|
|
|
|
|
|
|
|
|
|
|
LP
|
|
SYNC 005LP
|
Tonstich is a project based on the creation of a sonorous dress; an audio/video project which explores through sound and images the creative/industrial process of an imaginary dress. In Tonstich, basic sound parameters -- attack, decay, sustain, release -- are directly related to the dress construction parameters X and Y (length and width). The characteristics of the shape, fit and look of this imaginary dress are determined by the audio composition, following the strict manufacturing schedule of each production unit, the dress is initially modelled by the industrial production process yet continuously modified by the listener's individual sonorous experience The audio material used for the composition of Tonstich is based on the authentic sound recorded in industrial manufacturing facilities of garments and textiles. Single noise patterns from the Bartack machine mixed with the humming of the two needle machine weave in combination with electronic structures a fit sound fabric. Tonstich develops in eight tracks, which correspond to each construction and manufacturing step leading to the unusual dress proposed by Amelie Duchow. Transparent vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
SYNC 003EP
|
2011 release. Kombinat is the debut EP of Clizia the new project of Andrea De Witt, artist present in the electronic music scene with projects (Spin Boldak, Pattern Clear) and several collaborations (Technophonic Chamber Orchestra, 4Dkiller). A work signed of strong emotions, slow light darkness, streams and repetitions discover in the range of the five tracks Clizia's attitude to the essence. Sound waves flow in a mosaic which surrounds the imagination, electronic abstractions combined with cycling rhythmic structures, sound particles which roam about the border between the nostalgia and the dream of a world which has surpassed the epilogue.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SYNC 009LP
|
Memory Code is a project with the central focus on the human memory. Originally developed as an audio/video live performance the duo Schnitt based their research for this work on the decoding of their personal memory. During the composition of the album, Schnitt undergoes an inspection and analysis of their own conserved information, automatisms, and intense emotional states connecting them with their current state of mind. The album Memory Code is developed in nine tracks, each one dedicated to a certain type of memory in which successions of layers gradually become visible and emerge in the sound structure generating a balance between subtle personal sensations and vibrations. For the realization of the album Memory Code, Schnitt extends their work inviting several international artists to participate with their personal sound memory to the project, asking them to send one or more "memory sound files" in order to integrate and open the project to other artistic influences, different cultural backgrounds, national origins and generations. The "memory file" contributions received by the eleven guest artists are integrated as a micro ignition of memory into the sound structures previously developed by Schnitt, as well as being an initial input for new compositions in behalf of the Memory Code album. Features: Caterina Barbieri, I.A. Bericochea, Tilman Ehrhorn, Anders Ilar, Incite/, Vitor Joaquim, Ran Slavin, Tacit Group, Frans De Waard, Pavel Zhagun, and Herman Kolgen.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SYNC 004LP
|
Schnitt develops in Synchropath a method of composing based on the synchronism of video and audio files. The generated files come from several different sound and video sources. Schnitt selects 42 audio sources and 28 video sources from which they extract 678 audio files and 234 video files. The single files will be processed, assembled, and synchronized between themselves and build up the basic structure of this work. The initial inspiration for the realization of the project Synchropath can be found in the impact of the disorder and chaos generated by the invasive and oppressive presence of sound and visual sources which surround our everyday lives. Schnitt questions the status of the image, an exploration between communication systems post -- television, public screens, websites, home movies, surveillance cameras, service monitors, etc. In the audio/video performance Synchropath, Schnitt activates a process of addition/subtraction which is taking position beyond from the image itself. During the interaction between sound and light the captured images reveal only in some parts their own figurative origin, the eight tracks continue along between balance and abstraction, harmony and obsession. Each part refers to a certain type of synchronization using its single basic color for the chromatic development of the video part. The audio part is composed simultaneously to the visual part and is developed by a selection of more than 600 sound fragments which have been extracted especially for this project from the examined 42 sound sources. The sound of Synchropath is the result of assembling and overlapping sound work, a sort of utopian harmonic organization between communication systems. The sound of electronic origin builds up on rhythmic structures which Schnitt defines in accordance with the external inputs. Synchropath is produced and released by Sync. Edition of 300.
|