released 30 November 2013
john daly: guitars, prepared guitars, ebow, delays, loops.
samples: epson printer, rubber bands, voice.
software: gleetchlab, derivations, audacity.
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Department of Music
A group of electric motors (fans, drills and sabre-saws), who play electric guitars.
Electro-mechanical drone music from the banks of the Haagse Beek.
A group of computer-controlled electromagnetic devices, who play electric guitars.
Radio stations which transmit sound-environments created by signal-processing algorithms, physical processes, industrial machinery, and randomly sampled readymade sound.
Huge Harry, Perfect Paul and Whispering Wendy are the three most pronounced personalities of the speech synthesis machine MITalk. They have exercised their vocal capabilities in a wide variety of musical genres.
A spin-off of the image-generation program Artificial (Department of Visual Art). Artificial produces music by continually translating its digital image representation into a wave file.
|Runtime: 26'15'' |
«And eighty releases later, Out Level (a.k.a. Luís Antero for field recording fans) returns with the second part of the sx guitar series (first part here).
Again, the only source of audio material here is his guitar, with plenty of effects, feedback and loops to make it almost unrecognizable as a musical instrument.
Enjoy the trip.»
- test tube
|«(...) It isn’t only Antero’s fully realised field recordings which capture attention, as he also creates highly experimental guitar pieces, where the instrument’s voice becomes enwrapped in a shimmering, deep mysticism, and one where her identity is fully cloaked and never seen without a mask. Similar in experimentation lies Antero’s SX Guitar series; as seen in his field recordings, the music here is too created openly, naturally played out in their own rhythms and intricate harmonies. Antero’s second volume in the series focuses on one, wide and spacious aquatic piece, opposing his first release, which comprised of eleven seperate, experimental portraits – their own unique postcards. Antero continues to explore the same areas of experimentalism as seen in his earlier work, but here he displays a far greater maturity and patience to slowly rotate and allow the music a personal space, in loops of hypnosis. |
It could be said that Portugal’s presence is found in his latest addition to the series, focusing on the guitar as an instrument, without the natural sound of the instrument. The first installment was released four years ago, and this entrance shimmers and wavers with a deeply aquatic feel close to the heart of the music. Along with this, there is a personality and vibrancy that recalls his field recording work. Antero’s field recordings were always active, busy without a chaotic streak, meditative and meandering recordings which evoked a lazy siesta in the afternoon heat. It may be easier to record using laptops and computers in the modern age, but it is still an enviable ability to craft something which sounds organic and free-flowing. Antero’s use of a Buddha machine, a laptop and a blue electric guitar are almost non existent to one’s ears; one could be forgiven for thinking a stringed instrument was not involved at any time during the project. Yet, inside the sharp, crystalline tones there runs a hidden fretboard, ringing out in an endless stream of sustain. A multitude of sounds echoes ever outwards, and from one source many are born. Like postcards, Antero is highly adept at capturing the spirit of a place at any one moment in time.
Antero’s work under the alias Out Level allows him to dive deeply into areas of highly experimental music. As an instrument, Antero’s guitar remains forever hidden in a sea of tranquility teeming with electronic glitches and momentary drones. They fade and turn into new, dazzling sonical waters, and it makes for a fluid listen. Looped sections enter and fall back, spiralling in turbulent seas. His music seems to be allwoed the freedom to develop into something all of its own, and this improvisation really allows this addition to breathe underwater.
Like the aquamarine artwork, the music displays richly warm, evocative tones, and an occasional, rotating drone of the deepest kind acts as an effective, soothing undercurrent. Alongside this lay notes which trail off with an icy purpose, perhaps eerily so, communicating the sonarsignals and cries of the deep. Notes flow in and out, blurring with rhythms, shimmering with a beautiful crystal clarity in their cycle of loops.
It may not immediately captivate in the same manner as his field recording work, but as ever, a deep listening experience will be discovered with just hints of patience. Antero is more interested in a developmental piece this time around, rather than a snapshot of differing rhythms and frequencies of his first excursion. I have to say that I find a strong rhythm to the music, a rhythm with no form of percussion, yet one which exists as sure as a heartbeat. And because of this, there is a definite motion; the music can never sink into boredom, and turns into the lightest of voyages, as sparkling, transluscent timbres smoothly pass over the clear, aquatic airwaves.
A cascading waterfall of electronic cycles endlessly, and it is completely immersive in its ambience over all twenty five minutes. In this regard, it is similar to Shinji Masuko’s solo work, most noticeably the relationships between delay and electric guitar. The long-flowing nature of the music allows ample space to breathe and stretch, and while the first set of guitar recordings produced more variety, Antero displays here his greater confidence and mastery and because of this, there is where his increased maturity lies, leading to excitement. Of course, the advantages of focusing purely on one mood inside one piece of music lends it a certain freedom. It’s spacious and unrestricted, and this is what effectively seduces the listener.
Antero’s aquatic ambience, currents of glitches, the presence of a drone, and a delay drenched reverb is like discovering a bursting ecosystem full of life as we descend underwater. The drones sink deeper, into sub aquatic levels of the oceans. The instrument takes on a remarkable transformation, cutting and ever changing. It may lack the warped, distorted melodies of Antero’s first SX Guitar LP, but it seems this was never an intention to repeat what was already achieved to such an interesting effect. Instead, the aim is a largely unstructured piece, and the music can then transcend into a deeper listening experience.
Deep echoes of drones add a heavy substance, entering slowly as we descend the depths, while also creating a smooth and soothing contrast to the shrill pitches under the influence of an endless delay. These deep reverberations may reflect the deep fathoms of both his sound, and the ocean off the Portuguese coastline. SX Guitar #2 propels the listener into the deep, and Antero’s sound remains focused, yet deep. The possibilities for Antero to continue in this vein are seemingly endless, and it will be with a great interest to see what experimental discoveries lay in front. As his notes speak a new language, Antero has created an immersive listen which acts as an effective hypnosis, until we awake from the depths and surface.
- James Catchpole [A closer listen] / June 18, 2012
«Some of you that follow test tube releases might remember Ivan Kapec's groovy guitar sounds back from 2008's release tube113 (Triangulizona's amazing album 'Flossy').
Well, Ivan is back
with a solo release, 'The path of love', which he subtitled: 'Solo guitar pandiatonic free improvisation'. Most of the album tracks were captured as free improvisations, except for the title track 'The path of love' and 'Susret' which were originally composed for a 'dance performance movie' called 'Happily Ever After' (Vimeo link for the trailer), directed by Vladimir Koncar (also responsible for the Triangulizona live show visuals). However, the tracks that Ivan composed for the movie feature Hrvoje Galler playing the piano, while the new versions presented here were recorded with Ivan playing just his acoustic guitar, like everything else on this album.
Ivan explains the reasons behind this album:
"(...) 'Happily Ever After' had in the begining been titled 'The path of love', but Vladimir changed it later. But, for me the original title was very suitable for the material which I worked solo.
I recorded many tracks in two years, thinking about making a solo acoustic album. Some of them were recorded at home."
While recording the final versions, Ivan decided that the
music lacked - his words - "proper emotionally common sound and technical audio quality" - so he decided to re-record them in a single session at a professional studio in Zagreb, to maintain the true improvisation 'soul' but with a better sound quality overall, without overdubs, overedits and usual post-production changes.
'The path of love' is an intimate acoustic guitar session, and should be listened to in a peaceful setting, preferably with headphones, in dim light or complete darkness. Enjoy.»
- test tube
«Acoustic guitar in reflexive mode, without words. For foggy mornings, lazy afternoons and quiet nights.»
- Netlabels Go Pop / April 06, 2012
«Ed ecco qua una netlabel storica: la portoghese test tube, presente sulle scene dal lontano 2004...8 anni e 249 release portati decisamente bene! In questa occasione ci presenta un album estremamente piacevole e di assoluta distensione: "The path of love". L'autore è il chitarrista/compositore croato Ivan Kapec (Zagabria). Con un notevole background alle spalle, tra cui 2 album con la croata Dancing Bear, borse di studio e seminari, collaborazioni per la composizione di colonne sonore ed esibizioni live in molte nazioni europee, Ivan Kapev è inoltre attivo come chitarrista nelle band Capisconne e Triangulizona (scaricate l'ottimo "Flossy" [tube113] del 2008). "The path of love" contiene tracce composte nel corso degli ultimi due anni, ma durante le sessioni finali in studio, Ivan si accorge che i brani non hanno il giusto appeal e la qualità audio ottimale e così decide di rifare il tutto andando in uno studio a Zagabria ove ri-registra ogni traccia in una singola sessione e senza sovraincisioni: il risultato finale è eccellente. Si può cogliere l'umanità delle piccole sbavature in una riverberazione pressochè perfetta. E' un piacevole cullarsi tra arpeggi che "surfano" nell'aria...ideale l'ascolto in una stanza in penombra, dove è gradevole captare anche le vibrazioni di corde inopportune. Mi abbandono nella title-track, tra tormento e celestialità...sofferenza racchiusa all'interno di un palloncino di un bambino giustamente curioso, che prima trattiene e poi rilascia, osservando e gioendo delle piroette nel limpido cielo...dov'è l'aria? dov'è la sofferenza? Se si trova l'approdo all'esatta permeabilità cognitiva, "The path of love" sa colmare anima e corpo di una beatitudine e un'armonia universali.»
- NetMusic Life / April 04, 2012