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LOPEZ, FRANCISCO - Untitled #281

Format: CD Label & Cat.Number: Störung str10 Release Year: 2014 Note: quite a special LOPEZ composition derived from 'digitally distorted' bird recordings collected over 15 years, the clicks & glitches are incorporated into the sounds with very strange effect!... "the most dramatic antithesis of any 'birdsong' piece you could imagine"; comes in a clear box with white print Price (incl. 19% VAT): €15.00 More Info " 'Untitled #281' was created by extreme mutation and evolution of bird calls from original recordings carried out over a period of fifteen years (1995-2010) in multiple wilderness locations of Australia, New Zealand, Brazil, Spain, South Africa, Costa Rica, Mexico, and Peru. The most dramatic antithesis of any 'birdsong' piece you could imagine. Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than thirty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion." [label info] "You have to take the CD out of the box, so you can read the complete liner notes on the cover, which is a nice thing. For this particular composition - almost close to thirty-two minutes - Lopez uses recordings of bird calls which he recorded from 1995 to 2010 in 'multiple wilderness locations of Australia, New Zealand, Brazil, Spain, South Africa, Costa Rica, Mexico and Peru. Not unlike other recent works by Lopez (the ones I heard that is), it seems to me that Lopez uses new pieces of software to treat his soundmatter, as he calls it. It has that granular synthesizes sound from max/msp and Lopez uses it quite radically. Things can get pretty wild in here, as we are warned on the cover that 'digital clipping in this an aesthetic decision and is explicitly intentional'. Especially in the first half this is a very present feature. But this work isn't of course all about noise; it opens with that Lopezian silence - except it's more audible; no contradictions there. After a firm break around thirteen minutes things become silent for a while again, but never completely silent. Towards the end is the only section with what seems to be the original bird calls mixed with processed version thereof, with the latter gradually taking over. This is another fine Lopez work, with perhaps less of the mysterious ways of his earlier, connecting more to computer music scene (like Roel Meelkop or Marc Behrens)" [FdW/Vital Weekly]