Moreover, Suárez has been able to develop something quite bold in the realm of field recordings, this is his ability to have a certain sound identity that defines his oeuvre. Through the usage of silence, textures and noise, Suárez has been able to create a very personal and creative sound world that ultimately becomes a language by itself.
After his acclaimed work “Transit Mundi” (Luscinia 2012) Suarez has been developing that very own language, following that premise, a month ago Exp_Net released “O Tempo Do Desengano” which explored similar accents and phrases such as the ones found on this album but reversing the sound sources. In the album at Exp_Net Suarez focuses on the us e of a modular synth (Doepfer A-100) and here, with Fin Da Terra, Suárez tries to do the opposite, to work mainly with field recordings and just a bit of analogue synthesis.
Fin da Terra is a compositional exploration of sounds gathered in costal areas, beaches, breakwaters and different locations in the Atlantic galician coast, where Suárez currently lives. What’s interesting of this piece is the usage of those recordings and how they have been moulded to become “voices” at the service of Suárez sound language.
Also, Fin Da Terra uses field recordings as a canvas, a surface where to play different experiments and combinations. The soundscapes are relegated and become background to the sonic accents that define Carlos Suárez oeuvre, even, he allows himself to add, here and there, elements such as a modular synthesizer that appears hidden but present if we carefully listen as a reminder of his previous work on Exp_Net.
The overall conclusion is that Fin Da Terra cannot be understood if not listened after “Transit Mundi” and “O Tempo Do Desengano”, all of it form a consequent evolution and exemplification of creative process.
Adduce are not two disassociated brains, but four functioning as a trio. The equilateral triangle between three hard drives with faces, eyes and beards. I have seen them live several times and always consider the difficulty of achieving this level of performance, so absorbed, not by the act of entering the required tempo or playing a certain note, but rather by the unfolding developments that create this conversation that you don’t ever want to end, and which in reality doesn’t ever end, because this inconclusive construction always remains ringing in eternal evolution.
Here is the path that gives meaning to the journey, not the destination, which in the case of Adduce may be many.
The form opens itself and shows us the tracks of a geometric and organic puzzle, sometimes disturbing and other times suggestive, but always an invitation to stroll along the ledge of the highest tower, from where only silhouettes distinguish themselves on the horizon, but which allows the widest panoramas.
ADD+ has no era nor time nor place: it floats in the weightless space of two brains, which I insist seem like four!
ADD+ is a gem that can help us to daydream or to imagine a new kind of retrofuturistic science fiction. The imagination of power!
Miguel Conejeros
Barcelona, november 2013.
Stylistically, ‘Hyper’ sees Vegas Diamond traversing the musical ideas of Monodeer and Nullsleep, and setting up shop somewhere in the middle. The melodies are genuinely otherworldly; atmospheric and seeping emotion, cascading over the dense textures that make the release sound so huge, and the beats hit like sledgehammers on concrete, loose but still incredibly strong.
Richard Sanderson- Melodeon, Footpedals ElectronIcs, Wind-Up Gramophone,
Contact Microphone, Field Recordings.
These pieces were recorded at home in Hither Green, usually on Friday afternoons when the housework was done and before the kids came back from school. As with my previous album of melodeon improvisations the instrument was recorded in three different ways â using footpedals (wah, distortion and pitch change), pushing it through contraptions made with Audiomulch software on my laptop, or augmenting it with other sounds â in this case, field recordings and a wind-up gramophone. The gramophone was recorded with a contact microphone (made by Jez Riley French) attached to the needle, or to a toothbrush. âAbove The Breakersâ was played on pre-WW1 one-row melodeon, all the others were played on a D/G Hohner Pokerwork. The title of âFlim Flamingoâ was suggested by Gary Widdowfield.. âVelux Dopplerâ was created from two field recordings- one of Beckenham Parish Church Bells, the other of the rain falling on the roof window of my bedroom. The field recordings on âShadeâ were made in my garden. The tracks were recorded 2011-13 and assembled November 2013. Thank you for listening.
2vaportronica2 [0kbps049]
01 – Vaportronica2
02 – To listen while fingering
MAV [0kbps] Records, November 2013
Raw Material II [0kbps048]
01 – 01
02 – 02 – The loop
03 – 04
04 – 07 – Roma Tunnel
05 – 08 – Roma Metro
06 – 09 – Bologna Train Part 1
07 – 09 – Bologna Train Part 2
08 – 10
09 – 11
10 – 12
11 – 22 – Part 1
12 – 22 – Part 2
MAV [0kbps] Records, November 2013
Tracklisting:
01. eM – Midnight Freekparad (4:56)
02. eM – Boxer (5:48)
03. eM – Can’t Escape (5:42)
Tracklisting:
01. Octavio Tshelebi – Parrallel (Short) (7:30)
02. Octavio Tshelebi – Rythmo (Edit & Extended) (6:37)
03. Octavio Tshelebi – Parrallel (X) (9:30)
04. Octavio Tshelebi – Tshelebiworld (6:37)
05. Octavio Tshelebi – Tshelebiconfusion (5:33)
06. Octavio Tshelebi – Risperdal (6:48)
RELEASE DATE: 2012
LABEL: YPQN RECORDS
LENGTH: 06:23
BPM: 126 BPM’S
KEY: Cm
