With this album Orphax further explores the various possibilities of drone music.
For this work, inspired by the work Vice Versa… by Eliane Radigue, he recorded two works using almost the same settings in the virtual modular software Audiomulch, except for changing one small setting. The recorded source material was than used as building blocks in reaper to create two compositions of exactly 20 minutes.
These two compositions can be played separate from each other, but the idea is also the create your own mixes with this. This can be playing the compositions at the exact same time, but also in any other way you seem them fit to mix.
For this purpose the album comes with download code containing the two compositions and one bonus track which is already one mix you could also duplicate yourself.
All music was recorded between June 7th and July 17th, 2016 with AudioMulch and Reaper.
The first category refers to white noise which never occurs in its purity since the actual environment always colours a white noise. for this reason I decided to label it ‘a faintly coloured noise‘. the ‚0‘ number reflects the character of an average sonic material without any distinct feature. going from 0 to 1 is a fundamental step in determining further a sound. for me this step reflects the cultural achievement of building tools to produce sound and makes a cut into the sum of all noise. getting on to the next step (2) highlights pitch as the main amount of the sound chosen. these three steps appear in an ever changing structure involving repetitions and change. change occurs as going from one step to another and as turns of the order as well.
The score of abc, 1-6‘ unifies the performers’ activities through the applying of a similar structure. the six pages enable six rounds to go through the described steps at individual paces and leave it up to the performers whether to merge the sounds or to let them happen as single sounds. the relational aspect among the three parts become apparent after a certain time of performing / listening. ST
2 x CD housed in 6 panel cover…
hear atmospheres, sound shapes, gestural narratives, spectral trajectories, stochastic rhythms and phasic space when I encounter an environment rich in sonic phenomena.
But in order to be open to this meta-sensory information, I must first get my ears out of the way. I don’t listen with my ears but with an inner sensory apparatus, what Goethe called “organs of perception,” that I have developed over the years.
Once opened to this world sound becomes something very different—it’s as if one could previously only see in black and white and suddenly were able to see in color. One becomes a witness to a full range of qualities and events that were previously inaccessible.
The drone is not a steady-state sound but a constellation of sound objects that lie hidden beneath a simple surface. The listener can penetrate this surface when they allow time to exist in a space where the past and future collapse into an infinitesimal, yet infinite, moment. – Kim Cascone / San Francisco, Nov 20 2015
Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow. A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones. The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis’ reed sound being compressed and constrained by the saturation of Akita’s textures, that the album was born.
The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams. Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures. Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.
Orphax is the Amsterdam based musician Sietse van who has been active with music since 1998. Time Waves is his second proper CD release after 34 CD-R, Tape, DVD-R and download releases and various compilation contributions and remixes.
Modelbau is one of the many names Frans de Waard (Kapotte Muziek, Goem, Wieman, Freiband, etc) uses for his music. Moving Furniture Records is proud to release the first proper CD by this project after many tape releases and a couple of CD-R’s.