BLACKHUMOUR / GX JUPITTER-LARSEN — Xylowave
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Überraschende Split-CDR der Voice-Only-Tape-Legende BLACKHUMOUR und dem Radikal-Perfomer GX aka HATERS.
Ein sehr kurzes, typisches BLACKHUMOUR-Sprach-Cutup-Stück am Anfang (es bleibt unklar ob das neues Material ist oder etwas aus dem Archiv), danach minimales elektronisches Fräsen, welches sich in loopiger Bewegung ins Hörfeld summt.... ultra-minimal, kein noise, aber disturbing as anything! Kommt im Brottüten-Müll-Cover, each one unique!
“....Each of the packages contains a found object from the street or empty places, all collect over the last +5 years (friends of mine know what I mean! never planned for this release, but I like that I don’t use it for other art or releases. in each paperbag is for example a old and fucked up: tin can, piece of dirty rubber, plastic or cloth, or just old paper. Both, the object and the paperbag are wrapped in plastic bag. The cdr is outside on the plasticbag.
blackhumour is playing a +3minutes track called: xylowave, gx jupitter-larsen following with: xylowelle in over 50 minutes. very unique stuff from a soundpoet and a boy who build his own world to look through!
For everyone who don’t know much about blackhumour, here is a self-discription from Frazer Hall/blackhumour:
the blackhumour audio project had its beginnings in early 1982 with the first few experiments i was doing on my teac 4-track reel-to-reel recorder. the resulting early pieces were not so good, but some of the pieces which were done with my then audio-partner, somebody else, were successful. two of these pieces, 'murder', and 'trade and commerce', are included in the retrospective of early bh work, radical positive (banned productions). this release also shows the evolution of the blackhumour approach away from treatment/effects techniques of any kind, such as equalization, reverberation. flanging, echo, etc., and the choice made by blackhumour to use as its sole sound-construction source the use of 'found-object' human voice only, with the exclusion of such tape techniques as speed-masking (speeding up or slowing down the sound of the voice) or back-masking (the notorious technique of playing the voices backwards). since 'snakes in an atheist's grave (1984), NO blackhumour piece has used anything other than found object (spoken) human voice and editing techniques. (since 1986, digital editing has been included, thanks to inexpensive digital sampling.)I wanted the sound source to be absolutely basic. the human voice speaking was about as basic as i could get. The rationale being that we are constantly hearing speech, whether it is from others, or simply the sound of our own voices in our ears.” [label info]
Ein sehr kurzes, typisches BLACKHUMOUR-Sprach-Cutup-Stück am Anfang (es bleibt unklar ob das neues Material ist oder etwas aus dem Archiv), danach minimales elektronisches Fräsen, welches sich in loopiger Bewegung ins Hörfeld summt.... ultra-minimal, kein noise, aber disturbing as anything! Kommt im Brottüten-Müll-Cover, each one unique!
“....Each of the packages contains a found object from the street or empty places, all collect over the last +5 years (friends of mine know what I mean! never planned for this release, but I like that I don’t use it for other art or releases. in each paperbag is for example a old and fucked up: tin can, piece of dirty rubber, plastic or cloth, or just old paper. Both, the object and the paperbag are wrapped in plastic bag. The cdr is outside on the plasticbag.
blackhumour is playing a +3minutes track called: xylowave, gx jupitter-larsen following with: xylowelle in over 50 minutes. very unique stuff from a soundpoet and a boy who build his own world to look through!
For everyone who don’t know much about blackhumour, here is a self-discription from Frazer Hall/blackhumour:
the blackhumour audio project had its beginnings in early 1982 with the first few experiments i was doing on my teac 4-track reel-to-reel recorder. the resulting early pieces were not so good, but some of the pieces which were done with my then audio-partner, somebody else, were successful. two of these pieces, 'murder', and 'trade and commerce', are included in the retrospective of early bh work, radical positive (banned productions). this release also shows the evolution of the blackhumour approach away from treatment/effects techniques of any kind, such as equalization, reverberation. flanging, echo, etc., and the choice made by blackhumour to use as its sole sound-construction source the use of 'found-object' human voice only, with the exclusion of such tape techniques as speed-masking (speeding up or slowing down the sound of the voice) or back-masking (the notorious technique of playing the voices backwards). since 'snakes in an atheist's grave (1984), NO blackhumour piece has used anything other than found object (spoken) human voice and editing techniques. (since 1986, digital editing has been included, thanks to inexpensive digital sampling.)I wanted the sound source to be absolutely basic. the human voice speaking was about as basic as i could get. The rationale being that we are constantly hearing speech, whether it is from others, or simply the sound of our own voices in our ears.” [label info]