AUJX 8: NOOSPHERTILIZER IV

243

2xC60 w/ unique plastic resin art Objet, info & art card inserts, extra-sized J-card.

7 9 5 8

The 5 artists included in this split release are based in disparate geographical regions of Earth: Romania, Argentina, Massachussetts USA, San Francisco USA, and Normal IL USA. One of Aubjects’ central interests is to juxtapose calculated-technological and intuitive-organic notions. This collection of works from several remarkable creative perspectives is another unique iteration of this aim. Two 60 min. cassettes come in an oversized jewel case designed to fit 3 tapes side-by-side; the space for the 3rd tape is taken up by a unique resin art piece by Rik Leipold aka Objet Plastik.

Regarding the concept ‘Noosphere’, see: https://en.wikipedia.org/wiki/Noosphere

Alan Courtis
Alan Courtis

Alan Courtis is an experimental guitarist / multi-musician based in Argentina, whose discography is in the triple digits, as is his luminous list of collaborators. Courtis’ work is intuitive and adventuresome, often utilizing unusual instruments, tools, tunings and treatments. He stated in an interview from 2015, “the most interesting music happens when we’re not completely in control.” His work is always intriguing, likely because of his fearlessness to try new combinations of musical elements and collaborators.

Somnoroase Pasarele's Gili Mocanu
Somnoroase Pasarele’s Gili Mocanu

Somnoroase Pasarele is a Romanian duo dealing in abstract electronics. Their name (Sleepy Birds) comes from a bed time poem written by Mihai Eminescu, national poet of Romania. Our first awareness of them came from a recording released by Czech label Baba Vanga called ABECD. They’ve since had other equally fascinating recordings released on Tymbal, Czaszka, and Magical Garage Taste. Their style is distinctive, utilizing atypical synth sounds and asymmetrical rhythmic elements. Often there is no rhythm at all, and strange textures predominate. The feel of much of their music is strangely unsettling. Interruptions, hiccuping sounds, discordances, and other artifacts of chaos / chance (improvised or scripted) fill each moment with immediacy. Their sound constructions shape-shift through time, coaxing the listener insistently through winding pathways of tension, release and other dynamics.

Crank Sturgeon in performance. Photo by Rolf Schöllkopf
Crank Sturgeon in action. Photo by Rolf Schöllkopf.

Crank Sturgeon has been exploring “the unwieldy commingling of noise and performance art” (from his bio) since the early 90s. He has worked heavily in sound, performance, sculpture, photography, and installation (Hoboplane is of note); faithfully positing disciplined madness in all his creations. He tends to overlap mediums. He is a sound-searching electro-acoustic gear-builder, who creates unique sound instruments, plays and records them. Mr. Sturgeon’s work is spontaneous and inspired. His performances interweave sculptural, visual, and sound information with an intriguing theatrical flair which flows freely off-the-cuff.

Directives' D. Petri
Directives’ D. Petri

D. Petri has been working with Dog Hallucination since 2006 as editor, musician and idea contributor, and has worked heavily with close friends in Amalgamated, Homogenized Terrestrials and Gushing Cloud. He also owns / operates the Aubjects label in pockets of available time. This initial work as Directives is based in experimentation with guitar sound, utilizing approximately 5/1 pre to post processing ratio. Equipment malfunctions and analog artifacts resulting from primitive recording techniques are captured and digested into software, where they are subsequently enhanced, reconstructed, edited and manipulated. Intuition and primitiveness characterizing the original solo guitar performances (recorded on junky old cassettes with low fidelity microphones) is digested into a webwork of digital mixing, manipulations and occasional sound additives.

Objet Plastik cassette-sized pieces - photo by Rik Leipold
Objet Plastik cassette-sized pieces – photo by Rik Leipold
This gif includes images of 49 out of the 55 pieces Rik created for this release.
This gif includes images of 49 out of the 55 pieces Rik created for this release. Photos / .gif by D. Petri.

Rik Lee Leipold is an artist and resident of the Tenderloin neighborhood of San Francisco. Over the last six years, he has been using resin as a material to embed objects in works of art. Recently, he was awarded a grant from the Wildflowers Institute to help fund larger projects. One project has been filling pot-holes in the sidewalk with clear resin and street detritus.

DSC03501

Design, type, assembly, home dubbing & hand-numbering by D. Petri.

$20
Downloads are available here:
http://aubjects.bandcamp.com/album/noosphertilizer-iv

Please be sure to click & purchase the correct postage for your location after you’ve clicked & purchased the tape set.
NOOSPHERTILIZER IV SPLIT 2xC60 w/ Plastik Objet

4 WAY SPLIT 2xC60 w/ Plastik Objet: $22


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REVIEWS:

VITAL WEEKLY: 

The previous issue of ‘Noosphertilizer’ (which is all about the sphere of human thought) is a double cassette with four musicians and one visual piece. To start with the latter; in each of the fifty copies of this release there is an object of ‘resin art’ by Rik Lee Liepold. It has roughly the size of a cassette and a heavy block with found materials, broken bits of a record and magnetic tape. It looks awesome and makes one hell of a difference with regular cassette packaging. On the website of the label you can find how this looks like with a gif image. The first side has music by Somnoroase Pasarele, from Romania, and whose work has been reviewed quite a bit here, and generally well received, except for the last one which I thought didn’t crack it for me; that can happen. The band name means Sleepy Birds and this piece, ‘F XIII’, was recorded by Gili Mocanu in the Summer of 2015 and is quite a different piece than what I heard from them so far. No rhythms at work here, only a couple of synthesizers that play a rather sombre piece of moody
sounds, textures and reminded me of good ol’ electronic music from the sixties, but then
captured in a more or less lo-fi manner. If there was some kind of process going on, of blocks of sound getting processed again and again, I must say that worked really well. In a way I was reminded of Roland Kayn’s work. This was easily the best work I heard by them so far. The other side has music by Alan Courtis from Argentina, former member of Reynols, but that seems to be ages ago. Since then he has released many solo works as well as many works in collaboration with others and toured the continents quite a bit. His piece here is a live recording from about a year ago, when he played in Brazil. These thirty minutes are filled a guitar, a distortion pedal and backing tapes and sounds a bit crude at the beginning but it gets really interesting in the second half, when there the drones go up a notch or two, and becomes a fine power drone of guitar sounds.
The second tape had music by two American projects, of which Directives is the first one, and of whom I don’t think I heard before. This is the musical work of D. Petri, who is also the label boss here, and a musical collaborator in Amalgamated, Homogenized Terrestrials and Gushing Cloud. In his solo work he uses guitars, but also ‘utilizing approximately 5/1 pre to post processing ratio’ he says, and goes from primitive recording techniques to software, from cassettes to low fidelity microphones and then mixed together and that works out into five parts of ‘Igneous Plethora’, moving from lo-fi sampled guitar noise to more introspective parts; it is not easy to say where one piece ends and the next one starts, as it is all more or less mixed together, but all of this left a good impression on me. Sometimes it was gentle, sometimes not, but the balance between both ends was maintained very well. On the other side we find the noisiest of the four (or six) sides, music by Crank Sturgeon, who has been going since the early 90s in the world of noise and performance art. Here he has a piece for ‘dinner utensils, tape machines and guitar pickups, but no doubt also Dictaphones and cassettes. Everything is recorded with much gusto to analogue tape and there is a fine sense of overload on the magnetic heads. This is not the kind of noise that goes on and on, like being on an automatic pilot, but in stead it is chopped up and played by two of hands in real time. And that maybe times four, and overlaid with each other to further enhance the chaos and noise aspect. The
left channel may not know what the right one is doing. Quite an intense half hour this one,
but it sounds great, certainly after three more or less sides of sustaining music.