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CD
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RM 4149CD
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Pierce Warnecke's work springs forth from the nexus of sound and vision. With Deafened By The Noise Of Time, he undertakes a deep interrogation of sound, which mirrors many of his approaches to visual materials. Seeking to test how elements of music are altered through interference and deterioration, he uses a range of methods to reveal new densities, timbres, and melodies from within his original source materials. Rather than becoming fragmented or overtly degraded though, Warknecke's work on Deafened By The Noise Of Time suggests new textures and harmonic relationships. As one musical gesture is transformed a new set of possibilities opens outward, creating a sense of perpetual unfolding.
From Pierce Warnecke: "Deafened By The Noise Of Time is a speculative take on how sound might decay and disappear; a reflection on the unavoidable entropy and dislocation of all things over time through four compositions, one with video . . . I first started working on the material for this album for a performance at Eglise Saint-Merry in Paris in 2017. Following the concert, I sat down to edit the music but struggled with the pieces, every time finding new flaws, unable to follow through with the original compositional ideas. Somewhat frustrated, I decided to strip down the musical content to form more bare-bone structures and look for a different principle or process to tie everything together. For this, I shifted focus to a long running part of my video practice: the deterioration of things over time, where I use my camera with simple lighting and slow movements to focus on rusty, dirty, burned or broken found objects. I like the idea of these things being both recent and ancient, contemporary artefacts of a world in constant decay. I like the idea of being able to still sense memory on objects even when they've become almost entirely unrecognizable. I like how this pushes back against the inevitability of impermanence. I like the act of scavenging and reusing discarded objects to put them in new but uncertain light. I like to think of it as a kind of ritualistic transformation of 'trash-to-treasure', a conjuring of a thing's entire past through imperceptible clues left on it's surface. For Deafened By The Noise Of Time I wanted to apply these ideas to sound, and consider how a musical idea might disappear under an accumulation of interferences, as a kind of sonic sedimentation and erosion..."
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CD
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RM 479CD
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"Reality is precise; memory isn't." -- Jorge Luis Borges, In Praise of Darkness. Based in Spain, composer and visualist, Pierce Warnecke has developed an elegant auditory hallucination with his debut edition Memory Fragments. Known widely for his collaborations, with Matthew Biederman, Frank Bretschneider and Ketev, this edition represents Warnecke's first solo outing. Recorded over the better part of three years, Memory Fragments ties together his interests in electro-acoustic sound, field recordings and harmonic incongruities. "A memory is a recording of senses with the mind as the medium," Warnecke explains "When a memory is recalled it is played back in the mind's eye, but the experience is never as exact as the original moment. This makes memory a volatile storage medium, subject to transience. Whereas digital audio/video recordings are theoretically immune to this decay caused by the passing of time, Memory Fragments explores recordings as memories by taking samples (sound, images, objects) of a physical space and then placing them in an imaginary process of transformation and transience that slowly erodes these digital memories until disappearance." Pierce Warnecke was in California but has lived most of his life expatriated in Europe. He studied electronic music at Berklee College of Music and computational art at Universität der Kunst in Berlin. His works are split between installations, compositions and concerts, with an equal focus on aural and visual mediums and the many types of relationships between them. He currently is a professor at Berklee College of Music's Master program in Valencia, Spain.
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