Sound travels: Laurent Jeanneau returns us to the endangered minority cultures of South East Asia with the mesh of location recordings and electronics in 'Gongs', his follow-up to the haunting 'Voices' for Discrepant. Two extended sides develop his understandable fascination with the unique timbre of S.E. Asian Gong orchestras, revealing and contrasting their resonant acoustic tonalities and accompanying voices with a subtle patina of electronic processing and augmentation. The first piece uses an array of source material recorded in Laos and Cambodia to lure us into a dreamy sequence of chiming, glinting rhythmelody and shifting layers of vocal, vascillating between bustling street scenes and passages of more stripped down percussion. The B-side is much quieter, keenly focussed on the gong's resonant qualities and transforming their plangent radiations into systolic pulses and hovering harmonics that wouldn't sound out of place in a Berlin skool electronic dub record.
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Sound travels: Laurent Jeanneau returns us to the endangered minority cultures of South East Asia with the mesh of location recordings and electronics in 'Gongs', his follow-up to the haunting 'Voices' for Discrepant. Two extended sides develop his understandable fascination with the unique timbre of S.E. Asian Gong orchestras, revealing and contrasting their resonant acoustic tonalities and accompanying voices with a subtle patina of electronic processing and augmentation. The first piece uses an array of source material recorded in Laos and Cambodia to lure us into a dreamy sequence of chiming, glinting rhythmelody and shifting layers of vocal, vascillating between bustling street scenes and passages of more stripped down percussion. The B-side is much quieter, keenly focussed on the gong's resonant qualities and transforming their plangent radiations into systolic pulses and hovering harmonics that wouldn't sound out of place in a Berlin skool electronic dub record.
Sound travels: Laurent Jeanneau returns us to the endangered minority cultures of South East Asia with the mesh of location recordings and electronics in 'Gongs', his follow-up to the haunting 'Voices' for Discrepant. Two extended sides develop his understandable fascination with the unique timbre of S.E. Asian Gong orchestras, revealing and contrasting their resonant acoustic tonalities and accompanying voices with a subtle patina of electronic processing and augmentation. The first piece uses an array of source material recorded in Laos and Cambodia to lure us into a dreamy sequence of chiming, glinting rhythmelody and shifting layers of vocal, vascillating between bustling street scenes and passages of more stripped down percussion. The B-side is much quieter, keenly focussed on the gong's resonant qualities and transforming their plangent radiations into systolic pulses and hovering harmonics that wouldn't sound out of place in a Berlin skool electronic dub record.
Sound travels: Laurent Jeanneau returns us to the endangered minority cultures of South East Asia with the mesh of location recordings and electronics in 'Gongs', his follow-up to the haunting 'Voices' for Discrepant. Two extended sides develop his understandable fascination with the unique timbre of S.E. Asian Gong orchestras, revealing and contrasting their resonant acoustic tonalities and accompanying voices with a subtle patina of electronic processing and augmentation. The first piece uses an array of source material recorded in Laos and Cambodia to lure us into a dreamy sequence of chiming, glinting rhythmelody and shifting layers of vocal, vascillating between bustling street scenes and passages of more stripped down percussion. The B-side is much quieter, keenly focussed on the gong's resonant qualities and transforming their plangent radiations into systolic pulses and hovering harmonics that wouldn't sound out of place in a Berlin skool electronic dub record.
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Sound travels: Laurent Jeanneau returns us to the endangered minority cultures of South East Asia with the mesh of location recordings and electronics in 'Gongs', his follow-up to the haunting 'Voices' for Discrepant. Two extended sides develop his understandable fascination with the unique timbre of S.E. Asian Gong orchestras, revealing and contrasting their resonant acoustic tonalities and accompanying voices with a subtle patina of electronic processing and augmentation. The first piece uses an array of source material recorded in Laos and Cambodia to lure us into a dreamy sequence of chiming, glinting rhythmelody and shifting layers of vocal, vascillating between bustling street scenes and passages of more stripped down percussion. The B-side is much quieter, keenly focussed on the gong's resonant qualities and transforming their plangent radiations into systolic pulses and hovering harmonics that wouldn't sound out of place in a Berlin skool electronic dub record.