Released by Pilot Eleven Netlabel (PE16).
www.pilot11.co.uk
released October 26, 2018
Cover art by Nikolai Krabbe – www.instagram.com/nwolfenheim/
Mastering by Dudley Ramsey – m.soundcloud.com/damsai
Desain Cover oleh Teknovoid
Logo Gabber Modus Operandi oleh Billy Agustan
Improvised music by Holzkopf using a sampler, MIDI controlled feedback, a pretzel with paper bag and a beer bottle.
live @ Ganze Bäckerei, Augsburg, 07.07.18
recording, mastering, photography and design by EMERGE
Holzkopf is Western Canadian musician Jacob Audrey Revington Taves. A decidedly non-traditional musician, they have mainly used budget bin samplers and drum machines in combination with tape recorders, mixing board feedback and raw data sounds. Varying from deconstructed dance music to harsh rhythmic noise to delicate and soft soundscapes, Holzkopf performances channel influences as diverse as industrial, dub, microsound and gospel musi
Complex rhythmic combinations, constantly getting faster to the point of losing the structure and becoming a vast halo of drum-like noise tearing the last orchestral sounds, that couldn’t get ready for an end of a process that didn’t even start, and hopeless melodies that aren’t sure if they are supposed to exist.
Having difficulties to cope with worsening states of disorders, Event leaps to search for an answer by removing the definitions completely and allowing to make connections again, to feel attached to things that were once familiar and welcoming. Knowing that this way of searching for the source of the disorders will lead to a failure, by not being able to relate to those things, renders them strange, wiping all of them away. But one of those gets stuck, resisting to go away and holding everything together. The Event leads itself to disengage from everything that could be described with a definition.
These recordings can be considered as documents of this practice. Indeed they are such documents, especially for people who were involved in the sessions. But we think that they also have a fragile and surprising beauty of their own that deserve an independent life for your listening. This unexpected musicality has been discreetly stressed by the editing choices, which we can consider like a delicate work of “a posteriori composition”, a work made with respect for the uniqueness of each sound event and their kind of abstract narrative power. That’s why we hope that you will enjoy these atypical works.
Credits :
Recorded and edited by Magali Albespy.
Pictures by Anne-Catherine Nicoladzé (front cover) and Emmanuelle Huchet (back cover)
Featured performers :
Magali Albespy, Jean Bloch-Laroque, Suzanne Cotto, Antoine Freychet, Chloé Garat, Flora Gaudin, Camilla Gliozzi, Virgine Gouband, Emmanuelle Huchet, Paul Kauffmann, Guillaume Lecamus, Laurence Luminet, Blandine Minot, Stéphanie Moitrel, Martine Muffat-Joly, Anne-Catherine Nicoladzé, Olivier Pelletier, Stéphanie Puechavy, Regina Ramsl, Anne Savelli, Kecap Tuyul, Donata d’Urso, Sig Valax, Mandoline Whittlesey
Magali Albespy is a dancer and performer. She likes to question the borders between formats and artistic disciplines. She explores real-time composition with body, video and sound. As a musician, she also plays in M.A.K.T. Sono and Mesce Basse.
“Pueblo Nuevo Netlabel is always honored to present. This time it’s my honor -and I really mean it- to present #soloshow, recorded by the very talented Gerardo Figueroa.
The story begins when Lorena López Araya, Chilean artist based in Villa Alemana, gave Gerardo a series of audio files containing readings of poems of her own to “do as he pleased”. This was 2016. A couple of years later, he selected fragments of one of those files and decided experimenting with them at a very special occasion: an improvised live-act in the context of a poetry festival in Padre Hurtado, where he shared his choices using a DJ software (Mixxx).
#soloshow is mainly and strictly organized around the poem, so each and every sound/noise in it is nothing but a mixed-up/looped/reversed/accelerated/paused single female voice. Volume goes up and down sometimes, speed and pitch also swing. Sometimes, words mingle in unison, becoming strange and detached, with no clear message behind.
Inside Inside Inside Inside is repeated several times, while words like hurting, crack, pouring pouring and oscillating are heard louder. Deconstructed and reconstructed verses, ordering/disordering patterns, altering the way we are used to listen to poetry. Words tend to disappear, resurfacing reversed, in seductive, odd-to-listen, hard-to-write utterances.
Sewing machines, a Ford factory with a row of ladies working, alienated; a rusty, slow truck down the countryside, an electric hammer breaking up some hard cement, a plane moving propeller before taking off, a minimal music electronic party or an Atari machine stuck in the middle of a game are some of the sounds this record seems to evoke, in seamless fashion.
It is not an easy record, this one: #soloshow is a poem turning into a sound piece, mixed and remixed using a limited amount of effects, turning prose into a journey through noise, in a deep sea, full of different textures, where voice becomes something so disparate you can’t even trace the source, a poem crowned with an powerful, alluring image:
D I R T Y B L O O D.”
Camila Sierra Madrid
(Santiago, Chile. Octubre / October 2018)
Ghettojukebox is not an album, it’s a finger pointing to what’s going on. Eight compositions – eight metaphors for different, quite specific situations that took place in the Russian reality in the fall of 2017.
If images, such as photography, can reproduce the moment, then the sound restores the experience of the moment itself. Any sound is born in the oscillation, the reality vibrates chaotically, and tongues shake the air of what’s going on, filling the space with feelings, giving birth to a deep, unique vibe, in a tangle of perfectly natural rhythms.
My artistic task was to fix impulses and vibrations of the situation inside the situation and to transform them into the vibrations of your speakers. Using the natural plasticity of sound as a material, I made a kind of map, under which the listener has the opportunity to set foot on the territory woven from the material of paneled five-story building and the blackened boards of forgotten Russian villages. In the ratio of noise and silence to hear the mysticism of the forest, to feel people, dogs and the life of the Russian periphery.
