released April 13, 2017
the other parts of the fabrication compilation series can be found here:
YEAH I KNOW IT SUCKS:
SRVTR draws a space stage with a minimal but practical original sound manipulation and fabrication. It is a very kind opener, one that makes you feel warm enough to put off your coat, brush your feet and make yourself at home. A home in which the living room is filled with sound artists that you obviously should be comfortable with to be around. Like for example the one named ‘Skrei’, who rattles and sizzled it’s experimental electrifying music in your ears like a mix between cozy raindrops on a roof-window & a repetitive factory machine to generate a rhythm to hang out and about in.
The warmth is provided by ‘Suspicion Breeds Confidence’, giving enough melodic strength to heath up the entire experimental household. The sound is mysterious and graceful, making it the perfect ambient track for anyone that needs structure and love to be happy…
Sound lover, creator and person behind the compilation and the attenuation circuit label ’emerge’ is also hanging around, filling up his space with a prominent depth that feels like a toxic kind of fresh air. A swamp in oxygen form, filling up the ears with a poisonous cloud that becomes wide and deep & pretty cool; you almost would put on your jacket again & add a scarf too!
Gerald Fiebig had created its own mortuarium, a place in which death can be heard resting in silence & still you feel like even the deceased aren’t fully realizing that they are no longer there in the lively world. The soundscape sets the scene and all we can do is tip-toe through it, hoping not to wake up any of the dead people.
If you go through the section occupied by Larb things can become a little strange. Things starts to move and audio will becoming your way like a full on soundscape in which it feels as if a hurricane is at the door & even though we are listening safely inside, the damage to the building and everything outside can be heard from our little hiding place. A mumbling voice might be enough to keep us from freaking out as things all gets blown away into thin àir…
On the wrong planet’ gives a friendly intermission, one in which we flow carefully through the hallway, hoping to get safely to another part of the home that is this compilation. Here Herr Penschuck awaits, growling in a relaxed way its darkly tainted synth material our way. It’s melodic and sinister, and even the digital water droplets have something spooky. When Herr Penschuck says something, only muffledness comes out, giving the listener no sanity to hold onto, but instead a soundtrack to warm your hands on.
The moment you will stumble upon the mysterious Miguel A Garcia, you must be intrigued by the slow & soft haunting experience of a piano and atmospheric tones that seem to play upper most tensions out in a avant-garde kind of way. To me I felt like the piano was playing on its own, just because it had been played so much & now it misses the players and instead of sobbing, does it all by its lonely self.
A moment of love and care can be found when bumping into the wonderful world of Aaron Bachelder. It is a friendly place with melodic tones, happiness in a calm way, mystifying us with a certain feel goodness that even though being experimental, feels like it had been the most radio friendly personality-track that had found its place on the compilation.
The deadly march of Törst Obborun is a stark but gentle contrast, stepping in the ears like a Darth Vader on a mission. Every step is good for a bass to follow & the mysterious evil backing of a guitar is keeping the naughty atmosphere high up in the air. In the end the order is given to shut everything down & than it’s time for a Toxic Chicken to wave everyone goodbye with a happy smile… please come and visit this house of sounds, you are all welcome!