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Reagenzblech 32:22



released May 3, 2014

Named after their homebase in the North German village of Preetz, Das unpreetzise Klang-Labor is a duo consisting of Y-Ton-G (metal objects, synthesizer, gadgets) and Klimperlise (laptop, gadgets). The three half-hour tracks of this multiple album bring together many of the signature sounds that have shaped Y-Ton-G’s work as an experimental ambient solo artist since the 1990s: small sounds magnified by piezo microphones, digital glitches, and engine-room field recordings with a spacious feel hardly ever found in “pure” electronica.

While the use of metal objects in Das unpreetzise Klang-Labor is clearly indebted to the tradition of percussion-based acts such as Z’ev or Einstürzende Neubauten, they convincingly show that metal percussion in experimental music cannot only be used as a noise work-out, but also as a means of building up an atmosphere of subtle tension. However, a clear preference for rhythmic elements (as opposed to more random clicks and cuts) makes itself felt again and again throughout the development of the tracks. Distinct loop-based beats repeatedly emerge from processed field recordings and transform a soundscape otherwise reminiscent of vintage GRM-style musique concrète into something that for brief moments may almost resemble techno, or at least IDM. The strong presence of sounding objects in the sonic laboratory of these recordings also gives the album a strong “sound art” feel which makes it possible to approach the insect or bird-like sonic events like sounds emanating from an installation art piece, or to listen to the unfolding of these long tracks as “radio dramas without words” taking listeners through imaginary science-fiction landscapes.



Was noch? Von DAS UNPREETZISE KLANG-LABOR in handbemalter Unikat-Verpackung Laborbedarf (ACL 1008, 3 x CD in Nylonreiseetui, oder als AC 1008, 2 x CD in Jewelcase). Unser alter Bekannter Y-Ton-G krimskramst zusammen mit Klimperlise mit Krimskrams und Metallobjekten. Synthesizer und Laptop bringen taktile, eisenhaltige Improvisationen in Form und in Schwung. Klopf- und raue Schabgeräusche und sirrende Drones in großen Hallräumen. Clicks+ Cuts so geloopt, dass sie pulsierend swingen. Die Vorstellung von produktivem Hantieren weicht bald der Imagination einer fremdartigen Szenerie, die nur rumort, weil natürliche Kräfte 'arbeiten', Wind, Sonne, Frost. Aber unwirklicher und 'unmöglicher' und daher sinnverwirrend. Ein zarter Spieluhrklang wirkt da wie ausgeliefert. Wenn man aber mit den Füßen auf dem Boden bleibt, spüren sie bei 'Klang Exsikkator', dem dritten Laborversuch, wieder rituelle Schläge unter den Sohlen, während die übrigen Sinne in Turbulenzen und auch motorische Rotationen verwickelt werden. Mittendrin im rauen Scharren und eisernen Beben verursacht jetzt auch ein kleines Metallophon Rührung. In diesem Labor wird offenbar nach dem Phantastischen geforscht.





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