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<DIV><FONT face=Arial size=2>Dear friends,</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
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<P align=left>We are proud to present two new releases on Nonvisualobjects.</P>
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<DIV><FONT face=Arial size=2><FONT face=AkzidenzGroteskBE-Light size=1>
<P align=left><FONT size=2>NVO 014</FONT></P>
<P align=left><FONT size=2>Will Montgomery </FONT></FONT><FONT
face=AkzidenzGroteskBE-Light>[ Heribert Friedl ]</P></FONT><FONT
face=AkzidenzGroteskBE-Light>
<P align=left>NON-COLLABORATION</P></FONT><FONT face=AkzidenzGroteskBE-Light
color=#ffffff>
<P align=left></FONT><FONT face=AkzidenzGroteskBE-Light size=1><FONT
size=2>Non-Collaboration began as a collaboration between Heribert Friedl and
Will Montgomery in spring 2006. Will began by processing some of Heribert‘s
Hackbrett improvisations and adding his own sounds. Over time, it became clear
that the two strands of sound – Heribert’s acoustic and Will’s electronic -
weren’t working well together. So Will absorbed Heribert’s material into his
own. The Hackbrett and the pace and shape of Heribert’s improvisations have left
their mark on these pieces. However, this seed material has become something
entirely different. Will Montgomery’s electronic compositions explore ideas of
musical sequence and texture. He often builds his pieces from quite small
musical elements, placing these in unusual and surprising ways. He is interested
in combining different kinds of implied musical narrative in relatively short
pieces. <BR>His album Water Blinks was well received on its release in winter
2005. He contributed to the nvo book Extract in 2007. The first part of a
project on the audio environments in and around 1960s and 1970s social housing
developments can be found on his website, </FONT><A
href="http://www.selvageflame.com"><FONT
size=2>www.selvageflame.com</FONT></A><FONT size=2>. He is currently working on
a project involving processed field recordings for the SNO gallery in Sydney,
Australia. A recently completed collaboration with the writer Brian Marley is
forthcoming. As a journalist he has written extensively on contemporary music
since the early 1990s, mainly for The Wire.</FONT></FONT></P>
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<DIV><FONT face=Arial size=2><FONT face=AkzidenzGroteskBE-Light size=1>
<P align=left><FONT size=2>NVO 015</FONT></P>
<P align=left><FONT size=2>Jos Smolders</FONT></P>
<P align=left><FONT size=2>GAUSSIAN
TRANSIENT (MEGAPHONE)<BR><BR></FONT></FONT><FONT
face=AkzidenzGroteskBE-Light size=1><FONT size=2>By the end of the 80s I
produced my first vinyl release, “Freebasing A For Is Me”. An album completely
free of any preconception, built as an abstract expressionist soundsculpture.
Most of the releases after Freebasing have been based on certain material or a
working method or structural principles. Sometimes because I needed to contain
myself within certain boundaries but most times because I had a certain subject
of research in mind (like mono/stereo, or white noise, or the abstraction of
human speech). With this collection of compositions I return to the emptiness of
“Freebasing”. Every composition is just what it is. There are no thoughts other
than their sonic relations within the construction. I travel from a hospital
ward directly into the intestines of a harmonium. From a street with cafés into
a busy railroad, into a lighter into, … et cetera. After the endless process of
zooming in and out to get every sound in place I gave a lot of time to the
production of this disc. New software (Reaper) has given me better and more
precise tools for getting the exact sound that I wanted. About the track titles.
I have always been intrigued by language, words and meaning. Several of my
seminal works are based on the human voice and on language. Tom Phillips is a
British artist working a lot with letters, words and typography. One work
particularly intrigued me. During the 70s Mr. Phillips worked on a book in which
he reworked existing pages of books. By painting or drawing over the text he
erased most of it but left certain word combinations intact. That way “poems”
were created. While composing these constructions I learned about Mr. Phillips’s
work and felt a connection. I too cut parts out of a large “page”. That part of
a much longer recording is set into a new context but still conveys the meaning
it had inside the original context. That’s how I came to choose the text bits of
one of these “humuments” (No. 6 from the 1st edition) and use them as the titles
for the tracks.</FONT></FONT></P>
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<P></P></FONT></FONT></DIV><FONT face=AkzidenzGroteskBE-Light size=1>
<P align=left><FONT face=Arial size=2>The CDs will be released as a limited
edition of 300 numbered copies and are available now at our online shop at
www.nonvisualobjects.com</FONT></P>
<P align=left><FONT face=Arial size=2>For further information please visit
www.nonvisualobjects.com or contact us directly at
label@nonvisualobjects.com</FONT></P>
<P align=left><FONT face=Arial size=2>all the best,</FONT></P>
<P align=left><FONT face=Arial size=2>Heribert Friedl, Raphael
Moser</FONT></P></FONT>
<DIV><FONT face=Arial size=2></FONT> </DIV>
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