[Microsound-announce] con-vpilation / online comp featuring Korber, Sonderberg, Garcia and others

conv convnetlabel at yahoo.com
Sat Aug 26 08:35:20 EDT 2006

"Con-vpilation" is Conv's thirty-third virtual release
since going
online in February 2004, and it is a milestone in the
history for several reasons. As the title implies,
this is Conv’s
first compilation album. In being a compilation, it
features an
impressive roster of eleven international artists,
representing both
genders, each of whom has enriched the contemporary
world of
music in her/his
own distinct way. Also interesting is the fact that
none of artists
have released anything previously on Conv. The tracks
themselves are
noteworthy in that they span an eclectic set of styles
many of which
fall within the boundaries defined by the current Conv
discography and
others that find Conv exploring some new territory.
Finally, because
of the album’s artistic diversity and broad scope,
“Con-vpilation” has
something to offer both the enthusiast and novice
listener alike, and
is a must listen for anyone who wants to be conversant
non-traditional contemporary music.

For a first listen, find a place free of distractions
and absorb the
diverse sounds of “Con-vpilation“, (and, then, of
course, be sure to
share it with someone else). Immerse yourself in the
soundscape of Coeval (actually a one-man-project by
j.c.blancas) blend
field recordings and digital errors into in a noisy
cacophony. Enjoy
the playful, sensual sounds of Jan Robbe aka Erratic
and his friend
Lina as they recreate a lighthearted evening of
improvision using
guitars and an out-dated synthesizer. Prepare yourself
for Esther
Venrooy’s unsettling piece as she juxtaposes digitally
sounds and sonorous electronics with the
odd-intonations found in the
voice of science fiction author and Scientology leader
L. Ron Hubbard.
For something that goes beyond sad, Luca Bergero,
otherwise known as
Fhievel, takes you into a brooding composition of
sorrowful tones and
gritty abstraction and, to borrow from some verse
provided by the
artist, is “More than past melancholies, like a
portrait with no
colour.” On the more minimal acoustic side, Margarida
Garcia, widely
recognized for her double bass work, delivers a jazzy,
but restrained,
acoustic guitar-based improvision. For an
electro-acoustic flavoring,
Sabine Vogel’s delivers a lowercase blend of flute,
electronics, and
manipulated sounds which give way to a chaotic frenzy
of dissonant
noise. For a slice of powerful ambient drone, Tomas
Korber treats the
listener to a composition of deeply resonating
guitar-based feedback
lightly layered with orbiting microtones and frayed
bits of noise.
Vitor Joaquim offers a unique and poignant selection
that he describes
in his own words as being “about intimacy,
misunderstanding, loss, and
the pain that comes out of it; it’s about time that
doesn’t go back;
points of no return, and the need of voiding me to
stay and go
forward, simultaneously. It’s about contradiction and
for sure, a very
existential feeling. If I can say it, it’s a very me.”
For those
seeking something dark and raucous, Xabier Erkizia
puts forth several
minutes of varying degrees of abrasiveness where
digitally shredded
sounds mix with coarse, low-end noise. And for
something refreshingly
different, Rameses III presents a beautiful track of
avant-garde folk
in which soothing acoustic sounds are complemented
with organic
environmental recordings.

liner notes by Larry Johnson


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