Making Conversation
crys cole
Making Conversation
Boomkat Product Review:
crys cole's third solo Black Truffle album, 'Making Conversation' is a lap of honor and a bold, puzzling step into the unknown that obfuscates her signature lower-case processes before mapping them to a MIDI percussion ensemble and a room filled with rolling objects. Open, intimate and startlingly varied stuff, it's filled with knotty interactions and cryptic questions about the nature of sound.
On the 20-minute 'Making Conversations', cole sounds initially as if she's on familiar territory, layering nocturnal field recordings she captured in Bali and Indonesia with guttural synthesized chokes. But the recordings themselves were only used as "memory aids"; the finished composition uses nothing but the mood itself, with cole recreating the environments - conversations, engine hum, insect chirps and birdsong - using her deck of illusory concrète processes and arsenal of noisemakers. Tune your ears into the sounds, and what appears to be frogs croaking in the moonlight is a woody rattle, a passing car is a ratcheting handful of found objects, and the omnipresent birdsong a muddle of corrupted oscillations and fictile, metallic squeaks. It's clever stuff that appreciates and confronts the ubiquitousness of field recordings in contemporary music - what exactly do these elements represent, and why? She conjures a bizarre "non-musical sound environment" that's as realistic as green screen until you start to notice the purposefully feathered edges.
cole heads in a completely different direction on 'Valid ForeverrRrrRRrrr... (pt. 1)', a piece that started life as a re-interpretation of Beth Anderson's 'Valid for Life' score, featured in Alison Knowles and Annea Lockwood's 1975 anthology 'Women's Work'. Anderson's conceptual text sonically illustrated the characteristics of the letter "r" in various typefaces, and was originally mooted for three acoustic instruments. So cole examines how the piece might sound using completely different objects: two large paper constructions and a bowling ball. This one gets to the core of cole's pre-occupation with space itself; we can perceive the ball as it barrels through the room, skating through the stereo field, while her ominous papery rustles create a wider, more intimate landscape.
On the second part of the composition, cole tears up her playbook once again, creating reverberant rolls and rattles that sound as if they're suspended in silence using a suite of plasticky MIDI drum sounds. The relative density of the other three pieces is removed, but cole's philosophy is maintained - it's a refreshing examination of rhythmic music that casts artificial drums in new roles. Like the opening side, ''Valid ForeverrRrrRRrrr... (pt. 1)' evokes a natural landscape, drawing our attention not just to the whirring, hollow cracks and thuds, but the pregnant pauses in-between. It's a remarkable collection that rewards concentration and consideration.
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Boomkat Product Review:
crys cole's third solo Black Truffle album, 'Making Conversation' is a lap of honor and a bold, puzzling step into the unknown that obfuscates her signature lower-case processes before mapping them to a MIDI percussion ensemble and a room filled with rolling objects. Open, intimate and startlingly varied stuff, it's filled with knotty interactions and cryptic questions about the nature of sound.
On the 20-minute 'Making Conversations', cole sounds initially as if she's on familiar territory, layering nocturnal field recordings she captured in Bali and Indonesia with guttural synthesized chokes. But the recordings themselves were only used as "memory aids"; the finished composition uses nothing but the mood itself, with cole recreating the environments - conversations, engine hum, insect chirps and birdsong - using her deck of illusory concrète processes and arsenal of noisemakers. Tune your ears into the sounds, and what appears to be frogs croaking in the moonlight is a woody rattle, a passing car is a ratcheting handful of found objects, and the omnipresent birdsong a muddle of corrupted oscillations and fictile, metallic squeaks. It's clever stuff that appreciates and confronts the ubiquitousness of field recordings in contemporary music - what exactly do these elements represent, and why? She conjures a bizarre "non-musical sound environment" that's as realistic as green screen until you start to notice the purposefully feathered edges.
cole heads in a completely different direction on 'Valid ForeverrRrrRRrrr... (pt. 1)', a piece that started life as a re-interpretation of Beth Anderson's 'Valid for Life' score, featured in Alison Knowles and Annea Lockwood's 1975 anthology 'Women's Work'. Anderson's conceptual text sonically illustrated the characteristics of the letter "r" in various typefaces, and was originally mooted for three acoustic instruments. So cole examines how the piece might sound using completely different objects: two large paper constructions and a bowling ball. This one gets to the core of cole's pre-occupation with space itself; we can perceive the ball as it barrels through the room, skating through the stereo field, while her ominous papery rustles create a wider, more intimate landscape.
On the second part of the composition, cole tears up her playbook once again, creating reverberant rolls and rattles that sound as if they're suspended in silence using a suite of plasticky MIDI drum sounds. The relative density of the other three pieces is removed, but cole's philosophy is maintained - it's a refreshing examination of rhythmic music that casts artificial drums in new roles. Like the opening side, ''Valid ForeverrRrrRRrrr... (pt. 1)' evokes a natural landscape, drawing our attention not just to the whirring, hollow cracks and thuds, but the pregnant pauses in-between. It's a remarkable collection that rewards concentration and consideration.
Boomkat Product Review:
crys cole's third solo Black Truffle album, 'Making Conversation' is a lap of honor and a bold, puzzling step into the unknown that obfuscates her signature lower-case processes before mapping them to a MIDI percussion ensemble and a room filled with rolling objects. Open, intimate and startlingly varied stuff, it's filled with knotty interactions and cryptic questions about the nature of sound.
On the 20-minute 'Making Conversations', cole sounds initially as if she's on familiar territory, layering nocturnal field recordings she captured in Bali and Indonesia with guttural synthesized chokes. But the recordings themselves were only used as "memory aids"; the finished composition uses nothing but the mood itself, with cole recreating the environments - conversations, engine hum, insect chirps and birdsong - using her deck of illusory concrète processes and arsenal of noisemakers. Tune your ears into the sounds, and what appears to be frogs croaking in the moonlight is a woody rattle, a passing car is a ratcheting handful of found objects, and the omnipresent birdsong a muddle of corrupted oscillations and fictile, metallic squeaks. It's clever stuff that appreciates and confronts the ubiquitousness of field recordings in contemporary music - what exactly do these elements represent, and why? She conjures a bizarre "non-musical sound environment" that's as realistic as green screen until you start to notice the purposefully feathered edges.
cole heads in a completely different direction on 'Valid ForeverrRrrRRrrr... (pt. 1)', a piece that started life as a re-interpretation of Beth Anderson's 'Valid for Life' score, featured in Alison Knowles and Annea Lockwood's 1975 anthology 'Women's Work'. Anderson's conceptual text sonically illustrated the characteristics of the letter "r" in various typefaces, and was originally mooted for three acoustic instruments. So cole examines how the piece might sound using completely different objects: two large paper constructions and a bowling ball. This one gets to the core of cole's pre-occupation with space itself; we can perceive the ball as it barrels through the room, skating through the stereo field, while her ominous papery rustles create a wider, more intimate landscape.
On the second part of the composition, cole tears up her playbook once again, creating reverberant rolls and rattles that sound as if they're suspended in silence using a suite of plasticky MIDI drum sounds. The relative density of the other three pieces is removed, but cole's philosophy is maintained - it's a refreshing examination of rhythmic music that casts artificial drums in new roles. Like the opening side, ''Valid ForeverrRrrRRrrr... (pt. 1)' evokes a natural landscape, drawing our attention not just to the whirring, hollow cracks and thuds, but the pregnant pauses in-between. It's a remarkable collection that rewards concentration and consideration.
Boomkat Product Review:
crys cole's third solo Black Truffle album, 'Making Conversation' is a lap of honor and a bold, puzzling step into the unknown that obfuscates her signature lower-case processes before mapping them to a MIDI percussion ensemble and a room filled with rolling objects. Open, intimate and startlingly varied stuff, it's filled with knotty interactions and cryptic questions about the nature of sound.
On the 20-minute 'Making Conversations', cole sounds initially as if she's on familiar territory, layering nocturnal field recordings she captured in Bali and Indonesia with guttural synthesized chokes. But the recordings themselves were only used as "memory aids"; the finished composition uses nothing but the mood itself, with cole recreating the environments - conversations, engine hum, insect chirps and birdsong - using her deck of illusory concrète processes and arsenal of noisemakers. Tune your ears into the sounds, and what appears to be frogs croaking in the moonlight is a woody rattle, a passing car is a ratcheting handful of found objects, and the omnipresent birdsong a muddle of corrupted oscillations and fictile, metallic squeaks. It's clever stuff that appreciates and confronts the ubiquitousness of field recordings in contemporary music - what exactly do these elements represent, and why? She conjures a bizarre "non-musical sound environment" that's as realistic as green screen until you start to notice the purposefully feathered edges.
cole heads in a completely different direction on 'Valid ForeverrRrrRRrrr... (pt. 1)', a piece that started life as a re-interpretation of Beth Anderson's 'Valid for Life' score, featured in Alison Knowles and Annea Lockwood's 1975 anthology 'Women's Work'. Anderson's conceptual text sonically illustrated the characteristics of the letter "r" in various typefaces, and was originally mooted for three acoustic instruments. So cole examines how the piece might sound using completely different objects: two large paper constructions and a bowling ball. This one gets to the core of cole's pre-occupation with space itself; we can perceive the ball as it barrels through the room, skating through the stereo field, while her ominous papery rustles create a wider, more intimate landscape.
On the second part of the composition, cole tears up her playbook once again, creating reverberant rolls and rattles that sound as if they're suspended in silence using a suite of plasticky MIDI drum sounds. The relative density of the other three pieces is removed, but cole's philosophy is maintained - it's a refreshing examination of rhythmic music that casts artificial drums in new roles. Like the opening side, ''Valid ForeverrRrrRRrrr... (pt. 1)' evokes a natural landscape, drawing our attention not just to the whirring, hollow cracks and thuds, but the pregnant pauses in-between. It's a remarkable collection that rewards concentration and consideration.
Includes extensive liner notes, photographic documentation and a download.
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Boomkat Product Review:
crys cole's third solo Black Truffle album, 'Making Conversation' is a lap of honor and a bold, puzzling step into the unknown that obfuscates her signature lower-case processes before mapping them to a MIDI percussion ensemble and a room filled with rolling objects. Open, intimate and startlingly varied stuff, it's filled with knotty interactions and cryptic questions about the nature of sound.
On the 20-minute 'Making Conversations', cole sounds initially as if she's on familiar territory, layering nocturnal field recordings she captured in Bali and Indonesia with guttural synthesized chokes. But the recordings themselves were only used as "memory aids"; the finished composition uses nothing but the mood itself, with cole recreating the environments - conversations, engine hum, insect chirps and birdsong - using her deck of illusory concrète processes and arsenal of noisemakers. Tune your ears into the sounds, and what appears to be frogs croaking in the moonlight is a woody rattle, a passing car is a ratcheting handful of found objects, and the omnipresent birdsong a muddle of corrupted oscillations and fictile, metallic squeaks. It's clever stuff that appreciates and confronts the ubiquitousness of field recordings in contemporary music - what exactly do these elements represent, and why? She conjures a bizarre "non-musical sound environment" that's as realistic as green screen until you start to notice the purposefully feathered edges.
cole heads in a completely different direction on 'Valid ForeverrRrrRRrrr... (pt. 1)', a piece that started life as a re-interpretation of Beth Anderson's 'Valid for Life' score, featured in Alison Knowles and Annea Lockwood's 1975 anthology 'Women's Work'. Anderson's conceptual text sonically illustrated the characteristics of the letter "r" in various typefaces, and was originally mooted for three acoustic instruments. So cole examines how the piece might sound using completely different objects: two large paper constructions and a bowling ball. This one gets to the core of cole's pre-occupation with space itself; we can perceive the ball as it barrels through the room, skating through the stereo field, while her ominous papery rustles create a wider, more intimate landscape.
On the second part of the composition, cole tears up her playbook once again, creating reverberant rolls and rattles that sound as if they're suspended in silence using a suite of plasticky MIDI drum sounds. The relative density of the other three pieces is removed, but cole's philosophy is maintained - it's a refreshing examination of rhythmic music that casts artificial drums in new roles. Like the opening side, ''Valid ForeverrRrrRRrrr... (pt. 1)' evokes a natural landscape, drawing our attention not just to the whirring, hollow cracks and thuds, but the pregnant pauses in-between. It's a remarkable collection that rewards concentration and consideration.
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