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Label & Cat.Number: Naturestrip NS3004
Release Year: 2005
Price (incl. 19% VAT): €14.00
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More InfoWenn das Mikrophon zur Erweiterung des Ohres mutiert und die Umgebung zum Ersatzstudio & Mischpult... Diverse field recordings von verschiedensten Plätzen aus der Natur hat LOREN CHASSE (bekannt von THUJA, COELACANTH und ID BATTERY) später weiter bearbeitet und als Kompositionsbausteine benutzt, wobei er durchaus selbst „aktiv“ in die Umgebungsklänge eingreift im Aufnahmeprozess....
konkretes Knirschen von Steinen, etc. vermischt sich mit z.T. unbestimmbaren atonalen Rauschdrones von Wind & Wetter & Umgebung, das bekommt den Charakter eines „auralen Imprintings“, wo sich verschiedene Eindrücke überlagern und verschwimmen, als sei man Teil des auditorisch-neuronalen Gedächtnis-Netzwerks von LOREN CHASSE.
“For his most recent album The Air In The Sand, Chasse posits another metaphor: the composition as a diorama. Within his ideas about the sound diorama, Chasse exaggerates those sounds which he feels to be essential for a space and minimizes everything else. Again, the recording process of The Air In The Sand revolves around Chasse's active participation within a particular environment. In these unspecified spaces, he broadcasts an array of drones, textures, and field recordings back into the sonic environment where they intermingle with the ambience of that location. Part of this process is an attempt to move away from the constraints of the digital workstation; but at the same time, Chasse is far more interested in the curious alchemy that occurs when a space listens to itself making sound. The nighttime chorus of crickets gurgles within aqueous percolations and the tectonic crash of surf crashing against rock. Elsewhere, rain vaporizes in a caustic sizzle as it falls upon overhead electrical wires, and this sound is compounded by the sharp crack of branches and the slow hiss of sand.....For all of the elemental sounds that dominate his recordings, Chasse extracts subtle musical timbres and fragile half-melodies that haunt The Air In The Sand. While some of Chasse's recording techniques remain similar, it is important to note that Chasse sets this body of work (along with id battery and Coelacanth) outside of his ongoing pastoral contributions to the polyphonic Jewelled Antler constellation (e.g. Thuja, The Blithe Sons, Child Readers, and even his pseudonymous solo project Of.) With an emphasis placed upon location and its sonic ghosts, Chasse exposes something profoundly beautiful lurking in the shadows of the landscape.” [Jim Haynes, June 05]
“....Sound events are taped from a very close range, like rain, stones, twigs and what else there is out there, waiting to be picked up and rubbed, broken and scratched. The environment plays a role too, even when one could think it wouldn't matter with all the close miking. But rubbing stones near the sea side sound differently than on the veranda with the rain pouring down. All of these recordings are then taken home and layered on each other and mixed very effectively. Electronics might play a role here, but I doubt that. I would be surprised to learn that what we think is 'electronics' here, is just a plane passing, or the hum of some airco. Many hours of careful recording and mixing must have went in this recording, since it all works rather flawless. For those who think that Tsunoda is too conceptual, for those who think Lopez is too inaudible and for those who like their environmental artists to be playful, Loren Chasse is the name to get hold off.” [FdW / Vital Weekly]
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