CD Feature/ V.A.: "Edition Sonoro"

Edition Sonoro present a collection of artists in this rich compilation which showcases a variety of contemporary approaches to creating audio art. On several occasions I tried to describe this record in conversation with friends. The word 'spectral' came to mind. In her book "A Provisional History of Spectral Music" (2000) Julian Anderson wrote, "music is ultimately sound evolving in time". This record shows a handful of the many variations these evolutions can take.

The opening track by irr. App involves a mix of sounds that are placed at different distances in the mix. A slowly modulating sound hovers in the background whilst drier  sounds rattle and twinkle in the foreground. Above this a twisted voice moans in places, which gives way to a buzzing noise that fills the mix with its odd slapback-style decay. A haunting intro.

The next track by Jgrzinich uses loose, brittle metallic sounds in the high end with reverberating mids and lows to create an atmosphere which moves from tense and nightmarish to dreamy and relieved. Track three by Ubeboet starts with gentle pad-like tones. A pleasant shimmering drone builds, to this is added a delicate melody which comes and goes like a day dream soundtracked by a ghost violin.

Colin Potter's track is a minimal drone piece using glassy, bell-like tones. The sounds slowly rise and drop in volume creating a hypnotic, drifting body of sound. Paul Bradley's track follows a similar approach, but the tones used sound more synthetic, and the pace of development a little faster. The way in which the looped sounds move slowly in the stereo picture stops the piece from stagnating. The addition of electric guitar in the second half changes the colour. Clean notes and washes of controlled fuzz make the track complete.

The collaboration between Maile Colbert and Tellemake starts with a soft drone which gives way to some peculiar sounding synthesised female voices. These voices are filtered and cut and re-arranged creating a dreamy rhythmic texture which is supplemented by pure guitar-like tones.

The final track by Andrew Liles is a minor key affair. A doom-laden piano plays a simple, spooky melody which leads to some eastern influenced strings accompanied by some quiet vibes. There is a definite air of sadness to the melody, which becomes quite like a film soundtrack as it ends with a synth pad.

By Barry Cullen

Homepage: Twenty Hertz Records / Edition Sonoro