Recommended by us on 1st December 2006
...according to our Ant on Fri 01 Dec, 2006.
Just to damage my cranium I've stuck on HECKER's (Florian not Tim) 'Recordings For Rephlex' CD. I'm not gonna subject Brian to much of this as he'll probably explode too. If the gaffer gets back tomorrow morning and we're both exploded all over the office he won't be best pleased. If you're looking for some highly experimental sound design / noise then this Mego artist will oblige....Phwoar Am having all of these as I'm not ashamed to say I'm a proper 'Phlex collector nerd....Freekie deekie.Florian Hecker has been working with computer music, since 1996. He has been frequently collaborating with other artists such as Oswald Berthold, Russell Haswell and Yasunao Tone. His collaboration with Oswald Berthold has been released on compact disc by OR in 2001, and his collaboration with Yasunao Tone respectivly by Mego in 2004. His full length solo recording, Sun Pandmonium, received the Award of Distinction at the Prix Ars Electronica 2003. Hecker has given numerous international solo audio presentations, including La Biennale di Venecia, 49th International Exhibition of Art, Venice 2001, Royal Festival Hall, London 2002 Documenta11, Kulturbahnhof,Kassel 2002, Centre Pompidou, Paris 2002, ICMC 2002, Goteborg 2002 and Ars Electronica, Linz 2003. With Yasunao Tone he performed Palimpsest at Sonar MACBA Barcelona, Centre George Pompidou Paris, the MIT Media Lab Cambridge, Freunde guter Musik Berlin, Lampo Chicago, All Tomorrows Parties London and RML San Francisco. Heckers works emphasize the connection of most recent as well as historic developments in computer music, hard and software. Often working closely together with software engineers and scientists, his recent productions incorporate psycho-acoustic effects disorientating the listeners spatial perception in live presentations and studio works. The eight pieces on this album have been completed between 2002 and 2004. Although individual pieces have been produced for different occasions, all the recordings share concepts of sound generation on various time scales, down to smallest sound partciles. Superimpositions of multiple audio layers were not applied.
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