[abrouxados] concierto Noish & Xedh Jueves 26 de Abril 20:00 Discos Paradiso - Fernandina 39

miguel a. garcía mikk3.a en gmail.com
Mie Abr 25 19:11:32 CEST 2012

Hola a todxs!

  |                            concierto  Noish & Xedh
  |   Presentando la última cassette publicada en el sello Pilgrim Talk        |
  |      rlhaaa to          http://www.pilgrimtalk.com/PT18.html
  |   Jueves 26 Abril   20:00  en            DISCOSPARADISO
  |     C/ Fernandina nº 39  Barcelona
  |                       Xedh: http://www.xedh.org/
  |                      Noish: http://noconventions.mobi/noish/
  |          reviews: http://www.foxydigitalis.com/foxyd/?p=30828
  |                       http://www.thewatchfulear.com/?p=7051

 nos gustaria veros por alli!!


  n + x


reviews de la tape:

Tonight another cassette. (The things still seem to be arriving here
relatively frequently I’m afraid). This one is a release from a bit
earlier this year on the excellent, Chicago based Pilgrim Talk label.
I wrote about another double cassette release on the label for The
Wire this month if you have a copy to hand). This one is credited to
Noish X Xedh, which would appear to be a collaboration between Oscar
Martin and Miguel A. Garcia respectively. At least I think its that
way around. These two musicians work with what sounds like rough, low
grade electronics, perhaps with some laptoppery thrown in, but as
little is explained on the tape’s inlay card to at the PT website its
hard to know what to credit to whom.
Compared to Garcia’s other recent release on Pilgrim Talk, which I
wrote about here, this cassette, named, peculiarly, rlhaaa to is a
much more refined affair. The sound palette is typical of that I am
hearing quite often these days, a rough, raw sound wrenched out of
simple electronics, with little sense of finesse or preciousness, the
sounds more familiar to the noise music scene than improvisation’s
particular history, so forging a new path for the music that falls
somewhere between the two. If the two tracks here, each lasting around
twenty minutes keep the volume generally at an average level, they
don’t attempt to sanitise the actual sounds used at all, with the
music formed out of harshly textured buzzes and yelps, bits of barely
tuned radio and assorted forms of interference, some of a feedback
variety, some just more generally ugly. Given that we don’t know who
is doing what, its hard to follow any narrative between the two
musicians, but one would guess that everything here is improvised in
realtime straight to a mixer. Its hard to imagine how post production
editing could really make much difference to this music, it exists as
a stream of wildly flailing sounds, analogue scribbling, AM radio hiss
and buzz and the kind of odd alien intrusions you hear down a mobile
phone line when you are left on hold listening to supposed silence.
There isn’t really much of a sense of progression or any overarching
structure, rather a feeling of music that keeps folding back on
itself, never staying with one sound for more than a few seconds
before finding another that fits the general theme, though the
connection between each consecutive element is never entirely obvious.
This is hard music to sit down and concentrate on, as I might with
other improvised music. Lacking aesthetic beauty in any conventional
sense, but also not really involving any obvious feeling of narrative
to latch onto, rlhaaa to feels as uncomfortable and awkward as its
title. However as the volume is kept in check and the music is always
as clear as a cassette release ever could be, it feels like the
musicians are making concessions to people like me, challenging us to
engage with this awkward sound world but not in the manner we are used
to. Spending time with the cassette, listening to it several times
over wasn’t easy, and the abrupt ending to each side does not help
matters, as the music never really resolves itself in any way, and the
sensation is merely of a stream of interconnected sounds that just
follow a line from one place to another. The journey is a fascinating
one, but once you have made it from A to B you wonder why you did so.
(Richard Pinnell)

These two side long duo electronic improvisations from Noish and Xedh
provide a wide array of sonic material. The recordings are clear,
allowing for absorption of the sounds performed. The content ranges
from silence, to sparse distortion and fuzz passages, to spurts of
aggressive synthesized sounds replete with color, to moments of harsh
noise. The instrumentation, while being firmly grounded in the
electronic palette, is broad due to the array of sonic material. Some
things are certain; radios are tuned and de-tuned, while many of the
sound sources remain a mystery. Many of the sounds allude to circuit
bent instruments and cracked electronics due to some of the more
uncontrollable throbs and bleeps yet, some of the material sounds
controlled and refined, alluding to computer play. I do think these
are live recordings; there is something about the energy and movement
of the two pieces that point toward live collaboration. The best
moments of this cassette (for me) are when all emotion is eschewed.
There are times when it sounds too dark or menacing. However, there
are large passages when what is being displayed is pure sonic
information and it’s quite engaging. The duo resists repetition in
these improvisations which keeps the listener on their toes as some
sound masses are built and shifted and others are created, entertained
and abandoned within a few seconds. Even more interesting is that
among the beautifully crafted and timed sounds, both sides of this
cassette end abruptly.
Screen printed card-stock covers with art work by Pilgrim Talk main
man Nick Hoffman. A very solid release indeed, recommended for any fan
of electronic improvisation, Noish and Xedh supply a unique take on
the give and take of a new language. (  John Collins McCormick  )

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