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A powerfully buzzy electronic rhythm muscles its way through Virtual Sweden (V.S. #1). Like the other two newer "V.S." tracks here, these sounds were collected from mini-disc recordings of a 1998 Dome performance in Stockholm.
Fast, funky and from 1989, Because We Must (version 1) perhaps is an answer to "why do you make these strange sounds?"; the dark-yet-fun piece features lead vocals and a beaty background which is threaded with all manner of sonic effects.
Vertical Seeding (V.S. #2) yields a more ominous harvest; slowly clanging bells ripples over strange animalistic tumult and clatter. The track switches gears as an electrotribal stream begins to run through the proceedings, carrying angry vocal distortions in its wake.
Glimmering briefly, Crossh (0:53) is a mini-exercise in repeating tones set over a faint resonance. Making a Meeting (excerpt) is an exerpt of a 1983 live performance by members of the Rotterdam Conservatorium. Four musicians performed hand-written instructions while Bruce and Graham recorded each instrument, relaying the sound back live through the PA system. The resultant minimal symphonics and screeching feedback place it in a classical/experimental niche.
Wildly manipulated vocals and chaotic electronics swirl noisily in 1988's Gebar.
A swiftly percolating stew loops and boils with Virtuous Speed (V.S. #3) (10:33) ; the mix slowly evolves, occasionally thickening and deepening as long, elastic strands are stirred into the proceedings, then mellowing slightly toward its end.
Liver & Lungs is another short piece, this one more fragmentized than the rest as thousands of tiny audio shards scatter all about.
A more polished Because We Must (version 2) closes the disc on an upbeat, poppy note. This would be the commissioned track which was used for a 1989 broadcast by dancer/choreographer, Michael Clark.
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