Inspired by Sonic Arts Union legend Alvin Lucier (one of the American founding fathers of electro-acoustic music, concrete experiments and pioneering advances in field of sound-art/installation) GD and Machinefabriek have delivered a remarkable album here that is firmly rooted in the organic, eccentric and unfathomable world of electronically manipulated avant-garde skronk, rumbling noise and other fascinating sonic debris. We are the exclusive UK retailers for this wild ride of a record. Fans of everyone from Pierres Schaeffer & Henry to The New Blockaders may apply....
2 reviews. Add your own review.
This album isn't that much of an easy listen, I won't try and convince you otherwise. Along with improv legends such as Berlin's Zeitkratzer, here Gareth Davis and Rutger Zuydervelt are keen to celebrate Sonic Arts Union legend Alvin Lucier's pioneering sonic achievements.
Basically this is a minimal abstract jazz/sound-art record with heavy field recording and musique concrète elements. Lots of strange trails of murky, impenetrable foreign dialogue on one side underpinning the sci-fi tonal fluctuations, free bass clarinet skronk and organic sound samples. Everything from disembodied clattering and scraping to wordless vocal utterances that will intrigue fans of both The Conet Project and possibly the tape splice collages of Mr. W. Burroughs.
The other face relies more on a little static interference and mainly the sound of some autistic children developing exciting and somewhat humorous new forms with that deliriously pesky clarinet. There appears to be a faint echo of a hard gabber-techno night occurring about three blocks away, so faint you'll not really detect it without headphones. The low rumbling sound of a something like a major dance festival blowing gently in the night breeze from miles away, discreetly invading these intimate intuitive acoustics makes for quite an arresting listen. We know how many parties happen in Amsterdam.
Fans of Machinefabriek-style avant-noise, the possibilities inherent in brazen outsider electronics and structure-baiting fuck-you jazz such as Brotzmann will love some of the mad shit going down on this record. It ain't a party starter but an ice-cool alien wallflower of a record that you'll be pleased you made your acquaintance with.
9/10 peter hoogveld Customer review, 25th August 2014
The latest document in Davis & Zuydervelt’s long-standing collaboration, which over the last few years has produced some heart-stoppingly brilliant & immersive music. These performances originated in the Czech Republic; the first, from Ostrava, begins with a polarisation of barely-audible key tappings against a recorded voice. But it doesn’t take long for the bass clarinet to morph into something meta (Davis’ uncanny ability to do this pervades much of his output), melding into Zuydervelt’s field recordings & deep throbs. Indeed, many’s the time the roles seem reversed, the clarinet appearing almost synthetic beside the raw clarity of the recordings. Speaking of which, Zuydervelt’s manipulation of these recordings is often truly spectacular; at the conclusion of the Ostrava version he moves from lowercase noises that barely tickle the tweeters to a juddering overload burying the clarinet in wave after wave of bass & static. The second version, from Krakow, is more abstract, preoccupied by a threatening canvas of muted rumble; but Davis covers this canvas with a marvellous catalogue of sheer melodic shapes, slaps & spits so fierce they make one wince, alongside growls & whispers suggestive of an untamed beast, the pair this time heading for a conclusion in the form of a kind of distorted crunch. Both individually & in collaboration, it’s a hypnotic display of virtuosity, as well as being yet another reminder of how timeless is Lucier’s conceptual music.
Packed in a great cover designed by Zuydervelt.
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