Crónicaster

From 2005 to 2016, CrĂłnicaster presented CrĂłnica-related pieces as radio broadcasts, live performances, remixes, etc.

All the 122 releases of CrĂłnicaster (2d 08h 35m 20s) are archived and available for download. They are licensed under a Creative Commons Attribution-ShareAlike License.

  1. Durán Vázquez, “Computador, plug-ins & 2600” 33'20", 80MB

    Reduced, Reinterpreted, and reconstructed by DurĂĄn VĂĄzquez at bedroom, Vigo (Galicia, Spain), early January 2016. Mastered by DurĂĄn VĂĄzquez.
    Using Beamrider (Activision, 1984), Demon Attack (Imagic, 1982), Dragon Defender (Ariola, 1984), Dragonfire (Imagic, 1982), Gravitar (Atari, 1983), Space Jockey (Vidtec, 1982), Star Wars Return of The Jedi: Death Star Battle (Parker Bros, 1983), Time Pilot (Konami/ Coleco, 1983). ROMs executed using Stella 3.9.2.

  2. paL 15'49", 38MB

    Live recording of paL's (aka Pedro Almeida) performance at Natal dos Experimentais 2015 (December 11), at Passos Manuel, Porto. “House calls, phone calls and messages... answering machines, tapes and memories”. Private messages, harmonica screams and the present obssession of sharing. paL uses regular instruments and basically everything that produces sound. Constantly exploring new ways of representing information.

  3. Audio_z, “Reloaded Beauty & Lovely Banalities remixed” 22'57", 55,1MB

    This is a recording of a live set based on remixes of two pieces by Gintas K, Reloaded Beauty and Lovely Banalities. A live session has been performed during the presentation of the retrospective CD Message in a Bottle – a careful and charming selection of Gintas K’s music, composed during his career to the present day. Reloaded Beauty first appeared as a track, included into the online release Garso zona '04, that followed a festival of experimental music Garso zona that I happened to curate in 2004 (and several times before and after). Lovely Banalities is the title of a piece and an album, released by Crónica Electrónica in 2009. It made me a graceful impression and inspired a review, which I wrote for an international online platform www.tokafi.com. These were just a few most evident motives of my choice and background features of my artistic idea, devoted to this wonderful occasion. audio_z is a solo project by Tautvydas Bajarkevičius, artist, writer, lecturer and curator from Vilnius, Lithuania.

  4. Eosin 29'16", 70,3MB

    Eosin (Diana Combo) composes and performs with vinyl records. Starting from a process close to plunderphonics, she gradually grew to include her own field recordings or other sounds collected from online archives. Her new composition, or re-compositions, do not necessarily start from very well defined conceptual or methodological strategies but are rather the result of an intuitive exploration, informed by certain thematics for theoretical research and by the act of listening. Her relation with records and vinyl players has found yet another expression in contexts of collective performance, where they’re used as instruments for improvisation. In this context, Diana shared stages with Andrea Neumann, Ana Veloso, JoĂŁo Martins and Filipe Silva; Antoine Chessex, Werner Dafeldecker, Burkhard Beins, Nate Wooley, amongst others. She has performed solo at Transmediale, Tiny Noise and Festival ERTZ, and in venues as Casa da MĂșsica, Passos Manuel, Maus HĂĄbitos, ZDB, Galeria Zaratan, Bar Irreal, Salon des Amateurs and General Public. This is a recording of Eosin performing at ZDB, Lisbon, on November 13, 2015, sharing the bill with Bitchin' Bajas. Recorded by Cristiano Nunes.

  5. James Eck Rippie 15'48", 37,9MB

    Recorded April 25, 2015. Live in New Orleans.

  6. Arciv ev Noise 24'16", 58,3MB

    Arciv ev Noise is Filip Appel, an artist living in ƁódĆș. Among other pieces, he recorded "maintenant" with the Enough Rec. label and he created original pieces for dance performances at the Lodz Theatre and the Poznan Theatre. He has recorded with Baublis and Limmatau, working on both his own and on group projects. He also plays and performs with K. Novotny, under the sobriquet Mavky. He uses only his own original samples and field recordings for all the tracks he makes. He doesn’t use instruments in a classic sense of the word, so sounds emerge as a result of the laborious, processing of samples.

  7. Gintas K 21'00", 50,4MB

    Gintas K live at Culture Cafe, Kaunas, 16 February 2015, performing a reinterpretation of the Lithuanian anthem in Lithuania’s independence day.

  8. LuĂ­s Antero 31'00", 74,4MB

    Live recording of LuĂ­s Antero's performance at Natal dos Experimentais 2013, December 13 at Passos Manuel, Porto. Performance with manipulated field recordings of the watch and bell of the "Torre da Paz" (tower of peace) at the village of Benfeita (Arganil) and with the millstone of the water mill of SĂŁo GiĂŁo (Oliveira do Hospital).

  9. Gintas K & Gys19'14", 46,3MB

    Live recording of the performance at the Titanic gallery, Vilnius, 12 February 2015, at the exhibition "12 photography theses” by Gytis SkudĆŸinskas (Gys) where Gintas K replayed/reinterpreted sounds from the exhibition.

  10. Savvas Metaxas, “Senza” 19'59", 48MB

    Composed by Savvas Metaxas. Mastering by Dimitris Damaskos. Photo by Nikos Koustoz. Senza is based on a collection of sounds recorded in various places and in different periods of time. It is a form of sound-documentation of events. The track is divided into five parts, a train journey, a game with sound-marbles in a place near the sea, a ride with a bicycle, a homemade drum kit made of casseroles, and moving furniture in various tones. Born and raised in Thessaloniki, Metaxas is a self-taught musician who started playing the electric guitar in various groups before forming Good Luck Mr. Gorsky. Better acknowledged for his work as inverz, he gradually shifted to the use of modular synthesizers, tapes, and field-recordings as sound tools, rather than instruments. He is also active with the Granny Records label, publishing works of contemporary Greek musicians.

  11. Now Cut + Emmanuel Mieville, “Au milieu de la terre pousse le bois” 31'52", 108,1MB

    Now Cut is the french duo of StĂ©phanie Briand and Phiippe Desclais, focusing on self made instruments, of metal and prepared guitar, filers, oscillators, contact microphones. Paris-born composer Emmanuel Mieville studied sound engineering in a film school and musique concrĂšte at the famous GRM. He has previously released “Concret-Sens“ in CrĂłnica.

  12. Ephraim Wegner, “3024000” 45'00", 108,1MB

    One piece of music was transferred to the pin roller of a music box and used as a starting point for the composition of 3024000. An audio recording of the box is divided in three parts of equal duration (A, B, C) correlated by simple overlapping. The position of the playback moves through 4 seconds of material in 45 minutes. For every played-back position, linear grains are generated, with a duration of 12,5 msec: 320 grains per second for part A, 160 grains/sec for part B and 640 grains/sec for part C. In addition, the pitches of the three parts are changed depending on the basic material. Minimum differences in tone pitch or divergences in the phase of the basic material can lead to clearly audible interferences. Bigger sound intervals form chordal structures and the density of partial tones originated by initial impulse cause tonal inharmoniousness. 3024000 is a musical journey through a brief theme that is magnified 765 times, layered and mingled into a completely new work.

  13. Lawrence Casserley & Madamme Cell 40'49", 98MB

    Lawrence began making electronic music in the all analogue world of the 1960s — for the last thirty years he has focused his work on live digital signal processing of sound, with a particular emphasis on improvised music, sound/light installations and collaborations with visual artists and poets. Nacho Muñoz (Madamme Cell) is a long-established composer of the Galician scene, who has developed into an improviser and experimental artist with several lines of research related to sound, public space and rural community development. Lawrence and Nacho met in the Vyner Gallery in London and created monsters Âż^_^?

  14. @c + Carlos ZĂ­ngaro, live at Natal dos Experimentais 33'13", 79.7MB

    @c (computers) + Carlos ZĂ­ngaro (violin) live at Natal dos Experimentais 2012, Passos Manuel, Porto, 2012.12.14.

  15. Pure, “Blind Flight” 12'54", 31MB

    “Blind Flight”, from “Ification” recorded live in Budapest 22.3.2007

  16. Cem GĂŒney + Ephraim Wegner27'24", 65.8MB

    Performed live as an 8 channel version and debuted at the Festival for Applied Acoustics, Köln-Germany, 11.06.2011. Ephraim Wegner: Laptop & Midi Controller; Cem GĂŒney: Laptop & Midi Controller.

  17. Piotr Cisak 29'08", 70.0MB

    “Memoria” was created using a Tascam handheld recorder, an electric guitar and bow, without overdubs. Piotr Cisak aka Kepa Yew comes from Gdansk, but in 2009 he moved to Cracow. He organized a series of events called Prima-Materia and led the radio broadcasts from Radiofonia for a year (2011–12). Kepa Yew promotes music like ambient, experimental and drone which also produces. As a DJ, Cisak mixes melodic, reflective and widely hipnotic electronic music.

  18. Raitis Upens 18'01", 43.3MB

    This is an audial interpretation of surreal poetry by the Latvian poet Andris OgriƆơ. A composition with a comic character was created according to subjective associations and my sense of aesthetics. There is only technical file name under my nameless work. This is because mentioned poets work was intended without name, but unfortunately the name appears by the editor's choice. So I reject it here.

  19. Hugo Paquete, “Dispersive Velocity of the Masses”

    This composition was develop in the ZKM | Zentrum fĂŒr Kunst und Medientechnologie Karlsruhe, IMA | Institute for Music & Acoustics, Germany, to be integrated in the Klangdoom, exploring the Zirkonium software possibilities for sound specialization in a 48 channel sound system. This composition is configured as a formal and conceptual operation, reflecting different dynamic organizations of sound forces and masses that move in different directions. Accentuating the object dynamics that displace large sound masses suspended in the air, in a space of tension. Lines between order and chaos. Manipulating expectations and intentions. Deconstruction of the dynamic tension. Exploring details of reactive actions. With the use of low frequencies that affect the taxation of sound material in the bodies and in its origins, an intentional bias in a physical sensorial level of disorder is created.

  20. Refusenik, live at Balta Nakts 33'58", 81.6MB

    REFUSENIK is alias of Lithuanian composer/sound artist Arturas Bumơteinas, dedicated to his solo synthesizer music, recorded in studio and performed live. “Balta Nakts” was a live set performed at Space Textures event in the Balta Nakts festival in Riga, September 2012. The concert took place in the unusual venue under the roof of central city market in Riga — to be more precise, in its vegetable pavilion. The concert happened in the middle of the night with the market being in business, with the vegetable stalls selling their goods for the audience of wandering midnight market shoppers (and some experimental music aficionados too).

  21. Hugo Paquete, “Striping Strings and Broken Objects” 16'00", 23.1MB

    This composition was develop in the ZKM | Zentrum fĂŒr Kunst und Medientechnologie Karlsruhe, IMA | Institute for Music & Acoustics, Germany. For be integrated in the Klangdoom exploring the Zirkonium software possibilities for sound spacialization. This composition is configured as a dynamic study for prepared piano and other electronic sounds, generated and processed elements. To compose this work Hugo Paquete develop some patches where he explores additive and subtractive synthesized signal processing from the material source and stochastic composition methods to construct oscillation of frequencies and tones and granulation. Constructing and deconstruction, the referential origins of the sound with collage technique. The tension of striping the time strings of physics to just stay with broken objects.

  22. DurĂĄn VĂĄzquez, live at VigosĂłnico 47'26", 113.9MB

    Performed at Vigosónico, Vigo, Galicia, October 19th 2011. Durán Vázquez improvised with prerecorded materials, live electronics and occasional fragments of video. Includes samples from previous tracks on Crónica's “Mus*****c”, Expo_net's “Physikos, Aphysikos” and Mahorka's “Selected Ambience Wars”. Main live-sound source courtesy of SynFactory synthesizer software. Dedicated to the ignominious memory of Cecil Rhodes.

  23. @c, live at Opensound 36'18", 87.1MB

    Performed by @c (Pedro Tudela & Miguel Carvalhais) at IPA, Lisboa, 28 June 2012. Recorded live by Marc Behrens and Carlos Santos, mixed by @c. Based on the soundtrack for “Ovo”, a play by the Teatro de Marionetas do Porto, premiered in February 2012. Recorded voice by Sara Henriques. Photo by João Tuna.

  24. Gintas K 27'07", 65.1MB

    Gintas K live at echoraum in “Viskas gerai Alles gut”, May 12, 2012. Original photo by Rita Valiukonyte.

  25. Phonic Psychomimesis 27'02", 65.1MB

    “Riga Walkthrough” is a dreamlike sound collage, a mental constructions of the city representing sonic urban colorfulness. The work consists of ingredients as: traffic, public transport, crowds (bars, cafes, markets, stations, shopping malls, supermarkets), sport games, amusement parks, concerts, cinemas, theaters, kindergartens, fireworks, street musicians, airplane drones, church bells, footsteps, halls, hangars, birds, rain, bicycle and skateboard sounds, flagpoles, movements of security cameras, suburban night-time ambiences and other details. Recorded and composed by Raitis Upens and Rihards BraĆŸinskis, 2012.

  26. Alexandr Vatagin 39'37", 95.1MB

    Live @ Riesa Efau / Dresden on September 3rd, 2010. Photo and recording by Konrad Behr. Alexandr Vatagin (Cello & Laptop) plays live reworked songs from his second album "Shards" (Valeot Records/2009).

  27. Jazznoize 18'34", 44.6MB

    Live at Sala PlutĂłn (Valencia, Spain), March 24, 2012. Field recordings collected and processed in 2011 and early 2012 in the cities of Valencia and Murcia, in places where the environment of urban centers is subjected to the production relations of our times. Territory: woods, dry land, coast. Social relations: popular culture in danger of extinction, cults of death, structural crisis, social struggle, rituals and traditional holidays. These were the sound sources starring in this performance. Beyond the descriptive and the exposure of many seemingly unrelated facts, the purpose of the performance was to show the communication links of our sound history, limited to the environment and social practice, to enjoy listening to it from other angles.

  28. Tiago Morais Morgado 15'15", 36.7MB
  29. Micromelancolié 34'19", 82.4MB

    Live performance for guitar, saw, contact microphones, field recordings, samplers, microsamples & some mashed-up pieces from 77industry and 49animals.

  30. Mosaique 33'16", 79.9MB

    Mosaique live at AADKmigrationen, Nomadics festival, Supermarkt, Berlin, 2012.03.17.

  31. Manuel Mota 16'47", 40.3MB

    Manuel Mota live at Natal dos Experimentais 2011, Passos Manuel, Porto, 2011.12.16. Photo by Marc Behrens.

  32. Carlos Santos 18'13", 43.7MB

    Carlos Santos live at Natal dos Experimentais 2011, Passos Manuel, Porto, 2011.12.16. Photo by JoĂŁo Ricardo.

  33. Marc Behrens 15'15", 36.6MB

    Marc Behrens live at Natal dos Experimentais 2011, Passos Manuel, Porto, 2011.12.16. Performed live on Uher 4000 Report-L and Teenage Engineering OP-1. Photo by JoĂŁo Ricardo.

  34. Pure 33'00", 79.3MB

    Pure live at Le Grand Bumm 15, SĂŒdpol, Luzerne, 29.10.2011

  35. Piotr Kurek, “Shibboleths”

    Shibboleths is a title of an audio play and sound performance of Piotr Kurek presented at the Mimar Sinar University of Fine Arts in Istanbul and Nijmegen's Extrapool, curators of the Audiotoop series. Recordings were taken in December 2011 in Nijmegen, Netherlands.

  36. The Beautiful Schizophonic 15'57", 38.3MB

    Space as an instrument, played by the melancholy of an electric guitar. Clouds of dark-matter in sound, sculpting the atmosphere of the medieval church into an aural signifier of decay. Edited recording of an audiovisual performance that took place on the Autumn Equinox, at Igreja de S. Vicente, Évora.

  37. Andrea Neumann & Guests 22'01", 52.9MB

    Andrea Neumann, Ana Veloso, Diana Combo, Filipe Silva and JoĂŁo Martins met at a workshop organized by the Serralves contemporary art museum. Together, they explored the relationships between music and gestures, working at two levels: group improvisation and the awareness of the movements necessary for the production of sound and for daily communication. The process involved an analysis of movement during the musical and social performances, the selection of motions, their practice and representation in the context of a stage performance, in synchronization with the music composed during the workshop. This is a recording of one of their improvisation sessions, at the foyer of the Serralves auditorium.

  38. XesĂșs Valle, live in SĂłnar 2011 37'06", 89.1MB

    This live set was performed in the past edition of SĂłnar Barcelona 2011. An ensemble of processes of granular synthesis, analog synthesis and raw field recordings that serves as a guideline to create a balanced narrative line of experimental electronica, sound design and sound art. XesĂșs Valle captures all kinds of field recordings, sound-walks and sound actions which he manipulates in the computer to generate real-time narrative compositions. In addition to creating original soundtracks, he works on sound design for documentaries, short films and the Internet.

  39. Gintas K, “Čiurlionis” 21'07", 50.8MB

    This piece was created during a residency in August 2011 in Druskininkai, where the Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) lived. This work was created from recordings made in Čiurlionis's house and performed live on August 29th at the Čiurlionis Memorial Museum.

  40. Mathias Delplanque, “Radio Station” 31'26", 75.5MB

    This sound work was commissioned by French independent radio JET FM (Nantes) in May 2008. Mathias Delplanque spent one week recording sounds in the radio's offices and used them as a material for a composition halfway between sound documentary, musique concrĂšte and electronica.

    "Radio Station" takes part in Mathias Delplanque's series of works dedicated to the acoustic of specific spaces and contexts ("Call Center", "L'Inondation"
). This piece focussed on the relation between sound and its broadcasting space, creating multiple degrees of sound and listening. We are not listening to music, we are listening to recordings of music played in the radio's offices (mixed with ambient sounds, voices etc
).

  41. UN, “The Geometry of an Abyss (Variations 1 and 2)” 31'59", 76.8MB

    A calling card for UN, a hybrid collective somehow led by Anselmo Canha, Heitor Alvelos and JosĂ© Maria Lopes. Its claimed mission is the reversal of all things deserving of reversal: literally, metaphorically and magically. Watch out for the greatest hits of all time sung backwards some time in the near future — a homage to long-held myths of satanic backmasking from the golden age of vinyl.

  42. Herde Katzen, “Decay And Structure (Complete Score)” 38'03", 91.5MB

    Working title of “art film”: Decay And Structure. The basis for this movie were four strange dreams of one man. On a plan, the director in this film intended to have no dialogues, only sound and visuals.

    For this soundtrack we used a Portable DAT Recorder with microphone and Digidesign protools for post processing. Recorded between 2001-2002.

  43. DurĂĄn VĂĄzquez 17'31", 42.1MB

    Live performance at the Strangelet meeting in Vigo, Galicia (Spain). March 25, 2011.

  44. Ennio Mazzon, “For Warmth” 26'30", 63.7MB

    "For Warmth" has been composed in memory of a rainy night in Istanbul [28/10/10].

    Raindrops, traffic and city's echoes have been recorded from my hotel's room, in front of the Sultan Ahmed Mosque (Blue Mosque).

    That night I couldn't sleep. My bed wasn't warm enough so I started recording.

  45. SeaBed 5'55", 14.2MB

    Inspired by the ocean, island horizons, and the space of the ocean depths, SeaBed looks to contrast the calm of the ocean and its simultaneous ferocity, through an evolving, pulsating wall of sound. SeaBed is the current project of New Zealand born artist and designer Craig Johnson. He is currently based in Reykjavík and Berlin.

  46. .at/on 31'16", 61.2MB

    Live recording of Anton Holota at “Swod: in the night of sparkling ambient”, Cinema club, Kyiv, Ukraine, 24th October 2008.

  47. Arturas Bumơteinas, “Shadow (of Shadows)” 40'07", 96.3MB

    “Shadow (of Shadows)” for organ and electronics, Algirdas Biveinis (organ).

    This piece was composed by Arturas Bumơteinas in Warsaw, November 2010 and premiered by Algirdas Biveinis in Vilnius, December of the same year. The premiere took place in St. Johns' church which accommodates the largest pipe organ in Lithuania. The concert was attended by a set of different people: few old couples, young family with children, a lost tourist, several friends and author's father. Imagine a dark and freezing winter evening
 Dark means pitch black and cold means -25°C. The piece was recorded with several portable recorders placed around the area of church, one extra microphone was placed outside the church to record the sounds of crows flying above the roofs of Vilnius' old town.

    Later, during mixing at home, a poem “Charge of the Light Brigade” written and recited by Alfred Lord Tennyson and a random female voice fragment from Youtube was added to the mix.

    The piece itself is a harmonic analysis of Soviet Lithuania's (1940-1990) anthem. It could be likened to a shadow which is cast by an object. In this piece's case it's a shadow of another shadow.

    Special thanks to: Pure, Vilius Lys, Antanas Kučinskas, Vidas Pinkevičius, Rytis MaĆŸulis, Vilnius' University, Kęstutis and Vaida.

  48. Luis Marte, “Templos” 14'32", 34.9MB

    “Templos” is an installation where the behavior of sound in pre-twentieth century churches is explored. In this case, an installation was presented at the Areatec foundation in Buenos Aires, where the church of San JosĂ© de Flores was taken as the parameter. The opening event featured a live performance with fragments of the various works as well as guests.

    Luis Marte: sound work; Ana Larrategui and Roberta della Monica: voices; Gabriel Cicuttin: video.

  49. Emmanuel Mieville 33'14", 47.9MB

    These is a sound mixed journey through south-east Asia, recorded in Kuala Lumpur Malaysia, Hong Kong and one close island.The significant sonorous aspects you can hear are the Hong Kong tramway (called “ting ting” by locals, because the driver hits that bell now and then). Also from Hong Kong is the traffic signal for blind people (beeps). The birds are from Kuala Lumpur, as the street voices, the industrial noises are taken on Cheng Chau island, in fish market with ice cutting machines, and Chinese fishermen talking. All electronic elements are taken from a composition released an a 3" CD, on Lona records, a Hong Kong label.

  50. Michael Delia & Simon Whetham 23'14", 33.5MB

    Michael Delia and Simon Whetham collaborative performance recorded at the Ć kolskĂĄ 28 gallery space in Prague Saturday 20th November 2010.

    Simon Whetham was invited to perform at Ć kolskĂĄ 28, Prague, on 20th November 2010. In addition to playing his signature solo field recording composition, using only recordings captured in Prague in the week preceding the concert, he also requested to be introduced to local musicians in order to collaborate and improvise with them. MiloĆĄ VojtěchovskĂœ, Director of Ć kolskĂĄ 28 put Simon in contact with US artist and sometime Prague resident Michael Delia.

    After a brief meeting and an exchange of CD's they played an improvised collaborative set, Michael playing various instruments through effects and Simon playing field recordings and processing some of Michael's sounds.

  51. Enrico Coniglio, “The Virgin and the Plague” 20'26", 29.6MB

    Going with my binaural mics on the 21st November 2010 to the Basilica of St. Mary of Health (in italian “Basilica di Santa Maria della Salute”) at Punta della Dogana (Venice-Italy), during the typical feast-day. Thousands of people visit the main altar of the church to give thanks to the Virgin Mary and ask to keep them in good health. The church was built in 1631 after the Senate decided to honor the Virgin Mary of Health for delivering Venice from a plague.

    This is a composition of raw recordings take with binaural microphones. From the minute 0 to 5:50 I'm walking over the “Ponte votivo”, a temporary bridge set up on barges over the Grand Canal, and then through narrow streets until to reach the church and enter in the middle of the hall. From 5:50 to 8:50 I'm walking slowly through the crowd towards the main altar and then behind, to sit on the “coro” stalls where people stop, pray and pass in front a Virgin Mary icon. From the minute 08:50, you can hear a series of recordings of prayers and organ tunes.

  52. Gintas K 28'00", 62.4MB
  53. Ranter's Bay 28'52", 41.6MB

    Live recording of Ranter's Bay in the context of Tan inauditos!! (So unheard!!) performances at Casa das Atochas, A Coruña city, Galicia (Spain), on August 19, 2010.

  54. MDMME 31'29", 45.4MB

    Live recording of MDMME in the context of Tan inauditos!! (So unheard!!) performances at Casa das Atochas, A Coruña city, Galicia (Spain), on August 19, 2010.

  55. DurĂĄn VĂĄzquez 23'38", 34.1MB

    Live recording of Durån Våzquez in the context of Tan inauditos!! (So unheard!!) performances at Casa das Atochas, A Coruña city, Galicia (Spain), on August 19, 2010.

  56. o.blaat, Slavin & Joaquim 42'36", 90.2MB

    This long due recording documents the third of the three performances at the ICA curated by CrĂłnica for the 2007 Atlantic Waves festival on November 10, 2007. This performance was a collaboration between o.blaat, Ran Slavin and Vitor Joaquim, with live visuals by Mud.

  57. tamtam, “Innsbruck 6020 der weg” 33'16", 48MB

    In summer 2005 we spend a week doing outdoor recordings in Innsbruck. Our goal is to create a composition of and with city sounds. The geographical situation of the city nourishes the idea behind the composition
 Nestled in the Inntal valley, closed off to the north by the Nordkette mountain chain, in the south by highlands and Patscherkofel peak.

    We begin our route high up in the north on the Seegrube
 Approach the city via the Hungerburg district toward BĂŒchsenhausen
 Cross the InnbrĂŒcke bridge and reach the old town
 Wander there through the courtyards of the new city (city center, Pradl, Saggen) toward the Brenner highway, crossing it on our way upward toward lake Lanser See — in the southern part of the valley.

    We stop from time to time to record the sounds around us. Our starting material becomes a topology of loudnesses, frequency images and rhythmic structures of the city.

    We compile these original sounds we have recorded into 4 related sections, which serve as the first layer of the composition; for the second layer of the piece, we edit the original sounds we have used using filters; the third and fourth layers are musical structures and interventions using bass and sampler.

  58. Eosin, “Linnut” 10'58", 26.4MB

    Linnut, by Eosin, is the first of an ongoing series of compositions using vinyl lock grooves and field recordings.

    Somebody asked me: what is this track about? what is its story?

    I don't know about its meaning and its story lies on the procedure of its own production. For my participation in Tinynoise festival, last October, i got two Staalplaat Soundsystem LP made for Yokomono that I was experimenting in real time during my performance, this is, I was listening for the first time and using the locked grooves, combining them with pre-recorded sounds I had already edited.

    I enjoyed the result and the loops inspired me to use them as a structure for further tracks. I recorded some mixes and then edited, creating a sequence to which I added a parallel layer made of field recordings of various sources.

    It's analog and digital, improvisation and control in processed real time experiments.

  59. Cem GĂŒney, “Bodrum” 11'27", 27.5MB

    This new composition by Cem GĂŒney was created from recordings made during a short vacation in Bodrum. The piece intends to chronologically project a day spent from noon to midnight, in three parts: part I, 5:08, part II, 2:15, part III, 4:03.

  60. Audio_z, “Bits, Pieces And So Far Beyond” 35'29", 68.1MB

    “Bits, Pieces And So Far Beyond” in a contradictory way is said to be one of those unspoken stories at their purest. Could, let's say — a lost photographic sentiment for a memory of the space; fading tones of a chime and human voices; alienated intersections of whistle, transparent high-frequency sprays and streams of white noises; almost cubist evolvent of domestic affair with an acoustic guitar; a chant concealed in dissemination and revealed as a concealment; sketch of a childish organ turning into a seed for a swarm of metallic crows, which disappears indulging it's own disillusionment – could it be actually considered as a story? If yes, it's more about fragments. Have you ever relinquished your desire for a book itself just because you’d been haunted by its table of content?

    “Bits, Pieces And So Far Beyond” was created by Audio_z, or Tautvydas Bajarkevičius, a sound artist, writer and curator based in Vilnius, Lithuania.

  61. Loïs Laplace, “Chords” 13'59", 33.6MB

    “This is a seven part piano recording made in 2005, a short time after I saw a free jazz concert during which Tony Oxley was playing drums. I was intrigued by Tony Oxley’s relaxed attitude, the fluid and easy way of movements of his hands and arms in the mean time of a high energy music creation — at these moments notes were accelerated and the time seemed suspended.”

  62. BOLD, “Duel second” 17'34", 42.2MB

    BOLD is the trio of Alexis Bellavance, Nicolas Bernier and Érick d'Orion. This performance was recorded live during a residency at "Le lobe" in the context of "Festival Art Nomade" in October 3rd, 2009.

  63. Cem GĂŒney, “Hysteresis 1+2” 10'22", 24.9MB

    “Hysteresis 1+2”, is an improvised recording of pre-recorded shortwave radio transmissions, online radio broadcasts and TV transmissions, with the company of a minidisc player, a stereo walkman headphone, objects and computer.

    The compositions main purpose is to research the psychological effects of hysteresis (a lag between an effect or response and the force that caused it), compositional elements such as silence, amplitude modulation, and the effects it may have on the listener.

    The two tracks constructed to be played sequentially are consolidated for this release. “Hysteresis 1”, 5:11; “Hysteresis 2”, 5:11.

    Composed & edited in August 2008 by Cem GĂŒney, mastered by Miguel Carvalhais.

  64. Michael RĂŒsenberg & Peter Hölscher, “Lohberg” 11'56", 123.01MB

    This piece covers an abandoned industrial area in the “Ruhrgebiet”, Germany, called “Lohberg”. The photographs (~250) were taken there in summer 2009 on a cloudy day. The soundtrack is derived from field recordings of the Gdansk dockyard in Poland in November 2009. This somehow is a demo version of the initial piece, which is about 65 minutes long and much slower in transitions.

    Michael RĂŒsenberg, born 1948, works as radio journalist and has been a sound artist for the last 17 years.

    Peter Hölscher, born 1958, works as graphic designer and has been sculptor and photographer for 20 years.

  65. Ephraim Wegner, “Throw~” 16'26", 37.6MB

    Throw~ is an instrument originated from the synthesis of different Pd Abstractions created on different occasions during 2009. It combines several synthesis forms and can be played in different manners. The composition of the piece arose from the tonal configuration of the single functions. Throw~ is completely hand played with Pd. Recorded live at the “Music for: CPU's, Instruments and Objects” event, November 2009, in Freiburg.

  66. Miguel Carvalhais, “Futurónica 4” 60'00", 144.1MB
  67. Pedro Tudela, “Futurónica 3 — Cool-age” 60'00", 144.1MB
  68. Mathias Delplanque, “Call Center” 30'18", 72.8MB

    This sound piece is the stereo version of a multichannel sound installation I realised for the exhibition “Bombay Maximum City” in the shape of the “Lille 3000” festival which happened in Lille (France) between October 2006 and January 2007. The work is based on sounds recorded during the summer of 2006 in a call center in Gurgaon (suburbs of New Delhi), during a 3 weeks residency commissioned by the french embassy in India. It was originally broadcast on 6 speakers + 1 subwoofer.

  69. Mosaique 32'00", 73.4MB

    Recorded live at Club Jesus, Berlin, November 8, 2009.

  70. Pedro Almeida, “Futurónica 2 — Radios and Guitars” 60'00", 144.1MB
  71. Miguel Cabral, Carlos Santos & João Silva, “Ruminagem remix” 28'49", 69.2MB

    Industrial archaeology is a rich field of exploration for transdisciplinary arts. The machines and the “junk” that witnessed the past of the “Casa da Moagem” in Fundão, Portugal, are used by Miguel Cabral, Carlos Santos and João Silva to create an installation that is also a complex musical "instrument" that is performed alongside the audio and video recordings made on site. ruminagem.wordpress.com

  72. Cruz, “Futurónica 1 — Heard and overheard” 60'00", 144.1MB
  73. Pedro Tudela, “Safe (Long Stereo Version)” 15'33", 34.3MB

    “Safe (Long Stereo Version)” is a reedited and remixed stereo version of the soundtrack for Pedro Tudela's installation “Safe”, exhibited in the vault of the rectory of the University of Porto from May to July 2009.

  74. Skug, “Variations (1, 2, 3)” 20'20", 40.7MB

    Skug was founded in Freiburg/Germany by Ephraim Wegner and Florian Huth in 2003. Though meanwhile both musicians live in different towns of Germany, they still meet regularly to compose new pieces of music, to program music software or just in order to make music. The field recordings heard on Variations (1, 2, 3) were recorded between 2007 and 2008 in the Black Forest and reinterpreted with bass, guitar, electronics and brass instruments. On variations 2 and 3 Wolfgang Zumpe plays trumpet and flugelhorn. Skug's music creates a very visual aspect which gives enough space to the listener to realise his own imagination and to unfold his own fantasy. Like in fine arts, a picture emerges successively by applying one layer of colour after another, Skug create their work bit by bit. Spaces are interchangeable – topoi that exist and can be experienced anytime and everywhere.

  75. The Beautiful Schizophonic, “The Lone Drone” 32'03", 61.8MB

    The Beautiful Schizophonic live at Casa da MĂșsica, Porto, on the 4th April 2009. Post-tropical ambiences at dusk, imaginary scenic drives through inner vistas and a special version of Aysha, a soundscape from the forthcoming album “Erotikon”. All beautifully captured live by Marc Behrens.

  76. Durán Vázquez, “Terror Film for Radio” 27'59", 64.1MB

    A piece by DurĂĄn VĂĄzquez for the RadiaLX radio festival in 2008.

    With this piece, conceived for radio, I wanted to work on three of my main influences: cinema, electroacoustic music and politics.

    Playing with the several meanings of terror I set up a sound travel that imitates the movie pictures montage with one aim in mind: to introduce the audience into a shocking experience that puts together all those possible meanings of terror. Indeed it seems the times of changes we live in are like a terror movie... well, these are my feelings.

    I took original sounds from movies and also from original music by me, including my previous piece “Asturias, patria querida” in which I worked on March 11th 2004 sounds taken from different Spanish radio stations, the day of the trains megablast in Madrid.

    I selected the movies Zeitgeist by Peter Joseph (2007), Imprint by Takashi Miike (2006), Le Monde Selon Bush by William Karel (2004), Hellraiser by Clive Barker (1987) and Rosemary’s Baby by Roman Polanski (1968). With these sources and my own stuff I set up a montage full of stereotyped but disturbing sounds, all organized into the sequencer software. The cut & paste process is the main tool in this work.

  77. Gintas K, “So On” 28'38", 39.4MB

    A piece by Gintas K for the RadiaLX radio festival in 2008. Innuendos, errors, noise, microwaves, banalities, crackles, soft pulses of synthesized tones.

  78. paL, Essays on Radio mix 57'00", 78.4MB

    A mix by paL for the RadiaLX radio festival in 2008, from the tracks released in the Essays on Radio: Can I have 2 minutes of your time? compilation and several other sources.

  79. Stephan Mathieu, “On the Concept of History” (An Introduction / 2008 Top 16) 40'23", 46.3MB

    78RPM Transcriptions by Stephan Mathieu. Monaural re-recordings made with a mechanical HMV 102 gramophone, Decca Cactus Needles and a customised Oktava MK-319 microphone.

    This selection is part of an upcoming series of transcriptions by Stephan Mathieu.

  80. Franke, Neumann, Schmidt, Weinheimer, “Innen & Auren” 43'38", 92.1MB

    Franke Neumann Schmidt Weinheimer INNEN & AUREN

    The piece INNEN & AUREN is a mixed and edited version of the concert INNEN & AUßEN, that took place as AlulaTonSerien.Konzert #35 at the New Building of the Gallery for Contemporary Art in Leipzig, Dec. 15, 2007. Neumann, who edited it, translated the spatial experience of the live concert to this stereo version. The chronological order of the concert was kept, but condensed. No sounds or effects were added.

    For the original concert, the four performers created a set-up, which took place in three rooms inside the gallery and outside the gallery. Each of the four performers had his own position and function within the set-up and with each position made a certain statement about the relationship between inside and outside.

    The set-up included: a microphone outside of the gallery (Franke, outside), speakers behind a glass wall, microphone in room 1, feed from Franke and computer (Neumann, room 1), speakers outside the gallery and in room 1, two headphones in room 3, microphone, sine wave generator, feed from Franke and computer (Schmidt, room 3), four speakers in room 1, one speaker outside the gallery, violin, bass flute with internal microphones and electronics (Weinheimer, room 1).

  81. Pure Hati, live in Muenster, 29 November 2008 9'50", 22.6MB

    Pure and Hati recorded live in Muenster, 29 November 2008.

  82. Natal dos Experimentais 2008 53'06", 106.8MB

    Gustavo Costa, Jonathan Uliel, Miguel Cardoso, Miguel Carvalhais, Neil Davidson, Pedro Almeida, Pedro Tudela, The Beautiful Schizophonic, Vitor Joaquim & Autodigest perform at the fourth edition of Crónica’s Natal dos Experimentais, in Passos Manuel, Porto, December 19 2008.

  83. @c, live at Offf 38'46", 53.3MB

    @c + Lia recorded live on May 10, 2008 at the Offf festival in Lisboa.

  84. Brigitta Bödenauer 33'36", 30.8MB

    Brigitta Bödenauer DJs at Klub Caryca in KrakĂłw on September 7, 2008, with a special focus on Pure’s latest release in CrĂłnica, “Ification”.

  85. Feltro 28'46", 39.6MB

    Feltro aka André Gonçalves. Recorded May 10, 2008 at the Offf festival in Lisboa.

  86. Jorge Castro 27'43", 51.2MB

    Jorge Castro aka Fisternni. Recorded on May 10, 2008 at the Offf festival in Lisboa.

  87. Jorge Haro 27'09", 53.6MB

    Jorge Haro is a sound and audiovisual artist based in Buenos Aires. He is the director of LIMb0, a series of concerts in Buenos Aires, the co-director of the ExperimentaClub + LIMb0 project and of the Sudamérica Electrónica label.

    Recorded on May 9, 2008 at the Offf festival in Lisboa.

  88. Vitor Joaquim 23'31", 43.6MB

    The Devil is in the Detail, by Vitor Joaquim, recorded live at Casa da MĂșsica, Porto, May 3rd 2008.

  89. The Sound of eBay 8'40", 11.9MB
  90. A mix for Framework 57'00", 118.2MB

    “Framework”, phonography / field recording; contextual and decontextualized sound activity, presented by Patrick McGinley, broadcast every Sunday on Resonance 104.4 FM in London, or worldwide on resonancefm.com

    The April 13, 2008 edition featured a “Chronicle of Crónica”, mixed by Pedro Tudela and Miguel Carvalhais from music that Crónica has released or was about to release, looking back to the first five years of Crónica and ahead to what we hope is a much longer time.

    The full mix is presented here without track markers, with the timing in the mix of each of the tracks used.

  91. Enrico Coniglio, “Abibes” 12'11", 14.1MB

    “Abibes” is the name of an ex coastal depot of GPL, classifyed as an “high risk of accident area”, in Porto Maghera, a big industrial site at the door of the Venice lagoon (Italy).

    I have recorded same samples from the environment with a binaural stereo mic, so use headphones for the best result. In a second time I’ve work on the recordings adding some guitar/synth drones treated with Cycling ’74 technology. Here is the result.

  92. Carlos Santos, “Orla” 28'07", 32.2MB

    This audio piece is a full recording of an audiovisual concert called “memory”, presented @ Bang Festival, FBAUL, Lisbon, on April 3, 2008. Audio by Carlos Santos and video by AndrĂ© Sier.

    I renamed it “Orla” because the sound material deals with the notion of presence, something that’s concrete, that we take for granted in a audible way, but never presents itself in a fully open range, something near the threshold, as the video imagery accents that with its black canvas and small emerging white signs.

  93. Pure 31'26", 72.0MB

    Recorded live at Club Transmediale Festival in Berlin on January 29th 2008. The performance uses mainly sounds from Pure’s forthcoming studio album, to be released by Crónica later in 2008.

  94. SteinbrĂŒchel 41'02", 84.8MB

    SteinbrĂŒchel performs live variations of “Basis”. Recorded on May 10, 2008 at the Offf festival in Lisboa.

    “Basis” was released on Room 40. Many thanks to Oriol Rossell Costa, Miguel ArsĂ©nio, Miguel Carvalhais + Pedro Tudela.

  95. Pedro Tudela & Pedro Almeida 35'07", 31.6MB

    Pedro Tudela and Pedro Almeida recorded a rehearsal for a performance at the auditorium of Casa da Animação, in Porto. Tudela’s laptop and microphones created sounds of gestures and attrition that met the ASR piano of Pedro Almeida.

  96. The Beautiful Schizophonic 24'12", 27.7MB

    Marvellous sweeping drones take us back to memories of deserted landscapes. This is the soundtrack of an impossible road movie, of simple complexities and multi-tonal melodic formations, geological oddities through which we travel, while admiring their uniqueness. This is The Beautiful Schizophonic, performing live for the first time in Portugal.

    This performance was recorded December 21 2007 at Passos Manuel, Porto. Thank you, and good night.

  97. Tam 15'11", 17.4MB

    A laptop and ideas. That’s the shortest and the best definition for Tam’s music.

    Based in Porto, Tam explores the infinite possibilities conceded by electronic gadgets and computers. The styles presented are pretty vague and vast: House, Techno, Minimal, Ambient , Acoustic or Experimental, they all depend on the mood of the author.

    Some very low-fi video work is often incorporated in the live shows. The visual work is focused mainly on landscape, the human figure and several pointless situations of our daily lives. For the “Natal dos Experimentais” live-act  Tam recorded several field recordings and samples and played them randomly for about twenty minutes. Is it improvisation? Maybe...

    This performance was recorded December 21, 2007 at Passos Manuel, Porto.

  98. Aki Onda, Gert-Jan Prins, @c 34'54", 66.4MB

    Second of the three performances at the ICA curated by CrĂłnica for the 2007 Atlantic Waves festival on November 10, 2007. The first live collaboration between @c, Gert-Jan Prins and Aki Onda, with visuals by Gert-Jan Prins.

  99. The Beautiful Schizophonic, Gintas K, Pal 46'44", 42.8MB

    First of the three performances at the ICA curated by CrĂłnica for the 2007 Atlantic Waves festival on November 10, 2007. The first live collaboration between The Beautiful Schizophonic, Gintas K and Pal opened the night with stunning visuals by Tina Frank.

  100. Brigitta Bödenauer 19'21", 26.6MB

    Brigitta Bödenauer live @ Knapp 20070706

    Absynth-generated sine waves, recorded and manipulated sounds from cigarette lighters and a recorded violin.

    The choice of sound files and dynamics basically referred to the specificity of the room: a small place, full of people, slowly filling with sound-layers with little "movement", predominantly static and just "moving within a certain area".

    Brigitta Bödenauer works in sound, video and animation. She lives in Vienna. She has contributed to Essays on Radio: Can I have 2 minutes of your time? DVD

    Knappsession is a series of live-concerts at a private appartment in Vienna.

  101. Musikmagazin 07.08.31 56'36", 52.2MB

    Broadcasted by Ephraim Wegner on 2007.08.31 at Radio Dreyeckland, Freiburg.

  102. Feltro 24'32", 16.9MB

    Recorded and edited July 07, by André Gonçalves with guitar and doepfer modular synthesizer.

  103. James Eck Rippie & eRikm 21'37", 24.8MB

    This improvised turntable piece was recorded live at Festival Mediarte 4.0 in Monterrey, Mexico on September 27, 2006.

  104. Mosaique 25'36", 29.8MB
  105. MCarvalhais & Return DJ CrĂłnica 32'36", 47.9MB

    A CrĂłnica-only set recorded at the School of Arts from the University of Porto (FBAUP), January 11, 2007.

  106. Ran Slavin, A Recorded Transmission 14'08", 30.8MB

    Ran Slavin has been experimenting with live video and performative real-time audio since the mid-nineties, developing live sets of "hyper-reality streams" where each image is already the next one, criss-crossing to form a perceptually layered hybrid of illusive meaning where the video spectrum and texts determine the sound within an environment of controlled randomness.

    Slavin’s visual work has been described as intense urban surrealism. His audio work is a wide culmination of signal processing, both from acoustic sources or field recordings, from which digitally derived sonic panoramas emerge. His live performances present audio-visual realms unfolding between the urban and the abstract, super impositioning the real and hyper real, at times on the threshold of digital painting. The live transmissions hold a close interaction between sound and video. His latest video performances make use of sound which is generated solely from the video source, from the color and hue spectrum. His diverse catalogue of videos hover around short films of digital fiction, graphic design, and post production. His latest 40 minute fiction film “Insomniac City” has been recently released on the Mille Plateaux label as a DVD/CD and also new work on the Sub Rosa label was released in 2006.

  107. @c, blues 22'06", 30.8MB

    Thanks to: AlanS., AngeloB., AntónioC., DavidL., DennisH., IsabellaR., JoãoD., JoséF., KyleM., RoyO., RuiE., ZéTóF.

    Commissioned by “Corta Film Festival”. (Re)composed by Miguel Carvalhais & Pedro Tudela and performed live on May 19, 2006 in Auditório da Biblioteca Almeida Garrett, Porto.

  108. Gintas K 24'13", 27.7MB

    Respect to GyS, Juodo and Bob Dylan.

    With GyS we talked about collaboration. I did my part from his sounds (mostly guitar sound). His computer crashed, so... some parts of the podcast are from that. Some parts from the work Sri Lanka triptych - done from Juodo sounds from his field recordings made in Sri Lanka. And Blowing In The Wind... never thought that it is Bob Dylan song, just some folk song, but seems it is Bob Dylan.

  109. MCarvalhais & Return DJ CrĂłnica @ SĂłnar 2006 58'13", 68.4MB

    CrĂłnica was invited to SonarLab where its publishing strategy and overall catalogue quality was recognized as groundbreaking and paired with the work from the likes of Line, Intr_Version, Spekk and Plop. This cast is a recording of a showcase of CrĂłnica material that was hosted by CrĂłnica artists and editors, Miguel Carvalhais & Return (aka JoĂŁo Cruz) in a DJ set at SonarDĂŽme, SĂłnar2006 in Barcelona.

  110. o.blaat 19'12", 22.1MB

    Keiko Uenishi, aka o.blaat, is based in Brooklyn, New York. This performance was recorded live in Passos Manuel, Porto, June 10, 2006.

  111. Davor Mikan 29'58", 34.3M
  112. Marc Behrens 26'31", 24.3MB

    Live in Cologne 2005 [Architectural Commentaries and Untitled Songs]

  113. The Beautiful Schizophonic 19'22", 22.7MB
  114. Gigantiq live @ Rua do RosĂĄrio 141 25'26", 23.6MB

    On the 17th December 2005, the labels CrĂłnica, Sirr, Grain of Sound and Ristretto gathered for a celebration of the holiday season in Rua do RosĂĄrio 141, Porto. Along with the presentation of five releases from the four labels, both @c (Pedro Tudela and Miguel Carvalhais) and Gigantiq (Nuno Moita and AndrĂ© Gonçalves) performed. CrĂłnicast 009 is an excerpt from Gigantiq’s performance. Our thanks to those who made it possible and those who attended this special evening.

  115. @c live @ Rua do RosĂĄrio 141 23'02", 34.7MB
  116. Laptop Non Stop part 3 36'17", 52.7MB

    This cast is the final of three documenting the “Laptop Non Stop” performance in the auditorium of Porto’s Universidade Católica, on the 14th May 2005. The programme of this recording is: Carlos Zíngaro, Vitor Joaquim, Álvaro Barbosa, Pedro Tudela, Miguel Carvalhais, Carlos Santos and Pedro Almeida. The live video for the entire programme was performed by Return. This sound recording, as well as the video documentation was kindly provided by the UCP School of Arts.

  117. Laptop Non Stop part 2 19'43", 31.0MB

    This cast is the second of three documenting the “Laptop Non Stop” performance in the auditorium of Porto’s Universidade Católica, on the 14th May 2005. The programme of this recording is: Pedro Tudela & Miguel Carvalhais: @c; Carlos Santos & Pedro Almeida, duo

  118. Laptop Non Stop part 1 13'59", 20.0MB

    This cast is the first of three documenting the “Laptop Non Stop” performance in the auditorium of Porto’s Universidade Católica, on the 14th May 2005. The programme of this recording is: Álvaro Barbosa, Carlos Zíngaro and Vitor Joaquim.

  119. Selected by Return 14'30", 19.9MB
  120. Pedro Tudela & AGF 30'57", 42.6MB

    Saturday, May 29, 2004, recorded live at the Serralves Auditorium in Porto. This performance was part of Tudela’s exhibition “Sobre”, shown at the Serralves Museum and Tudela invited Antye Greie-Fuchs to join him live.

  121. Essays on Radio, Musa Lusa #37, part 2 31'46", 26.0MB

    This is the second of two parts of an exclusive mix of the release “Essays on Radio: Can I have 2 minutes of your time?” (Crónica 020~2005) broadcasted on Musa Lusa, a program hosted by Miguel Santos on Resonance 104.4FM on the 25th April 2005. This was the premiere broadcast of the compilation.

  122. Essays on Radio, Musa Lusa #37, part 1 26'04", 21.5MB

    This is the first of two parts of an exclusive mix of the upcoming release “Essays on Radio: Can I have 2 minutes of your time?” (Crónica 020~2005) broadcasted on Musa Lusa, a program hosted by Miguel Santos on Resonance 104.4FM on the 25th April 2005. This was the premiere broadcast of the compilation.