released May 31, 2020
Do the oscillator! Drone meets pulse meets noise in ways that are unusual even for the roster of attenuation circuit. Bubbling, throbbing electronic sounds coalesce into rhythmic structures that are almost danceable at some points and purely spaced-out in a Kosmische Musik, sci-fi soundtrack kind of way at others.
But it's not all about recreating the sound worlds of vintage electronics – a cello and some weird percussion sounds are also among the acoustic ingredients of this album. Fezayafirar pay tribute to their influences whilst combining them with other elements to create a deep, powerful album in a style all their own.
Fezayafirar is an ex-pat Turkish duo based in Berlin and Zürich. Their name is a reference to one of the first science fiction novels written in Turkish. The sci-fi connection is, of course, programmatic. Their first release on attenuation circuit, “birkaç parsek” is a result of their concert at the “re:flexions sound-art festival” 2019, hosted by attenuation circuit label head Sascha Stadlmeier. The third track of the album, “magdur”, is actually an excerpt from their live set at the festival.
File under: kraut electronics, psychedelic
And finally, there is the CDR by the Turkish duo based in Berlin and Zürich Fezayafirar. The name is a reference to one of the first science fiction books in Turkish and the connection, "is, of course, programmatic", the label informs me, but why ‘of course’? They played at an evening hosted by the label (excerpt of which are to be found in the third piece) I would think they use modular synthesizers in their set-up, but according to the information also "a cello and some percussion sound". The blurb also refers to cosmic and kraut electronica, which is something I didn't hear that much. Their sounds bubble, hiss, burst, crack and oscillate and it does not bounce around neatly along with sequencers and arpeggios. Which is fine with me. The thing with modular synthesizers is the same as I had with laptop musicians at one point and that's is this: when does one stop playing around with sounds and when do the composing starts? On social media, I see impressive racks with just a very thin bleep going on. I like to hear a good solid piece of composed music. With Fezayafirar I am not sure; part of this sounded quite all right, and some of this as a mere extract of a larger improvisation, and as such not works out too well for my taste. It is surely a fine work that introduces the sounds of the duo; time to take the next step.
Vom Auftritt von FEZAYAFIRAR beim Re:Flexions Sound-Art Festival 2019 landete 'Magdur' auf Birkaç Parsek (ACU 1023). Das nach Berlin und Zürich ausgeschwärmte Brüderpaar aus Istanbul strebt da gleich noch einige Parallax-Sekündchen weiter ins Überall, inspiriert in ihrem Hin-zu durch Science Fiction, in ihrem Weg-von aber wohl eher davon, dass die von türkischer Science Fiction beschriebenen Zustände nur eine Armlänge entfernt sind, wie Ömer Türkeş konstatiert hat (in "Sich die Zukunft vorstellen"). Das Raumschiff von FezayaFirar (Feza = Weltraum, Firar = Ausbruch, Flucht), dessen Route sich vor angedüstertem Hintergrund abzeichnet, ist nicht von der neuesten Bauart, macht das aber wie alle geliebten Schrottkisten im Weltall - Han Solos 'Millennium Falke', Ijon Tichys 'Rakete' - wett durch launige und trappelige Tüpfelmuster, metalloid zirpenden Klingklang und oszillatorische Pulsschläge. R2-D2eskes Gepixel und Gezwitscher mischen sich mit schrottiger Flickschusterei, sprachgestörter Computerkommunikation, knarrigem Gefurze, suppig stampfendem Geblubber, roulettekugligem und holzigem Geklapper, eskalierendem Glissando, motorischer Arrhythmie und stagnierendem, dumpfem Beinahestillstand. Als wären die nur eine Armlänge entfernten Zustände wie das Alien mit an Bord.