Eve Aboulkheir / Lasse Marhaug
22/12/2017 Guilin Synthetic Daydream / How to Avoid Ants
Eve Aboulkheir / Lasse Marhaug
22/12/2017 Guilin Synthetic Daydream / How to Avoid Ants
Boomkat Product Review:
The latest Portraits GRM pairs French electro-acoustic artist Eve Aboulkheir with veteran Norwegian polymath Lasse Marhaug. Aboulkheir's side is a dream-diary made from detuned, spiralling oscillations, and Marhaug's is a heartstopping fusion of grim analog ambience. Unmissable!
Aboulkheir's piece was shaped by the swirling sounds, smells and visuals of a visit to China, and the feeling she had of intense perceptual disorientation crossing markets, as if walking through a dream. Using advanced electro-acoustic techniques to represent a near-psychedelic mindset, the piece feels almost completely weightless, haunting the sonic space as it whirls and whirrs with the grace of a marionette guided by invisible strings. Aboulkheir composes with a hardy narrative sense - every sound has its place. In just a few minutes, she weaves perplexing snatched voices that reverberate into dissociated micro-voids and dissolved field recordings. There might be a crash or splash of water, before obsessively tweaked and edited synths form their own cyber-lingual chirps and babbles. When Aboulkheir introduces percolating rhythms at the halfway point, it's just another confounding colour; the whisper of club music is there in the distance, obscured by walls, bodies and geography. We can hear parallels with Jim O'Rourke, Ben Vida, Delia Derbyshire (think 'Blue Veils and Golden Sand') and the great Morton Subotnick - basically if you're interested in hearing the potential of modern electro-acoustic music, it’s a must-listen.
Lasse Marhaug's 'How to Avoid Ants' is stylistically different, but just as narratively driven as its predecessor. Using concréte techniques, Marhaug recreates his daughters journey to forest camp, avoiding the anthills lining the path along the way. He mulches the sound of creaking tree branches and rustling leaves into rich guitar drones and synthesised groans, carefully suggesting force, texture and volume even through the most hushed passages. The opening moments almost feel like Deathprod's tenebrous early material, with brain-tickling organic foliage sounds on top of doomed, steely strings. When his patented sheet noise creaks into the frame, it's at arm's length, whooshing like a kettle on the River Styx, over rumbling, indistinct sub-bass rumbles. Marhaug never lets it boil over, instead pulling back to reveal creeping wintery pads, leading into bells that come out of nowhere and add a full stop to a piece of music that’s fully captivating over its 17 minute duration.
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Boomkat Product Review:
The latest Portraits GRM pairs French electro-acoustic artist Eve Aboulkheir with veteran Norwegian polymath Lasse Marhaug. Aboulkheir's side is a dream-diary made from detuned, spiralling oscillations, and Marhaug's is a heartstopping fusion of grim analog ambience. Unmissable!
Aboulkheir's piece was shaped by the swirling sounds, smells and visuals of a visit to China, and the feeling she had of intense perceptual disorientation crossing markets, as if walking through a dream. Using advanced electro-acoustic techniques to represent a near-psychedelic mindset, the piece feels almost completely weightless, haunting the sonic space as it whirls and whirrs with the grace of a marionette guided by invisible strings. Aboulkheir composes with a hardy narrative sense - every sound has its place. In just a few minutes, she weaves perplexing snatched voices that reverberate into dissociated micro-voids and dissolved field recordings. There might be a crash or splash of water, before obsessively tweaked and edited synths form their own cyber-lingual chirps and babbles. When Aboulkheir introduces percolating rhythms at the halfway point, it's just another confounding colour; the whisper of club music is there in the distance, obscured by walls, bodies and geography. We can hear parallels with Jim O'Rourke, Ben Vida, Delia Derbyshire (think 'Blue Veils and Golden Sand') and the great Morton Subotnick - basically if you're interested in hearing the potential of modern electro-acoustic music, it’s a must-listen.
Lasse Marhaug's 'How to Avoid Ants' is stylistically different, but just as narratively driven as its predecessor. Using concréte techniques, Marhaug recreates his daughters journey to forest camp, avoiding the anthills lining the path along the way. He mulches the sound of creaking tree branches and rustling leaves into rich guitar drones and synthesised groans, carefully suggesting force, texture and volume even through the most hushed passages. The opening moments almost feel like Deathprod's tenebrous early material, with brain-tickling organic foliage sounds on top of doomed, steely strings. When his patented sheet noise creaks into the frame, it's at arm's length, whooshing like a kettle on the River Styx, over rumbling, indistinct sub-bass rumbles. Marhaug never lets it boil over, instead pulling back to reveal creeping wintery pads, leading into bells that come out of nowhere and add a full stop to a piece of music that’s fully captivating over its 17 minute duration.
In Stock (Ready To Ship)
Back in stock. Edition of 500 copies, includes a download of the album dropped to your account. Mastered by Giuseppe Ielasi, Design by Stephen O’Malley
Boomkat Product Review:
The latest Portraits GRM pairs French electro-acoustic artist Eve Aboulkheir with veteran Norwegian polymath Lasse Marhaug. Aboulkheir's side is a dream-diary made from detuned, spiralling oscillations, and Marhaug's is a heartstopping fusion of grim analog ambience. Unmissable!
Aboulkheir's piece was shaped by the swirling sounds, smells and visuals of a visit to China, and the feeling she had of intense perceptual disorientation crossing markets, as if walking through a dream. Using advanced electro-acoustic techniques to represent a near-psychedelic mindset, the piece feels almost completely weightless, haunting the sonic space as it whirls and whirrs with the grace of a marionette guided by invisible strings. Aboulkheir composes with a hardy narrative sense - every sound has its place. In just a few minutes, she weaves perplexing snatched voices that reverberate into dissociated micro-voids and dissolved field recordings. There might be a crash or splash of water, before obsessively tweaked and edited synths form their own cyber-lingual chirps and babbles. When Aboulkheir introduces percolating rhythms at the halfway point, it's just another confounding colour; the whisper of club music is there in the distance, obscured by walls, bodies and geography. We can hear parallels with Jim O'Rourke, Ben Vida, Delia Derbyshire (think 'Blue Veils and Golden Sand') and the great Morton Subotnick - basically if you're interested in hearing the potential of modern electro-acoustic music, it’s a must-listen.
Lasse Marhaug's 'How to Avoid Ants' is stylistically different, but just as narratively driven as its predecessor. Using concréte techniques, Marhaug recreates his daughters journey to forest camp, avoiding the anthills lining the path along the way. He mulches the sound of creaking tree branches and rustling leaves into rich guitar drones and synthesised groans, carefully suggesting force, texture and volume even through the most hushed passages. The opening moments almost feel like Deathprod's tenebrous early material, with brain-tickling organic foliage sounds on top of doomed, steely strings. When his patented sheet noise creaks into the frame, it's at arm's length, whooshing like a kettle on the River Styx, over rumbling, indistinct sub-bass rumbles. Marhaug never lets it boil over, instead pulling back to reveal creeping wintery pads, leading into bells that come out of nowhere and add a full stop to a piece of music that’s fully captivating over its 17 minute duration.
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