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TERRITORIUM | GARET-LLOYD-SMOLDERS-UBEBOET

NonVisualObjects 004 . 2005





Kohärenz, Komplexität, Kongruenz, Konsistenz, Konsonanz, Konstanz, Kontemplation, Content, Konsequenz, Kompromisslosigkeit. Richard Garets »Circle«, das erste Stück auf »Territorium« (NVO 004), hat nach 9'48" Minuten eine audioperzeptive Spannung in mir aufgebaut, erzeugt, erregt, die mich dieses experimentelle Terrain so aufmerksam erkunden lässt, wie ich das zuletzt vermutlich bei der Musik des Komponisten und Soundmanipulators Bernhard Günter getan habe. Müssen wir das, was wir hier hören, definieren oder mit einem Namen versehen (etwa Hyper Acoustics, Elektroakustik oder Sound-Fokus)? Ich möchte diese vertonten Erzählungen lieber spüren, diesen Audio Books lauschen. »Nicht sichtbare Objekte« beschreibt ihren Inhalt eigentlich sehr genau, beschränkt sich allerdings nur auf einen Aspekt. Warum also nicht zum Beispiel Haut oder Knochen als Schnittstelle zwischen den Stücken und ihren Auswirkungen betrachten, um auch das zu empfangen, was über das Hören, Sehen und Verstehen hinausgeht. Sie fühlen den Sound einer Hauptstraße, auf der Sie an einem heißen Sommertag ausgestreckt daliegen, während andere Leute Mittagspause machen und sich im Freien tummeln. Habe ich über das Ziel hinausgeschossen? Gut möglich. Für mich sind diese Stücke – gerade läuft »Anamorphic_AT« von Dale Lloyd – weder minimalistische Musik noch Electronica. (Als ich die CD stoppe, kündet ein fernes Dröhnen, dass sich Air Force One mit Familie Bush im Bauch im Landeanflug befindet – leider ist diese Geschichte nicht mehr Musik, sondern Realität.)

Coherence, complexity, congruency, consistency, consonance, constancy,
contemplation, content, consequence, compelling, conjecture. 9´48´´ into
Richard Garet´s "Circle", the opening piece of the album "Territorium" (NVO
004 ), a certain amount of audio perceptive tension has been raised,
achieved, brought up. Last time i´ve actually paid attention to such a
territoire of experiments and expressions was i guess with composer and sound
manipulator Bernhard Günter. Do we need to define or give it a name (hyperacoustic, eventually electro-acoustic or sound focus)? I'd rather feel
these audio tales, listen to the audio books. Actually "Non Visual Objects"
is a very appropriate definition even though just one aspect. The next
possible approach would be to consider your skin and bones as a direct
interface between the pieces and its effects. Beyond the ears, above
understanding and next to you. This is a sound you feel when you lay your
whole body on a main street while people are running around during mid-day
pause in hot summer. Past the point? Possibly. "ANAMORPHIC_AT" by Dale
Lloyd being the track number two at present time while artists Jos Smolders
and Uberboet will come next on the CD. In any case i wouldn´t call it
minimal nor electronica (as i pause the cd a rumble in the far informs
us that Air Force One is about to land with the Bush Family in its stomach -
such perceptions are intended by the music and not by politics).

(noël akchoté / translation: f. kulcsar, skug)



Territorium is more of a label sampler showcasing four of its lesser known artists, though Dale Lloyd runs the and/ OAR label and los Smolders is an active presence in the Dutch microsound underground. His "Aiolos (Vangsaa Exterior)" uses sounds of wind through dunes, heightening variations of pressure through careful processing. Richard Garet's "Circle" is an exemplary exercise in treated field recording, while Lloyd is more concerned with suggesting environments through artificial means on "Anamorphic_AT". Ubeboet's Miguel Tolosa provides three short, fascinating miniatures suggesting more internalised private spaces, with the closing "Waking Up (Misty)" being quite lovely in a bleary-eyed kind of way.

(keith moliné, the wire, # 265)



The four-way split Territorium is another fine example of how today's new electronic music blurs the distinction between natural and artificial - those old ideological battle lines drawn up between Paris and Cologne seem increasingly irrelevant. The "AT" in Dale Lloyd's "Anamorphic_AT" stands for "Artificial Terrain", and the composer is at pains to point out that though some use is made of field recordings, what might sound like insects and amphibians is in fact purely electronic in origin. In terms of overall pace and basic material it has much in common with Richard Garet's "Circle", which combines treated field recordings made in South America and Garet's current home New York City (including on the subway) to create a subdued if tense montage of hums, drones and crackles. The three brief tracks by Ubeboet, aka Madrid-based Con-v label boss Miguel Tolosa, are as evocative as their titles – "The Wait", "Doubts" and "Waking Up Misty" – but tend to leave one wanting more (luckily there is more at http://www.earlabs.org/label/LM/LM028.asp?titleID=1296). The most impressive piece on offer is Jos Smolders' "Aiolos (Vangsaa Exterior)", which as its title makes clear is sourced in recordings of wind made outside a cottage in Vangsaa, Denmark, delicately woven with flecks of distant birdsong, passing aeroplanes and "tiny bell like anomalies" into a rich and remarkably moving sonic tapestry.

(dan warburton, paris transatlantic)



Non Visual Objects is a label that has been making its mark on the ultra-minimal scene for nearly a year now. Releasing ultra limited editions [Richard Chartier, Heribert Friedl, Steve Roden, Roel Meelkop]; the releases always come packaged in gorgeous paper-bound sleeves. This time around on "Territorium", NVO label gives us morsel-sized portions of sounds from four crucial minimal purveyors. On "Circle", Richard Garet spews out an ultra-quiet field recording made in South America, NYC [streets, subway]. To this, he adds processing from his studio. High frequency pitch permeates this piece throughout, while doors slam, birds chirp and who the hell really knows the true source of the tape anyhow. Dale Lloyd [whose "Semper" CD was one of the stand-out releases of last year] provides "Anamorphic_AT", a piece that he stresses has no insect or amphibian sounds. His field recording is processed so heavily, to a point where you actually start to believe you're hearing fireflies, crickets and bees buzzing all around you. If there is a stand-out piece on the compilation, Jos Smolders' "Aiolos (Vangsaa Exterior)" would have to be it. Recorded outside of a Danish cottage, the star of the thirteen minute piece is the wind. Its sound is fascinating, perplexing and freighting in one go. Jos processed wind further through a CDP plug-in, which gives source sounds even more clarity. The last three short pieces are by Ubeboet. He claims the pieces are "a nocturnal, psychogeographical approximation to certain acoustics phenomena found in urban, unnatural environments without human presence". Sound is extra-terrestrial. No shit! I've no idea what the sources for Ubeboet's pieces are nor do I particularly need to know. From beginning to end, "Territorium" is another strong addition to NVO's already stimulating catalogue.

(tom sekowski, gaz-eta)



on the flip side, territorium is actively concerned with place. the four artists on this compilation make it quite clear that field recordings provide a crucial element in the realization of their protean environments. but these caps don´t want emulate chris watson and his naturalist leanings: process is integral to these works, and mutating their disperate parts is the reason for their utterly unique imagery. richard garet blends south american samples with tones, drones and sonic bones from the new york city streets and subway. you´d be forgiven if you thought the incongruity between these recordings´ origins would make for an inchoate mess, but garet´s shadings, fibrillations, and hurns are shaped with a masterly poise. dale lloyd´s geography mimics the shrill noise found in more organic tundra but the weird digitalized wheezing throughout, augmented by the odd prickly fillip and replicant cricket noise, is a constant reminder we´re in the belly of the silicon beast - regardless, it´s thoroughly engrossing. jos smolders is fascinated by wind; hence his piece, brimming with hush, thrush, whoosh and holler. faintly echoing alan lamb´s high wire symphonies, smolders´ more "maximal" approach allows for the introduction of alternate sonorities that imbibe his captured eddies with a singular power. ubeboet´s three short works are perhaps the strangest of all. by "approximating" environments devoid of human presence, his throng of mysterious grunts, shufflings, muted "thunderclaps", half-started motors and other unknown sounds make for a vaguely threatening dreamscape of almost lynchian proportions. bend sinister, indeed.

(darren bergstein, e/i magazine)



Musik irgendwo zwischen Foundsound und Sinusklängen, die extrem angenehm für die Ohren ist, sofern man in hohen Tonlagen überhaupt noch etwas hört. Anders als vieles was sonst so auf diesem Sektor erscheint, sind die sechs Tracks auf dieser CD auch alles andere als unnahbar, sondern eher sehr flüssig und klingen im allgemeinen so wie eine laue Frühlingsbriese. Nur eben etwas digitaler.

music somewhere between found-sound and sinewaves that is extremely enjoyable for the ears, as long as you are still able to hear in the higher sound levels. different than most releases in that sector, the six tracks on this cd are everything but inaccessible, but rather smooth and sound in general like a gentle spring breeze – only slightly more digital.

(bleed, de:bug)



Der thematische Überbau dieser Compilation ist das Verschneiden von analogem Environment in Form von Field Recordings und dessen digitalem Treatment durch Verarbeitung zu oder Einbettung in einen (minimalistischen) Kontext aus elektronischen Sounds. Die insgesamt sechs Stücke der vier beteiligten Klangwerker können – freilich nur grob verallgemeinernd – unter den Schlagworten lowercase oder minimalistische Musik subsumiert werden, wobei sich die Arbeiten im Detail selbstverständlich recht unterschiedlich präsentieren. Als geradezu klassischen Beitrag zum Thema würde ich jedenfalls gleich den ersten Track sehen; in diesem, 'Circle' betitelt, kondensiert Richard Garet eine Reihe akustischer steady shots von Field Recordings aus New York und Südamerika in nicht unbedingt genre-untypische hochfrequente Klangflächen und erreicht so eine merkwürdige Distanziertheit – die visuelle Analogie eines Film im Film drängt sich auf –, aus der das Stück jedoch einen beträchtlichen Teil seiner Faszination bezieht. Dale Lloyd dagegen konstruiert auf Kosten eindeutiger Klangsignaturen artifizielle Soundscapes, deren Verweise auf natürliche Umgebungen anhand klischeehafter Stilisierungen festgemacht werden. Auch dieser Track wirkt etwas zweidimensional, zwar nicht ohne reizvoll zu sein, aber es bleibt ein unbestimmtes Gefühl einer gewissen Unbeteiligtheit. Direkter und fassbarer dagegen die Aufnahmen von Jos Smolders, in denen Wind die Hauptrolle spielt. Ein reizvolles Wechselspiel von Intensitäten, eine sehr varianten- und nuancenreiche Beschäftigung, die weit weniger kryptisch als die vorhergehenden Beiträge ist. Ubeboets Arbeiten schließlich fokussieren noch mehr auf den Detaillevel – einen zarten Hinweis darauf gibt schon die Aufteilung seines Beitrages in drei Tracks. Diese erzeugen sehr unmittelbare Stimmungen, die, auch wenn sie eigenartig vage bleiben, nichts von ihrer akustischen Dringlichkeit und Vordergründigkeit verlieren. Insgesamt höre ich »Territorium« als eine durchaus spannende, mit einem nicht nur thematischen, sondern ebenso – wenn auch sehr zarten – klanglichen, roten Faden ausgestattete Zusammenstellung, deren Charakteristik gerade zu Beginn etwas spröde und unnahbar erscheinen mag; sanftes Experimentieren mit Lautstärke oder die Verwendung von Kopfhörern machen die Beschäftigung mit diesem Album jedoch problemlos zu einem höchst erfreulichen Zeitvertreib.

(tobias bolt, quiet noise)



"Circle" by Richard Garet is a gorgeous juxtaposition of field recordings and studio treatments, in which inherent manifestations and mechanical sounds create an ambience accepted by our ears like a perfectly natural thing; the powerful images conjured up by Garet can be filed in the archives of the most deeply captivating electroacoustic music. Dale Lloyd underlines that there aren't actual insects or amphibians in his "Anamorphic_AT"; indeed one could be deceived by the cricket-like sounds characterizing the piece, a high frequency electronic meditation over an underground rumbling whisper, akin to the wind as heard from afar. Speaking of which, the wind itself is the leading source in Jos Smolders' "Aiolos (Vangsaa exterior)"; the composer mixes "the continuous pushing and tearing" of several air currents, what he calls "tiny bell-like anomalies" made with Bhajis Loops and environmental sounds for what's maybe the most "concrete" track of the disc, which itself is ended by Ubeboet's tracks, "The wait", "Doubts" and "Waking up (Misty)", three shorter nocturnal pieces defined by the author as a sort of reproduction of "urban, unnatural environments without human presence" - and I could not put it better than this; these enigmatic textures constitute a "post-industrial" conclusion for another intriguing album by this excellent label.

(massimo ricci, touching extremes)



Territorium ne jouera pas le jeu de l'œuvre hermétique et dévoilera toute de suite la topographie de ses ambitions : tracer une carte, incomplète et fragmentaire, du field recording et de l'ambient. En associant cinq artistes et six compositions.

Projet doublement géographique puisque, si le disque dans son ensemble dévoile une géographie engagée du genre, chaque morceau est la géographie anomale et reconstruite d'un lieu, d'un type de terrain, d'une ville, d'un climat. Richard Garet enregistre en Amérique du Sud, dans les rues et le métro de NYC avant de monter le tout dans son studio. Jos Smolders préfère capter les rapports d'intensité du vent, comme si la musique pouvait disparaître devant le souffle tout en faisant subsister quelques sonorités de cloches parasites, quelques fragments mutins, tandis que Dale Loyd enchâsse d'infimes éléments captés à l'extérieur dans une ample texture électronique évoluant organiquement, en surface comme en profondeur. Quatre artistes aux pratiques différentes, mais placées dans une perspective commune qui est aussi celle du field recording à l'heure actuelle : poétiser l'espace plutôt que le documenter (le maître mot du genre, en quelque sorte), mettre au jour le génie du lieu.

Eloge de l'arythmie, Territorium est le disque des grands déserts blancs : situés nulle part, créant son hors lieu et son hors temps au fil de la musique, les six compostions moins enchaînées que fondues les unes dans les autres redessinent un monde d'où le tumulte a été supprimé. Le field recording devient moins une ouverture à l'extérieur qu'une manière, pour chacun des compositeurs, de rentrer en soi-même en se mettant à l'écoute du monde. D'où la grande beauté du résultat, méditatif et plein d'une souveraine confiance en ses options. Chaudement recommandé.

(johnny one shot, infratunes)



Non Visual Objects provides a big one here with this wonderful CD featuring Richard Garet, Dale Lloyd, Jos Smolders and Ubeboet. Concerning itself with mostly field recordings, maipulated and processed sound and environmental texture, the CD is conceptual and yet still very engaging. Garet's piece is made with feild recordings from South America, New York and his own studio. Dale Lloyd works with mostly electronic sounds but adds some treated field recordings into the mix. Smolders uses the environmental sounds of the wind recorded outside a cottage in Denmark and finally Ubeboet delivers 3 short pieces that represent acoustic phenomena found in unnatural urban environments. Incredibly satifying, particularly when listened to all the way through, it's a work that's as diverse as it is challenging and comes highly recommended. Of course, as it's on Non Visual Objects it comes with delightful packaging and in a limited press of 300 copies.

(mike oliver, smallfish)