Label: Room40

久々のソロ音源!!ジョン・ケージの1952年テープ作品[Williams Mix]のリアライズをやったり、またAMMのジョン・ティルバリーやSachiko M、クリスチャン・フェネス、ローレンス・イングリッシュらとセッション音源を残している、個人的大推薦のオーストリアの音楽家Werner Dafeldecker。同Room40から発表した[Parallel Darks]以来3年振りとなる待望の完全ソロを発表。過去の古い音源を収録したカセットアーカイヴを発見、そこに録音されていたパーカッシブな電子音をコンクレート的に再構築した[Tape 231]、倍音の振動とリズミカルな変化がドラッギーな効果を生むアンサンブル編成の不穏持続音[Neural]、どちらもこの人物らしい玄人好みの傑作。お馴染みエンボス加工スリーブ、インサートカードが付属。





Matte laminate and monochrome printed jacket, insert card

A Note From Werner Dafeldecker
For whatever reason, I have always found the idea of using alien material as the structuring element of an artistic process exciting. That doesn’t mean the elements always stay, but rather I often remove them right at the end of the creative process. This working method creates areas of tension that reflect the artistic process on a different emotional level. It reduces the sense of creation and moves more toward accomplishment. This method applies to both pieces of this phonogram in a similar way.

„Neural“ places sound surfaces as its central focus and is inspired by the idea that neural networks develop a memory when they repeatedly send information. The ensemble focuses on vibrations and rhythmic variations of the overtones, which are caused by dynamics and pitch shifts in the microtonal range. With the passage of time and performance practice, spherical, acoustic stamps become established, caused by the conscious perception of when rhythm changes into sound sensation and vice versa.

For „Tape 231“ I re-discovered a long-forgotten music cassette in my archive which contained peculiar percussive electronic sounds.

As Lucio and I worked on the recordings of his elongated tones and multi-phonics I again was drawn to the idea to use the tape sounds primarily as a structuring element for the piece, (time, density, dynamics) only to be left out afterwards.

The targeted handling of hidden structures evokes a somewhat stubborn emotionality when dealing with creative processes, I like that.