Interception V




former also available as CD-R (ltd.ed. 50 copies) / SOLD OUT !

artwork by Slavek Kwi
design by EMERGE

Artificial Memory Trace: Interception V.
Intercepted 12.7.2015 in Eire by Slavek Kwi.
Some sounds were generated from field
recordings of Porya Hatami. Thanks!


released August 17, 2016


Our massive trip in the recent releases by Attenuation Circuit continues with the longest of the lot, the nearly eighty minutes of music by Artificial Memory Trace. Slavek Kwi never seems to be doing a release that is shorter than that. I complain off and on about the length of releases, and while I think forty minutes of strong music is to be preferred over sixty or more of mediocre music and that not every CD has to be filled up, I'd like making an exception for the music of Kwi. His treated field recordings simply work best when they are a long head-trip. I am never sure what it is that he does, in terms of processing and editing, but there is a large amount of field recordings at the basis of all of this, and Kwi specializes in using birds and insect sounds, but on 'Interception V' we also hear the barking of dogs and bells. Beyond that I am not sure what he does. All of this might very be dealing with time stretching and/or granular synthesis, but the sounds are easily recognizable for the most part. In 'Interception V' development is very minimal but every now and then sounds are added, but not easily removed from the mix, not until, so it seems, the forty minute break, when lots is gone and few remain. In the remainder the piece is a bit more stripped down but throughout it seems to be using the same sound sources, and the final ten pieces everything moves into computer abstraction. It is all a kind of action music, I think. Have bunch of sound running and adding processed versions thereof when needed. Maybe a bit less refined than some of his work, but a most lovely release.



am auffälligsten ist da der hund. ganz am anfang, als irritation; später als willkommener freund. herausgestanzt aus den fieldrecordings und geloopt.

„interceptionv“ ist auf voller länge, trotz des hier in der beschreibung vielleicht ungewollt humoresk wirkenden details feinsinnig transparent angelegt. artificial memory trace nutzt aufnahmen aus porya hatami sowie bekanntere und unbekanntere echtsounds aus natur und (elektronischer) kultur (einer davon erinnert verdächtig an das geräusch mancher mobiler geräte beim eintreffen einer sms) und schafft es ein weiteres mal, auf musikalische weise eine geistige vision einer spannenden geschichte zu erzählen, ohne auch nur im geringsten hinweise auf deren plot zu geben. erstaunlich genug, dass dies so gut funktioniert, fast noch erstaunlicher, dass es ohne massive verdichtungen gelingt; subtilität und ausgewogene balance quasi allein das bild beherrschen, um spannung zu erzeugen. auf diese art, trotz der vielerlei mikrosounds, fast minimalistisch angelegt. dabei überschreitet „interception v“ immer wieder die irgendwo lauernde grenze zwischen einem konstrukt aus „reinen“ fieldrecordings und einer durch elektronische sounds ergänzten komposition. und besonders in den momenten, in denen artificial memory trace diese elektronischen komponenten betont, wird die atmosphäre des stücks, der atmosphärische wechsel zwischen (vermeintlicher?) dokumentation und konstruktion fast augenblicklich spürbar, fast wie ein eindringen von etwas künstlichem in die natur. vielleicht ist es das, was die geschichte von „interception v“ erzählen will? auf fast 80 minuten. ...sehr spannenden fast 80 minuten.

schöne grüsse




This new recording by this project of Slawek Kwi is presented as using some field recordings by Porya Hatami, so the listening is done with a clear mind and this is a long release full of elements.
The barking of a dog introduces a first part based on field recordings and some filtering, or maybe samples, generating some resonances so while the source is clear e.g., the dripping of the water, there's a sense of something added but not immediately evident; so the track evolves in an hypnotic way as the resonances became the main element of the track until the samples and noises start to emerge and converse with the underlying element of the track until the return of the clean field recording of the dog marks the start of the second part of the track. The juxtaposition of the sound sources generates a thick mass of sound in which some element is put in the foreground and, when the dog's recording marks the third part of the track, it's unpredictable an expiration of sound details immersed in a quiet soundscape where all elements of the first two part return creating a sort of abstract narrative.
As his length is not properly compatible with times where listening is so parceled out in small excerpt, it's something not recommended with listeners with short attention span but the others will find moments of inventive sound construction. Nice.




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