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Label & Cat.Number: Semperflorens, sf13
Release Year: 2015
Note: phantastic new one-tracker (41+ min) composition using field recordings from various places => this is what TOY BIZARRE calls a "sound film", a highly abstract daydream with lots of undecipherable sounds, glass-like overtunes a set into contrast with sharp breaks and more concrete material; very rich in details for focused listening... comes in DVD box lim. 500
Price (incl. 19% VAT): €13.00
More Info" “kdi dctb 278” is what I call a sound film. Its shape entirely and solely based on the sound recording of places – as in all of my pieces – fits my refusal to make a choice of abstraction or narration and willingness to stay in an in-between, to maintain a dialogue between abstraction / narrative, which would be close to the daydream.
“kdi dctb 278” was recorded 1994~2013 @ various locations; sequences built for various projects.
Some parts appeared first in the kdi dct 216 “garden / square meter” series (Melbourne), thanks to Jude Anderson, Jacques Soddell.
Tested live (parts) @ Instants Chavirés, L’Audible Festival, Paris, 2012/09, thanks to Jérôme Noetinger.
Tested live (fully) @ Sonikas, Madrid, 2013/12 – thanks to Juan Carlos Blancas, Alfonso Pomeda & the man-who-saw-codex-but-lost-the-way.
This version, mixed 2015/06 @ TBS
Release date: 09.2015
Label : Semperflorens
Time: 41:43 mins
Format: CD in DVDBOX
Limited to 500 copies" [toy bizarre info]
"After all these years, we are still not all that clear what the acronym that Cedric Peyronnet (aka Toy Bizarre) has used for the bulk of his album titles. It's definitely some sort of cataloging system as his titles are in sequential fashion, now reaching 278, though there are some sizable jumps between the various numbers. Peyronnet may have explained what this may mean somewhere and at sometime, but enlightenment eludes us. So, we'll collectively shrug and move onto this vivid collection of manipulated field recordings and phonographic compositions that are found on this impressive album. Since the late '80s or thereabouts, Peyronnet has used natural sounds as his primary source material, working in parallel to Eric La Casa, Small Cruel Party, Tarab, and some of the more obtuse practitioners of contemporary musique concrete. Peyronnet's uneasy dislocations never settle on the notions of purely objective / narrative descriptions of sound, nor could they be defined as abstraction. So one can hear jolting splashes of water and mud along with Luc Ferrari like snippets of human voice well-removed from context alongside filter-heavy drones of liquid miasma and mercurial drones dappled with found object texture and splattered detritus. Peyronnet has quite a knack for rendering all of the components of his compositions with an incredible sharpness of detail - the purity of his dilated frequencies and an exactness to environmental elements work into his slippery compositions punctured with bursts of energy that Peyronnet allows to wane into solemn pools of contemplation." [Aquarius Rec.]
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