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Following a brief spoken intro, Taylor Deupree (of 12k renown) sets the pace with the clicks and bleeps of "_doClip" (3:01).
John Watermann's "Killing a Dove in an Echoless Room" abruptly shifts from more mechanical textures to wheezily droning space and back again, interspersed with other sonic aberrations, like utterly fragmented voices.
Justin Bennett's everchanging "Grassland" was originally recorded in Spain and France circa 1992, then more recently re-edited into this continually fluctuating collage of nature, man, machine and who-knows-what.
Toshiya Tsunoda bends the ear in a different way with very quiet goings-on within "Solid vibrations of the surface of concrete ground (pts. 1 & 2)" which directly collides with the noisier approach of (Intransititive head) Howard Steltzer and Brendan Murray; their "The Social Life of Small Urban Spaces" offers a twisting core of sound which seems about to explode from claustrophobia, then sputters out quickly.
Roel Meelkop's "1 (Transition)" emits piercingly thin strands which begin waver and squelch with increasingly distortive radiotronic contortions, gradually rumbling into industrial-strength power-electronics mode.
Improvising feedback from his mixing desk directly to DAT,
Jérôme Noetinger achieves subtler (ambient, even) results as "Larsen Lux" burrows into not-quiet-silent zones; ghostly electric presences loom nearby, radiating unknowable energies.
Disc 2 is understatedly opened by *0 and the low-low-low frequencies of "20k-20-19k-21"; turn it up or you may not even realize what's happening (a deep-ear-canal massage of sorts...). The wafting accordian-like chords of
Klas Augustsson's "Rosa surv" are stippled with static and blurry cut-scenes. From a dark churning murk emerges"Dusk" as rendered by The Brutum Fulmen; creaking medieval equipment seems to clunk and groan amid swirling vapors in this dreary, decidedly more-low-tech tableau.
Besides designing the packaging for this comp, Richard Chartier "sent" these audio transmissions of hushedly expanding tones; their flatly hovering plane is visited by trilling electro-chirps. The ruffling, chiming and bleeping of
"transmission" (8:54) by Voice Crack creates an immersively (and often aggressively) alien atmosphere, replete with watery ripples and careening highs. Clattering through heaps of plasticoid refuse and gleaming with industrial drones, Brume's "Coltrane Colony" paints a post-apocalyptic surreality, closing on semi-musical plops and transmuted horn licks.
Other sound designers who appear include Michael Prime, Kevin Drumm, Pimmon, Jos Smolders, Martin Tetreault, John Hudak, Mark Behrens and Jason Lecalleet. The disc includes many of the artists' e-mail addresses.
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