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LOPEZ, FRANCISCO - Untitled (2011)

Format: CD Label & Cat.Number: Nefryt N 025 Release Year: 2014 Note: a collection of (un)typical LOPEZian field recordings made around the world (Amazon, Australia & New Zealand, Japan, Spain, South Africa, Costa Rica, Morocco, etc..), rather short acoustic 'snapshots' or processed collages of incredible sounding phenomena from birds-insects- animals, unknown objects, found sounds or mysterious sub-drones and overwhelming weather noises...not one boring moment!!! - 8 tracks 43+ min. playtime, comes in massive, oversized fold out cover, BACK IN STOCK!! Price (incl. 19% VAT): €13.00 More Info FRANCISCO LÓPEZ : UNTITLED (2011) CD 1 Untitled #291 8:37 2 Untitled #278 4:50 3 Untitled #279 8:37 4 Untitled #289 2:35 5 Untitled #286 4:45 6 Untitled #287 4:21 7 Untitled #288 7:14 8 Untitled #292 2:48 Field recordings from Amazon, Australia, New Zealand, Japan, Brazil, Spain, South Africa, Costa Rica, Mexico, Peru, Columbia and Morocco. Prepared & assembled by Lopez at his Mobile Messor studio in 2011. A5 gatefold sleeve. Limited to 444 copies. Nefryt N 025, 2014 nefryt.serpent.pl "Francisco Lopez has long proposed his work under the banner of "absolute music" - a conceptual framework through which his processed field recordings shed their symbolic, metaphoric, or iconic meaning and become the raw material for compositions that push to the transcendent realms of the sublime through radical erasure, muscular amplifications, and / or slippery minimalism. There was a time some 20 years ago when Lopez released a handful of near, mostly, or wholly silent records as conceptual endgames to these theories; which left us with a bit trigger shy when it came to fully embracing the Lopez oeuvre. Fortunately, Lopez exhausted that line of thought quite a while ago, meaning that with every Francisco Lopez album, we can be assured of discovering strata of sound from the natural, the industrial, and the microcosmic. Untitled (2011) collects a eight compositions of variable strategies that opens with a placid chorus of insects buzzing pleasantly alongside the ritualized strikes of a temple gong and the distant call from some deep-throated Japanese raven. Lopez does explain the origins of the sound sources, but little else allowing the Byzantine swells, bursts, and gasps of environmental sound to stand on their own as discrete elements. The second track speaks to this with its peculiar resonance that sounds like it was entirely recorded, edited, and mixed from within an exhaust pipe attached to a slaughterhouse. Elsewhere, Lopez composes a piece entirely using the digital clipping and wind distortion that is the bane of every sound ecologist for a disturbing piece of brut-noise; and then there's the strange Luc Ferrari like whispering of an uncredited female speaker layered amidst his boiling metal drones." [Aquarius Records]