{"id":10023,"date":"2018-01-15T10:28:54","date_gmt":"2018-01-15T09:28:54","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=10023"},"modified":"2018-01-10T12:30:11","modified_gmt":"2018-01-10T11:30:11","slug":"tarab-artificial-memory-traces-obex-reviewed-by-chain-dlk","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=10023","title":{"rendered":"Tarab + Artificial Memory Trace\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Obex\u00e2\u20ac\u009d reviewed by Chain DLK"},"content":{"rendered":"

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\nSonic experimenters Slavek Kwi (Artificial Memory Trance) and Tarab have engaged in a kind of cultural exchange whereby they provided objects and activity sounds to one another, irregularly transforming them into amended sonic products that would then be recycled into other noises. The result is a hard-edged, heavily-processed hour long collection of processed noises, often metallic, hard, percussive and deep, sprinkled with glitches, crackles and breathing noises.<\/p>\n

Many of the 14 tracks are just short interludes that sound like messing around with a sound effects library, but there are three much longer pieces that give this cassette a solidity. \u00e2\u20ac\u0153Entimorf 3\u00e2\u20ac\u009d, at 17 minutes long, is a piece of many stages, a dynamic collection of rumbles and industrial surprises that at times opens up into hollow spaces with rolling lava-like rumbles, where metallic bends and stretches are morphed into something that almost sounds like pining wolves.<\/p>\n

\u00e2\u20ac\u0153Transform 1\u00e2\u20ac\u009d seems to revel in harshly counterpointing two environments, one akin to a forest where trees are being felled distantly, the other a heavy industrial space with overwhelming pneumatic power.<\/p>\n

Final track \u00e2\u20ac\u0153Lampsh\u00e2\u20ac\u009d follows a slightly more trodden noise path with reverberent tones and deep EQ\u00e2\u20ac\u2122ing giving everything an underground feeling, with sharp and rapidly cut hits and bangs giving a sense of panic and claustrophobia.<\/p>\n

Some of the shorter pieces are not quite so short, \u00e2\u20ac\u0153Transform 2\u00e2\u20ac\u009d for example a slightly more sci-fi five-minute development of \u00e2\u20ac\u0153Transform 1\u00e2\u20ac\u009d, \u00e2\u20ac\u0153Transform 2B\u00e2\u20ac\u009d four more minutes of the same material sources rustling tighter and closer..<\/p>\n

Overall \u00e2\u20ac\u0153Obex\u00e2\u20ac\u009d has a raw, gritty quality to it that\u00e2\u20ac\u2122s reminiscent of some of the darker sonic experiments of the 60\u00e2\u20ac\u2122s and 70\u00e2\u20ac\u2122s, delighting in its own avantgarde harshness. It\u00e2\u20ac\u2122s a release that will particularly appeal to experimental enjoyers of sounds with a more distinct physical pedigree. Stuart Bruce<\/em><\/p>\n

via Chain DLK<\/a><\/p>\n