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Label & Cat.Number: Korm Plastics KP 3008
Release Year: 2002
Note: 12 studio collaboration pieces (55 min.) by two of the US American masters of sound-processing: all acoustics here are derived from feedbacks only, which were transformed, (re)sampled, (re)processed, (re)contextualized with phantastic results !! No boring moments, no standard sounds.. super abstract & atmospheric pure electronics... "At peak intensity, their jagged music threatens to pierce the skin."[ The Wire]. BACK IN STOCK !
Price (incl. 19% VAT): €13.00
More Info“ New York's David Lee Myers and San Francisco's Thomas Dimuzio shared a stage at Tonic in New York City in March 2001--Myers' first public performance in ten years--which immediately sparked a year long regenerative process. The ensuing 2001-2002 project actually picks up where a paused 1991 collaboration for the Generations Unlimited label left off.
Myers' first round of source material represented a veritable sound library of feedback tones, texture and contours for Dimuzio to compose from. The structures Dimuzio created, along with several tracks of feedback-induced source sound (recorded for their project 10 years prior) were sent back to Myers for additional manipulation and arrangement; the result of this phase became the first section of their new effort. A second stage involved Myers sending material (from a rehearsal for an upcoming performance) to Dimuzio, who sliced, diced and reworked the sounds into a series of in-depth sonic beds, eventually returning the mixes, along with a new disc of live-sampled feedback, to Myers who reworked and honed them into the second half of the album. The product of these manipulations is titled 'Uncertain Symmetry', the result of a bicoastal ping-ponging which is an even balance between the two artists--symmetrical—but which the specific contributions from each can no longer be determined.” [press release]
"Some 12 years ago, West Coast electroacoustic composer Thomas Dimuzio and feedback sculptor David Lee Myers were working on a collaboration, when Myers abruptly dismantled all the feedback machines, which he had used on the stunningly bleak albums Also Sprach Zarathustra and Trout he made under the name Arcane Device, and ceased producing his brand of metal machine music. Happily, he is now back in business, and here he rekindles his long stalled collaboration with accomplished sound manipulator Dimuzio. His feedback machines might be ancient history, but Myers retains his lust for their tonal fibrillations. For their pointillist exercise in the use of feedback, Dimuzio and Myers filter, slice and twist their sonic waste into icy, cascading slivers. At peak intensity, their jagged music threatens to pierce the skin." [Jim Haynes, THE WIRE]
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