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Label & Cat.Number: Oxidation CDROT091
Release Year: 2021
Note: two of the longest standing "veterans" of the noise / experimental / electronic underworld have created six fine balanced pieces made out of drones, subtle harmonics and uncategorizable amorph noises, with many details revealing during immersive listening.. - "The 'miniatures' sound like deep, personal, little moments of awakening, fermented by time, but then again appearing to be free from it:.." [Martijn Comes / Vital Weekly]
Price (incl. 19% VAT): €13.50
"In music, separating the wheat from the chaff these days is not easy, one has to apply some kind of compulsion and instinct towards interesting releases. “The Dead Time” was made out of processing sonic information in the passing of time, yet what makes this music stand out from the passing and make it “dead”?
"I am interested in the alchemical breakdown of things and the results of pure accidents.” -Phillip B. Klingler
Frans de Waard and Phillip B. Klingler are rooted in the experimental music scene. Both are still at the forefront of pushing the boundaries of underground and formal electroacoustic music. This album was made of collages of recordings De Waard made in 2014, fermenting on Klingler’s shelve until summer 2021. One day that summer, Klingler awoke with a premonition about the work, which started an intensely creative period. He created three collaborations: 'The Dead Time' with De Waard, a PBK & Nocturnal Emissions LP, and the CHAIN LETTER EXHORTATION Series. "It's the same way I like to paint: only when inspired to do so, and without preconception.” as Klingler states.
Both composers are daily concerned with archival matters, so they have a deep intellectual and experiential understanding of the importance of work and detail, no matter how small or few the edition. To my knowledge, this quality translates into the depth of sound, fragility and sensibility, the compositional approach of the unknown by the use of transformed field recordings, digital processed, mixer feedback, synthesizers and sample players, which allows them to enter this abyss of a personal and yet collaborative esoteric space. As Klingler puts it: “I think it was very nice to leave the tracks as "miniatures" with their characteristics, not attempting to be epic in scope, but more like the experiments of the 1950's/60's - Dutch composers of the Phillips Research Laboratory, where all ideas of creativity were embraced, even somewhat incongruous combinations. (..) The compositions are made, but they are abstract, no narrative”.
The “miniatures” sound like deep, personal, little moments of awakening, fermented by time, but then again appearing to be free from it: “We have imposed our own very personal process(es) on the audio to create sounds that belong to something but also subvert that thing.”, as Klinger states.
This is a robust and thoughtful work of two composers always deeply involved in their game and firmly immersed in its execution. Favourite piece: “Knife”." [MC / Vital Weekly]
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