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TARAB - Material Studies

Format: mCD-R Label & Cat.Number: Taalem alm 140 Release Year: 2021 Note: "Object sound" music in the truest, most concrete sense - various everyday materials (from wood and other types, not really recognizable) are rubbed, scratched, touched, hit, and build this, more a "study" than a classical composition or collage, but there is a subtle development going on...it's the sheer physicality and fragmented beauty of 'pure concrete sound' that fascinates here.. Price (incl. 19% VAT): €5.00 More Info "tarab is the alias of eamon sprod, an australian sound artist whose motto is "careful arrangements of sonic rubbish". that says it all! his past works were released on various international labels such as 23five, crónica, unfathomless or kaon. "material studies #2 is the continuation of a small series of explorations of working with simple materials, started with 2019’s ms#1 released on hemisphäreの空虚. this work pares back and further refines this process, with the use of minimal discarded everyday materials introduced to the artificial movement of air, via an air-conditioning unit. this work is not intended as a document of this interaction, but is the result of working with this situation and the resulting recordings as material, to see and hear what might emerge from that process." (tarab) recorded 2019. arranged 2020-21 this work is the result of working with simple materials and process master: yvan etienne merci beaucoup: jean-marc and yvan https://taalem.bandcamp.com/album/material-studies-2-alm-140 "Tarab was already present with a new release last week, and now Eamon Sprod returns with another work, part of his "small series of explorations of working with simple materials, started with 2019’s ms#1 released on hemisphäreの空虚" (see Vital Weekly 1222). He also writes that "this work pares back and further refines this process, using minimal discarded everyday materials introduced to the artificial movement of air, via an air-conditioning unit. This work is not intended as a document of this interaction. Still, it is the result of working with this situation and the resulting recordings as material, to see and hear what might emerge from that process". This release is another proof of how far and wide Taalem's interpretation was of the word ambient music. No fat drones, no carefully constructed collage of field recordings, or lush computer-processed sounds, but rubbing of objects near the microphone. You don't recognize any of these materials, and if you didn't know better, one could think someone is rummaging through his tool shed. Upon closer listening, one hears the minor differences in the work, at one point in the middle, almost disappearing again. Towards the end, there is a dramatic build-up until it cuts out at the end. Again, this is not a work that uses a lot of computer processing or electronics, but there has been a fair amount of editing to make it a composition, rather than going through the toolbox with a handheld microphone." [FdW / Vital Weekly]