They focused in a dark ambient atmosphere, with diverse elements like noise, spoken word, field recordings, minimalism and drone music. It’s a conceptual album, with allusion to moments of reflexion about different themes.
Review / Reseña:
“La musica de Pablo Reche es un desafio y reclama un esfuerzo por parte del oyente, un perceptor que vive en una epoca en que existe una gran cantidad de material musical disponible para el publico y en que los modos de escucha se han vuelto fragiles mediante el zapping, los altos niveles de compresion en las masterizaciones y la transformacion de ciertas musicas (por no decir la mayoria), en accesorios tribales sin valor en si mismos.
Este trabajo del artista argentino requiere una escucha activa. No es un material que pueda ponerse de fondo y menos en parlantes mezquinos. El audifono podria ser un dispositivo util, siempre que la actitud sea de atencion y no la de una escucha de acompañamiento para cualquier otra actividad.
¿Pero, por que estos requerimientos?.
Reche nos entrega un pieza que en sus casi 18 minutos y medio progresa delicadamente a traves de zumbidos electricos que tienen una componente compleja, mezclando ciertos tonos con distorsiones. A estos “drones” se suman en distintos momentos algunos materiales de ruido muy probablemente provenientes de grabaciones de campo. El flujo de estas sonoridades es de un desarrollo y fluctuaciones delicadas, pero no por ello escasas. La atencion y su propiciacion mediante condiciones de escucha aptas permitirian una apreciacion del dinamismo de la pieza y, al contrario, una reproduccion donde existan materiales enmascaradores (ruido ambiente, zumbidos de pantallas y otros aparatos), junto con una pobre reproduccion, impedirian la correcta estimacion de todos estos detalles.
Si bien el trabajo se enmarca dentro del habitual caracter contemplativo de Reche, todo ese movimiento que comentamos mas arriba junto con un despliegue en distintos estratos del espectro, nos hace percibirlo como uno de sus trabajos mas consistentes, por supuesto dentro de nuestra acotada opinion.”
“Pablo Reche’s music is a challenge and it demands effort on the part of the listener, a recipient who lives in an era in which a large amount of musical material is available to the public and in which the modes of listening have become fragile through zapping, high levels of compression in mastering, and the transformation of certain musics (though not necessarily the majority) into tribal accessories without value in and of themselves.
This work by the Argentine artist requires active listening. It is not material that can be placed in the background, and even less on paltry speakers. Headphones may be a useful device, but always with an attitude of attention and not to listen as an accompaniment for any other activity.
But why these requirements?
Reche gives us a piece that in its almost 18 and a half minutes delicately progresses through electrical hums that have a complex component, mixing certain tones with distortions. To these “drones” some noise materials, likely derived from field recordings, are added in certain moments. The flow of these sonorities is one of development and delicate fluctuation, but not through scarcity. Attention and its propitiation through suitable listening conditions will allow an appreciation of the dynamics of the piece and, to the contrary, a reproduction where there are distracting elements (ambient noise, hum of screens and other devices), along with a poor reproduction, will impede the correct estimation of all these details.
Although the work is framed within the usual contemplative character of Reche, all this movement discussed above, together with a deployment in distinct strata of the spectrum, makes us perceive it as one of his most consistent works, of course within our humble opinion.”
Alejandro Albornoz (Mankacen)
Santiago, diciembre/december 2013.
Creditos / Credits:
Grabado, mezclado y masterizado por Pablo Reche, en Buenos Aires 2013 / Recorded, mixed and mastered by Pablo Reche, Buenos Aires, 2013.
Contacto / Contact: rechepab(AT)yahoo.com.ar
Diseño y retoque fotografico / Artwork and photoshop by Mika Martini (mikamartini(AT)yahoo.com).
Version en ingles / English version by Ryan Bodiford. (bodiford(AT)umich.edu)
Revisa mas noticias sobre nuestras actividades y la cartelera completa de presentaciones en: / all live_act and news info at: http://www.pueblonuevo.cl
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.
“Remember the clear light, the pure clear white light from which everything in the universe comes, to which everything in the universe returns; the original nature of your own mind. The natural state of the universe unmanifest. Let go into the clear light, trust it, merge with it. It is your own true nature, it is home”.
(Tibetan Book of the Dead)
“If you light a lamp for someone else,
it will also brighten your path”.
(Buddah)
“Sometimes our light goes out but is blown again into flame by another human being. Each of us owes deepest thanks to those who have rekindled this inner light.”
(Albert Schweitzer)
Tapes/CD-Rs of this release available on demand
released 26 November 2013
Compiled by Zachary Corsa and Joseph Sannicandro
1. Take a Sound. Do Something to It. Do Something Else to It.
2. A Multiplication of Voices (for Steve Hilmy)
3. Coda: Watching the Watchers
“Take a Sound. Do Something to It. Do Something Else to It.” and “Coda: Watching the Watchers” are two live improvisations for amplified double bass and real-time electronic processing recorded at An die Musik in Baltimore on 14 June 2012 and at Dance Exchange in Takoma Park, Maryland on 21 January 2012. “A Multiplication of Voices (for Steve Hilmy)” is an improvisation for solo double bass processed post-performance with the Granulab synthesizer program in April 2013.
Steve Hilmy: electronics (on “Take a Sound. Do Something to It. Do Something Else to It” and “Coda: Watching the Watchers.”)
Daniel Barbiero: amplified double bass and granular synthesizer (on A Multiplication of Voices)
Cover art by Chris Lynn
made and intended for minidisc use by Melophobia
recording date : 08 April 2011 (Friday), Tate Modern, Bankside London UK
production / mastering date : 12 June 2011, Greece
six tracks running also as a unedited one of total time of 56’32”
another seventh track with heavier production/rework added as bonus (05’49”)
made and intended for minidisc use by Melophobia
1. NK / Nino Lo Bue – Perceptions
http://bandcamp.musikpiraten-ev.de – 2013
2. D.Tek – Indian Ocean
http://www.deepxrec.com – 2013
3. Jari Pitkänen – Uoy Revo Peels Esol I
http://enoughrecords.scene.org – 2013
4. Desh Alb – capitolo 3
http://www.batenimnetlabel.net – 2013
5. MOC – Fantômas
http://www.phonocake.org – 2013
6. Marino69 – Our Forest (Original Mix)
http://www.melodica-netlabel.com/ – 2013
7. Telegraphy – Space Squared
http://ionosonderec.webs.com/ – 2013
8. The Shining Men – Delusion
http://theshiningmen.bandcamp.com – 2013
9. BaaskaT – Freeride (w/ Niels Tjoen)
http://dustedwax.org/ – 2013
10. Gumbel – Voices of Hidden Traumas
http://gumbel.bandcamp.com – 2013
11. Pandacetamol – TRB Moss Haiku (gathered)
http://rec72.net – 2013
12. Meaning Of Life – One Year Later
http://deeplakerecords.weebly.com/ – 2013
13. Lingua Lustra – Violet
https://soundcloud.com/lingua_lustra – 2013
For full playlist and HQ download visit: http://www.klangboot.de/?p=906
In 2002 some recordings I had made in this way were broadcast on London’s Resonance fm radio as a weekly series called Vocal Strolls. Richard Sanderson was splendidly enthusiastic about them at the time and has invited me to create a new collection for this album.
These works were all made on a visit from my new home in USA back to London in March and September 2013. It has been a great (and slightly nostalgic) pleasure to re-tread old walks and also to find new ones.
-Viv Corringham
Recorded and Performed by Viv Corringham
Viv Corringham – Voice
London – Sounds
Deep drones with sweeping frequencies in tracks organized like struggle between sounds.
Bleak Fiction (Argentine)
Bleak Fiction was born in 2011 by Ezequiel Lobo.
His first release “Lucidness” reflects ambient with drone structures,
while his latest albums are darkest with noise passages (Translucent Ghost, Unseen Isolation EP).
In 2013 he finished his second EP “Daylight” and the split with Crimson Mourn and Kraai.
The names and concepts are oriented to meditation, hope, loneliness, thoughts, depression and dreams.
Crimson Mourn (Spain)
Crimson Mourn is solo project by Mauro Beltrán.
He released his first album, Our Eyes Were Closed (2011), with 17 years.
Then he released Bring Your Desires Here (2012) and after more than year of troubles,
he’s back working on new stuff and the third and last album.
