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Further Consequences of Reinterpretation 15€ postage paid worldwide |
This CD is the product of a process that started with the CD 0.000 by the Japanese artist Nosei Sakata (*0), a CD which contains basically nothing (i.e. sound outside the human hearing range).The idea was to create everything from nothing, and taking a step furhter Raposo and Behrens used as hermeneutic map material from the reinterpretation pieces by Taylor Deupree, Hsi-Chuang Cheng, Aube, Richard Chartier, Akira Rabelais, John Hudak, Bernhard Günter and Steve Roden to construct a further reinterpretation.
Raposo and Behrens use different methods to compose, as well as different structural approaches, and premiered both their — however complimentary — pieces in the form of a friendly audio duel (like a ping pong match) on March 21, 2003 in the auditorium of the Goethe-Institut Inter Nationes in Lisbon. The show was entitled Further Consequences of Reinterpretation.
label site: http://www.cronicaelectronica.org/
reviews
"Further Consequence...
is an extremely complex work, in the elaboration if not in the outcome, which
puts in the game collaboration and the confrontation between the two musicians,
but also the confrontation between them and the original material, in a process
that involves, complexely, 11 authors of the international electronic scene.
it's inevitable to think at the concept of the 'open work', that is work that
can be successively re-manipulated by the author as well as by others, mentioned
by pietro grossi [i do not know the guy!], with all that might come out of
it: a cultural exchange, on a transversal level as well as on a vertical level,
with consequential three-fold enrichment; of the music, of the musician, and
of the listener. do you think that is not much? [Ö] musically, "Further ConsequencesÖ"
is an optimum work, of quasi encyclopaedic characteristics (referring to what
electroacoustic music has produced in these recent years), which puts itself
at the top of both musician's production. from mego's thrashing sound production
to the silence of g¸nter, to the noisound of the japanese, at the psychotic
ambient forms of the swedish, all gets 're-digested' in an emotional and unforeseeable
sequence, with continuing changes of scenery, in a together made of nested
sounds, with spectacular games of contrast, vertiginous jumps of profondity,
[Ö], original rhythmic, melodic, timbral solutions... a cd highly recommended.
sands-zine
The dynamic range is kept
wide - ranging from soft to loud and makes this into quite an enjoyable CD.
Completed with a conceptual cover design I was very much reminded of P16.D4:
extensive recycling of similar sounds and images, from a previous, finished
project moving to the next one. A fine but somewaht neglected tradition. It's
good to see people doing that again.'
vital weekly
in the beginning is the question if someone still remembers the re-interpretations
of *o-o.ooo-flation, artists like merzbow....etc... did interpretations of
that stuff...which was out of the hearable range.... marc behrens + paulo
rapposo used that interpretations again several times, and the result was
this cd, recorded at a live perfomance. if someone can answer the question
at the beginning with YES, does already know how the result sounds. it is
[here comes the usual not translatable text for describing electronic sound]...
somtimes hectical, sometimes sneeking, sometimes nervous, sometimes calm.
a permanent contrast, containing what the both were playing to each other
in different ways in single sound-fragments. clear calculation meets spnotaneaous
jam-session. beauftiful.
AD, debug
What we can listen here are timeless skips, glitches and digital processed
noises forming dense atmospheres. Without a doubt an abstract sound from the
new generation.
loop.cl
Curieux projet que ce disque. Au premier abord on a l’impression d’avoir
en écoute un long bidouillage électronique ponctué de
drones empruntés et lunaires. En fait il faut bien avoir à l’esprit
le concept de l’élaboration de ce disque. Une démarche
qui se rapproche plus des concepts de l’art ou de la musique contemporaine.
Un musique concrète qui fait fi des conventions habituelles et qui
arrive, malgré son minimalisme abusif, à créer un univers
sonore structuré qui n’est pas sans rappeler les disques de Ryoji
Ikeda. Un disque, qui bien qu’il ne soit pas si évident que cela,
apporte une forme d’approche différente de la musique. Le duo
n’est certes pas le premier à s’aventurer dans ce genre
d’expérimentation casse gueule mais il arrive à maîtriser
son sujet sans avoir à dégoûter définitivement
tout prétendant à ce type de musique complexe et cérébrale.
« Further… » n’est certes pas un album auquel on adhère
facilement et il est certain qu’il s’adresse déjà
à des gens qui ont une certaine expérience dans ce genre d’effort
mais il laisse quelques ouvertures qui permettent de le trouver un peu plus
accessible qu’il n’y paraît. On peut toujours prendre le
risque.
.liabilitywebzine
{^Further Consequences of Reinterpretation} is (to put it in a simplistic
way) the remix of a remix of a remix of nothing. The starting point for this
project was {$Nosei Sakata}ís album {^0.000} (which contains only sounds outside
the human hearing range), of which Behrens produced a reinterpretative piece
titled {&ì>0î} and included on a remix album released by the label {@Mu} (it
is also included here as the first track of this set). Then Behrens used the
remixes of the other artists on the remix album to produce another reinterpretation
of the material. Then he sent the sounds he had created to construct his piece
to the Portuguese sound artist {$Paulo Raposo} so that he could come up with
his own reinterpretation. {^Further Consequences of Reinterpretation} presents
21 short untitled tracks (including Behrensí ìoriginalî remix). They are not
attributed to one artist or the other, and the absence of track titles prompts
to consider the project as a single, collaborative multi-part work. Despite
the fact that Behrens and Raposo approach sound art from significantly different
perspectives, it is hardly possible to identify who is responsible for what.
And the overall esthetics of the album lean more toward Behrensí usual output.
Stemming from Sakataís original nothingness, the music retains a ìglitchyî
nature and consists mostly of clicks and beeps and quiet digital textures.
But the whole thing is dynamic and surprisingly lively, as if the two artists
were caught in a heated debate, carefully preparing arguments and vehemently
throwing them into the ring. Still, by its very nature the album remains clinical,
a far cry from the luscious soundscapes of {^Insula Dulcamara}, Raposoís collaboration
with {$Carlos Santos} released only a few months earlier.
FranÁois Couture
Multitudes of totally irrepressible spectral colours, a plot made of acousmatic
short stories where narrative oscillates between protruding bushes in a scrub-land
and narcotic otitis. Paulo and Marc's project, as they say, creates "everything
from nothing" and so, given the respective high level of skill in sound/space
architecture, all I can do is remaining on an abstract level, trying to give
you a faint idea of the constantly shifting scenario that this CD guarantees.
Transforming vague glimpses into a concrete soundscape is no fluke when you
have the tools for the job at disposal: Raposo and Behrens twist limitations,
throwing any gesture like a backhand to our membranes, stimulated enough to
raise your butt and take a walk around the room to better enjoy the extraordinary
frequency game this work turns on. Just when everything seems to realign after
a painstakingly complex process, something new comes out of that hidden hole
in the corner wall and you just can't trap it: instead, hear it while it steals
your ear space. Post-Scriptum: while I'm listening, a bird outside my window
has started chirping repeatedly - the mix of his minimal chant with this wonderful
record is heartwarming.
Massimo Ricci, Touching Extremes
This whistling, whirring exploration of silence is at times very noisy indeed.
Mostly, however, it exists in some hinterland space designed to make us feel
uneasy, tapping and tugging at the senses like an icy liquid dropping slowly
on to an exposed nerve. The reinterpretation made here is of Nosei Sakata's
"0.000", a CD containing only sound outside the ranges of human
hearing. Joining forces with the Portuguese sound and media artist Paulo Raposo,
Marc Behrens - a renowned manipulator of field recordings, and composer of
exquisite electronic soundscapes - uses previous interpretations of Sakata's
work by (amongst others) Richard Chartier, Aube, Steve Roden, Bernhard Gunter
and John Hudak. These reinterpretations are further manipulated by Raposo,
and then the two works - Raposo's and Behrens' - run alongside each other,
forming a "friendly audio duel, like a ping pong match". This produces
music that you need to listen to, as opposed to music that you can't hear.
Absorbing, well-crafted, and a lot more fun than I thought it was going to
be.
Fluxus Europa
Paulo Raposo is de man achter het Portugese experimentele Sirr.ecords. 'Further
Consequences of Reinterpretation' is een verregaande samenwerking met de experimentele
muzikant Marc Behrens. Het idee voor de cd kwam oorspronkelijk van de Japanse
minimale geluidsartiest Nosei Sakata of *0. Diens cd '0.000' bevatte geluid
dat buiten de menselijke gehoorgrens lag. Dus kreeg je een album in handen,
waarop eigenlijk niks stond. Sakata vroeg aan een keure van experimentele
artiesten om een remix te doen van zijn cd. Die dubbelaar werd '*0-0.000remix-Inflation'
gedoopt. Toen Behrens de cd in handen kreeg, besliste hij om het procédé
nog verder te voeren en om het remix-materiaal van Taylor Deupree, Hsi-Chuang
Cheng, Aube, Richard Chartier, Akira Rabelais, John Hudak, Bernhard Günter
en Steve Roden nogmaals te reconstrueren. Toen Raposo het materiaal op zijn
beurt in handen kreeg, besloot hij om het procédé nogmaals verder
door te voeren en er nogmaals een herinterpretatie van te maken. De exploten
van Behrens en Raposo kwamen dan terecht op de gezamenlijke cd 'Further Consequences
of Reinterpretation'. De cd bevat 23 korte stukken, waarin schijnbaar niks
en alles tegelijkertijd gebeurt, alsof je in een microcosmos vertoeft van
snel wegflitsende en kregelige elektronische sounds. Alleen voor diehards!
http://www.urbanmag.be
Poucas vezes se fez nesta área tanto uso de dinâmicas e é
isso, sobretudo, que conquista as atenções nesta “reinterpretação”.
rui eduardo paes