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Label & Cat.Number: Moving Furniture Records MFR059
Release Year: 2018
Note: the high-class 'experimental ambient' trio from Portugal released this album as a successor to "Bombinate" (2015), merging digital and analogue sources, centered around the theme "Remnants".. - *peripherad debris means: toward the periphery as the remains of anything broken down or destroyed. It is between the enunciation of the sonority and its conceptual spatialization that the sounds that can be heard in this new album are played.* - lim. 200, A5 cover
Price (incl. 19% VAT): €12.00
More InfoPeripherad debris" is the second release of the trilogy started with "Bombinate".
If in Bombinate we announced a sonorous intentionality - bombinate means: make a low, vibrating, humming sound - now, halfway through the tripartite journey, we define a path - peripherad debris means: toward the periphery as the remains of anything broken down or destroyed. It is between the enunciation of the sonority and its conceptual spatialization that the sounds that can be heard in this new album are played. A posture that consciously opts for recognizable aesthetic options and yet, because it wants to, it moves towards its periphery with the feeling that there are only remnants of what is enunciated. And if it is on the periphery that the turbulence is bigger and more decisive, precisely because it is far from the center, it is also in these remains that are the most stimulating sonorities to be explored. It is in this border position that we find ourselves in the middle of this trilogy. In an open and inclusive place to all experiments and also to collaborations. We present for the first time a track composed in collaboration with a musician outside the project.
Once again, the album is built between peripheral and aesthetic approaches common to the project: from quasi-ambient stillness to a mass sound quasi-noise. And yet it is in this quasi that the entire universe of Haarvöl's music is located. A quasi that now presents itself as a remnant that is appropriated and distinctive into the idiosyncrasy of the project. A remnant that is now conceptually individualized as directed to the periphery. Perhaps because there, far from the center, the experiments are more free and possible. Because for us the music and art in general has always been presented as a space of freedom. It's where we want to be ... obviously, only provisionally.
Haarvöl is an electronic/experimental project based in Portugal and working since the end of 2012. In its core there are Fernando José Pereira and João Faria, but since the beginning it is open for collaborations with others. As already happened with Paulo Rodrigues and Xóan-Xil López (a Spanish expert on field recordings) and, lately, with the joining of Rui Manuel Vieira (a visual artist) who is now the responsible for the all the visuals of the band.
Haarvöl’s music is conceptually developed as the exploration of the properties of sound in order to achieve cinematic and imaging environments. The sounds are not restricted to their medial origins: both digital and analogue sources are used and mixed in intricate compositions with special attention to detail.
The emphasis on non-illustrative interaction of sound with images is evident in the videos purposely prepared for certain compositions.
Hebetude (PAD/Easy Pieces, 2014)
Indite (Moving Furniture Records, 2015)
Bombinate (Moving Furniture Records, 2017)
The Oblivion’s Wordless Knot (Self-Released, 2018)
Dream Sequences Volume 1: Orphax Reframed (Moving Furniture Records, 2018)
Their installations deeply explore the site-specific possibilities to create a whole and intense experience on the audience. Some of these installations were presented in important events on the field of contemporary art as the Coimbra’s Biennial of Contemporary Art, Portugal (2015) or in the Museum of Serralves, Oporto, Portugal (2016) others as “a possibility of concert” as the project title for their live presentations in several cities of Portugal.
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