Paloma Wind
Eva-Maria Houben, John Hudak
Paloma Wind
Boomkat Product Review:
Spellbinding, spectral elisions of percussion and field recordings by veteran minimalists Houben & Hudak make a sterling new addition to Richard Chartier’s label, Line
For just shy of a quarter century, Line has specialised in seeking enchanting sounds from the thresholds of minimalist composition, computer music, drone, and their experimental integers. German composer and musicologist Eva-Maria Houben (b. 1955) and US sound artist John Hudak (b. 1958) here play into the label’s filigree strands of experimentation with one of its best in recent memory, developing a free-associated sound from percussion and etheric sound that can’t be full attributed tone or the other, but manifests its own tongue-tip language of rhytmelodic frissons that recalls Harry Bertoia’s steel rod Sonambient sound sculptures played by friendly ghosts. Approaching the project with a deeply shared sound sensitivity, they produce a remarkably engaging suite from the process of listening as composition, and vice-versa, that requires no prior knowledge of their concept in order to enjoy its hallucinatory frolics, which are bound to be enjoyed by fans of Marina Rosenfeld, Giuseppe Ielasi, Michael Ranta.
“This piece concentrates on the act of listening and on the process of a gradual emergence of a “we” (including both composers and listeners), which is based on the longings for a free and unlimited listening experience allowing various kinds of associations, visions and day-dreams. The two composers in co-operation are listeners—and the listeners will become composers while listening. Therefore, the composers do not try to describe in a detailed way the origin of the basic sounds and the work of converting sounds. A precise description would not allow people to imagine freely for themselves.
The composers focus on the development of a community of listeners and on the quality of the material. The piece sounds out the aesthetic potential of the sounds and attempts to sensitize the ear of the listener to the acoustic possibilities. The aim is to support inner and outer listening. Following this path to free listening, sonic material and musical material melt. In our listening, we may find mixtures of various sounds belonging to different social, cultural, musical, sonic environments. All kinds of objects are suitable to widen our sensitivity.”
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Boomkat Product Review:
Spellbinding, spectral elisions of percussion and field recordings by veteran minimalists Houben & Hudak make a sterling new addition to Richard Chartier’s label, Line
For just shy of a quarter century, Line has specialised in seeking enchanting sounds from the thresholds of minimalist composition, computer music, drone, and their experimental integers. German composer and musicologist Eva-Maria Houben (b. 1955) and US sound artist John Hudak (b. 1958) here play into the label’s filigree strands of experimentation with one of its best in recent memory, developing a free-associated sound from percussion and etheric sound that can’t be full attributed tone or the other, but manifests its own tongue-tip language of rhytmelodic frissons that recalls Harry Bertoia’s steel rod Sonambient sound sculptures played by friendly ghosts. Approaching the project with a deeply shared sound sensitivity, they produce a remarkably engaging suite from the process of listening as composition, and vice-versa, that requires no prior knowledge of their concept in order to enjoy its hallucinatory frolics, which are bound to be enjoyed by fans of Marina Rosenfeld, Giuseppe Ielasi, Michael Ranta.
“This piece concentrates on the act of listening and on the process of a gradual emergence of a “we” (including both composers and listeners), which is based on the longings for a free and unlimited listening experience allowing various kinds of associations, visions and day-dreams. The two composers in co-operation are listeners—and the listeners will become composers while listening. Therefore, the composers do not try to describe in a detailed way the origin of the basic sounds and the work of converting sounds. A precise description would not allow people to imagine freely for themselves.
The composers focus on the development of a community of listeners and on the quality of the material. The piece sounds out the aesthetic potential of the sounds and attempts to sensitize the ear of the listener to the acoustic possibilities. The aim is to support inner and outer listening. Following this path to free listening, sonic material and musical material melt. In our listening, we may find mixtures of various sounds belonging to different social, cultural, musical, sonic environments. All kinds of objects are suitable to widen our sensitivity.”
Boomkat Product Review:
Spellbinding, spectral elisions of percussion and field recordings by veteran minimalists Houben & Hudak make a sterling new addition to Richard Chartier’s label, Line
For just shy of a quarter century, Line has specialised in seeking enchanting sounds from the thresholds of minimalist composition, computer music, drone, and their experimental integers. German composer and musicologist Eva-Maria Houben (b. 1955) and US sound artist John Hudak (b. 1958) here play into the label’s filigree strands of experimentation with one of its best in recent memory, developing a free-associated sound from percussion and etheric sound that can’t be full attributed tone or the other, but manifests its own tongue-tip language of rhytmelodic frissons that recalls Harry Bertoia’s steel rod Sonambient sound sculptures played by friendly ghosts. Approaching the project with a deeply shared sound sensitivity, they produce a remarkably engaging suite from the process of listening as composition, and vice-versa, that requires no prior knowledge of their concept in order to enjoy its hallucinatory frolics, which are bound to be enjoyed by fans of Marina Rosenfeld, Giuseppe Ielasi, Michael Ranta.
“This piece concentrates on the act of listening and on the process of a gradual emergence of a “we” (including both composers and listeners), which is based on the longings for a free and unlimited listening experience allowing various kinds of associations, visions and day-dreams. The two composers in co-operation are listeners—and the listeners will become composers while listening. Therefore, the composers do not try to describe in a detailed way the origin of the basic sounds and the work of converting sounds. A precise description would not allow people to imagine freely for themselves.
The composers focus on the development of a community of listeners and on the quality of the material. The piece sounds out the aesthetic potential of the sounds and attempts to sensitize the ear of the listener to the acoustic possibilities. The aim is to support inner and outer listening. Following this path to free listening, sonic material and musical material melt. In our listening, we may find mixtures of various sounds belonging to different social, cultural, musical, sonic environments. All kinds of objects are suitable to widen our sensitivity.”
Boomkat Product Review:
Spellbinding, spectral elisions of percussion and field recordings by veteran minimalists Houben & Hudak make a sterling new addition to Richard Chartier’s label, Line
For just shy of a quarter century, Line has specialised in seeking enchanting sounds from the thresholds of minimalist composition, computer music, drone, and their experimental integers. German composer and musicologist Eva-Maria Houben (b. 1955) and US sound artist John Hudak (b. 1958) here play into the label’s filigree strands of experimentation with one of its best in recent memory, developing a free-associated sound from percussion and etheric sound that can’t be full attributed tone or the other, but manifests its own tongue-tip language of rhytmelodic frissons that recalls Harry Bertoia’s steel rod Sonambient sound sculptures played by friendly ghosts. Approaching the project with a deeply shared sound sensitivity, they produce a remarkably engaging suite from the process of listening as composition, and vice-versa, that requires no prior knowledge of their concept in order to enjoy its hallucinatory frolics, which are bound to be enjoyed by fans of Marina Rosenfeld, Giuseppe Ielasi, Michael Ranta.
“This piece concentrates on the act of listening and on the process of a gradual emergence of a “we” (including both composers and listeners), which is based on the longings for a free and unlimited listening experience allowing various kinds of associations, visions and day-dreams. The two composers in co-operation are listeners—and the listeners will become composers while listening. Therefore, the composers do not try to describe in a detailed way the origin of the basic sounds and the work of converting sounds. A precise description would not allow people to imagine freely for themselves.
The composers focus on the development of a community of listeners and on the quality of the material. The piece sounds out the aesthetic potential of the sounds and attempts to sensitize the ear of the listener to the acoustic possibilities. The aim is to support inner and outer listening. Following this path to free listening, sonic material and musical material melt. In our listening, we may find mixtures of various sounds belonging to different social, cultural, musical, sonic environments. All kinds of objects are suitable to widen our sensitivity.”
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