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viewing 1 To 4 of 4 items
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2LP
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NPLUS 001LP
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$29.00
PREORDER
RELEASE DATE: 2/19/2021
Double LP version. NOTON signs Italian-born, Berlin-based sound-artist and producer Saele Valese. In IVIC, his debut album, Saele Valese, distills hauntological noise, droning tonal experiments, and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee, and Thun. Drawing influences from the psychoacoustic properties of the live album format, IVIC's 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialisms, contributes to the images of gravity, intimacy, and spatiality that the music presented here invokes. In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics alternating with more ravenous upheavals of power electronics. If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompany the emotional charges and momentum of an imaginary cinematic experience; the beats caves in for instants of relief, only to recoil in a cognate tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during "Horse The Color Of Rust". The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
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CD
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NPLUS 001CD
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NOTON signs Italian-born, Berlin-based sound-artist and producer Saele Valese. In IVIC, his debut album, Saele Valese, distills hauntological noise, droning tonal experiments, and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee, and Thun. Drawing influences from the psychoacoustic properties of the live album format, IVIC's 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialisms, contributes to the images of gravity, intimacy, and spatiality that the music presented here invokes. In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics alternating with more ravenous upheavals of power electronics. If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompany the emotional charges and momentum of an imaginary cinematic experience; the beats caves in for instants of relief, only to recoil in a cognate tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during "Horse The Color Of Rust". The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
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2LP
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NOTON 049LP
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Double LP version. Alva Noto returns to his much awaited Xerrox project with Vol. 4, the fourth installment of the five-piece intended series based on the concept of digital replication of source material. Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent fallacy of the procedure involving the making of copies made from other copies, everyday sounds become so altered that they can be hardly associated with the source material. As a result, entirely new sounds are created: copies of originals become originals themselves. Following Xerrox Vol. 1 (R-N 078CD/LP, 2007), Vol. 2 (R-N 103LP, 2009), Vol. 3 (R-N 159CD/LP, 2015), Carsten Nicolai continues the pentalogy eluding the accuracy and precise sound design for which he's renowned, and turning to a more harmony-driven composition technique. Unlike the previous Xerrox albums, whose starting point is a set of samples extracted from external sources and fragments of recordings, Vol. 4 compounds under a unified cinematic soundscape, warm chords, thrumming digital ambiences, liquified electronics, drones, and noise sustained by floods of strings. The tension between the organic warmth and static curves, broad tones into distant roars and electronic cascade of sounds. While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, Xerrox holds more intimate gestures and emotional sensibility. This fourth volume shuns further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.
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Artist |
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Format |
Label |
Catalog # |
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CD
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NOTON 049CD
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Alva Noto returns to his much awaited Xerrox project with Vol. 4, the fourth installment of the five-piece intended series based on the concept of digital replication of source material. Using the process of copying as a basis, the Xerrox series deals with the manipulation of data by means of endless reproduction. Due to the inherent fallacy of the procedure involving the making of copies made from other copies, everyday sounds become so altered that they can be hardly associated with the source material. As a result, entirely new sounds are created: copies of originals become originals themselves. Following Xerrox Vol. 1 (R-N 078CD/LP, 2007), Vol. 2 (R-N 103LP, 2009), Vol. 3 (R-N 159CD/LP, 2015), Carsten Nicolai continues the pentalogy eluding the accuracy and precise sound design for which he's renowned, and turning to a more harmony-driven composition technique. Unlike the previous Xerrox albums, whose starting point is a set of samples extracted from external sources and fragments of recordings, Vol. 4 compounds under a unified cinematic soundscape, warm chords, thrumming digital ambiences, liquified electronics, drones, and noise sustained by floods of strings. The tension between the organic warmth and static curves, broad tones into distant roars and electronic cascade of sounds. While Alva Noto's oeuvre is predominantly affiliated with pristine sound design, Xerrox holds more intimate gestures and emotional sensibility. This fourth volume shuns further from the conceptualism and orderliness of prior musical outputs, ranging from heart-warming elegies to mind-bending sci-fi projections in extrasolar territories.
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