blog.Crónica

Catorce años después de la versión original de “the.end.of.vinyl”, la primera referencia exclusivamente digital de Pure, diez artistas se reúnen de nuevo a modo de evocación para reinterpretar las composiciones de Pure con sus propias reflexiones sobre las músicas digitales y su futuro. “The.end.of.vinyl” fue una de las primeras publicaciones de Mego, sello con sede en Viena que a final del milenio nos mostró lo que la música del futuro podría ser. Hoy os presentamos “No End Of Vinyl” que comenzó a ser concebida como un conjunto de discos que podrían publicarse en vinilo a partir de composiciones digitales. En algún lugar a lo largo del proceso, la disonancia entre la naturaleza de las piezas y el formato comenzó a manifestarse y se tomó la decisión de volver a la forma “antigua” del disco compacto. Un disco muy intenso que merece un amplio recorrido, paseo que hoy iniciamos con dos de sus propuestas. Hemos comenzados con la de JSX o lo que es lo mismo Jorge Sánchez- Chiong y el tema Biological Agents of Vinyl Degradation y el segundo tema que os proponemos de este recopilatorio del sello Crónica es el de Goner, compuesto por Martin Maischein.

13 years ago, Mego label released Pure’s the.end.of.vinyl on a 3” CD. The release marked a shift in Pure’s sound from more dancefloor-oriented productions toward something more abstract and experimental. Ironically, the release was pressed on CD because it was the prevalent format at the time; the name describes the techniques used to create the music (working with vinyl run-out grooves as the primary source material). Now the CD format has waned to such an extent that it appears to be on its way out, while vinyl has continued to flourish as a format for avid music listeners.

No End of Vinyl organizes several formidable artists to revisit, rework, remix, and reinterpret Pure’s original recordings into new tracks. The approach varies from sculpted noisescapes to more beat-driven excursions, a range that is not only broad but also quite nice in terms of listening dynamic. To fully appreciate the process of the album, I recommend downloading the original the.end.of.vinyl, which is available as a free download from Crónica. It’s quite good on its own, but it’s also interesting to hear the source material that inspired this new collection.

Several artists opt to remain in the same highly abstract arena in which the source material existed, including the swirling, manipulated “Zeiundneunzig (für Pure)” by @c or the post-industrial, shimmering haze of “Miyamizu” contributed by Cindytalk. Elsewhere, a handful of contributors steer the material more in the direction of beats and hooks. Christoph De Babalon, someone from whom I haven’t heard new music in years, contributes my personal favorite, with a shimmering, hazy refrain and sputtering drum patterns. As a point of contrast, a close second favorite of mine is Pita’s surprisingly meditative “This & That Edit,” buzzing with beatless tension but oddly serene considering his tendency for noisier material. JSX and Goner each use Pure’s source material as a starting point for fairly dense, more industrial and rhythmically musical workouts, while Rashad Becker stands apart in manipulating the source material into the weirdo chorus of synthetic organism voices that characterize his recent solo album.

“the.end.of.vinyl” was one of the early releases on Mego, the Vienna-based label that in the end of the millennium showed us what the music of the future could be. In 1999 its title resonated with post-analog angst, recalling the transformation (maybe even the demise) of the music market and of the cultures that it had helped to breed. It announced and perhaps confirmed an end that is still latent.”

It’s a decidedly mixed bag of material, but the scope of styles and sounds within maintain a healthy balance between worlds of abstraction and accessibility. Fans of the original Pure work will no doubt find at least a few tracks that fall in line (different enough to be interesting but similar enough to feel of the same world) with several others that might broaden their horizons. The compilation is released on Crónica, a Portugal based label and is available on CD as well as digital download.

via Headphone Commute

Fourteen years after Vienna-based Mego released “The End of Vinyl” by Austrian dynamic producer Peter Votava aka Pure on 3″ cd, someone could think that its sibylline prediction could be better spot-on if it were called “the.agony.of.vinyl”, so that Cronica folks decided to fishes it out from the ocean of sonic memories by involving a number of talented noise and sound blacksmith for a number of reinterpretations and giving new shapes to all that molten black plastic, which lives again in this awesome collection they wisely retitled “No End Of Vinyl”. All those menacing predictions by music market presumed gurus about the extinction of vinyl hasn’t come true yet, even if its renaissance could be the last convulsion. Anyway, Cronica’s heads, Miguel Carvalhais and Pedro Tudela, who introduced this selection in the guise of @c by means of abrasive liquid clots and ganglions on “Zweiundneunzig”, decided to print it on cd, the format whose lifetime is going to expire before the vinyl one. The following sound artists explore a very wide stylistical range in a masterly manner, whose sense of subtle decay and a certain feeling of constant digging for a supposed sepulture got tempered with remarkable specimen of electronic refinement: the aural dark-ambient shades by Cindytalk’s “Miyamizu”, the mesmeric and somehow cinematic remixes of “The End Of Vinyl”, where both Christoph De Babalon and Goner scans agony by impressive electronic textures and airy pad synths, which could resemble Beefcake’s or Gridlock’s epic hooks, the spellbinding buzzing whistles by Mego label owner Peter Rehberg aka Pita on “This & That Edit”, the absorbing subtonal thuping and thunderous shocks on “Biological Agents Of Vinyl Degradation” by Jorge-Sanchez-Chiong (JSX), the gradual gurgling combustion by Rashad Becker on “Take Me To Your Lead Out”, the illusory frugality of “Opera Povera” by Lithuanian sound artist Arturas Bumsteinas, the terminally ill dark ambient of “‘end’end'” by Opcion and the final strokes of solemn atonement and the industrial drops on “Never Ending Vinyl” by Current 909 and Pure… a collection of adhesive stuff, whose rotting features seem to understydu for a new body. Vito Camarretta

via Chain D.L.K.

The End Of Vinyl fu il primo disco in cui Peter Votava aka Pure abbandonava il mondo della techno da club per cercare di condurre la sua musica verso nuovi orizzonti. Per omaggiare la sua opera, l’etichetta portoghese Crónica chiama un cast di propri scudieri e grandi nomi a rimettere mano ad una selezione di materiali dell’artista viennese in questo No End Of Vinyl, titolo che vuol quasi rispondere alla denuncia dell’originale che data ormai quattordici anni. Fra gli altri si distinguono Cindytalk che trascina Myamizu nel suo mondo di fruscii e cascate di rumore, Pita che sommerge This & That in un minimalismo analogico e l’auto-remix ritmico di Votava a nome Current 909 su Never Ending Vinyl. INCHINO.

Matteo Meda