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Larmkunst:
Liner Notes:
The original idea was
purely experimental:
noise as music + music as noise. noise from music + music from noise. Acoustic
instruments and pure noise blended with real time
treatments-mutilation-manipulation.
But eventually, instead of a work in the glitch & noise music style so in vogue
since the mid 90’s, I ended up integrating those glitches and sonic artefacts
into more traditional compositions, and sometimes I even used standard “song
writing”.
Most of the tracks here include two kinds of sound sources: music and noise.
Musical sound sources consist of performances that are, in essence, pure and
simple, mostly music performed on just one or two acoustic instruments. This
performances are treated (usually in real-time) with analogue and digital
processors and then edited, altered, tampered, distorted, and heavily
transformed, pushing the boundaries between sound and noise. This creates
additional tracks to be used as noise and background.
As for the noise sound sources: some “pure noise” sounds (field recordings,
noises generated from instruments, switches and cables, tape distortion,
processing errors, no-input mixer, AM radio interference, vinyl cracking, pots,
pans, bins, typewriter, alarm clocks, etc) were used along with noise sounds
created by the use (and abuse) of overdrive and distortions applied to simple,
clean and pure sounds sources: acoustic pianos, classical guitars, the sound of
the wind, etc.
So, musical notes and phrases performed on acoustic instruments have been
transformed to create textured noise (most of the “noise” sounds are actually
excerpts from the performed musical –instrumental- tracks, manipulated and
metamorphosed beyond recognition), and on the other hand pure noises were
transformed to create musical material, sometimes playing melodies by means of
pitch shift. Other effects and processing includes prominently: delays, echoes,
filters, overdrive, distortion, and treated reverb.
This project started as a derivational work from two other projects I’ve been
working on during 2008-2009: “musique mécanique” and original music for Réné
Loyon’s version of Tennessee Williams’ “suddenly last summer”. While working on
M.M. I fell under the charm of manipulated delays playing rhythmically along
real time human performances and the use of mechanical objects to perform music,
while “suddenly…” needed background noise as a presence and soundtrack (mostly
bayou’s swamp and jungle noises) and once these noises treated, manipulated, and
blended with standard music, I found them to be plain beautiful, not just as
background ambience, but as musical parts and statements as well.
Part of the fun of producing this music is that I wanted to limit myself to a
small number of sound sources (sometimes just one) and create a wide palette of
sounds and tracks from that source, creating noise, texture and music out of
that single performance.
dd summer 2010
Larmkunst track list
:
1. clockworks 1 analog/metronomikas 2:20
2. lärmkunst main theme 3:40
3. bamboo lärmgroove 2:16
4. lärmkunst piano 3:20
5. dactilograficas 3:13
6. flutes ambient 3:05
7. bamboo+metronomes: the painfull clixs 2:27
8. lärmkunst noisy theme 3:37
9. clockworks 2 digitales 2:31
10. guitars distort 3:06
11. soudain….opening sequence 2:43
12. soudain….guitar noise drone 1:37
13. soudain….finale 3:51
14. soudain….main theme 5:21
15. lärmkunst folk 4:14
16. clockworks 3 bad ben 2:34
17. lärmkunst deconstructed theme 4:44
18. blow… 2:28
19. …wind blow 2:20
20. lärmkunst final theme 4:19
TOTAL LENGTH 63:48
Full track list & details
here
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