Drone Records
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Format: CD
Label & Cat.Number: Firework Edition Records FER 1102
Release Year: 2012
Note: MICHAEL ESPOSITOs "ghost" sounds (EVPs) received at the American film studios in Santa Barbara, CA, serve as basis for diverse single tracks and collaboration pieces by all three artists => intense musique concrete made out of hissing voices, crackles, rumbling sounds and drones.. lim. 300 only
Price (incl. 19% VAT): €13.00

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"A three-way collaboration by Chicago based sound artist and renowned researcher in the field of Electronic Voice Phenomena Michael Esposito, Hamburg based operator of the Fragment Factory label Michael Muennich and long-time conceptual/performance artist, filmmaker, writer and core member of The Haters GX Jupitter-Larsen from Los Angeles. The origin of this project was a field investigation conducted by Esposito at American Film Studios, Santa Barbara, CA, additional sounds recorded by Michael Muennich at Fragment Factory, Hamburg during 2011
2012, edited and processed by Michael Esposito, Michael Muennich and GX Jupitter-Larsen in the course of 2012. Edition of 300 copies." [label info]


"Over the last few years I am more and more 'exposed' to the music of Michael Esposito, or should that be 'the work of'? It's work/music that has to do with the voices of the dead, the EVP, and he works with a variety of musicians. Here with GX Jupitter-Larsen (best known as The Haters) and Michael Muennich, the label boss Fragment Factory. Not always all three of them together, but in various combinations. You could try and figure out which these combinations are, but the print is rather fine here. The release is dedicated to Audrey Munson, an actrice of the silent era, who after the arrival of the talkies spent the rest of her life in Ogdenburg Psychiatric Institution. Maybe that's where Esposito caught her voice - from beyond of course? For reasons unknown to myself, I expected something that was more noise based, but that's not the case here. It's, in fact, all rather subdued, quiet, with loops of found sound, hissing, ticking, with voice material dropping in and out of the mix in some of these pieces, such as the very nice title piece. It all seems devoid of real noise and that's great, I think. It's more like a radio play of highly obscured sounds, always looping around (perhaps one could hold that against the total release? Without being necessary), with all of these ghostly voices spooking around. Its however not really an unsettling release - these seem like friendly ghosts to me. An excellent release, like I think most of Esposito's releases of late a very good." [FdW/Vital Weekly]