Finn of Tomland
This release is filled to the brim with some of the finest experimental slow electronic Dub with a slightly askew soundscape that i have heard in years.
In short, it's oh my Dub nice and then some.
We searched for a « music of today », while honouring the heritage of the different electronic music schools – from Pierre Schaeffer's discoveries to the most ingenious findings of dance music.
We worked with sub-nautical tones, freeing them from their club topos - We dilated these tones, starting from a single chord sequence ; pushed it into its limits. It was played on a multitude of different synthesis tools, until something gradually emerged and manifested as being Other.
The first steps were to create a starting environment. Each sound was considered as a living organism. Some were alone, isolated and tiny, others existed in myriads or organized swarms, or stood, enormous and bulky, dragging with them colonies of parasites and courtiers, disappearing in depth or gushing then evaporating. All moving together, interacting, aware of their collective presence, distorting and damaging the environments they crossed.
This ecosystem concept is extra-perceptual: it is implemented in the sound production methodology. Software is generatively arranged and modulated. A whole set of parameters are in constant inter-modulation, sometimes with feedback systems. Our gestures react to the sound produced during long generation sequences, by impacting variables at given times, not chosen in advance but always in reaction to our immediate perception of sound.
After this phase of exploration, the focus was on writing, following the idea of form, speech, gestures, figures, micro rhythmic movements, pretextual pulsations, in order to extract from these infinite systems the most striking drama. The desired musical time was close to painting, a time that would be painted by listening, in which the attention is oriented and walks freely, like our eyes on a canvas.
Our most precious goods are sometimes hidden in the background, reflected in the briefest sound objects, which took a long time to calibrate.
Always, in music, we privileged painter’s reflexes. We think music, as well as prose, shall drug, entrance, be intimate, otherwise it fails to touch the soul. It was about writing music that one can get drunk, feel, see more than is written, in an infinite variety of representations which remains blurry for the mind.
Musique qui cherche le point où les couleurs donnent l’être, et où en chaque espacement se rémunère un premier souffle...(YY)
released July 30, 2021
Mastered by Giuseppe Ielasi
Limited Editon lathe-cuts produced @ Disc Archive Berlin. discarchive.de
supported by 12 fans who also own “yab; yvanko - Biome”
An ascetic (though mighty) sound palette, works as a canvas for an unrivaled lecture about rhythm generation & composition in electronic music.
Straight from the outermost post and beyond the explored areas of this micro universe, from where Yves De Mey sends us back his findings.
Now I’m trying to remember what was I doing back in September that prevented me from grabbing this instantly. 𝔑𝔲𝔫𝔷𝔦𝔬 ℑ𝔪𝔪𝔬𝔯𝔞𝔩𝔢