Featuring tracks both modern and ancient, the GRM Works by Beatriz Ferreyra are a timepiece. Mastered by Rashad Becker, all four compositions Demeure aquatique, Un fil invisible, Médicances and Les armes de l’inconnu take place on the forefront of aural experiments, weird drones alternating with glacially glitchy sequences.
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- GRM Works by Beatriz Ferreyra
8/10 Laurie Staff review, 23 April 2015
Beatriz Ferreyra is another high-concept electronic manipulator responsible for destroying various comfortable musical features, apparently alongside the mighty Pierre Schaeffer in the '50s-'60s. She helped build a language for electroacoustic composition to enable lamps to talk to birds via tape and computer, revisiting these concepts post-millennium forming the second track on each side.
Luckily, you’ve got a guide to the pieces on the inner sleeve from B. F. herself, which is essential to start to make sense of these colossal excursions which range from colliding objects to alchemy and the universe itself. This really needs more time than a half hour but we’ll see!
‘Demeures aquatiques’ sonifies the collision between solids and liquids - sounds that were once a fluid whole smashing into grains when confronted with a solid obstacle, before recombining into oozing low drones as the fluid seeps over the floor. There’s a lot of this starting as one sound then peaking or breaking into another in Ferreyra’s work, with collages rising to peaks of electroacoustic turbulence. ‘Medisances’ takes recordings of orchestral instruments and turns them into an uneasy wasteland that would likely bring a concert hall to its knees. This is excellent sound art that will likely shatter you to the core and have you gluing CDs together in an inspired bout of destructive origami.
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