A Letter From The Past - Sonore - Call Before You Dig (CD, Album)
Subaru engines Subaru FA20D Engine. FA20D block. The camshaft timing gear assembly contained advance and retard oil passages, as well as a detent oil passage to make intermediate locking possible. Furthermore, a thin cam timing oil control valve assembly was installed on the front surface side of the timing chain cover to make the variable valve timing mechanism more compact.
The cam timing oil control valve assembly operated according to signals from the ECM, controlling the position of the spool valve and supplying engine oil to the advance hydraulic chamber or retard hydraulic chamber of the camshaft timing gear assembly.
Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century. Active since the s as a bandleader, mentor, collaborator and teacher. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique check the lengthy stretch of sustained circular breathing on SIDE C and an arresting, fractured melodic sensibility.
On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts. John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role.
No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed no kick or hi-hats he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass.
You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard. For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation.
John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. John, Hackney - 5 years ago. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.
Mixed by John Butcher. Mastered by Giuseppe Ielasi. Digital download version of this recording originally issued as a one-sided limited edition 12" made available as part of a fundraiser for Cafe OTO to acquire some new equipment.
Cover image courtesy of Matti Braun. By the power of the third eye the trio tune into sub-conscious frequencies to cancel your Netflix subscription, corrupt your hard-drive and re-align your chakras.
Weirdly therapeutic. Mixed by James Dunn. Mastered by James Dunn. Original photo by Dawid Laskowski Tracklisting: 1. Terse, political and ultimately very present. They entered on a skateboard and emerged as rabid beasts, their hair long and their mouths forever open. In 3 men climbed out of an underground lair for a show at Cafe OTO. Ghanaian sculptor, inventor, and avant-garde multi-instrumentalist Nii Noi Nortey performs solo and in trio with Mark Sanders and David Panton.
Although this is the first time Nii Noi and David have improvised with Mark the trio immediately find an unerring natural groove that moves effortlessly through free-improvisation, free-jazz, world music and African inspired melodic and percussive patterns. It is testament to the arresting intimacy of Ashley Paul's live set that between plucked guitar and a wailing sax there's near silence in the venue. Paul creates and controls an eerily concave space - so inward that with every listen the recording mutates in on itself.
Highly emotive and strangely addictive. Tracklisting: 1. Distance 8. I'm in You 4. It's the Heat 7. Line the Clouds 4. Mixed by Ashley Paul. Mastered by Rupert Clervaux. Photo by Dawid Laskowski. Portland-based composer, guitarist and multi-instrumentalist Marisa Anderson's headline show at Cafe Oto.
Twisted, powerful improvisations blend with her own compositions and the traditional tunes she adores to make hairs bristle and feet stomp. Likely to make you sweat in your own front room. Thereafter we played mainly as a duo. This session is one of the few times Figgis and Day played as a duo. They were, with others, co-founders of the Continuous Music Ensemble and People Band, whilst also collaborating in other configurations.
Mixed and Mastered by Mike Figgis. Artwork by Terry Day, Mixed and Mastered by AJ Pillette. This studio recording is the only time we have played together, other than an initial get together at my house where only a few tambourines were percussed upon.
Other than working with the Shakuhachi playing of Clive Bell, this was my first experience of collaborating with a non-western instrument. Heavy experimentation out of Northampton, Massachusetts.
Operated by guitarist and graphic artist Bill Nace. Charles recited the free-associative poem here, alongside Nace's minutes instrumental guitar abstraction. Nace arranged a slow, hypnotic drone, first played on a distant, Far Eastern-tinged acoustic guitar, that later morphs into a quiet, and even quieter claustrophobic-electric rustle, that fits the closing lines of the poem: The blood that fell on each new tomorrow And you saw this as I was watching you.
Under the influence of all your stars, In mirrors of your galaxies of blue, The hero and his love became your scars But this rose picked could not be picked anew. To measure you and me in full disguise I lay beside our rose of paradise. Long sold out vinyl! For years, they've each kept their music fresh, always avoiding preconceived notions of what they're supposed to do. Dilloway's tape loops and electronics are routinely musical, which Nace's guitar always stretches to the edges of alien electricity.
One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more.
Mastered by Carl Saff. There's a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else's. I'm bad at manufacturing things, I'm bad at promoting them, and I'm especially dismal when it comes to packing things up and mailing them out.
And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness. This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length.
It's a subtle melding of the personal and the conceptual. But they're not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend. At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy. It sounds easy but it's anything but. Just look at divorce rates.
Nace and Dilloway make the perfect duo. This collaboration though, like their back catalogs, works because it is beholden to none of these.
Their individual voices are recognizable, yet the record's allure is found when those voices funnel into one another. In these moments, who's who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism. The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic.
After all these listens, I remain disoriented by it. It's the kind of thing you want to play again because you can't quite remember exactly what it sounds like. I'm reminded of J.
Ballard: 'The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time. Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event. In the summer of guitarist Bill Nace and jaw harp player chik white began a long distance collaboration.
They put together enough material for a 7", which was released in September on Bill's Open Mouth Records. Here it is in download format. Recorded, mixed and mastered by Emily Robb. Turn Me On - 4. Be There Soon - 5.
Take It Down - 0. Where Did You Go? Mastered by Mark Miller. Reflections and refractions of sound swim around in their own subtlety. A conversation gets out of its own way, using an unknown language of letting go.
A focused void. Drone slabs and microtones bend and waver, slipping beneath the surface of sound. Using a a mini brute and Korg synthesizer, John carved out time to occasionally sit in a room to work on these recordings. Over a span of two years, he visited this room when he felt like he needed to. Tones travelled through effect pedals and out of speakers, filling up the solitary space with shifting waves. The instruments and recording device were always present and ready when the connection felt right.
It feels right. Music underneath. I listened closely to 'Bridle Path' on my own wanderings, and it became the perfect soundtrack as the moving scenery folded into itself. My days were filled with long drives, airport lines, windy highways, and sweeping views.
I I sat still, but also moved at a clip, feeling tired and awake as dramatic landscapes changed with every passing view. I considered the music a gift. John and I once traveled out to the coast of a famous surf spot in Portugal, Praia Dos Supertoubos, and found ourselves in front of some enormous waves - the biggest I had ever seen.
The oceans magnifying energy was surreal, and I sat on the beach with my camera, thrilled as John immersed himself in the wondrous ocean. The massive waves swelled, and there was John, brave and symbiotic - floating, rising, falling, and gliding.
This music captures my own vision of him out there on the water. Countless performances, recordings, destinations, discussions, luke warm coffee, big hooded coats, foggy windows, gear in an elevator, junky practice spaces. There was momentum of feeling our own way, laughing, and listening. John always listening seriously. King Tubby pointing to his head. The kind of friend when you get to know their various cars over the years, and enjoy spending time in them. One channel of a stereo working.
It always felt good. Listen for yourself. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each other's space and light like a garden of plants that would never actually coexist anywhere in reality. Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod.
Something has been completed and now all the pieces are interchangeable. The first can go last. The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits.
These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that it's hard to tell if it's intended or if something imperceptible within you shifted the locus of your perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. There's a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances.
Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning. Live recording of a totally weird collaboration between flutist Lao Dan and multi-instrumentalist Li Daiguo. A new interpretation of Chinese folk instrumental music. In this album, tribute is paid to Fei, owner of the Old Heaven bookstore and pivotal figure of the Chinese avant-garde scene, whose magnetic voice and demonic laughter can be heard at the very beginning of side A.
More 'traditional' dombra solo album from Mamer - more cyclical, less sustain driven reflections on Kazakh tunes.
An artform whose history spans over a century, zhuizi originated in Henan province. Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping. Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style.
He sings with deep feelings and great verve. Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour. Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time. As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi.
He worries that this precious art form may soon be lost. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, Recorded April 28, at B10 Live, Shenzhen.
InMamer joined Puppet and has since maintained a close relationship with the band. The band went on hiatus from toreformed inand finally released their full-length debutUrumqiina sophomore titled32 Daysfollowed in It is gold.
Two experimental strands from China's Modern Sky label, publishing left field local music and folk gems. Their second album 'Fictions' was an improvised performance recorded in Chongqing, June On stage, the members often turn up with masks and black robes as though performing a mystical ritual. Immaydey, the Umay Goddess, is the goddess of fertility and virginity in Turkic mythology, regarded as the eternal Earth Mother with mystic, almighty power.
Compared with the music of Puppet, the songs of are evidently more compressed, confrontational, and explosive, which as believed stick closer to the authentic sound of rock.
The lyrics are succinct, often sarcastic, and sung in almost a robotic manner. December Later in that year they supported krautrock legend Damo Suzuki on his Chinese tour. May All Music: Red Scarf. Alkisah is the new album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists.
Senyawa is an experimental music duo with Rully Shabara extended vocal technique and Wukir Suryadi homemade instrument. The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument.
They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices. Live recording of O Yama O at les ateliers claus 9th May Recorded and mixed by Christophe Albertijn. Caddo Lake - Soulful Lady - That Time of Night - Memphis in Winter - Shuffleboat River Farewell - The day prior to his concert at les ateliers claus, he came to Brussels and expressed his wish to do some record shopping.
And so we did - in between soundcheck and the actual concert. Keiji Haino likes to hear unique sounds and performers and so we went on a search. In a certain store in Brussels I made him listen to one of my favourite albums by Igor Wakhevitch Hator - he listened and promised me half-jokingly his performance at les ateliers claus would be better. Their project is a sound collaboration bringing together the field recording archive of Felicity Mangan and the abstract vocabulary of Stine Janvin.
Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna. The organic mix of bug beats and atmospheric soundscapes uncover a sonic ambiguity between rural nature, electronics and the human voice, creating A Letter From The Past - Sonore - Call Before You Dig (CD peculiar, mellow insect techno. Together with him we planned 3 varied evenings. For the first evening his central guest was the notorious and also legendary guitarist Roland Van Campenhout.
Roland grew up in the Rupel area. His father, a jazzmusician, drowned when he was 5. Roland left home at the age of He did not get involved with music until the age of In he changed to another genre: blues, while also still experimenting with other styles during his career such as country, worldmusic, folk and rock. He broke through during Jazz Bilzen, where he established his reputation as a live artist.
Han Bennink born 17 April is a Dutch jazz drummer and percussionist. On occasion his recordings have featured him playing clarinet, violin, banjo and piano.
Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as "one of the unfortunately rare musicians whose abilities and interests span jazz's entire spectrum.
Han is a brother of saxophonist Peter Bennink. Nate Cross' cornerstone label for jazz and improvised music based out of Austin, Texas and influenced by Cross' time in Chicago.
It has nothing to prove. The sound is proof enough. Cover artwork by Morris Barazani, untitled, c. Courtesy of Corbett vs. Dempsey, Chicago. Sleeve photograph by Scottie McNiece.
Liner notes by John Corbett. Layout by Drew Liverman. Produced by Nick Mazzarella. Desert Encrypts Volume 1 is a two-part suite based on observations from the desert in and around Marfa, TX. It also explores Mazurek's ongoing fascination with social, psychological, and physiological structures, both terrestrial and extra-terrestrial. The composition includes written music and graphic scores for improvisation. For Desert Encrypts Vol. Mazurek has always been associated with the Chicago scene he spent so many years in as well as his time in Brazil thereafterbut Desert Encrypts Vol 1 is his first album that feels truly Texan to these ears, and we're excited to present a new exciting development in a long string of exciting developments that have marked Mazurek's long and illustrious career.
George, Marfa Book Co. On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren. After working as a field biologist with the Institute for Bird Populations in California fromFrye began to slow down and transcribe birdsong, eventually developing a performative lecture called Hearing Hidden Melodies.
This bird, known as Uirapuru in Brazil and La Flautista in Peru, reminds us of the mysterious sonic knowledge threatened on our very own home planet. On this, his first album for Astral Spirits and his first as a leader, Rob played woodwinds and synthesizers and directed a specialized crew, recruiting Bitchin' Bajas Drag City bandmates Cooper Crain and Dan Quinlivan on engineering and electronics.
On "Innercosmos" we he hear his unconventional wind tubes, and on "XC" his voice calling as instruments gather, playing the bird's melody. Recorded by Giovanni La Rovere. The result is a magnificent set of exploratory improvisation. Vidic and Field's playing has a rich, textural quality, developed through their use of timbre and dynamics.
In this way, Akiyama's multiphonic approach to guitar, and his innovative use of effects, offset's Vidic brilliantly. Over the course of 45 minutes, Akiyama, Vidic, and Field generate a nervy tension, walking razor thin lines, such as the ones threaded through the middle of "Inner Circle. Mastered by Mikey Young. Spanish born label set up innow based in Perugia, Italy.
Textural, improvised free form music. Resonating metal surfaces, chains, paper, thin strips of wood, a broken radio, small battery powered oscillators and a floor tom. Passing cars outside the window. One microphone recording it all. We hear passing cars in the distance, gusts of air past the window: a wider universe in which these sonic events occur, not necessarily emphasized but present nonetheless.
Released September 25th, Mastered by Francesco Covarino. Distant engine-like low end rumbles open the record, and the similarities between rippling arco bass and some mysterious crackling field noise trigger all manner of pleasant sensory confusion.
As an experience, Caura triggers all manner of sensory memories, from trudging through a rainy field to jumping at the sound of a car backfiring. As a duet piece, seems to push both parties out of any familiar comfort zones, and right out there into the unknown, which as ever is energizing and frightening in equal measure. Released April 2nd, Improvising duo Ed Lucas and Graham Dunning explore texture, timbre, dynamics and drones.
Ed Lucas plays trombone, sometimes augmented with controlled feedback, and has had many associations with improvising musicians in London and beyond. Graham Dunning uses turntable with field recordings pressed to dublate, along with snare drum and objects, focusing on tactile soundmaking. Released November 29, Field recordings from different times and places, a walk through the woods or an exotic place far away from home. Studio-made sounds using instruments, tape loops, reel to reel Revox recorder and digital editing.
Otherwise insignificant everyday life sounds. Everything mixed together in a diaristic manner, like seamless notebook sketches. Released september 25th, Still active. The star of this session is of course the leader who gives his name to the quartet. Louis Moholo-Moholo, a powerful, effusive and sensitive drummer who moved from his native South Africa to Britain in the s and became an important voice in the then burgeoning improvised music scene seems to have lost none of his exquisite verve and can still lay down some mighty flourishes on his kit.
He's joined here by three other blokes who are much younger men, but pianist Alexander Hawkins, bassist John Edwards bass and saxophonist Jason Yarde are all up to the task of matching the leader's drive. The insistent, irrepressible "For the Blue Notes" which starts off the set, A Letter From The Past - Sonore - Call Before You Dig (CD to the drummer's legendary band of the 60s. Other historical references include the piece "Tears for Steve Biko," which is part lament, part protest song.
The title cut is one solid blockbuster of a tune, with everyone going full throttle. The most loveable thing about this session recorded in November is that there's a balance of what has often been called "inside" and "outside" playing, as this quartet, with a finely-honed telepathic sense, works as a Album) unit, even when each musician is pushing at the limit of cohesion and coherence in some of the wilder moments, of which there are many.
But the music can downshift to a lullaby softness, as in 'Something Gentle" and sway gracefully in the waltz-time of "Angel-Nomali. Mastered by Matt Colton at Porkey's. It was with Viva that Louis toured South Africa inand for Louis and some of his compatriots in Viva the tour was nothing less than a personal triumph, a return home after three years spent in exile. Why these studio sessions rested in the vaults for so long remains a mystery. It was a slightly changed band that Louis assembled in the fresh ingredient that would move Viva into the darker, earthier grooves of Bra Louis - Bra Tebs was singer Francine Luce, originally from Martinique and now one of the vocal treasures of the London improv scene.
But here they are, at last. Some of the songs are as quirkily gentle as a Norma Winstone record, some like Annie Ross in a free-improv band - and though Francine Luce's frantic variations might not work for everybody, she's sonorous and soulful on the brooding traditional song Utshaka, and on a defiant Motherless Child.
Stevens has often paid tribute to the music of people such as Eddie Blackwell and Ornette Coleman. Parker has his roots in the records of Coltrane, Dolphy and others. They have drawn on other musics to create a new language which is very personal and not in any way parasitic upon its resources.
Other contexts will find Parker playing tenor saxophone and Stevens a conventional kit. In the duo, Parker plays only soprano and Stevens' kit is diminutive - no bass A Letter From The Past - Sonore - Call Before You Dig (CD, two hi-hats, a childs snare.
Evendently they have mapped out a very special area - extremely concentrated and intimate. My intention with The Joy of Paranoia was to create an album which presented my saxophone improvisations within several different situations. The tracks with Michael Garrick, though based upon familiar compositions, were played very openly.
The duets with Veryan Weston were spontaneous. Joy of Paranoia Waltz is based upon a simple riff with four saxophone overdubs. The Wakefield Capers, with the exception of some established rhythmic settings by the members of Paws for Thought, is improvised.
Tracks originally released in as OG, Diverse. The music sounds a vibrants as when played in andso many memories. Gripping episodes abound, such as the sound of Osborne's vinegary, Ornette-meets-Ayler sax soaring over Miller's whipping bass figures on the gruffly tender Bloomfield, McGregor's fills on the riffy Quandry made fortuitously more pungent by the off-pitch pianoand two versions of the springy, Mingus-like Touch Hungry — the first with a percussively Monkish McGregor, the second with some fine, Miles-like trumpet from Marc Charig.
Those who remember Miller's heyday will love this rough-hewn document, as will fans of the South Africa-celebrating Townships Comets and Moholo-Moholo's current work. The windmill is located about a mile north of the town where i live, on what i assume is ranch land used for raising cattle. It was once used to pull water from underground to fill a couple of large tanks nearby.
It's in a bad state and no longer in use. There are two large crows nests at the top, and the inner workings are laying on the ground next to it. They are monaural recordings. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades.
From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert characteristically named Sonoran desertwhere he records sound fragments or collects found objects which he uses in his improvisations and performances.
As a contemplative walker without a set destination, he is interested in the pure sound without references. To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature.
The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives. I make sound that'll hopefully be listened to. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment. However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments.
What is interesting to me, and what this recording aims to capture, is that these factors — the aeroplanes and the puddles — act as a form of resistance to the development. Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers. Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment.
Released by mappa as MAP09 in As a project, Line Gate has been undergoing a slow, steady transformation, much like the longform drone works that have come to characterise it. The gently modulating drone of the hurdy-gurdy remains present during the first piece, along with its very characteristic almost psychedelic resonances and overtones.
However, the listener's ear is almost immediately drawn to another sound source - the human voice. The result is a mind-bending interplay between the hurdy-gurdy and the voice; one weaving around the other in seemingly indeterminable patterns. Layers of voice, some processed, some Album), are the only building block here. A resonant layer of sampled voice, not dissimilar from the hurdy-gurdy, acts as an unstable, shifting sonic bed around which a gradually growing choir of voices orbits endlessly.
Sibilants, consonants and vowels recited in mantra-like cycles form a non-linguistic vocal tapestry, one without explicit meaning, but imbued with huge emotional gravity and a unique enchanting quality. Field recordings, like always with me came from lot of places.
I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world.
Architecture and culture of these sonic environments is created in two ways. Second one is shaping the sound and the composition itself.
The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.
The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way.
It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation Album) space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel.
Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies. In his work we can also find parallels to literary techniques and space or to forms of reading. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books.
I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. So, my life, my practices are not compartmentalized.
One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised. The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation.
The variable valve lift system only changed the lift of one of the intake valves for each cylinder since the other intake valve always provided high lift. The operation of the variable valve lift system may be summarised as follows: At engine speeds below rpm, valve lift for one of the intake valves was reduced to increase intake air speed and to create a swirl effect within the combustion chamber since the lift of the two intake valves differed.
As a result of the faster intake air speed and better mixture formation, a higher torque output was achieved; At engine speeds between rpm and with high loads, valve lift for the variable intake valve would be increased to reduce intake resistance for greater power; and, At engine speeds above rpm, high valve lift would be provided regardless of load.
Injection and ignition. Article by Ian Lithgow.
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