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PL 11
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"The Austrian sound artist and composer Bernhard Gal developed the concept for Defragmentation/blue over the past two years in collaboration with the Japanese architect Yumi Kori. Their aim is to explore the interactions between temporal and spatial conditions and their impact on human perception and imagination. Defragmentation/blue -- an audio-architectural exploration of time -- was exhibited for the first time in September 1999 at Studio Five Beekman, a music gallery in New York which is specifically committed to the presentation of multimedia/sound installation art.This is Gal's second CD-release. His first CD-release Bestimmung New York -- very different in concept and sound compared to his recent CD -- has been released on Austria's Durian label in 1999. Defragmentation/blue is a minimalistic, yet haunting listening experience. Gal's use of psycho-acoustic phenomena creates a highly intense and entrancing atmosphere where time seems to stand still."
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PL 09
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"A collection of six austere electronic compositions by Rick Kitch, with Jeph Jerman (Hands To), Randy Greif and Steve Brand (Augur) contributing source material/field recordings to his new project. The source material, combined with analog keyboards, computer feedback, guitar and flute, was then directed through drastic equalization techniques, home made analog filters and real time digital processing. The recording process was realized with the intent to provide a structured audio environment for quiet contemplation. The audio is intended to be repetitive and void of emotional content, so as to provide a suitable environment for the listener to creatively participate in. It's a really wonderful CD of relaxed and subtle electronic music."
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PL 16
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"Formed in 1997 in Rome, this is the debut-release of the Italian duo of Metaxu, which are Maurizio Martusciello and Filippo Paolini. Out of their common interest -- both as improvisers and composers -- in electroacoustic experimentation they create and develop an acoustic 'microscopia' rich in detrius, moulds and lost memories by using tapes, samples, scratching and low-fi equipment. Maurizio Martusciello who uses electroacoustic objects and sampler on this CD, might probably be known from his work with the group Ossatura and his various collaborations with musicians as different as Fernando Grillo, Dagmar Krause, Musica Elettronica Viva, Chris Cutler, Tim Hodgkinson and Otomo Yoshide. His music has been released on labels like Recommended, Staalplaat and on Metamkine.Filippo Paolini who uses turntable, sampler, tapes and CD is highly influenced by the radical scene of DJ's, plunderers and plagiarists. But his work also reflects the deeply 'acousmatic' aspects of the electro-acoustic experience as well as other musical expressions, including digital dance music and electronic remnants of sounds from the 1950's, 60's and 70's. In Metaxu, Paolini's plagiarist/collage ideas and Martusciellos's 'reduced listening' approach produce an acoustic isomorphism which is not an end in itself, but a means of transport -- if you know what is meant. In its best moments the music of Metaxu evokes memories of the strange atmosphere of suspense and surrealism that can be heard in those soundtracks that made so many experimental b/w-short-films out of Poland or the USSR from the last 30 years such a fascinating audio-visual experience."
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PL 12
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"Toile de sons (which means 'Web of Sounds') is the impressive debut-CD by Bernard Donzel-Gargand, a French composer of electro-acoustic music. The four tracks on this CD offer some truly wonderful and subtle combinations of electronic sounds and field recordings. In some ways Bernard Donzel-Gargand is a story-teller as his pieces work like complex tales. It's amazing how light-handedly he connects (oral) tradition, the sound of the 'now' and hallucinated dream(t) sequences to his very own musical expression. Still curious, that it took so long for him to release his full-length debut CD. Hopefully Toile des Sons will interest a larger audience -- not only in France -- in this remarkable composer and unique story-teller."
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PL 13
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"The CD Play:lunch evolved out of the idea to record a piece that deals with the joys of a good lunch and its preparation etc. (to buy food, prepare it, to eat...). To that reason Plate Lunch commissioned two French composers -- as France is well known for its excellent 'cuisine' -- to compose and record a piece for this CD. Philippe Blanchard (Lt. Caramel, Pierre Bouchet) contributes with a 30-minute long piece of acousmatic music in five parts that is titled 'Cpt.Cook'. The basic sounds were recorded during a stay in Syria in 1999. For the second part of his piece he recently received the prize 'RFO' of Radio France in the competition 'Chasseurs De Son'. For Christian Renou this is the first time he releases a piece using his real name -- his first step away from the countless works he has released as Brume since the early 80's. His contribution -- a 30 minute long piece of electro-acoustic music in 4 parts -- is titled 'Cuisine et Impedance'. All of the basic sounds were recorded in his kitchen. Play:lunch gives the listener the opportunity to discover the works of two still widely neglected French composers and to enjoy their excellent acoustic lunch plates."
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PL 10
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"Gioco Bambino, the recent CD release from the German duo Klangstabil includes 12 tracks of Gameboy electronics that range from simple melodies that could easily be used as themes for childrens' television series, to speedy, crackling, rumbling and noisy tracks. All of these tracks have been recorded directly onto DAT in realtime by using only a Nintendo Gameboy with an additional Gameboy Camera cartridge (which wasn't used to take pictures with, but as a primitive mixing desk) and some simple effects. There are no samples, overdubs, or additional instruments mixed to this recording later -- all you hear are the gameboy sounds recorded directly onto a DAT recorder."
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PL 03
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"Excellent debut album by two mysterious musicians from Wales/UK. Their music sounds like they have adapted parts of 'Sternklang' by Karlheinz Stockhausen for ten distorted guitars. Their focus is upon pure noise with an intent to locate, draw out and revel in it's hitherto hidden harmonies. Using the rough sound of variegated tape-manipulations with some acoustic instruments such as flutes and woodblocks they enjoy to produce feedback drenched drone chaos that flutters and filters into a transmutary experience. Entirely conceived in an isolated part of Wales, their environment is both actually and musically expansive and/or desolate at turns characterized by the cyclical coloration of Nature."
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PL 05
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"Powdered Iron Rods is McNulty's 2nd release, but the first to use his real name. Having used the name Photophobia, his first CD, titled Cathepsin was released on Isomorphic/USA in '96. Reviewers described it as an excellent dark ambient/isolationist work. Marc McNulty, who has worked nearly two years on his new release, describes these new pieces as 'electro/acoustic soundscapes created with elements from our pre-atomic days.' There are no samplers and no computers used for these recordings. The only soundsources have been communication receivers, selfbuilt devices, filters and instruments. Compared to his first release, the pieces are not that extended and droney, but far more subtle and personal. 'McNulty has created a powerful album of dark and strange acoustical elements. Evocative and haunting, a requiem for the post-atomic society - a soundtrack to armaggedon.' -- Frans DeWaard/Vital. The first edition of this CD comes in a special metal box that is numbered and limited to 500 copies."
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