Solap Are

by NoisesculptoR

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about

also available as CD-R (lt.ed. 50 copies)

photography by Dan Penschuck - feindesign.de
design by EMERGE

soundcloud.com/noisesculptor

Robert Sipos, born 1974, first met techno at the end of the 90s; initially visited clubs, parties, absorbed the music and listened. Almost became a second home to the 1999 opening Supersonic Polytechnic, and related techno events. Those important and noteworthy for his professional life were DJ Grega, who unwittingly pointed the way towards techno, and Mixer Smith, who gave the first major technical equipment. Noisesculptor is unbroken since its inception, representative of this line which is not exactly popular: techno primarily within industrial and dark line moving - doggedly trying to stay underground, as far as possible these days... In addition to mixing the music, editing really is what fascinated him, looking and researching new sound. His music is both modern and ancient: from the era when music was born instinct, sounds, feelings...

Several publishers discussed - and discuss today. In 2011, Robert appeared on Mixer Smith's tel joint debut album, titled "General Effect", which is now the well-known not only in Europe but also in many countries of the world (Japan, USA), and appeared on the popularwww.audioexit.com label. Subsequently began to draw attention to it in the domestic and international trade: the requests were mixes, radio shows. His first solo album (Structures) marked with the names of Exigent (PERL Imre) was released on Paradise Gate Records. On the European level, he is well known as a contributor / radio tartva of the Art Style: Techno - Underground Techno magazine. His work has been featured on various compilation discs, and well-known DJs and producers like to use them for their mixes.

credits

released September 1, 2016

BAD ALCHEMY #92

Auf Soundcloud gibt sich der SOUNDSCULPTOR von Solap Are (ACK 1028, CD-R) zu erkennen als Robert Sipos in Eggenfelden. Mit Jahrgang 1974 griff er erst spät selber zu, fand im Westen nichts Neues ("Trench Warfare On The Western Front") und im Osten nichts Gutes ("Noise Forms from East Bloc"). Hier entführt er in Zonen zwischen Alb und Traum, wo ein unguter Wind weht und dunkle Wasser anbranden. Durch nebulöse Klangschwaden lässt eine gedämpfte Marschtrommel wieder Gedanken an den Krieg von 1914-18 aufkommen, auch sind manche Klänge kaum von Schreien zu unterscheiden. Im Grunde hört man, wie das Vergessen die Schaufel schwingt, wobei plötzlich verrauschte Musik die Synapsen wieder aufraut. Alla turca? Kirmesorgel? Es bleibt ein Grabenkrieg gegen ostinate Loops, die das Erinnern überrauschen und pulverisieren. Zuletzt dröhnen Glocken, zwitschern Vögel, aber friedliche Gedanken werden im Keim erstickt, gestört, verzerrt, zerschrotet. Kriegerisches Tamtam und fatalistisch raunende Kaskaden bestimmen den Zeitstrom, und mag der noch so stottern.

www.badalchemy.de

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VITAL WEEKLY

The first of the three new releases is by NoisesculptoR (as he spells it himself), which is one Robert Sipos from Eggenfelden, Germany. He has a bunch of releases on Craneal Fracture Records and Unsigned, but I don't believe I heard much of his music before, except for something on a split with the Royal Hungarian Noisemakers. Based on that work I must admit I had no idea what to expect. He has six pieces here (no titles on the cover), which last in total some fifty minutes, which means each track is quite long. Hard to say what he uses in terms of instruments, but I think it is easy to think there is a fair amount of electronics and reverb at work here, working overtime to get the most out of it when it comes to playing forceful, moody and dark tunes. There might be field recordings on the input side of things, and they might easily be taped inside a factory; and if that is not the case that perhaps this music tries to emulate the sounds of the factory. While the music is not noise per-se, this is also not particular anything else, let alone ambient. Industrial with a dash of ambient, that surely could be the case here, bordering occasionally closer to the first than to the latter, especially in the fifth piece, and in the bass overload of the sixth piece. Sculptures? Yes, perhaps they are so indeed, carved out of heavy rock with a big hammer, that is.

(FdW)

www.vitalweekly.net/1058.html

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UNRUHR

lärmskulpturen zwischen direkt und atmosphärisch. atmosphärisch, ohne den impact zu verlieren, direkt, ohne „nur“ den reinen puristen gefallen zu können. kariertes maiglöckchen irgendwie und dabei auch noch eigen. was das ausgangsmaterial betrifft gibt es keine hinweise, bis plötzlich der hauptriff eines nicht unbekannten popsongs wie ein ewiges intro durch die mangel gedreht wird, immer an dem punkt gehalten, an dem in anderen musikalischen leben dann der beat geradezu einsetzen muss. was er, was ein glück, hier bei noiseskulptor aber nie tut. dieser teil von „solap are“ fällt durch seinen wiedererkennungsfaktor etwas heraus, ohne es jedoch soundlich zu tun; die homogenität bleibt gewahrt, allein der durchschimmernde pop-faktor sorgt für das aufmerken.
ob das jetzt stört oder nicht oder sogar gut ist entscheide bitte jede(r) selbst. insgesamt auf jeden fall top.

schöne grüsse

N

www.unruhr.de/musik/rezensionen/4343-noiseskulptor-%E2%80%9Esolap-are

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attenuation circuit Augsburg, Germany

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