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[electroacoustic, ambient, microtonal] Tomas Phillips & Dean King - 2008 - Les Mailles (FLAC, Monochrome Vision 26)

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Music : Other : Lossless
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           Monochrome Vision mv26.

 

1. untitled

Somehow I wouldn't lump Tomas Philips and Dean King in with the 'old boys network', simply because both
started releasing their material in the 90s and not the 80s. Philips has released music on labels as Line, and/OAR, Non
Visual Objects, Petite Sono and has worked with i8u and Dean King as Eto Ami. I don't know why this is released as
Philips/King and not Eto Ami, but surely there is a good reason. These two operate from an entirely different
perspective than the others on the two previous releases. This is silent music, almost Lopez like in terms of silence.
You have to turn the volume up quite a bit to hear anything at all. The world of laptops and plug-ins, of highly
processed field recordings, of crackles and hiss. Here too much attention is required before it unfolds its beauty, as
things work slow, soft and in a highly minimalist vein. From the world of Roel Meelkop, Marc Behrens and Richard
Chartier, this is closest to the latter. Wide spun sounds, soft but deep, this is a fine work of microsound. Nothing new
as such but done with superb class. - Frans de Waard, Vital #667, week 9 (24 Feb 2009)

The English rendering
of the record’s title (“meshes”) is an implicit allusion to film director Maya Deren’s Meshes
Of The Afternoon (1943), considered her finest achievement. An analogous usage of techniques that combine apparently
disunited representational processes and uncommon associations characterizes this bewitching album, a release from 2008
that seems to have slipped under many people’s radars (including mine). It would be painless, for a superficial
beholder, to line Les Mailles in the “ambient” section given its unassertive attributes and the curricula of
its composers. Indeed these quasi-oneiric textures work especially well as one’s allowed to let them stream at
low volume in absolute muteness; Phillips and King have managed to paint an atemporal organization of fleeting audio
images whose frequency quantifications get magnified and interiorly enhanced by the sensitive motility that maybe
someone still owns. Vice versa, trying to insert them amidst the noises of a regular domestic environment becomes a
meaning-annihilating gesture, a breaking of the fundamental rules which should always underlie the act of listening to
music – not only when made of electronic shadows and manipulated location recordings, but in general. These
sounds survive reality for a few seconds, then smile at the listener and vanish without returning, causing a respectable
number of “stop-and-contemplate” episodes in the meantime. - Massimo Ricci, Touching Extremes (24 Jan 2012) 
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BitCoin: 1DNoid2VRyfYn9T38Z1SZ5XncG7WMgCeUL How to get BitCoin?   

           

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