Perhaps best known for his Bird Show releases on Kranky, Ben Vida delivers a striking entry of psycho-acoustic trickery for PAN with 'esstends esstends esstends'.
The "psycho-acoustic trickery" or otoacoustic effect we mention is an earwax-loosening and hallucinatory experimental technique of expanded and localised spatialisation at frequencies which stimulate the microscopic bones inside your ear into hearing things which might not necessarily be there. If you've heard anything by Florian Hecker, Marcus Schmickler, KFW, or - of course, Maryanne Amacher - and found yourself feeling a bit disorientated, you could attribute the fact to their use of these processes.
As the label explains, "...using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging a sense of aural perception and sound localization in relationship to the compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal."
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Perhaps best known for his Bird Show releases on Kranky, Ben Vida delivers a striking entry of psycho-acoustic trickery for PAN with 'esstends esstends esstends'.
The "psycho-acoustic trickery" or otoacoustic effect we mention is an earwax-loosening and hallucinatory experimental technique of expanded and localised spatialisation at frequencies which stimulate the microscopic bones inside your ear into hearing things which might not necessarily be there. If you've heard anything by Florian Hecker, Marcus Schmickler, KFW, or - of course, Maryanne Amacher - and found yourself feeling a bit disorientated, you could attribute the fact to their use of these processes.
As the label explains, "...using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging a sense of aural perception and sound localization in relationship to the compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal."
Perhaps best known for his Bird Show releases on Kranky, Ben Vida delivers a striking entry of psycho-acoustic trickery for PAN with 'esstends esstends esstends'.
The "psycho-acoustic trickery" or otoacoustic effect we mention is an earwax-loosening and hallucinatory experimental technique of expanded and localised spatialisation at frequencies which stimulate the microscopic bones inside your ear into hearing things which might not necessarily be there. If you've heard anything by Florian Hecker, Marcus Schmickler, KFW, or - of course, Maryanne Amacher - and found yourself feeling a bit disorientated, you could attribute the fact to their use of these processes.
As the label explains, "...using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging a sense of aural perception and sound localization in relationship to the compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal."
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Back in stock - 140g vinyl LP housed in silk-screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
Perhaps best known for his Bird Show releases on Kranky, Ben Vida delivers a striking entry of psycho-acoustic trickery for PAN with 'esstends esstends esstends'.
The "psycho-acoustic trickery" or otoacoustic effect we mention is an earwax-loosening and hallucinatory experimental technique of expanded and localised spatialisation at frequencies which stimulate the microscopic bones inside your ear into hearing things which might not necessarily be there. If you've heard anything by Florian Hecker, Marcus Schmickler, KFW, or - of course, Maryanne Amacher - and found yourself feeling a bit disorientated, you could attribute the fact to their use of these processes.
As the label explains, "...using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging a sense of aural perception and sound localization in relationship to the compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal."