Posts Tagged ‘Experiental’

Crónica 136 – 9th January 2018

Christopher Nosnibor

There’s something seriously awry with my promo download of the album. The tracks won’t play any audio, and instead flit by as if scrolling, searching through a menu on fast-forward. It’s a disorientating experience, and frustrating. But my curiosity I piqued, and so I feel compelled to piece together a review from the sources I can access, starting with the album’s BandCamp page on the label website.

The genesis and evolution of this collaborate project is described in the most factual of terms in the accompanying blurb.

To start AMT and Tarab exchanged materials and objects. AMT exchanged a single sound sculpture for Tarab’s collection of small objects. This material exchange led to activity. AMT manually manipulated, Tarab also, but more often than not he placed the sculpture in situations and let them work on it. Once again exchanges took place, this time of audio material. Elements where then selected and arranged and further rearranged; some left untouched and some where [sic] transformed.

I know little about either act, beyond the sketchy bios which accompany the release. On the evidence of the contents of this curious split album, Artificial Memory Trace – a project by Slavek Kwi, a sound-artist, composer and researcher interested in the phenomena of perception as the fundamental determinant of relations with reality – create fragments of sound, with seemingly random bumps and scrapes and whistles and near-mic distortions and whatever snippets come to hand tossed together to make bumpy, jumpy sonic rides. Very brief, bumpy, jumpy sonic rides at that: the seven AMT contributions to this release are under the minute mark, but what they lack in duration is countered by their intensity. They don’t make for easy or smooth listening.

Tarab’s seven pieces are lengthier and present a very different approach to composition and arrangement. Scuffling shuffling scrapes and thumps congeal to render soundscapes that couldn’t possibly sit within the ‘ambient’ bracket. It’s altogether too jarring, the intrusions unexpected and sometimes surprising. You can’t settle to this, you can’t mellow out or relax. If fact, this is a sonic experience that provokes twitchy, tetchy reactions. It’s not music to ‘like’ but to appreciate artistically. Its challenge is its strength.

None of this is to pitch one act against the other as being more ‘evolved’: if anything, their contrasting styles and near-duality is integral to the appreciation of this release.

How seriously should it be taken? Probably quite seriously. Nothing about Obex intimates an explicitly light-hearted release, an album geared towards ‘fun’. And yet amidst the dark, ponderous clanks and rumbles, something about Obex suggests an entertaining aspect, and also hints that this is art for the love of art over and above any grander narrative. And, context / no context, this is an interesting, textured work, rich in texture and dynamics.

AAA

OBEX

Advertisements

The second collection of collaborative recordings by Off World, the aptly titled 2, is dropping on Friday October 6th. After an initial introduction to the improbable orbit of this project with the track ‘Decamp’, we’re venturing further into deconstructed electronic realms with ‘Scrubdown’. On this track, label veteran Sandro Perri is joined by fellow Torontonian Lorenz Peter as synths and drum machine squelch and snake their way around some lovely, spacious piano punctuations – highlighting the exploratory, impressionistic, harmonic eloquence of the semi-improvised sound world that is Off World’s signature.

Perri will be the first to insist that Off World is not "his" project: tracing its origins as far back as 2008, with Perri and Peter (Processor, Corpusse) working together on tracks and very occasionally performing live, Off World collaborators include producers Drew Brown (Lower Dens, Blonde Redhead, Beck), Matthew Cooper (Eluvium) and Susumu Mukai (Zongamin), and instrumentalists Craig Dunsmuir (Glissandro 70, Kanada 70) and Eric Chenaux, among others.

Off World is alien electronics played humanly, resulting in genuinely exploratory and peculiarly sui generis electronic music that sounds like it could have issued from any time in the past 40-50 years. Off World resists easy categorisation: not ambient, not strictly "improvised", nor "retro" – just eccentrically absorbing, impishly stimulating and gently uneasy listening in an awkward, nerdy, precocious class of its own.

Listen to ‘Scrubdown’ here:

AAA

Off World

Gargarin Records – gr2035 – 1st November 2016

Christopher Nosnibor

Something is very wrong. Ok, so there are lots of things that are very wrong, but in particular, there’s something wrong with A K Klosowski, and by the sounds of things, his audio archive. And his tape deck  – or decks, to be more accurate. Listening in 2016, one might think that whatever combo of kit constitutes a ‘kassetteninstrument’, something is awry, that the heads are worn and the tapes are chewed, with loops and samples continually playing at random, all at once.

But context is important here and the mic on this album creates digital technology by a mile. As the blurbage explains, ‘Long before digital sampling was affordable for everyone, A.K.Klosowski invented his Kassetteninstrument, a custom-made music apparatus consisting of eight SONY-Walkmen combined with a mute/demute mechanism. The outputs of the instrument could be controlled both by hand and by an automatic trigger module. In addition, a drum computer and some effect machines were fed into the circuit. This technique allowed for very intuitive and simultaneous control over the analogue tape sources.’

Eight Walkmen? That would have required some wedge back in ‘82 to ‘84 when these recordings were produced. …plays the Kassetteninstrument is perhaps an album of its time, but still holds up on every level in 2016. It’s chaos from the offset, and the whole album is a riot of snippets and sounds, bits and pieces, crushed together to create something… different.

Elsewhere, grating, mangled synth sounds and extraneous noise skrawks and clanks hither and thither, and processed beats slither and jitter beneath vocal snippets, robotix voices, whipcracks and car crashes. It’s all going on: synapse-popping, electrode-melting disco and stuttering 80s inspired electronica interfuse in an audio wilderness.

At times it’s an awful cacophony; at others, the mood is playful, while at others still, it’s darkly sinister. Bendy organs and warped tape loops, stretched and scratchy, make weird, woozy wigouts. With motorik rhythms twisted out of time, it’s like Krautrock on acid, with nods to Throbbing Gristle and Suicide, William Burroughs and Cabaret Voltaire. It’s pretty fucking cool.

 

A.K. Klosowski - …plays the Kassetteninstrument