â€œTransmissionsâ€ comes in a card wallet, simply and elegantly adorned with a close-up of machinery workings; this is very apt, since thats precisely the content of the disc, too. The cd has four tracks, ranging in duration from near three minutes, to a mammoth near-forty. All the pieces use the sounds of machines: â€œPart 1â€ and â€Part 2â€œ utilise loom sounds as source material, whereas â€œPart 3â€ and Part 4â€ are more broadly based on â€œmachine-tools soundsâ€. This truly industrial material is fashioned by Delplanque into collaged constructions, flitting between raw sounds and processing.
As you might imagine, there is often a strong rhythmic element to the pieces; though, Delplanque keeps it shifting and modular – thereâ€™s no â€œcheapâ€ recourse to minimalist repetition, here. Rhythms emerge and develop, become layered; before another element enters and changes the direction. â€œPart 1â€ contains several sections like this, with the ordered hubbub of disparate machines whirring away in syncopation, before being morphed into underwater-sounding lurches and near-choral drones. The first two tracks (theyâ€™re presented in numerical order) are quite sparing and subtle in their use of processing, while the remaining two are perhaps more clearly stretched and transformed. â€œPart 3â€ creates a soundscape verging on eeriness and darkness, without perhaps ever achieving that; not that this is a criticism at all: as before, there are very few cheap or easy paths taken by â€œTransmissionsâ€. â€œPart 4â€ welds the atomised, if undoubtedly â€œphysicalâ€, machine sounds to majestic, monolithic drones with cosmic overtones.
This is a very good album indeed, using a potentially small (and limiting) palette of sounds superbly; with no sense of boredom or tiredness. Its further to Delplanqueâ€™s credit, that the first two pieces use so many unprocessed sounds – without ever becoming a dry exercise in field-recording. Thereâ€™s always a temptation in this area, to think that merely coupling and layering â€œrawâ€ source material is enough: â€œTransmissionsâ€ pushes past that and creates something, not just â€œwithâ€ the materials, but â€œoutâ€ of the materials. Oddly enough, I was listening to the wonderfully stark â€œRejectorâ€ by the legendary Omit, yesterday and there are clear parallels to be drawn here. Both projects create austere, sometimes even barren, soundscapes out of â€œprimitiveâ€ materials; both deal in ambiguous atmospheres and both have an enviable sense of space and environment. This is therefore, most definitely, a recommended album.
via Musique Machine