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ARTIFICIAL MEMORY TRACE (AMT) - Interception V

Format: CD-R Label & Cat.Number: Attenuation Circuit ACK 1022 Release Year: 2016 Note: one-tracker (79+ min.) with another "immersive field recording" composition by AMT, lim. 50 copies only! "The juxtaposition of the sound sources generates a thick mass of sound in which some element is put in the foreground and, when the dog's recording marks the third part of the track, it's unpredictable an expiration of sound details immersed in a quiet soundscape where all elements of the first two part return creating a sort of abstract narrative." [Chain D.L.K] Price (incl. 19% VAT): €6.00 Warning: Currently we do not have this album in stock! More Info artificialmemorytrace.com Artificial Memory Trace: Interception V. Intercepted 12.7.2015 in Eire by Slavek Kwi. Some sounds were generated from field recordings of Porya Hatami. Thanks! "Our massive trip in the recent releases by Attenuation Circuit continues with the longest of the lot, the nearly eighty minutes of music by Artificial Memory Trace. Slavek Kwi never seems to be doing a release that is shorter than that. I complain off and on about the length of releases, and while I think forty minutes of strong music is to be preferred over sixty or more of mediocre music and that not every CD has to be filled up, I'd like making an exception for the music of Kwi. His treated field recordings simply work best when they are a long head-trip. I am never sure what it is that he does, in terms of processing and editing, but there is a large amount of field recordings at the basis of all of this, and Kwi specializes in using birds and insect sounds, but on 'Interception V' we also hear the barking of dogs and bells. Beyond that I am not sure what he does. All of this might very be dealing with time stretching and/or granular synthesis, but the sounds are easily recognizable for the most part. In 'Interception V' development is very minimal but every now and then sounds are added, but not easily removed from the mix, not until, so it seems, the forty minute break, when lots is gone and few remain. In the remainder the piece is a bit more stripped down but throughout it seems to be using the same sound sources, and the final ten pieces everything moves into computer abstraction. It is all a kind of action music, I think. Have bunch of sound running and adding processed versions thereof when needed. Maybe a bit less refined than some of his work, but a most lovely release." [FdW/Vital Weekly]