Matmos: thank you thank you thank you thank you thank you thank you thank you/Uk 28th jeszcze Bogus ooh Schaeffer Album Release

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The two men of Matmos live retorts to The concept that dadaist is indeed dangerous and unexplorable. When they decide to make a song out of the noise of liposuction or an animal womb, they’re not even able to make those sounds, but to create the voice weird and enjoyable. In an interview with Norwegian composer Lasse Marhaug, he said, M. C. Schmidt — each quarter of the Yankees alongside his melodic and romantic partner Drew Daniel — explained being one of nine people at a sound event a few years ago; the problem, He assumed, the arena had just encouraged a lot of people “academic composers” on the event, instead than placing hawks and getting the word out of the audience. “I feel like multi-channel electroacoustic music can and should be a populist/popular art form” stated Schmidt. “Just wait for” seriously “, for example, enjoyed by anyone who smokes marijuana.”

Their new album, Regards/Uk. 28th Jeszcze Bogus. Ooh Schaeffer combines sound song and nationalist painting in a really literal way. While almost all of the mark is aesthetic, in keeping with the duo’s Mlim Bry. O. Charting noise from unconventional sources onto a beat pattern gone from online music, All the noise here is documented from a test bag the Jeep produced from the sound of the performances Polish songwriter Bogus ooh Schaeffer created at the powerful Polish Radio Experimental Studio in the 1960s and 1970s. The few didn’t remember Schaeffer’s song before Poland’s Adam Mickiewicz Institute designed The Test Bag, It’s hard to blame them: Though common in Poland, 1990s, Schaeffer is very little known internationally. Vocals and concerts of these items aren’t often easy to come by, and anybody who saw the great current headlining write of David Lynch’s Inland Empire will have heard his jobs.

The 11 items integrated into The test bag include everything that The Jeep could need for The album’s six songs. Choir tests take the position that pretend angel-choir configurations generally play in edmunds, putting haunting arpeggios to create a sense of greatness and haunting. It would seem incredible that an unbelievably weird bit of frat-rock bladder could be found on this “Cobra Wages Shuffle/Off! Schable w gur!” could’ ve arrived from Schaeffer, but anyway, it’s from Schaeffer’s “E. S. Jazz.” (The winners are languages, and four are wonderful misspellings for Schaeffer’s name.) A wood of ring criss-crosses the scenery of its lineup “assemblement/Parasambla” — not the fairy-tale kind but gravelly rattles that emphasize the fact of ring as percussion. Whereupon there are the screeches. Matmos idolizes screeches, and Schaeffer offers them without a scarcity clause.

Sidebar Speech, it’s like a Matmos album, from the hyper-swung homes surpassed to the manner they incorporate their songs by gushing through their component items but then slowly gathering them into a consistent corrugation. The duo’s greatest new aesthetic strategy on Regards, excluding the album’s idea, the separation of the mark into two different ends: Four smaller and even more beat songs on the first album, four older and even more acoustic breaks on the second — a splicing that could make more sense on a single album than an undisrupted feature on CD or able to stream. The beat-free breaks are features of The current collection of The duo, notably the ending “Anti-Antiphon (Absolute Decomposition) /Anty-Antyfona (Dekonstrukcja na caego)” that he cubes at the center of their voice and leaves a quivering leaf, haunting, eerie useless.

But, for the most part, the song now doesn’t force Matmos’ voice into Strange Land as much as it replicated it with new materials. Whereas the reports of their noise frequently reveal the most ethereal, crucial parts of themselves — the dampness of the machine on Ultimate Care II, the haggard compression of the surgical procedures on A Chance to Cut Is A Chance to Cure — we don’t get most of these in Regards. Which we’ re turning about is a great-sounding Matmos album built from parts of Schaeffer’s jobs. You possibly won’t disengage understanding much more about either the Jeetwin or the songwriter as You did before, but if it receives druggies wondering enough to try to contact their native sound event, it’s a beat all around.