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Label & Cat.Number: Helen Scarsdale Records HMS 036
Release Year: 2016
Note: the Swiss experimental / musique concrete composer who creates complex, sophisticated 'noise' soundscapes and collages, with a compelling album on JIM HAYNES label HELEN SCARSDALE => "Meirino posits the album as a metaphysical puzzle of manipulated tape, atonal synthesis, and concrete sound. He is quick to point out that these are more than field recordings, better stated as an extreme amplification of natural phenomena."
Price (incl. 19% VAT): €14.50
More Info"First and foremost, Surrender, Render, End is an electro-acoustic dialectic, unremittingly engaged in a pugilist conflict between art and accident. The Swiss noise-composer Francisco Meirino began working on the skeleton for this piece in 2014 as a multi-channel, modular synth patch, which has been in an ongoing state of modification through public diffusions and private rumination. Meirino posits the album as a metaphysical puzzle of manipulated tape, atonal synthesis, and concrete sound. He is quick to point out that these are more than field recordings, better stated as an extreme amplification of natural phenomena. All of this twists and turns through a shifting of perspective, akin to the cinematic tropes of objectivity and subjectivity in the framing of the image; but here it is with hostile topography of sound interacting with the human mind, body, and spirit. The allusions within Surreneder, Render, End are numerous and for the most part are fleetingly abstract, like the fragments of a nightmare that linger days after. The research laboratory, abandoned with all of the instruments running after an experiment became toxic and started to metastasize. Nerve-endings rupturing from sensory overload. The residual psychic violence of a time and place that's forgotten history. The one recognizable human utterance: "I'll never know anything." Meirino's work has long been at the forefront of sonic exploration, with Surrender, Render, End being a masterful work built upon many years of dedication to his craft, with countless performances, residencies, collaborations, and publications. Think Luc Ferrari, Peter Tscherkassky, and the aktions of the Schimpfluch-Gruppe." [label info]
"It seems as if Francesco Meirino is a little less active than before when it comes to releases. I am not sure why that is; maybe he's more into installation pieces? So far I quite enjoyed his work, which always seemed to be
quite noisy, but never being an all-on onslaught of mindless noise. Failure, somehow, played an important role, usually that of equipment. Apparatus that are on the fringe of breaking down, down to their last breath, but still
being able to produce that final sound, which Meirino then incorporates in his sound collages. One could say these are field recordings too, and along with the ones he tapes outside (in 'the field' as it were), acoustic sound
rumble of his own, electronic sounds and perhaps modular synthesizer. On this new work he crafts these together into another five pieces of great beauty. There is no noise here, not in the 'traditional' sense of the word, but in a more traditional musique concrete way: by creating layers of sounds, which are cut 'n paste together, scratching and hissing and sometimes dropping out of the mix in order to be replaced by something else. One can easily enjoy this as one piece of forty-eight minutes, moving through various sections, various degrees of harshness if you will. 'Arguments (For Laziness)' has some brutal dying force in the machines, while 'Render' seems more about the sustaining sounds of motorized objects and almost a concrete drone piece. 'End', aptly placed at the end, is a piece that is the most quiet in this lot, and one that works wonderfully well as a coda.
Inside there are some garbled voices and throughout this is an excellent release. Not his best, but among the best he did; all in a consistently high quality rating in the last few years." [FdW/Vital Weekly]
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