~ Various Artists
|
An Anthology of Noise & Electronic Music: First A-Chronology, Vol. 1 ~ Various Artists |
~ The Fall
|
~ Sigur Rós
|
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Track Listings
| 1. Crystal S2 - Noto |
| 2. Zero Degrees - Ikeda, Ryoji |
| 3. Rotr - Produkt |
| 4. Studio 1 Variationen Gelb - Brinkmann, Thomas |
| 5. Comp Twee Digital - Goem |
| 6. Zenith - Sound Track |
| 7. Reihen - Komet |
| 8. Hep - S-Nemek |
Product Description
CD Description
Stripping music to its atomic structure, the members of theMICROSCOPIC SOUND set replace the traditional palette of notes and timbres with sensitive frequencies, static, carefully sculpted waves and tones, electronic glitches, and bass pulses. These artists work in exacting miniature, transposing their mesmerising sonograms onto transparent techno grids and similarly derived dance music structures. Often resemblingresearch findings rather than songs, their compositions reveal the fascinating activity that can occur on music's molecular level.
While such paragons of micro-musical exploration as Ryoji Ikeda, Noto, and Thomas Brinkmann are much discussed and admired in experimental electronica circles, the excellent MICROSCOPIC SOUND is one of the first releases to represent this crew of international infrasonic architects inthe United States. The mostly exclusive contributions rangein audibility from Produkt's boisterous, glitch-riddled electro to the silence-straddling sub-bass, sine wave, and static-crackle soundmaps of Goem and Noto. Sound-sculpting veteran Kim Cascone's subtly contoured, computer-aided ambient designs weigh in on the more melodic side of microscopia. An excerpt from Ikeda's superb 0'C falls between the two poles, as do the whisper-soft funk inflections of Brinkmann's tone-arm-manipulated techno and the mutating chromatic lock-grooves of Komet, Digital (another credit for one-man-industry Mike Ink [Wolfgang Voigt]), S-Nemek, and Sound Track.
Stripping music to its atomic structure, the members of theMICROSCOPIC SOUND set replace the traditional palette of notes and timbres with sensitive frequencies, static, carefully sculpted waves and tones, electronic glitches, and bass pulses. These artists work in exacting miniature, transposing their mesmerising sonograms onto transparent techno grids and similarly derived dance music structures. Often resemblingresearch findings rather than songs, their compositions reveal the fascinating activity that can occur on music's molecular level.
While such paragons of micro-musical exploration as Ryoji Ikeda, Noto, and Thomas Brinkmann are much discussed and admired in experimental electronica circles, the excellent MICROSCOPIC SOUND is one of the first releases to represent this crew of international infrasonic architects inthe United States. The mostly exclusive contributions rangein audibility from Produkt's boisterous, glitch-riddled electro to the silence-straddling sub-bass, sine wave, and static-crackle soundmaps of Goem and Noto. Sound-sculpting veteran Kim Cascone's subtly contoured, computer-aided ambient designs weigh in on the more melodic side of microscopia. An excerpt from Ikeda's superb 0'C falls between the two poles, as do the whisper-soft funk inflections of Brinkmann's tone-arm-manipulated techno and the mutating chromatic lock-grooves of Komet, Digital (another credit for one-man-industry Mike Ink [Wolfgang Voigt]), S-Nemek, and Sound Track.
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