feel a soundscape that triggers a reflection on death, traumatic encounters, fragility, the dreamworld and the subconscious.
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\nCITR\u2019s 24 Hours of Radio Art in a snack sized format.
\nDark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.
\nbepi-crespan-presents\/episode\/20230526\/<\/a>
\nbepi-crespan-presents\/episode\/20230520\/<\/a><\/p>\n
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nCatorce reflexiones sobre el fin<\/a> | Ang\u00e9lica Castell\u00f3<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"