From the sub post electronics MirrorFacingMirror starts with an eclectic and disconcerting
sound (not being able to establish whether it is organic or synthetic) just live … it ends up
with any idea that electronic music does not stop surprising us from this duo of American
artists who work in the specific field since the 90s, become a myth.It is more extreme and powerful in the case of RestlessDecay where the rise of American
experimental electronics and its millions of patches and prototypes created by these
pioneer artists of America.
01. PPFPESSco. – Morons, Birds, and Monsters (mmmm… yeah) 07:29
02. PICA – Who Committed This Heinous Crime & What Motive Did They Have? 09:46
03. SRVTR – room-mirrors 10:00
04. SHALLOWER – Return Orbit of the Silver Star 08:29
05. FOLTERGEIST – Die gefressenen Kinder schweigen 09:18
M.A.K.T. Sono ‘s new release TTTango is an improvisation recorded in november 2018 by Magali Albespy & Kecap Tuyul with the same kind of lo-fi set-up as the one used on album “11 Songs”
Magali Albespy : amplifiers, microphones, synthesizer, voice.
Kecap Tuyul : amplifiers, microphones, synthesizer, mix.
“On her back over distances rode not even a bird.”
(Liliana Herrero, Confesiones del viento)“When we look in our environment for the elements that can condition or enhance our character, the ways of bonding, the ways of our expression, we usually fix our eyes, our feelings and think about the earth that we tread, that we inhabit and that inhabits us. Its geographical features, its colors and textures. The species that thrive in the conditions that it positions before us. More difficult is to account for how the air defines us. Being an invisible matter and much less tangible than a piece of rock, to think of ourselves surrounded by that elastic medium and to meditate the consequences of that immersion is less probable. How is it that the air that surrounds Inti every day from the place on the planet where she decided (or not) to situate herself, to dwell and create, conditions and enhances her art? ‘Gran Madre’ (pn143) invites me to that exercise.
In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?
Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.
Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.
So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.
In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”
The project has existed since 2014. Located in Moscow, Russia.
Concerning the name of the project: in Spanish, “que” means “what” or “what,” so the name can be considered as the question “what to fear?”. In Russian, the word pronounced “kefir” (or “kephir” – a fermented milk drink).
I’m interested in experimenting with sound. I like to combine different noises and strange samples, effects. I love to improvise.
I use a variety of tools, from traditional to homemade. MS-20 Mini, Kaossilator and Kaoss Pad, the Mopho Keyboard, LYRA, casio sk-8. In addition to them, I use different percussion, tambourines. I impose noise and sounds recorded on the telephone recorder. Sometimes I add my poetry and lyrics.
The result is a kind of collage, a mixture of sounds and noises.
“Melting Clinamen” was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.
Methodology of the Frozen Clinamen serie
step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences.
step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up.
step (3) Repeating steps (1) & (2) several times.
step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels.
step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.
“angst vs. anticyclic new trauma guarded and ripped despite engagement”
01. DYSTOPIAN LEGACY – Støberiet 08:59
02. experiment#508 – The Path Was Clear 11:58
03. CHANGING PERSPECTIVES feat TEETH OF DIVINE – The Green Book 09:03
04. SOFIA BERTOMEU – Abstract Thought 06:53
05. STUDIO KO-OP – Don Trumpee 11:08
Since their beginnings in February 2018, M.A.K.T. Sono (Magali Albespy and Kecap Tuyul) have been experimenting with different set-ups and ways of playing. Amongst them, they like to play both on the same instruments / set-ups in the same time. It’s what they did on ‘UNK.0, an improvisation played on a no-input mixer. The other tracks of this EP are electronic compositions by Kecap Tuyul and Doedelzak using this improvisation as only sound material.
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