ACOUSMATOMISATION

BAD ALCHEMY

Nicht als Split, sondern im kollaborativen Einklang von FALLEN SUN in Malaysia, Maurizio Bianchi aka SACHER PELZ und THOMAS BEY WILLIAM BAILEY, dem Macher von Fifteen Minutes of Anonymity in South Carolina, ist Acousmatomisation (ACU 1971 / Grubenwehr Freiburg, GW:FR 55) entstanden. Scheinbar ohne gesenkten Daumen über den postindus­trialen Stand der menschlichen Dinge. Mit nüchternen Titeln, die ins Molekulare und Ato­mare weisen. Und optisch einem Cut-up von Bianchi, der ins Embryonale und Zellulare schneidet. Doch der akusmatische Beschuss der Sinne und der Synapsen aus allen ahu­manen Richtungen mit spitzen und quicken Klangpartikeln hat durchaus das Zeug, die menschliche Hybris zu atomisieren. Mit einem rauschenden, heulenden, brodelnden und nesselnden Andrang von Wellen und Teilchen, dem stechenden, pfeifenden, giftig sprit­zenden Overkill durch Über- und Nichtinformation, auch die wenigen Stimmsamples bleiben unverständlich. Nicht Amor, nicht Mars, Noise conquers all. Und zeitigt eine neue Holz- und Steinzeit, beherrscht von fauchenden Bestien.

www.badalchemy.de

MUSIC YOU NEED TO HEAR

Sacher Pelz is one of the early monickers of Maurizio Bianchi (MB, who is legendary to fans of experimental noise), and he returns in collaboration with consistently amazing Malaysian composer Fallen Sun and the American artist Thomas Bey William Bailey.

As with a great deal of MB releases, this one is intense, but softened a bit by Bailey’s and Fallen Sun’s electronic wizardry. There is an element of 50’s sci-fi movies mixed with an electroacoustic aesthetic. Composers like Daphne Oram and Delia Derbyshire would be proud. Absolutely engaging the whole way through. Respect to attenuation circuit and Grubenwehr Freiburg for releasing this.

https://musicyouneedtohear.com/fallen-sun-i-sacher-pelz-i-thomas-bey-william-bailey-acousmatomisation

VITAL WEEKLY

It’s a no-brainer to start with the collaboration, which comes as quite a surprise: Maurizio Bianchi, for once working as Sacher Pelz, a name he used in the very early days of his career, in the late 1970s), Malaysia’s Fallen Sun and from the USA, we greet Thomas Bey William Bailey. As usual, there isn’t a single person to do the mix, and credit goes to all. The six pieces got their titles from physics, and I am no expert, so I couldn’t say if what we hear resembles what they are called. The sceptic in me says ‘Great idea, so why bother to check this?” I think all three are expert handlers of all sonic matters working with digital technology, so I imagine this to be no different. They reference Bernard Parmegian and Dopplereffekt/Arpanet. I may not be too familiar with the latter, but I did hear music by the first, and I can see the connection with the classic musique concrète and the development into acousmatic music; the title of this album is, after all, a clever wordplay on that, combined with physics. The 62 minutes, totalling six tracks, is quite a tour de force to listen to. This is no easy listening. That’s not to say it is a noise album, one hour is distorted electronics; actually, far from it. The music is loud, fierce, and full of varied noises, processes and quieter fragments, perhaps making the album difficult. It’s filled with sounds, from top to bottom, like a Hollywood blockbuster. The listener rarely gets time to breathe, as even in quiet moments, something is happening, and your full and undivided attention is required. While much of the album uses digital means, there’s an odd piece, ‘Concrete Absorption’, which sounds like old-fashioned industrial music, with rusty tape loops and many stomp boxes. That’s an interesting material diversification, but it fits right in, mainly because it’s followed by the Merzbowian approach of ‘Particle Deterioration’. Maybe this album has more analogue power than I anticipated? Maybe great plug-ins to simulate that kind of thing? I don’t know, but, well-exhausted, I think this is a great album.

https://www.vitalweekly.net/number-1483