Posts Tagged ‘New Tendencies’

SM-LL BATCH0008 – 25th January 2019

Christopher Nosnibor

Having recently extended my spoken word performances to collaborations with soundmakers, I’ve started to learn a little bit about home-made kit. Not the practicalities of constructing it: I mean I find myself conversing with guys – it’s invariably guys – who assemble circuitry, some of which ends up ether accompanying or processing / destroying my vocals. Their approaches to both construction and housing vary wildly: one guy just leaves his PSB open, while another has a selection of lever-type knobs set in an upturned (empty) chicken and mushroom Pot Noodle pot.

New Tendencies of one of a number of projects of Toronto-based musician, artist, designer, and educator Matt Nish-Lapidus, who explains the origins of Batch0008 as being ‘a set of sound experiments as I was building pieces of my Serge system. With each new modules or panel, I spent time trying to understand its possibilities, limits, and edges. From these experiments I learned techniques for what Serge calls “patch programming”, using the patching of the instrument to specify what each component is meant to do in that specific context.’

‘For this collection of pieces, I used patching as the sole means of sequencing and composing the music. The music here is the result of a process of experimentation and refinement, steadily pushed forward by Martin at SM-LL, providing essential feedback and reference points along the way that helped me arrive at the sound of this record. I wanted to play with the raw electronic sound of the Serge but still make pieces that hold together as compositions and are unique from one another.’

And so we land in microtonal, minimalist, high-detail territory. The pieces are indeed unique, and I’m assuming the titles are indicators of the origins of each. However, at the same time, the pieces share much commonality, with pulsing rhythms providing the focus and the form. None of the pieces really evolve, as much as they trundle along a preset groove. Repetition takes precedent over development, the compositions – such as they are – standing as cyclical, looping phrases, occasionally punctuated by extraneous noises. It’s all strangely cold, clinical, detached: Batch0008 very much feels like the document of a series of experiments, far more than it does an album.

The digital edition contains a seventh track, ‘Swelter’. This also feels like a document of an experiment, another three minutes of electronic pulsations, glitching beats and rhythmic ebb and flow.

As an audience, we probably take from this less than Matt Nish-Lapidus, but, by the same token, there’s an element of shared engagement here, and if Batch0008 is a document of his evolution as a kit-builder, it’s also a journey on which we, as listeners, are involved.

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Forking Paths PF0013 – 13th July 2018

Christopher Nosnibor

With a title referencing William Gibson’s Neuromancer, L5 finds maker of experimental minimal electronica New Tendencies explore an array of textures and tones with a real focus on the space around the sound. Sonar bleeps warp into whistles of feedback, consumed by underwater monsters and sonic detonations that linger like a heavy cloud of smoke, dust and rubble.

The shifts aren’t always delicate, the tones rarely gentle: the listener is dragged and hurled from high to low, abrasive, serrated edges sharpening the intensity of upper frequencies juxtaposed with rumbling, muffled lower ranges which pull at the pit of the stomach. The album’s ten compositions – which, given the way New Tendencies pull, drag, stretch, twist, and manipulate, are perhaps as well described as decompositions – are affecting by virtue of the physicality of the sound, and this in turn provokes a cerebral response.

Ordinarily, I find abstraction gives rise to an analytical rather than emotive response, but L5 is a different beast. The beats and rhythms – however diversely they manifest (and they range from distorted, crunching poundings to EQ-tweaked whiplash cracks via blasts of static) – create a sense of structure, however vague, a frame on which to hang the infinite varieties of noise, and thus draw the pieces back from absolute abstraction. And with the combination of structure and sonic impact comes a different type of response. Instead of seeking to analyse the technique, L5 invites the listener to feel the effects. And the effect becomes emotional on a certain level: the rippling waves and vibrations test the tension levels, pushing the up and pulling them down. Tense, intense, and at the very least, interesting.

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New Tendencies – L5