Alva Noto beautifully exchanges austerity for cinematographic lushness with the remarkably widescreen 3rd volume in his 'Xerrox' series. Inspired by private, formative influences such as 'La Isla Misteriosa y el Capitán' - based on Jules Verne's 'The Mysterious Island' - and Tarvosky's screen adaptation of 'Solaris', he uses the self-designed Xerrox software to transpose early, ingenuous feelings of awe and wonder into innovative, intimate atmospheres and dynamic soundscapes. In keeping with the series' focus on "using the process of copying as a basis", and the manner in which the inherent infidelities of copies manifest as originals in their own right, these eleven impressionistic scenes could be heard as copies of memories; parsing the soul for patterns of emotional data that is subsequently refracted/reflected as melodic vectors and unquantifiably ambiguous noise. The results, ranging from heart-rending elegies to mind-bending sci-fi projections, flip the notion of Alva Noto as a clinically dry aesthete dangerously close to somewhere tender, even sentimental, surpassing even his own expectations in the process, stating; " "I see xerrox vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. it remains exciting how the last two albums of this series will sound like." It's really rather special.
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Alva Noto beautifully exchanges austerity for cinematographic lushness with the remarkably widescreen 3rd volume in his 'Xerrox' series. Inspired by private, formative influences such as 'La Isla Misteriosa y el Capitán' - based on Jules Verne's 'The Mysterious Island' - and Tarvosky's screen adaptation of 'Solaris', he uses the self-designed Xerrox software to transpose early, ingenuous feelings of awe and wonder into innovative, intimate atmospheres and dynamic soundscapes. In keeping with the series' focus on "using the process of copying as a basis", and the manner in which the inherent infidelities of copies manifest as originals in their own right, these eleven impressionistic scenes could be heard as copies of memories; parsing the soul for patterns of emotional data that is subsequently refracted/reflected as melodic vectors and unquantifiably ambiguous noise. The results, ranging from heart-rending elegies to mind-bending sci-fi projections, flip the notion of Alva Noto as a clinically dry aesthete dangerously close to somewhere tender, even sentimental, surpassing even his own expectations in the process, stating; " "I see xerrox vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. it remains exciting how the last two albums of this series will sound like." It's really rather special.
Alva Noto beautifully exchanges austerity for cinematographic lushness with the remarkably widescreen 3rd volume in his 'Xerrox' series. Inspired by private, formative influences such as 'La Isla Misteriosa y el Capitán' - based on Jules Verne's 'The Mysterious Island' - and Tarvosky's screen adaptation of 'Solaris', he uses the self-designed Xerrox software to transpose early, ingenuous feelings of awe and wonder into innovative, intimate atmospheres and dynamic soundscapes. In keeping with the series' focus on "using the process of copying as a basis", and the manner in which the inherent infidelities of copies manifest as originals in their own right, these eleven impressionistic scenes could be heard as copies of memories; parsing the soul for patterns of emotional data that is subsequently refracted/reflected as melodic vectors and unquantifiably ambiguous noise. The results, ranging from heart-rending elegies to mind-bending sci-fi projections, flip the notion of Alva Noto as a clinically dry aesthete dangerously close to somewhere tender, even sentimental, surpassing even his own expectations in the process, stating; " "I see xerrox vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. it remains exciting how the last two albums of this series will sound like." It's really rather special.
Alva Noto beautifully exchanges austerity for cinematographic lushness with the remarkably widescreen 3rd volume in his 'Xerrox' series. Inspired by private, formative influences such as 'La Isla Misteriosa y el Capitán' - based on Jules Verne's 'The Mysterious Island' - and Tarvosky's screen adaptation of 'Solaris', he uses the self-designed Xerrox software to transpose early, ingenuous feelings of awe and wonder into innovative, intimate atmospheres and dynamic soundscapes. In keeping with the series' focus on "using the process of copying as a basis", and the manner in which the inherent infidelities of copies manifest as originals in their own right, these eleven impressionistic scenes could be heard as copies of memories; parsing the soul for patterns of emotional data that is subsequently refracted/reflected as melodic vectors and unquantifiably ambiguous noise. The results, ranging from heart-rending elegies to mind-bending sci-fi projections, flip the notion of Alva Noto as a clinically dry aesthete dangerously close to somewhere tender, even sentimental, surpassing even his own expectations in the process, stating; " "I see xerrox vol. 3 as my most personal album so far. I have to admit that this emotional output is a surprise even for myself. it remains exciting how the last two albums of this series will sound like." It's really rather special.