TRACK LIST:
  • 1. Cyclorama Lift 2
  • 2. Cyclorama Lift
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Aeriola Frequency (1998)

 

An empty loop constantly nourishing and digesting itself.
“Seductive in the extreme, and, I’d venture, Toral’s best work to date” (Motion)
“Un mondo intero che nasce solo per implodere” (BlowUp)

 

Perdition Plastics (Chicago, USA), per008 (CD, 1998)

OUT OF PRINT

 

Track List:
1 Cyclorama Lift 2 46′ 29″
2 Cyclorama Lift 4 20′ 17″

 

 

Recorded at Noise Precision, Lisbon, Dec. 1997 and Apr. 1998.

 

Aeriola Frequency was listed by The Wire magazine as one of the best records in 1999 (“outer limits” section).

 

 

Notes by Rafael Toral:
The exploration of resonance from the guitar world as in Wave Field took me to later finding myself working with pure electronic resonance, the material of this piece. Cyclorama Lift is performed with an empty circuit, basically a feedback loop using as main instruments two 8-second delays and a 4-band parametric equalizer. There’s no input, the loop is constantly nourishing and digesting itself.

 

 

Todos os espaços têm uma característica acústica, e a ressonância tem um papel importante na sua forma e definição. Há frequências de ressonância práticamente onde quer que vamos e na maior parte das vezes não damos por elas. Por outro lado, a nossa experiência do mundo é, numa medida substancial, através de meios electrónicos. E a ressonância é também um atributo dos circuitos electrónicos, do mesmo modo alheios à nossa atenção. Lembrando alguns exemplos de sons que vivem connosco, os osciladores (um elemento básico dos sintetizadores) e os equalizadores (integrados em práticamente todas as mesas de mistura de som no mundo) são dispositivos de ressonância. Sintonizar um rádio é, em muitos casos, simplesmente seleccionar uma frequência de ressonância. A maior parte dos sons produzidos pela tecnologia chegam até nós graças à ocorrência de ressonância electrónica em várias fases da sua produção e transmissão. Estou assim a dar forma à ideia de a ressonância (um material musical) estar em todo o lado no mundo electrónico. Seguindo esta direcção tive, pois, que pensar num dispositivo musical que me permitisse tocar ressonância, em vez de tocar “sons”. Para trabalhar com ressonância pura num domínio puramente electrónico, precisaria de um circuito vazio, que não tivesse nada a entrar do exterior e não processasse nada a não ser a si próprio. Algo que pudesse usar para sondar o espectro de audio, pesquisando frequências, aumentando e enformando larguras de banda. O ” loop” contínuamente se alimenta a si próprio ao mesmo tempo que se auto-digere. Assemelha-se a uma viagem por um campo sonoro, sempre desdobrando-se em novas paisagens.

 

 

Text by David Toop
Whether you live in Lisbon, London or Lahore, the ordering of things has become a world of possible alternatives. The ordering of sound into musical form is now open to every possibility in the world beyond sound. Once governed by pitch relationships, ordered into an evolving harmonic system, sound might now reflect the extra-musical systems of biology, machines, thought, chance, social relations, chemical effect, political models or body movement. These are some of the possibilities. Music can be inspired by a beehive, the malfunction of a machine, an ecosystem, the reflex reactions of another musician, a state of consciousness, a digital glitch, robotics, an ancient divinatory book, an historical incident, the pulse of a city, rhythmic variation, a cinematic mise en scène , a fragment of captured documentation, turbulent water, a particle of speech, a feedback loop, the logic of software, the pattern of the heavens. Perhaps it starts with a guitar. A sound suddenly exists. A stone in water, over time, furred by green moss. A sheet of metal, over time, mottled and scarred by rust. A slice of bread, over time, growing into a lush forest of mould. A jar of beans, over time, sprouting edible horned crooked limbs. A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering. Cloud formations, sound clusters curl and bump, low fat throbs breaking through frost patterns of extruded feedback. Sounds cycle, over time; sounds slither through time, disguised as pitch relationships. Like qualities of air, sounds meet and become each other. The sound seems to rise, to lift, though this is an illusion. Although the sound seems to mirror patterns in the observable world, the sound is learning the order of things. The sound is learning to develop, to think, to live.
David Toop