An unusual album from Kotä Records, Gopchang Leftovers incorporates multiple styles and focuses on none. The album was conceived during a residency in Seoul, but even that doesn’t explain the diversity on display. Until one listens all the way through, one cannot comprehend the overall theme.
The title refers to a Korean delicacy: intestines and vegetables. While this might not sound tasty to some, remember that Scotland has its haggis and Iceland its hákarl. As to the leftovers, they may be metaphorical; now that Fernando Visockis has returned to São Paulo, he’s left with memories and sonic samples. These form the backdrop for a set of impressions that range from the direct (Korean drumming and dialogue) to the manipulated (a 15-minute drone piece buried deep in the album). Six pieces are sampled from a video installation; one (“12zodiacsign”) samples the British composer Max Richter as he re-works an Italian symphony…
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P Jørgensen‘s latest effort represents a shift in sound from the Danish composer. We’ve grown to expect an ambient blend of electronics from the artist, but here we encounter organic instrumentation, resembling a small orchestra. Whether this is the sign of a new maturity or the natural outgrowth of the composer’s recent film contributions, Gold Beach is a masterful effort that makes a lasting impact.
One of those film scores was Kim, a commissioned work for a World War II documentary. Gold Beach appears influenced by that work, as it adopts the code name for a D-Day landing. The music suggests the forlorn spaces of a battlefield after the fight has ended. The listener can imagine a soldier trudging through the mud, searching for lost comrades. The rain falls slowly, overflowing broken gutters. Transport vehicles make their way through the ruts. A child sings.
Bass clarinet, double…
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Poland’s Pawlacz Perski has just released two superlative experimental cassettes on the same day. Lech Nienartowicz and Michał Wolski‘s tape is an investigation of clocks, chimes and strings, while Duy Gebord‘s Kelp is inspired by a floating island of trash. Each surprises listeners in the way that only the best experimental music can do.
Listening to Nienartowicz’ half of the split tape, I am reminded of a sparser work, MUFI.RE’s Mechanics of Suspended Time, that was released last year. That work investigated the sonorities of three antique clocks; Nienartowicz’ new tracks bring the investigation to the next level through the integration of strings, drones and unidentified percussion. The result is multilayered and mesmerizing. To quote Dr. Suess: “I get all those ticks and clocks, sir, mixed up with the chicks and tocks, sir.” What a beautiful racket it is. A short track, “Czynności”, is followed by the…
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