Your cart (0 item)

WEHOWSKY, RALF & ANLA COURTIS - Aseleuch Tendrradero

Format: CD Label & Cat.Number: Noise and Hate N001.2012 / Ultra Mail Prod. U.M.P. 022 Release Year: 2013 Note: two Drone Rec artists in mail collaboration (A. COURTIS from REYNOLS) => the 11 demanding tracks between abstract noise-ism and experimental drone bear masses of sounds, effects and arrangements: "Using guitars, electronics, tapes, etc., they construct collages of a sort, often with abrupt and unexpected breaks, using a language derived from classic tape manipulation but with a significantly different palette..." [Just Outside] Price (incl. 19% VAT): €13.00 Warning: Currently we do not have this album in stock! More Info "Zum zweiten Mal nach 2007 ("Return Of The Stone Spirits") arbeiten diese beiden Herren zusammen: ANLA (auch ALAN) COURTIS, ein argentinischer Experimentalmusiker und Gründer der REYNOLS, sowie RALF WEHOWSKY, heutzutage in der Regel als RLW unterwegs und früher Dauermitglied von P16.D4. (Vor einigen Wochen haben wir auf NONPOP ausführlich mit ihm über seine Arbeit gesprochen.) Wie auch vor sechs Jahren kommt das gemeinsame Werk auf einem renommierten Label unter, NOISE AND HATE ist eine eigens gegründete Tochter von ULTRA-MAIL PROD. aus Hong-Kong. Noise und Hass erwarten den Hörer nicht unbedingt, eher moderne, fast hörspielartige Kombinationen. Zu Beginn stehen wellenförmige, analoge Geräuschcluster im Raum, ein Blubbern, könnte man auch sagen. Im weiteren Verlauf wird der Sound sehr dicht, auch mit organischen Percussion-Einlagen, dann dreht sich das Album wieder Richtung Noise, mutiert zum reinen, dicken Soundbrei. Allerdings bleibt keine Sequenz sehr lange stehen, nach Lautstärke folgt Stille, ein Wechsel aus kaum hörbaren Geräuschen und brummenden Frequenzen, die abrupt enden. Einige Spielereien erinnern an COLUMN ONE, etwa das Mückensummen in verschiedenen Intensitäten oder die malträtierten Orgeln mit verhackstückten Vocals. Zum Abschluss spielt ein kurzes, aber heftiges Frequenzorchester auf. Diese 41 Minuten beinhalten wohl nahezu alle Spielarten moderner elektronischer Musik. Die handfeste, zugängliche Wirkung, die beide Künstler dabei erzielen, beruht wohl auf der Verwendung unendlich vieler Originalquellen, allesamt mehr oder weniger verfremdet. Zeitgenössische Kunst und Ratespiel." [Michael We./NON-POP] "I never really got around to listening to Reynols, just a snatch here and there, so Courtis is pretty much an unknown to me. And my knowledge of Wehowsky is limited to "Tulpas" (which I like a lot) and the odd collaboration (Drumm, Korber, etc). Perhaps bear that in mind when I extol this release--to me, it's extremely fresh and exciting, though I've no idea where it sits in their mutual canons. Using guitars, electronics, tapes, etc., they construct collages of a sort, often with abrupt and unexpected breaks, using a language derived from classic tape manipulation but with a significantly different palette, though I'd be hard-presed to describe just what that palette is. The tracks are largely between three and seven minutes long (in addition to two around 30 seconds), allowing for each to exist as a self-contained composition. I'm almost tempted to say "song", though there's nothing melodic or beat-drive here. Still, I can imagine a voice over much of this material; through the backwards tape, the modulations of (I think) wind howls and such, you can just about reconstruct vestiges of a buried and decaying song. There's an enormous apparent depth to the layers and the elements within are widely varied in composition, color, dynamics and velocity, making for an entirely absorbing listening and repeat-listening experience. There's also no sense of posturing of showing off--everything seems purposive, several ideas per track, rich but not cloying. They avoid that difficult-to-describe tipping point between excessive activity and...intensive activity, the kind one would find in a handful of soil. Wonderful usage of silent gaps in a piece like "Bal Lileste Ajtdorbeg" where the last half doesn't so much as ebb away as fracture into sparse shards. (btw, I think the titles are in a made-up, almost Borgesian language, though sometimes they seem related to Spanish). I'm not doing a great descriptive job here, I realize. All I can say is, if you loved "Tulpas", you'll likely love this, though I have little idea what fans of Reynols will think--though I'm guessing most of them will as well. It stands apart, at least a bit, from the general trend and it does so in a very exciting way." [Brian Olewnick / JUST OUTSIDE blog]