quinta-feira, 13 de agosto de 2009

Thelmo Cristovam . O Enforcado

o enforcado – amor loco 0002

In discos on Noviembre 1, 2009 at 5:22 am

parte 01 – 09:16 - Choro Desmedido

parte 02 – 14:16 – Sofrimento Excruciante

Thelmo Cristovam . O Enforcado

(la versión en cd-r incluye audio extra)
cd-r, 100 copias numeradas / amor loco 0002

fecha de edición: 12-03-2008



sexta-feira, 28 de novembro de 2008


THELMO CRISTOVAM - Paisagens sonoras em Õstrõ Hyija (Triple Bath)

The curriculum vitae of this young composer (1975) from Brazil looks interesting: studies in physics and mathematics, participations in miscellaneous improvisation and EAI local projects, interests in singular techniques on wind instruments, field recordings and electronics.

At present, Cristovam is “investigating radio art, sound poetry and Brazilian indigenous music”. The four tracks in “Paisagens sonoras” are presented in chronological arrangement from 2003 to 2006, the music’s worth growing accordingly.

“Aço” deals with heavily treated acoustic guitar, and it’s indeed more noise than accurate testing, not exceedingly appealing in my opinion.

Things get better from “Os jardins eletromagnéticos of Ur”, where a C-melody saxophone and amplified objects are so disfigured that what we hear is roughly equivalent to an inner-city guerilla in between electrically charged fences, powerful whirrs and shrapnel-like discharges assaulting our focus amidst digital griminess of any kind.

“Pradarias inversas” is a superb pseudo-static piece, pregnant of implications despite a pretty simple configuration, mostly based on the parallelism of next-to-ultrasound high frequencies and the mumble of processed environmental sounds.

“Construções em barro, vidro e plasma” concludes the CD in style, utilizing the walls, floors and windows of an edifice to inculcate a feeling of insecurity in the listener via hostile drones, harsh waterfalls and sudden silences.

It evokes a fragrance of wariness identical to that pervading the whole record, at the same time representing its most engrossing trait.

Massimo Ricci, 4 November 2008


segunda-feira, 10 de novembro de 2008

DSL16 Combo Recife De Improviso - Untitled # 3

DSL16 Combo Recife De Improviso - Untitled # 3

2004 vintage jam from this Brazillian free improv outfit featuring Thelmo Cristovam (Acoustic Guitar, Objects, C-Melody Sax), Tulio Falcao (Synthesizer, CD Player, Violin) and Arthur Lacerda (Guitar, Objects, Devices). 75+ minutes of acoustic noise, electro-acoustic drones and free jazz.



Retomei hoje o contacto, agora via disco, com o Combo Recife de Improviso. A designação diz quase tudo o que importa saber quanto ao propósito, género cultivado e origem geográfica do projecto: trata-se, como é evidente, de um colectivo de improvisação oriundo de Recife, Pernambuco, Brasil. Sem contar com 'Impro' (Cumshot Records), disponível para descarga via archive.org, ou através da página pessoal de Thelmo Cristovam.
Thelmo é um activo dinamizador de vários projectos e grupos nas áreas do free jazz e da improvisação livre, em Olinda, Pernambuco. O Combo Recife de Improviso, de formação variável, dedica-se por inteiro à improvisação extrema, no sentido que Derek Bailey professava (embora longe da Escola Inglesa), em que nada é pré-estabelecido e tudo deve acontecer de forma livre, franca e espontânea no momento em que os músicos se encontram, sejam eles quem forem, conquanto apareçam à hora da actuação.
Ao que sei, antes deste Untitled #03, que a editora britânica dead sea liner se prepara para editar, o grupo lançou outros quatro discos em momentos e combinações diferentes. Desta formação do CRI, habitualmente mais alargada, fazem parte Thelmo Cristovam: guitarra acústica, objectos e c-melody saxofone; Túlio Falcão: sintetizador, leitor de CD e violino, e Arthur Lacerda, guitarra eléctrica, objectos e aparelhos diversos.
Os três músicos contribuem com idêntico e eficaz protagonismo para a trama que se joga nos seis temas (Trio #01 a #06), baseada em drones descontínuos de sintetizador aquoso, sobre os quais são semeados fragmentos de guitarra acústica e eléctrica, violino e restante bricolage sortida, utilizada para preencher espaços e sublinhar o passo lento, suave e vagaroso da procissão, a que não faltam convenientes e bem colocados pontos de ebulição.
A tonalidade geral do preparado é ambarina, com laivos de cores claras e ocasionais incandescências electrizantes. Deveras agradável. Thelmo Cristovam e a rapaziada de Olinda estão de parabéns. E, mais que isso, merecem atenção.

posted by eduardo chagas @ 13.10.08

Sem sair do Brasil, terra de Hermeto Pascoal e de tantos outros nomes importantes na música global, regresso a Thelmo Cristovam e a um disco que baixei há algum tempo na Menthe de Chat. Falo de Distribuição Atmosférica, trabalho notável de gravações de campo, fitas e processamento electrónico a que regresso com frequência.

Tal como ao disco com Fernando S. Torres, o fundador da Menthe, chat005 (real-time composition for trumpet, c-melody sax, concert flute, piezos, air-duster and processed feedback), de que gosto ainda mais.

Thelmo Cristovam, esteta, improvisador e experimentalista de Olinda, Pernambuco, tem também um disco em preparação na portuguesa Creative Sources Recordings, um duo com Alípio C Neto. A não perder é Inneresteren, EP saído na francesa Earsheltering, tal como a quantidade de edições que tem vindo a lpublicar nos últimos anos, fora o que tem em arquivo.

posted by eduardo chagas @ 24.6.08


Connexion Bizarre's Rewiew Thelmo Cristovam - Paisagens Sonoras em Ostro Hyija

Thelmo Cristovam - Paisagens Sonoras em Ostro Hyija

CD-R, Triple Bath, 2008

I have to admit that the press release accompanying this release by Brazil's Thelmo Cristovam did not fill me with joy. Ascertations like "he is into extended playing techniques on wind instruments" and "he investigates radio art, sound poetry and Brazilian indigenous music" made it sound a little trite, but as soon as you press play you forget any preconceptions you may have. Recorded between the years 2003 - 2006, and presented chronologically, this is a collection of perfectly constructed bubbles of time and space - each track is complete, finite, and seemingly disconnected from the others, yet as a whole they compliment each other perfectly. The artist is quoted as saying that the work deals with the abstract sonic fields of Ostro Hyija - "an imaginary place that could be a planet, a city, a country or a dimension" - whatever, it would seem, the listener hears in it themselves.
Opener "Aco" is an atmospheric slice of ponderous introspection, where each noise serves only to enhance the feeling of an echoing space, building to a slowly grinding crescendo then fading almost instantly back into that almost- nothing, laced with eerie, displaced chords. Lulled by its rhythms you suddenly find yourself falling headfirst into the buzzing maw of "Os Jardins Electromagneticos de Ur", full of strange jitters and clacking, clicking distortions. You struggle for comprehension -at once it seems like an electrified tropical forest's soundtrack, and also the speeded up noises of an everyday office. It's disorientating but compelling nonetheless, creating an insect like aural collage before grinding suddenly to an unexpected stop, and you find yourself straining to catch the beginnings of "Pradarias Inversas". At 23 minutes this is the longest track on the CD, and it certainly seems in no rush to get anywhere, allowing a slow, constant stream of "pure field recordings" mixed in real time to set the scene and play off each other: a dog barks, barely heard voices speak, and always the low reverberation of unseen machinery, everything is at one step removed, as if observed from a distance, but as the track progresses it seems to draw itself together, becoming a swirling maelstrom of sound which draws the listener in. Throughout there is the sense that you are hearing something private, limited to a conception that may or may not be your own, but this time it envelopes you completely before fading back again, to the gentle whisper of the opening few minutes, dissolving finally into shivering echoes. The album closer "Construções em Barro, Vidro e Plasma" is unpleasant listening: comprised of "concept-specific recordings of walls, floors and windows of a building" it starts with what sounds like the magnified, distorted sound of ripping material, before dropping suddenly into a deeply unsettling landscape, building then switching again, changing and mutating constantly, at first seemingly without connection until slowly a motif becomes clear, each snapshot of sound creating an image of something greater than the sum of its parts. There is something more sinister in this track than the rest- it is most certainly a fitting end to an uncomfortable, if gripping journey.
In summation, this complex, thoughtful effort is well worth checking out via the Triple Bath website. Personal, engrossing and utterly without pretension, it is a welcome change from the increasing number of mono-toned, featureless soundscapes.
-- Catherine C. [7.5/10]

CD Feature/ Thelmo Cristovam - "Paisagens Sonoras em Õstrõ Hyija"

CD Feature/ Thelmo Cristovam: "Paisagens Sonoras em Õstrõ Hyija"

His most important album to date: Morphs complex acoustic phenomena into seemingly homogenuous pastures.

Brazilian composer Thelmo Christovam is not just a musician. As a studied mathematician and physicist, his work is marked by a spirit of research, analysis and discovery. The territory of experimentation is clearly delineated by pre-prepared parameters, improvisation guided by concise and concrete modi operandi. His love for Noise is just as much the result of its physical immediacy as its proliferating and mushrooming complexity under a blanket of smooth distortion. After a lifetime of performing and releases all over the place, “Paisages Sonoras” could well be his most important album to date.
Spanning four tracks between seven and twentythree minutes of length, the CD bases on source materials culled from field recording trips and meticulous jams, incorporating grating granular textures and threedimensional organic correlations. Describing a journey from surreal, feverish hallucinations to translucent, spacey atmospherics, it is, most of all, a dynmamic enterprise slowly moving from focussed hollers to near-silence. In the final quarter of an hour, the immaterial drones of “Construcoes em Barro, Vidro e Plasma” are almost like listening to a distant waterfall frum inside a plastic tipi.
Of course, intimates to Christovam’s oeuvre will not be shocked. Over the past years, he has entered a dialogue with almost painfully beautiful sonorities and brutal shocktactic pulses, taken extended techniques to their limits and consoled improvisation with composition – crossbreeds are therefore immanent to his personality. And yet, the mixture between Noise and Sound Art of “Paisages” is genuinely intruiging. Even though the plentiful use of hiss, blur as well as the use of wind blowing over the top of his microphones as a musical element add a charming lofi character and underground credibility to this music, it manages to still come across as delicate, refined and dreamy.
The reason for this ambitious ambiguity can be found in the right balance between concretion and abstraction: Field recordings are always recognisable enough to reveal their human foundation, while simultaneously never giving away too much to spoil the mystery. The world that Christovam errects could be just outside your window, but it is as scary and alien as the mars-like rockscapes of Utah’s salt lake desert.
Without wanting to wander the usual route of comparisons, Christovam can therefore be put in line with artists like Asher Thal Nir. Just like the resident of Summervile, his interst lies in musically deforming reality around us until it resembles the image he sees in his haunting visions. The difference lies in the way they arrive at their results: While Thal Nir zooms in on a fractal-like aspect of sound until the difference between repetition and free flow looses itself, his Brazilian counterpart morphs complex acoustic phenomena into seemingly homogenuous pastures.
It is almost inconceivable that this music could end up being seductive and consoling. And yet, it never once sounds constructed. Especially the album’s heart piece, “Pradarias Inversas” is a long sheet of white noise breeding subtle scenes underneath its flittering palpatations. Here, Christovam forgets his background as a mathematician: Only the clever use of chance, rather than any congenially construed algorithm, could lead to this kind of metaphorically dense ambiance.

By Tobias Fischer

By Tobias Fischer, published 2008-08-01

Thelmo Cristovam & Fernando S. Torres [Review]

Thelmo Cristovam & Fernando S. Torres [Review]

4 Aug 08 - CDr, Review

I suppose I could have gone to the Dim website or one of the other three cyberplaces listed on the oversized sleeve of this self-titled collaboration to find out, for my records, just who exactly are Thelmo Cristovam & Fernando S. Torres, but then that would resemble work and I’m on summer vacation. Vacation. Instead, I will tell you about the marvelous excursions of Cristovam & Torres, a mysterious duo no doubt about it.
The compact disc split into two suggestively titled tracks “A:23’50”” and “B: 26’36”” (suggesting, or rather screaming from this single-sided, extended-play format that a vinyl rerelease would be oh-so apropos), with an additional album’s worth of material embedded in the disc’s “enhanced” genetics – an additional pair of tracks similar in duration and content to the purely-audio portions (which will not be covered here).
And how might I describe this content? A “Real-time” composition (i.e. improvised?), both tracks were set live to tape, made with primary elements of trumpet, saxophone, and flute, and transmogrified through piezo crystal, processing, and an “air-duster”.
Hardly minimal, these compositions come richly illustrated in depth and gesture, yet for their duration, appear at first threadbare, with a procession of mostly soloistic entries resonating in a shrouded region of creative space – making this a likely candidate for Extreme’s current roster of post-ECM avant-garde experimentalists, most notably the Antripodean series of Aussie locals like Robert Vincs and Marc Hannaford. The waking reality of these live tracks is dizzied, as the processing of the instrumental sounds ranges wildly from total disfiguration to entire abstinence.
When left to present its own nude body in the first movement, the saxophone stretches and skronks against the air as if it were the skin of a balloon, appearing counter moments of subtle dread as a groundfault of bass churn quietly underneath. In the second, this tremor becomes a thick chord of slithering reverb ala Hive Mind’s ‘Sand Beasts’, and swelling form which absorbs the entropic sounds around it as it fills both channels; in this predacious state, the drone hints at rough contours of the shapes within - though almost imperceptibly so – maintaining its domination through increasing volume.
In DVD clamshells with cardstock inserts, hand-numbered to paltry 33 copies.
(Dim Records CDr HERE)

mandolin records compilation 2007

mando 0013

mandolin records compilation 2007

carlomargot - song#2
grumpy bear - coded message to director of programming
alex monk - untitled 2
bronze owl - bronze owl 64kbps mp3
combo recife de improviso - untitled 11.37 (excerpt)
tettu mortu - carie n.2
pendro - four minute sleep
original beekeepers - tin mine 64kbps mp3
criadero en seres - i unas sobre agua de monos que corren
inhibitionists - rusted lips
pie eaters - transmitter
sand snowman - liquid labyrinths
a child rasputin - i wish
spoono - acceptance tapes 64kbps mp3
bye-q - majick pet rabbit
wayn malm - accordial

mandolin records is pleased to release its second compilation album. featuring contributions by artists from england, italy, america, argentina, france and brazil. some ambient, some noise, some improvised, some experimental, some folk and pop. something for everybody. sixteen tracks and seventy minutes of music on cdr in a large style seven inch vinyl sleeve.

sexta-feira, 13 de junho de 2008

Materia no Diario de Pernambuco, 01 de junho 2008

Telephone Colorido resgata heranças do povo Mura

Série de quatro documentários e um CD coletados pela produtora pernambucana, com apoio da Petrobras, investiga a história de uma antiga tribo da Amazônia

Júlio Cavani
Da equipe do Diario

Durante dois anos, os documentaristas da produtora pernambucana Telephone Colorido mergulharam na vida de uma antiga tribo da floresta amazônica para preservar sua cultura por meio da linguagem audiovisual. Com apoio do Programa Petrobras Cultural, eles levaram suas câmeras e microfones para a região do Rio Madeira, onde passaram a documentar as lembranças dos índios mais velhos do povo Mura. O resultado, cujo lançamento está marcado para julho, é um DVD com quatro documentários temáticos acompanhado de um CD com registros verbais e musicais.

Segundo o arqueólogo e documentarista Raoni Valle, que é integrante da Telephone e mora em Manaus há quatro anos, o objetivo é "prestar uma assessoria audiovisual aos povos indígenas para proporcionar um diálogo com a sociedade nacional e evitar que surjam preconceitos." O material pode ser usado tanto em escolas e comunidades, para estimular a auto-estima dos índios, como servir para a divulgação de seu patrimônio imaterial.

As entrevistas são feitas apenas com os representantes dos Mura mais velhos (chamados de "pearas") porque a cultura deles já está em um estágio avançado de descaracterização. A memória é a única fonte de investigação de sua história, mas esses homens idosos estão morrendo aos poucos. Dois dos entrevistados faleceram durante o período de filmagens. "O tamanho dessa perda é diretamente proporcional à vontade de resgatar. É um trabalho de ressignificação do passado", avalia Raoni.

"O sobrenatural", "os pajés", "a história sócio-ambiental" e "o ritual do dirijo" são os temas dos quatro documentários. Esses foram os assuntos que se destacaram ao longo das entrevistas. O material em áudio, captado pelo técnico de som e artista Thelmo Cristovam, preserva a oralidade dos depoimentos e a musicalidade dos Mura, com a gravação de antigas cantigas infantis e cantos religiosos.

O documentário sobre o sobrenatural vai mostrar as lendas e assombrações presentes no cotidiano das comunidades. Segundo o arqueólogo, esses fenômenos inexplicáveis são bastante comuns em toda a região amazônica, pois o povo acredita que seres fantásticos e encantados habitam as escuras profundezas dos rios. Entre eles estão mitos famosos, como a Iara, a cobra grande, o mapinguari (monstro com boca na barriga) e o boto que engravida mulheres. A equipe chegou a filmar mães que garantem ter sido fecundadas pelos animais e mostram seus filhos (crianças normais) para as câmeras.

O episódio sobre os pajés apresenta os vários papéis desempenhados pelos sacerdotes religiosos, que atuam como curandeiros, cientistas, mestres de cerimônia, rezadores e benzedores. O vídeo que aborda a "história sócio-ambiental" reconstitui as mudanças vividas pelo povo Mura, que hoje se distribui em 18 comunidades nas margens do Rio Autazes, afluente do Madeira. "Na Amazônia, a sociedade e natureza não se dissociam", esclarece Raoni.

O dirijo, hoje em extinção, era praticado até a década de 1950, quando foi proibido no Brasil por causa da criminalização do consumo de canabis sativa. O temafoi incluído no projeto porque os pearas sempre insistiam em falar sobre o assunto. Naquela época, eles ainda eram curumins e não podiam participar do ritual, pois apenas os mais velhos eram autorizados. Nem os adultos tinham permissão para fumar a erva. "É um exemplo que ilustra bem o desaparecimento de aspectos culturais dessas etnias, relacionado ao domínio dos fazendeiros", enfatiza.

O projeto foi desenvolvido pela Telephone Colorido junto com o Instituto Nacional de Pesquisas da Amazônia e com a Organização de Professores Indígenas Mura. Todas as filmagens e gravações foram acompanhadas por professores índios, que conduziam as entrevistas de acordo com os assuntos de maior interesse para o resgate histórico da cultura das comunidades. "A gente só fazia plugar os equipamentos", detalha Raoni. Um dos cinegrafistas, Aldevan Baniwa, era da comunidade. Eles também supervisionaram a edição e ajudaram a selecionar imagens entre as 110 horas gravadas. No DVD, cada um dos quatro documentários tem 52 minutos (formato-padrão para a TV). A tiragem é de 1 mil exemplares.

Da equipe pernambucana, também participaram Grilo, Ernesto Teodósio e Enaile Lima, além de Thelmo. A Telephone Colorido já realizou diversos vídeos relacionados à luta indígena, principalmente sobre tribos pernambucanas como os Truká e os Xucuru (alguns com denúncias em seu conteúdo), além de filmes premiados como Figueira do inferno e Resgate cultural.

Diário de Pernambuco
01 de junho 2008

segunda-feira, 19 de maio de 2008

Discography: Nuclear Extreme - WORK FOR WORKERS.

No dia do trabalho, Thelmo Cristovam e Grilo se reunem numa noite chuvosa nos estudios da Rádio Frei Damião.

Munidos de headphones, isqueiros, cervejas e um trompete de bolso, a sessão rendeu um lindo cd duplo, intitulado WORK FOR WORKERS.

Thelmo Cristovam + Grilo: Trompete de bolso, headphones, feedbacks, etc e tal ...

Gravado em DVD no dia primeiro de maio de 2008 no estudio da Radio Frei Damiao, Bonsucesso, Olinda.


CDR duplo em case de DVD, Radio Frei Damiao.

quinta-feira, 8 de maio de 2008

Discography: Thelmo Cristovam - Paisagens Sonoras em Õstrõ Hyija

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Triple Bath
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http://www.tripleba th.gr/
http://www.myspace. com/triplebath
mailto:triplebath@yahoo. com

Athens, Greece

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New Release
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Thelmo Cristovam - Paisagens Sonoras em Õstrõ Hyija
released on Friday, April 19, 2008

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Artist Info
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Thelmo Cristovam
http://www.tripleba th.gr/artists/ thelmo_cristovam .html

Thelmo Cristovam was born in Brazil in 1975. He has been living in
Olinda, Pernambuco since 1981. He studied physics and mathematics.

He has participated in the following groups: "Hrönir" (electroacoustic
/ musique concrete / noise / EAI trio), "Combo Recife de Improviso"
(free jazz / free improv / EAI open format and variable number
collective), "Botânicos" (krautrock) and "Abillas" (electronics) .

He has also performed in duos and trios with Fernando S. Torres and
Filipe Giraknob among other figures of the current free improv scene
of Brazil.

He has released 30 works in various formats (mp3, ogg, cd-r, tape), in
several countries (Brazil, The Netherlands, Belgium, Switzerland,
Norway, Mexico, Argentina, USA, Australia, Portugal, Germany, Basque
Country, France, Chile), through various labels (Test Tube, Tormentaa,
Rádio Frei Damião, Tibprod, Frigida, Menthe de Chat, No Lyrics,
Krakilsk, Bone Structure, Amplified.Music. Pollution, Desetxea,
Earsheltering 013, Antena, Cum Shot, Fronha).

His main current subject is Research in Psychoacoustics. He is into
extended playing techniques on wind instruments (c-melody saxophone,
pocket trumpet, valve trombone, flute), in phonography/ field
recordings, and in electronics (feedback mixer, computer/laptop) .
Nowadays he investigates radio art, sound poetry and brazilian
indigenous music.

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Album Info
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Paisagens Sonoras em Õstrõ Hyija
http://www.tripleba th.gr/releases/ trb.011.html

Paisagens Sonoras em Õstrõ Hyija is the new full-length release for
Brazilian improviser/composer Thelmo Cristovam who has already been
introduced to Europe through his releases on labels like TIBProd,
Krakilsk, Desetxea and Test Tube among others.

In this collection of diverse-natured recordings that took place in
various moments between 2003 and 2006, at v(g)erme mobile, Thelmo
Cristovam copes with heavily treated acoustic guitar on track 1 (Aço -
2003), with c-melody saxophone and amplified objects, all processed
beyond belief on track 2 (Os Jardins Eletromagnéticos de Ur - 2004),
with pure field recordings being captured/mixed in real-time on track
3 (Pradarias Inversas - 2005) and with concept-specific recordings of
walls, floors and windows of a building making a sonic collage of
musique concrète on track 4 (Construções em Barro, Vidro e Plasma - 2006).

Paisagens Sonoras em Õstrõ Hyija deals with abstract sonic fields,
those of "Õstrõ Hyija" - "an imaginary place that could be a planet, a
city, a country or a dimension", into Thelmo Cristovam's own words.
Crafted with utter care, apart from the audio content, also is the
graphic artwork that is based on a collage/painting by Fotini Kallianou.

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MUSIC BY Thelmo Cristovam
RELEASE TITLE Paisagens Sonoras em Õstrõ Hyija
CONTENT 4 cd audio tracks

RECORDING v(g)erme mobile, 2003-2006
MASTERING Themis Pantelopoulos, February 2008
PAINTING Fotini Kallianou, February 2008
GRAPHIC LAYOUT Themis Pantelopoulos, February 2008

CATALOG NO. trb.011
DATE OF RELEASE April 19, 2008
QUANTITY 96 copies
FORMAT cd-r limited edition

SAMPLES http://www.tripleba th.gr/releases/ trb.011.html
AVAILABLE the Triple Bath website & selected music stores in Athens
COST 5 EUR (including shipping - worldwide)
ORDER http://www.tripleba th.gr/releases. html

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Next Release
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Michael Chocholak - Alveromancy
in May 2008

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Past Releases
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[trb.001] (((stereofect) )) - Ping
[trb.002] Nokalypse - Ocean Of Inexistence
[trb.003] Jan-M. Iversen - 1.05 Drone
[trb.004] Simulacra - Eidolon
[trb.005] Red Needled Sea - Old River Blues
[trb.006] The Hidden - The Hidden
[trb.007] Socos - Hyperythmique Analogue
[trb.008] Novasak - Alpha
[trb.009] Jeff Gburek - Red Rose for the Sinking Ship
[trb.010] Feu Follet - Fogbank


number 628
week 21

Work by Thelmo Cristovam has been reviewed before. He's a member of various groups in the field of improvisation and electronics, such as Hronir, Combo Recife De Improviso and Abillas and plays various wind instruments, such as c-melody saxophone, pocket trumpet, valve trombone and flute in combination with phonograph/field recordings and electronics. The works on 'Paisagens Sonoras Em Ostro Hyija' were made from 2003 to 2006 and sees him exploring also the acoustic guitar in 'Ago' and spaces in 'Construcoes Em Barro, Vidro e Plasma' along with his usual line of instruments. The shortest piece is just under eight minutes and the longest is over twenty-three. That is a bit problematic I think. Not everything he has to say needs that much time. Here is a rule for Cristovam's music: the longer the piece is, the less interesting it is. It seems that Cristovam's likes his sounds very much, especially the fee use of sound effects, and that love he wants to share with us. His music could be
'saved' if he would prepared to make some choices and make things a bit more concise, instead of offering a free run of sound material. As it were to get out of the improvisation mood and into composing. Now we hear potentially interesting sounds, but we loose the sight of a composition. There would be a lot to gain I guess. (FdW)
Address: http://www.triplebath.gr

quarta-feira, 7 de maio de 2008

Música absoluta da floresta

O lançamento (ou lançamentos, na realidade) a que este texto reporta, é já de Agosto de 2007, mas recebi hoje do Thelmo uma cópia dum artigo saído no início deste mês lá no Brasil e achei que valia a pena todos lermos. Quem sabe depois não terão curiosidade de ir ouvir a obra deste Pernambucano sui generis. O texto vai mesmo em português do Brasil... façam de conta que o acordo ortográfico já entrou em vigor...

«Terça-feira, 1 de Abril de 2008

Música absoluta da Floresta

"Pernambucano Thelmo Cristovam gravou sons da Amazônia que ouvidos humanos não conseguem captar sem o auxílio de equipamentos"

Júlio Cavani, Da equipe do Diário

Pássaros, mamíferos, insetos, plantas, árvores e vento é tudo o que se ouve nos discos da série Field recordings, gravados pelo pernambucano Thelmo Cristovam no meio da Floresta Amazônica, em volta do lago Mamori, localizado a quilômetros de distância de qualquer sinal de civilização. Quatro dos seis álbuns do projeto já foram lançados na internet e os próximos dois estão em finalização. Na página do selo musical Test Tube, de Portugal, ele foi escutado por mais de mil pessoas em menos de um mês. O artista tem certeza que faz música, apesar de poder ser questionado quanto a isso, mas também não está muito preocupado com esse tipo de classificação ou julgamento. "Sou músico, mas nunca conseguiria fazer uma canção", exemplifica.

O trabalho de Thelmo Cristovam raramente é divulgado na mídia no Brasil, a não ser em publicações alternativas especializadas. Seus discos, contudo, já foram lançados por selos de países como Estados Unidos, Alemanha, França, Grécia, Portugal, Suécia, Argentina, Holanda e Austrália. No Recife, ele já foi DJ de jazz nas quintas-feiras do bar Garagem (há mais de quatro anos), colaborou com os artistas dos grupos Moluscos Lama, Re:Combo e Telephone Colorido, entre outros, e participa de bandas como Hrönir e Nuclear Extreme.

Em Field recordings, Thelmo deixava os microfones sozinhos no meio da floresta e depois tentava se distanciar o máximo possível, pois a presença do homem pode ser sentida por determinados animais (e pelos gravadores) a uma distância de mais de um quilômetro. Com o projeto, portanto, ele capta aquilo que nenhum ser humano é capaz de escutar ao vivo.
As gravações ocorreram quando Thelmo foi selecionado como bolsista de uma oficina com o músico basco Francisco López, que trabalha com música concreta absoluta. Os alunos passaram dez dias na floresta, em uma casa de madeira que funciona como laboratório de arte do grupo europeu Malab. Ao todo, ele registrou mais de dez horas de sons da natureza. Para cada disco, seleciona trechos contínuos dessas sessões.
Se alguém ouvir Field recordings com um fone de ouvido, portanto, pode fechar os olhos e dormir com a impressão de estar em plena selva. Em alto volume, a complexidade desses conjuntos de sons é amplificada, com momentos de harmonia absoluta ou de ruído caótico estridente. A quantidade de aves que tiveram seu canto registrado simultaneamente, por exemplo, é praticamente incalculável. Nenhum trecho se repete. Cada novo minuto é diferente do anterior. O resultado se modifica completamente de acordo com o horário e o local onde foram feitas as gravações.

"Qualquer imbecil faz isso", comentou um internauta na página do Test Tube após ouvir o trabalho de Thelmo. Em um projeto como esse, no entanto, o papel do artista não é tocar um instrumento ou escrever uma composição. O gesto criativo está em tomar decisões sobre onde e como gravar e editar o material depois de ouvir tudo com calma para selecionar o que entra no disco. Ao ser transportado para o contexto da arte, esse conteúdo sonoro (nunca uma tentativa de reprodução da realidade natural) é absorvido pelos ouvidos com novos significados, surgidos a partir das interpretações espontâneas de quem ouve.

Nada é o que parece ser

"Não trabalho com notas musicais", explica Thelmo Cristovam. Seu trabalho não é pautado pelas convenções do que costuma ser entendido como música. Os conceitos a que todos estão acostumados, afinal, nasceram de contextos sócio-culturais e hegemonias artísticas. Se a história recente da humanidade fosse menos influenciada por padrões hierárquicos europeus, noções de "erudição" ou "melodia", por exemplo, seria completamente diferente.
Thelmo tem um disco chamado Trombone. A maneira como ele extrai sons desse instrumento de sopro, no entanto, não tem nada a ver com a forma como ele foi feito para ser tocado. Em outros álbuns e apresentações ao vivo, o artista faz o mesmo com um saxofone e com um trompete, pois está mais interessado em testar as possibilidades da interação entre os microfones e a estrutura física desses metais. A sonoridade resultante é irreconhecível.

Sua formação universitária não é em música, mas em física e matemática. No disco Mercado de São José, ele simplesmente gravou o som ambiente do lugar-título enquanto caminhava ao seu redor. Atualmente, Thelmo tem se dedicado a uma peça contínua com mais de seis horas de duração, que não pode ser interrompida ou dividida em discos separados, então precisaria ser executada em algum tipo de audioinstalação. Também estão entre suas atividades a criação de novos tipos de ruídos e o estudo das formas de reverberação e propagação das ondas no espaço.

Ele inventa boa parte de seus processos de criação, mas também se baseia em métodos praticados em diversos países, desenvolvidos em escolas e movimentos estéticos legitimados, como o concretismo, o free jazz e a eletroacústica. Os mais de 50 discos que Thelmo gravou ou em que participou como convidado, inclusive os Field recordings, podem ser baixados em seu blog pessoal (www.vgerme.blogspot.com).»

DP, Viver, 01/04/08.


Discography: Compilations

april 7, 2008

1.4 MB

'Exactly what you are hearing in this recording, made in Castanhinho, a black heritage comunity near Garanhuns city, in the countryside of the Pernambuco state of Brazil, I would prefer not to say. But to put these sounds in context: nowadays I'm totally immersed in working with indigenous and black heritage communities at countryside of my state (Pernambuco) and in the Brazilian Amazon forest of Amazonas state. I'm employed to record sound for video documentaries and to do sound design for them; the videos are political or video-art. Besides this I produce recordings for the musical groups of these communities. So of course, I'm doing a lot of field recordings in the work intervals.... :) Recorded with a Sony MZ-R90 MD recorder and a Sony ECM-DS70P stereo condensor microphone.' A mystery, then, for once — courtesy today's contributor, Thelmo Cristovam.

one-minute vacation

Surely you can spare a minute to clean your ears? Take a one-minute vacation from the life you are living.

One-minute vacations are unedited recordings of somewhere, somewhen. Sixty seconds of something else. Sixty seconds to be someone else.

A new one-minute vacation will be added each week on Monday if I can manage it (so far, there are 327 vacations).

The first year's worth of vacations are archived here, the second here, the third here, the fourth here, the fifth here. You can also purchase compilations of each year of vacations on CD; all profits go to charity. You can read more about the project here. (For use restrictions see here.)

Your participation is encouraged. If you have a recording that you would like to share, here are instructions on how to submit it. (And here's my advice on making recordings.)

If it's your birthday, this is your present.


terça-feira, 6 de maio de 2008

Discography: Compilations

Bjerga/Iversen - Dissect And Connect

Bjerga/Iversen Remixed

CD-R, TibProd, Norway, 2007

01. hoh - tangled up in glue II(tj:d-remix)
02. robert horton - kanal local (winter mix)
03. dead wood - in broken dreams the world still keeps turning (remix)
04. andy jarvis - lighthouse restruct'r
05. joe+n - xxxxxx (burning the light at both ends remix)
06. swamps up nostrils - nontemporal snooze device (the oslo groove machine remix)
07. hrönir - reconcepted
08. green kingdom - continental vegetable soup (remix)
09. hoh - tangled up in glue III (most things are made of water remix)
10. prester - the trumpets of silence (norway radio edit)
11. tzesne - ghost of a fractured light (remix)
12. culver - days of thunder (remix)

( http://www.bek.no/~tibprod/tibcd90.htm )

Discography: Compilations

Various Artists - Holly and Ivy [Zaft 038]

| Christmas Annual compilation by Zaftig Research |

Zaftig Research, CD-R, USA, 2007

01. Hronir - Christmas Card with Anthrax

(Complete track list soon. More 12 tracks.)


quinta-feira, 3 de janeiro de 2008

Discography: Thelmo Cristovam + Fernando S. Torres

DIM009: THELMO CRISTOVAM + FERNANDO S. TORRES "s/t" cdr - real-time composition for trumpet, c-melody sax, concert flute, piezos, air-duster and processed feedback. recorded live at kkfs home studio january 13, 2005. - numbered edition of 33 copies in slim-line dvd case NEW!

CD-R by DIM Records [http://www.dimrecords.tk/] , Netherlands/Holanda




number 608
week 1


Improvised music from South America came
to us before from the Thelmo Cristovam,
who here teams up with Fernando S. Torres.
Together they played two pieces of improvised
- or rather 'real time composition' as they
call it - music using trumpet, c-melody sax,
concert flute, piezos, air-duster and processed
feedback. In the first piece the wind instruments
are pretty dominant and fed to the echo unit,
which I must admit didn't do much for me, so for
some parts. But at almost twenty-four minutes I
thought it was rather long. The second piece is
even longer, twenty-six minutes, but is much better.
The wind instruments are played more in onkyo style,
but heavily treated through all sorts of effects,
which makes this hardly microsound, but makes a fine,
densely layered pattern of sound, that occasionally
sounds like wind/storm sound. Intense piece that one,
and works really well. To release just that would
have been a much better idea, rather than being
complete, I think. Release your best
works, not your complete doodling. Their previous
release on Menthe De Chat is also included as MP3s
on the same disc, and is an another mix of the same
session - speaking about completists! (FdW)

Address: http://www.myspace.com/dimrec

segunda-feira, 24 de setembro de 2007

Discography: Hrönir – Bardo Thödol (liberação por audição no plano post morten)

mymwly0075 – Hrönir – Bardo Thödol (liberação por audição no plano post morten)


imagined events swim in broken symphonic mirrors like deep pools of memory their winged keys carry delicate melodies , and create a bridge between worlds…then fires become electric bugs , minute armies , transport…like a film score that needs no film…concrete , assembled and seamless.



terça-feira, 4 de setembro de 2007

Discography: Thelmo Cristovam - Field Recordings #02

tube'|088 - Thelmo Cristovam - Field Recordings #02

«Are you ready to be embraced by the Tropical Rainforest? Thanks to the recordings of Brazilian physician mathematic and composer Thelmo Cristovam, we can sonically witness one of the most sensational environments of our planet in the surroundings of Lake Mamori (Manaus, Brazil).
Paying attention to the beauty of the micro and macro sounds of this jungle can be impossible when you are being surrounded by moistly warm air and the "Anopheles Gambiae", a mosquito that is the principal vector of malaria (afflicting more than 500 million people and causes more than 1 million deaths each year).
These field recordings are an aural privilege that not all humans deserve. If you are a nature lover, the layers of heat will be replaced by soothing layers of refreshing eco-sound, and the mosquito bites will become pleasing static sensations. Enjoy a full day of pure connection with a pure environment.»
- Sebastian Alvarez

01 • 20/08/2006 Morning [12'24'']
02 • 20/08/2006 Night, first place [25'34'']
03 • 20/08/2006 Night, second place [2'31'']
04 • 21/08/2006 Afternoon [34'15'']

Runtime: 74'44''

Field Recordings Series Produced at Mamori Art Lab Workshops.

Pure/raw field recordings made around Mamori lake, Brazilian Amazon Forest, during Francisco Lopéz's workshop "natural and virtual sound ambients: the "real" world as a source of sonic creations" at Malab 2006, organized by Asier Gogortza, Jordi Llorella and Nacho Martí, august 2006.

Thanks to: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí, Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia and Curupira.

Special thanks to: Pedro Leitão and Sebastian Alvarez.





October 01, 2007


As promised, here is the 4XT for the month of September:

#01 - tube088 - Thelmo Cristovam - Field Recordings #02 [1101 downloads]
#02 - tube090 - meta:Human - The Dark Ages of Technology [899 downloads]
#03 - tube089 - Clorofila Azul - Revisitado (sem Voz) [832 downloads]
#04 - tube082 - e:4c - Technical Unwanted Signals Vol. 1 [818 downloads]
#05 - tube080 - Post Human Era - Where I'm Going... [516 downloads]
#06 - tube071 - Penca Catalogue - This is Hair Care [420 downloads]
#07 - tube087 - Juan José Calarco - Plano Vertical [415 downloads]
#08 - tube092 - The Jack Bohlen Book Club - Lion & Lamb [390 downloads]
#09 - tube081 - Aitänna77 - Health Needs [356 downloads]
#10 - tube091 - Hugo Paquete - Commutative [317 downloads]

A few surprises here. The first one is #04 which is at the exactly same place as it was two months ago in the July 4XT. Another surprise comes in #06, because it's a release that is already pretty old when it comes to test tube's agenda. And another one comes in #08 because is a very fresh release - just one week old. Almost 400 downloads in a week it's very very good, even for September.
It's also interesting to see a raw field recording release in #01 with more than a thousand downloads, because Thelmo's release is usually filed under the 'non-music' style, a style not extremely popular, even among experimental/electro-acoustic music fans and explorers. I guess this is good news for Thelmo :)

Well, that's about it for now. See you in a month for another 4XT analysis.






«It is hopeful to hear recordings from such a beautiful place. Thank you Thelmo.»
- Emma Cutler [EARLabs] / September 23, 2007

«I think that music is definitely not this... and I ask myself...what is this shit I'm listening? Really, come on people! Any fucking idiot can do this!!! Get real damm it! George.»
- George [EARLabs] / September 23, 2007

sexta-feira, 24 de agosto de 2007

Discography: Thelmo Cristovam - Mercado de São José

Thelmo Cristovam - Mercado de São José (taa02)

Web Release by Tormentaa, http://www.tormentaa.com/

Raw soundwalking field recording, around São José market, Recife downtown.

thelmo cristovam: microphone

Recorded on november 27, 2006
at Sao José Market, Recife, Brazil.

Thanks to Yghor Kerscher.

(Browse the site with Mozilla/Firefox)

domingo, 19 de agosto de 2007

Discography: Nuclear Extreme - Harsh Noise

Nuclear Extreme - Harsh Noise

CD-R, Radio Frei Damião

Gravado ao vivo, MD Direto da mesa, no bar Novo Pina. 29 de julho, 2007.

Editado no v(g)erme home estudio, agosto de 2007.

Gravado e editado por thelmo.

Grilo: Body Sound.

Thelmo Cristovam: Feedback Mixer, CD Player.

Evandro Q? : mixers, CDJ's, modulator digital delay, electronic piano.

Capa: Mayara Traneblut

01. Parte Seis (02:11)

02. Faixa Número Dois (06:52)

03. Parte Sete (04:18)

04. Faixa Quarenta e Nove (08:11)

05. Faixa Noventa e Sete (03:06)

06. Faixa Dois Mil e Setenta e Oito (07:01)

07. Faixa Menos Zero (11:58)

08. Faixa Primeira (06:06)

Tempo total: 49:43

segunda-feira, 6 de agosto de 2007

Discography: Cristovam/Munroe/Barros/Rodrigues

Cristovam/Munroe/Barros/Rodrigues, TIBCD92
CD-R by TIBProd, http://www.tibprod.com/

01. 01:05:03,924

Thelmo Cristovam: C-Melody Sax
Lindenberg Munroe: Didjeridoo, Escaleta, Flautas, Apitos
Lamarque de Queiroz Barros: Escaleta, Flautas, Apitos
Henderson Rodrigues: Escaleta, Flautas, Apitos

Gravado ao vivo, direto ao MD
Alpendre, 11 de novembro de 2005
Fortaleza, Ceará

Mariana Smith e seu irmão pelo MD.
Todos do Alpendre pelo espaço.
Ao Leontino Eugênio pela capa.
Em especial a Adjacy Farias pela força de sempre.



Rewiew by Paddy O'Sullivan, Heathen Harvest


Cristovam / Munroe / Barros / Rodrigues - Alpendre
Thursday, November 15 2007 @ 12:00 AM PST
Contributed by: Paddy O'Sullivan


...free form and improvised at times verging on free-jazz, it has more to do with stretching the various instruments in use to their limits. Not entirely following any particular pattern other than the fact, it does have a beginning and an end…sort of, that’s where the tempo actually picks up pace near the very end, as if it is meant to be on a loop which given the nature of the beast, would be very well suited.

Experimental / Electro-acoustic / Improv

Artist: Split Album / Collaboration

Title: Alpendre

Label: TIBProd. Norway

Genre: Experimental / Electro-acoustic / Improv

Thelmo cristovam: C-Melody Sax
Lindenberg Munroe: Didjeridoo, pianica, recorders, whistles
Lamarque de Queiroz Barros: pianica, recorders, whistles
Henderson Rodrigues: pianica, recorders, whistles

This release is the product of a loosely knit collective of sound artists, who came together at the Alpendre Casa de Arte as part of the showcase of experimental music in Fortaleza, Brazil; this is a document of their presentation. A bit of background is in order I think, so I will see what I can do based on the information I have. Most of the members of this gathering have worked together at one time or another in various capacities, take Lindenberg Munroe ; former professor of music technology for example he alongside Thelmo cristovam both are part of the collective Fórum Experimental , an ever expanding group of artists, researchers, sound theorists, producers, filmmakers or more basically put, anybody involved in experimental media. Lindenberg has also created various soundtracks to experimental films and videos as well as a composition to accompany a poem of Mardônio França entitled Velho Mar, and although the piece itself is short, the music has a natural beauty to it that radiates.

Group member Thelmo cristovam a student in physics and metamathematics (I think I’m seeing a pattern here) has his hands in projects too numerous to mention, most recent of which is setting up his own net label v(g)erme. Also along with Túlio Falcão and Lucas Alencar comprise the electro acoustic noise trio Hrönir, who have been very kind for putting up a few of their releases on Archive, the link is for the release “Mecanica” definitely one for the headphones, an audio environment for a manufactured landscape. Henderson Rodrigues is a teacher, researcher and composer of electroacoustic music, his productions include solo works, music for film as well as theatre/

Now having rambled thus far let’s get into the music at hand, it is free form and improvised at times verging on free-jazz, it has more to do with stretching the various instruments in use to their limits. Not entirely following any particular pattern other than the fact, it does have a beginning and an end…sort of, that’s where the tempo actually picks up pace near the very end, as if it is meant to be on a loop which given the nature of the beast, would be very well suited.

To sum it up in just a few words if I had to I would say it is an exercise in spatial perception within the confines of time.


number 612
week 5


From the four players of this disk, I only heard
of Thelmo Cristovam before. Here he plays 'c-melody sax'. The other players are Lindenberg Munroe (Didjeridoo, Pianica, Recorders, Whistles), Lamarque de Queiroz Barros (Pianica, Recorders, Whistles) and Henderson Rodrigues (Pianica, Recorders, Whistles). That is a lot of wind instruments. In 2005 they teamed up together to play for sixty minutes, three seconds and a little bit. An endless stream of sound is what the produce. Not in continuos in the drone sense of the word, but blowing wildly aloud and apart. Oddly minimal in a way, with each player getting on with his own part. It's a long sit this release, and certainly could have been thirty minutes shorter to have the same power, but perhaps the long and windy road is something that needed to be explored from beginning to end. For lovers of true improvised music on wind instruments this is certainly an interesting disc. For myself I was mildly enthusiastic about it. (FdW)

Address: http://www.tibprod.com


domingo, 5 de agosto de 2007

Discography: Thelmo Cristovam - Field Recordings #03

Thelmo Cristovam - Field Recordings # 03 (fri063)

Web release by Frigida Records, Argentina

01. 20:55; 21/08/2006, noite/night
02. 04:42; 21/08/2006, noite/night
03. 20:07; 21/08/2006, noite/night
04. 09:03; 22/08/2006, noite/night

Field Recordings Series Produced at Mamori Art Lab Workshops.

Pure/raw field recordings made around Mamori lake, Brazilian Amazon Forest, during Francisco Lopéz's workshop "natural and virtual sound ambients: the "real" world as a source of sonic creations" at Malab 2006, organized by Asier Gogortza, Jordi Llorella and Nacho Martí, august 2006.

Thanks to: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí, Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia and Curupira.

Special thanks to Adrian Juaréz, by the cover art.


sexta-feira, 3 de agosto de 2007

Discography, as guest: Grilowsky - ExtraFortePlus

Grilowsky - ExtraFortePlus

CD-R, Rádio Frei Damião

Extra Forte Plus, uma garimpada no arquivo do Grilowsky com faixas tenebrosas, obscuras e inéditas de seus mais brilhantes trabalhos. Você vai conhecer Barba, Cabelo & Bigode, as primeiras demos, gravações caseiras e de ensaios, música extrema, versão acústica pro Ramones e participações especiais surpresas de Grilo nos últimos 11 anos !!

Feat. Combo Recife de Improviso, Conceição Tchubas, Gnomos da Metrópole, originais do Pajé Limpeza e claro, Geladeira Metal !!

Maravilhosa arte gráfica de Paulo do Amparo pro cd e camisetas !!!

-- Radio Frei Damião

Músicas pra entortar o cabeção!

Discography: Nuclear Extreme

Nuclear Extreme

CD-R, Rádio Frei Damião

Menor Casa de Olinda; Faixas 1, 2, 3
Gravado em camêra HI-8 por Roberta Garcia

Para Iago; Faixa 4
Gravado no estúdio da Rádio Frei Damião

Thelmo cristovam: Feedback Mixer, Trombone
Grilo: Baixo Elétrico, Baixo e Guitarra Eletricas Desplugados, Voz & Ventilador

Capa: Paulinho do Amparo

Discography: Thelmo Cristovam & Lavajato

Thelmo Cristovam & Lavajato


faixas 1-4
thelmo : guitarra preparada (arco e objetos) e não preparada, interferência eletromagnética.
Lavajato: violino, teclado, pedais analógicos.

faixas 5-7
thelmo : teclado, violino, plug de contato, interferência eletromagnética.
Lavajato: guitarra, pedais analógicos, teclado.

Composições em tempo real gravadas em um só take por thelmo na casa de Filipe Giraknob e Fátima em 20 de janeiro de 2005, Botafogo, Rio de Janeiro. Editado no v(g)erme estudio, Olinda, Pernambuco, por thelmo em junho de 2005.

tracks 1-4
thelmo : prepared guitar (violin arc & objects) and non-prepared guitar, electromagnetic interference.
Lavajato: violin, keyboard, pedals.

tracks 5-7
thelmo : keyboard, violin, contact mic, electromagnetic interference.
Lavajato: guitar, pedals, keyboard.

All the tracks were recorded in just one real-time take by thelmo at Filipe Giraknob & Fátima's home in january 20, 2005, Botafogo, Rio de Janeiro. Edited at v(g)erme estudio, Olinda, Pernambuco, by thelmo in june 2005.

segunda-feira, 23 de julho de 2007

Discography, Compilations: Various - Farewell Compilation

Various - Farewell Compilation

Nervous Nurse NN#24

cdr compilation with photos as cover, limited to 120 copies. 2007


1. Tod Durch Arbeit - Immer Geradeaus (4:41)
2. Antracot - Umeboshi (4:04)
3. Creta - Wolfmaschine (3:55)
4. Vincenzo Bossi - Love (6:11)
5. cH - 555 (6:24)
6. Cogebi Transfer - Bloody Dominagistic Games (3:46)
7. Synomorph - Guerdon For The Rest (Raw Mix) (4:36)
8. Praying For Oblivion - Terminal Giubileo / Giubileo Terminal (4:53)
Featuring - Tez

9. Combo Recife De Improviso - DUO (15:27)

Acoustic Guitar - Arthur Lacerda
Violin - Thelmo Cristovam

10. Xedh - La Maquina Vuelve A Funcionar (6:10)
11. System Breakdown - Kapital 5 (Live At The Corner 27.03.2004) (5:06)
12. Softmicro - Luise In Childness Dreamweaver (1:33)

quinta-feira, 12 de julho de 2007

Discography: Thelmo Cristovam - Distribuicao Atmosferica (chat022) (July 9, 2007)

Thelmo Cristovam - Distribuicao Atmosferica (chat022) (July 9, 2007) Run time: 73:54

For those which moves though the eye cannot see Musique Concréte realized by Thelmo Cristovam

Thelmo Cristovam: Field Recordings, Tapes and Process.

Cover Picture: Francisco Baccaro.

To Maria Letícia and Daniela Valois.

Designed to be used via headphones.

http://www.menthedechat.net/catalogue/chat022.htm & http://www.archive.org/details/chat022

Reviewer: mystified - - July 10, 2007
Subject: Nice
Very interesting and hallucinogenic. Holds the attention in a painless way. Cool textures!

Discography: Hrönir - Mecânica

NOL076: HRÖNIR - "Mecânica" Tape c60


Machine ambient noise frequencies, sometimes remember old lo-fi industrial.



quinta-feira, 12 de abril de 2007

Discography: Thelmo Cristovam - Trombone

Thelmo Cristovam - Trombone (kra019)

CD-R by Krakilsk, Norway


Mono recorded, direct to minidisc, and edited in
january/february 2007 at v(g)erme home studio,
Olinda, Pernambuco, Brasil.

All the sound sources are from a valve trombone,
no process, no effects, no electronics.

Thanks to Daniela Valois Monteiro.

To Derek Bailey.


#kra019 - Thelmo Cristovam - Trombone

Utilizing nothing but his valve trombone, our Brazilian friend Thelmo Cristovam cooks up a dish of minimalistic free improv that just makes you wonder what the hell he is doing to that trombone of his! On the first track we get some feedback to go with it all, but on the last two it's pure acousticness. As imagery goes, imagine a surrealistic lifeform made out of airbags, skin, windpipes, rectums and lips or something similar, now imagine this lifeform creeping into a collection of brass instruments. This lifeform has a knack for the minimalistic, so it won't go all out on everthing all at once, but will delicately nudge it's depraved body around, making small sounds that might be heard as ugly and beautiful all at once while wrapping various bodyparts aroudn the different instruments with fluid like motion... Or just imagine our Thelmo going nuts on his trombone. Either way it sounds great!

number 571
week 15


Cristovam hails from Olinda, Pernambuco in Brasil and plays 'valve trombone' and recorded the three lengthy improvisations directly - mono (!) - to minidisc and later edited the material. In a strange twist Cristovam plays his trombone like the best onkyo players in the field, yet it's never too soft, and that's mainly due to the use of feedback that occurs throughout various stages of his playing, especially in the first piece. In the second piece the trombone is played with the mouth as well as various objects, and this is a more a silent piece. In the final piece (they are all of equal length) this is more balanced - the noise versus the silence. Although Cristovam could easily be lumped in with his European or Japanese counterparts I think he has a pretty strong voice of his own and should definitely be playing his bro's around here.(FdW)

Saída (ainda) recente de Thelmo Cristovam na norueguesa Krakilsk. O cdr de trombone solo, gravado no seu v(g)erme home studio, dá pelo nome de Trombone. Thelmo, multi-instrumentista brasileiro de Olinda, Pernambuco (n.1975, Brasília), membro do Hrönir, pegou no velho válvulas "todo remendado" e soprou vida nova no instrumento. A atenção microscópica sobre os átomos de som, ruído em baixo volume e “actividade” sem exuberância, esconde mais do que revela. Próximo das estéticas euro-japonesas do lower case, Trombone, dedicado a Derek Bailey, trabalha intensamente sobre o silêncio, esculpido com minúcia e desenvoltura. Muito diferente de anteriores trabalhos de Cristovam, muitos deles disponíveis em formato exclusivamente digital, que fazem uso de diferentes técnicas e instrumentos acústicos e electrónicos, Trombone é um estímulo para a imaginação, que nos deixa ver imagens em movimento que têm como pano de fundo cenários tão improváveis como paisagens lunares ou trechos da luxuriante floresta amazónica.

by eduardo chagas @ 23.7.07

sábado, 17 de março de 2007

Discography: Hrönir/Nada Split Tape

Hrönir / Nada - split
tape c60, NOL075, No Lyrics, Brasil
space experimental noise and ambient for paranoid.

Discography: Thelmo Cristovam - Field Recordings # 01

Thelmo Cristovam - Field Recordings # 1
AMP003, Web release by Amplified. Music. Pollution. , Mexico.
01. 15:42; 19/08/2006, (afternoon)
02. 11:11; 19/08/2006, (evening, night)
03. 04:47; 20/08/2006, (late night, part 01)
04. 26:18; 20/08/2006, (late night, part 02)

Field Recordings Series Produced at Mamori Art Lab Workshops.

Pure/raw field recordings made around Mamori lake, during Francisco Lopéz's workshop "natural and virtual sound ambients: the "real" world as a source of sonic creations" at Malab 2006, organized by Asier Gogortza, Jordi Llorella and Nacho Martí, august 2006.

Thanks to: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí, Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia and Curupira.
Reviewer: AATMAA - - April 28, 2007
Subject: Rain Forest
"Amazonia" is also testimony to the sustaining connection between nature and the human spirit. A subtle global warning, it is less about destruction than instruction. excellent manifest!!
best regards,

Discography: Thelmo Cristovam - Field Recordings # 04

Thelmo Cristovam - Field Recordings # 04

desetxo122, web release by Desetxea, Basque Country (http://www.mattin.org/desetxea.html )

Release date 27.2.2007

01:01:43,304 / 23, august, 2006 / Morning. (http://www.hecanjog.com/mattin/Thelmo_Christovam@Desetxea.ogg )

Field Recordings Series Produced at Mamori Art Lab Workshops.

Pure/raw field recordings made around Mamori lake, Brazilian Amazon Forest, during Francisco Lopéz's workshop"natural and virtual sound ambients: the "real" world as a source ofsonic creations"at Malab 2006, organized by Asier Gogortza, Jordi Llorella and NachoMartí, august 2006.

Thanks to: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí, Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia and Curupira.

Discography: Hrönir - Abigor

HRÖNIR - Abigor
BSCD09, minicdr by Bone Structure, Belgium

Pseudomonarchia Daemonium vol II

ltd 50 copies in A5 sleeve with special brown background

Named after the writings of Jorge Luis Borges, this brazilian trio performs electroacoustic/concrete music, electroacoustic improvisation, live electroacoustic and noise. "Abigor" reveals a rather intense and concrete soundscape, in perfect relation with this demon to be invoked in times of war !


Hronir - Abigor

by [ j ]

Pseudomonarchia Daemonium vol II
Format: CD

Just shy of the 20 minute mark, this lone track begins so low at first I wasn't sure the disc was working, but it's a slow and steady build up of sub-harmonics. The track progresses with waves of white noise and delicate strains of live instruments. What instruments? I'm not sure…maybe some type of woodwinds and maybe chimes?

On first listen, I immediately thought this is what 20.SV "Unplugged" would sound like. This is more subdued than most run of the mill ambient projects, but still carries an undeniable power.

This release is part II of Bone Structure's Pseudomonarchia Daemonium series. Limited to 50 copies.

© 2007 plaguehaus.com
Infection is your birthright.

That's how I could describe this shortly, but that would be unfair to this CDr.
There's a constant, monotonous layer of rumbling on this CDr, but in the background things are happening, you can hear sounds like voices, some metal percussion and some other unidentified sounds.
A strange kind of short fluteblows come through the rumbling from time to time, which sounds a bit disturbing.
Anyway, as I said the main element on this 20min track is the rumbling, but it's clear that there's movement in it, which makes it interesting and gives it, because most of the movement lays behind the layer of rumbling, it's special atmosphere.
Their music style is described as electroaccoustic, something I'm not familiar with, but this sounds quite good.
Released by Bone Structure.