Information on the artists that participate in the first edition of PUNTBRON, along with a short description of the work they’ll be presenting and links to their sites and music.
From a childhood fascination for sound and musical instruments, Ernst Bonis devoted most of his professional life to teaching at various music schools, conservatoires and numerous workshops. His subjects include: sonology, electronic music, sound synthesis, organology, music for automated carillon and analogue electronics. Next to functional electronic music, used in teaching and publications, his autonomous work includes improvisations on various synthesizers and generative compositions for electronics and automated carillon.
WORK: Fades and Pulses on A
Originally an elaborate patch in the Nord Modular G2, 32 oscillators slowly build an evolving soundscape in the keynote A.
This generative modular synthesis ‘scherzo’ is also designed on the Nord Modular G2.
René Uijlenhoet works as composer, performer, audio-art installation designer, voltage-processor, sound designer and lecturer in the field of electro-acoustic music. Since 1997 he is part of the composition department of the Rotterdam Conservatoire (Codarts). He studied composition with Ton Bruynèl. Composing electronica is for him a wonderful way to ‘think in sound’. His music is issued by MCN/NEAR/Donemus, Basta and Peer-verlag. His piece ‘Wedge’ won a first prize in the international Bourges competition, where ‘Lichtgewicht’ also was selected for the final.
WORK: Mobility Tales
Mobility Tales is dealing with a multitude of movements, but what if this multitude is moving in unity?
WORK: Fields of Asphodel
In ‘Fields of Asphodel’ we follow Orfeo during his long travels on his way to Elysium, he is heading in that direction in order to find and collect Euridice. During these travels he experiences problems to keep his ‘Lyra’ in tune, the surroundings of Hades affect not only his instrument but even his own hearing abilities. All this makes him reflect on reflection as the cause of all.
Telesoniek Atelier (aka Hans Kulk, Amsterdam 1962) is focussed on sound and music with analogue electronics since 1980. Besides his education and work, being multi-instrumentalist in various music styles, he has build his own electronic music studio constellations in order to freely experiment. Cross connections of visual arts and architecture with the science of geophysics, meteorology, and radio communication have been important stimulus for expression. His work is mostly abstract, and aims for a non-ego and non-emotional perception space to be able to find alternative sound images.
WORK: CODE base ten
The piece is based on numbers 0 till 9 which in various combinations determine the parameters of frequency, amplitude, duration, speaker assignment, and sound movement. Spatial visualisations of the parameter values result in time-variable objects in the XYZ space. The composer is fascinated by geometric architecture and autonomous spatial objects, and he interprets the sounds resulting from this set-up as spatial objects.
The Great Wail (TGW) is a sound project by Reinier Brekelmans. TGW deals with the human condition in the broadest sense, the sum total of being human, through the coupling of individual/specific/subjective with pan-human/general/objective perspectives. Working with recorded sound proved a way of doing so as disembodied sounds can be a number of things at once: referring/associate/emotive/symbolic ánd pure sound in itself.
WORK: Moving Parts
Moving Parts is based on a found recording of the sound of a jerker line powerhouse, a machine that sets multiple oil well pump jacks in motion from a central location by tugging long chains of wooden poles or metal rods. This now almost obsolete technique of transference of power through a landscape has it’s origin in mining and dates back five centuries. Machines like these that facilitated the industrial revolution were successively powered by water, steam and, as the one in the recording that runs for more then a century, by oil.
For Moving Parts, all sounds this machine makes are re-interpreted with end-user products, the stuff in and around the house we accumulate through life. Improvising the machine rhythms on objects that represent my personal sphere but that are also the consumer goods ‘spewed forth’ by a global industry that depends on oil production, illustrates how our collective needs and wishes relate to ‘the bigger picture’. The machine is both a driving force of and itself dependant on oil production, which resonates with the way we, both as individuals and as a species, shape things and are being shaped by them. But, discarding all that, the machine is just a bunch of moving parts that produce sounds in a wonderfully loose coherence with a musical and almost jazzy, human feel.
The most prominent sounds in this piece are drawn from the “‘8cto Noise Flute”. This is a self-developed instrument that creates glass-cutting-like drones and mind altering spacial effects. The core of this instrument consists of 8 parallel delay lines which are summed and fed back into itself. Every parameter of this instrument is tied together one way or another involving feedback networks. This method of creating sound creates a very natural and organic feel. A balancing act between order and chaos, a beast that has to be tamed!
The instrument can also be heard on ‘Descending Jacobs Ladder‘, a track on the first album of the band Dodecahedron.
Used gear: Pure Data (8cto Noise Flute)- EMS Synthi VCS3 – Reaper – Strymon Timeline.