Your cart (0 item)

ZSOLT SORES - Astro-Noetic Chiasm (Ahad's Flux Worlds 2)

Format: LP Label & Cat.Number: Fourth Dimension Records FDLP136 Release Year: 2023 Note: Z SORES is an Hungarian experimental musician, curator, sound-artist, who worked with J:-H.PERON (FAUST), THANOS CHRYSAKIS and many more.. => this stunning 42 min. multi-layered electro-acoustic drone piece was performed live at "Ultraschall Berlin" in January 2022, feat. for example JUDITH HAMANN on Cello.... *In listening to Astro-Noetic Chiasm by Zsolt Sorés, one quickly has the impression that the sounds being heard are coming from an anomalous nowhere* - lim. 300 GREEN vinyl, DL code Price (incl. 19% VAT): €20.00 More Info Representing Ahad's 'Flux Worlds 2', this album arrives as the companion to the 'Flux Worlds 1' DOUBLE-CD, 'Memo Point Soundmap...'. Recorded live, 'Astro-Noetic Chiasm X' once again takes us through an immersive setting where real time electronics converge with improvised viola, percussion, cello, trumpet, synths, gadgets and so on to create vast washes of avant-garde turbulence that assumes a stance rarely seen outside very early electroacoustic- flavoured kosmische music or abstract droneworks. https://hingethunder.bandcamp.com/album/astro-noetic-chiasm-ahads-flux-worlds-2 In listening to Astro-Noetic Chiasm χ by Zsolt Sőrés, one quickly has the impression that the sounds being heard are coming from an anomalous nowhere. As if they were not generated here but received from there. They simply sound otherworldly. So, what is their actual address in space and time, as well as the sender’s or the receiver’s? How are we to identify them? We could of course try to single out the sonic settings and processes we hear according to the technology that produced them (unconventionally played musical instruments and diverse electronic sources), but this strategy would be counterproductive in terms of poetics. Sőrés is not a technocrat and the titles he gives to his pieces reference philosophical concerns that are represented both conceptually and sonically. In his dystopic sonic fiction he is a time traveler, but not the one we know from science fiction; rather than going against time to generate an extraterrestrial experience, he composes present, past, and future the way we compose our percepts, affects, desires, or utopias. Once the sound he or his sonic collaborators create starts to evolve in space-time, the battle to control its identity begins. This does not necessarily mean mastering a sound in terms of appropriation, but grasping it conceptually, purposefully registering its existence in order to use its physicality as a potential means of expression. Naturally, not all generated sounds are worthy of Sőrésʼs aesthetic attention or utilization, only those that his experience identifies as suitable vehicles for significant differentiation. This happens in real-time, composed improvisation, scored for five musicians; on this recording are trumpet player (Franz Hautzinger), two cellists (Anthea Caddy, Judith Hamann), sound effects producer (Mihály Kádár), and Sőrés himself playing viola with the help of various objects and devices. And so, welcome to Ahadʼs sonic garden and lend your ear to the flux sound manifestations of “astro-noetic chiasms” that are woven successively and synchronically into a pliable decentralized patchwork, visually represented by the hermetic symbol χ in the pentagonal “middle” of the non-hierarchical score. Sőrés as composer does not approach his work in a centralizing way, he designs flexible structures so that musicians can playfully recombine and deconstruct the entire central structure and linear order. Ahadʼs creative philosophy simply refuses to think in terms of a restrictive and pointless metaphysics. Jozef Cseres April 2022 "For a moment, I thought this was the re-issue market going bonkers. Didn't I review a CD with this title two weeks ago? While I said, it was the best piece on the CD, I don't think it needed a re-issue on LP immediately. I am wrong, of course, not for the first time. I am just confused by the words 'Flux Worlds'. Effectively, this LP is an extension of the double CD and contains a recording from a concert from January 2022 at the "Ultraschall Berlin - Festival für Neue Musik" at Heimathafen Neukölln, and Zsolt Sőrés plays with some guests, such as Franz Hautzinger (trumpet), Anthea Caddy (cello), Judith Hamann (cello) and Mihály Kádár (live sound, effects). The man himself is on the 5-String Viola, Cymbal on the Top of the Viola, Vibrating Objects, Mole-Rat Electromagnetic Field Explorer, Domino Synth, and an EBow. One Jozef Cseres delivers the liner notes, which I didn't quite comprehend, but I loved the words "sonic fiction" in there. I understand there is some composition at the core of all of this, but I believe there is some freedom of interpretation. Like with his double CD, improvisation plays an important role, going hand in hand with a love for all things sonically forceful. This LP connects to the final piece on the 2CD in that this is, most of the time, at least, a work of loud, aggressive droning. The instruments are all amplified, there is some voice material (on the second side), and the ritual aspect plays a role. I wrote that this is the kind of music by Zsolt Sőrés where I can see a dialogue with sounds and instruments, and that's what works best here. Buy the LP and download the music; thus, it is possible to enjoy the whole work uninterrupted. I know, people like vinyl, but in work like this, I think the constant flow is an important factor for enjoyment." [FdW / Vital Weekly]