MARTIN, AARON & MACHINEFABRIEK — Cello Reycling / Cello Drowning
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MACHINEFABRIEK hat Cello-Klänge von AARON MARTIN recycled, dabei entstand diese prächtig raumfüllend klingende 10" mit subliminalen harmonischen Drones, field recordings (Wasser), mechanischen & loopigen Sounds vom Cello... Anklänge an TROUM (v.a. A-Seite), TIM HECKER, etc.
"10" vinyl version. The Netherlands' Rutger Zuydervelt Machinefabriek) and American multi-instrumentalist Aaron Martin present their first-ever collaboration. Zuydervelt is somewhat prolific; his steady flow of super-limited edition 3" CD-Rs seem to slip out relentlessly month after month, and Martin has one full-length album to his name so far. Between them, the duo has come up with a project that is far more than the sum of its parts. The Cello Recycling project was originally commissioned for use in an art gallery; Zuydervelt took cello improvisations from Aaron Martin and built them into the slow-burning post-ambient monster that is "Cello Recycling." The second track takes Martin's original piece, morphed by Rutger, and then once again distorted, where the original piece is drowned in a bath of murky water, submerging it in all different directions it has never before drifted. The two pieces together are perfectly complimentary, showing two sides of a tarnished coin -- one giving us pent-up emotion, fizzing and shuffling awkwardly until it explodes majestically, the other giving us a peaceful reflection as seen through the eyes of a serial killer who has just completed his final gift to the world. An inventive and incredibly beautiful look at the cello as an instrument and noise-making tool; this is an absolute must for fans of post-classical music, the droning beauty of Stars of the Lid or even the moody post-rock of Godspeed You! Black Emperor. Moody, kinetic and hugely enjoyable stuff, this needs to be played
loud and absorbed totally." [label info]
"...The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda. As always, absolutely lovely." [Aquarius Records]
label: www.typerecords.com
"10" vinyl version. The Netherlands' Rutger Zuydervelt Machinefabriek) and American multi-instrumentalist Aaron Martin present their first-ever collaboration. Zuydervelt is somewhat prolific; his steady flow of super-limited edition 3" CD-Rs seem to slip out relentlessly month after month, and Martin has one full-length album to his name so far. Between them, the duo has come up with a project that is far more than the sum of its parts. The Cello Recycling project was originally commissioned for use in an art gallery; Zuydervelt took cello improvisations from Aaron Martin and built them into the slow-burning post-ambient monster that is "Cello Recycling." The second track takes Martin's original piece, morphed by Rutger, and then once again distorted, where the original piece is drowned in a bath of murky water, submerging it in all different directions it has never before drifted. The two pieces together are perfectly complimentary, showing two sides of a tarnished coin -- one giving us pent-up emotion, fizzing and shuffling awkwardly until it explodes majestically, the other giving us a peaceful reflection as seen through the eyes of a serial killer who has just completed his final gift to the world. An inventive and incredibly beautiful look at the cello as an instrument and noise-making tool; this is an absolute must for fans of post-classical music, the droning beauty of Stars of the Lid or even the moody post-rock of Godspeed You! Black Emperor. Moody, kinetic and hugely enjoyable stuff, this needs to be played
loud and absorbed totally." [label info]
"...The first track, "Cello Recycling", finds Zuydervelt taking the various cello pieces and stretching them out, layering them, smearing them, blurring them, creating a warm, thick, humid slow burning landscape of droning sound. It begins as a minimal crawl, but as the track progresses, the sound takes on an epic quality, with submerged melodies coming to the surface, strange bits of rhythms and melodic fragments, creating a glacial wall of cinematic ambience, dark minor key swells, that undulate and pulse, always building and building, into a thick wash of metallic overtones, and crumbling distorted low end eventually becoming so buzzy and intense, it begins to sound like a much more mellow minimal SUNNO))), before quickly slipping back into more tranquil Stars Of The Lid like territory.
The second track, "Cello Drowning", takes the already manipulated piece, the epic Godspeed-filtered-through-doomdrone-low-end of "Cello Recycling", and literally drowns it in more sound, layers of noise and texture, thick swaths of FX, the sound of (appropriately) running water or rain, the rumbling low end reverberating and shimmering, but instead of making it louder and heavier, more noisy and brutal, it actually gets even more subdued, more washed out and indistinct, A very Tim Hecker-ish blurry smear of sound. Soft focus, gentle, tranquil and dreamy, until at the very end, the original sounds of the cello can just be barely glimpsed through the druggy sonic haze, unfurling into a slowly fading, sweetly melancholy coda. As always, absolutely lovely." [Aquarius Records]
label: www.typerecords.com