Friday, 4 March 2011

Vladislav Delay - Live @ MUTEK, June 9th 2000


01 .D/Kompiila; 02 Kohde; 03 Ele; 04 Prostitute/One's Groove; 05 Heille ei Annettu Mitään; 06 Untitled #2 (from Entain); 07 Summer (They Can't See Us in the Dark) Delay Configuration 1; 08 Dutchwallpaper; 09 Sample from Wim Wenders' "The End of Violence"; 10 Lunni (Bring the Voodoo Down/Social Children/Big Hearts Come Later)
Autechre - Quaristice (UK, 2008)


01 Altibzz; 02 The Plc; 03 IO; 04 plyPhon; 05 Perlence; 06 SonDEremawe; 07 Simmm; 08 paralel Suns; 09 Steels; 10 Tankakern; 11 rale; 12 Fol3; 13 fwzE; 14 90101-5l-l; 15 bnc Castl; 16 Theswere; 17 WNSN; 18 chenc9; 19 Notwo; 20 Outh9X
Gas - Oktember (Germany, 1999)


Tuesday, 1 March 2011

(Excuses for my prolonged absence. I was unsure whether to continue at all. I may start posting again more often, no promises though.)
York Höller - Schwarze Halbinseln,
for large orchestra, vocal and electronic sounds on 4-channel tape


In Schwarze Halbinseln ("Black Peninsulas", 1982), Höller sketche[s] in dark hues a large tableau of oceanic-atmospheric sound landscapes. He orient[s] himself here on structures of speech rhythm, expressive gestures, and poetic images from the poem Die Nacht ("The Night") by the impressionistic lyricist Georg Heym. At the beginning, above a cluster-like pedal point of electronics and low strings, lies the poem, whispered and modified to the point of unintelligibility by a woman’s voice, along with eerie women’s choruses and irreal bell sounds seemingly from distant islands. The linguistic material of the text is consistently musically transformed into a “sound poem,” and becomes intelligible only toward the end. In a letter to Höller, Karlheinz Stockhausen, the work’s dedicatee, showed himself impressed by the “rich coloring” and “broad temporal shaping.” (source)