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Label & Cat.Number: Crippled Intellect Prod. CIP018
Release Year: 2006
Note: numb. ed. 500
Price (incl. 19% VAT): €14.50
More InfoSplit-LP des ex-CRAWLING WITH TARTS Mitglieds MICHAEL GENDREAU mit dem spanischen Puristen FRANCISCO LOPEZ - Vinyl-Kratzer & Rauschen von Auslaufrillen uralter Platten, aber auch die Geräusche der Mechanik & Motoren von antiken Plattenspielern dienten als Klangquelle für diese Bearbeitungen, ein Meer von low-fi Knirschen, Rascheln & Geknister, von multiplen 'white Noise'-Flächen und rhythmisch-repetitiven Mustern, so ungewöhnlich & wie überraschend im Verlauf...
"Francisco Lopez is perhaps best known for his dynamic studio and live performances that sway between crushing silence and dynamic, shifting volume swells. Over the course of 25 years, Lopez has developed and honed a refined audio lexicon. Michael Gendreau entered the experimental sound community in the early 1980s with his project Crawling With Tarts. As a solo artist, Gendreau caught everyone¹s attention with the 2002 release of his CD 55 pas de la ligne, composed of recordings based on old turntables and one-of-a-kind LPs.
For this LP, Gendreau, a trained acoustician, used extremely refined microphones--designed for acoustic and vibrational research--to record sounds such as turntable motor hum, belts, and run out grooves on records more than 70 years old. His side is an incredible journey through a forest of alternately prickly and soothing sounds. Lopez used similar source material for his side, creating a refined oceanic wall of sound constructed from crackle, hum, and scratches. This LP is in a numbered edition of 500 copies and signed by both artists." [label website info]
"Francisco Lopez has previously collaged vinyl crackle and hiss with aplomb on his untitled 92, and Michael Gendreau has worked with similar material on his 55 pas de la ligne au no. 3. both return to the materiality of vinyl run out grooves and the internal mechanics of the turntable as sources for this exceptional split release, with each artist applying their own conceptual and aesthetic sensibilities to the sounds. Lopez amplifies and overlays tactile sounds of hissing vinyl into an industrial din whose crescendo abruptly cuts to a wheeze of spiralling surface noise. Where lopez concentrates on the output of his turntable, gendreau focuses on the mechanical object itself, deftly recording the belts, motors and cranks of antique turntables, and using sensitive microphones to explore the ghostly musical pssages that creep between the rumble of wooden resonance and crackle." [Jim Haynes, the Wire (November 2006)]
"....His piece, 'Untitled #184' is audible throughout, and is a densely layered carpet of sound all sorts of sounds coming from vinyl. It hisses, pops and cracks in all sorts of ways, but never in an overtly rhythmic manner. It seems to me that Lopez created all of this by making many layers of sounds and removing any possibility of repetition. The piece by Gendreau uses similar sounds, but here musical elements leak through, or perhaps are created by the various possibilities of playing the records with motors, swift speed change and such like. Whereas Lopez creates a mass of sound, Gendreau presents an audio collage. Two possibilities of working with material like this. Two great examples of those possibilities. Richly textured and no doubt will go down for the very adventurous DJs." [FdW / Vital Weekly]
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