WERNER DURAND: The Art of Buzzing (Excuse the Delay Vol. 1)
The first solo release by sound artist Werner Durand, The Art of Buzzing was released recently on Podewil's new label X-Tract. Even if this is his debut CD, Durand has a long history (going on nearly 20 years) of integrating the use of resonators and buzzers with various instruments, either solo or in an ensemble (flutes, percussion, guitars, etc.). The first five tracks on this new CD were recorded between 1998 and 2000 in Berlin. For these recordings, Durand performs on superimposed PVC-Clarinets prepared with buzzing resonators, and an Iranian ney flute.
The results are stunning: dense drones with pulsing, buzzing, dizzying movements swarm with an intoxicating cadence. Recorded in multi-track, the sounds are sometimes treated with loops and delays, although the characteristics of the sounds themselves are not altered by filters and additional effects. In the track "Honey", which contains noisier, more machine-like drones than the other pieces, flower pots were used as resonators and tin-foil plates for the buzzing effects. Durand takes the concept of the "drone" and runs with it, his track titles implying the association of drones with bees, and indeed, the incessant buzzing of these pieces suggests the relentless activity in an immense hive. The sixth and final track was recorded between 1990 and 1995, and was mixed in collaboration with Ralf Wehowsky (RLW). This is perhaps the most varied of all the pieces, with a more noticeable presence of the ney flute, and carefully arranged layers of shifting, dynamic drones and strange resonating sounds. Durand's techniques are truly fascinating, his music even more so. Highly recommended. [Richard di Santo]
Werner Durand: Superimposed PVC-Clarinets with Buzzing Resonators & Iranian NeyThe results are stunning: dense drones with pulsing, buzzing, dizzying movements swarm with an intoxicating cadence. Recorded in multi-track, the sounds are sometimes treated with loops and delays, although the characteristics of the sounds themselves are not altered by filters and additional effects. In the track "Honey", which contains noisier, more machine-like drones than the other pieces, flower pots were used as resonators and tin-foil plates for the buzzing effects. Durand takes the concept of the "drone" and runs with it, his track titles implying the association of drones with bees, and indeed, the incessant buzzing of these pieces suggests the relentless activity in an immense hive. The sixth and final track was recorded between 1990 and 1995, and was mixed in collaboration with Ralf Wehowsky (RLW). This is perhaps the most varied of all the pieces, with a more noticeable presence of the ney flute, and carefully arranged layers of shifting, dynamic drones and strange resonating sounds. Durand's techniques are truly fascinating, his music even more so. Highly recommended. [Richard di Santo]
All tracks composed & recorded by Durand except #6, by W. Durand & Ralf Wehowsky
Recorded in 1998-2000 in Berlin
Released by X-Tract in 2004
link@320
4 comments:
very cool...
this is a great album, thanks for posting it...
many thanks for this one
Thanks, honey!
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