Project Dark - Excited By Gramophones Volume 4
Артист: Project Dark
Альбом: Excited By Gramophones Volume 4, 1998
Издатель: Invisible Records / INV 7002
Жанр: Electronic, Abstract, Noise, Experimental, Ambient
Формат файла: EAC-APE-CUE-LOG-HQCovers
Ссылка: CD
Нахождение: eDonkey/Kademlia
Tracklist:
01. Et Sic Gradus Ad Ima Tenditur [0:23]
02. Black Rubber Elvis [4:37]
03. The Sand Of Music [3:11]
04. Danceflawed [0:32]
05. Return To Sander [4:49]
06. Spongers... [8:49]
07. A Short Hop From Sarajevo [7:25]
08. Never To Fake It (Again) [1:27]
09. Liquidation Totale [0:52]
10. Jake's Drawing [1:07]
11. Ada Pama! [0:47]
12. Ten Fingers [2:15]
13. ...Shift Right [4:53]
14. Armatron (Screw Edison) [4:05]
15. White Leather Jacket [6:11]
16. Untitled [0:21]

Recorded at Unit 23, Clerkenwell 18/5/98, 10/7/98, Colossal Sounds, King' s Cross 30/3/97, 8/12/97, 14/6/98, Hoxton Studios, Hoxton, 11/12/97, Headington Hill Park, Oxford, 31/5/98, Queen Elizabeth Hall, Waterloo, 21/6/98, Stromboli Sounds, Upper Holloway, 6/7/98, 11/7,98 and the Darkroom, Angel, 23/11/97, 27/11/97, 9/3/98, 14/6/98Compiled by Graham Jules at Blam, King' s Cross 11/7/98
Project Dark are Kirsten Reynolds, Ashley Davies and Tony Pattinson
Dub Colossus appears courtesy of Temple of Sound
Tim Whelan appears courtesy of his busy schedule
Billy Childish appears courtesy if himself
Jonathan appears courtesy of himself
Jimi Papatzaneteas disappears quite regularly courtesy of himself

QUOTE
Dust Jacket Disc Jockey Sleeve Notes.
'Excited by Gramophones Volume 4' represents the culmination of 3 years of sonic sketching and experimentation by Project Dark. Sounds have been generated by playing the entire Singles Club' catalogue of artifact and vinyl discs. These ludicrous and sublime objects include a biscuit 7", a hair ", an etched glass 7" and a Rocket Propelled 7". Recordings from these singles along with Mr H.V., the 10,000 Volt Spark Generator have been tugged, coerced and pummelled to provide the compositional source sounds used to make this music.
This spectrum of useful noises, together with turntables taken out of retirement and persuaded to misbehave again, has led to the creation of the raw material for Project Dark to work with, in collaboration with assorted like minded spirits not scared of orchestrating an explosion or two. Despite not normally being apologetic types, Project Dark do on this occasion feel it necessary to express deep regret that this collection of music is, at the current time, only available on the digital compact disc format. (Project Dark)

Forget vinyl, what about the sonic properties is cheese? Project Dark's limited edition 7" singles were manufactured from preposterous materials - white bread, Edam cheese, hair, Brazillian glasspaper, steel and so on. This CD treats the contents of their entire singles back catalogue as source material. The music's aesthetic is best summed up by the image on the back of the CD - an exploding record player.
Though drum patterns are used on some tracks, most of the music is concerned with manipulations of rough sound. The album begins with the noise of a firework rocket and moves into a succession of succinct and bristly sound pieces, covering a wide range of colours, and fascinated with the blurring into noise.
On four of the best tracks, the Project Dark nucleus - Ashley Davies, Kirsten Reynolds and Tony Pattinson - is augmented by Dub Colossus of Transglobal Underground. (Elsewhere collaborators include artist/Headcoat Billy Childish.) For all the noise input, the music works best through playfulness. Low-cal avante garde, for sure, but somehow, with near zero gravitas and a lurking pop sensibility, it's diverting stuff. But a more wholesome racket than it would like to be. (Will Montgomery, The Wire)

Words cannot describe a band whose experimental turntable techniques that use only record players and household objects to create unimaginable sounds. How can you explain the sound that sand paper, sponges, carpet, blackboards, film cells, photographs, parachute silk, plasterboard, and a myriad of other flat objects make when played on a record needle? The ticks, thumps, scratches, rubs, screeches and skips are incredibly diverse. This 15 song collection contains sample elements brought out of retirement from the 40+ limited edition 7" releases by Projekt Dark. The question is: exactly what do bread, cheese, and chocolate sound like on a turntable and do you have to replace the expensive diamond tipped needle when you are done playing music with your lunch? (aracnet.com)

"This spectrum of useful noises, together with turntables taken out of retirement and persuaded to misbehave again, has led to the creation of raw material for Project Dark to work with, in collaboration with assorted like minded spirits not scared of orchestrating an explosion or two," states the "Dust Jacket Disc Jockey Sleeve Notes."
When I first put in this disc and started to listen to it, it just sounded like a mesh of various noises -- nothing resembling "useful noises." But, with the drum machine pulsating throughout the music and making all the sounds come together, as well as the use of a turntable, the album eventually embedded itself inside my head and started to rattle around there much like it rattles around on disc when it comes out of your stereo.
A good description of the music can be found in the name -- Project Dark. A collection of sounds that appear in your dreams, nightmares, and thoughts, Project Dark's sound is a universal melting pot of all the sounds you've ever heard and couldn't -- or didn't want to -- explain. A DJ record by way of jungle, techno, and industrial grooves, the mastermind behind the sound, Kristen Reynolds, is able to conjure up plenty of thoughts in your head that will only add to the music.
Pretty far out there, while still being very down to earth, the record represents a new millennium of where music can, might, and possibly will go in the future. I'll give it a B. (Alex Steininger, In Music We Trust)

The London-based experimental electronic group Project Dark consists of Ashley Davies, Kirsten Reynolds and Tony Pattinson. Their initial works were limited-edition seven-inch singles made with hair, glass, steel, cheese and other strange recording materials; these tracks were collected and manipulated further on the group's debut full-length, 1998's Excited by Gramophones. The group collaborated and shared the stage with like-minded sonic manipulators such as Otomo Yoshihide, Janek Shaefer and Distronaut at gigs like the 1998 Meltdown Festival and the 1999 "Cities On the Roof" exhibit at London's Hayward Gallery. Their second album Involution followed later that year. (by Heather Phares, AMG)

SPOILER!

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