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Label & Cat.Number: Attenuation Circuit ACLE 1009
Release Year: 2014
Note: surrealistic low fi / noise music by this North German duo on their first outing, camouflaging the original sounds in washes of distortion, feedback and noise until they are unrecognizable and alienated in a strange way... "an intriguing sound puzzle"... only 20 copies made !
Price (incl. 19% VAT): €7.00
More Info"Surrealist collage is the name of the game that Glenn Hollstein and Holger Bischoff play, both in their cover art as well as in the 45-minute sound piece it enfolds. Church organs criss-cross with voices from faraway, sounds of unidentifiable objects and strange, disembodied frequencies. A labyrinthine, slightly halluzinogenic sound trip.
The attraction of this work is in the way that it combines concrete sounds in ways that make them unfamiliar, draining the referential from it not by processing, but by combining them with other sounds. So it is totally clear that one is hearing human voices, but it is impossible to make out in which language they are speaking. Likewise, hardly any other instrument or sound-source is really recognisable, although none of them are clearly of synthetic origin. An intriguing sound puzzle!
File under: Sound art"
"Yes, it's really Konkete and not Konkrete Anti Wulst and it is a duo of Glenn Hollstein and Holger Bischoff, who have this sort of surrealist action in their music and art. I didn't hear from them before. Their credits go out to 'instruments, voice' and 'instruments, objects, tapes, voice'. Surrealist + music and I always think of Nurse With Wound with such a combination. That is only partly true in this case, as this duo operates on a much louder, noisier level. There is one piece here, forty-five minutes, of noise that is created with all electronics, all voices and all objects being treated with a chilling amount of reverb. In a way, to make a Nurse With Wound connection, I am reminded here of the '150 Murderous Passions' record, the Nurse With Wound/Whitehouse record (never properly re-issued). Maybe a bit less loud here, but with a similar approach to a wall of feedback/sound and far away voice material, as well as the rumbling of acoustic objects in the basement. It works best when the voices are a bit better to hear and it's less muddy, towards the end more than in the early parts of this piece. A very consistent piece of music for sure, perhaps not entirely new or innovative, but actually quite enjoyable. A grey rainy summer's day gets the perfect soundtrack!" [FdW/Vital Weekly]
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